Wednesday, October 19, 2016

Pope Francis: Who is better, Catholics or Lutherans?

Pope jokes in ecumenical meeting: Who is better - Catholics or Lutherans? *ROME REPORTS in English


The pope met in the Vatican with this group of Catholics and German Lutherans who have traveled to Rome together.

The pope had the scarf for Catholic pilgrims, and it was symbolically tied to the one worn by Lutherans, so he wore both at the same time. Later, the pope held this funny dialogue with them, where they tried to trip him up with "trick questions."

"One important element of this meeting is the anticipation of the spirit with which Pope Francis will travel to Sweden in late October, for the start of the commemoration of the 500th anniversary of the Protestant Reformation." [Boldface type in original.]

Source: "Pope jokes in ecumenical meeting: Who is better - Catholics or Lutherans?" Rome Reports, Oct 13, 2016.


* ROME REPORTS,, is an independent international TV News Agency based in Rome covering the activity of the Pope, the life of the Vatican and current social, cultural and religious debates. Reporting on the Catholic Church requires proximity to the source, in-depth knowledge of the Institution, and a high standard of creativity and technical excellence. As few broadcasters have a permanent correspondent in Rome, ROME REPORTS is geared to inform the public and meet the needs of television broadcasting companies around the world through daily news packages, weekly newsprograms and documentaries.

Tuesday, October 18, 2016

Star of the County Down

Star of the County Down -- Lizzy Hoyt

Lizzy Hoyt performing at the Canadian Folk Music Award Nominee Showcase on December 3rd, 2011 at Hugh's Room in Toronto, ON. Lizzy's album HOME was nominated for Traditional Singer of the Year. To hear samples of her nominated CD, visit:

* * *

Star of The County Down - Van Morrison and The Chieftans


Since it's a slow air, it can be played in different keys to accommodate a singer's voice. (Yea!) The Session website has two setting in A minor and one in E minor, and most of the players who commented seem to play it in Am. xxx has it in Bmin, although I think it's actually in B dorian. It plays well on a mountain dulcimer in either mode,

Mountain dulcimer

  • Star of the County Down - mountain dulcimer Janene M - w/ vocals, played on McSpadden Ginger mountain dulcimer

  • Kingsfold in DAA ("Star of the County Down") Dr. Bill's Mountain Music - Appalachian Dulcimer Demo's -- Played on an all cherry 5-string dulcimer. I have played this song drone-style in minor modal tunings, but I wanted to show that, by use of chords, it can also be played in standard DAA tuning. Ionian, Dorian, and Aeolian are modes of play based on scales, NOT methods of tuning.

  • Star of the County Down (My Love Nell) Katie LaRaye Waldren -- Katie arranged this beloved Celtic tune on the mountain/lap dulcimer using both finger picking and strumming styles. Tune to DAD, capo on the first fret. Also known as Diversus And Lazarus, Diverus And Lazarus, Dives And Lazarus, Gilderoy, Kingsfold, The Star Of County Down, The Star Of The County Down March, When First I Left Old Ireland. ... As Dives and Lazarus. Among the comments: Many songs to that tune This is the plain tune of the song and has little to do with a reel. The melody is used for quite a few songs. Amongst them: Crooked Jack, Dives an Lazarus … The list ist longer but I would have to do a longer search. # Posted by Ranks 11 years ago. ... Anyone ever play this as an air? Being a bassoonist as well, I’ve played Vaughn Williams’s "Five Variants of Dives and Lazarus" and the melody sounds great slower, and I think it could be really heart-wrenching given the right inflection. ... Re: The Star Of The County Down The melody is in English County Songs, 1893, collected by John Maitland, later harmonised by Ralph Vaughan Williams as the hymn tune Kingsfold and used with words by Horatius Bonar, "I heard the voice of Jesus say, ‘Come unto me and rest’ ".

Thursday, October 13, 2016

Bob Dylan awarded Nobel Prize for Literature

Mr. Tambourine Man (Live at the Newport Folk Festival. 1964)

Shared to my Facebook page: "Well-written tribute by the editor of The New Yorker. But the links are why I'm posting here, from Newport 1964 to last week. Also audio of a 2001 press conference in Rome."

I hadn't suspected David Remnick, editor of The New Yorker, has the exquisite timing of a borscht-belt comedian. But his tribute to Bob Dylan, posted to the magazine's website when it was announced today that Dylan has won the Nobel Prize for Literature, was pitch-perfect. He even tied in an oblique reference to Donald Trump, deftly implying a contrast between the worst in American popular culture and the Swedish Academy's recognition of the best.

The setup:

God is a colossal joker, isn’t She?

We went to bed last night having learned that the Man Who Will Not Go Away was, according to the Times, no mere purveyor of “locker-room talk”; no, he has been, in fact, true to his own boasts, a man of vile action. The Times report was the latest detail, the latest brushstroke, in the ever-darkening portrait of an American grotesque.

And then, as swiftly as a standup comic, the punchline:

Then came the news, early this morning, that Bob Dylan, one of the best among us, a glory of the country and of the language, had won the Nobel Prize in Literature. Ring them bells! What an astonishing and unambiguously wonderful thing! There are novelists who still should win (yes, Mr. Roth, that list begins with you), and there are many others who should have won (Tolstoy, Proust, Joyce, Woolf, Nabokov, Auden, Levi, Achebe, Borges, Baldwin . . . where to stop?), but, for all the foibles of the prize and its selection committee, can we just bask for a little while in this one? The wheel turns and sometimes it stops right on the nose.

Like they say, timing is everything.

Source: David Remnick. "Let's Celebrate the Bob Dylan Nobel Win." New Yorker. Oct,. 13, 2016.

Bonus track (linked to Remnick's post)

A distillation of Dylan at mid-career, with a long, rambling intro that builds into call-and-response with his backup musicians, calling to mind the black gospel tradition, and ends at 5:50 with "Slow Train Coming."

bob dylan speaks to crowd toronto 1980

Contemporary service music, Faith Lutheran, Saturday, Oct. 15 (Pentecost XXII)

Chris Tomlin - Made to Worship LIVE w/subtitles and lyrics

Here is the worship music for this weekend.

Call to Worship: "My Savior, My God" - Adam and Jamie

Worship Songs:

  • "Made to Worship" (with congregation) -
  • "We Fall Down"
  • "Open the Eyes of My Heart" -

creed: "We Believe"

sung Lord's Prayer

Closing Song: "How Great is Our God" -

Monday, October 03, 2016

diddley bow

Scott Ainslie plays cigar box guitar at the Ships of the Sea Museum

Blues Musician and Historian Scott Ainslie playing his "Didley-Bow" and a Museum model 3-string cigar box guitar at the Ships of the Sea Museum in Savannah Georgia on April 7, 2011 in advance of a building workshop on August 20, 2011. For more information, email or visit For more info on Scott, visit Michael Jordan

Shane Speal -- "King of the Cigar Box Guitar" Concert footage along with lessons for cigar box guitars, deep blues, performance secrets and taking the music industry back to the people.

  • How to Play Diddley Bow pt. 1 "The Magic Note"

  • How to Play Diddley Bow pt 2: "I'm a Man riff"

  • How to Play Diddley Bow pt. 3: Play Shane Speal's song "16 Miles to Saltsburg"

  • How to Play Diddley Bow pt 4: "Using your ear"


... how to play it with feeling, and how to play it with attitude"

Beat the Crap Out of Your Cigar Box Guitar

Thursday, September 29, 2016

Two three new tunes for Clayville-Prairieland jam sessions -- ** UPDATED ** w/ lead sheet for "Ode to Joy" in G

Blast email sent to my Clayville and Peace Lutheran jam session lists at 7:14 p.m. today --

Hi everybody -- October is sneaking up on us, and it's about to pounce. Saturday is Oct. 1, and that means it's our regular monthly session of the Clayville Pioneer Academy of Music at Clayville, from 10 till noon Saturday morning in the barn at Clayville Historic Site, Ill. 125, Pleasant Plains.

On the, ahem, syllabus this month are two lovely ballads out of the Anglo-Celtic and American tradition of balladry. No, OK, we'll have *one* lovely ballad -- "Wild Mountain Thyme" -- and one raucous bluegrassy novelty song called "Five Pounds of Possum (in my Headlights Tonight"). Lead sheets are available on the Dogwood Dulcimer Association website in Pensacola, Fla.

-- "Five Pounds"

-- Wild Mountain Thyme"

There are video clips and more on Hogfiddle at

We'll also finalize our Christmas play list and hand around a book of Irish slow airs. Hope to see you there!

** UPDATE ** Excerpts from blast email Monday, Oct. 4, at 5:05 p.m.:

Hi everybody -- Our next session is tomorrow, from 7 to 9 p.m. Tuesday, Oct. 4, at Peace Lutheran Church. Saturday morning at Clayville we had a great time switching back and forth from D to G, so let's try it some more.

Which means, if you play the mountain dulcimer, you have two excellent choices: (1) bring and capo; or (2) come tuned in DAD and be ready to retune the middle string to G. It takes about as much time to do it either way.

One song we've done in D that works a little better in G (for most people's voices) is the "Ode to Joy" theme from Beethoven's 9th, aka "Joyful Joyful We Adore Thee." Let's try it in G.

Here's a link to a lead sheet in G, on Michael Kravchuk's website:

-- "

I can't find dulcimer tab for DGD, but the "Strumbly Songbook" has the fret numbers in DGD at:


It's on page 8 ... the entire songbook, for a kind of portable dulcimer called a "Strumbly" is available online, and it has fret numbers (no chords and no notation, though) for a bunch of songs in G. ...

We never got around to "Five Pounds of Possum (in my headlights tonight ...)" Saturday, which broke my heart because it's such a tender, lyrical ballad. But I've posted links to Hogfiddle at:


The other tune is "Wild Mountain Thyme." Don't believe my web address -- they're not new, they're both tunes we've played before that we haven't done lately, but they're worth bringing back. We had a lot of fun Saturday with "WMT." Let's try them both Tuesday.

Hope to see you there.

Wednesday, September 28, 2016

Link to Gunnar Fredelius' sound files of (mostly) psalmodikon Jag har väl nästan mailbombat sidan med låtar. Vi är ju faktiskt många medlemmar och jag gissar att de flesta spelar. Jag tycker det vore kul att höra flera!

I stället för att mailbomba denna sida tänkte jag att jag lägger upp några spellistor hör i stället. En gång för alla. Det blir då dels min bror Erik, som fokuserar på de äldre psalmböckerna. 1937-års psalmbok men främst kanske de riktigt gamla. På en del låtar använder han stråke, på andra inte. Helt enligt tradition.

Först en lista jag skapat på SoundCloud med Eriks låtar. Inte bara, men mest, psalmodikon

Sedan en YouTubelista…

Jag spelar väl en och annan andlig låt , men mitt fokus ligger på folkmusik. Bland annat låtar jag vet spelades på psalmodikon på spelmanstävlingar i början på 1900-talet. Även i vår släkt spelades en gång i tiden till dans på psalmodikon, I smyg :) Jag har en del psalmodikon på YouTube:…

Bättre ljud och lite "bättre" låtar på SoundCloud.…/…/psalmodikon-med-nygammalt I guess I have almost mailbombat page with songs. We are, in fact, many members, and I'm guessing that most of the play. I think it would be fun to hear more!

Instead of mail-bomb this page, I thought I put up a few playlists hear in this place. Once and for all. It will be partly my brother Erik, that focuses on the older psalmböckerna. 1937-Year-old hymnal but mainly maybe they really, really old. On some songs he uses bow, on the other not. According to tradition.

First a list I made on soundcloud with Erik's songs. Not only, but mostly, psalmodicon

Since a youtubelista I'm playing a and other spiritual song, but my focus is on folk music. Among other things, I know the songs played at psalmodicon spelmanstävlingar in the early 1900th century. Even in our family was played once upon a time to dance on psalmodicon, on the sly :)

I have some psalmodicon on Youtube: Better sound and a little "better" songs on soundcloud.

Oct. 1 Julafton. Dvs jolakvold -- langspil Ágústa Sigrún Jólakvöld on Soundcloud

Någon kanske frågar sig varför jag pratar hummel och psalmodikon i samma andetag. Svaret är att termerna använts så oprecist så när det står långharpa eller långspel i äldre källor, så vet vi inte vad som avsågs. Om hummel var så vanligt som man får intryck av, så varför finns inte flera bevarade? För att de förstördes under den tid på 1800-talet, och i en del landsändar ända in under min levnad? Det bidrar nog, men många nyckelharpor och fioler överlevde... Å andra sidan så överlevde nyckelharpan främst i Uppland. För att den bara fanns där säger några då. Men den finns omnämnd även på andra ställen. Inte vet jag om den religiösa instrumentutplånarivern var mindre i Uppland än tex Västergötland och Norrbotten, där ett par speciella rörelser ju var starka... Psalmodikon var det vanligaste instrumentet i stugorna under en tid. De spreds ju just för att användas till andlig musik. Men för den som tidigare spelat tex hummel, eller fått sin fiol uppeldad, kliade det nog i fingrarna att spela låtar på psalmodikonet, när ingen alltför folkmusikfientlig var i närheten. / [Some may wonder why I'm talking hummel and psalmodicon in the same breath. The answer is that the terms used so imprecise so when it says långharpa or långspel in older sources, so we do not know what it was intended. If Hummel was as common as you get the impression, so why aren't more preserved? Because they were destroyed during the time in the 1800 s, and in some tracts of all the way in during my life? It helps, I think, but many nyckelharpor and violins survived... on the other hand so survived the nyckelharpa mainly in uppland. Because it was only a few say that then. But it is also mentioned in other places. I don't know if the religious instrumentutplånarivern was less in uppland than tex västergötland and norrbotten, where a couple of special movement was strong... Psalmodicon was the most common instrument in the cottages for a period of time. They spread precisely in order to be used for spiritual music. But for the one who previously played Tex Hummel, or had his violin pumped, scratched it in my fingers to play songs on psalmodikonet, when no one is too folkmusikfientlig was in the neighborhood.]

Tuesday, September 27, 2016

Notes on psalmodikon and Swedish hummel in Stig Walin's "Die Schwische Hummel."

Important discussion below of the relationship between a Swedish hummel and a psalmodikon on my Facebook feed this morning. Link here or click on permalink address just below this screenshot to see the original:

Background: This morning I posted to Facebook my pictures of the Dillner Museum behind the church in Östervåla, and Gunnar Fredelius questioned whether the instrument identified in the museum as a hummel toward the end of my photo album wasn't really a psalmodikon. This led to threads on my FB feed and Gunnar's, where he had posted a copy of my pix.

Upshot: I quickly agreed the instrument in question was a psalmodikon, but one with a body shape modeled after a hummel -- at least it resembles my Frisian hummel (Friesische Hummel) made by Willfried Ulrich of coastal East Frisia in Germany (pictures at I'll won't repeat the thread here. Instead I'll link to:

In the process of researching the Ostervala psalmodikon, I consulted Stig Walin's "Die Schwedische Hummel" and copied his discussion of psalmodikons below, along with an unedited Google translation. Rely on it at your peril, but it'll give you a rough idea of what he says.

If I am reading Walin correctly, both the hummel and the psalmodikon traced their origins back to the medieval monochord and a related folk instrument in parts of northern Europe called a långspel. (The word is Swedish, and I think it might be a generic term for an stringed instrument played lengthwise -- i.e. up and down a single string over a fretboard on the long side of the instrument. Cf. Icelandic langspil.) Like an American dulcimer or any other instrument where the melody is played on a single string.

Background on hummel. Långspel and långharpa are also words for the hummel (see discussion in Wikipedia, which is unusually informative, at "Hummeln är ett (troligen medeltida) instrument som funnits i hela Europa i lite olika varianter. Instrumentet var vanligt i Nederländerna, Nordtyskland och Danmark under 1700-talet. I svensk bondekultur finns belägg för instrumentet först från 1600-talet och det verkar ha förekommit mest i de södra delarna. Under 1800-talet ansågs hummeln vara ett primitivt bondeinstrument och dess popularitet avtog men några entusiaster har, med start från 1970-talet, återupptagit traditionen att spela hummel." [Google trans.: Hummeln is a (probably medieval) instruments that existed throughout Europe in a few different directions. The instrument was common in the Netherlands , northern Germany and Denmark during the 1700s. In the Swedish farming culture is evidence of the instrument to the 1600s, and it seems to have been mostly in the southern parts. In the 1800s it was considered Hummeln be a primitive peasant instruments and its popularity waned, but some enthusiasts have, starting from the 1970s, resumed the tradition to play Hummel.]

Stig Walin, Die Schwedische Hummel: Eine Instrumentenkindliche Untersuchung. Stockholm: Nordiska Museet, 1952. Ethnomusicology pp. 95-96.

Unedited excerpts in English translation are by Google. Use at your own risk. [One example will suffice: When the text refers to "bumblebee," it is Google's translation of the name of the instrument. The name comes from the buzzing sound made by the drone (bourdon) strings.] I am putting these pages, Walin's only mention of the psalmodikon, up on the blog for convenient access. I am not attempting a translation at this point.

Around 1830 began the incredible fast triumph of Psalmodikons over the areas.1 The instrument was developed by the powerful revivals of 40s and the following decades put into use. but Still the Tonwerkzeug could never so quickly can spread and would in the tradition-bound Rural population never come to immediate application, if not the bottom of the related older zither type Hummel as good would have been prepared. As a popular Tool of a purely secular musical culture (Including dance) had the Hummel many places as hard considered a sin and therefore burdened aside been pushed or simply destroyed be 2 to instead of Psalmodikon to be replaced, the 3 t the beginning of A an instrument for worship and house devotion was. Where the Hummel despite everything further held that both types could be confused.

The Hummel was also certain constructional details of Psalmodikons acquire. The right in Fingerboard cut chromatic Bund series at G 40 we have already by above as a sign of the influence the Psalmodikon angenommen.4 Maybe has the same effect at the chromatic (re) grouping the frets at G 2 9 5 asserted, the instrument I. Westerlund, the various religious purposes served. W hen but also to Psalmodikon victoriously penetrated, it possessed but far from the same tradition force as the bumblebee.

* * *

This is, inter alia, from his Mold development produced. Dill Ner original instrument supposedly now in N M under N r. 14152 is, has an elongated body with straight sides and the same width Later the web as in Sattel.6 but the Psalmodikon was often with extensions and bulges of various Article provided. but these have not the formal unity and the organic Beauty, which bulges the the native bumblebee ajjszeichnen. It often seems as if they quite by accident and not natural Way from the actual basic shape developed hätten.7 In the rich flora of this form Psalmodikons can be of different influences feel sides - in a few notable cases of the Bumblebee! Three Psalmodikon in Västergötland Museum, Skara, N r. 13754, 41966 and 45778, with respect to the outer body shape a side bulged Hummel's amazing ähnlich.1 order but it is not enough. also regarding the size they close the Hummel at. Dill former Psalmodikon has a gr. L. 1027 mm.2 The three about equally large instruments in Skara are However, considerably shorter. No. 41966 has a gr. L. 810 mm. The gr. L. of Most native bumblebees is between the limits 692- 890. The Psalmodikon therefore closes this Plurality of. According to the catalog information originates the instrument of Vastergotland, 3 of the landscape, in the "långspel" already on widespread at the beginning of the 18th century was, of which we only a bumblebee (G 26) have registered. The Psalmodikon however, shows that the Hummel tradition in the countryside in the 19th century was strong. Perhaps one could even the "långspel» -Tradition say. The length of the "långspel" was about 890 and the width of about 223 mm. The corresponding V alues ​​of Psalmodikons N r 41966 are 810 and 215 mm.

W hen we now again the question over the age of zither instrument from Type Hummel turn in Sweden, we must say that a type of instrument, already at the beginning of the 18th century. Century in at least a portion of the spread Swedish country areas and was popular and then in spite of all unfavorable conditions around the country one such striking force Tradition showed spoken of here, that such type of instrument, as already indicated, a local history must have that far out stretched on the said date. The sources of this ancient history but are difficult to access and uncertain. One reason for this is the terminology Ambiguity. Google Translate for Business:Translator ToolkitWebsite TranslatorGlobal Market Finder