A Bardic Class for Younger Children

I like it when children sing but recognize that it can be a challenge to find good “SCA” music to connect them to. This is why I love rounds! There’s lots of support and everyone can play together.

I was asked if I had suggestions for a class for bardic performance for children and I’ve done some spontaneous work with littles at events, and thought it would be fun to make a more organized class out of it. It’s a lot of what I’ve done “in the field” but with more structure.


Start with introductions and talk about music a bit in period. Ask questions like

What did people do for fun?
When might people make music?
What kinds of instruments were available?
What was ALWAYS available?

Talk a bit about how we make music now.

How is it different?
When do we sing?
Where do we see and hear performances?
What kinds of things do we sing about?

Medieval people sang about a lot of things. They sang about God and saints and about people they knew. Music was important because it was available to everyone.

Sing common children’s rounds to get warmed up and comfortable. Do them in this order if possible.

Twinkle Twinkle Little Star 
Alphabet Song (does this song sound kind of the same as the last song?)
Row Row Row Your Boat
(unison, then try it as a round)

Questions for these songs:

Which song is a story? What is the story about? Songs often told stories about people, places, and events. We call that “narrative” when something is telling us a story.
Which song is a lesson?  What is it teaching us? Songs were used to teach people things sometimes, especially religion and some stories, because songs are easier to remember and also not everyone knew how to read words.
Which songs sound the same? Twinkle Twinkle and the ABC song use the same tune more or less. We call it “contrafact” and in medieval times, like now, many people used the same music to sing different songs.

Some songs changed, some stayed the same!

Three Blind Mice (Thomas Ravenscroft, 1609) comparison is good here. Start with the modern one, then teach the original one.
https://mbouchard.com/aneleda/three-blind-mice-then-and-now

People sang songs that were about other people!

Lady Come Down (Thomas Ravenscroft, 1609):
http://www.pbm.com/~lindahl/ravenscroft/pammelia/pam_36small.html
Lady come down and see the cat sits in the plum tree!

Oh My Love (Thomas Ravenscroft, 1609):
http://www.pbm.com/~lindahl/ravenscroft/songbook/oh_my_loue.html or
http://www.pbm.com/~lindahl/ravenscroft/deuteromelia/deut_37small.html
Oh my love, love thou me? Then quick come and save him that dies for thee!

People sang songs about their problems:

This is an Elizabethan song about complaining, My Goose.

My Goose (trad. probably in SCA period):
http://kodalysongweb.net/sites/default/files/Goose%20Round.pdf
“Why shouldn’t my goose sing as well as thy goose when I paid for my goose twice as much as thine??”

Hey Ho Nobody at Home (Thomas Ravenscroft, 1609):
http://www-personal.umich.edu/~msmiller/rheyhonobody.html
Hey ho nobody home, meat nor drink nor money have I none, yet I will be merry, very merry!

People even sang to sell things!

Songs were some of the first advertisements and music is still used to sell things! Listen to the radio and TV and you’ll hear how that works!

Hot Mutton Pies (Thomas Ravenscroft, 1609): The group can be divided into three sellers for this street call. Or they can learn the whole song. It’s a fun round. They could make up their own products if they catch on fast.
http://www-personal.umich.edu/~msmiller/rcatch52.html
Hot mutton pies hot, buy my dainty young beans, my young beans, crabs crabs any crabs?

People sang in Latin, and other languages.

Viva La Musica (Michael Praetorius, 1571-1621):  Long live music!
http://www-personal.umich.edu/~msmiller/rvivamusica.html

Dona Nobis Pacem (credited to Giovanni Palestrina, 1525-1594): Give us peace.
http://www-personal.umich.edu/~msmiller/donanobis.html
(Do one part at a time, and if you can work a round out of it, it’s good. This is a good ending song too since many people of all ages know it and may join in if invited.)

Other pieces which are good choices for children include:

The Great Bells of Oseney (Thomas Ravenscroft, 1609): It sounds like bells ringing
http://www-personal.umich.edu/~msmiller/rdeut9.html

Go to Joan Glover (Thomas Ravenscroft, 1609): A sweet song about passing notes via song, really.
http://www-personal.umich.edu/~msmiller/rjoanglover.html

Joan Come Kiss Me Now (Thomas Ravenscroft, 1609): This is short and sweet, but has a tricky accidental. Fun to have people sub out other people’s names.
http://www-personal.umich.edu/~msmiller/rjoankiss.html

Any of the Three Country Dances in One – Particulary good is the Tenor Robin Hood.
http://www.pbm.com/~lindahl/ravenscroft/pammelia/pam_37small.html

Encourage your attendees to teach someone the songs they learned and perform them at the bardic circles at the event. 

I have had success bringing the group out into someplace where “the public” can see them and having them perform “in concert” one of the pieces the did better at. It’s always been a big success and everyone has felt good about it at the end. A very positive way to end the session.

Monument

The stones are as cold as the words from our tongues
What good is the harp when the battle is done?
when her brothers are dead
and the field is all crows
what can she sing?
what does she know?
when they are beside her no more?
Tell her what are the songs for?

She took to the war with her vows to sing truth
her harp strapped to her back as a sword
she marched and she laughed with the war band’s bold youth
and inspired them each with a word.

They traveled for days through the forest and fen
Until they reach the sea past the moor
They set up in the village, lit fires, and then
awaited the raid on the shore.

The harp plays so sweetly
as the carnage is wrought
the tales are a monument
painfully bought
Or are tales of glory sufficient in death?
When each note was expelled
by someone’s last breath.

She was set on the cliff to watch the first strike
as the forces moved out with the tide
Death met the raiders and kinsmen alike
on the white sand where no one could hide.

As the spring storm rolled in she sang in the rain
Her voice tumbling down to the sea
But from her great height she saw t’was in vain
As her force was backed up on the scree.

The stones are as cold as the words from our tongues
What good is the harp when the battle is done?
when her brothers are dead
and the field is all crows
what can she sing?
what does she know?
when they are beside her no more?
Tell her what are the songs for?

She could not be reached on her aerie so high
Wrapped in the smoke of the ships
Nothing moved save the sea that she could espy,
But the words still rained down from her lips.

Till her voice broke she keened, that the sound cover
the calls of the dying below
calling for mother, and father, and lover…
begging the gods to their favor bestow.

The harp plays so sweetly
as the carnage is wrought
the tales are a monument
painfully bought
Are tales of glory sufficient in death?
When each note is propelled
by someone’s last breath.

What good is the harp when the battle is done?
when her brothers are dead
and the field is all crows
what can she sing?
what does she know?
when they are beside her no more?
Tell her what are the songs for?

Beloved

Beloved if you read this
then know that I am gone.
Our foe has overtaken all our lands.
Beloved if you read this
then I have burnt our home
and slaughtered all our cattle
to keep it from from their hands.

Pray for me beloved, say an ‘ave’ for your wife
who beside the home we made, soon will take her life.
They will never touch me – I would rather die
than suffer their indignities or with their demands comply.

Beloved if you read this
drink not from the stream
for I buried rotting livestock at its source.
Beloved if you read this
That our adversaries starve
I spread lye throughout our barley,
and salt’d the lands without remorse.

Beloved if you read this
know the blood upon the page
was the last thing our enemy did see.
Beloved if you read this
take my good account
for I took many from their bodies –
they did not take mine from me.

Pray for me beloved, say an ‘ave’ for your wife
who beside the home we made, soon will take her life.
They will never touch me – I would rather die
than suffer their indignities or with their demands comply.

Beloved if you read this
we shall be together soon
for I have smelled the burning since I woke
Beloved if you read this
know my soul waits for you here
God grant someday we be together –
His blessing I invoke.

Pray for me beloved, say an ‘ave’ for your wife
who beside the home we made, soon will take her life.
They will never touch me – I would rather die
than suffer their indignities or with their demands comply.

Pray for me beloved,
say an ‘ave’ for your wife
who beside the home we made
soon will take her…..


So, now that I have their blessing, this song is dedicated to Dalla and Olaf – Suzy McBroom and Samuel McBroom) because it was them with a little Viking farm which I pictured a lot as I wrote this, with Dalla thinking of Olaf as she spread the salt and dragged dead livestock to the spring.

In particular, this photo kept coming to mind as her memories as she did all these things and wrote the letter
 :

Photo of Olaf and Dalla by Christophe de Frisselle.
Photo of Olaf and Dalla by Christophe de Frisselle.

Hweat! Celowyn

And in Anglo Saxon, because…

Hweat! Celowyn

(Hweat Hweat Hweat)

naéfre ic máran geseah 

þæt gód lenge swá  gód

( swá  gód, swá  gód, swá  gód)

secge ic þé to sóðe

þæs wéndon aér 

þæt híe naéfre wolde.


 

This is how it translates / retranslates.

Sweet Caroline

(buh buh buh)

Good times never seemed so good

I’ve been inclined

To believe they never would

But now I…

Hweat! Celowyn

(Hweat Hweat Hweat)

naéfre ic máran geseah

þæt gód lenge swá  gód

( swá  gód, swá  gód, swá  gód)

secge ic þé to sóðe

þæs wéndon aér

þæt híe naéfre wolde

Hey Celowyn

(hey hey hey)

Never have I seen

that good time

so good

I say to you in truth

it was thought before

that they never would

 

Below are the notes of a crazy person trying to put “Sweet Caroline” into Anglo Saxon. Because this is what passes for documentation at 2am. 

naéfre ic máran geseah eorla ofer eorþa never have I seen greater noble on earth  
aénig heora þóht  none of them thought   

ofgyfan wolde  ( should be willing to give up)

þæs ne wéndon aér    it was not thought before

þæt naéfre Grendel swá fela   gryra gefremede
that Grendel would have never so many   atrocities committed,

þæt híe healfre geweald  /  that they would half of it control

secge ic þé to sóðe,   sunu Ecgláfes, I say to you in truth,   son of Edgelaf,

http://www.heorot.dk/beowulf-rede-text.html

Dammit, now I’ve had to puzzle it out…

Hweat! Celowyn (Hweat Hweat Hweat)

þæt gód lenge  (that  good time)

ne wæs þæt gód síð (was not so got

naéfre gít æt lenge (never yet at time?)

naéfre wolde

swá gód lengen aéfre wolde ( it seemed never would?)

ne wæs þæt forma síð /  it was not the first time

….

Fyrst forð gewát· time passed by

góde gode

gódum  good things

gódne good one

 þaér se góda sæ _____ there sat the good  _____

grundwong þone    ofgyfan wolde· this earth    should be willing to give up;
sceolde willan    wíc eardian he was obliged to be about to    inhabit a dwelling
elles hwergen·    swá sceal aéghwylc mon elsewhere,    as must every man
álaétan laéndagas.    Næs ðá long tó ðon abandon loaned-days.    It was not long to when
þæt ðá áglaécean hý eft gemétton: that the fierce enemies  

On the Deciphering of Broadsides

Sometimes all you have to go on is the words.
If you have a broadside, usually it will give you a trail you can follow to get the whole song, though it takes a bit of labor and a little research is the only way to arrive at a work.
However, fortunately we have The Internet!
 
For example, the broadside “The Bloody Murder of John Barley-Corn” is to be sung “to the tune of Shall I lie Beyond Thee.” It says so right here: http://ebba.english.ucsb.edu/ballad/20199/image
 
Searching that tune “Shall I lie Beyond Thee” brings a link to a Google book saying that it’s the same tune as “Lulle Me Beyond Thee” which you can find on video on YouTube https://www.youtube.com/watch?v=U6O5eu4iGwM or in Playford’s Dancing Master (http://abcnotation.com/tunePage?a=trillian.mit.edu/~jc/music/book/Playford/LulleMeBeyondThee/0000)
You then must put the tune to the lyrics provided in the broadside:  http://ebba.english.ucsb.edu/ballad/20199/image
 
to get the song as a whole thing.
 
It makes more sense when you think of it this way – in period people wrote lyrics to stuff everyone knew more or less. So it would be like me writing a song “Dance Among the Market Urchins sung to the tune of California Girls.”
But that’s how it’s done!