Description
From the arranger:
“The Welsh melodies used in this publication were collected by Edward Jones (1751-1824), harper to King George IV. Jones was a prolific collector and arranger of melodies and is best remembered for his three-volume work called Musical and Poetical Relicks of the Welsh Bards (1784-1802). Some of Jones’ melodies appear in other sources for Welsh tunes such as John Parry’s (‘Bardd Alaw’) Welsh Melodies (1809), Maria Jane Williams’ Ancient National Airs of Gwent and Morgannwg (1844), and John Thomas’ (‘Pencerdd Gwalia’) three volumes of Welsh Melodies (1862-1874). Jones’ melodies are often slightly different than familiar versions of the tunes that appear in later collections. After all, they are based in folk music – a form that continually evolves.
“I have adapted the Welsh tunes for melody instrument with lever harp accompaniment. All of the tunes are presented in Jones’ original keys, except for two (Suo-Gân & Llwyn-Onn), which were transposed to better accommodate the range of both flute and violin when played at pitch as well as up the octave. Guitar chords are included so that the melody may be played by any ‘C’ instrument, accompanied by chords on harp, lute, guitar or keyboard. In addition, the melody could be played as a harp solo, adding the chords to the left hand.
“Dynamic markings and fingerings are provided throughout as an aid to performance. Lever changes are indicated between the staves and pedal changes below the bass staff. However, the harper should use whatever expressive markings suit them, no matter what this book indicates!
“Some of the bass lines or right-hand figures in the harp score of this collection were borrowed from earlier solo harp publication of mine, notably Old Welsh Airs, The King’s Bard, and The Celtic Solo-Duo Book. So, if they seem ‘familiar’ to those who have played from those books, well – they are! Some parts of the old books were recycled and re-arranged to create this new flute/violin and harp version.
“These airs have been placed in progressive key order to create a satisfying ‘Welsh set’ that facilitates lever (or pedal) changes. This order also facilitates playing 2-4 tunes in succession as a ‘Welsh medley.’ All tunes were typeset to eliminate any page turns within a piece. Where 1st and 2nd endings are indicated on the harp score, they are only listed above the melody instrument line due to space confines; however, the endings apply to all instruments.”
Included are a harp score and separate instrument part. ALL HARPS + FLUTE/VIOLIN, INTERMEDIATE.
Table of Contents
- Dafydd y Garreg-Lâs (David of the Blue Stone)
- Y Gofid Glâs (The Blue Devils)
- Syr Harri Ddu (Sir Harry Black)
- Morfa Rhuddlan (Marsh of Rhuddlan)
- Ar Hyd y Nos (All Through the Night)
- Mentra Gwen (Venture Gwen)
- Diddanwch Gruffydd ap Cynan (Delight of Gruffydd Son Conan)
- Merch Megan (Megan’s Daughter)
- Suo-Gan(Lullaby Song)
- Dewis Meinwen (Fair One’s Choice)
- Megan a Gollodd ei Gardas (Megan Who Lost Her Garter)
- Dafydd y Garren-Wen (David of the White Rock)
- Glan Feddwdod Mwyn (Sweet Intoxication)
- Y Gàlon Drom (The Heavy Heart)
- Codiad yr Hedydd (Rising of the Lark)
- Maldod Arglwyddes Owen (Lady Owen’s Favorite)
- Eryri Wen (White Snowdon)
- Breuddwyd y Frenhines (The Queen’s Dream)
- Llwyn-Onn (The Ash Grove)
