Tag Archives: mari morgan

Garthyfog

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Garthyfog
Llun trwy Garedigrwydd Archifau a Chasgliadau Arbennig, Prifysgol Bangor
Photograph courtesy of Archives and Special Collections, Bangor University

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Alaw o fath gwahanol i’r rhai cynt ar y blog yw ‘Garthyfog’. Mae hi’n dod o dudalen 2 o lawysgrif E. Ylltyr Williams, Bangor 2299 (darllenwch mwy am y llawysgrif yma) ac mae’r dyddiad o Mawrth 27ain 1867 arni. Diddorol nodi yw bod fferm o’r enw ‘Garthyfog’ yn bodoli yn agos i’r Bermo.

Mae hon yn emyn-dôn ac felly yn cynrychioli traddodiad tra gwahanol i’r alawon dawns, h.y. y capel a chrefydd. Fel yn y rhan fwyaf o emyn-donau, mae’r alaw wedi’i harmoneiddio ar gyfer pedwar llais. Ond mae yna fwy o leisiau wedi eu hychwanegu i’r alaw hon mewn pen inc (yn hytrach ‘na phensil gweddill y nodau). Y nodau gwreiddiol pensil yn unig sydd wedi eu cynnwys yn y fersiwn nodiant safonol isod.

Ar gyfer perfformio’r alaw mae’n werth gorffwys am ysbaid ar gord olaf yr hanner cyntaf (cord E fwyaf) a hefyd ar y cord olaf i gadw’n gyson â’r ffordd y perfformir emyn-donau fel arfer.

Diolch mawr i Gruff ab Arwel sydd wedi recordio ‘Garthyfog’ ar gyfer y blog gyda llais ag effeithiau. Nid yw ei fersiwn ef yn cynnwys y nodau ychwanegol ‘gyda phen inc’ chwaith.

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‘Garthyfog’ is a tune which is different to the rest on the blog. It’s found on page 2 of the Bangor 2299 manuscript, which is E. Ylltyr Williams’ manuscript (you can find more information about the manuscript here) and it’s dated March the 27th 1867. It’s interesting to note that a ‘Garthyfog’ Farm exists near Barmouth.

This is a hymn tune and so it represents the chapel and religion – a different type of tradition to the dance-style tunes so far. Like most hymn tunes, ‘Garthyfog’ is written for four voices. But more voices have been added to this tune in ink (as opposed to the pencil which is used in the rest of the notes). It’s the original pencil notes which have been included in the standard notated version below.

For performing this tune it’s worth adding a pause to the last chord of the first half (E major chord) and also the last chord, in keeping with the style in which hymns are usually performed.

A big thank you to Gruff ab Arwel for recording ‘Garthyfog’ for the blog using voice with effects. His version doesn’t include the ‘penned in’ notes either.

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Ewch yma i weld yr alaw mewn nodiant safonol/Click here to see the tune in standard notationGarthyfog

Dyma nodiant abc o’r alaw/Here’s the melody in abc notationGarthyfog

Dyma Gruff ab Arwel yn perfformio’r alaw gyda lleisiau ag effeithiau, os hoffech ddygsgu’r alaw wrth glust:
Here’s Gruff ab Arwel performing the tune using voice with effects, if you’d like to learn the tune by listening:

 

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Cnot y Coed

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Cnot y Coud

Lluniau trwy Garedigrwydd Archifau a Chasgliadau Arbennig, Prifysgol Bangor
Photographs courtesy of Archives and Special Collections, Bangor University

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Mae ‘Cnot y Coed’, neu ‘Cnot y Coud/Cynot y Coud’ fel y caiff ei sillafu gan Morris Edwards, yn alaw ar dudalen 20 ei lawysgrif (Bangor 2294. Mae mwy o wybodaeth am y llawysgrif yma).

Mae fersiwn debyg iawn o’r alaw hon gyda geiriau gan Llew Tegid (o dan y teitl ‘Cnot y Coed’ (Uchelwydd)’) yng Nghyfrol The National Songs of Wales (London: Boosey&Co., 1959). Nid yw’n glir os mai cân neu alaw oedd ‘Cnot y Coed’ yn wreiddiol, ond mae ei hymddangosiadau niferus dros gyfnod hir yn awgrymu ei bod wedi bod yn boblogaidd iawn yng Nghymru.

Mae awgrym i ailadrodd dau far (bis neu bys fel mae Edwards wedi ei sillafu) yn yr ail adran. Rwyf wedi penderfynu peidio a gwneud hyn ar gyfer y perfformiad – mae modd ei pherfformio yn y ddwy ffordd.

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‘Cnot y Coed’ (or ‘Cnot y Coud/Cynot y Coed’ as it’s spelt by Morris Edwards) or mistletoe is on page 20 of Maurice Edwards’ manuscript. See more information about the manuscript here.

There is a very similar version of this tune in Llew Tegid’s The National Songs of Wales (London: Boosey&Co., 1959) under the title of ‘Cnot y Coed (Uchelwydd)’. It unclear if ‘Cnot y Coed’ was originally a tune or a song, but its numerous appearances over a long period of time suggest that it was very popular in Wales.

There is a suggestion to repeat two bars (bis or bys as Edwards spells it) in the second section. I’ve decided not to do this in the performance example below – but it’s definitely possible to perform it both ways.

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Ewch yma i weld yr alaw mewn nodiant safonol/Click here to see the tune in standard notation: Cnot y Coed

Dyma nodiant abc o’r alaw/Here’s the melody in abc notation: Cnot y Coed

Dyma fi yn chwarae’r alaw ar y ffidil (araf y tro cyntaf a chyflym yr eil dro):
Here’s my version of the tune on the fiddle (once slow and once fast):

Grisial Ground

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Grisial Ground
Llun trwy Garedigrwydd Archifau a Chasgliadau Arbennig, Prifysgol Bangor
Photograph courtesy of Archives and Special Collections, Bangor University

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Dyma ‘Grisial Ground’ sydd ar dudalen 4 o lawysgrif Bangor 851, sef llawysgrif o alawon gan Ffowc Roberts (gallwch weld mwy o wybodaeth am lawysgrif Ffowc Roberts yma).

Mae’r enw ‘Grisial Ground’ yn cyfateb i ‘Crystal Ground’, sef cân sy’n ymddangos yng nghasgliad F.J.Haydn o ganeuon gwerin Cymraeg (H. 31b/15, 1809/17). Mae alaw Haydn yn debyg iawn i alaw ‘Grisial Ground’ a welwn yng nghyfrol Bardic Museum Edward Jones (Bardd y Brenin) o 1802. Mae alaw Haydn hefyd efallai’n fwy adnabyddus na’r un hon. Mae’r ddwy alaw yn 3/4, ond heblaw am hynny maent yn alawon tra wahanol.

Wrth chwarae’r alaw hon rwyf wedi penderfynu creu drôn ar y nodau A ac E i efelychu’r grwndfas sy’n cael ei awgrymu yn y teitl, ond byddai modd chwarae’r alaw yn effeithiol gyda harmonïau mwy cymhleth hefyd.

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This is ‘Grisial Ground’, which roughly translates to ‘Crystal Ground’. It’s found on page 4 of the Bangor 851 manuscript, which is Ffowc Roberts’ manuscript (you can find more information about the Ffowc Roberts manuscript here).

The name ‘Grisial Ground’ corresponds to ‘Crystal Ground’, which is a song that appears in F.J. Haydns’s collection of Welsh Folksongs (H. 31b/15, 1809-17). The melody used by Haydn is very similar to the tune of ‘Grisial Ground’ that we see in Edward Jones’ collection, ‘Bardic Museum‘ from 1802. Haydn’s version of the tune is slightly better known than this one. Both versions are in 3/4, but they are very different tunes.

While playing this tune, I’ve decided to create a drone on A and E, to reflect the idea of a groundbase, which is suggested in the title. But the tune could be played effectively with more complicated chords as well.

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Ewch yma i weld yr alaw mewn nodiant safonol/Click here to see the tune in standard notationGrisial Ground

Dyma nodiant abc o’r alaw/Here’s the melody in abc notationGrisial Ground

Dyma fi yn chwarae’r alaw ar y ffidil, os hoffech ddygsgu’r alaw wrth glust:
Here’s me playing the melody on the fiddle, if you’d like to learn the tune by listening: