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Pins

The past week or two have continued the making things theme. I have done a series of tuning keys as test-runs; I have made a page advertising them which I will send out for my 1st May Emporium Update.

I also have made the set of pins for my HHSI Student Downhill harp, and today while it was here with my student who has it, I fitted the pins – pulling each of the old steel pins out in turn and then replacing it with a new brass pin. I had to shim all of the brass pins because for some reason they are marginally smaller than the steel pins, and I used thin brass sheet to make the shims. Plenty of the antique Gaelic harps have brass shims in their pin holes and I find it works well.

We instantly noticed how much better the harp worked to tune, with the new pins – the key fits much more snugly on the new pins with their tapering drives, giving a much more positive touch to the tuning. And the new pins look rather good with their decorated drives. I am very pleased with the result.

I have always thought that handmade pins with tapering drives work so much better than machine made steel pins with parallel drives, but inertia has meant I have not bothered doing anything about it until now. Hardly anyone has handmade pins on their harps, even top players with quality decorated instruments. I can only think of 3 or 4 off the top of my head.

I am going to make a few more pins and then I think I will make a page advertising them for sale for the 1st June update! I think that this would make a fantastic upgrade to anyone’s harp, to replace the pins!

Tuning key

I lost my tuning key in Edinburgh last weekend. At first I was rather irritated; the replica Queen Mary clarsach has handmade tuning key drives, copying the original, which are rectangular rather than the usual square. So the key is also custom-made with a rectangular socket, and also has a second socket in the end of the handle to fit the square drive of the 30th pin. Basically it is useless to anyone else! I did have a rather ill-fitting spare with me

However after a while I realised this was a great opportunity. I made this key not too long after the harp was new, and while it was comfortable to use with its  roundwood quince handle from the garden here, the rectangular socket was always a bit oversized and was loose on all the pins. Also it was rather “rustic” in appearance.

So today I made a new key for the Queen Mary harp. This one builds on my experience making the first. The design is the same – a T shaped pin, with a brass socket made from a rod soldered inside a tube, the end of the rod slit with saw and files to fit the drives. The second socket, from a large clock key, fits in the end of the handle. Both sockets are fixed in with little brass pins running through the wood, and secured with glue to stop them shifting.

For the handle of this key I used a piece of ancient Irish bog oak which Davy Patton gave me years ago. I had thought of carving medieval West Highland designs into it, and even gilding the designs, but as the handle took shape it became very spare and elegant. The bog oak does not carve very cleanly anyway. So in the end the only decoration was a pair of parallel incised bands at each end of the handle and each end of the main socket shaft, echoing the pairs of incised bands on the Queen Mary harp tuning pins.

I have to make another soon as my student who has the Student Downhill harp has lost the key for it. It ought to have a brass socketed key anyway as the commercial steel-socketed key it used to have was starting to chew up the decorated brass pins I have started fitting to it. Which reminds me, I need to finish the set of brass pins for that harp. So many jobs lining up…

Dupplin Cross

On the way back from Edinburgh this afternoon we enjoyed a large detour which included a stop at the old church in Dunning. Inside this preserved medieval building in the care of Historic Scotland, is the early medieval Dupplin Cross.

The cross is very well presented in the base of the tower, and is extremely well lit with raking light from above, allowing a good appreciation of the relief carving. Of course I really wanted to see the harpist, King David I suppose, but all of the carved panels were really lovely. The inscription was on the back side and was the least well illuminated so there was no possibility of reading any of it.

Once everything is tidy and I am feeling less tired I will have a better look at my photographs and maybe will have somthing more to say about the David panel on the cross!

Until 1999, the cross stood on the nearby hillside, and although obviously the 1200-year-old carving and inscription is much better preserved now the cross is inside, it seems a shame that it no longer stands in situ, looking down over the ancient Pictish royal site at Forteviot.  I don’t believe the original site is signposted or marked in any way – wouldn’t it be wonderful if a cast or replica could be installed there?

Edinburgh Harp Festival

We are exhibiting at the harp festival. We have had a good time so far, making sales, restringing harps and running an ad-hoc fingernail repair salon! The medieval harp chocolate bars have been a great talking point!

This afternoon two pedal harpists are at the Holywell stand next to ours, practicing classical duets on two pedal harps. It is very civilised and pleasant here out at the end of the school campus.

Hidden Door festival

Last night I was playing at the Hidden Door festival in Edinburgh’s old town. The festival itself was amazing, a beautiful collaboration of installation arts and performing arts. I loved the spontaneous nature of everything, and the DIY volunteer ethos of the festival organisers and the people running it on the ground. You do not find anything like this in St Andrews.

Everything was set in disused vaults on Market Street – bare, spartan stone underground caverns. Some of them were music venues and some were spaces for art installations. I was particularly intrigued by an art installation in a completely blacked out vault, which consisted of a garden of lichtsuchende, robot plants, light sensitive and light emitting – torches were provided by the entrance curtain. There was also a very nice exhibition in another vault of framed collage pictures by Miriam Mallalieu on the theme of lichens. Some of the colours and structures in these images reminded me of some of Ealasaid’s work.

I played in one of the vaults, which was a “hidden” music venue in amongst the installation art vaults. Unsuspecting art-lovers stumbled in and listened to some of the Tarbh music before leaving to explore the next installation. Sometimes I felt like some kind of strange robot flower in the centre of the vault, beneath a star-like lighting installation, playing this weird meditative music to an audience unprepared to hear it but open to new artistic experiences.

Two-bell ringing

Sometimes at St Salvators tower we are short-handed, and we have been gradually working our way though The Chris Higgins Guide To Three-Bell Ringing (ed. Ian Chandler, Kirby Manor Press 2003). I have been enjoying the elegant simplicity of the music as well as the physical challenge of placing and striking the bell well.

Today, being the first day of semester at the University of St Andrews, and also the morning of the clocks changing, there were only two of us. There are two two-bell methods in the book, and we tried them both – Cambridge being a little more pleasant, with more intellectual challenge as well as less physical. But then I fancied something different and so invented on the spot some stedman-style methods which I see now loking though my notes also share some charateristics of the ultimate 3-bell method, Shipping Forecast.

The idea is to lie, point and lie. You can lie for 2 or 3 blows, and you can arrange the blocks of 2 and 3 lying adjacent or alternating.

x=xx=x=xx= or x=xx==x=xx== or x=xx==x==xx=

We rang the three and the five, the University’s two medieval bells, whose minor 3rd interval was to me the characteristic sound of the tower before the augmentation in 2010.

I wonder if it would be possible to make a connection with the binary music of Robert ap Huw and the other late medieval / early modern Welsh secular instrumentalists? Was this most fundamental art of change ringing used before changes on higher numbers were developed?

In medieval Welsh notation we might write for the three methods above
00100.11011 and 001000.110111 and 001000.111011

Finally we discussed a little what to call this type of ringing. The book unimaginatively describes these methods using just the word “two”. We can do better than that. The convention for odd numbers of bells is to count the number of simultaneous changes possible, so on 3 is singles, 5 is doubles, 7 is triples, and so on. On even numbers, Latin descriptors are used: 4 is minimus, 6 is minor, 8 is major, &c. I proposed “micromus” but I don’t know if that is too silly!

Scottish 78s

In six months time I have agreed to present a rather different programme for the Friends of Wighton – half an hour of ’20s sounds from old Scottish 78rpm gramophone records. It will be Wednesday 1st October, 1.15pm, in the Wighton Centre, Dundee Central Library.

I realised that I have plenty enough discs for half an hour – just one side of each from a selection will be more than enough. We will have Gaelic song, Scots song, fiddle, pipes and clarsach; the oldest disc is from about 1914 and the most recent from 1931.


I was also thinking about the dates and provenances of the various discs. The one shown above was recorded in London, though I assume it was made for the Scottish market. I have what I think is the oldest Scottish harp record, that is Patuffa Kennedy Fraser’s disc of “Songs of the Hebrides” from 1929. I also have what seems to be the oldest Irish harp record, Mabel Dolmetsch’s “Victorious tree”, recorded in 1937 though never released (I won’t be playing this one as it is too fragile as well as not being Scottish!)

Mabel’s record is Irish harp music but she wasn’t Irish or living in Ireland, so I wondered what was the oldest Irish harp record? Was Mabel first? Actually it seems she was. Susan Reed appears to have been the next to record, and her “Old English Folk Songs” released in 1945 would be the earliest published recording of Irish harp, even though the performer is American and the repertory is English! Mary O’Hara put out her first disc in 1956 I think. I’m having trouble tracking down other Irish harpists on record from this era.

The Cliffs of Kinbellachoir

Ronald Smith in Perth suggested I compose a tune with this title. There are ancient histories that tell how Irish monks associated with St Columba founded two monastic sites, at Rigmonadh and Bellathor. The former place name is now Kilrymont, better known as St Andrews where I live. The latter, also Kinbellachoir, is not really known but Ronald suggests it refers to modern day Perth. I have seen suggestions it is Scone – in any case somewhere in the area of Perth seems likely.

For this tune I have picked up on these themes, and also on the history of a Beltane fair that Ronald tells me was celebrated in the area before the Reformation.

I had hoped that my tune might come out in a form that fitted harp, fiddle and pipes. Unfortunately it twisted and turned and ended up being useless for Highland pipes, however Patrick Molard has played it on Uillean pipes and it sounds delicious! Here’s Patrick’s MP3 for you to listen to.

Ethnomusicology VSI

I got the new Very Short Introduction to Ethnomusicology by Timothy Rice last month and I have been meaning to do a post about it for a few weeks now. This book is part of the VSI series published by Oxford University Press. I have been collecting this series for a very long time, because I find the small format, the high production values and the artistic covers very attractive. Though having said that, I noticed that on the more recent volumes the binding has changed from a stitched paperback to perfect-bound which does lower the tone a little.

Books in the VSI series tend to be either excellent or rubbish. The constraints of the format – a small 100-ish page paperback that is to summarise an entire field of study or knowledge for the educated general reader, is very hard and it is interesting to see the authors strain to present complex spreads of ideas concisely and clearly.

The Ethnomusicology volume is one of the excellent ones. Partly it retains its focus and clarity by addressing and describing Ethnomusicology as an academic discipline, which gives the book a clear sense of structure and purpose. What do professional ethnomusicologists do, how has the discipline evolved and changed, what are the current political and ideological faultlines in the discipline? This is in great contrast to, for example, the volumes on Folk Music or World Music which struggle from the outset to define their subject area (and which both quickly admit that they don’t have any coherent definition to offer)

For me there were a number of useful insights or viewpoints to explore further. One was the issues of notation, “music as text”. But most interesting thing mentioned in the book, I thought, was the discussion of trance. I have come across ideas of trance in music before, but this book has reminded me that this is something I need to look into further.