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WELSH MUSIC.

439

whether the harper plays the air or any kind of variation upon it, as long as he keeps to the fundamental harmony. In this style of Penillion singing there is no burden or chorus, the singer having the whole of the melody to himself, first and second part repeated. What renders it more difficult, is the rule that he must not begin with the melody, but, according to the length of the metre of his stanza, must join the melody at such a point as will enable him to end with it.

The following examples admit of the introduction of two of the most famous melodies in connection with this style of singing.

Air. 'Pen Rhaw.' (The name of a Harper.)^[1] Penillion.

${ << \new Staff \with { instrumentName = \markup { \caps "Voice." } } \relative f' { \key f \major \time 4/4 \tempo "Moderato." \autoBeamOff R1 R | f4 f8 g a g a b | c c c c c c4 e,8 | f4 f8 f f f f f | bes bes bes bes bes bes4 bes8 | c8. c16 c8 d c bes a g | f f e8. e16 f8 f4. \bar "||" R1 R | g8. g16 g8 g g g g g | c c c b c c4. | f,8. f16 f8 f f f f f | bes8. bes16 bes8 bes bes bes4 r8 | c8. c16 c8 d c bes a g | f f e8. e16 f8 f4. \bar "||" } \addlyrics { Tri pheth sy dda gan i, Cael rho -- dio ger -- ddi gwyr -- ddion, A chael fyn -- ych fod yn myag Yr hy -- ddysg, fawr ddysg feir -- ddion; Yn gwran -- do ar -- nynt gy -- da gwên Yn Ca -- nu'r hên be -- nil -- lion. Mwyn yw Te -- lyn o vewn tŷ, Lle -- by -- ddo Teu -- lu de -- dwydd; Pawb a'l be -- nill yn el gwrs, Heb Son am bwrs y cy -- bydd: Mwyn y cân o ddeu -- tu'r tân. Mor -- wy -- nion glân Mei -- rio -- nydd. } \new Staff \with { instrumentName = \markup { \caps "Air." } } \relative f' { \key f \major f4. g8 a g a f | bes4. a8 g a bes g | f4. g8 a g a b | c c, e g c bes a g | f4. g8 a g a f | bes4 bes8 a g a bes d | c4 c8 d c bes a g | f4 e f2 | <f a c f>4. g'8 f ees d c | bes4. c8 d c bes a | <g b d g>4. a'8 g f e d | c4. b8 c d e c | <f c a f>4. g8 f ees d c | bes4 bes8 a g a bes d | c4. d8 c bes a g | %end column 1 f4 e f2 } >> }$

Air. 'Serch Hudol.' (Love's Fascination.) Penillion.

${ << \new Staff \with {instrumentName = \markup { \caps "Voice." } } \relative d'' { \key f \major \time 4/4 \tempo "Spirited." \autoBeamOff \override Score.Rest #'style = #'classical R1 R | d8. cis16 d8 e d d d d | d d cis cis d d4 r8 | f f f e d c bes[ a] | bes4 bes8 bes c c c c | f, f f f bes bes bes8. bes16 | c8 c bes8. bes16 a8 a r4 \bar "||" R1 R | d8 d d d cis cis cis cis | d16 d8. cis8 8 d d4 r8 | f8. f16 f8 e d c bes[ a] | bes4 8 8 c c c16 c8. | f,8. f16 f8 f bes8. 16 8 8 | c c bes8. bes16 a8 a4. \bar "||" } \addlyrics { Maen yw llun, a Mwyn yw llais, Y del -- yn far -- nais ne -- wydd, Hae -- ddai glod am fod yn fwyn, Hi y -- dyw llwyn lla -- wen -- ydd: Fe ddaw'r ad -- ar yn y man, I di wnlo dan ei' -- de -- nydd. Yma a thraw y Maent yn Sôn, A min -- au'n cys -- on wra -- ndo, Nas gŵyr un -- dyn yn y -- wlad Pwy yd -- yw'm Car -- iad et -- to; Ac nis gyn yn dda fy hun Oes i -- mi un a'l peld -- lo. } \new Staff \with { instrumentName = \markup { \caps "Air." } } \relative f'' { \key f \major f4\f f,16 a c f e4 r | d d,16 f a d cis4 r | %eol1 d8. cis16 d8 e f d a' g | f e16 d e8 d16 cis d4 d8 e | %eol2 f[ \tuplet 3/2 { f,16 a c] } f8 e d c bes a | g bes16 a g8 f e g c e, | %eol3 f a d c bes a g f | e8. f16 g8. e16 f4 r | %eol4 a8 c16 a f8 g a4. a8 | d f e d cis e a cis, | %eol5 d f a d, e a, a' g | f e16 d e8 d16 cis d4 d8 e | %eol6 f[ \tuplet 3/2 { f,16 a c] } f8 e d c bes a | g bes16 a g8 f e g c e, | %eol7 f a d c bes a g f | e8. f16 g8. e16 f2 } >> }$

↑ Dr. Rhys's Grammar makes mention of a Bard named Gruffydd Ben Rhaw; and probably this tune was composed about the beginning of the 15th century, or at least acquired this title at that time. Edward Jones' Relics of the Welsh Bards, p. 165.

[1] Dr. Rhys's Grammar makes mention of a Bard named Gruffydd Ben Rhaw; and probably this tune was composed about the beginning of the 15th century, or at least acquired this title at that time. Edward Jones' Relics of the Welsh Bards, p. 165.

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