YouTube has Molly's Revenge A Regular Army O (beginning at 2:21). At the Performing Arts Center of Pacific Grove< Calif., during the November 2011 Celtic Winter's Eve.
Sheet music (in F# minor?) in Levy collection at Johns Hopkins. ABC file in A (= F#m?) at abcnotation.com ...
Lissa Schneckenburger LIVE at KCAW in Sitka - Rory O'More.
Lissa Schneckenburger and Bethany Waickman perform "Rory O'More" live during the Good Day Radio Show, 11-12-10, at Raven Radio, KCAW in Sitka, Alaska.
Sung by the Wolfe Tones /w lyrics at http://youtu.be/EJDS6ASW0ok ... cf. March of the King of Laois/O'Sullivan's March by Lorinda Jones, harp; Larry Green, fiddle; and Cathy Wilde, uillean pipes, at http://youtu.be/hSuVXmd18W4.
Benjamin Grierson used it for a campaign song in 1860 - William H. Leckie and Shirley A. Leckie, Unlikely Warriors: General Benjamin Grierson and His Family (Norman: U of Oklahoma P, 1984). 41-41.
In Meredosia, the task of writing verses for campaign songs, sung to old, well-known tunes, fell to Ben, who relished the assignment. He was especially proud of one entitled "Douglas's Record, or Political Gymnastics," set to the tune of "Rory O'More" and including this refrain: "O! Stephen A Douglas is a wonderful man / In political gymnastics he leads the van / Most notable feats he performs with great ease / On all sides of all questions everybody to please" [n38 Ben to Alice, June 1, 1860]
Sheet music for the song by Samuel Lover, for voice and piano (with an interesting accompaniment w/ block chords used as a drone) in The Ideal Home Music Library, Vol. 9, Sentimental Songs, ed. Albert Ernest Wier (New York: Scribners, 1913) at http://sheetmusicpoint.com/collections/i/the-ideal-home-music-library/. Also in Digital Tradition with MIDI file, ABC notation and mountain dulcimer tab available for those who want it. Lover was an Anglo-Irish songwriter - bio on Wikipedia.
And here's where the music hall tune comes from, the "March of the Kings of Laois," as performed on button box and keyboard in a pub session for RTE TG4's Geantraí show:
Lissa Schneckenburger's tutorial on singing with fiddle accompaniment, backing her voice with two-note chords ...
Schneckenburger's latest CD dance has Rory O'Moore plus a lot of contradance tunes:
1.Petronella 2.Lamplighter's Hornpipe/Suffer the Child 3.Jefferson and Liberty/Bert Ferguson 4.Lady Walpole's Reel/The Mountain Ranger/Nancy King 5.Eugenia's Waltz 6.Moneymusk 7. Huntsman's Chorus 8.Rory O'More 9.Fisher's Hornpipe 10.Jamie Allen FEATURING: Lissa Schneckenburger (fiddle), Bethany Waickman (guitar, pump organ), Corey DiMario (double bass), Dave Cory (tenor banjo), David Harris (euphonium, trombone), David Kaynor (fiddle), Eric Merrill (viola), Jeremiah McLane (piano, accordion), Keith Murphy (guitar, piano), Stefan Amidon (percussion)
Daterad till 1773.Singable English translation in PoemHunter.com.
Sången hörde troligen till Bellmans opera Fiskarena. Förebilden till kvinnan i båten kan ha varit Wilhelmina Norman, som Bellman uppvaktade sommaren 1773.
Någon förlaga till melodin har inte hittats. Somliga har därför hävdat att denna melodi måste vara komponerad av Bellman själv. Det är naturligtvis mycket möjligt, men några bevis för att så skulle vara fallet finns det inte.
Ernest Iverson, "Slim Jim", was the most popular local country/cowboy singer in Minnesota during the 1930s, '40's and '50's. He was a regular on KEYD, WDGY and KSTP radio stations, and a member of the KSTP Sunset Valley Barn Dance. His signature song was "Nikolina".
I go down to Seven Corners,
Where Salvation Army play,
One dem vomans come to me
This is what dat voman say:
She say, "Will you work for Yesus?"
I say, "How much Yesus pay?"
She say, "Yesus don't pay nothing"
I say, "I won't work today."
"One can whistle, two can play, three can dance the Shepherd's Hey"Not a good fit on the second one, as the discussion suggests, but close enough.
* * *
"Oh dear mother, what a fool I be;
Here are six young fellows come a-courting me.
Three are blind and the others can't see;
Oh dear mother, what a fool I be!"
"Songcatcher" is a catch phrase for someone who goes out in the field, not the studio, and records music wherever he or she finds it. It all started with Edison, of course, and his invention of the phonograph. ... Since then there have been many, many songcatchers working at the far corners of the Earth.For our last off-season workshop on period music in open, modal lap dulcimer tunings, we'll look at a couple of songs that were sung at camp meetings near New Salem - at Rock Creek - and a Robert Burns song that raised eyebrows when a church musician sneaked it into a worship service down in Springfield. Since they're available on line in Appalachian dulcimer tab for DAA and DAD tunings, as well as their original keys of G and B-flat, they give us a good opportunity to learn how to transpose a song from the original to "D for dulcimer." Don't worry: It's easier to do than it is to talk about it!
-- Mickey Hart, author and percussionist, Grateful Dead. Qtd. National Geographic News.
Prominent among the preachers on the platform [set up outside the church building at camp meetings] was Rev. John M. Berry. He would give out the hymn, read it, line it, and, in a strong voice, lead the singing himself, the people joining in one after another.Last month we learned "On Jordan's stormy banks ..." (also known as "The Promised Land"), and in April we'll learn the other two that Alice Keach Bone remembered. When I sang with the New Salem Shape Note Singers, we could see the vistors perk up and listen when we told them we were singing a hymn from the early days at Rock Creek just a few miles down the road.
'On Jordan's stormy banks I stand,' and 'How firm a foundation, ye saints of the Lord, is laid for your faith in His excellent word' were favorites. These were frequently followed by'There is a fountain filled with bloodThen came an earnest, heartfelt prayer and, sometimes, another song. After this he announced the text and began to preach. He did not time his sermons, neither did the people turn uneasy glances toward their camps. (*Bone, Rock Creek Church: A Retrospect of One Hundred Years.)
Drawn from Emmanuel's veins;
And sinners plunged beneath that flood
Lose all their guilty stains.'
Mr. Rague was ... leader of the choir. The tune book was Mason's Missouri Harmony with patent notes [shape notes]. Edward Jones was the accompanist on the flute, and Henry E. Dummer on the violin. It is said that one night when the hymn 'Sweet Is Thy Works, My God, My King, To Praise Thy Name, Give Thanks and Sing,' was announced, before Rague could pitch his pipe of 'Kingsbury' [the tune] to which it was set, Dummer started it to 'Ye Banks and Braes of Bonny Doon.' (*Seventy-Fifth Anniversary of the Organization of First Presbyterian Church, Springfield, Illinois, January 29-February 1, 1903.).Was this an accident, or a little tomfoolery in the choir loft? We don't know. But we do know the story was still being told 70 years later (even if some of the details got confused in the retelling). At any rate, Robert Burns was popular in Illinois.
__________
"How Firm A Foundation" played by David Summerford on mountain dulcimer
"There Is a Fountain Filled With Blood" by Grace Chu
-- Southern gospel singer David Phelps
-- UAB Gospel Choir , Univ of Alabama at Birminghan
"Ye Banks and Braes of Bonnie Doon" - Singer-songwriter Holly Tomas of Edinburgh
Tony McManus teaches "Ye Banks and Braes." McManus plays Celtic fingerstyle in dropped D tuning, talks about arranging the song, ornamentation, etc. (10:32)
Digital Tradition (in G) http://sniff.numachi.com/pages/tiBNKSBRAE;ttBNKSBRAE.html
Let Erin remember the days of old.Moore's Footnotes quaoted in "Sing, Sweet Harp of Erin: Thomas Moore's Irish Melodies (1808)." Folkworld http://www.folkworld.de/37/e/moore.html:
Ere her faithless sons betrayed her;
When Malachi wore the collar of gold,[1]
Which he won from her proud invader.
When her kings, with standard of green unfurled,
Led the Red-Branch Knights to danger;[2]
Ere the emerald gem of the western world
Was set in the crown of a stranger.
On Lough Neagh's bank as the fisherman strays,
When the clear cold eve's declining,
He sees the round towers of other days
In the wave beneath him shining:
Thus shall memory often, in dreams sublime,
Catch a glimpse of the days that are over;
Thus, sighing, look thro' the waves of time
For the long-faded glories they cover.[3]
[1] "This brought on an encounter between Malachi (the Monarch of Ireland in the tenth century) and the Danes, in which Malachi defeated two of their champions, whom he encountered successively, hand to hand, taking a collar of gold from the neck of one, and carrying off the sword of the other, as trophies of his victory." -- Warner's "History of Ireland," vol. i. book ix.
[2] "Military orders of knights were very early established in Ireland; long before the birth of Christ we find an hereditary order of Chivalry in Ulster, called Curaidhe na Craiobhe ruadh, or the Knights of the Red Branch, from their chief seat in Emania, adjoining to the palace of the Ulster kings, called Teagh na Craiobhe ruadh, or the Academy of the Red Branch; and contiguous to which was a large hospital, founded for the sick knights and soldiers, called Bronbhearg, or the House of the Sorrowful Soldier." -- O'Halloran's Introduction, etc., part 1, chap. 5.
[3] It was an old tradition, in the time of Giraldus, that Lough Neagh had been originally a fountain, by whose sudden overflowing the country was inundated, and a whole region, like the Atlantis of Plato, overwhelmed. He says that the fishermen, in clear weather, used to point out to strangers the tall ecclesiastical towers under the water.
RED FOX [3], THE (An Sionnac Ruad). AKA and see "Let Erin Remember the Days of Old." Irish, Air (4/4 time, "with spirit"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 390, pg. 68.More at "Let Erin Remember the Days of Old" w/ notation in D! (but for bagpipe) posted to Hogfiddle on March 17 (!), 2010.
X:1
T:Red Fox, The [3]
M:C
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of Ireland (1903), No. 390
Z:AK/Fiddler’s Companion
K:G
D2|G2 G>A B2 B>c|d2d2 c2 B>c|d3 e B2G2|A3F GFED|G2 G>A B2 Bc|d
d2 de B2G2|A4 G2||Bd|g2g2 f2 ed|e2 dB d2 BA|G2 G>A BAGB|A4 G2 Bd|g2g2 f2 ed|
"Meeting of the Waters" is usually scored in A, but Digital Tradition has a lead sheet with lyrics transposed to D. The thread "Tune Req: Meeting of the Waters" at Mudcat Cafe has dates of Thomas Moore's "Irish Melodies," also relationship (or lack thereof) of his air -- "The Old Head of Denis" -- and a Scottish pipe also titled "The Meeting of the Waters" but with a different melody. links to an early version of Andrew Kuntz' "Fiddlers Companion" w/ tune families, etc. AS ALWAYS, THE MUDCAT THREAD IS A VERY GOOD SOURCE AND HAS MORE INFORMATION THAN WHAT I'VE SUMMARIZED HERE.
Moore's notes:
[1] "The Meeting of the Waters" forms a part of that beautiful scenery which lies between Rathdrum and Arklow, in the county of Wicklow, and these lines were suggested by a visit to this romantic spot, in the summer of the year 1807.
[2] The rivers Avon and Avoca.
A bronze bust of Moore marks the spot, and a plague records the tribute offered by Eamon de Valera: "During the dark and all but despairing days of the nineteenth century, Thomas Moore's songs kept the love of country and the lamp of hope burning in millions of Irish hearts here in Ireland and in many lands beyond the seas. His songs and his poems and his prose works, translated into many foreign tongues, made Ireland's cause known throughout the civilized world and won support for that cause from all who loved liberty and hated oppression."
In James Joyce's "Ulysses," Leopold Bloom remarks about the Moore statue in College Green Dublin: "They did right to put him up over a urinal: meeting of the waters."
MEETING OF THE WATERS, THE [1] (Ceann Deiginse). AKA and see "Todlin Hame," "Gage Fane", "Na Geadna Fiadaine," "The Wild Geese," "Armstrong's Farewell," "The Old Head of Denis," "My Name is Dick Kelly," "An Bacac Buide," "The Origin of the Harp," "Old Ireland Rejoice." Irish, Air (6/8 time). A Major. Standard. AB. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Roche Collection, 1982, Vol. 3; No. 31, pg. 9.And this, the tune that Moore cites as the air in Irish Melodies:
OLD HEAD OF DENIS, THE (Sean Ceann Doncad). AKA and see "Meeting of the Waters," "Helen," "The Wild Geese." Irish, Air (6/8 time, "with feeling"). G Major. Standard. One part. The melody was used by Thomas Moore for his text "The Meeting of the Waters," but was the vehicle for a number of hymns and ballads, including many cowboy songs such as "The Dreary Black Hills" and the Catskill Mountain (New York) collected "Rock Island Line" (Cazden, et al, 1982). O'Neill (1850), 1903/1979; No. 526, pg. 92.The tune is related to the Irish lament for the Wild Geese who fled Ireland after the wars of Cromwell and William III:
WILD GEESE, THE [1] (Na Geadna Fiadaine). AKA and see "Gage Fane," "The Origin of the Harp," "Old Ireland Rejoice," "Armstrong's Farewell," "The Old Head of Denis," "The Meeting of the Waters," "Todlin Hame," "My Name is Dick Kelly," "An bacac buide," "An Cana Draigeann Eille," "Tis believed that this harp." Irish, Slow Air (3/4 time). A Major (O'Neill, O'Sullivan/Bunting): G Major (O Canainn). Standard. One part. This Irish air dates back to the mid-17th century and has often been used as a song tune. Perhaps the first lyrics were written in 1670 by John Fitzgerald, son of the Knight of Glin. In the next century a version called in Irish "Na Geandna Fiadaine" had its title mangled into English as "Gage Fane" and appeared in several collections. The given title commemorates the thousands of Irish soldiers who fled to France and Spain after the Treaty of Limerick in 1691, preferring an honorable exile to remaining in their country when their cause was lost. These exiles sustained the national reputation afterwards under the name of the Irish Brigade in the wars on the Continent.And to quite a few other tunes as well, on both sides of the Atlantic, including the "Rye Whiskey" family and tunes heard at the Belfast harp festival in 1798:
***
A legend has it that the air was sung by the women assembled on the shore at the time the troops embarked after the defeat of the Gaelic chiefs. O'Sullivan (1983) points out this is poetic license for the exodus was gradual, and not an embarkation along the lines of Dunkirk in this century, but (quoting MacGeoghan, who states in his History of Ireland {pg. 599}) "within the 50 years which followed the Treaty of Limerick 450,000 Irish soldiers died in the service of France." O'Sullivan also adds the title "Na Geadna Fiadhaine" is a translation of the English "The Wild Geese," and not vice versa, but that even the Gaelic-speaking majority at the time referred to these men as "Wild Geese," for they flocked before taking flight.
***
Source for notated version: Bunting noted the tune from Patrick Quin, the harper, in 1803. Holden (Collection), volume II, 1806 (appears as "Gage Fane"). Mulholland (Collection), 1810 (appears under the erroneous title "The Wild Swan"). Neale (Celebrated Irish Tunes), pg. 25. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 51, pgs. 46-47. O'Neill (1850), 1979; No. 170, pg. 30. O'Sullivan/Bunting, 1983; No. 113, pgs. 162-164. Thompson (Hibernian Muse), c. 1789 (appears as "Irish Air"). Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993).
BACA(C)H BUIDHE, AN (Lame Yellow Beggar). AKA and see "Bacach Buidhe Na Leige" (The Yellow Beggar of the League), "The Lame Yellow Beggar," "The Wild Geese," "Johnnie Armstrong," "Todlin Hame," "The Meeting of the Waters." Irish, Air (4/4 time). B Flat Major (O'Sullivan/Bunting): G Major (Flood). Standard. AAB (Flood): ABB (O'Sullivan/Bunting). The great Irish collector Edward Bunting's 1840 publication attributes composition of this melody to the famous Ulster harper Rory Dall O'Cahan in the year 1650. Though born in Ulster, O'Cahan performed primarily in Scotland, and this tune is "said to have been composed by him in reference to his own fallen fortunes, towards the end of his career." {See note for "Give Me Your Hand" for more information on O'Cahan). Audiences heard the air in "The Beggar's Wedding" (1728), an opera by Charles Coffey of Dublin, and it was printed in the score in 1729. The title was reported by the Belfast Northern Star of July 15th, 1792, as having been a tune played by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week. Bunting, who was in attendance at the festival, claimed to have noted it from harper Charles Byrne in his manuscript, though he attributes harper Daniel Black in 1792 as the source in his 1840 published work. The melody may also be found in Neales' Celebrated Irish Tunes, pg. 26 and Holden's Old Established Tunes, pg. 36, reports O'Sullivan (1983), and is a variant of the melody known variously as "Johnnie Armstrong," "Todlen Hame," "Rye Whisky," "Jack of Diamonds," "Drunken Hiccups," etc. Flood, 1905; pg. 80. Murphy (A Collection of Irish Airs and Jiggs, 1809 or 1820; pg. 22. O'Sullivan/Bunting, 1983; No. 20, pgs. 34-35.There's an American parody "The Meeting of the Waters of Hudson & Erie" by Samuel Woodworth. It begins like Moore's, "There is not in the wild world a Valley so sweet ..." but gets off into the brave new America vs. tired old Europe meme pretty quickly:
Yet it is not that Wealth now enriches the sceneAnd so on.
Where the treasures of Art, and of Nature, convene
'Tis not that this union our coffers may fill
O! no - it is something more exquisite still
'Tis, that Genius has triumph'd and Science prevail's
Tho' Prejudice flouted, and Envy assail'd
It is, that the vassals of Europe may see
The progress of mind, in a land that is free.
SHENANDOAH FALLS. Old-Time, Breakdown. A Major. Standard tuning. AABB (Johnson): AA'BB (Phillips). Clyde Curley and Susan Songer, in notes to The Portland Collection, traces the tune. Vermont fiddler Pete Sutherland learned it from West Coast musician Carol Robinson, originally from Sebastapol, who herself learned it as an untitled reel from a mandolin player named 'Cookie', once a fellow student with her at Sonoma State College. It is thought Sutherland titled it, perhaps thinking it reminiscent of Bill Monroe's bluegrass composition "Shenandoah Breakdown." Source for notated version: Pete Sutherland (Vermont) [Phillips]. Johnson (The Kitchen Musician No. 2: Occasional Collection of Old-Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), 1982 (revised 1988 & 2003); pg. 15. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 219. Songer (Portland Collection), 1997; pg. 182. Dancing String, Randy Zombola - "Snowflake Breakdown" (1986). Epact Music, Pete Sutherland - "Eight Miles From Town" (1982). Marimac 9031, Sutherland, Pete - "Eight Miles From Town" (1986). Marimac 9043, Boiled Buzzards - "Fine Dining" (1991).A well regarded contra dance tune. See Laura Lengnick's essay "So You Wanna Play Dance Music?" at http://www.fiddledance.net/index_files/Dance_Music_Essay_Lengnick.pdf
X:1
T:Shenandoah Falls
M:C|
L:1/8
R:Reel
N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:A
cd |: “A”e2 ef edcB | AB c2 “D”d4 | “A”c2 cd cBAc | “E”BAGF E2 cd |
“A”e2 ef edcB | AB (3cBA “D”d4 | “A”cBAc “E”BA G2 |1 “A”A4 A2 cd :|2 “A”A6 G2 ||
|: “Bm”F4 B3B | A2 (B2B4) | “A”ABcA BcAB | cAB(c c)B A2 |
“Bm”F4 B3B | A2 (B2B2) Bd | “A”cBAc “E”BA G2 |1 “A”A4 A3G :|2 “A”A6 ||
Campus Ministry Minute
Janoski, Steven A.
To: #All Springfield Campus Faculty; #All Springfield Campus Adjunct Faculty; #All Springfield Campus Staff; #All Springfield Campus Student
Cc:
Once upon a time, the ancients tell, past the seeker on a prayer rug came the beggars and the broken and the beaten. The pray-er was appalled and looking up to heaven cried out, "Great and loving God, if you are a loving God, look at these and do something!" And the voice came back from heaven, "I did do something. I made you."
A spirituality of work is that process by which I finally come to know that my work is God's work, unfinished by God because God meant it to be finished by me.
(from “The Spirituality of Work” by Sr. Joan D. Chittister, OSB, 1995)
For me, the best Cohen cover ever is still REM's storming take on 'First We Take Manhattan', and there's nothing quite in that league here. But honorable mentions in particular for Liz Green's intelligent rethinking of 'Sisters Of Mercy' to a piano accompaniment; Bill Callahan's questing stab at 'So Long Marianne'; and Diagrams' transformed - and lovely - 'Famous Blue Raincoat' And I was particularly taken by the Miserable Rich's version of 'The Stranger Song', after thinking I was going to hate it when it started. ...Wrench's bottom line: "So, well worth a listen. Think of it as a CD for £4.50 with a free magazine and you'll even persuade yourself you're getting a bargain."
Prominent among the preachers on the platform was Rev. John M. Berry. He would give out the hymn, read it, line it, and, in a strong voice, lead the singing himself, the people joining in one after another. "On Jordan's stormy banks I stand" and "How firm a foundation, ye saints of the Lord, is laid for your faith in His excellent word" were favorites. ... After this he announced the text and began to preach. He did not time his sermons, neither did the people turn uneasy glances toward their camps.Do you think tunes in a minor key are sad and major tunes are happy?
-- Alice Keach Bone, Rock Creek Church: A Retrospect of One Hundred Years (1922).
In many ways, the dulcimer's limitations are actually its strengths. Nothing captures the haunting and plaintive quality of the older pentatonic ballads and archaic-sounding fiddle tunes better than an instrument bound to the simple modal scales. Too, the continual droning -- the incessant hum or wail behind a fragile melodic line -- affords the dulcimer a temperament very unlke more sophisticated chromatic instruments.Here's how she explained the modes on a dulcimer:
Though I used a number of different tunings right from my start as a dulcimer player, it took years for me to figure out what was meant by the various tuning modes and the strange Greek words used to describe them. I simply referred to a favorite song used in each tuning, such as: "Oh, yes! That's the 'Old Joe Clark' tuning. What a revelation to find that each mode and its associated Greek name simply tells what fret the scale for that mode begins on! For example, the Mixolydian mode begins its scale -- or 'DO' note -- at either the open note (the zero fret) or the seventh fret, and can be in any key you choose within the limitations of the strings on your dulcimer. The Ionian mode, another major key ... tuning, begins its scale at the third fret. Two minor modes are the Aeolian, beginning at the first fret, and the Dorian starting at the fourth fret.I would rather just say the the Mixolydian scale starts with its keynote on the open fret -- since its keynote is called sol in the shape-note traditions I sing in -- but otherwise, Schilling had it nailed. The modes are scales that begin on a certain fret, and the tunings are designed to sound good with them. They're related, but they aren't the same thing.
How about the strings other than the melody strings in each of the modes of tuning? They are chosen so as to provide a harmonious sound with a full strum across the fingerboard at each fret in the scale.
Here are some YouTube clips of the songs we'll learn -- or review -- Saturday morning:
D Aeolian (tune DAC)
"Idumea" or "Am I Born to Die?" Another shape-note hymn --- If you saw the movie Cold Mountain, it was the haunting melody used as background music for the scenes depicting the Battle of the Crater. It's sung by an ethnomusicologist and former punk rocker named Tim Ericksen and traditional Sacred Harp singer Cassie Franklin of North Alabama:
Tim Eriksen - Am I born to die ? [Idumea]. From a CD of songs from Cold Mountain.
"Shady Grove" is an old fiddle tune in Jean Ritchie's Dulcimer Book, and it's kind of a signature tune of hers. I found two clips on YouTube, one from a folk festival at the Pine Mountain Settlement School and one from an old TV show hosted by Pete Seeger:
Jean Ritchie at Appalachian Family Folk Week 2007. Hindman, Ky. June 14, 2007.
Rainbow Quest: Jean Ritchie - Shady Grove. From Pete Seeger's TV show during the 1960s.
Jean Ritchie also has a lovely version of "Barbry Ellen" in her book, and it's available on line at http://youtu.be/9l3VePGR-QA.
D Mixolydian (tune DAD)
"Going to Boston" is a fine old A mixolydian fiddle tune that also got cleaned up as a play party tune. Or maybe it was a play party tune that crossed over to the world of oldtime string bands. According to Andrew Kuntz' Fiddlers Companion (click here and scroll down), it was collected in the 1910s in Kentucky and Indiana, so it was clearly in the oral tradition in the lower Midwest. Anyway, Jean Ritchie popularized it in folk music circles. We transpose it to "D for dulcimer." but it's still Mixolydian because its scale starts on the open melody string.
Mark Gilston, of Austin, Texas, has two instructional videos of the tune, which he learned from Jean Ritchie's book. Quite a bit of good advice on how to use a noter, etc., plus some ideas on chording that I wouldn't bother with but you may want to check out for your own playing. I'm not familiar with Gilston, but the "Going to Boston" videos do look pretty good. He also has a website at http://markgilston.com/.
Dulcimer Lessons with Mark Gilston - Going to Boston Part 1. There's also a Part 2. Each is about 10 minutes, and they'll take you through not only the song but points of technique. Gilston also has a very cool Kokopelli jamming with him.
"Old Joe Clark" is also in Jean Ritchie's book, but here's another version in case you want to hear to set the melody in your head before you play it. It's not exactly the same, but close enough.
old joe clark on banjo(clawhammer). Posted by longbowbanjoAL, from Alabama.
As disciples of the Lord Jesus we are called to struggle against everything that leads us away from love of God and neighbor. Repentance, fasting, prayer, and works of love -- the discipline of lent -- help us to wage our spiritual warfare.The confession itself followed the language of an ancient prayer called the Confiteor. First recorded in the eighth century, its language is familiar throughout western Christendom:
Most holy and merciful Father, we confess to you and to one another, and to the whole communion of saints in heaven and on earth, that we have sinned by our own fault in thought, word, and deed; by what we have done and what we have left undone.After the confession, we sang Christian contemporary settings of "Create in Me a Clean Heart" by Mary Rice Hopkins and "Change My Heart, O God" by songwriter Eddie Espinosa that pick up the familiar language of the Confietor. (That's what our on-the-fly choir rehearsal was for -- to brush up on the service music.) We also sang hymns by John Wesley, 17th-century German chorale writer Paul Gerhardt and 19th-century Welsh composer Joseph Parry.
Utilizing one’s faith to inform one’s politics is healthy and encouraging, especially when the resulting policies answer the biblical exhortation to protect the poor and marginalized. But claiming that those who differ from you in the values they hold or the worldviews they profess have been influenced by the Devil himself is truly bizarre and perhaps abhorrent.Most of the news media accounts just quoted little snippets -- sound bites -- from Santorum's speech, and there wasn't enough context to evaluate it. So I tracked down a transcript posted by People for the American Way on its Right Wing Watch website. Santorum's context indeed was what he described as a "spiritual war" in which Satan is successfully "attack[ing] all of our institutions" in America, starting with academic life and moving on to the church and popular culture, He said:
And so what we saw this domino effect, once the colleges fell and those who were being education in our institutions, the next was the church. Now you’d say, ‘wait, the Catholic Church’? No. We all know that this country was founded on a Judeo-Christian ethic but the Judeo-Christian ethic was a Protestant Judeo-Christian ethic, sure the Catholics had some influence, but this was a Protestant country and the Protestant ethic, mainstream, mainline Protestantism, and of course we look at the shape of mainline Protestantism in this country and it is in shambles, it is gone from the world of Christianity as I see it. So they attacked mainline Protestantism, they attacked the Church, and what better way to go after smart people who also believe they’re pious, to use both vanity and pride to also go after the Church.Imagine my surprise. While I was singing in the choir and taking part in liturgical traditions that go back to the Apostolic church, I thought I was part of the "world of Christianity," too.
Magne Otervik og Tom Erik Antonsen, trompet
Anne Gunn Grimerud, horn
Erlend Østbø Juberg, trombone
Roger Andreassen, orgel
Musikklinjekoret og Ringsaker kantori
Torgeir Ziener, dirigent
DASS, PETTER (1647-1708), the “father” of modern Norwegian poetry, was the son of Peter Dundas, a Scottish merchant of Dundee, who, leaving his country about 1630 to escape the troubles of the Presbyterian chursh, settled in Bergen, and in 1646 married a Norse girl of good family. Petter Dass was born in 1647 on the island of Nord Herö, on the north coast of Norway. Seven years later his father died, and his mother placed him with his aunt, the wife of the priest of another little island-parish. In 1660 he was sent to school at Bergen, in 1665 to the university of Copenhagen, and in 1667 he began to earn his daily bread as a private tutor. In 1672 he was ordained priest, and remained till 1681 as under-chaplain at Nesne, a little parish near his birthplace; for eight years more he was resident chaplain at Nesne; and at last in 1689 he received the living of Alstahoug, the most important in the north of Norway. The rule of Alstahoug extended over all the neighbouring districts, including Dass's native island of Herö, and its privileges were accompanied by great perils, for it was necessary to be constantly crossing stormy firths of sea. Dass lived here in quietude, with something of the honours and responsibilities of a bishop, brought up his family in a God-fearing way, and wrote endless reams of verses. In 1700 he asked leave to resign his living in favour of his son Anders Dass, but this was not permitted; in 1704, however, Anders became his father's chaplain. About this time Petter went to Bergen, where he visited Dorothea Engelbrechtsdatter, with whom he had been for many years in correspondence. He continued to write till 1707, and died in August 1708. The materials for his biography are very numerous; he was regarded with universal curiosity and admiration in his lifetime; and, besides, he left a garrulous autobiography in verse. A portrait, painted in middle age, now in the church of Melhus, near Trondhjem, represents him in canonicals, with deep red beard and hair, the latter waved and silky, and a head of massive proportions. The face is full of fire and vigour. His writings passed in MS. from hand to hand, and few of them were printed in his lifetime. Nordlands Trompet (The Trumpet of Nordland), his greatest and most famous poem, was not published till 1739; Den norska Dale-Visc (The Norwegian Song of the Valley) appeared in 1696; the Aandelig Tidsfordriv (Spiritual Pastime), a volume of sacred poetry, was published in 1711. The Trumpet of Nordland remains as fresh as ever in the memories of the inhabitants of the north of Norway; boatmen, peasants, priests will alike repeat long extracts from it at the slightest notice, and its popularity is unbounded. It is a rhyming description of the province of Nordland, its natural features, its trades, its advantages and its drawbacks, given in dancing verse of the most breathless kind, and full of humour, fancy, wit and quaint learning. The other poems of Petter Dass are less universally read; they abound, however, in queer turns of thought, and fine homely fancies.
Judith ble første gang gift 17 år gammel med handelsmannen i Åkvika på Dønna, Benjamin Peitersen Dass, bror av dikterpresten Petter Dass. Benjamin og Petter tilhørte Benkestok-slekta gjennom sin mor, Maren Petersdatter Falch.And yes, Dass does play with Angell's name, as well as the names of sevral fish.
Judith var Benjamins 3.kone, og han var 26 år eldre enn henne. Da han døde i 1702 satt Judith igjen med fire små barn, bare 26 år gammel. For Hr. Petter ble det nå viktig å finne et godt gifte til sin brors enke, og dermed en ny driver til virksomheten i Åkvika. Han var helt sikker fornøyd, for han skrev et bryllupsdikt til dem som i dag er kjent som ”Fiskervise” , men originalen var ”Brudlopsdigt til Rasmus Angell i Nordlandene”. Vi ser at Hr. Petter leker seg med Angell-navnet, og kommer med et stikk til de frierne som kom for seint.
Petter DassTwo verses at dikt.no website under title "Fiskervise" [fisherman's song].
BRUDLOPS DIGT TIL RASMUS ANGELL I NORDLANDENE AF PETER DASS.
Det hender sig ofte
Een Mand paa sin Tofte
Har sat sig i Baad,
[Og Sidet i Slimme
Saa mangen en Time
Mens intet har faad.
Med møye tit stræfvis
Tit kastet forgiæfvis
Det Snøre for Bor,]
Det er ey hvers lykke
En Flyndre at røkke
Med Angel og Snor.
Thi Flyndren som Laxen,
Hun bider ey straxen,
Gemeenlig er Seen.
Jeg kiender de Drenge
Der Slimet har lenge,
Fik aldrig et Been.
* * *
Naar Snøren er rundet
Og Senket til Bundet,
Staar lykken hos Gud.
Hand giver ey Skarnet,
Kast derfore Garnet
I Jesu Nafn ud!
* * *
GOD ONSDAGS MORGEN ! GOOD WEDNESDAY MORNING!
I dag et lite dikt av dikterpresten Today a small poem by the poet priest
Peter Dass. Peter Dass.
FISKERVISE. FISHING SHOW.
Det hender vel ofte, It happens more than often,
du kaster fra tofte you throw the thwart
ditt snøre fra bord, Your line of the table,
men har ikke lykke but do not have good luck
til flyndren å rykke to flounder is to move
med angel og snor, with the angel and cord,
med angel og snor. with the angel and the string
Når snøret er runnen When the line is the runner
og senket til bunnen, and sunk to the bottom,
står lykken hos Gud. luck is with God.
Han giver ei skarnet, He donor a mire,
kast derfor ut garnet throw out the net, therefore,
i Jesu navn ut in Jesus' name out
I Jesu navn ut. In Jesus' name out.
