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.

A Salve for the Midrealm

Salve Draconis, based on the Gregorian Salve Regina, for the Midrealm coronation 2015.
Salve Draconis, based on the Gregorian Salve Regina, for the Midrealm coronation 2015.

My friend, the Honorable Lord Andrew Blackwood, was about to complete his term as the Royal Bard of the Midrealm. He had a plan for music for the coronation, a processional for his Regents. He’d asked me if I could help get the music for a particular Gregorian chant, the very traditional Salve Regina.

I sent him some sheet music and didn’t think about it much. This is what the piece is like:

However, soon enough it was deeply fall and the event was coming. Andrew was about to work on the piece, when he experienced a death in his family and had to travel for several days. Hearing his desperation, I offered to take a stab at adapting the piece.

The Salve Regina has been chanted daily by the Cistercians since 1218 – it’s a very old piece of music. It’s a hymn to Mary, and it’s very….Marian. Exceptionally holy. And therefore, and interesting challenge to secularize.

Salve, Regina, mater misericordiae:
(Hail, Queen, mother merciful:)
Vita, dulcedo, et spes nostra, salve.
(Life, sweetness, and hope of ours, hail.)
Ad te clamamus,
(To thee we cry)
exsules, filii Hevae.
(Exiles, children of Eve.)
Ad te suspiramus, gementes et flentes
(To thee we sigh, morning and weeping)
in hac lacrimarum valle.
(in this tearful valley.)
Eia ergo, Advocata nostra,
(Quick then, Advocate of ours,)
illos tuos misericordes oculos
(those thy merciful eyes)
ad nos converte.
(to us turn.)
Et Iesum, benedictum fructum ventris tui,
(And Jesus, blessed fruit of womb thine,)
nobis, post hoc exsilium ostende.
(unto us, after this exile show)
O clemens: O pia: O dulcis
(O clement: O loving: O sweet)
Virgo Maria.
(Virgin Mary.)

Adapting the piece would be a challenge – it had to

  • be about the Midrealm
  • be appropriate to our SCA experiences
  • keep the same feeling as the original (and respect)
  • have appropriate scansion and end vowels whenever possible
  • make some kind of sense to someone who isn’t me

I took to the text of the piece carefully. I’m not a Latin scholar. This was very outside my comfort zone and it had a pretty quick turnaround time – just a few days before it had to go to the people who would create an arrangement of it and learn it for the Midrealm Coronation.

The Process

I took the piece and looked for a concept to adapt. Fortunately, some of the Peerage oaths of the Midrealm are traditional and have supplied translations.

Hic fidelitatem et ministerium promitto / I here swear fealty and service
Coronae Mediterranae / To the Crown of the Middle Kingdom.
Semper Coronam ditare / To ever enrich the Crown.
Talento et ingenio meo / With my talents and abilities.
Artibus diversis favere / To promote the diverse arts,
Institutionem discipulorum meorum continuare / To continue the instruction of my dependents,
Gloriam Mediterranae augere / To increase the glory of the Middle Kingdom,
Et digna serto quod gero esse / And to be worthy of the Wreath I wear…
Sic promitto, <<Name>>. / thus swear I, <<Name>>.

Hic fianciam juro et humagium ago / I here swear fealty and do homage
Coronae Regni Medii / To the Crown of the Middle Kingdom
Coronae servire in omnibus rebus / To serve the Crown in all things
Meminisse comitatis et benignitatis / To remember courtesy and kindness
Aestimare justiciam ante lucrum privatum / To prize justice above personal gain
Laborare in bonum commune / To labor for the common good
Locupletare Regnum et Societatem / To enrich the Kingdom and the Society
Ut floreant et crescant / So they may flourish and grow
Et dignus esse titulo Pelicani / And to be worthy of the title of Pelican.
Hic per honorem et manum / Here by my honor, my hand
Et cor meum juro ego, <<Name>>. /  and my heart swear I, <<Name>>.

I used this for inspiration.

I also looked through a lot of common Latin phrases, mottoes, and other chant texts. I used a Latin verb list as well, to try to have some hope to get the right tense and use. I knew I wanted to use the Midrealm motto (of sorts) of “Draco Invictus” in the piece because of its strong connections to the people. I also wanted to be sure this was a balance between Regent and People (I am Eastern after all!) but to have it come from the voice of both. I did not name specific regents in order to make it useful on the longer term.

The Result

What I wound up with was this: Here is the sheet music to Salve Draconis.

Salve Draconis, Coronae Mediterranae
Hail Dragon, Crown of the Middle Kingdom
Vita, dulcedo, honoro—- Salve!
[Hail] our life, our sweetness and our honor!
Ad te clamamus,
the thee we cry
Coronam qui meruit feres
Let he who won the crown bear it
Ad te suspiramus, labore et honore
to thee do we send up, our labor and honor
in hac pia publicae
in the dutiful desires of the republic
Eja ergo, justitia nostra,
quick then Our justice
Illos tuos aeternam oculos
those eternal eyes
ad nos converte.
(to us turn.)
in fidem, benedictum, vox populi tuis
in faith, blessed voice of your populace
nobis, post hoc exsilium ostende.
unto us after this honor show
O justice: O pia: O Medii
O justice: O loving: O Midrealm
Draco Invictus.


The piece was performed as the reigning King and Queen, Ragnvalder Jonsson and Arabella Silvermane, processed into the hall toward the thrones. You can see the final format here, with transcription and arrangement by Cailin mac Aindréis and Siri Toivosdotter: Salve Draconis – New Words Only

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  

Sweeting Carolyne

Because when you hear that your king was singing the original from the back of a truck after fighting the Pennsic woods battle, you just have to answer that call in period.


 

When icumen in,

I cannot starte to ken

But then I ken strong it groweth

Merie the spring,

after springe cometh sumer

who wolde ken thou shoulde come to me?

Hand toucheth hand

reacheth out,

toucheth I, toucheth thou

Sweeting Carolyne (fa la la!)

Gode times neuer seem’d so gode. (so gode, so gode, so gode!)

I hath been inclined (fa la la!)

to believe they neuer wolde

Look, there is the night.

It seemeth not so lonely,

With twa we fill

we hath filled it with but two.

And when I hurte,

Hurt runneth from mine shoulder,

whilst I hold my lemman, I am not sore

Warmth, toucheth warmth,

reacheth out,

toucheth I, toucheth thou

Sweeting Carolyne (fa la la!)

Gode times neuer seem’d so gode. (so gode, so gode, so gode!)

I hath been inclined (fa la la!)

to believe they neuer wolde

Sweeting Carolyne (fa la la!)

Gode times neuer seem’d so gode. (so gode, so gode, so gode!)

I hath been inclined (fa la la!)

to believe they neuer wolde

& etc….

(And the original) 
Where it began,
I can’t begin to knowin’
But then I know it’s growing strong
Was in the spring
And spring became the summer
Who’d have believed you’d come along.
Hands, touchin’ hands
Reachin’ out, touchin’ me, touchin’ you
Sweet Caroline
Good times never seemed so good
I’ve been inclined
To believe they never would
But now I…
…look at the night
And it don’t seem so lonely
We fill it up with only two.
And when I hurt,
Hurtin’ runs off my shoulders
How can I hurt when holding you?
Warm, touchin’ warm
Reachin’ out, touchin’ me, touchin’ you
Sweet Caroline
Good times never seemed so good
I’ve been inclined,
To believe they never would
Oh, no, no
Sweet Caroline
Good times never seemed so good
Sweet Caroline,
I believe they never could
Sweet Caroline
Good times never seemed so good
Sweet Caroline…

My lemman doth give me joy!

A Song of Love in Celebration of the Tenth Anniversary of Mistress Fia Kareman and Sir Matthew Moreaveous Avdenmork created by Baroness Aneleda Falconbridge.

Commissioned by Sir Matthew for performance near the Feast Day of St. Swithins in the Year of Our Lord MMXV.

My lemman* doth give me joy!
My lemman doth give me joy!
All like the spring in may anew
doth maketh the girl and boy
dance in the meadow merrily.

He bringth her to the field of play
wherein the tournament is held.
Her sleeve the gallant doth display,
no weapon better weld –  I see
Cupid’s conscript, love’s devotee.

He bringth her flowers of the field
And all good things that gather joy
e’en those which cleverly concealed
hath made her lemman coy – it seems
as round us summer sunlight streams.

My lemman doth give me joy!
My lemman doth give me joy!
All like the spring in may anew
doth maketh the girl and boy
dance in the meadow merrily.

He walks her to the greeny glade,
upon his knee these words he said,
‘Ere we embark on our crusade,
O let us be wed – my heart
That I from you shall never part.

Agree, did she, that Swithins Day*
to stand with him in gale or sun,
in health and injury to stay.
And with the asking done – I see
her kin came forth at his decree.

My lemman doth give me joy!
My lemman doth give me joy!
All like the spring in may anew
doth maketh the girl and boy
dance in the meadow merrily.

Surprised the lady was to find
there stood a servant of Our Lord.
For hearts and souls and hands to bind,
and taketh down their word – my dear
while all around them friends appear’d.

Emboldened by their earnest vow
with love she chided his deceit.
Yet good intent can lies endow!
In spite of their conceit – be bless’d
When sweet with love they are confessed.

My lemman doth give me joy!     |e e e b b e
My lemman doth give me joy !    |e e e b b e
All like the spring in may anew   |d g a b b ag f e
doth maketh the girl and boy       |e e e e b e f g a b
dance in the meadow merrily.      | b a f g f e d e


*Notes

Leeman is a word meaning “lover” used in Middle English love poetry. http://www.thefreedictionary.com/leman

Swithin’s Day: The events discussed in this work took place during a weekend of the Great Northeastern War in Malagentia, traditionally the weekend after July 4th, making it always in the ‘teens of the month of July. St. Swithin’s Day is July 15th, which I judged close enough. There are songs from the middle ages which mention the day, and since this is a bit of a small dance-like piece, it seemed fitting to reference it.

https://en.wikipedia.org/wiki/Swithun