Monday, February 18, 2013

Prairieland Strings Thursday Feb 21 - also Winter Weekend Feb 22-24 and first Clayville "academy jam" March 2

Lots of activity coming up in the next couple of weeks for dulcimer players, and anyone else in these parts who wants to learn the Appalachian dulcimer and/or join some monthly Saturday morning jam sessions for dulcimers and other (mostly) acoustic instruments we're starting at Clayville.

This week we'll have our regular "third Thursday" meeting of the Prairieland Strings in Springfield, and over the weekend we'll have Mike Anderson's Winter Weekend workshop at Three Sisters Park in Chillicothe, on Ill. 29 north of Peoria. Then Saturday, March 2, will be the first of a series of slow- to moderate-tempo tune learning and teaching jam sessions for dulcimers and all kinds of other stringed instruments at Clayville Historic Site on Ill. 125 at Pleasant Plains.

Clayville's March 2 jam will kick off a monthly series of events we're calling the Clayville Pioneer Academy of Music. We'll play from 10 a.m. to noon, with some instruction and tips for beginners beforehand from 9:30 to 10. We're all about the fun of making music together in a friendly, non-competitive atmosphere. At a nice, easy pace, too, so we can slow down and hear the music. There's coffee available, too, so we can slow down, hear the music and smell the coffee!

Our academy jams grow out of mountain dulcimer classes we held this winter, but players of all musical instruments are welcome. (I'd love to have a tuba someday - just to say we did it!) We welcome all instruments and skill levels, but most of us are beginning or intermediate players, and we especially welcome beginners.

Prairieland Strings

But first, the "third Thursday" session of the Prairieland Strings from 7 to 9 p.m. Thursday, Feb. 21 at Atonement Lutheran Church in Springfield, 2800 West Jefferson (Ill. 97-125). Bev Buck will introduce us to "The Battle Cry of Freedom." It's in Maureen Sellers' book of Civil War songs for mountain dulcimer, and it's available in culcimer tablature, in DAA and DAD, on the EverythingDulcimer.com and the Huntsville Mountain Dulcimer Association collection of tab. If you're confused by having both tunings on the tab, get a yellow marker and highlight the notes you want to play.

You'll pick it up more easily if you hear it, and here's a very nice mountain dulcimer performance:

Civil War Medley (including "Battle Cry of Freedom." Performed, finger-picking style, by YouTube user 6FIDS. "Battle Cry ..." is from 0:25 to 0:49 and at the end of the song from 2:18 on.

We're also learning "Si Bheag Si Mohr," a lovely Turlough O'Carolan tune in the Mel Bay book of Celtic tunes arranged by Mark Nelson that Kate Kanaley-Miller introduced in January. Tab is also available on the Three Rivers Dulcimer Society website in Washington state. I posted some YouTube clips and background to a Prairieland meeting notice on Hogfiddle in January. A lovely tune.

Winter Weekend

You can still sign up. Details on Mike Anderson's website at http://dulcimerguy.com/. Check your email inbox, too. I sent around a reminder with fliers, etc., a few minutes ago tonight. This is a real opportunity to learn - hope to see you there!

Clayville Pioneer Academy of Music

Our beginners' lessons at Clayville in January and February were so successful, we're going to keep them going through this year's season at the historic site about 15 miles west of Springfield on Ill. 125. While the lessons were for Applachian dulcimer players, we hope to expand our scope and invite people who play other instruments to join us, for a non-competitive jam session where we learn new tunes and enjoy making music with other people.

Here's a flier I wrote to post on websites, bulletin boards, etc.:

Clayville Pioneer Academy of Music

http://clayville.org/clayville_pioneer_academy_of_music

If you have a dulcimer, guitar, banjo, fiddle or any other musical instrument you haven’t touched in years; if you want to practice your skills; or if you just want to learn more tunes, we’re starting a jam session at Clayville just for you! Beginning in March, we’ll hold a slow- to moderate-tempo tune learning jam from 10 a.m. till noon the first Saturday of every month at Clayville Historic Site. We’ll focus on learning tunes, but we’ll share tips for beginners from 9:30 till the jam begins at 10. In the spirit of jam sessions we’ve enjoyed at old-time music festivals, traditional Irish sessions and dulcimer camps nationwide, we want our Clayville academy jams to bring amateur players together to learn new tunes and enjoy the fun of making music together in a friendly, noncompetitive atmosphere. Our academy jams grow out of dulcimer classes we held this winter, but players of all musical instruments are welcome. We welcome all instruments and skill levels, but most of us are beginning or intermediate players, and we especially welcome beginners.

Pete Ellertsen, who has studied dulcimer and folk music at Mike Anderson’s workshops, Western Carolina University, Common Ground on the Hill and the John C. Campbell Folk School, will coordinate the sessions. For more information, call Pete at 217 793-2587.

Monday, February 04, 2013

Prairieland Strings - Tuesday Feb. 5

Blast email sent out tonight to the Clayville and Prairieland Strings email lists --

A reminder - we have the first of our "first Tuesday" sessions of the Prairieland Dulcimer Strings from 7 to 9 p.m. tomorrow, Tuesday, Feb. 2, at Atonement Lutheran Church, 2800 West Jefferson. We're going over to a FIRST TUESDAY and THIRD THURSDAY schedule, so more of our members can come to the sessions, so our next meeting will be at the same time and place Thursday, Feb. 21.

Other dulcimer-related events: Our last beginners' workshop at Clayville from 10 a.m. to noon Saturday, Feb. 9 (I'll send out more information in a couple of days), and Mike Anderson's Winter Weekend at Chillicothe, Ill., the weekend of Feb. 22-24. Details on Mike's website at ...

http://dulcimerguy.com/MA_MDW2010.htm

Since we'll have some new people at Tuesday's Prairieland Strings meeting, I'm attaching a couple of songs we like to play and giving links below to some others. I'll teach "John Stinson's No. 2." It'll be a re-introduction for most of us. We're played it before, although not much lately, and I went over it Saturday during the most recent beginners' workshop in Clayville. I invited them to join us; I've added them to our mailing list; and, hey, guys, I'm inviting you again. You already know the song!

Tab for "John Stinson's No. 2" is available on the Huntsville (Ala.) Mountain Dulcimer Association website at http://www.hsvmda.com/tab - (scroll down to title and click on "Tab" link to open the PDF file). There's more about the tune, including a couple of YouTube clips, on my blog Hogfiddle at ...

http://hogfiddle.blogspot.com/2013/01/clayville-prairieland-dulcimer-news-feb.html

Most of you have seen it before, but I don't think it ever hurts to send the link around again.

In addition to "John Stinson's No. 2," here are links to the other songs we've been playing in the beginners' lessons at Clayville. I'd like to call both Tuesday night since we'll have some of them joining us.

They're both tabbed by Sr. Margaret Mary, on the EverythingDulcimer.com website at http://www.everythingdulcimer.com/tab/

-- "Boil Them Cabbage Down" (scroll down in directory and click on "PDF").

-- "Skip to My Lou" (scroll down in directory and click on "PDF").

At our Prairieland Strings meetings, we've started using a couple of books: (1) Mel Bay's Complete Book Of Celtic Music For Appalachian Dulcimer by Mark Nelson, available from Mel Bay, Amazon.com and other online vendors; and (2) Songs of the Civil War by Maureen Sellers, available on her website at http://www.maureensellers.com/#books ... We are still in the process of finding a reasonably priced book that features common jam tunes, and in the meantime we're using tab we can get for free on the Internet.

Some other songs we've been playing lately are available on the Internet. Among them are:

-- "Belle of Belfast City" (in tablature archives on Shelley Stevens' website - scroll down to August 2010 and click on "GET TAB HERE"). Link to http://www.shelleystevens.com/tab%20archives.htm

-- "Jamaica Farewell" (also on Shelley Stephens' website - scroll down to Sept. 2006).

-- "Jenny's Gone to Ohio" (on Doofus' website - scroll down and click on title). Doofus is the name of a band on the East Coast, and they have a lot of free tab at http://www.doofusmusic.com/tablature.htm

-- "Coleman's March" (Terry Lewis of the North Georgia Foothills Dulcimer Association has tab at http://bellsouthpwp.net/d/u/dulcimer/page2.html). He also has a version of "Go Tell Aunt Rhody" with harmony that looks like fun - click on titles).

There's a very good page of links to more free tablature available on the Internet at http://home.usit.net/~sandyc/dulcimertab.html.

Our beginners' session at Clayville have been exciting, and I think people have shown a lot of interest in learning the dulcimer. So I think Tuesday night's session of the Prairieland Strings will be an expecially good one. Hope to see you there!

- Pete

Friday, February 01, 2013

Har hånd du lagt på Herrens plov - text by N.F.S. Grundtvig; melody, Johann Schop

Den Danske Salmebog Online

Har hånd du lagt på Herrens plov mel. MIDI file of the melody by Johann Schop 1641 (also the Joseph Glæser 1880 melody more commonly heard, at least on YouTube).

Har hånd du lagt på Herrens plov,
da se dig ej tilbage!
Se ej til verdens trylleskov
og ej til Sodoms plage!
Men pløj din fure, strø Guds sæd!
Er jorden dig for tør, så græd!
Vil gråden kvæle røsten,
så tænk på gyldenhøsten!

Cf. Du Lebensfürst, Herr Jesu Christ, Bach chorale BWV 0 043 - 11

BWV 0 043 - 11. Du Lebensfürst, Herr Jesu Christ (Choral) WorldMusicMCMXCI

JS Bach - Ermuntre dich, mein schwacher Geist, Cantate BWV 43

http://www.bach-cantatas.com/CM/BWV454.htm Chorale Melodies used in Bach's Vocal Works Ermuntre dich, mein schwacher Geist / Du Lebensfürst, Herr Jesu Christ http://www.bach-cantatas.com/CM/BWV454.htm

bio of Schop, list of his chorales at http://www.bach-cantatas.com/Lib/Schop.htm

Homily by Erik Norman Svendsen on Folkekirken.dk website at http://www.folkekirken.dk/fast-indhold/nyhed/article/har-haand-du-lagt-paa-herrens-plov/

Thursday, January 31, 2013

Links to psalmodikon groups in Sweden and online copy of Den svenska psalmboken (1880)

Nordiska Psalmodikonforbundet http://www.npsalmodikonforbundet.se/
  • In Swedish. History page ends with this note: "Årsmötet hölls i Stockholm för första gången. Torsdag 6/9 övning i replokalen i årsta samt medverkande i Kvällsgudstjänst i Bagarmossens kyrka. Fredag 7/9 9.30-12.15 årsmöte med härliga diskussioner. Kl. 14.00 såg vi Musikmuseets lagerlokal i Tumba vilket var fantastiskt. Föredömlig guidning av Eva Olandersson som tog oss runt i cirka 2,5 timme."
  • Page of links to sifferskrift notes, including Din klara sol, Bred dina vida vingar, Den blomstertid nu kommer, Vår Gud är oss en värdig borg (A Mighty Fortress is our God) and Ida's song from Emil of Lönneberga.
  • Contact page for Stockholm group.
Psalmodikonisterna i Hallaryd
  • PDF file about the group at http://inspire.accson.se/bilder/1329/66691.pdf.
  • Home page at http://www.musikfamiljen.se/psalmodikon/ has this: "Vi är en spelgrupp på 10-12 personer som gärna, till en mycket rimlig kostnad kommer och spelar vid samlingar, musikaftnar och Gudstjänster. Klicka på länkarna här ovan och läs mer om oss och vad våra program innehåller."
  • "En gång i månaden träffas ett härligt gäng i Hallaryds församlings-hem och spelar psalmodikon. De flesta av föreningen Psalmodi-konisternas 10-talet medlemmar kommer från Hallaryd, men vi har även deltagare ända från Södra Ljunga och Skogaby.

online copy of Wallin's psalmbook

Google eBook

Den svenska psalmboken: af Konungen gillad och stadfästad är 1819 ; med dess och messans vanliga m. fl. melodier, somliga äfyen i äldre rythmisk form ; för säng, äfven i stämmor, och orgel eller piano (Google eBook).
Svenska Kyrkan
P. Palmquist, 1880 - 624 pages

Tuesday, January 29, 2013

Julian's Dictionary of Hymnology with screen shot of "Liebster Jesu wir sind hier ..." and Augustana Synod's 1899 Hymnal for Churches and Sunday-Schools

A Dictionary of Hymnology: Setting Forth the Origin and History of Christian Hymns of All Ages and Nations, with Special Reference to Those Contained in the Hymn Books of English-speaking Countries, and Now in Common Use, Together with Biographical and Critical Notices of Their Authors and Translators, and Historical Articles on National and Denominational Hymnody, Breviaries, Missals, Primers, Psalters, Sequences (Google eBook) London, 1892.

John Julian, M.A., vicar of Wincobank, Sheffield

Wikipedia pretty well sums it up at http://en.wikipedia.org/wiki/A_Dictionary_of_Hymnology:

A Dictionary of Hymnology: Origin and History of Christian Hymns and Hymnwriters of All Ages and Nations, Together with Biographical and Critical Notices of Their Authors and Translators by John D. Julian, first published in 1892, is a standard historical reference for early Christian hymns, with more than 40,000 entries.[1]

The work contains biographical and historical notes about the history of hymns and hymn writers. It is not a collection of hymn texts or hymn tunes, though brief quotations and references are included. Originally published in 1892 in London by John Murray and in New York by Charles Scribner's Sons, it was reprinted in 1907-1908 by John Murray, in 1957 by Dover Publications (in two volumes) and in 1985 by Kregel Publications. It was not revised after 1902, but remains an important source for early Christian hymns, such as Latin ones.[2]

Has the limitations -- and strengths -- of its era. I haven't seen anything else with Julian's level of detail about some of the chorales I've looked at. Has a detailed analysis of the Bay Psalm Book, too.

Screen grab of Liebster Jesu wir sind hier Deinem Worte nachzuleben is pretty typical of its depth of coverage (click to enlarge)

Hymnal for churches and Sunday-schools of the Augustana Synod. (1899) http://archive.org/details/hymnalforchurche00evan

Author: Evangelical Lutheran Augustana Synod of North America.
Subject: Evangelical Lutheran Augustana Synod of North America; Lutheran Church; Sunday schools; Hymns, English
Publisher: Rock Island, Ill. : Lutheran Augustana Book Concern
Language: English
Call number: SCB
Digitizing sponsor: Calvin College
Book contributor: Princeton Theological Seminary Library

Monday, January 28, 2013

Clayville-Prairieland dulcimer news - Feb. 2-5

Blast email message sent out tonight to everybody on my Clayville and Prairieland Strings lists:

* * *

Hi everybody -

Here's a schedule of dulcimer lessons at Clayville and meetings of the Prairieland Strings at Atonement Lutheran Church in Springfield for the first part of February. Response in January was so good, we are definitely adding beginners' lessons at Clayville on Saturday, Feb. 2, and Saturday, Feb. 9. They will build on what we learned at the first two sessions, but there's no reason why somebody new couldn't start this week. A few loaner instruments will be available.

Also coming up very soon, we will have the first of our "first Tuesday" sessions of the Prairieland Strings, our dulcimer club in Springfield, Tuesday, Feb. 5, at Atonement Lutheran Church, 2800 West Jefferson (Ill. 97-125). I'll be teaching a fiddle tune the first hour, and I've planned things so it'll be tune we've also covered at Clayville (details below), so this will be a very good opportunity for beginners to start playing with our beginner-friendly group.

Here are some details, and a couple of words about upcoming events:

CLAYVILLE LESSONS

Saturday, Feb. 2, from 10 a.m. to noon in the barn at Clayville, on Ill. 125 at Pleasant Plains. I plan to introduce the "three-chord trick," which is a way of listening for the chord progression in a tune and playing backup chords. That may sound complicated, but it's as easy as playing D, G and A. We'll work on the songs we've already started to learn, "Boil 'Em Cabbage Down" and "Skip to my Lou," and introduce "John Stinson's No. 2," an easy little Irish fiddle tune. American dulcimer players have taken it, transposed it to D (we play *everything* in D!) and made it our own. You can link to a couple of versions on YouTube, including the dulcimer arrangement we're learning, from my blog at:

http://hogfiddle.blogspot.com/2013/01/john-stinsons-no-2-tune-for-clayville.html

Be sure to watch the dulcimer players' hands as they play their chords! They're not doing the three-chord trick, but you can always learn a lot by watching people's hands.

Our last Saturday session for beginners at Clayville will be from 10 a.m. to noon Saturday, Feb. 9.

PRAIRIELAND STRINGS

We'll meet from 7 to 9 p.m. Tuesday, Feb. 5, at Atonement Lutheran Church, 2800 West Jefferson (on Ill. 97-125 just west of Veterans Parkway). We spend the first hour learning a new song, and I'll be teaching, yep, wait for it, "John Stinson's No. 2." We introduced it a couple of years ago, but we've had several new players join us since then. So it'll be a good review for us, and a good way to welcome beginners from the Clayville lessons who'd like to join us.

Starting with the new year, we're now meeting on the FIRST TUESDAY and THIRD THURSDAY of the month. This will allow some of our members who have other commitments, as well as new people who can't come on Thursdays, to join us.

Our schedule for the rest of the month is to be announced, but I hope to be able to move it from Feb. 21 back to Feb. 14 since Mike Anderson's Winter Weekend dulcimer camp in Chilicothe, Ill., is the weekend of Feb. 22-24.

WINTER WEEKEND

There's still room at this event at Three Sisters Folk Arts School north of Peoria. Mike will teach beginners, and Doug Birch and Maureen Sellers will teach more experienced players. Details on Mike's website at

http://www.dulcimerguy.com/MA_MDW2010.htm

UPDATES

I'll send 'em out as we go along.

Sunday, January 27, 2013

A book on Swedish hymnody and folk music to track down on interlibrary loan - and an academic website on Swedish folk music

Title: The Influence of Folk-music and the Romantic Movement on Swedish Hymnody
Author: Edith Duff Miller
Publisher: Southern Baptist Theological Seminary, 1948
Length: 154 pages

Entry on a Google Books page/

Plenty of good information on Umeå Akademiska Kör pages - Course leader and musical instructor Örjan Larsson of the Department of Aesthetics, Faculty of Teacher Education, Umeå University, has a big data base with PDF files of the melodies and MIDI files of a large number of Swedish folk tunes. Some hymn variants.

Other resources on Larsson's faculty website: Composer bibliograhy (links). Thoughts about music. Thoughts about folk music with Swedish music examples (MP3-files). A personal collection of Swedish folkmusic (NWC-, MIDI- and PDF-files). Early Music Map which covers composer bibliography, discography, sheet links (MIDI and PDF-files) and performing examples (MP3-files). Sing á la Renaissance - an example of amateur ensemble singing at home (MP3-files). Early Music Examples and Folk-Music Examples discussed during the courses in Medieval and Renaissance Ensemble Singing and Folk Music Ensemble Singing, respectively (password protected MP3-files).

A selection of links to music-data-bases and choir home-pages containing MIDI-, PDF-, NWC- and MP3-files with choral music.

Friday, January 25, 2013

John Stinson's No. 2 - featured tune for Clayville & Prairieland sessions, Feb. 2-5

We'll be continuing our beginners' dulcimer lessons from 10 a.m. to noon next Saturday, Feb. 2, in Clayville Historic Site, at Pleasant Plains on Ill. 125, and holding the first of our first Tuesday sessions (please note schedule change) of the Prairieland Strings from 7 to 9 p.m. Tuesday, Feb. 5, at Atonement Lutheran Church, 2800 West Jefferson (Ill. 97-125) in Springfield. I want to introduce a new tune to the beginners at Clayville and re-introduce it to the first Tuesday group. The tune is called "John Stinson's No. 2." It's easy to play, and it's a lot of fun.

So if you've been coming to the beginners' sessions at Clayville, you'll know the tune and this will be your golden opportunity to start taking part in our Prairieland Strings jam sessions. Please join us.

Odd name, isn't it? John Stinson's is an Irish reel that's migrated to the United States and been kind of taken over by the dulcimer world. It's a lovely tune, and it has an interesting history. But first, here are links to the mountain dulcimer tablature we'll use and to a couple of YouTube clips to give you an idea how it's played.

DAD tab by Zukerman and a MIDI file are available from the Mountain Dulcimer Association of Huntsville, Ala., at http://www.hsvmda.com/tab (scroll down to "John Stinson's #2" and click on the tab link). Zuckerman is a member of the group, which has an active learners' program.

The first of our YouTube clips features a mountain dulcimer group called the Flat Mountain Dulcimers of eastern North Carolina, where any mountains indeed would be flat! Watch the players' left hands. The woman on our left looks like she's playing the same chords that we'll learn, especially in the B part of the tune. Watch both dulcimer players, though. You'll notice they don't chord the same way. Dulcimers aren't standardized, and our hands aren't either!

The second version shows what the tune sounds like in Ireland.

This performance is by a couple of players all the way around the world from Ireland, Anna (on fiddle) and Ryan (on Irish bouzouki) of Tasmania, the island off the coast of Australia. It's the first tune in the set. (The second is "The Otter's Holt," or nest, sometimes considered a variant of John Stinson's No. 2.) We can't match the ornamentation of an Irish traditional fiddle player on the dulcimer, but if you watch Ryan on bouzouki, you'll hear a similar chord progression to ours in the B part.

Some of us in Prairieland Strings learned it in 2011 (click here for more YouTube clips, including one by mountain dulcimer wizard Bing Futch and hammered dulcimer player Rick Thum of Missouri). There's also information about the song's origin.

The tune is traditional Irish. It's called John Stinson's -- or John Stenson's -- No. 2 after a button box (accordion) player named John Stenson of County Sligo in the west of Ireland, who collected it. It appeared on Irish fiddle master Kevin Burke's CD If the Cap Fits in a set of reels with "The Star of Munster" and John Stenson's No. 1. Burke played it in A, and most string bands do, too. Mountain dulcimer players generally tab it out in D, but some play it in A.

Sunday, January 20, 2013

D R A F T / Cats and cultural diversity in the Holy Land: Walking (on little cat feet) in Jesus' steps

D R A F T So Debi and I were going through our pictures of the tour of holy places in Israel and Palestine that we joined in November, and I decided we've got enough cat pictures to make a whimsical little post on the cats we saw -- and photographed -- in Casearea, the Galilee, Jerusalem, Bethlehem and the adjacent Desheisheh refugee camp. We're cat people.

So whenever we saw a cat on our tour of the holy sites in the Galilee, Jerusalem and Bethlehem, we said "oh look, a kitty" (or words to that effect) and snapped a picture.

Which means we have all these cat pictures from the Holy Land.

And I have a blog ...

Anyway, that was the plan, to put the cat pictures up on the blog. After all, what's a blog without cat pictures? Well, you know what happens to the best-laid plans, if you'll excuse the reference, of mice and men?

But ...

When I started Googling, it quickly became apparent there's all kinds of information available on line about cats in Israel and the Palestinian territories.

So here's more than you ever could have imagined about a subject you probably never even thought about.

B

Feral cat surveys its domain in the old city of Jerusalem

By most accounts, in fact, feral cats in Israel and the occupied territories are as much a legacy of the British mandate in Palestine as the bagpipe bands that play in Bethlehem's Manger Square at Christmastime. According to the commonly accepted story, the Brits brought in cats during the 1930s to control rats, but apparently nobody figured out how to control the cats. So Israel now has a feral cat problem.

Which means it has public-spirited people who trap, neuter and feed the animals. One is called Meow Mitzvah Mission, and it was written up in the English-language Jerusalem Post.

"Cats were not prominent in Israel’s streets until the 1930s, when they were brought in to help eradicate a rat problem, but this decision ultimately caused a 'cat infestation' in and of itself," said reporter Sharon Udasin of the Post. "No one knows exactly how many of the street cats live in Israel now, but estimates say about 2 million, according to Meow Mission."

How they got there is quite a story.

For one thing, there's scarcely any mention of cats in Jewish or Christian tradition, although they do have an honored place in Islam -- and their current status in most of the Holy Land owes more to the British than any of its religious traditions. According to the authoritative 1907 edition of the Catholic Encyclopedia, only one doubtful reference to cats occurs in the Christian bible. It's in the apocryphal Book of Baruch, which came to us from the Septuagent, the Greek-language collection of Jewish scripture dating from the first or second century BCE. The encyclopedia says:

Mention of this animal occurs only once in the Bible, namely Bar., vi, 21. The original text of Baruch being lost, we possess no indication as to what the Hebrew name of the cat may have been. Possibly there was not any; for although the cat was very familiar to the Egyptians, it seems to have been altogether unknown to the Jews, as well as to the Assyrians and Babylonians, even to the Greeks and Romans before the conquest of Egypt. ...
None of which seems to bother the cats ...

The Galilee

The Lonely Planet guidebook to Israel and the Palestinian territories says, I think very accurately, "Walking in the footsteps of Jesus is a much-touted line in the Galilee, but pilgrims these days spend more time in the back of an air-conditioned coach than experiencing the biblical connection to the land" (256). But in Capernaum I had the sense that we were, literally, walking in Jesus' footsteps and experiencing that connection.

We also noticed cats walking in Jesus' footsteps.

We even saw a cat outside St. Peter's house in the village of Capernaum, which is the archaelogical site with what I think is the best claim to be "where Jesus walked."

Other holy places we saw, like the Basilica of the Nativity in Bethlehem and the Church of the Holy Sepulchre, have been functioning shrines since the fourth century, and they incorporate ancient traditions that demand our respect. But we can't say much about them before the Roman emperor Constantine's mother established them around 326 CE. Even the tour guides are careful to acknowledge we don't have concrete evidence that they go back all the way to the time of Christ.

At Capernaum, it's different.

Ironically enough, that's because the village was destroyed after the Arab invasion of 700 CE and never redeveloped until the Franciscans acquired the site in 1894. So the archaeological features haven't been damaged by later construction like they have in Jerusalem. And, of course, they haven't been built over by 20 centuries of urban development. In Capernaum there is a palpable sense of history that somehow gets lost in thriving 21st-century cites like Jerusalem and Bethlehem.

Byzantine shrine, in foreground, marks house thought to be St. Peter's

In Capernaum we have the archaelogical remains of what is thought to be St. Peter's house, more accurately the home of his mother-in-law, beneath a lovely 20th-century Franciscan shrine. It comprises a rough stone house dated to the firstcentury BCE, beneath fourth- and fifth-century Byzantine churches bearing very early pilgrims' graffiti in a plaster wall.

"Presumably it belonged to Peter's family and was where his mother-in-law was healed from a severe fever ...," say John Dominic Crossan and Jonathan Reed in the careful language of scholars. "It actually is one of the few localizations of a New Testament tradition" (92).

This, to my skeptical 21st-century turn of mind, is as close as it gets.

And the cat was a friendly little tabby.

Cats in Arab culture

In Arab culture, cats were on the scene long before the British imported them for rat control. Cats have always had an honored place in Islam, in fact. A Wikipedia article on "Cats and Islam" notes that the prophet Muhammad was fond of cats and adds:

In Islamic tradition, cats are admired for their cleanliness. They are thought to be ritually clean, unlike dogs, and are thus allowed to enter homes and even mosques, including Masjid al-Haram. Food sampled by cats is considered halal [clean, or lawful, food] and water from which cats have drunk is permitted for wudu [ritual cleansing]. Furthermore, there is a widespread belief among Muslims that cats seek out people who are praying.
When we visited the Masjid al-Haram (the Arabic name for the Muslim holy places on Jerusalem's Temple Mount), we saw a feral colony that somehow didn't seem out of place with the prayer groups meeting elsewhere on the grounds.

According to J. E. Hanauer, a canon of the Anglican cathedral in Jerusalem who collected traditional animal lore in a book called Folk-lore of the Holy Land, Moslem, Christian and Jewish (1907), the cat was considered "a clean beast, and has the blessing and seal of Solomon set upon it. Therefore, if a cat drinks out of a can containing milk or drinking-water, what remains after she has quenched her thirst is not unclean, and may be used by human beings; so, at least, I was assured by a fellâh [peasant] of Bethlehem." That attitude goes all the way back to the prophet Muhammed. Adds Hanauer:

The cat is liked by the Moslems, it is said, for the following reason. When the Prophet was a camel-driver, he was asleep one day in the shade of some bushes in the desert. A serpent came out of a hole and would have killed him had not a cat that happened to be prowling about pounced upon and destroyed it. When the Prophet awoke he saw what had happened, and, calling the cat to him, fondled and blessed it. From thenceforth he was very fond of cats. It is said that one day he cut off the long sleeve of his robe, upon which his pet cat was asleep, rather than disturb her slumbers.
Other accounts of the legend, according to Wikipedia, say the cat belonged to a friend of the prophet's, named Abu Hurairah (Arabic for "Father of the Kitten") and that the "m" you sometimes see on a tabby cat's forehead shows where Muhammad petted the cat.

Be that as it may, Hauner apparently had no illusions about the way cats operate: "Though generally respected, the cat is sometimes considered as the personification of craft and hypocrisy." To illustrate, Hanauer told a story about a cat who showed up outside a mouse's hole wearing a rosary and announcing he had made his pilgrimage to Mecca.

"As you see from this rosary round my neck," the cat told the mouse, "I now devote myself to prayer, meditation, and the recital of holy books, the whole of which I have learnt by heart ... Go, my injured but nevertheless generous and forgiving, friend, make my change of life and sentiments known to the rest of your people and bid them no longer shun my society, seeing that I am become a recluse."

After some back and forth, the mouse gave his reply.

"I am convinced that you have indeed committed the holy books perfectly to memory," he said, "but at the same time, I am convinced that, however much you may have learnt by rote, you have neither unlearnt nor eschewed your habits of pouncing upon us."

Cats also figure in an online collection of the stories told by Sufi mystics:

Thousands of Sufi stories include cats; lovely stories such as shaykh Ashraf's Madrasa cat, which helped the teachers to bring order to the school, even sacrificed itself for the sake of the dervishes-(disciples), or the tale of the Sufi master from Baghdad, Shaykh Abu Bakr al-Shibli (d. 945) who was seen by one of his friends in a dream when he passed away, On being asked what Allah had done to him, he said that he had been granted admission to Paradise, but was asked by Allah if he knew the reason for this blessing. Shaykh Shibli enumerated all his religious duties but none of his acts of piety had saved him. Finally Allah asked him, ‘Do you remember the cold day in Baghdad when it was snowing and you were walking in your coat when you saw a tiny kitten on a wall shivering with cold, and you took it and put it under your warm coat? For the sake of this kitten We have forgiven you.’

>Feral cats on the West Bank

Norman Ali Bassam Ali Taher Khalaf-Sakerfalke von Jaffa, a Palestinian expatriate and independent scholar in the United Arab Emirates http://www.gazelle.8m.net/contact.html Gazelle Bulletin website Palestine Wildcat (Felis silvestris tristrami open Mediterranean forest in hilly areas

The species is endangered by habitat destruction and especially by the large number of feral domestic cats, which compete for food, and interbreed with them. Unlike other carnivores, Felis silvestris cannot make use of cultivated habitats because of the competition from domestic cats. Because the feral domestic cats are larger than wild cats, they are probably dominant when competing for food and for oestrous females. Feral cats are able to build up dense populations because their main food source is found in garbage and because they produce two litters per year, whereas wildcats normally breed only once.

Tuesday, January 15, 2013

Clayville-Prairieland Strings UPDATE Jan 19

This message went out tonight as a blast email to everyone on the Prairieland Strings and Clayville workshop lists:

Hi everybody -

Saturday's workshop went so well, I think you all owe yourselves a round of applause! And the folks at Clayville desrve another big round og applause, too. They couldn't be more cooperative and all-around better to work with!

We're working on getting more experienced players for our next workshop on Saturday (which is why you're getting this, by the way, if you're on the Prairieland Strings email list ... I want to make sure we have enough tutors and loaner instruments to go around ... so if you've already contacted me, thanks so much! And if you haven't, please consider coming out to Clayville from 10 a.m. to noon Saturday to help out.) I'm attaching copies of some of the handouts and links for our workshops ... including one to my weblog called Hogfiddle, where I post video links and explanatory material for my classes and workshops. It's at ...

http://hogfiddle.blogspot.com/

... there's some other stuff on the blog you can safely skip over, but if you scroll down to Jan. 3, you'll find something called "Prairieland (dulcimer) Strings - ** UPDATE ** doin's in January." The update is from Saturday, when I reported on our first workshop and asked for help from more experienced members of our dulcimer club. And after I send it, I'll post a copy of this email message too. That way you can link more easily to a couple of websites.

(Tangent: Sometimes people ask what a hogfiddle is. It's another name for an Appalachian dulcimer.)

Don't forget: Our next workshop is at Clayville from 10 a.m. to noon Saturday, Jan. 19. And if there's enough interest, we can schedule a couple of added workshops in February. I think it would be good for the beginners to have as much instruction as possible.

Here's another link. Bev Buck has started a webpage for the Prairieland Strings. It's at

http://prairielandstrings.webstarts.com/

... definitely worth a visit. We've just started it, and we plan to make more use of it as we get more experience with it. A couple of attachments:

1. A press release for Mike Anderson's 4th Annual Illinois Mountain Dulcimer Weekend Feb. 22-24 at Chillicothe. Mike is teaching the beginners' class. Tuition is $130, and lodging is available at a motel right down the road from from Two Sisters Park, where the workshop will be held. This is a real opportunity to get started on a fast track and learn from a master. Steve Endsley of Canton, who makes and repairs dulcimers, will be there. He tells me he has a few ready for sale, by the way. Another reason to come to the workshop. Another link follows, to details on Mike's website about Winter Weekend ...

http://www.dulcimerguy.com/MA_MDW2010.htm

2. "Where the Notes Are on a Dulcimer," which has a diagram of the fretboard when the instrument is tuned DAD and a couple of suggestions about playing scales and very simple songs by ear so you can hear, well, what the title says, where the notes are. We started working with it last Saturday, and we'll come back to it this weekend. (You may want to keep coming back to it -- it's based on what I do to warm up before learning a new song, or playing an old one for that matter.) The objective here is to know what the notes sound like and where to find them -- to learn your dulcimer, in other words.

Next time, we'll move on to two more subjects: (1) the "bum-ditty" strum that provides the basic rhythm for playing an old-time dulcimer tune; and (2) the "three-chord trick" for playing backup chords. It's the foundation for accompanying your singing, for playing rhythm in a group ... and, for faking it till you make it in a jam session. I'll have handouts and tablature for you Saturday.

In the meantime, there's a very good instructional video by "Strumelia" (not her real name). She's from the Northeast somewhere and she learned a very traditional style of playing after mastering the chord-melody style we're learning. There are differences in the two styles, but the basic strum she teaches here is still used for dance tunes, and once you master it you can go on to play just about any kind of folk music on the dulcimer. Her video, the third of a series of 10 or 11, is available at ...

https://www.youtube.com/watch?v=BYCEStBwtUU

Watch it a couple of times, and try to strum along once you're getting the hang of it. You'll also want to hear what the "bum-ditty" strum sounds like in the hands of an experienced player, and there's none better than Jean Ritchie. Originally from Kentucky, she did more than any one person to popularize the dulcimer from the 1940s and 1950s onward by playing it in Greenwich Village and teaching it to Yankees caught up in the folk revival. From there it went nationwide. There's a fine YouTube clip of Jean Ritchie playing of an old mountain minor key fiddle tune called "Shady Grove" on Pete Seeger's old TV show Rainbow Quest during the late 1950s or early 60s at ...

http://www.youtube.com/watch?v=pDUNdRm5Toc

... and a clip of her performance of the same song at a music festival at the Hindman Settlement School in eastern Kentucky in 2007

http://www.youtube.com/watch?v=QtCqDiK9KYo

Finallly, a couple of upcoming meetings of the Prairieland Strings:

-- Thursday. Jan. 17, from 7 to 9 p.m. we'll have our regular "third Thursday" session at Springfield's Atonement Lutheran Church, 2800 West Jefferson. You're welcome to come and listen, or play with us if you feel ready to try it, and meet us in any event. Kate Kaneley-Miller will inroduce us to a lovely Irish air called "Si Bheag Si Mhor" (which is Irish for something like the fairies of the Big Hill and the Little Hill). It's intricate, but well worth the learning! There are links to performance videos on my updated blog post for Jan. 3. Well worth a listen.

-- Tuesday, Feb. 5, our "first Tuesday" session from 7 to 9 p.m. at Atonement. PLEASE NOTE: This is a new meeting time. So more members of our group can join us, we're changing our monthly schedule to the FIRST TUESDAY and THIRD THURSDAY of the month.

If you have questions, comments or suggestions, please don't hesitate to get back to me.

Hope to see you at Clayville Saturday!

-- Pete

Sunday, January 13, 2013

Holy Land - Fall 2012 - 2 of ___: On Jordan's Stormy Banks We Stood

Second of ____ posts in an occasional series of random thoughts on the songs that were running through my head during my visit to the Holy Land in November 2012 with a tour group from St. John's Lutheran Church, Rock Island, Illinois. (Click here to see the first one, on the Church of the Nativity in Bethlehem.) Today we celebrated the festival of the Baptism of Our Lord as observed in the Lutheran liturgial year. It prompted me to get out the scraps and passages in my writer's journal about the Jordan River.

Like many Americans, especially those of us who love the old hymns from the 1800s and their modern descendents in the Southern gospel tradition, I sang about the Jordan River long before I saw it. And when I did, it wasn't what I expected.

Frankly it isn't much of a river. It's important, though. Two of the foundational events in Jewish and Christian tradition took place along the Jordan - it's where the Israelites crossed over into their Promised Land and where Jesus was baptised by John the Baptist.

The Jordan River rises in the mountains above the Galilee and flows south past Jericho to the Dead Sea. While the north is fairly verdant, as it is at Israel's Yardenit baptismal site just below the Sea of Galilee (pictured at right, with a baptismal party dressed in white on the riverbank), mostly it flows through the desert and there isn't very much of it.

You wouldn't know that from the song, though.

Written by 18th-century English Baptist hymnwriter Samuel Stennett, "On Jordan's Stormy Banks" appears in the iconic shape-note songbook known as the Sacred Harp like this:

On Jordan's stormy banks I stand,
And cast a wishful eye
To Canaan's fair and happy land
Where my possessions lie.

O the transporting, rapt'rous scene
That rises to my sight!
Sweet fields arrayed in living green,
And rivers of delight.

Filled with delight, my raptured soul
Would here no longer stay!
Though Jordan's waves around me roll,
Fearless I'd launch away.

From that description, I doubt Stennett ever saw the Jordan River.

But his hymn was very popular in 19th-century America. Mark Twain knew it. (Growing up in Missouri how could he not?) And his reaction to it was about like mine.

Sweet fields arrayed in living green

In Innocents Abroad, his narrative of an 1867 tour of the Holy Land and his first successful book-length project, Mark Twain recalled wading the Jordan, and noted the "water was not quite breast deep, anywhere." He added it was dark, well before dawn:

So we saw the Jordan very dimly. The thickets of bushes that bordered its banks threw their shadows across its shallow, turbulent waters ("stormy', the hymn makes them which is rather a complimentary stretch of fancy) and we could not judge of the width of the stream by the eye. We knew by our wading experience, however, that many streets in America are double as wide as the Jordan. (387)
In the fall of 2011, when I saw it, we were warned of minefields going back to the 1967 war. Jordan and Israel signed a peace treaty in 1994, but the entire Jordan valley and the shores of the Dead
Sea were heavily mined (see picture at left, taken on the Dead Sea near Jericho). For the most part, it looks like the mines are still there.

A few miles south of Galilee, we crossed through a military checkpoint and entered the West Bank territory occupied by Israel since 1967. Most of it is effectively closed to civilians, other than traffic on the main highways controlled by the Israeli army. And like military reservations everywhere it is pretty desolate except for a few irrigation projects in the Palestinian enclave around Jericho.

So the Jordan River didn't live up to expectations for me any more than it did for Mark Twain.

None of which means that "On Jordan's Stormy Banks" isn't one of the masterpieces of American vernacular hymnody. According to Samuel Stennet's Wikipedia profile, it appeared in Ripon's Selection (1787), a very influential source of Baptist hymns, and "found enormous popularity especially amongst 19th-century American Methodists. It was sung in camp meetings and brush arbors, and also found its way into the 1835 Southern Harmony and is one of the most well beloved hymns in the American shape-note tradition. It's still sung today, to several different tunes (click here to hear a traditional East Texas shape-note version and here for a choral arrangment of the most common tune by the Mercer Singers of Mercer University in Augusta, Ga.

To Canaan's fair and happy land (road to Jericho at left)

So why the popularity of a 200-year-old Baptist and Methodist song associated with brush arbors and camp meetings in an age of praise bands, megachurches and contemporary worship services?

In an online essay on Sacred Harp shape-note singing titled "Stormy Banks and Sweet Rivers: A Sacred Harp Geography," theology student James B. Wallace of Emory University explains it as well as anybody:

Song after song in The Sacred Harp expresses longing for the next life, frequently designated "Canaan" and celebrated as a heavenly promised land. Rooted in Biblical descriptions, the geography of Canaan is depicted as a peaceful land of lush vegetation and gentle, flowing rivers where families and friends reunite permanently and all sorrows cease. By contrast, this present life is a tangled wilderness or the stormy banks of the Jordan River, which one must cross.
Cool, it's a powerful metaphor. But what of the actual river?

Taxis and tractors share the street in Jericho

The first time the River Jordan is mentioned is in the Old Testament, where the Children of Israel crossed into the Promised Land and "fit the battle" of nearby Jericho.

Located in an oasis and said to be one of the oldest cities in the world, with archeological features dating back to 9600 BCE. Mark Twain found it in ruins. "When Joshua marched around it seven times, some three thousand years ago, and blew it down with his trumpet, he did the work so well and so completely that he hardly left enough of the city to cast a shadow" (385). We didn't see any walls, although we did speed past an archeological dig that looked like something had come tumbling down there! But Jericho struck me as a nice little farm town. Even Mark Twain conceded "it is one of the very best locations for a town that we have seen in all Palestine."

Jericho is a tourist destination, so we saw street vendors selling kaffiyehs -- the traditional

Palestinian head scarves -- dates and fresh produce. (Picture at left.) The countryside around it was hot and sandy, but it was nice and green and shady in town. It reminded me of the little farmers' market towns I saw years ago in eastern North Carolina, which was also flat and hot and sandy, and I could get a little sense of what Canaan must have felt like to the Israelites after 40 years in the desert.

The other, and I think more important, biblical tradition is the baptism of Jesus by John the Baptist. While some legends maintain it took place in the Galilee, the weight of ancient tradition has it on the lower Jordan near Jericho.

According to the Gospel of John, in the words of the New International Version, it happened this way:

Now the Pharisees who had been sent questioned [John the Baptist], “Why then do you baptize if you are not the Messiah, nor Elijah, nor the Prophet?” “I baptize with water,” John replied, “but among you stands one you do not know. He is the one who comes after me, the straps of whose sandals I am not worthy to untie.” This all happened at Bethany on the other side of the Jordan, where John was baptizing.
The next day John the Baptist saw Jesus and said, “Look, the Lamb of God, who takes away the sin of the world!”

According to Holly Hayes, an Oxford-educated art historian who maintains the Sacred Destinations website, since 1994 when the peace treaty between Israel and Jordan was signed, archaologists

Baptisimal sites (security fence separates Israel, Jordan)

have "uncovered more than 20 churches, caves and baptismal pools dating from the Roman and Byzantine periods" at a site called al Magthas on Jordan's side of the river. It has been identified as the Bethany, or Bethabara, mentioned in St. John's gospel, and Pope John Paul VI visted in 2009.

More recently, the Israeli government has demilitarized the adjacent Qasr el-Yahud site on Israel's side of the river and opened it as a tourist attraction within the past year.

Like practically everything else in the Middle East, the location of the baptismal site is a matter of controversy. Wikipedia, which can be trusted on matters like this because it is closely monitored by partisans on all sides of most issues, cites ancient authority for both sides of the river: "In the 3rd century Origen, who moved to the area from Alexandria, suggested Bethabara as the location. In the 4th century, Eusebius of Caesarea stated that the location was on the west bank of the Jordan, and following him, the early Byzantine Madaba Map shows Bethabara as (Βέθαβαρά)." That map, a ___th-century mosaic, also shows Jerusalem in late antiquity.

Jewish tradition also holds, according to an account in the Religion News Blog, that Qasr el-Yahud (which translates into English as castle of the Jews), "is where the ancient Israelites crossed into the Promised Land following their flight from Egypt."

When we visited the Israeli site in November 2012, pilgrims wearing white robes were immersing themselves on both sides of the river. The site was ringed with barbed wire fence and bearing red-and-yellow minefield warnings. And a couple of Israeli Defense Force soldiers, both packing what looked like M-16s, relaxed with the faithful in a picnic pavilion. The Israeli tourism ministry has set up a nice little visitors' center with cold drinks, sunglasses, ball caps and other tchotchkes on sale. Showers, too, for the faithful who renewed their baptismal vows in the river. It was a perfectly ordinary bright, sunny afternoon.

But you sensed it was important to the people who padded in flip-flops down to the river, wearing white baptismal gowns. I'm Lutheran enough to think one baptism is enough for me, thank you, and we only had 15 or 20 minutes at Qasr el Yahud anyway. But as we experienced so often at the holy sites in Israel and the Occupied Territories, there was a sense of the imminence of God there, mixed in with the everyday-ness of the pilgrims going in and out of the showers showers, the flip-flops and the postcards, sodas and souvenir towels on sale in the concession stand.

Pilgrims or tourists, we were also part of something that qualifies as big business.

"Of the 3.45 million tourists who arrived last year, about 69 percent were Christian, and 38 percent defined their visit as a religious pilgrimage, according to the [Israeli] Tourism Ministry," reported the Associated Press when Qasr el-Yahud was developed in 2011. "Palestinians reject any Israeli moves to develop the West Bank, where Palestinians hope to establish an independent state ... Jordan maintains that its site on the other side of the river is the actual place were Jesus was baptized, competing for Christian tourism."

So Jordan's banks are still stormy.

But, as with the other sacred sites we visited, you couldn't help but get the feeling that great things -- in this case, foundational events for two of the world's more important religious traditions -- had happened here. And there was a sense of the holy, even on a quiet, sunny afternoon in the late autumn even with the ubiquitous minefield warnings on the fences and security guards chatting affably with the tourists.

Wednesday, January 09, 2013

Links: One-String Diddley Bow

One-String Diddley Bow How to Make a Diddley Bow: A Simple One-String Blues Slide Guitar By Marcy Paulson on Nov 30, 2010 Read more at Suite101: How to Make a Diddley Bow: A Simple One-String Blues Slide Guitar | Suite101 http://suite101.com/article/how-to-make-a-diddley-bow-a-simple-one-string-blues-slide-guitar-a315201#ixzz2HY5lHXwq Follow us: @suite101 on Twitter | Suite101 on Facebook other articles on how to play a diddley bow, history, etc.

also by Marcy Paulson on Suite101: http://suite101.com/article/learn-to-fiddle-with-the-nashville-shuffle-a74349

The most popular fiddle shuffle in old time music is called the Nashville shuffle. This is the bowing pattern that lends tunes their hoedown feel. The Nashville shuffle helps break up a long stream of notes and put emphasis on the right beats. To play a Nashville shuffle, a fiddler will kick off with a long bow followed by two short bows. ... * * * Fiddlers often use the Nashville shuffle to kick off a tune or fill in monotonous quarter notes in melodies like “Boil Them Cabbage Down.” To do this, they play one long bow and then two short bows in a pattern that can be spoken “strawberry, strawberry.”
Read more at Suite101: How to Fiddle with the Nashville Shuffle | Suite101 http://suite101.com/article/learn-to-fiddle-with-the-nashville-shuffle-a74349#ixzz2HY8Guh00 Follow us: @suite101 on Twitter | Suite101 on Facebook

Monday, January 07, 2013

Old hymns, new music: Indelible Grace, "On Jordan's Stormy Banks," a college youth ministry and the transcendence of cultural blind spots

I've been singing different shape-note versions of "On Jordan's Stormy Banks I Stand" for 30 years now, and the other day I came across a contemporary version on YouTube with a melody that's so true to the spirit of the orginal, I thought it was an authentic 19th-century American folk hymn. It wasn't. It was written in 1997 for a campus ministry at Belmont University in Nashville, and I was blown away by it.

Here's the clip. It shows Matthew Smith and Indelible Grace performing "On Jordan's Stormy Banks I Stand" at Blacknall Memorial Presbyterian Church in Durham, N.C., on April 24, 2007.

Not bad for a campus ministry.

Of course Belmont is just down the street from Nashville's Music Row, and it has a well-known and highly regarded music program. Starting in 1995, the Rev. Kenneth Twit started an on-campus group called the Reformed University Fellowship, affiliated with the theologically conservative Presbyterian Church in America. He gave some of the singer-songwriter students old-fashioned hymn texts, by Isaac Watts and Charles Wesley and the like, and suggested they write contemporary music for them.

Not surprisingly, they were more than equal to the task.

By the year 2000, the RUF students had formed a performance group called Indelibile Grace and were cutting CDs. One of their first songs was "On Jordan's Stormy Banks I Stand," with music written by Christopher Miner and copyrighted in his name in 1997.

Indelible Grace is more of a ministry than a band, and its music is freely available on line (for personal use, of course, and for churches with a CCLI license - click here for the details). There's also a YouTube clip showing the lyrics in sync with the music, at http://youtu.be/P3VCAr79-Kc as well as lead sheets and chord charts in the original key of F# and the more amateur-friendly key of D on the RUF Hymnbook Online.

Indelible Grace is more of a loose collective of Belmont students and alumni than a band, but several of its members have gone on to careers in the music industry. And in 2010 they came together for a Hymn Sing at Nashville's Ryman Auditorium.

In a spin-off video called Roots and Wings, singer-songwriters Matthew Smith, Sandra McCracken and her husband Dereck Webb, among others, recalled how RUF pastor Twit handed the students photocopies of old lyrics and got them to writing hymns, and how Indelible Grace and their independent careers alike grew out of it.

McCrackin also spoke of what the old hymns offer musicians in the 21st century.

"I think the hymns just have more depth, they just have more transcendence," McCrackin said on the video. "Because so many of these texts were written years and years ago, the transcend a lot of our cultural blind spots."

In an October 2007 article for the denominational magazine byFaith, Melissa Morgan interviewed Smith and said his "journey parallels many in today's postmodern culture, those who crave authenticity over affectation, mystery over order, community over individualism, and substance over ephemera."

And in a perceptive blog post called "Hymns for the Present Tense" Philip Sasser of The Oxford American suggested in a particularly nuanced way, how music like Indelible Grace's can transcend some of our cultural blind spots:

Hymns—like certain kinds of primitive blues or country music—both attract and repel modern listeners. In the music’s sorrow and spitting-out of pain and suffering, we feel our common humanity and, beyond that, our souls somehow essentialized. But we also feel our historical isolation and our material privilege. We are cut off from the particulars of the world that those songs embody. ... We are not, after all, sharecroppers. Not even the sons of sharecroppers. But we go on listening to Son House and Uncle Dave Macon, and singing the hymns of Isaac Watts because we intuitively sense that, external optics aside, the rich material life we live is not really so different from a sharecropper’s once we get down to the bones. Our hearts are the same, we think, and so, too, our fears, our depression, anxiety, heartbreak. In the end, Son House didn’t sing the way he did because he suffered more than anyone else, but because he expressed it better.
And the same would go for Isaac Watts or Samuel Stennett.

Footnote. Indelible Grace has been criticized for writing new settings for the old hymns. While that's largely true of its performance numbers, the RUF Hymnbook Online contains guitar lead sheets and chord charts for hymns set to their traditional melodies. In fact, the first hymn in its directory is "A Mighty Fortress Is Our God." And Indelible Grace still performs traditional numbers - e.g. this clip of Matthew Smith and Indelible Grace performing "Nothing But The Blood" in its concert at Blacknall Memorial Presbyterian Church in Durham.

Thursday, January 03, 2013

Prairieland (dulcimer) Strings - ** UPDATE ** doin's in January

Some updates on what we've been doing this month, what we'll be doing in the next few weeks -- and an appeal for help with my lessons for beginners at Clayville. We had 22 people show up this morning! (I expected four or five.) They're having fun, and they're enthusiastic. I think these workshops can be a wonderful way of recruiting people for the Prairieland Strings and Clayville alike. But I need a couple of more experienced players -- and extra loaner dulcimers! -- to help the newbies at our next workshop from 10 a.m. to noon Saturday, Jan. 19, at the Clayville Historic Site on Ill. 125 at Pleasant Plains.

So if you can help out, please let me know at hogfiddle - at - gmail.com. If you linked here from my email message, just send me a reply to that message.

We also have our regular third Thursday meeting from 7 to 9 p.m. Thursday at Atonement Lutheran Church, 2800 West Jefferson. Kate will be introducing us to a famous piece by Turlough O'Carolan called "Sí Beg Sí More" in Mel Bay's Complete Book of Celtic Music for Appalachian Dulcimer by Mark Nelson.

And beginning in February, we'll meet on the first Tuesday and third Thursday of the month. This will be more convenient for members of our group who have other responsbilities on Thursdays. Details below at the end of this post.

Sí Beg Sí More

Mel Bay's Book of Celtic Music is one of three books we're using, and it's available for $29.95 from Amazon.com and other online retailers. You can also find dulcimer tab online at http://threeriversdulcimersociety.net/Music/Si%20Bheag%20Si%20Mhor%20042512.pdf on the Three Rivers Dulcimer Society's website in Washington state. (Also a very nice tip sheet for beginners.) I don't know if the chord positions are the same as Nelson's, but the melody line should be the same. The tune is said to be Carolan's first, and it dates from the early 1700s.

If you're looking for the song online, you may see it called "Si Bheag, Si Mhor" -- which is what Three Rivers calls it -- or "Sheebeg Sheemore." Don't worry. It's the same tune. It's Irish, and it gets transliterated into English different ways. It means the big hill and the little hill, and the song tells a story about a conflict between the little people, or fairies, who lived on (logically enough) a big hill and a little hill. The lyrics are in Irish.

Here's a lovely arrangement of "Si Bheag, Si Mhor" - by Andrea Beaton (violin), Matt Haverly (harp), and Mike Saunders (guitar) at the Terrible Beauty Irish Pub in Renton, Wash.

"Jam-along" versions on harp, guitar and Appalachian dulcimer are linked to the North Georgia Foothills Dulcimer Association website (directory at http://www.atlantatraffic.com/ngfdablog/?page_id=220. Scroll down to the various spellings of the Carolan song.) I don't know if I could jam along with any of them without a lot of practice, but the way to get that practice is to try playing along at home. And I enjoy listening to them already. NGFDA has a lot of valuable resources posted to the World Wide Web, by the way.

Forked Deer

Another song we played at our last session the first week in January was "Forked Deer" from Stephen Seifert's Join the Jam (available on his website at http://stephenseifert.com/. "Forked Deer" an awesome old southern Appalachian fiddle tune that's easy to play and has some interesting chording in the B part. Here's an Appalachian dulcimer performance at Winterfest 2010. Gary Gallier, dulcimer; Dave Wilson, fiddle; and Bo Brown, guitar.

And here it is played up to speed by an old-time string band (guitar, mandolin, fiddle, banjo and upright bass). Up to tempo. Matt Arcara, Tashina Clarridge, Wes Corbett, Steve Roy & Joe Walsh perform Forked Deer at Community Music Center in Yarmouth, Maine, 2006.

Our new schedule: 1st Tuesday, 3rd Thursday

Starting in February we will be changing our schedule a little. We'll play:

  • On the first Tuesday of the month. From 7 to 9 p.m. at Atonement Lutheran Church, 2800 West Jefferson, as always.
  • And the third Thursday from 7 to 9 p.m. at Atonement.
If you live in Springfield, they test the tornado warning siren on the first Tuesday of the month, so it can be a reminder that we meet that night. Otherwise, just repeat to yourself first Tuesday, third Thursday a few times.

Tuesday, December 25, 2012

Christmas in Bethlehem

Some more-or-less random YouTube clips mostly of this year's news coverage ...

Thousands in Bethlehem for traditional Christmas procession. Thousands of Palestinians and tourists flock into the West Bank city of Bethlehem to mark Christmas in the "little town" where many believe Jesus Christ was born. The traditional Christmas procession headed by the Latin Patriarch Fuad Twal marched through the city, as tourists and Palestinians -- Muslims and Christians alike -- lined the route to welcome it. Duration: 00:50

Thousands flock to Bethlehem for Christmas AFP story - scout bands playing bagpipes

The scouts bands, from Ramallah and other West Bank cities as well as Bethlehem, march in parades for Christmas, Easter and the big Muslim holidays, according to a BBC News audio slideshow from March 2010: "The scouts and marching bands are a legacy of the British mandate from 1920 to 1948, but it is the Scottish cultural connection that now resonates with some Palestinians, who see historical parallels with their own struggle against Israeli occupation."

Published on Dec 24, 2012

Midnight Mass Celebrated in Bethlehem. Midnight mass was celebrated at the Church of St. Catherine, in Bethlehem, the West Bank. The church sits next to the Church of the Nativity, which is built above the grotto where tradition says Jesus was born.

Faithful in Bethlehem as Christmas mass urges peace. Thousands of people stream into the West Bank city of Bethlehem to mark Christmas, as the Latin Patriarch urges "men of good will" to seek peace in the Middle East.Duration: 00:59

General background on Bethlehem, tourism and Christmas on the Jewish News One TV channel:

Here in Bethlehem, the Christmas season is a highpoint of the year. Thousands of visitors travel to the Holy Land to celebrate the holiday in one of Christianity's most revered sites. number shrinking - iraeli military control - bleak economic prospects

Wynne Mancini of JN1 cites iraeli military control - bleak economic as reasons for exodus of Christians from Bethlehem, which is now only about 30 percent Christian.

Din klara sol går åter opp - Swedish hymn (with link to sheet music in D in an old songbook)

Nordiska psalmodikonförbundet

DrFrax | September 27, 2010

Din klara sol går åter opp ... ett smakprov från Nordiska psalmodikonförbundets CD-skiva Psalmer och visor på psalmodikon inspelad i Stjärnhov i juli 2010. Kan beställas från NPsF hemsida www.npsalmodikonforbundet.se CD-skiva Psalmer och visor på psalmodikon inspelad i Stjärnhov i juli 2010. Kan beställas från NPsF hemsida www.npsalmodikonforbundet.se

Evangelical Lutheran Church of Finland has Psalmbok has text and melody line only. A PDF file is available in Projekt Runeberg from the Svensk söndagsskolsångbok för hem, skolor och barngudstjänster (1929). In four-part harmony in D.

Text, melody (in MIDI file ) and embedded YouTube video on Stora Nätpsalmboken 2012 - Soli Deo Gloria weblog.

Text (=SvPs1986 nr 176): Johan Olof Wallin 1814 (35 år), bearb.

Musik: Tysk 1710

Denna psalm var under många år på 1800- och 1900-talet förknippad med skolornas morgonböner. Dess korthet och melodins enkelhet gjorde den passande för ändamålet, men den något pliktbetonade situationen har kanske inte bidragit till att göra den helt älskad. Tredje strofen löd tidigare: O, må jag så med flit och dygd / och måtta i begär / än kunna glädjas i ditt skygd / var dag, du mig beskär. Psalmkommitténs fina bearbetning kan förhoppningsvis bidra till att psalmen fortlever och verkligen sjungs med "glädje i Gud."

English version on CyberHymnal website (at www.hymntime.com) under title "Again Thy Glorious Sun Doth Rise." First verse:
Again Thy glorious sun doth rise,
I praise Thee, O my Lord;
With courage, strength, and hope renewed,
I touch the joyful chord.
Three more verses. No. 545 in the Augustana Synod's 1925 Hymnal.

Sunday, December 16, 2012

Holy Land (1 of ___): Church of the Nativity ... with tangents on Mark Twain and a Reformation-era Christmas carol


We do not think, in the holy places; we think in bed, afterwards, when the glare, and the noise, and the confusion are gone, and in fancy we resisit along, the solemn monuments of the past, and summon the phantom pageants of an age that has passed away. -- Mark Twain, "Innocents Abroad" (393).
Last month when I was in Bethlehem, I decided I'd break out in uncontrollable laughter the next time I heard the Christmas carol "O little town of Bethlehem / How still we see thee lie." Well, we sang it today in church. I was able to maintain decorum, other than a broad smile and some furtive whispering back in the choir loft. But it wasn't easy.

So, you're asking, what was so funny?

Well, this: Twenty-first-century Bethlehem is a bustling Arab city of 25,000, part of a metro area that also includes Shepherds Field or Beit Sahour (population 12,000) and the Dheisheh refugee camp (population estimated at 13,000). When I was there, Bethlehem didn't strike me as lying very still, and its "deep and dreamless sleep" was punctuated before dawn by the day's first Muslim call to prayer, followed by the nearly incessant crowing of roosters outside our hotel window until it was fully light.

"O little town of Bethlehem / How still we see thee lie"

Now I did have Christmas carols running through my head. That omes with the territory when you're in Bethlehem, especially if you write articles about hymnody and folk music. But "O Little Town of Bethlehem" wasn't one of them (even though I do like Ralph Vaughan Williams' melody FOREST GREEN that the Brits sing the text to). The song that's been running through my head instead is an old northern European carol Et barn er født i betlehem (a child is born in Bethlehem). The song is very old, with a Latin version going back to the earliest days of the Reformation in Germany. In 1820 Nicolai F.S. Grundtvig translated it into Danish, and his translation is the basis for versions in all the Scandinavian languages:

Et barn er født i Betlehem
Ti gleder seg, Jerusalem.
Alleluja, alleluja!
An English paraphrase, quite loosely translated but true to the overall sense of Grundtvig's Danish, is available on Douglas D. Anderson's Hymns and Carols of Christmas website:
1. A Child is Born in Bethlehem,
in Bethlehem;
And gladness fills Jerusalem,
Allelujah! Allelujah!

2. A lowly manger shelters Him,
This Holy Boy.
God's angels sing above with joy.
Allelujah! Allelujah!

3. We now give thanks eternally,
Eternally.
To God, the Holy Trinity,
Allelujah! Allelujah!

In 1993 the noted Norwegian singer Sondre Bratland included Et barn er født i betlehem on his CD Rosa fra Betlehem, recorded in the Church of the Nativity. His vocal was backed by Knut Reiersrud on synthesizer, Iver Kleive on guitar, Paolo Vinaccia on hand drums and Palestinian artist Suheil Khoury on flute. The Palestinian Boys' Choir (Palestinisk barnekor) of Ramallah sang the chorus.

But what makes the CD special is the church. Its acoustics were magnificant. Visitors have mixed feelings about the church itself. least according to the reactions posted by vistors. ""This is a tough one to rate," begins one of the reviews on the TripAdvisor.com website.

High altar with Orthodox iconostasis

The review, by JoeOB of Denver, gave it a rating of 3 oout of 5 possible. "I'd like to tell you about the great religious experience you will have but I have to tell you it's very tough to have those moments here because of the sheer mass of people moving thru," he said. "As a tourist the beauty of the church and the special chance to see the birthplace of Christ is memorable, however ..." The mass of pushing, shoving people also irritated 2007sweet16, of Orlando, who said, "I had barely one second to press my camera button to take a picture before I was summoned to "MOVE IT and to GET OUT LADY."

Most reviews mentioned the crowds. But they also mentioned what many saw as the grandeur of the place. Mark G, of Chalfont, Pa., gave it top rating (5 of 5). "Bethlehem is very poor but as you approach the Church of the Nativity you begin to feel that you're in a special place<' he said. [T]his is a very old church and not like any church you'll see as you tour European cathedrals, this is much smaller and to imagine all that has happened on this spot is mind boggling! ...

Basilica (note opening over 4th-century mosaic at left)

More than a hundred years ago Mark Twain, in "Innocents Abroad," had the same mixed reaction: "I touch, with reverent finger, the actual spot where the infant Jesus lay, but I think - nothing." He explained:

You cannot think in this place any more than you can in any other in Palestine that would be likely to inspire reflection. Beggars, cripples and monks compass you about, and make you think only of backsheesh when you would rather think of something more in keeping with the character of the spot. (392)
"Baksheesh," according to Wikipedia, is an act of charitable giving, a tip, a bribe or a combination of the three. It was much more prevalent in 1867, when Mark Twain visited the area. A few of the 21st-century tourists who posted to the Trip Advisor mentioned free-lance guides who worked for tips, but more spoke of how pleasant and knowledgeable their Palestinian tour guides were said.

Even visitors like luvs2travel_0107 of Nashville, who complained of "rude and pushy" crowds at the Church of the Nativity, added, "It is total chaos. But having said that, it is a special place. So i guess trying to put any kind of restrictions on it, would be hard."

The Church of the Nativity dates from 326 CE, and Orthodox, Armenian and Latin Catholic clergy have been have been adding devotional art ever since. It was crowded and noisy when we were there in November, and some of the art – a lot of it – seemed kitschy to our eyes, a kaleidoscope of different styles and periods.

We stood in line, five or six deep, for a good hour in the outer basilica. But it wasn't like standing in line anywhere else I've ever had that dubious privilege. The curent building was first erected in the sixth century, and has been added to or refurbished several times since then. Visible through a hole in the floor is a mosaic (see picture at left above) that belonged to the original shrine erected in the 300s by St. Helena, mother of the Roman Emperor Constantine.

In Illinois, we get excited when archeologists turn up a teacup dating from the 1830s. In the basilica of the Nativity, there were pillars, paintings and mosiacs still in use that date to the Middle Ages and the late Roman Empire. (I learned later there's even a mosaic showing St. Olav of Norway, although I didn't see it.) The sense of history in Bethlehem was palpable.

In front of us was a group of Russian or Ukranian pilgrims. At least they spoke what sounded like a Slavic language, and they kept pushing and shoving like they were elbowing onto a Moscow city bus. At the same time, you could sense in their faces they were pilgrims, not tourists, as they bought devotional candles in an alcove off the high altar (see picture at right) and prayed in the grotto beneath the high altar that marks the traditional site, marked by a silver star in the marble floor, of the manger and of Christ's birth.

Like so many of the major holy sites, the whole experience left some of our group grumbling about money-changers in the temple and feeling disappointed.

But …

But, in a word, it was magnificent. And you had a sense of the mystery of incarnation, of the divine and the temporal, the eternal and grubby day-to-day reality - of the "holy boy" sheltered in a "lowly manger" down in the grotto while "God's angels sing above with joy" that Grundtvig sang of - and a sense it's been going on for 1,500 years in that same building.

A footnote (or two). Quotations from "Innocents Abroad" are from Chapter 55 of the Wordsworth Classics edition, edited by Stuart Hutchinson (London, 2010). The song is very old, with a Latin version going back to ___th-century Germany. It is very popular in Scandinavia, and is sung to different melodies. In addition to the tune Sondre Bratland followed, by 19th-century hymnist and folk song collector Ludvig Lindeman, you commonly hear:

Saturday, December 01, 2012

"Love Cannot Be Silenced" - Catholic sisters' song and (almost but not quite yet viral) YouTube video get a plug in the New York Times

A song by Sister Kathy Sherman, CSJ, of the Congregation of St. Joseph, LaGrange Park in southwest suburban Cook County, got a boost in an article in Saturday's New York Times. The story, by Times religion correspondent Laurie Goodstein. is pretty glowing.

But, first, the song. It has a nice upbeat, post-Vatican II folk music-y feel to it. Very singable. It could easily be by Marty Haugen or the St. Louis Jesuits.

Here's the YouTube video, with this note appended: "Photos are from prayer services, vigils, peaceful demonstrations, Masses, and other gatherings in support of women religious in the United States in May and June of 2012 in response to the Congregation of the Doctrine of Faith's assessment of the Leadership Conference of Women Religious and various other investigations and criticisms of Sisters in the U.S.

The Congregation of St. Joseph's Ministry of the Arts website at La Grange has Sister Kathy's most recent CD Love Cannot Be Silenced available for $12.95 (plus shipping and handling). She has several other CDs in print.

Laurie Goodstein, the Times' religion reporter, gives this account:

Last spring, when the Vatican issued a harsh assessment of the group representing a majority of American nuns accusing them of “serious doctrinal problems,” Sister Sherman, 60, said she responded the way she always does when she feels something deeply. She wrote a song.

The words popped into her head two days after the Vatican’s condemnation, as she was walking down the hallway in her order’s ministry center, feeling hurt and angry: “Love cannot be silenced,” she thought. “It never has. It never will.” She went into the center’s dining room and tried out the lyrics on some of her sisters. They liked the message.

“Love Cannot be Silenced” became an anthem, not just for the nuns but also for laypeople who turned out for vigils in front of churches and cathedrals across the country this year to support them. In a voice sweet and resolute, Sister Sherman sang, “We are faithful, loving and wise, dancing along side by side, with a Gospel vision to lead us and Holy Fire in our eyes” — a lyric that evokes the nuns’ novel forging of spirit with steel.

The lyrics, which are available with the YouTube video and several other places on the Web, are:
Love cannot be silenced. It never has. It never will. Let justice roll like a river from the oceans to the hills.

Rise up Sisters. Rise up. And stand with you your heads held high. We are faithful, loving, and wise. Dancing along side by side. With a Gospel vision to lead us. And Holy Fire in our eyes.

Sister Kathy has written a number of songs. Earlier this year, "at the height of the political vitriol in the last presidential election," she wrote a song she titled “This Is the America I Believe In.” It's also on YouTube:

Sister Kathy's note on the song:

"This Is the America I Believe In" was written in response to the great divide that presently exists in the political landscape of our country. At times, the contention between candidates is both sad and disheartening.I had been remembering my days of singing protest songs during the 1960s. Music was integral to the work of justice in those years. It was important for artists, dreamers and activists to speak up and out and to remind the country of what we hold dear-the values that gave birth to our wonderful nation. It still is. Reading the signs of the times informs my vocation as a composer and lyricist. Engaging with the world and the pain and suffering that beset it become the fertile soil for dreams and songs to emerge. We are presently enmeshed in the great American political process of choosing the president of the United States. This privilege is, perhaps, one that many of us take for granted. The seriousness of our time calls us to prayerfully discern when choosing leadership in any arena and when making important decisions that impact the common good. Our shared love for America transcends political affiliations. That is the message of "This Is the America I Believe In."
So far the New York Times story has gotten a mention in a Catholic blog in New York City under the headline "The zinging nun: sister writes anthem against Vatican rebuke." The blog, which links to the video without comment, is by Greg Kandra, a Roman Catholic deacon serving the Diocese of Brooklyn. A longtime broadcast journalist, he writes a blog called "The Deacon's Bench" on the Patheos website offering "global dialogue on religion and spirituality through responsible, moderated discussions on critical issues across religious traditions' and "commentary on current events from a wide range of viewpoints."

Wednesday, November 28, 2012

I. D. Stamper dulcimer at Berea College

Now that I've finished my article for Dulcimer Players News, I've got time to post this picture -- I've wanted to since I got home from Berea at the end of October ...

It's a dulcimer by I.D. Stamper on display in the Loyal Jones Appalachian Center at Berea College. The card on the dulcimer in the display case reads as follows:

Isaac D. Stamper. 60s ... This dulcimer seems to be the only one he made. The wide body and high narrow fretboard set this instrument apart from the typical Kentucky-style dulcimer.
That they do. It looks like some of the big, booming bass dulcimers that Don Pedi likes to play.

I'm not sure that it's the only instrument Stamper made, though. When I mentioned it to Stephen Seifert, who was also in Berea for Alan Mills' exhibit "Kentucky Made: Art and Craft of the Mountain Dulcimer," Steve recalled playing another one. In any event, Stamper made very few dulcimers, but it's clear from listening to his old cassette tape that he must have modified the instrument to get the characteristic sound of his playing.

Bonus picture. Also on display in the Loyal Jones center, placards carried by Berea College students to protest a proposed relaxation of federal strip mine regulations.