Sunday, March 31, 2013

Prairieland Strings April 2 - "Be Thou My Vision" and learning tunes by ear

At our last session of the Prairieland Strings, we made a lot of progress learning a couple of difficult tunes. But it was kind of a hard slog after a while, and some of us decided -- let's have a little fun at our next jam. That's coming up Tuesday (7 p.m. at Atonement Lutheran Church in Springfield), and we've selected some tunes we want to play that are:
  1. Fun to play; and
  2. Easy for beginners to pick up by ear.
By ear? He say what? Did he really say "by ear?" How can anybody learn a song by ear? Especially beginners! Well, don't be intimidated. Tuesday's session is especially for beginners. But it's also for more experienced players who want to be less dependent on printed tablature.

You see, we're modeling some of what we do in our sessions -- especially the learning jams out at Clayville -- on the Small Circle Tune Learning Session in Colorado's Denver-Boulder metro area. They're a "friendly and supportive group of musicians," and they "welcome all skill levels to play at a moderate and steady pace." They're able to bring the beginners up to speed by stressing "aural learning" -- learning by ear. It's especially important in Irish trad music, the type they play at Small Circle sessions, since Irish musicians tend to have an attitude about printed music. But it can help us, too, especially when we're playing at a moderately brisk tempo.

A couple of tips from the Small Circle folks on how to "pick up tunes in a session, with everyone roaring away but you." There's more at http://www.slowplayers.org/SCTLS/learn.html.

  • "Well, first of all, remember that listening IS practicing in Irish traditional music. It's not unheard of to spend 75% or more of your time in a session listening rather than playing, and it's generally considered a good thing, because when you're playing, it's much harder to listen, and listening and paying attention to what's going on musically (and otherwise) is key to becoming a good session player."
  • If everybody else is playing up to speed, start to join in softly, one or two notes at a time, "... try to pick up just one phrase in the part, or even just a piece of a phrase. Every time that piece comes around, play it. Once you have it solid, try adding a note or two to that each time it comes round. After a while, you'll have the entire tune."
  • "Never, ever, feel uncomfortable about putting your instrument in your lap and just listening to the tune everyone else is playing. Nor should you ever feel uncomfortable about humming the tune along with them until you know it. (Don't sing so loud that you put off anyone, though.) In actual fact, many players will respect your evident ability to respect the music and learn the tune ..."
  • "Most importantly, remember -- this is supposed to be fun! Relax, give yourself a break and some time to get used to this. It'll pay off big in the future!
Here are the tunes for Tuesday night's session. Two of the three you already know, and the third is a fiddle tune that's so easy it practically plays itself:

"Be Thou My Vision" (SLANE)

I'll introduce the song Tuesday, but it needs no introduction. The text is ancient Irish, dating from the 6th century, but the tune -- called SLANE -- was first paired with it in a 1919 Irish hymnal. The CyberHymnal, a very popular website, explains the legend behind the tune's title like this: "It was on Slane Hill around 433 AD that St. Pat­rick de­fied a roy­al edict by light­ing can­dles on East­er Eve. High King Lo­gaire of Ta­ra had de­creed that no one could light a fire be­fore Lo­gaire be­gan the pa­gan spring fes­ti­val by light­ing a fire on Ta­ra Hill. Lo­gaire was so im­pressed by Pat­rick’s de­vo­tion that, de­spite his de­fi­ance (or per­haps be­cause of it­), he let him con­tin­ue his mis­sion­ary work. The rest is his­to­ry." However, Wikipedia weighs the evidence and concludes, "the folk song has little prior connection to the text."

Benjamin Esh, who has compiled a two-volume "Dulcimer Hymnal" (info on his Facebook page at http://www.facebook.com/groups/145249), has a nice flatpicked mountain dulcimer version ...

And the song, unlike a lot of hymns, is in the public domain. So the music is freely available on the Internet:

You'll need both the tablature and the chords, at least till you learn the song aurally, since the chords aren't indicated on the tab.

Another song that's easy for beginners to pick up is "Shall We Gather at the River." We've been playing it forever, but I have no evidence that we have permission to use the tab in our folders. And a very good arrangment for dulcimer in DAD with backup (i.e. guitar) chords by Benjamin Esh is available at

http://www.thedulcimerhymnal.com/blog/post/This-Weeks-Dulcimer-Arrangement-Shall-We-Gather-at-the-River.aspx

Four-part harmony in D, for voice, on the TimelessTruths.org website (click on "view PDF sheet music [.pdf]") at

http://library.timelesstruths.org/music/Shall_We_Gather_at_the_River/

And "Coleman's March" is a nice fiddle tune that's usually played at a slow tempo. (It's a march instead of a reel.) Different members of our group have different versions of the written tab -- the "dots" -- and they all work together. (To get a really very good explanation of why, go back to the Small Circle Tune Learning Session's page on learning tunes by ear. It's just about the best thing I've read anywhere on how a fiddle tune, Irish or American either one, is structured.) To get DAD ducimer tab by Terry Lewis of the North Georgia Foothills Dulcimer Association, follow this link ...

http://bellsouthpwp.net/d/u/dulcimer/Colemans%20Mar01.jpg

Monday, March 25, 2013

Prairieland Strings / Clayville - how do we keep beginners and more experienced (novice and intermediate) jammers on the same page?

The following blast email (lightly edited here for the web) went out last night to people on the Prairieland Strings dulcimer club and Clayville Pioneer Academy of Music tune learning jam session lists.

Hi everybody --

We had a fine session Thursday night at the Prairieland Strings meeting. Several new people joined us, and we learned two new songs, "The Battle Cry of Freedom" and "Si Bheag Si Mhor." I think that was quite an accomplishment, especially since "Si Bheag Si Mhor" is a fairly difficult piece of music with an intricate melody and subtle dynamics. We were starting to get both tunes down by the end of the session, and we finished up with "John Stinson's No. 2," which is always fun!

Even so, for a while there, things were about as lively as memorizing verb conjugations back in high school Spanish, and some of us left the session vowing to find some music that's just fun to play.

So we're taking requests!

We're especially looking for jam tunes that are beginner-friendly and fun to play. Fiddle tunes, gospel songs, whatever you'd like. If you're new, what would you like to learn? If you've been with the Prairieland Strings for a while, which of our oldies-but-goodies would you like to keep playing? Let me know, and I'll try to find dulcimer tab on line or arrange to have PDF copies made of our old Prairieland tunes that we can email around.

SI BHEAG SI MOHR

In the meantime, several of the folks at Thursday's session wanted to hear "Si Bheag Si Mhor" so they can get the melody better in mind. It's pronounced "sh'BEG sh'MORE," by the way; it's an Irish Gaelic song about a battle or a field hockey match - I've heard it both ways - between the fairies on a little hill ("si bheag") and a nearby big hill ("si mhor"). I'm not aware of any translations in English.

So here, by popular request, are a couple of YouTube performances of "Si Bheag Si Mhor":

1. Fingerpicked on mountain dulcimer tuned to DAD, by YouTube user 6FIDS

https://www.youtube.com/watch?v=ZkZP8ZvyIoc

2. An Irish fingerpicking guitar arrangement in DADGAD tuning, by French musician Jean Banwarth

https://www.youtube.com/watch?v=oIcb6ypujeQ

3. A freestyle guitar version in DADGAD as taught by folk and jazz maitre Pierre Bensusan, also of France

https://www.youtube.com/watch?v=pjqxPb31-MU

Be sure to listen for what Bensusan says beginning at 4:38 about giving the tune his own interpretation. He's talking about solos, of course, but he's an absolute master of feeling the music on a stringed instrument. Any stringed instrument.

BEGINNER-FRIENDLY JAM SONGS

As we help our beginners get up to speed, I think we can strike a balance between practicing techniques, chord positions, etc., and just playing the songs. There's a lot of good advice on the Small Circle Tune Learning Session website at ...

http://www.slowplayers.org/SCTLS/

At SCTLS jams, they play tunes over six and seven times each at what they call a " quick beginner's pace, slow enough that you can pick them up fairly easily if you are familiar with the process of learning aurally" (by ear, in other words), but fast enough that you don't lose the rhythm and melody. That way the more experienced players can improvise harmonies, play on the bass string, try out new techniques and chord positions, etc., while the beginners learn the melody and everybody's happy.

Which is why we're asking for requests -- what jam songs would you like to play?

We're looking for a good jam book at the moment, but in the meantime there are a lot of good tunes we used to play in the Prairieland Dulcimer Strings. Two that I'd like to bring back at our next session are "Shall We Gather at the River" and "Coleman's March."

-- "Shall We Gather at the River" is available on line:

1. Dulcimer tab in DAD with backup (i.e. guitar) chords by Benjamin Esh at

http://www.thedulcimerhymnal.com/blog/post/This-Weeks-Dulcimer-Arrangement-Shall-We-Gather-at-the-River.aspx

2. Four-part harmony in D, for voice, on the TimelessTruths.org website (click on "view PDF sheet music [.pdf]") at

http://library.timelesstruths.org/music/Shall_We_Gather_at_the_River/

-- "Coleman's March" is tabbed out by Terry Lewis of the North Georgia Foothills Dulcimer Association. His DAD tab is available at

http://bellsouthpwp.net/d/u/dulcimer/Colemans%20Mar01.jpg

It's one of several versions we play at Prairieland Strings sessions. They all work very well together.

So, if you've played with us before, please let me know which of our tunes you'd like to see us play this spring. "June Apple," for example. That wonderful tab we have with "Gray Cat on a Tennessee Farm" and "Shortning Bread" on the same sheet. "I Feel Like Traveling On" and "Uncloudy Day." Songs like "Hard Times" and 'Wild Mountain Thyme." And whether you're an old-timer or a newbie, let me know what new tunes you'd like to learn, and I'll see what I can find on the Internet without violating copyright.

And, as always, if you have questions, comments or suggestions, please don't hesitate to get back to me.

__________

For future reference ... links to lead sheets with dulcimer tablature, lyrics, chords and YouTube clips for songs we've played in the past and might again in the future as we go through the stacks and stacks of old dulcimer tab.

  • Very nice version of "Coleman's March" by the Kentucky Wonder String Band of New Liberty, Ky., at http://www.youtube.com/watch?v=9iVDTFzH6zI According to their Facebook page, "The band was formed inadvertently, and over time its members have waned and waxed, come and gone, and stumbled accidentally into venues where Old Time Traditional Music is appreciated, most frequently on porches or under shade trees."

    Of special interest to Appalachian dulcimer players, a very traditional version by _____ aka "birdrockdulcimers," a British dulcimer builder and vendor, pick and noter style on an Uncle Ed Thomas replica. It looks like he's tuned in DAA, and you'll notice he's not chording. He can't chord, in fact, because Uncle Ed's instruments were only fretted under the melody string. ...

    The Bird Rock Dulcimers website at www.dulcimers.co.uk is also well worth checking out in detail. The guy knows a lot about historic dulcimers and has some instructional videos on pick-and-noter style playing.

  • Sheet music, in four-part harmony at http://www.barbershop.org/ for "When Irish Eyes Are Smiling" on Barbershop Harmony Society website. Use the sheet music search engine or go directly to http://www.barbershop.org/document-center/category/20-heritage-of-harmony-sheet-music.html (Heritage of Harmony).
  • Chord sheet for "Be Thou My Vision" at http://www.worshiparchive.com/song/be-thou-my-vision in D at the Worship Archive website. Prints out as a nice one-page HTML text document. Nina Zanetti has DAD tab at http://www.ninazanetti.com/freetab.html on her website. Both a simplified melody and a more intricate arrangement with lots of nice ornamentation.

Tuesday, March 19, 2013

Prairieland Strings Thursday March 21 - "Battle Cry of Freedom" w/ links to tab, backup chords

At Thursday's meeting of the Prairieland Strings dulcimer club, Bev will teach us the "Battle Cry of Freedom" out of Maureen Sellers' book Songs of the Civil War - available on her website at http://www.maureensellers.com/ by mail order. Click here for a capsule history of the song, with both Union and Confederate lyrics, and here for a short biography of composer George Frederick Root. It was very popular on both sides, although it is probably more associated now with the Union cause. A New Englander by birth, Root was from Chicago. Also known for "Tramp Tramp Tramp (the Boys Are Marching)" and "Just Before the Battle Mother," as well as gospel songs.

Here's a nice, slow verison on Appalachian dulcimer by sailplane enthusiast and YouTube user Tom McDonald, who says, "I recorded this at Ridge Soaring near Julian, PA on a day when I couldn't fly sailplanes due to the weather."

McDonald has a link to tab in DGD, the tuning in which he plays the song. (The song is usually written in G, and DGD is a wonderful "reverse Ionian" tuning well worth learning. But we play it in D.) It's available in "D for dulcimer" at http://everythingdulcimer.com/tab/battledul.pdf in tablature that includes fret numbers for both DAA and DAD. (Don't worry, if you want to experiment - they'll sound the same if you play either one, as long as everybody's tuned in D.) Either way, if you "play by number," you may want to get out a highlighter and mark the line of tablature you want to follow. If read music, of course, you can just play the notes!

Guitar chords - or "backup chords" - in G are available on line, for personal use only of course, at ...

http://tabs.ultimate-guitar.com/g/george_f_root/the_battle_cry_of_freedom_crd.htm

Of course, you'll have to transpose it to D. You can do that by going to where it says "transpose" in the upper lefthand corner of the page and clicking down from G to D.

A couple of performances on YouTube

A string band in Michigan. More up to tempo, at least as I've heard it played. Fiddler Brad Battey joins Picks and Sticks on Aug. 7, 2010, at a wedding reception barn dance. Sherry Humecky on hammered dulcimer, Morgan Humecky on banjo, Bob Miller on bass, Alex Belhaj on guitar. Fiddler Brad Battey joins Picks and Sticks on August 7, 2010 at a wedding reception barn dance. Sherry Humecky on dulcimer, Morgan Humecky on banjo, Bob Miller on bass, Alex Belhaj on guitar. "Battle Cry" begins at 1:29.

Brass band - period instruments. The Federal City Brass Band's sunset concert atop Little Round Top at Gettysburg, November 2012. Brass bands and string bands of the 1800s often played the same music. Here's a better-than-average group of Civil War re-enactors playing on what look like period instruments.

Saturday, March 16, 2013

"Post-folk" band Ilgi - tracks featuring (or at least briefly showing) Gatis Gaujenieks on the giga - a Latvian folk instrument derived from the Swedish psalmodikon

PLEASE NOTE -- On March 12, 2013, I also posted several links to Hogfiddle on the Hedgehogs Baltic Folk Ensemble (also known as Ezisi, in Latvian, or Siilikesed, in Estonian) of Indianapolis (permalink http://hogfiddle.blogspot.com/2013/03/latvian-giga-misc-notes-and-maybe-video.html), which features another bowed folk zither, or giga, directly related to the Swedish psalmodikon. That gives us two bands who apparently play secular folk music on it, and it's always been on my "B List" to find out more about these bands -- "Hedgehogs" in the US and the folk-rock group "Igli" in Latvia -- but I've never gotten around to it.

The giga, which appears to be a folk adaptation of the psalmodikon in Swedish-speaking parts of Estonia and Latvia, is playing a small part in the burgeoning traditional and "post-folk" music scene in the Baltic nations since independence from the former Soviet Union in the 1990s. Link here to primer on folk music in the Baltics, with several embedded videos from Latvia, Estonia and Lithuania, at ...

http://www.worldmusic.net/guide/music-of-baltic-states/.

If you look carefully at the YouTube video of the Latvian "post-folk" band Ilgi embedded below, you'll see Gatis Gaujenieks on the right with his giga. The video will show him playing it from time to time in the midst of all the music video pyrotechnics.

Ilgi - Saule brida miglajos.

CD Baby biography at http://www.cdbaby.com/artist/Ilgi1 has a thumbnail that shows Gaujenieks with his giga at lower right. Also this:

In 1981 Ilga Reizniece, a classically trained violinist, formed the folk group ILGI (Latvian for friendly spirits). She soon was joined by Maris Muktupavels on kokle, bagpipes and accordion. They traveled the country learning folk songs and traditions from their elders at a time when the Latvian folklore movement was more of a political statement than a musical trend. In contrast with the Soviet sanctioned sugar-coated presentations of Latvian "culture", true Latvian culture was preserved in folk songs and dances by folk groups such as ILGI. The latter groups became de facto centers of national and cultural studies.

As Reizniece recalls, "from the very beginning we were different from the authentic music ensembles in the traditional sense. We have always been interested in music as art, not just the folklore aspect of it. There always has been a dual purpose of the group: we had to fulfill our mission in preserving the Latvian heritage, return forgotten lore to the nation, but at the same time we really enjoyed just playing the music. I am a professional musician after all."

After Latvian independence was restored in 1991 ILGI began to travel abroad, and some of its music shifted from minor to major keys.

Another shift occurred in the late 1990's. Muktupavels and Reizniece had been playing in ILGI as well as in the rock band, Jauns Meness. Gatis Gaujenieks, a native New Yorker of Latvian descent, moved to Latvia and joined ILGI in 1997 as a musician, sound artist and producer. ILGI's meditative and somewhat traditional approach gave way to fuller instrumentation and bolder arrangements without undermining its foundation of Latvian folklore. ...

Photo IĻĢI: Gatis Gaujenieks 1301. Playing the giga, a fretted low note instrument, also known as a trough-fiddle or -violin. http://www.flickr.com/photos/83507215@N00/1548649124

CD Baby has this blurb on Tur saulite perties gaja, a 2012 album that won a best CD prize in Latvia ...

llgi's mature roots in Latvian folk music and the skilled musicianship of its members are apparent in profound and bold interpretations, album after album. Ilgi takes kokles, violin, a cello-like giga, acoustic and bass guitars, percussion, and an adopted kalimba on a tranquil journey in Tur Saulite Perties Gaja, released in 2011 as Ilgi celebrated its 30th anniversary.

The album's central theme is the Latvian pirts, a place for cleansing the body and soul. "Spirits are tossed" by ladling water onto rocks heated by a wood fire, creating a steam bath in the typically small wooden structure. To "perties" (gently flog) with a pirts slota (bundle of twigs) is invigorating. Whether in a private pirts in the countryside or under the direction of a modern day pirts keeper, the tradition is alive in Latvia. Nevertheless, it lacked music - until now.

In "Pirts Kurinasana" (Lighting the Fire), Ilga Reizniece sings of a pirts near a golden oak by a silver stream, "where the Sun went perties" (the album title). Celojums (Journey) is the story of a pirts mouse. Cels (The Road) is a gentle interplay of strings and kalimba. In Persana (Flogging) Reizniece names health promoting flora used in pirts slotas. Lidosana (Flying) showcases Egons Kronbergs' guitar and Maris Muktupavels' kokle and accordion. Gara Pupa (The Beanstalk) is the classic story of a beanstalk that grows up to the sky, but the music suggests the wonderfully languid feeling resulting from a trip to the pirts. It features a duet by Reizniece on violin and Muktupavels on kokle, playing as one after collaborating for three decades. Finally, Paldies (A Song of Thanks) is offered to everyone who makes the pirts possible, from its builder to the water carrier. Throughout, layers of depth are created by Gatis Gaujenieks on giga and bass guitar, and Martins Linde on percussion.

Tuesday, March 12, 2013

Latvian ģīga - misc. notes and (maybe!) a video *** UPDATE - definitely a video! *** and links to music of an Indianapolis traditional Baltic music ensemble

PLEASE NOTE -- On March 16, 2013, I also posted several links to Hogfiddle on the Latvian "post-folk" band Igli (permalink http://hogfiddle.blogspot.com/2013/03/post-folk-band-ilgi-tracks-featuring-or.html), which features another bowed folk zither, or giga, directly related to the Swedish psalmodikon. That gives us two bands who apparently play secular folk music on it, and it's always been on my "B List" to find out more about these bands -- the Estonian heritage band "Hedgehogs" in the US and the folk-rock group "Igli" in Latvia -- but I've never gotten around to it.

An obscure instrument in Latvia, a two-stringed box zither known as a giga or "trough fiddle" ... that by all accounts represents an authentic folk tradition that evolved out of use of the Swedish psalmodikon by Lutheran pastors in that Baltic nation. Scattered references on the Internet ...

For the basics, as always, I consulted Wikipedia. As follows, in its entirety: "The ģīga is a two-stringed bowed zither found in Latvia. / The instrument is descended from the psalmodicon, a bowed monochord developed in Sweden in 1829 for liturgical singing. From there it filtered down to the Latvian peasantry who added a second string for harmony.


Picture at right shows traditional Latvian instruments depicted on a Soviet-era postage stamp. The ģīga will be the second instrument from the top on the righthand side of the stamp. Instrument at bottom right is a kokle, an iconic Latvian box zither related to the Finnish kantele. (Photo Wikimedia Commons).

** UPDATE ** MONDAY MARCH 18 - Baltic ensemble in Indianapolis --

Here is a promotional video for the Hedgehogs Baltic Folk Ensemble (Ezisi, in Latvian, or Siilikesed, in Estonian) of Indianapolis. Closeup of a giga being plucked at 0:46-0:47 and video of the entire ensemble playing from 0:48 to 1:14. The giga player uses a bow and stands the instrument on a chair.

The band's website at http://www.indiana.edu/~bafsa/hedgehogs/ezisi.html has 30-second clips from their CDs plus a 57-minute podcast of a noon-hour concert at the Hoagy Carmichael center at Indiana University Bloomington. You can hear the giga, described as "kind of like a cello ... a bowed instrument," beginning at 36:50. It plays chords in a sustained, dronal style.

Says Daina Gross for the Latvians Online website, reviewing a CD of the hedgehogs' music:

Ezīši (also known as Siilikesed in Estonian and Hedgehogs in English) is a group of musically talented individuals from Indianapolis, Ind. Most of the members are U.S.-born and only some have Baltic roots. Their common trait is a passion for folk music. They even made some of their instruments themselves and, according to the CD liner notes, their “goals are to help preserve and to spread awareness of the folk music of the immigrant communities from the Eastern Baltic area…our specialty is the presentation of medleys of similar or at least compatible tunes from different nationalities of northeastern Europe.”
Hedgehogs' webpage at http://www.indiana.edu/~bafsa/hedgehogs/ezisi.html has audio files, contact information.

Link here to IU's podcast page: http://www.indiana.edu/~iaunrc/content/hedgehogs-%E2%80%93-traditional-baltic-music.

** END UPDATE **

Also, based in Riga, the Latvian "post-folk" band band Ilgi includes a giga among its rather varied instrumentation - seems to add a bass drone to the band's folk-rock-Europop-jazz-ish sound. According to the blurb on the CD Baby online music store's website, Igli was founded in the 1980s by Ilga Reizniece, "a classically trained violinist," and Maris Muktupavels, on kokle, bagpipes and accordion. After independence from the former Soviet Union, the band has morphed into a folk-rock-jazz ensemble. "Over the years Reizniece and Muktupavels have been joined in ILGI by some of the best Latvian musicians. In addition to Gatis Gaujenieks on electric bass and ancient giga, they recruited Egons Kronbergs, an accomplished rock guitarist (The Hobos), in 2001. Martins Linde, a successful jazz drummer and percussionist (Time After Time), completes the current roster."

ANOTHER GIGA (?) YouTube clip below of an unidentified group of musicians - maybe a pickup band? - at a "Cuckoo Festival" in Lithuania shows a woman, on the left, playing an unidentified bowed instrument that corresponds to the description of a giga. It sounds like she's playing a drone accompaniment to the melody.

Latvian folk music. Uploaded by YouTube user haribo348 on May 10, 2010. Cuckoo Festival, Lithuania. No comments, no further info. User is in Lithuania.

A brief description on the Folklora.lv website of the giga with pix (fuzzy, but with an interesting, apparently handmade bow) at http://folklora.lv/muzikas/giga/en.shtml:
The monochord has been created in Sweden in 1829 for accompaniment of spiritual singing. Probably through the Lutheran parochial schools, monochord has got to the Latvian peasants, and they have begun to play on it, to make it and to improve it (the same instrument, but with two strings has been developed). [pix] "Monochord consists of a long, rectangular body, stuck or hammered together from wooden plates. In the upper plate the sound holes are cut and a stepped rod (neck) is attached, on which a string (or two) is put.

A horsehair or bow is used to play the monochord. The height of sounding is changed, pressing the string to the neck.

More information on a British website devoted to all kinds of fiddle music worldwide, with maybe a couple of good leads for futher information, at fiddlingaround.co.uk homepage. The page on the giga reads:
One of the most interesting aspects of fiddling in Latvia is the use of the giga or trough fiddle, a large rectangular box-like instrument played like a cello with one or two strings. Due to the shape of the body it is sometimes referred to as a trough-fiddle. In Ilgi, the giga is played by Gatis Gaujenieks. Indianapolis-based band the Hedgehogs also use the giga, alongside other Latvian and baltic instruments such as the kokle (a type of zither, and perhaps the best-known Latvian folk instrument), the bagpipe and the Novgorod lyre.

Saturday, March 09, 2013

Lisa Lynne and Aryeh Frankfurter - harp and nykelharpa duo of California

Quite a mixture of Carolan, folk, early music, New Age, a polska or two and a little bit of everything else - on harp, Swedish nykelharp and a little bit of everything else - by two California musicians. Lots of promotional tapes, especially on Lisa Lynne's website, good production values on the videos and Vblogs (video blogs). The embedded tape plugging house concerts below gives a pretty good overview, but there are also videos from music festivals, faerie gatherings, Renaissance faires, music camps and a wide variety of concert venues. Fascinating.

Lisa Lynne - All about doing House Concerts. "I made this video to inspire and encourage people to host house concerts for acoustic musicians. It features myself & Aryeh Frankfurter, we are a duo of two multi-instrumentalists who have recently started performing at house concerts. The footage was taken from San Diego, Los Angeles, San Francisco, Central California, Napa valley, Portland & Seattle. The songs featured are both traditional and written by me. The second half of the video features my "Hands-on-Harps" workshops and live music programs at various hospitals, school, retreat and rehabilitation centers. www.LisaLynne.com

Tuesday, March 05, 2013

"Shenandoah Falls" - new learning video (well, only a year old)

Posted to YouTube since I last looked. But ...

(and this seems like a *big "but" to me),

his sheet music is in D and E minor instead of A. Still, I like the way he swings it. Nice tempo on his CD.

Learn SHENANDOAH FALLS on Hammered Dulcimer

Jess Dickinson·29 videos
Published on Jul 5, 2012

Another FREE hammered dulcimer learning video from http://DickinsonDulcimer.Com. Learn to play "Shenandoah Falls" on the hammered dulcimer. Download the sheet music FREE and see more learning videos at http://DickinsonDulcimer.Com. Sign up for Jess Dickinson's classes at ODPC Funfest 2013.

__________

* Did I just say that?

Monday, March 04, 2013

"[P]ut a ribbon on that dulcimer and mount it on a wall": Misc. notes on dulcimers, Appalachian crafts

Excerpts from article in website based on a 1996 series in the Enterprise Mountaineer newspaper of Waynesville, N.C., quoting local musician, instrument builder and "folklore historian" Jim Trantham on dulcimer origins and some of his own experience with the instrument. Bio of Trantham and profile of the Trantham Family singing group consisting of his children and grandchildren, on the Blue Ridge National Heritage Area website. Trantham, who builds banjos and guitars in addition to dulcimers, is quoted on the history of the instrument:
Today's dulcimers evolved from a family of long, neckless instruments.

The monochord, a singled-stringed instrument with a soundbox, was around in medieval Europe and is thought to be the precursor of the zither, which was found in Germany, Austria and Switzerland. From the zither came the dulcimer.

The French name for the dulcimer is an epinette. In Norwegian, it is the langeleik. In Holland and Italy it's known as the humle. In Germany, it's the box-shaped scheitholt, which translates into "chopping block."

"Every culture will have a form of this instrument," Trantham said.

German settlers most likely brought a form of the dulcimer over to America, Trantham speculated. Crude hand-sawed boards fashioned into dulcimers may have killed the tone quality, but were fairly easy to make.

* * *

Today, dulcimers remain popular despite being looked down upon by some native Appalachians.

When Trantham played his dulcimer at the Asheville Mountain Dance and Folk Festival, Bascom Lamar Lunsford, the festival's founder and a well-respected name in preserving Appalachian music, told Trantham if he ever wanted to amount to anything, he'd have to put a ribbon on that dulcimer and mount it on a wall.

Michael Beadle, "The Heritage of the Mountain Dulcimer." Mountain Grown Music: Celebrating the Traditional Mountain Music of Heywood County 1999. [Haywood County Public Library, Waynesville, N.C.]. http://mountaingrownmusic.org/mountain-dulcimer.html.


Research and documentation of the Niles "dulcimers," by Dwight Newton, organologist and web publisher of Lexington, Ky., who is a musicology graduate of UK and has a long-standing interest in John Jacob Niles:

Niles called his instruments "dulcimers." He certainly had a lot of experience with the authentic Appalachian instrument by this name, but he took the concept in a fairly radical direction. As he did with the old songs he had collected, he took the essential idea of a dulcimer and turned it into an icon. I believe Niles thought of himself as a balladeer in the bardic tradition of Scots-English poetry. Certainly his repertoire has its roots quite consciously in the British Isles. His vocal style is rhythmically free and declamatory, with great emotional expression, especially as he employs his stratospheric falsetto. The instruments were used in a minimalist way, strumming the strings in a simple down- down-down-down... stroke, or in some cases in a single rolled stroke at certain moments for emphasis in an otherwise a cappella performance.

Niles performed with at least eight instruments that he built himself. This research project focuses on these instruments as objects, but in truth, they really cannot be separated from Niles the balladeer. The reality is that these objects are not particularly good musical instruments -- their ranges are quite limited, thay have relatively poor volume considering their size, and they are all clearly the work of a folk artist, not a luthier. But their musical function was secondary to their function as theatrical props. He rarely played melodic tunes on his large dulcimers. In all cases the real star of the show was Niles himself -- his voice and his expression.

Dwight Newton, "John Jacob Niles, Luthier." Mewzik.com: All About Musical Instruments. 2006. http://mewzik.com/research/niles/index.php.


scantling [ˈskæntlɪŋ] n
1. (Miscellaneous Technologies / Building) a piece of sawn timber, such as a rafter, that has a small cross section
2. (Miscellaneous Technologies / Building) the dimensions of a piece of building material or the structural parts of a ship, esp those in cross section
3. (Miscellaneous Technologies / Building) a building stone, esp one that is more than 6 feet in length
4. a small quantity or amount
[changed (through influence of SCANT and -LING) from earlier scantillon, a carpenter's gauge, from Old Norman French escantillon, ultimately from Latin scandere to climb; see scan] Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003

Scantling a small quantity—Johnson, 1755.
Examples: scantling of apples, 1849; of burgundy, 1765; of eloquence, 1704; of food 1835; of geological knowledge, 1876; of paper, 1743; of time, 1665; of wit, 1680.
Dictionary of Collective Nouns and Group Terms. Copyright 2008 The Gale Group, Inc. All rights reserved.

http://www.thefreedictionary.com/scantling.

Saturday, March 02, 2013

Prairieland Strings dulcimer club - "Farther Along" Tuesday, March 5

At our upcoming "first Tuesday" session of the Prairieland Strings dulcimer club, we'll take up one of the classic bluegrass gospel songs, "Farther Along." We meet, as always, from 7 to 9 p.m. at Atonement Lutheran Church, 2800 West Jefferson in Springfield.

"Farther Along" is of uncertain authorship, dating from the early 1900s. It has been covered by artists including Dolly Parton, Emmylou Harris and Linda Ronstadt, the 60s folk-rock group the Byrds, African American gospel singer Willie Neal Johnson and the Gospel Keynotes, country music icon Johnny Cash and blues legend Mississippi John Hurt, among many others. I first learned it in an inner-city ecumenical congregation in Knoxville, Tenn., and songs like "Farther Along" were perfect for getting 1970s-vintage hippies, street people, members of the old Epworth Methodist congregation and grad students from the nearby University of Tennessee singing - literally - from the same page.

"Farther Along" is also a favorite gospel piece in the mountain dulcimer world, where its harmonies lend themselves to group singing.

I'm going to embed two videos - the first is by members of the "Flat Mountain Dulcimer Club" in eastern North Carolina (where there aren't any mountains and it's pretty flat). It's representative of what a well rehearsed dulcimer club does with the song:

The other video shows vocalist Patty Mitchell, who has sung with artists as varied as Ralph Stanley the Dixie Chicks, backed by dulcimer player Stephen Seifert (who was in Springfield last year for one of our workshops). Steve's backup is understated, but the way he engages with the music shows how much the mountain dulcimer is capable of:

Here's the music:

A word about Steve Smith's tab: A lot of people get frustrated with it, because it packs a lot of information onto one page. In addition to the lead sheet - i.e. the notes for the melody line - it identifies the chords above the melody line and the individual notes by letter underneath the melody. It also has left hand positions in both DAD and DAA: as you play more in different tunings, it will help you transpose between them. (For example: The first note in "Farther Along" is an F-sharp, written F#, and it's played on the second fret in DAD and the fifth fret in DAA, but it's the same note and it sounds the same in both tunings. I like knowing stuff like that.) At Benedictine I used to tell my students to keep stuff they wanted to memorize in the bathroom, and hand to read in the bathroom, and this tab is perfect for that purpose.

But that stuff comes later.

For now, all you need is to play the melody line in DAD.

I like to mark the DAD fret numbers with a highlighter, so they'll stand out the first few times I've playing through the melody. It's a trick that comes in handy with church choir music, and it works like a charm when dulcimer tab gets complicated, too.

Thursday, February 28, 2013

First Clayville Pioneer Academy of Music tune learning session Saturday March 2

Blast email sent out late this afternoon -

Hi everybody -

Our first Clayville Pioneer Academy of Music tune-learning jam session in the barn at Clayville Historic Site is coming up Saturday morning. We'll begin with tips for rank beginners at 9:30 a.m., and the session will run from 10 till noon. It'll be a little different from the dulcimer lessons for beginners in January and February - we want to spend more time learning tunes, and we're inviting people who play other instruments to take part - but we're mostly mountain dulcimer players, and we'll be using mountain dulcimer tablature. We'll be building on the dulcimer lessons, and we will continue to be supportive and beginner-friendly. Beverley Buck, who has been doing a lot of the teaching in our beginners' lessons, and I will moderate. We really liked the way the lessons went, and we want our tune learning sessions to have the same friendly, non-competitive, encouraging atmosphere.

We're calling them jam sessions, for lack of a better word, and we'll follow the same rules we've seen at mountain dulcimer jam sessions. We'll go around the circle, and each of us will choose a tune we'd like to have the group play. But most of us are beginners, and we'll concentrate on learning tunes. Bev and I will bring in some favorites from other dulcimer jams, especially tunes with dulcimer tablature available on line. But we're not going to play fast, and we're not going to use the sessions to show off dazzling technique. (I don't have any technique to show off anyway!) So ours won't be like other jam sessions you may have heard about.

Our emphasis will be on teaching and learning. That's one reason we're calling it the Clayville Pioneer Academy of Music. Besides, we think it just *sounds* like Clayville!

Out in Denver, a group called the Small Circle Tune Learning Session has a pretty good discussion of its goals. I've been studying them, and I think they're a good set of goals for us as we launch the Clayville sessions. As we go along, we'll develop our own goals and objectives. So be thinking about where you want our group to go as we learn more. But for now, the Denver group's goals will do for starters:

"SCTLS isn't actually a real [jam] session. We're a tune learning session, and we will teach you tunes, teach how to learn tunes and how to teach tunes, and we will teach you about sessions: what to expect at your local session, and at sessions around the world. We fully expect and want each musician to "graduate" from SCTLS and get out to actual sessions as soon as they're ready...sometimes this is before they feel ready, we know!"
And SCTLS adds this:
"We hope that you'll find we're one of Colorado's most friendly sessions. One of the things that makes the SCTLS unique is that we want you to be free to make mistakes, feel your way through some of the stranger bits of session etiquette, and get comfortable with playing your instrument in public, without feeling ostracized if you inadvertently commit a faux pas or some such. Feel free to ask questions or try something new."
OK, we'll want to change "Colorado" to "Illinois!" But the rest of is important. You can read more on the SCTLS website at:

http://www.slowplayers.org/SCTLS/goals.html

(A couple of words of translation: SCTLS is a traditional Irish group, so they say "session" where mountain dulcimer players say "jam session" or "jam." What we do will be more like what they sometimes call a "tune learning circle," and the music won't be all Irish, although we do really enjoy a lot Celtic tunes. At least for starters, we'll focus on tunes you're likely to hear at other jams in downstate Illinois and historic sites like Clayville. One last translation - "craic" is pronounced "crack" and it *doesn't* mean what you'd think it does when you hear us talk about it! It's a Scots and Irish term for good conversation, fellowship and the kind of fun you have playing music with a group of people.)

So ... we really liked the enthusisam you all showed at the beginners' lessons in January and February, and we hope to see you at our first Clayville Pioneer Academy of Music tune-learning jam!

Be ready to request one of the tunes we learned in January or February when we go around the circle. If you have other songs to suggest, please let us know and we'll see if we can find free tablature on line that we can send around before the next Clayville academy jam and tune learning session in April. Here are links to three new songs - new to our group at Clayville, that is - which we'll introduce Saturday. They're all available on line in the EverythingDulcimer.com tab directory at

http://everythingdulcimer.com/tab/index.php

-- Gray Cat on a Tennessee Farm - scroll down to "Gray Cat on a Tennessee Farm" by Lee Cagle or click on http://www.everythingdulcimer.com/tab/GrayCatTablow.jpg

-- Old Joe Clark - scroll down to "Old Joe Clark 1" by Sr. Margaret Mary or click on http://everythingdulcimer.com/tab/Old%20Joe%20Clark.pdf

-- Farther Along - scroll down to "Farther Along" by Steve Smith or click on http://www.everythingdulcimer.com/tab/Farther_Along.pdf

Since Smith gives tab for both DAA and DAD versions of "Farther Along," you may want to take a yellow highlighter and mark the melody in DAD (notice that you'll play the B in the next to last measure of lines 1 and 2 on the middle string). There's a lot more information on his tab than you need to learn the tune as a beginner, but later on it will help you learn to read standard notation and know your way around the dulcimer in both D tunings. For now, you can't go wrong if you just play the melody. ...

Tuesday, February 19, 2013

Läsare - songs, one in sifferskrift and notation

Läsarsånger från Riseberga bönhus - ackompanjerad av psalmodikon. Från Läsarmötet den 19 juni 2011. A mixture of Swedish and English/American gospel songs, including "Amazing Grace." KanalSju, which posted the video, looks like an evangelical religious group in Sweden.

Äppelbo gånglåt med fiol och tabla. Another video at KanalSju shows children (of immigrants?) playing "Gånglåt from Äppelbo" on fiddle and tabla. They sound very cool together!

Also, on another website, good documentation of a song called "Enfaldens Wishet" w/ lyrics given in Swedish. Music in standard notation (in D) and sifferskrift (in G?). Also a MIDI file of the tune.

--------------------------------------------------------------------------------
Originalbladet med sången Enfaldens Wishet är utgivet i Växjö 1872. Förläggare anges vara organisten och folkskolläraren J. A. Swensson, Sandsjö. Originalbladet har melodin noterad i sifferskrift. Originalsångbladet har bevarats av musikdirektör Nils-Olof Berg, Farstorp, vars farmor sjöng sången, men då på en något annorlunda traderad melodi. Författare och kompositör anges ej. Sången bär tydliga spår av herrnhutistisk retorik. Vet du något om författare eller kompositör får du gärna ta kontakt via e-postadressen på startsidan.
--------------------------------------------------------------------------------
Vill du se noter i sifferskrift och lära dig något om det gå till sidan sifferskrift. Där hittar du också länkar till notblad med båda melodierna samt midifiler.

http://biphome.spray.se/curtax/enfald.html

Links to page on Läsarsångfestival and singing group at http://biphome.spray.se/curtax/index.html

Posted here so I don't lose it> Wikipedia has a good run of Melodierne i Sifferskrift til Andeliga Sånger (Kristiania [Oslo] 1860) by Oscar Ahnfelt at ... http://en.wikipedia.org/wiki/File:Melodierne_i_Sifferskrift_til_Andeliga_S%C3%A5nger.djvu

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.