Published on Jun 19, 2012.
Allsångskonsert för Gunnel och Dick Samuelson 16 juni 2012. Barn och barnbarn.
Bibi, piano, Lasse, bas, Karin, fiol, Olof Gitarr, Ludvig, cajon.
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Email that I sent to Clayville-Prairieland list this afternoon --
Hi everyone --
Our regular first-Saturday-of-the-month session of the Clayville Pioneer Academy of Music is in the barn at Clayville from 10 a.m. to noon Saturday, Nov. 5. After giving it a whirl in B minor Tuesday night, we decided to try Ron Zuckerman's dulcimer tab, with guitar chords in E minor, on the Everything Dulcimer website, available at:
Afterwards, let's just go around the circle and call fun tunes we enjoy playing. I'm attaching a copy of tab that Judy wrote out of a Swedish song called "I sommarens soliga dagar" (in summer's sunny days). It's not really a session tune, either here or in Sweden, but it certainly qualifies as fun. Debi and I heard it at the annual Nordiska Psalmodikonförbundet meeting in Sweden this summer -- the Swedes sang it after dinner, and we taught them "99 Bottles of Beer on the Wall" (yeah, yeah, I guess you had to be there) -- and I wrote it up on my blog Hogfiddle (http://hogfiddle.blogspot.com/2016/08/ostervala-1-i-sommarens-soliga-daga.html). Judy played the embedded YouTube clip, and she decided to tab it out.
Here's a YouTube clip of a family group in Sweden singing, with a keyboard, two guitars and a fiddle:
The Lutheran Hymnary. Published by Authority of the Norwegian Evangelical Lutheran Synod, the Hauge's Evangelical Lutheran Synod and the United Norwegian Evangelical Lutheran Church of America. Minneapolis:
Augsburg Publishing House, 1913. - Hymns, English - 778 pages
https://books.google.com/books?id=B3HpCuJR9dUC&source=gbs_navlinks_s
It was one of those moments when things converge in odd, but significant, ways.
In the encampment where the Standing Rock Sioux Tribe and their allies from around the world have gathered to block construction of an oil pipeline across the Missouri River upstream from their water supply, a picture of Sámi musicians from the Arctic regions of Norway and Sweden and members of the Lumbee Tribe from North Carolina. They are leading a group in a joik [pron. "yoyck"], a traditional song, in honor of the earth.
The Lumbee people are best known, at least to me, for busting up a Ku Klux Klan rally in eastern North Carolina in 1958. They may be descended from Sir Walter Raleigh's "lost colony" on Roanoke Island.
So I sat up and took notice when I noticed a YouTube video that showed the Sámi, in their distinctive national costume, leading a song under a Lumbee Indian banner. It was posted Oct. 9 to the UTISETA YouTube channel (which has only the one video on it), with this caption:
Sofia Jannok, Inger Biret Kvernmo Gaup. and Sara Marielle Gaup Beaska (members of the Sami tribe) share a joik [pron. "yoyck"] song for Mother Earth during a traditional gifting ceremony at Standing Rock.
This was in solidarity with the Native Americans fighting against the creation of the Dakota Access Pipeline on their lands.
At the beginning of October, the Sami musicians visited the "water protecters" who have flocked to the Standing Rock campground from all over the world in solidarity with the Standing Rock Sioux Tribe in their fight to stop the pipeline. The Sámi people (formerly called "Lapps," which like many terms used for indigenous peoples, was a insult coined by whites) are the semi-nomadic indigenous people of northern Norway, Sweden, Finland and parts of Russia. They are no strangers to fighting over water rights, and they brought a Sámi flag to fly among the hundreds of other tribal flags at Standing Rock.
A reporter for Indian Country Today put it in a context of indigenous peoples' rights worldwide:
When opposition to the Dakota Access pipeline galvanized the support of hundreds of U.S. tribes, it became an unprecedented show of Indian country unity and resolve.
Now, it’s a global indigenous movement.
Members of tribal communities from around the world have joined in activism led by the Standing Rock Sioux Tribe. A Sami group from Norway was the latest to arrive on Friday. This resistance campaign, many say, has emerged as part of a greater global crisis—a united struggle in which indigenous lands, resources, and people are perpetually threatened by corporations and governments often using military force. Integral to this shared narrative is the routine ignoring of treaties.
In their continued struggle, the Lakota Sioux are advancing an Indigenous agenda that calls for governments to acknowledge the unique and inherent rights of First Peoples.
While Indigenous Peoples reflect only about 5 percent of the world’s population, they represent roughly 15 percent of the global poor. With the exception of majority populations in places like Bolivia and Guatemala, Indigenous Peoples are typically the minority in their respective countries.
But they have land. And their tribal territories are among the healthiest ecosystems on the planet—and under constant threat from mining, logging, and dam and oil development. ...
So they have plenty in common with the Standing Rock water protectors.
According to Wikipedia, Brita Maret "Sofia" Jannok (born September 15, 1982) is a Swedish-Sami artist, singer, songwriter and radio host. Several times, she has publicly taken a stance in social media against the establishment of mines on land used by Sami reindeer herders. ... Her music is inspired from diverse musical influences, like folk, pop, jazz and yoik. She sings mostly in Northern Sami, but also sings and writes lyrics in Swedish and English as well. [She's on the left in the video, with the drum.]
According to her webpage,
Sara Marielle Gaup Beaska "... is a Sámi joiker from the reindeer-herding community of Guovdageaidnu in Finnmark County, northern Norway. Born into a family of skillful joikers, she is best known for her work with Adjágas, the acclaimed Sámi band who blend joik with various contemporary influences." She
records with Sylvia Cloutier, an Inuit throat singer from Nunavut in Quebec, Canada.
Sámi Joik
From Sara Marielle Gaup Beaska and Sylvia Cloutier's website: "The Sámi people are a transnational minority living in “Sápmi”, an area of land stretching across the borders of northern Scandinavia, Finland, and throughout the Kola Peninsula of north-western Russia. Joik (also spelt yoik or jojk) is the Sámi’s characteristic vocal tradition, consisting (as with some forms of Native American chant) of specific vocal sounds, or “vocables”; syllables such as “yo”, “lo”, and “la”. These sounds have traditionally operated as ‘units of meaning’, and have been used to invoke a person, animal, place, or experience."
Lumbee Tribe of North Carolina
According to Wikipedia (that handy-dandy source of all human knowledge), "The Lumbee Tribe of North Carolina is a state recognized tribe of approximately 55,000 enrolled members, most of them living in Robeson and the adjacent counties in southeastern North Carolina. The Lumbee Tribe was recognized by the US Congress in 1956 but was not given access to federal funds set aside for Indian tribes. According to the 2000 US Census report, the population of the town of Pembroke, North Carolina, is 89% Lumbee Indian and that of the county is nearly 40% Lumbee."
Its moment in history, when it chased the Ku Klux Klan out of its community, went down like this:
Klan Grand Dragon James W. "Catfish" Cole. Cole began a campaign of harassment against the Lumbee, claiming they were "mongrels and half-breeds" whose "race mixing" threatened to upset the established order of segregated Jim Crow South.[citation needed] After giving a series of speeches denouncing the "loose morals" of Lumbee women, Cole burned a cross in the front yard of a Lumbee woman in St. Pauls, North Carolina, as a "warning" against "race mixing."[citation needed] Emboldened, Cole called for a Klan rally on January 18, 1958, near the town of Maxton. The Lumbee, led by recent veterans of the Second World War, decided to disrupt the rally.
The "Battle of Hayes Pond", also known as "the Klan Rout", made national news.[33] Although Cole had predicted over 5,000 Klansmen would show up for the rally, less than 100 and possibly as few as three dozen attended. Approximately 500 Lumbee, armed with guns and sticks, gathered in a nearby swamp, and when they realized they possessed an overwhelming numerical advantage, attacked the Klansmen. The Lumbee encircled the Klansmen, opening gunfire and wounding four Klansmen in the first volley, none seriously. The remaining Klansmen panicked and fled. Cole was found in the swamps, arrested and tried for inciting a riot. The Lumbee celebrated the victory by burning Klan regalia and dancing around the open flames.
The Battle of Hayes Pond, which marked the end of Klan activity in Robeson County, is celebrated as a Lumbee holiday.
Comes now James Fallows, national correspondent for The Atlantic who has written for the magazine since the late 1970s. He once served as a speechwriter for President Carter, and he has written frequently -- and eloquently -- over the years of the erosion of standards in American political life by celebrity culture and the demands of a celebrity-obsessed 27/ news cycle, among other topics ranging from small-engine aircraft (he's a licensed pilot) to industrialization in China. His book Breaking The News: How the Media Undermine American Democracy (1997) especially shaped my thinking.
This year Fallows has been writing a series of time capsules on the following premise: "People will look back on this era in our history to see what was known about Donald Trump while Americans were deciding whether to choose him as president. Here’s a running chronicle from James Fallows on the evidence available to voters as they make their choice, and of how Trump has broken the norms that applied to previous major-party candidates." Today's is about FBI Director James Comey's "October surprise":
The rules in politics haven’t changed that much in recent years. What has changed is adherence to norms, in an increasingly destructive way.
I made that case, using examples different from the ones I’m about to present here, nearly two years ago. The shift in norms is also a central part of Thomas Mann’s and Norman Ornstein’s prescient It’s Even Worse Than It Looks, and Mike Lofgren’s The Party Is Over, plus of course Jonathan Rauch’s “How America Went Insane,” our very widely read cover story (subscribe!) this summer. [Links, including to a subscription page, in the original.]
[Examples, mostly concerned with the U.S. Senate's refusal to schedule hearings on President Obama's U.S. Supreme Court nominee but also including Justice Ginsberg's offhand remark on Donald Trump, omitted.
* * *
The official rules didn’t change in these circumstances. The norms—that is, the expectation of what you “should” do, what you “really have to do,” what is the “right thing” to do, even if the letter of the law doesn’t spell it out—have changed. For its survival, a democracy depends on norms. That’s why the shift matters.
And that is the context in which I think about James Comey’s plunge into electoral politics, with his announcement about whatever “new” Clinton-related email information the FBI may or may not have found.
No one knows what this will mean for the election. Millions of people have already voted; in the nine days until official election day there’s not enough time to fully vet and consider what Comey may have found. Will the announcement re-energize Hillary Clinton’s supporters, making them worry that the race may be tightening again? Depress them? Motivate team Trump? Bolster the “they’re all terrible” case for third-party candidates?
We don’t know. But anyone experienced in politics, as Comey obviously is, would have known for dead certain that his intrusion would change the process in a way that cannot be undone. This is apparently what other officials in the FBI and Justice Department were telling Comey before he took this step. Two former deputy attorney generals—Jamie Gorelick, who served under Bill Clinton, and Larry Thompson, who served under George W. Bush—made that point in a new Washington Post essay that lambastes Comey for his self-indulgent decision (emphasis added) ...
[Extended quotation omitted]
* * *
Last week I mentioned the ongoing cultural/“norms-enforcing” challenges that had plagued the Philippines, which I’d written about back at the end of the Marcos era in a piece called “A Damaged Culture.” The rules by which the Philippine Republic is governed are fine. A big problem involved norms—the things that powerful people did, just because they could get away with it.
The rules of American governance are still more or less OK, despite the increasing mismatch between the 18th-century structural decisions built into the Constitution and the realities of 21st-century life. It’s time to worry about the norms.
(CNN)There are so few details provided by FBI Director James Comey that it is impossible to know what to make of his decision to inform Congress about new emails relating to Hillary Clinton's server. The timing is unfortunate, since Justice Department guidelines expressly advise its officers to be careful not to do anything through action or announcement that could interfere with elections or the democratic process.
It also raises a larger issue. The United States has gone too far down the road of criminalizing public policy. When your opponents do something wrong, even profoundly wrong, in politics, it is often best to treat it for what it is -- bad judgment, bad policy, bad ethics -- and make the case to the electorate to hold those people accountable. It should not be standard practice to instantly begin searching for ways to treat that behavior as criminal.
This has been a bipartisan problem. When Democrats controlled the legislature under the Reagan administration, they turned the Iran-Contra affair into a legal matter, which resulted in the appointment of an independent counsel, years of inquiries, and bitter partisan divisions.
Then came the Clinton years, when this zeal exploded. The investigations of Bill Clinton consumed public attention, cost tens of millions of dollars, and resulted in an impeachment that was totally unrelated to the alleged original offense, Whitewater, on which no charges were ever filed.
I realize that in some of these cases, laws were broken or circumvented and people should be held accountable for that. But when you appoint special prosecutors with unlimited mandates and budgets, who inevitably define success as finding a crime, you are changing the basic codes of Anglo Saxon law.
* * *
The last two presidencies have seen something of a respite from these witch hunts, though there were some Democrats who wanted to try George W. Bush and Donald Rumsfeld as war criminals. In any event, it seems we are ramping up again for a round of criminalization of partisan differences. House Republicans are promising years of hearings and inquiries should Hillary Clinton be elected president. This would be a terrible outcome for a country; it would mean gridlock, venom and a political system consumed with depositions and trials rather than serious public policy.
The FBI and Justice Department in particular should stand as independent institutions and not be swayed by demands made by partisans of either side. James Comey seems like a fair-minded person, but his decision to provide color commentary on his decision not to indict Clinton, to testify to Congress about it, to send Congress raw FBI data, and now fire off this vague letter are all a break with longstanding practice and established procedures. Not since J. Edgar Hoover has an FBI director positioned himself as a player in the political realm. It does not help Republicans or Democrats to have the FBI at the center of a bitterly fought election.
The power to use the state to put someone in jail is an awesome authority; it should not be used in any way that might appear to be partisan. This is why I have always been suspicious of elected attorneys generals, who have the ability to use the police powers of the state to further their political careers.
Again, I know that sometimes there are real high crimes and misdemeanors. But that has become an excuse to turn every political divide into a search for a crime. And it has had ruinous effects in American politics. It poisons the public arena and makes politics a life and death affair, where people don't just want to defeat their opponents but to jail them. It reminds one of third world banana republics, not an advanced democracy.
Call to Worship/Gathering: "Faithful" - Adam and Jamie will lead, we may add some voices on the chorus -- let me listen to this one some more
https://www.youtube.com/watch?v=XN3YCgcyWdY
Worship Songs:
"Holy is the Lord"
https://www.youtube.com/watch?v=FIwMYktdBg8
"Holy Holy Holy (God with Us)" - be sure to listen to the rhythm on this one - we're tending to drift back to the traditional hymn style
https://www.youtube.com/watch?v=cRUTAhBmCIY
creed: "We Believe" (Newsboys)
sung "Lord's Prayer"
during communion distribution: "The Table"
https://www.youtube.com/watch?v=peeqJ1bmT_w
Pope jokes in ecumenical meeting: Who is better - Catholics or Lutherans? *ROME REPORTS in English
xxx
The pope met in the Vatican with this group of Catholics and German Lutherans who have traveled to Rome together.
The pope had the scarf for Catholic pilgrims, and it was symbolically tied to the one worn by Lutherans, so he wore both at the same time. Later, the pope held this funny dialogue with them, where they tried to trip him up with "trick questions."
"One important element of this meeting is the anticipation of the spirit with which Pope Francis will travel to Sweden in late October, for the start of the commemoration of the 500th anniversary of the Protestant Reformation." [Boldface type in original.]
* ROME REPORTS, http://www.romereports.com/en, is an independent international TV News Agency based in Rome covering the activity of the Pope, the life of the Vatican and current social, cultural and religious debates. Reporting on the Catholic Church requires proximity to the source, in-depth knowledge of the Institution, and a high standard of creativity and technical excellence.
As few broadcasters have a permanent correspondent in Rome, ROME REPORTS is geared to inform the public and meet the needs of television broadcasting companies around the world through daily news packages, weekly newsprograms and documentaries.
Lizzy Hoyt performing at the Canadian Folk Music Award Nominee Showcase on December 3rd, 2011 at Hugh's Room in Toronto, ON.
Lizzy's album HOME was nominated for Traditional Singer of the Year. To hear samples of her nominated CD, visit: www.lizzyhoyt.com
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Star of The County Down - Van Morrison and The Chieftans
xxx
Since it's a slow air, it can be played in different keys to accommodate a singer's voice. (Yea!) The Session website has two setting in A minor and one in E minor, and most of the players who commented seem to play it in Am. xxx has it in Bmin, although I think it's actually in B dorian. It plays well on a mountain dulcimer in either mode,
Mountain dulcimer
Dorian Mode-Kingsfold ("Star of the County Down")-DAG tuning. Played in the Dorian mode (using DAG tuning) on an all cherry 5-string dulcimer. A traditional English tune thought by some to date back to the medieval period, it is probably most famous today as the tune for the Irish folk song "Star of the County Down" (lyrics by Cathal McGarvey ca. 1890s-1920s). It is also the tune for several sacred songs, including "O Sing a Song of Bethlehem" and "I Heard the Voice of Jesus Say."
Kingsfold in DAA ("Star of the County Down")
Dr. Bill's Mountain Music - Appalachian Dulcimer Demo's
-- Played on an all cherry 5-string dulcimer. I have played this song drone-style in minor modal tunings, but I wanted to show that, by use of chords, it can also be played in standard DAA tuning. Ionian, Dorian, and Aeolian are modes of play based on scales, NOT methods of tuning.
Star of the County Down (My Love Nell)
Katie LaRaye Waldren -- Katie arranged this beloved Celtic tune on the mountain/lap dulcimer using both finger picking and strumming styles. Tune to DAD, capo on the first fret.
Dorian mode made easy
Well, that's "easy" like if you're really, really into music theory.
https://thesession.org/tunes/4320. Also known as Diversus And Lazarus, Diverus And Lazarus, Dives And Lazarus, Gilderoy, Kingsfold, The Star Of County Down, The Star Of The County Down March, When First I Left Old Ireland. ... As Dives and Lazarus.
Among the comments: Many songs to that tune
This is the plain tune of the song and has little to do with a reel. The melody is used for quite a few songs. Amongst them:
Crooked Jack, Dives an Lazarus …
The list ist longer but I would have to do a longer search.
# Posted by Ranks 11 years ago. ... Anyone ever play this as an air? Being a bassoonist as well, I’ve played Vaughn Williams’s "Five Variants of Dives and Lazarus" and the melody sounds great slower, and I think it could be really heart-wrenching given the right inflection. ...
Re: The Star Of The County Down
The melody is in English County Songs, 1893, collected by John Maitland, later harmonised by Ralph Vaughan Williams as the hymn tune Kingsfold and used with words by Horatius Bonar, "I heard the voice of Jesus say, ‘Come unto me and rest’ ".
Mr. Tambourine Man (Live at the Newport Folk Festival. 1964)
Shared to my Facebook page: "Well-written tribute by the editor of The New Yorker. But the links are why I'm posting here, from Newport 1964 to last week. Also audio of a 2001 press conference in Rome."
I hadn't suspected David Remnick, editor of The New Yorker, has the exquisite timing of a borscht-belt comedian. But his tribute to Bob Dylan, posted to the magazine's website when it was announced today that Dylan has won the Nobel Prize for Literature, was pitch-perfect. He even tied in an oblique reference to Donald Trump, deftly implying a contrast between the worst in American popular culture and the Swedish Academy's recognition of the best.
The setup:
God is a colossal joker, isn’t She?
We went to bed last night having learned that the Man Who Will Not Go Away was, according to the Times, no mere purveyor of “locker-room talk”; no, he has been, in fact, true to his own boasts, a man of vile action. The Times report was the latest detail, the latest brushstroke, in the ever-darkening portrait of an American grotesque.
And then, as swiftly as a standup comic, the punchline:
Then came the news, early this morning, that Bob Dylan, one of the best among us, a glory of the country and of the language, had won the Nobel Prize in Literature. Ring them bells! What an astonishing and unambiguously wonderful thing! There are novelists who still should win (yes, Mr. Roth, that list begins with you), and there are many others who should have won (Tolstoy, Proust, Joyce, Woolf, Nabokov, Auden, Levi, Achebe, Borges, Baldwin . . . where to stop?), but, for all the foibles of the prize and its selection committee, can we just bask for a little while in this one? The wheel turns and sometimes it stops right on the nose.
A distillation of Dylan at mid-career, with a long, rambling intro that builds into call-and-response with his backup musicians, calling to mind the black gospel tradition, and ends at 5:50 with "Slow Train Coming."
Scott Ainslie plays cigar box guitar at the Ships of the Sea Museum
Blues Musician and Historian Scott Ainslie playing his "Didley-Bow" and a Museum model 3-string cigar box guitar at the Ships of the Sea Museum in Savannah Georgia on April 7, 2011 in advance of a building workshop on August 20, 2011. For more information, email tonypizzo@shipsofthesea.org or visit www.shipsofthesea.org. For more info on Scott, visit http:cattailmusic.com.
Michael Jordan
Shane Speal -- https://www.youtube.com/user/InsurrectionRex/about "King of the Cigar Box Guitar" Concert footage along with lessons for cigar box guitars, deep blues, performance secrets and taking the music industry back to the people.
How to Play Diddley Bow pt. 1 "The Magic Note"
How to Play Diddley Bow pt 2: "I'm a Man riff" https://youtu.be/t5q0HJ_mbPQhttps://youtu.be/t5q0HJ_mbPQ
How to Play Diddley Bow pt. 3: Play Shane Speal's song "16 Miles to Saltsburg" https://youtu.be/MxkHPfJQOFshttps://youtu.be/MxkHPfJQOFs
How to Play Diddley Bow pt 4: "Using your ear" https://youtu.be/GMd4IKB3l34https://youtu.be/GMd4IKB3l34
xxx
... how to play it with feeling, and how to play it with attitude"
Blast email sent to my Clayville and Peace Lutheran jam session lists at 7:14 p.m. today --
Hi everybody --
October is sneaking up on us, and it's about to pounce. Saturday is
Oct. 1, and that means it's our regular monthly session of the
Clayville Pioneer Academy of Music at Clayville, from 10 till noon
Saturday morning in the barn at Clayville Historic Site, Ill. 125,
Pleasant Plains.
On the, ahem, syllabus this month are two lovely ballads out of the
Anglo-Celtic and American tradition of balladry. No, OK, we'll have
*one* lovely ballad -- "Wild Mountain Thyme" -- and one raucous
bluegrassy novelty song called "Five Pounds of Possum (in my
Headlights Tonight"). Lead sheets are available on the Dogwood Dulcimer Association website in Pensacola, Fla.
We'll also finalize our Christmas play list and hand around a book of
Irish slow airs. Hope to see you there!
** UPDATE ** Excerpts from blast email Monday, Oct. 4, at 5:05 p.m.:
Hi everybody --
Our next session is tomorrow, from 7 to 9 p.m. Tuesday, Oct. 4, at Peace Lutheran Church. Saturday morning at Clayville we had a great time switching back and forth from D to G, so let's try it some more.
Which means, if you play the mountain dulcimer, you have two excellent choices: (1) bring and capo; or (2) come tuned in DAD and be ready to retune the middle string to G. It takes about as much time to do it either way.
One song we've done in D that works a little better in G (for most people's voices) is the "Ode to Joy" theme from Beethoven's 9th, aka "Joyful Joyful We Adore Thee." Let's try it in G.
Here's a link to a lead sheet in G, on Michael Kravchuk's website:
It's on page 8 ... the entire songbook, for a kind of portable dulcimer called a "Strumbly" is available online, and it has fret numbers (no chords and no notation, though) for a bunch of songs in G. ...
We never got around to "Five Pounds of Possum (in my headlights tonight ...)" Saturday, which broke my heart because it's such a tender, lyrical ballad. But I've posted links to Hogfiddle
at:
The other tune is "Wild Mountain Thyme." Don't believe my web address -- they're not new, they're both tunes we've played before that we haven't done lately, but they're worth bringing back. We had a lot of fun Saturday with "WMT." Let's try them both Tuesday.
https://www.facebook.com/npsalmodikonforbundet/posts/10206346278169973
Jag har väl nästan mailbombat sidan med låtar. Vi är ju faktiskt många medlemmar och jag gissar att de flesta spelar. Jag tycker det vore kul att höra flera!
I stället för att mailbomba denna sida tänkte jag att jag lägger upp några spellistor hör i stället. En gång för alla.
Det blir då dels min bror Erik, som fokuserar på de äldre psalmböckerna. 1937-års psalmbok men främst kanske de riktigt gamla. På en del låtar använder han stråke, på andra inte. Helt enligt tradition.
Först en lista jag skapat på SoundCloud med Eriks låtar. https://soundcloud.com/gunnar-fredelius/sets/erik-fredelius
Inte bara, men mest, psalmodikon
Sedan en YouTubelista https://www.youtube.com/playlist…
Jag spelar väl en och annan andlig låt , men mitt fokus ligger på folkmusik. Bland annat låtar jag vet spelades på psalmodikon på spelmanstävlingar i början på 1900-talet. Även i vår släkt spelades en gång i tiden till dans på psalmodikon, I smyg :)
Jag har en del psalmodikon på YouTube: https://www.youtube.com/playlist…
Bättre ljud och lite "bättre" låtar på SoundCloud. https://soundcloud.com/gunnar-f…/…/psalmodikon-med-nygammalt
I guess I have almost mailbombat page with songs. We are, in fact, many members, and I'm guessing that most of the play. I think it would be fun to hear more!
Instead of mail-bomb this page, I thought I put up a few playlists hear in this place. Once and for all.
It will be partly my brother Erik, that focuses on the older psalmböckerna. 1937-Year-old hymnal but mainly maybe they really, really old. On some songs he uses bow, on the other not. According to tradition.
First a list I made on soundcloud with Erik's songs. https://soundcloud.com/gunnar-fredelius/sets/erik-fredelius
Not only, but mostly, psalmodicon
Since a youtubelista https://www.youtube.com/playlist?list=PLDo4JMdJQIuez7vFMKf79-8HGr4XkKE3x
I'm playing a and other spiritual song, but my focus is on folk music. Among other things, I know the songs played at psalmodicon spelmanstävlingar in the early 1900th century. Even in our family was played once upon a time to dance on psalmodicon, on the sly :)
I have some psalmodicon on Youtube: https://www.youtube.com/playlist?list=PLDo4JMdJQIueJu-nGYuR_Qz948ZwPYTQ4
Better sound and a little "better" songs on soundcloud. https://soundcloud.com/gunnar-fredelius/sets/psalmodikon-med-nygammalt
Någon kanske frågar sig varför jag pratar hummel och psalmodikon i samma andetag. Svaret är att termerna använts så oprecist så när det står långharpa eller långspel i äldre källor, så vet vi inte vad som avsågs. Om hummel var så vanligt som man får intryck av, så varför finns inte flera bevarade? För att de förstördes under den tid på 1800-talet, och i en del landsändar ända in under min levnad? Det bidrar nog, men många nyckelharpor och fioler överlevde... Å andra sidan så överlevde nyckelharpan främst i Uppland. För att den bara fanns där säger några då. Men den finns omnämnd även på andra ställen. Inte vet jag om den religiösa instrumentutplånarivern var mindre i Uppland än tex Västergötland och Norrbotten, där ett par speciella rörelser ju var starka... Psalmodikon var det vanligaste instrumentet i stugorna under en tid. De spreds ju just för att användas till andlig musik. Men för den som tidigare spelat tex hummel, eller fått sin fiol uppeldad, kliade det nog i fingrarna att spela låtar på psalmodikonet, när ingen alltför folkmusikfientlig var i närheten. / [Some may wonder why I'm talking hummel and psalmodicon in the same breath. The answer is that the terms used so imprecise so when it says långharpa or långspel in older sources, so we do not know what it was intended. If Hummel was as common as you get the impression, so why aren't more preserved? Because they were destroyed during the time in the 1800 s, and in some tracts of all the way in during my life? It helps, I think, but many nyckelharpor and violins survived... on the other hand so survived the nyckelharpa mainly in uppland. Because it was only a few say that then. But it is also mentioned in other places. I don't know if the religious instrumentutplånarivern was less in uppland than tex västergötland and norrbotten, where a couple of special movement was strong... Psalmodicon was the most common instrument in the cottages for a period of time. They spread precisely in order to be used for spiritual music. But for the one who previously played Tex Hummel, or had his violin pumped, scratched it in my fingers to play songs on psalmodikonet, when no one is too folkmusikfientlig was in the neighborhood.]
Important discussion below of the relationship between a Swedish hummel and a psalmodikon on my Facebook feed this morning. Link here or click on permalink address just below this screenshot to see the original:
Background: This morning I posted to Facebook my pictures of the Dillner Museum behind the church in Östervåla, and Gunnar Fredelius questioned whether the instrument identified in the museum as a hummel toward the end of my photo album wasn't really a psalmodikon. This led to threads on my FB feed and Gunnar's, where he had posted a copy of my pix.
Upshot: I quickly agreed the instrument in question was a psalmodikon, but one with a body shape modeled after a hummel -- at least it resembles my Frisian hummel (Friesische Hummel) made by Willfried Ulrich of coastal East Frisia in Germany (pictures at http://s642275850.website-start.de/neue-hummeln/). I'll won't repeat the thread here. Instead I'll link to:
In the process of researching the Ostervala psalmodikon, I consulted Stig Walin's "Die Schwedische Hummel" and copied his discussion of psalmodikons below, along with an unedited Google translation. Rely on it at your peril, but it'll give you a rough idea of what he says.
If I am reading Walin correctly, both the hummel and the psalmodikon traced their origins back to the medieval monochord and a related folk instrument in parts of northern Europe called a långspel. (The word is Swedish, and I think it might be a generic term for an stringed instrument played lengthwise -- i.e. up and down a single string over a fretboard on the long side of the instrument. Cf. Icelandic langspil.) Like an American dulcimer or any other instrument where the melody is played on a single string.
Background on hummel. Långspel and långharpa are also words for the hummel (see discussion in Wikipedia, which is unusually informative, at https://sv.wikipedia.org/wiki/Hummel_(musikinstrument): "Hummeln är ett (troligen medeltida) instrument som funnits i hela Europa i lite olika varianter. Instrumentet var vanligt i Nederländerna, Nordtyskland och Danmark under 1700-talet. I svensk bondekultur finns belägg för instrumentet först från 1600-talet och det verkar ha förekommit mest i de södra delarna. Under 1800-talet ansågs hummeln vara ett primitivt bondeinstrument och dess popularitet avtog men några entusiaster har, med start från 1970-talet, återupptagit traditionen att spela hummel." [Google trans.: Hummeln is a (probably medieval) instruments that existed throughout Europe in a few different directions. The instrument was common in the Netherlands , northern Germany and Denmark during the 1700s. In the Swedish farming culture is evidence of the instrument to the 1600s, and it seems to have been mostly in the southern parts. In the 1800s it was considered Hummeln be a primitive peasant instruments and its popularity waned, but some enthusiasts have, starting from the 1970s, resumed the tradition to play Hummel.]
Unedited excerpts in English translation are by Google. Use at your own risk. [One example will suffice: When the text refers to "bumblebee," it is Google's translation of the name of the instrument. The name comes from the buzzing sound made by the drone (bourdon) strings.] I am putting these pages, Walin's only mention of the psalmodikon, up on the blog for convenient access. I am not attempting a translation at this point.
Around 1830 began the incredible
fast triumph of Psalmodikons over
the areas.1 The instrument was developed by the
powerful revivals of
40s and the following decades
put into use. but Still
the Tonwerkzeug could never so quickly
can spread and would in the tradition-bound
Rural population never
come to immediate application,
if not the bottom of the related
older zither type Hummel as good
would have been prepared. As a popular
Tool of a purely secular musical culture
(Including dance) had
the Hummel many places as hard
considered a sin and therefore burdened aside
been pushed or simply destroyed
be 2 to instead of Psalmodikon
to be replaced, the 3 t the beginning of A
an instrument for worship
and house devotion was.
Where the Hummel despite everything
further held that both types could
be confused.
The Hummel was also certain
constructional details of
Psalmodikons acquire. The right in
Fingerboard cut chromatic
Bund series at G 40 we have already
by above as a sign of the influence
the Psalmodikon angenommen.4 Maybe
has the same effect at the
chromatic (re) grouping
the frets at G 2 9 5 asserted,
the instrument I. Westerlund, the various
religious purposes served.
W hen but also to Psalmodikon
victoriously penetrated, it possessed but
far from the same tradition force
as the bumblebee.
* * *
This is, inter alia, from his
Mold development produced.
Dill Ner original instrument supposedly
now in N M under N r. 14152 is,
has an elongated body with
straight sides and the same width
Later the web as in Sattel.6 but
the Psalmodikon was often with extensions
and bulges of various
Article provided. but these have not
the formal unity and the organic
Beauty, which bulges the
the native bumblebee
ajjszeichnen. It often seems as if they
quite by accident and not natural
Way from the actual basic shape
developed hätten.7
In the rich flora of this form Psalmodikons
can be of different influences
feel sides - in a few
notable cases of the
Bumblebee!
Three Psalmodikon in Västergötland
Museum, Skara, N r. 13754, 41966 and
45778, with respect to the outer body shape
a side bulged
Hummel's amazing ähnlich.1 order
but it is not enough. also regarding
the size they close the Hummel
at. Dill former Psalmodikon has a
gr. L. 1027 mm.2 The three about
equally large instruments in Skara are
However, considerably shorter. No. 41966 has
a gr. L. 810 mm. The gr. L. of
Most native bumblebees is
between the limits 692- 890. The
Psalmodikon therefore closes this
Plurality of.
According to the catalog information originates the instrument
of Vastergotland, 3 of the landscape,
in the "långspel" already on
widespread at the beginning of the 18th century
was, of which we only a bumblebee
(G 26) have registered. The Psalmodikon
however, shows that the Hummel tradition
in the countryside in the 19th century
was strong. Perhaps one could
even the "långspel» -Tradition say.
The length of the "långspel" was about
890 and the width of about 223 mm. The
corresponding V alues of Psalmodikons
N r 41966 are 810 and 215 mm.
W hen we now again the question
over the age of zither instrument from
Type Hummel turn in Sweden,
we must say that a type of instrument,
already at the beginning of the 18th century.
Century in at least a portion of the
spread Swedish country areas
and was popular and then in spite of all
unfavorable conditions around the country
one such striking force Tradition
showed spoken of here,
that such type of instrument, as
already indicated, a local history
must have that far out
stretched on the said date.
The sources of this ancient history
but are difficult to access and uncertain.
One reason for this is the terminology
Ambiguity.
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[Fredborg also gives titles: Giv, o Jesus, fröjd och lycka - Ljus av ljus, o morgonstjärna.]
The last song the Nordiska Psalmodikonförbundet played at Östervålakyrka was Hör hur tempelsången Svenska Psalmbok (1986), No. 77. It's very old, dating back to the gamla psalmbok of the 1690s. Wikipedia has the background at
https://sv.wikipedia.org/wiki/Herre,_signe_du_och_r%C3%A5de. The last verse, beginning "Herre, signe du och råde," has been commonly used as a benediction or "sending" song -- although the other verses have swapped around considerably in the 1819, 1937 and 1986 hymnals. Says Wikipedia:
Herre, signe du och råde (även känd som Du som fromma hjärtan vårdar, Hör hur tempelsången stiger och Dagar komma, dagar flykta) är en psalm ursprungligen skriven av Jesper Swedberg 1694, som utökades med sex verser av Johan Olof Wallin 1816.
I 1695 års psalmbok utgjorde Swedbergs vers "Herre, signe du och råde" den sista psalmen (nummer 413 under rubriken "Om thet ewiga Lifwet"). Även i 1819 års psalmbok och 1937 års psalmbok stod psalmen sist (som nr 500 resp 600), men då hade Johan Olof Wallin lagt till ytterligare sex verser, så därmed fick den titeln "Du som fromma hjärtan vårdar" med Swedbergs sista vers som ståvers.
I Den svenska psalmboken 1986 ströks de två första verserna och psalmen gavs inledningen "Hör hur tempelsången stiger" som psalm nr 77 i den ekumeniska delen av psalmböckerna 1986 års Cecilia-psalmbok, Psalmer och Sånger 1987, Segertoner 1988 och Frälsningsarméns sångbok 1990.
* * *
Särskilt sjungen är Jesper Svedbergs vers, "Herre, signe du och råde", som dels var självständig psalm i 124 år, dels ofta fick avsluta folkskolans arbetsdagar i minst ett sekel till.
Med ursprunglig stavning löd versen 1695:
Herre signe tu och råde
Och beware nu oss wäl
Herre titt Ansicht i nåde
Lyse altijd för wår siäl!
Herre Gudh titt Ansicht wänd
Och tin frijd oss allom sänd!
O Gudh Fader, Son och Ande
Tigh ske prijs i allo lande!
Melodi i psalmboken av Johann Schop ur Himmlischer Lieder från 1642 (F-dur, 2/2, samma som till Gud, i mina unga dagar och mest känd som melodin för just "Herre, signe du och råde".) Redan i 1697 års koralbok anges att melodin är densamma som för psalmerna Giv, o Jesus, fröjd och lycka (nr 139), Helge Ande, hjärtats nöje (nr 184), Ack, vi ästu dock så blinder (nr 278), Ljus av ljus, o Morgonstjärna (nr 356), Öpna tigh min munn och tunga (nr 376), Var nu redo, själ och tunga (nr 377). Det tyska originalets titel är Werde Munter.
Bonus hymn: "We Come to the Hungry Feast" by Ray Makeveer (WOV 766, ELW 479)
Lutheran Contemporary Music Resources. Victoria _________, pastor Trinity Evangelical Lutheran Church (ELCA) in Steelton, Pa.
Blog post "... that I hope will be particularly useful for Lutheran pastors who are either trying to make a foray into the world of contemporary Christian music, start contemporary services, or who are trying to get their congregations to rock out with their Bach out." "Lutheran Contemporary Music Resources," Lutheran Moxie, Aug. 30, 2012. https://lutheranmoxie.wordpress.com/2012/08/30/lutheran-contemporary-music-resources/
True Vine Music! "Our mission is to provide Christ-centered, Biblically-grounded, contemporary worship songs for the church. We provide original congregational worship songs on many themes including Baptism, the Lord's Supper, and the Liturgy." [LC-MS] http://www.truevinemusic.com/lutheran.htm
Heard "We Come to the Hungry Feast" for the first time (at least the first time I was paying attention" in the traditional service at Peace Lutheran this morning. It's not Christian contemporary -- sounds almost like an American folk hymn, nice and melodious. Reminds me of Marty Haugen's liturgies, definitely a keeper.
Mary Munson, church musician of Camano Island, Wash., recorded the hymn for her choir at Camano Lutheran Church, as an aid in learning the tune. She has quite a few hymns, mostly from the ELCA's "cranberry book," Evangelical Lutheran Worshop, on her YouTube channel, plus occasional cat videos, including a piano transcription of Sergei Prokofiev's cat melody from "Peter and the Wolf." You can tell she has cats!
Vid spelmanstävlingarna i Uppsala 1912 spelade August Eriksson upp på psalmodikon. Ebba Brahes brudvals och en gånglåt som kallades Tredjedag Jul. Jag försöker nu ta reda på hur de låtarna går.
Ebba Brahes brudmarsch är välkänd i gammelharpkretsar. Men Ebba Brahes brudvals vet jag inget om annat än att den sägs vara vacker.
Denna psalmodikonspelman hade följande repertoar när det gäller spelmansmusik. 4 marscher,1 skänklåt, 4 polskor, en mycket gammal brudpolska, 7 valser och tre galopper
Kuriosa: En spelman en gång i tiden, berättade att som liten spelade han psalmodikon. Vid ett tillfälle då han spelade i kyrkan hade han skadat en fot. Han stod därför på ett ben och spelade. Han sa "det var som det skulle. En sträng, ett ben"
Herr Prof. Google translates as follows:
At Spelmanstävlingarna in uppsala in 1912 played August Eriksson up on psalmodicon. Ebba Brahes Bridal Waltz and a gånglåt called Tredjedag Christmas. I am now trying to find out how the songs go.
Ebba Brahes Wedding March is well known in gammelharpkretsar. But Ebba Brahes Bridal Waltz, I know nothing about other than that it is said to be beautiful.
This psalmodikonspelman had the following repertoire when it comes to traditional Nordic Dance music. 4 Marches, 1 Skänklåt, 4 Polish, a very old brudpolska, 7 Waltzes and three galopper.
Factoid: A Fiddler, once upon a time, told me that as a kid, he played psalmodicon. At a time when he played in the church, he had a hurt foot. That is why he was standing on one leg and played. He said " it was as it should. A String, a bone "
En spelmanstävling är ett evenemang med tävlan mellan spelmän eller spelgrupper. 1906 anordnades den första i Sverige och de närmaste decennierna därefter blev detta sedan en fluga och runt om i landet ordnades en mängd sådana spelmanstävlingar, ofta i samband med andra evenemang, såsom utställningar, hembygdsevenemang, idrottsevenemang etc. [Google: A fiddler contest is an event with the rivalry between musicians and gaming groups. 1906 organized the first in Sweden and in the decades thereafter became then a fly and around the country held a variety of such folk competitions, often in conjunction with other events, such as exhibitions, local events, sports events, etc.]
more info, incl. list of annual events 1906-1945, including Uppsala, 1912.
Här spelar vi några verser av den välkända danska dikten "Jeg ved en lärkerede". Vi spelar "Grovt och grant", Solveig på sopran- och jag på alt-psalmodikon. Dikten är tonsatt av Carl Nielsen. [Trans. Google:
Here we are playing a few verses of the famous Danish poem " jeg ved a lärkerede ". we play " rough and grant ", solveig on soprano and I on the alt-Psalmodicon. The poem is tonsatt by Carl Nielsen.]
... At home, you perhaps did not ask much about the welfare of your soul. You were perhaps satisfied, when no one could bring you to commit a major criminal act ... theft, murder, adultery, swearing, breach of the Sab-bath, and such ... or that you were no worse than others. You perhaps thought that all was well, when you were called “Christian” and went to church and Communion. O, my countryman! Thousands upon thousands of souls have gone to eternal damnation, because they trusted such weak grounds for faith, and wandered the broad road with the masses. (Matthew 7:13). And if you never before cared 170 about Jesus’ words, that without being saved, and become as chil-dren, you will not come into Heaven (Matthew 18:3), do it now. Now you have arrived at completely new conditions, you have come to a land where people generally are not content with the externals and form of Christianity: now you have the best opportunity in the world to convert yourself, so that your soul may be saved from the coming wrath (Matthew 3:7). Do not ever believe that a human, who by knowingly sinning breaks their baptismal compact, can be saved without conversion. There are certainly thousands of people in all the cities and parishes of Sweden, Norway and Denmark who believed this, but it is against God’s word, and God’s word shall not perish, even if heaven and earth shall perish. (Matthew 24:35). No, if you have not been converted before, you have never experienced any anguish in your heart for your sins, and have no fear of damna-tion, as well as having a new, blessed life in your heart, then hasten to turn yourself to Jesus Christ; like the Lost Son, confess your sins to Him (Luke 15) and pray for grace and forgiveness in His name, so you may be given grace to become a child of God, so that your soul dies in grace, when you are called home.
* * *
You believe, according to God’s word that your children were born again in their baptism, through Jesus’ righ-teousness and forgiveness. You will find few outside the Lutherans who believe that way. When you take communion, you find a blessed comfort in the truth that the body and blood of Our Savior are truly present in the bread and wine; but other congregations in this coun-try, except the Lutheran, say that the bread and wine are only sym-bols or signs of Jesus’ body and blood, and that Jesus’ body and blood are partaken of only spiritually and in a heavenly way, by faith, and in many other respects. Thus, stay with that to which you have already come, and if you accept anything else, let God reveal it (Phil. 3:15-16), and do not accept it from men, however learned, pious or good they may be. Take these words of welcome to heart, dear countryman! They are spoken in heartfelt concern for you, and for the spiritual well-being of your children, by one who has carefully tested the teachings of this land, who wishes to see the true light of God’s word shine among his countrymen, and who shall finally answer to God if he fails to educate and watch over his brothers. We shall there, before 173 God’s judgment throne, see each other again, and have eternal joy with Him, if we have been his children and faithfully kept the profes-sion of hope (Hebrews 10:23) until the end. Yes, Amen, so be it! In the northern part of Illinois there are many Swedes, hundreds, especially in Andover, Henry County, Rock Island, and Moline on the Mississippi. There are even three Evangelical Lutheran congrega-tions, at Andover, Moline and Henderson, served by God’s word and the Holy Sacraments, by a Swedish pastor, sent by the Swedish Mission Society in Stockholm, and truly ordained in his holy calling. Other sects and parties are also found in the area, but do not hold the pure faith. The surest sign of a congregation or teacher is that they recognize the Lutheran church’s symbolic books as containing God’s word and true teaching. The way to Andover is from New York to Albany by steamboat; to Buffalo by canal boat or railroad; to Chicago by steamboat; to Peru or LaSalle by canal boat; and to Andover by land using rented or, better yet, purchased horses. Those who can leave Sweden in the fall by sea to New Orleans, can in the spring quickly and easily come by steamboat up the entire Mississippi to Rock Island and Moline. During the winter there are good work opportunities in New Orleans and St. Louis, but during the summer it is unhealthy there. Printed in New York by H. Ludwig & Co., 1851.
"How Great is Our God" - chorus only, connecting from end of "God of This City"
creed: "We Believe"
sung "Lord's Prayer"
during communion: "Remember" (Jamie?)
Closing/Sending Song: "Awesome is the Lord Most High"
Since we are celebrating our church's anniversary for the next 2 weekend's services, I have a song that I'd like us to use both weekends. We just have our regular services on the 17th and 24th (no blended service).
We'll do this as the Gathering/Call to Worship this weekend, and then on the 24th we'll use it as a congregational.
