Historical harp fingering techniques of Ireland and Wales

This beautiful piece was collected by Edward Bunting from the playing of the Irish harper Hugh Higgins in 1792. Over the next three sessions, we'll look at its history and manuscript sources, then begin to work on learning to play the piece using James's new setting, which incorporates the traditional fingering techniques collected by Bunting from historical Irish harpers. We will discuss various approaches to the piece, and you will be shown the Irish harp fingering techniques used in this setting. James will also share the exercises he uses to help you master playing these techniques with ease. Whether you've played Slieve Gallen before, or are learning it for the first time, this new setting will provide a fresh, historically informed approach to playing it.

In this session, we'll continue to work on Slieve Gallen, reviewing the fingering techniques as needed and cover any questions you have as you practice and learn this setting of the piece.

In this session, we'll continue to work on Slieve Gallen, reviewing the fingering techniques as needed and cover any questions you have as you practice and learn this setting of the piece.

This session will introduce cerdd dant [string music], the Welsh bardic music entabulated in the seventeenth-century manuscript of Robert ap Huw (GB-Lbl MS Add. 14905). The figurations (fingering techniques) used to play this music will be explained and demonstrated. Guidance and course materials will be provided to help you practice them on your own.

Homework: Practice playing the cerdd dant figurations. Write down at least one question, challenge, or observation you have about them to discuss during our next session.

In this session, we'll review the figurations and discuss your questions and observations. You will be shown how to read and understand the music tablature in Robert ap Huw's manuscript, and we will work on learning to play the first cainc [branch] of the piece Kaniad Llywelyn Dylynior ['Song of Llywelyn the Harper']

Homework: Practice the figurations used in cainc I of Kaniad Llywelyn Dylynior. Also practice playing through the lower hand of the piece. Once you are comfortable playing the lower hand, begin adding the upper hand, playing both hands together.

In the final session of this course, we'll continue working on cainc I of Kaniad Llywelyn Dylynior, discussing any questions, challenges, or observations you may have. We'll dive deeper into the fundamentals of cerdd dant to help you bring meaning and musicality to your performance of this piece. Additionally, we'll discuss your observations of the similarities and differences between the Irish and Welsh fingering techniques presented in this course to deepen your understanding of both historical traditions.