of 20
7/29/2019 The Celtic Lyre
1/20
A Collection of Gaelic SongsCompiled by Fionn (Henry Whyte)
(Parts 1-4)
Editor: Trueman Matheson
Music Editor: Aindrias Hirt
Gaelic and Music Advisor: Catriona Parsons
7/29/2019 The Celtic Lyre
2/20
RoimhRdhPreface
When TruemanMatheson, the editor of Sol Cultural Enterprises, approachedme tomusicallyeditTheCelticLyre,Iwasratherskeptical.Iwascurrentlyinthethroesofwriting
myPh.D.dissertationonthemedievalmusicalperformancepracticesofthenarrativesongsconcerning FionnMac Cumhail and foundlittle value inresettingGaelicmusicthathad
beenpublishedduringthelateVictorianAge;Ifeltsurelythatthemusicwouldhavebeen
significantlyalteredtoconformtoEnglishandmainlandattitudesofproprietyandmusical
form.Iwasmistaken.
AlthoughIfoundthemusicengraved1rathercasuallyandnineteenthcenturynotation
sensibilitiesconcerningmusicaltimeandkeysignaturesfollowed,Inoticedanefforthad
beenmadetorenderthemusictruthfullyandnotdrasticallyalterittomakeitseemmore
likeWesternEuropeanartmusic.Thisefforthadbeenhiddenbehindafaadeofpublishing
normsthatthefacilityofmoderncomputerapplications 2easilydispelled.Therefore,this
currentversionofTheCelticLyreispresentedwiththosepublishingpoliciesremoved,with
theresultthatthemusiclooksmuchdifferentontheprintedpagethantheoriginalversion.Specifically,therewerechangesmadetoorthography,metre,andkeysignatures.
Twocontraryperspectivesmotivatedtheformofthemusicalnotationofthiscollection.
Atone extreme, thereisanunderstanding thatmusicalnotationbeganandwasusedasonly a roughmemoryaidand is inherently imprecise; onthe otherextreme, there isan
understanding thatmany people seem todesire toperformmusicnotationprecisely aswritten.Yet, themusical rhythm isextremely flexibleinonecaseandrigidintheother,
respectively.Whytesmusicalnotationfollowedtheartmusicconventionsofhisday;itisa
straightforwardprocesstoremovethosehandengravingconventions.Thequestionthen
presents itself: should themusic stay as Whyte wrote it with an appreciation that the
readerwould then know not to perform it aswritten, or should themusicberendered
moreexactly,accordingto theway thatitwasactuallyperformed?If themusicisplacedmoreaccurately,thenthereisanadditionaldangerthatpeoplewillconsiderthiscollection
tobeanauthoritativeandsingulardictateandthenperformthesongspreciselyaswritten.
I have taken the position thatwhile following thewritten notationmeticulously can
alterthemusicfromhow itwouldnormallybe performed, it ispreferable tohaving the
songsperformedasWhyteinexactlypresentedthem.Whilethemusicnotationpresented
in this collection mightmake themusic seem precise, it is definitely not so. There is a
tremendous amount of wiggleroom in themusic, both in intonation andrhythm.One
mustnotlosesightofthiswhenattemptingtorealizethemusicofTheCelticLyre.
Therearethreeareasthatwereidentifiedandbroughtclosertoactualpracticeinthis
present collection: orthography, metre, and pitch placement on the musical staff.
Concerningorthography,theGaelicspellingnotationconventionsofNovaScotia,Canadawere followed. These conventions are more precise; therefore, they assist singers in
1Sheetmusicwasengraved,notprintedduringWhytestime.Copperplateswereetchedtoformthetemplate
fortheprintedmusic.Therefore,creatingmusicalnotationwasmuchmoreofanartthantypesetting.2AlthoughFinaleisarobustcomputerapplication,Sibelius wasusedinthiseditionprincipallybecause
thereisasolfapluginavailable(writtenbyJamesLarcombeandNeilSands).Formattinggenerallyfollowed
NorthAmericannorms;however,lyricspacingtookprecedenceovernotespacingtohelpGaeliclearners.
7/29/2019 The Celtic Lyre
3/20
viiiachieving clearer pronunciation and also assist in translation. Concerning metre, the
notatedrhythmicconventionsoftheoriginaleditionsofTheCelticLyrefollowedaccepted
practices of the time.Those conventions canbe contrarytoGaelic musical performance
sinceconventionalmusicalrhythmsmatchedtherhythmicpatternsoftheItalianorEnglish
language.Inhiscollection,Whytefirstpresentedstaffnotationatthetopofthepage,under
that solfa, under that Gaelic, andunder that English translations.The musical rhythmsplacedonthestaffseemtobeacompromisedesignedtoapproximateboththeEnglishand
Gaelic languages rhythmic patterns; the rhythms do not exactly match Gaelic language
patterns,recordingsofthesesongsatarchives,orastheyaresunginGaelicculturetoday.
Asmentionedabove,manypeopleseemtohavethedesiretoperformmusicpreciselyas written. Because of Whytes probable rhythmical compromise, Gaelic songs from his
collection are now beginning to be sung ostensibly to an English language rhythm. To
preventthis,anunderstandingofthe characteristics oftheGaelic languagethatstrongly
influence the rhythm of the music should bediscussed.The most important is that the
Gaelic language has an underlying triplet structure. This lends the associated music tobeing expressing in compound (having a substructure composed of triplets: 6/8, 9/8,
12/8)or3/8 time.6/8timeconsists twogroups oftriplets(eachtriplet iscomposedofthreeeighthnotes,3stressisonthefirstnoteofthefirstgroup);9/8timeiscomprisedof
three groups of triplets (stress on the first note of the first group); 12/8contains four
groupsoftriplets(stressonfirstandthirdgroups;stressisstrongeronthefirstgroupthan
onthethirdgroup).Unfortunately,inthepast,artmusiciansoftenproscribedcompound
time.4Itwasalsomoredifficulttoengraveandhardertoread.
Secondly, the Gaelic languagemightbe seen to consist of two contrasting groups of
vowels(excludingpalatalandnonpalataldistinctions);onegroupconsistsoflongvowels
(indicatedbylengthmarkingsonthevowels),theotherofshortones.Vowelplacementina
sentenceoftenalternatesbetweenthesetwogroups,givingthelanguagerhythmalilting,
skippingquality.ThisisincontrasttotheEnglishlanguage,which,whilepossessingsome
distinctlylongandshortvowels,doesnotpossesssuchamarkedvowellengthdichotomy.Whytesmusicalnotationoftenmadeuseofquarternotes (seeFigure1,below).This
wasnotareflectionofhowthemusicwasandisperformedinGaelic,butoftenmatchedthe
rhythmofthetranslatedEnglishverses.ThevowelpatternofGaelicisoftenlongshort;ifso,itshouldbeperformedasinFigure2(below).Therefore,themusicinthisversionwas
slightlyadjusted tomatch the actual sungpatternofGaelic.NativeGaelicsingerswouldintuitivelyknowtoperformFigure1asFigure2:
becomes:
Figure1 Figure2Normally, musical notation only reflected the chorus/refrain (sisd) or first verse.
Particularly in Gaelic music, musical rhythm changed from verse to verse as the lyrics
dictated.For example,a syllable/vowelofone verseplacedonaparticularnote may be3SinceitisthoughtthatmosteditionsofthisvolumewillbesoldinNorthAmerica,thetermseighth,quarter,
andhalfnotewillbeusedinplaceofquaver,crotchet,andminim,respectively;also,measurereplacesbar.4Forexample,HndelssongRejoiceGreatly,ODaughterofZionfromhisMessiahwasoriginallywrittenin
12/8time.Hndelwaspersuadedtochangeittocommon(4/4)time.
7/29/2019 The Celtic Lyre
4/20
ixlongwhereasthenextversessyllable/vowelplacedonthatsamenotemaybeshort.Itmay
bethatthefirstversewasperformedasisannotatedinFigure2,above,butthesecond
versemayhaveavowelpatternthatwasnotlongshortinthesecondhalfofthemeasure,
butshortlong.Insuchacase,themusicwouldbeperformedasinFigure3(below):
Figure3
Asanexampleofthisshifting,considerThamornairaghille.Intheoriginalversion,
themusicwaswrittenasthechorus( sisd) ispresented inthis collection.HenryWhyte
madeafootnotethattherhythmsshouldshiftbetweenthechorusandtheverses,butdidnotwriteoutthosenotationalchanges.Sincethetworhythmsweresodifferent,Ibelieved
that it would be far too confusing for the singer to see a particular rhythm but sing it
differently;therefore,theversesweremadeseparatefromthechorus,showingadifferent
rhythm. Yet, this was not enough. In the secondtolastmeasure of the verses, the first
versehasalongvowelonthelastsyllable(achil),butthesecondversehasalongvowelon the secondtolast syllable (ct-a). I annotated this in an ossia (a small, explanatory
measure),but thiswouldbeextremely laborious todoforeveryverse.If thesingerdoes
not shift the rhythm asneeded to match the pattern of the spokenword, the singer is
performing the act of flattening out. This practice is most evident in waulking songs.
Becausethe requirementforastrongworkrhythm isparamount inthesesongs, simple,
everyday,rhythmicallyfreesongsweremetamorphosedintoarepetitiverhythm.Thishad
the effect of transporting unstressed syllables to positions of musical rhythmic stress.
Althoughwaulkingsongshavethedisadvantageofchangingthepronunciationofasongslyrics,theyhavehadthebenefitofpreservingsongsthatwouldhaveotherwiseperished.
Thirdly, there is another feature of Gaelic music called the Scots Snap,5 where a
stressedinitialbeatismadeshort.ThistraitrancountertonotationalpracticesofWhytestime.TheScotsSnapisratherdifficulttorealizeinnotationandalsodifficultforthesinger
toactualizebylookingatthenotation.ItwouldlooksomethinglikeFigure4(below):
Figure4
Becauseofthesedifficulties,IpresentedthisfeatureasinFigure3.Itistheresponsibilityof
thesingertodeterminewhenthispracticeisappropriate.
Lastly,sincethesesongswereneverintendedtobeaccompanied,thereisnoreasonto
establish and rigidly adhere to unequivocal rhythmical precision. In the Gaelic song
tradition, strict metre was never kept within a measure, between two concurrentmeasures, orevenbetween two verses. Indeed, the very concept ofhavingmeasurebarlinesis foreigntothetradition.Forexample, againconsider the song,Thamornaira
ghille.Attheendofthesixthmeasureoftheverses,thefinalfeweighthnotesshouldnot
beperformedsoastokeepa rigid,steadypulsefromthesixthtoseventhmeasures.The
secondtolast eighth note was placed roughly at the endof themeasure; the following
5ThetermScotchisamisspellingofthegenitivepluralScots,soitisalsoknownastheScotchSnap.
7/29/2019 The Celtic Lyre
5/20
xeighth note acts as a pickup beat, with a clear rhythmical break preceding it. I used a
symbolthatsuggeststhispracticeofslightlyslowingdown(ritardando):
WiththeexceptionofMonigheandonn,bhidheach,6everysonginthiscollectionwas
placedincompound(or3/8)time.Ifthereweretwostressesperlineofpoetry,themusic
wasplacedin6/8time.Iftherewerethreestressesperlineofpoetry,themusicwasplaced
in9/8time.Iftherewerefourstressesperline,Iplacedthemusicin12/8time.Thislastform can be confusing. So, if the music was performed to a strong rhythm or quickly, I
placeditin6/8timeforeaseofreading.However,thispresentsproblems.Onesignificant
problem is that a syllable that is only lightly stressed and occurring in the middle of a
sentencemightnowbeplacedonthefirstbeatofameasure.Thisimproperlyimpliesthatthesyllableshouldthenbestronglystressedand/orthattherewouldbeaslightlift(pause)
precedingit.Byplacingthesongin12/8time,thereisnobarline,andthesingerisnot
subconsciouslyimpelledtostronglystressamildlystressedsyllable.
Theothercomponentthathasbeenchangedinthiscollectionfromtheoriginal,slightly,
isthepitchnotation.Thetuneshavenotbeenchangedinanyway,onlythewaythattheyarepresentedonthepage.Byadjustingwherethemusicsitsonthestaff,thestructureof
the music can be seen more clearly. This difference is transparent, but the reader maynotice that the accidentals in the key signatures have been removed and small notes in
parenthesisadded.Thereareanumberofreasonswhythiswasdone,butafullexplanation
ofthismightprovetobesomewhatesoteric.So,briefly,therationaleisasfollows:
Firstly,theoriginalpurposeofanaccidentalwastofacilitatemovingthepitchrangeofa
songby roughlyhalfan octave sothatanysong/chantin any modecouldbesungby the
samegroupofpeople.ThesymbolusedonthemainlandforthispurposewasB 7(perhaps
moving the key from C Major to F Major), but in insular Britain, Fwasused8 (perhaps
movingthekeyfromCMajortoGMajor).So,whentranscribingGaelicmusic,Fmightbe
seenasapreferredchoicetofulfillthisfunction.Secondly,transcribersoftenhearda songbeingsungandsoundedouttheapproximatenotesonanearbypiano.Theythenwrotethis
down and transferred any accidentals to the key signature, adding or subtractingaccidentalssothatthefinalnotematchedthenameofthekey.9Therefore,therewaslittle
value placed upon the key signature chosen; it was as variable as the starting pitch the
singer randomly chose. Thirdly, before equal temperament, different keys had different
colours.Atraditionaltunemightbeascribedtoakeysignaturebaseduponthepathosof
thelyrics,notbecausetheactualintonationofthattunematchedacertainkey.Fourthly,
6 To be more rhythmically precise, rhythms were extrapolated from Whytes notation and then checked
againstrecordingsfoundatarchives.Iusedtheoldestrecordingsmadefromtheeldestinformantspossible.
This was the only song where I could not find lyric audio examples. All songs but this one were sung
melodically,lyrically,incompoundtime,andwithoutastrongrhythm.Interestingly,allsongswerealsosungwithoutornamentation.Thisimpliesthatornamentationinthesesongsisamoderndevelopment.7Thissynthetic,manufacturednotewasconsideredsoimportantthat,eventhoughitwasnotinthediatonic,
Pythagoreantunedscale,itwasconsideredmusicaveraandnotmusicaficta.8 This is discussed by Edward Bunting, The Ancient Music of Ireland: An Edition Comprising the Three
Collections by Edward Bunting Originally Published in 1796, 1809 and 1840 (Dublin: Waltons' Piano and
MusicalInstrumentGalleries,1969).9 Often,a pentatonic tunewitha finalnoteof G,which mightbe describedasMixolydian, willhavea non
existent note of F addedto the key signature (the note never appears in the tune); this makes the tune
appeartobeinGMajor(Ionian).Thissatisfiesartmusicnorms.
7/29/2019 The Celtic Lyre
6/20
xitherewas,andis,agreatdealofbigotryagainstGaelicculturewhichcanbedirectedatthe
culturesmusic.Todefendagainstthisandtobejudgedfavourablywhencomparedwith
Europeanartmusic,themusicwasoftenmadetoseemmorecomplicatedthanitactually
was;thiswasoftenaccomplishedbyaddinganarrayofflatsymbolstothekeysignatures.
Variousmusiccollectorsandpublishers 10haveespousedquiteanassortmentofmodal
systemstodescribeGaelicmusic.I believethemostrobustandcomprehensivehasbeenannotatedinFrancisCollinsonsTheTraditionalandNationalMusicofScotland.11Usingthis
asamodel,themusicinTheCeltic Lyrewasmovedupordownonthestaffsothatthe
missingnoteswereplacedonF(F4)andB(B4)(seebelow,Figure5),ortheinversion,B
(B4)andF(F5)(seebelow,Figure6).Thexsymbolindicateswherenotesweremissing:
or Figure5 Figure6
Gaelicmusicgenerallyseemstolackoneortwohalfstepintervals;therefore,sincethe
ecclesiasticalmodesaredefinedbytheplacementoftwohalfstepswithinanoctave,they
mightbeseentobeinappropriatetodescribeGaelicmusic.Theabsenceofhalfstepsissoincongruoustothediatonicscalethatmosttrainedmusiciansareunawarethatpentatonic
(fivenotesperoctave)tuneswhichlackhalfstepscanbemovedupanddownthestaff
from tonic to subdominant or dominant (up or down a perfect fourth or fifth) without
changing the keysignature.Without Collinsons constraint ofplacing missingnotes ina
fixedlocation,eachoftheseshiftsmightmakeapentatonictuneappeartobeinadifferent
modedependinguponthevariablemechanismbywhichthetranscribersetthetune.12
In order to minimize confusion, I attempted to follow Collinsons approach for thepentatonic tunes in this collection. Furthermore, following Collinsons additional
instructionsforhexatonic(sixnotesperoctave)tunes,IthenplacedthosetunesmissinganoteoneitherForB.Whiledoingthis,Isawapatternof triadsthatwasunmistakable.I
thenmovedthose tunesupordownaperfect fourthorfifth (andoccasionallya thirdor
sixth).Therewasnomistakingtheresults:thenaturalscaleleaptoffthepage.Whatisthenaturalscale?13Itisaseriesofnotesplayedbynaturalinstruments.Typical
naturalinstrumentsincludebugles,valvelesstrumpets(suchasthecommon,woodenlur)andhorns, earlyhornpipes, andwillow flutes.14 The latter was so important thatEivind
GroveninhisNaturskalaen15hassuggestedthatNorwegianfolkmusicsintonationisbased
10Tolmie,KennedyFraser,Reichenbach,Dauney,MacFarlane,Bodley,etc.11FrancisCollinson,TheTraditionalandNationalMusicofScotland(London:Routledge&KeganPaul,1966).12Modeattributionsareoftendeterminedbythepitchofthefinalnoteofatune.WithCollinsonsmethod
supplementedbymyown,thetunesinthiscollectionhaveendingpitchesasfollows:C:54%,G:21%,D:13%,A:12%. TunesendingonC andG comprise75%of the songs. In thepast, tunesendingonG have been
ascribedbytranscribersasbeingeitherIonianorMixolydianbecauseoftheindeterminatepitchofthe7 th
degreeof the scale. The early Christianchurch bannedsongsendingin C (IonianMajor) and A (Aeolian
Minor)becausetheywerethoughttobelascivious.Possibly,thiswasanattempttoproscribefolkmusic. 13Thispatternofnotesisalsocalledtheharmonicseries.14ManypeoplefamiliarwithEnglishtraditionalinstrumentswouldbeawarethatthetaborpipe,although
possessingthreeholes,usesthenaturalscale/harmonicseries.15 Eivind Groven, Naturskalaen; Tonale Lover I Norsk Folkemusikk Bundne Til Seljeflyta (Skien: Norsk
folkekultursforlag,1927).
7/29/2019 The Celtic Lyre
7/20
xiiontheseljeflyta.Willowflutesaremadefrombarkpulledfromacutwillowtreebranch;thisisfacilitatedwhenthereisalayerofsapbetweenthewoodandthebark,whichoccursinthespringtime.Afipplenotchiscutnearthelargeend,likearecorder.ExtantmedievalboneandwoodenductflutessimilartowillowfluteshavebeendiscoveredinIreland.16
It should also be noted that a bagpipes chanter is tuned using the just intonation
principle,17
whichisamethodoftuningthatusesthedronespitchesasnodalmarkersforthechantersindividualpitches.Thepitchofanoteplayedonachanterismovedupordowninpitchbyusingwax,treesap,orcellophanetapeinthefingerholeopeningsuntilthepitchlocksintothedrones. 18Thisprocesscreatespitchesthatmatchtheidealizedharmonics of the natural scale; chanters are generally not tuned in amean tone, equaltemperament,orPythagoreanmanner.
The inclination to create intune triadic harmony for fixedpitched instruments, andhenceanequallytemperedscaleinmainlandEurope,cameaboutduetotheexistenceofnatural instruments.Major thirds played onPythagoreantuned, fixedpitch instrumentsareconsidereddissonant(twentythreecentssharp);naturalinstrumentsplaythirdsintune.Therefore,itmaybethenaturalscalethatinfluencesGaelicmusictobe,asRada
putit,liketheserpentwithitstailinitsmouth.19ThestapleofEuropeanartmusic,theunequallyspaceddiatonicscale,forcesamelodytomovebetweenwholeandhalfsteps.Thisprogression isthecauseofwhyartmusic,whichisbasedon thediatonicscaleandassociated harmonies, constantly shifts between harmonic dissonance and consonance.Gaelicmusic,whichseemstousethenaturalscale,issmoothandconsistentfromonenotetothenext;itjustdoesnotlookthatwayonastaffsystemdevelopedforthediatonicscale.
Afternoticingwhatappearedtobe the naturalscale in themusicof thiscollection,Ithenadjustedthemusicsothatreadercouldseethenaturalscaleifdesired.Thisprocessalsomovedthescalehigheronthestaffsothatitisagooddistanceawayfromthesolfanotation;thisimproveslegibility.SlightlyadjustingCollinsonsstructuretoaccommodatethenaturalscaleresolvesmanyoftheissuesthathismusicalframeworkdoesnotaddress,
such as: why is the Gaelic/folk music scale often described as being gapped?Why isalmostallofthemusicthoughttobeeitherpentatonic(notmerelyfivenotesperoctave,but devoid of halfsteps) orhexatonic?Why does the musics intonation not match theequally tempered scale? Why do Irish musicians have a special expression, Fflat, todescribetheleadingtoneinmusicwhichisostensiblyinGMajor?
Itshouldbenotedthatsomeofthepitchesofthenaturalscaledonotperfectlymatchthenotesofthediatonicscale;someofthosenotesarethe7th,11th,13th,and14thpartials(wholenumberofwavesthatcanfitinatubeoronastring),whichareconsideredoutoftune with instruments tuned in an equally tempered manner (how a piano is tunedtoday).20 The 7th partial is between A (A4) and B (B4),21 the 11th partial is halfway
16AnnBuckley,MusicandMusiciansinMedievalIrishSociety,EarlyMusic2(2000),16592:173.17ThebestresourceIhavefoundtoexplainvarioustuningsystems,althoughrathercomplexforthegeneralreader, is Cristiano Forster, Musical Mathematics: On the Art and Science of Acoustic Instruments (SanFrancisco:ChronicleBooks,2010).18Infact,thechanterspitchisactuallymatchinganovertoneofthedrone.19SenRiada,OurMusicalHeritage .Mountrath(Ireland:TheDolmenPress,1982),22.20Equaltemperamentisatuningsystemwherethedistancebetweennotesofthediatonicscaleareadjustedsothatallwholestepsareperceivedtobeofanequaldistance.Halfstepsarealltunedtobehalfthespanofawholestep.Therefore,allkeyssoundthesamewhenequaltemperamentisdoneexactly.
7/29/2019 The Celtic Lyre
8/20
xiiibetweenF(F5)andF(F5),22the13thpartialisbetweenA(A5)andA(A5),23andthe14th
partialisbetweenA(A5)andB(B5).24Hereisthenaturalscalewritteninstaffnotation
with significantly divergent notes from equal temperament made bold (see Figure 7,
below).Arrowspointinthedirectionthatthenaturalscalenotesoundsincomparisonto
thewrittenstaffnotation.
Figure7
IhadnoticedthenaturalscaleinGaelicmusicwhenIfirstwenttoCapeBretonIsland
tenyearsago andheard older fiddlersplaying atcilidhs. Fiddlersplayed between the
cracks(ofthepiano).The11thpartialwasespeciallyapparent.Unfortunately,itisdifficult
toshowthisnoteusingstaffnotation.Attemptingtoaccuratelyannotatethenaturalscale
usinga system thatwas conceived torepresent the diatonic scale isextremely difficult;moreover,viewingthenaturalscaleonastaffimpelsthereaderwhomightbetrainedin
thestructureofartmusictoseepossibleharmoniesandmelodicrelationshipsthat,infact,
donotexistinmusicbasedonthenaturalscale.
Therearesomeproblemsinrepresentingthenaturalscaleonastaffthatwascreatedto
representthe diatonicscale. Firstly, the 7th partial is oftenwritten as B but is actually
betweenAandB.IfamusictranscriberlistenstoaGaelicsongbeginningandendingonC,
andhearsapitchsoundingbetweenGandC,thetranscriberwouldnotthinktowriteBsinceBisnotinCMajor.ThepitchwouldsoundmuchclosertoAthanB.25ThereforeatranscriberwouldhaveatendencytowriteAforthe7 thpartial.Secondly,the11 thpartialis
writtenasF; itcouldalsobewrittenasF sinceit isalmostexactlyhalfwaybetweenthetwo. Also, you may have observed that there is a D4 in the diatonic scale shown in
Collinsonssystem(Figure5)thatisnotinthenaturalscale.Thisnotedisappearswhenthe
tuneistransposedbyaperfectfourthorfifth.When the natural scales representation on the diatonic staff is adjustedwith these
concernsinmind,thefollowingresults(seeFigure8,below):
Figure8
21 The 7th partial is 69 cents sharper than an equally tempered A and 31 cents flatter than an equally
temperedB.Thereare100centsinanequallytemperedhalfstepinterval.22 The11th partial is 51 cents sharper than an equally tempered F and 49 cents flatter than an equally
temperedF.Thequartertone(diesis)symbolthatapproximatesthisisF .23The13thpartialis59centsflatterthananequallytemperedA.24The14thpartialis31centsflatterthananequallytemperedB.25Onascaleof100,betweenAthanB,the7thpartialwouldfallon35;therefore,itisclosertoAthanB.
7/29/2019 The Celtic Lyre
9/20
xivItshouldbenotedthatthefirstandsecondpartialshavebeenomittedfromthisfigureas
theyareverydifficulttoplayanddonotappearinanyofthesongsofthiscollection.The
blacknotesintheabovefiguremightbetranscribedvariouslyupordownahalfstep.Some
ofthevariationsIhaveseenaredisplayedinFigures9and10,below:or
Figure9 Figure10Trainedartmusiciansaretaughttothinkintermsofoctaveequivalency,wherethere
areanequalnumberofnoteswithinanyoctave.Forexample,theexpressionspentatonic
andhexatonicareoctavebasedequivalencyterms.WhenanalyzingaGaelic/folktune,a
musicianwilllookforanymissingnote.Ifoneismissing,theanalystwillthensearchtosee
ifthatnoteexistsinthenexthigher/loweroctave.Ifthenoteismissinginalloctaves,the
song is tentatively designated hexatonic. The analyst will then look to find another
missingnote. If such anote is foundmissing in a loweroctave, butpresent in a higher
octave,thetunedoesnotmeettheoctaveequivalencyconstraintsrequiredforthetuneto
bepentatonic.Incontrasttotheoctaveequivalentdiatonicscale,thenaturalscaledoes
nothaveF4andB4,butdoeshaveF/F5(perhapsmoreaccuratelywrittenF 5).Therefore,if
the natural scale is the basisofGaelicmusic (andEuropean folkmusic ingeneral), one
should beable to lookat some tunes placed in Collinsons system which artmusicians
would normally describe as hexatonic and find an absent F4 but an existing F/F5.
Significantly,thisconditionwasfoundtooccurinthefirstsong:MuilenamMr-Bheann.Inthiscollectionofsixtyeight tunes,46%canbeplayedbynovice(natural) trumpet
players(tentotwelveyearold/primaryschoolstudents).51%requiresomeskillandcanbeplayedbysecondaryschoolstudents.26Theremaining3%ofthesongsrequireagood
dealofskilltoplayonanaturalinstrument,althoughnotthatmuch,asIcanplaythem.The3%consistsofthetwosongs,FuadachnanGidhealandAmfonn.Bothwerepossiblycreatedonabagpipe.27Althoughthepitchesofthebagpipechanteraretunedusingthejust
intonationmethod,theinstrumentisnotlimitedtothelowernotesoftheharmonicseries.A natural instrument must be played rather high in its range in order to match the
consecutivenotesofthepipes.Playinganaturalinstrumentdiatonicallyinahighregister
(called the clarino register by trumpeters in the Baroque musical era) is physically
demanding.
IsthenaturalscalethegenesisoftheGaelicmusicalscale?Intheend,Occamsrazor
holds: the simplest theory that explains the most tends to be more correct. Which is
simpler? Was the Gaelic musical scale formed by a shepherd mulling over stacked
tetrachordsandtuningalyrebaseduponsuchmathematicalconstructs,ordidhejustpull26Asayoungman,IwasplayingasonatabyTorellionavalvedDtrumpetformyteacher,PeterVoisin(sonof
Roger).ThepitchesthatIwaslookingatappearedasthepitchesdointhiscollection.Unfortunately,Iwas
missingnotesasIplayedthepiece.Petersaidthattherewasnoexcuseforthis.HethentookhisBtrumpet,
pulled out the slides to their maximum extension, pushed all three valves down and, using only his
embouchure(lips),playedthemusic.27Thesong,Aghruagachbhanailwhichusesthetune,Bithibhaotromstogaibhfonn,alsoseemstobea
pipetune,asithaslimitedrangeandisdiatonic;however,itiseasytoplayonanaturalinstrument.
7/29/2019 The Celtic Lyre
10/20
xvthebarkoffawillowbranch,cutanotchinitandstartplayingatune?Maybehetooka
fallentwometrelongbranch,split itopen,holloweditout,bounditback togetheragain
withtreesapandbark(thebasicconstructionoftheNorwegianlurasitisstillmadetoday)
andpuffedaway.Noonewilleverknowforcertain.However,currentinvestigationintothe
performancepracticesofmedievaldndreachpoetryisbeginningtosuggestthatmusic
played at a Gaelic chieftains court employed instruments that played a variety ofintonations. Bagpipes were tuned using just intonation principles; trumpets and flutes
played the natural scale; harps were tuned using something similar to Pythagorean
tuning.28Yet,eachinstrumentalgroupfoundwaysofplayingthatallowedthemtowork
together. For example, inCapeBretontoday, fiddlersplay inoneintonation system, theaccompanyingpianoplays inanother. Sincethepianoplayersutilizeopenharmoniesof
fifthsandoctaves,thereisnoconflictwiththeintonationofthemelodicfiddle.Thetwo
systemswork togetherwithout effort. No one system isbetter than another.Much like
languages,eachintonationsystemhasadvantagesanddisadvantages.Thereisnoneedto
championoneovertheother.Eachoneisverdantandlushinitsownway.Thesongsinthiscollectionwerealsofoundtobeessentiallysyllabic;thatis,forevery
syllable,thereexistedonlyonepitch.Inasyllabicsong,theremaybenumeroussyllablesonthesamepitch,butnomorethanonepitchforthesamesyllable.Ifonesyllableissung
ontwoseparatepitches,theconditionistermedneumic.Iftherearemanypitchestoone
syllable, it is called melismatic. Only with melismas are the notes rhythmic values
prescribedtobeidenticalfromonepitchtothenext.Contrastingly,withsyllabicmusic,the
lengthofanoteisoftenmadelongorshorttomatchthewayitisspoken.
Ingeneral,most Gaelic and otherEuropean folk songs seem tohave been originally
syllabic.Asingermightsingapitchononesyllableandthenmovetoadifferentsyllableon
apitchperhapsathird,fourth,orfifthaway.Thesinger,overmanyyears,thenmightbegin
to slidebetween the two pitches, and an intermediate pitchmight form (aneum). This
wouldnotbeadiscretepitchbutamalleableone.Asapossibleexampleofthisprocess,
considerthepickupmeasuretothefirstmeasureofAllt-an-t-Sicair.ThefirstsyllableisAonG4.ThenextsyllableisdolonE4.Anintermediatepitchperhapsformedbetweenthe
twopitchesasthesingerbegantoslidebetweenthetwo.Atranscribermighthearwhat
seemedtobeadiscretenotebetweenthetwosyllablesandmighthavepossiblywrittenaneum(twopitchestothesamesyllable)inthemusic.Thenotewouldbequickandnot
particularlydiscrete,butthetranscribermighthaveguessedwherethepitchwas.Inthisexample,thereisanintermediatepitchofF4inthediatonicscale;thereisnosuchpitchin
thenaturalscale.ThetranscribermighttherebyaddanF4tothenotationofaGaelicsong
without being aware that his knowledge of the diatonic scale would be directing histranscription. Therefore, the placements of transcribed notes in a neumic condition are
unreliable.
28 Harpswere tunedto produce adiatonicscale. IncreatingG Mixolydian(calledhighbass orthe flatt
key),harpsweretuned fromG toFusingfifths,octaves,andtwofourths.IncreatingGIonian(calledthe
sharpkeyorthenaturalkey),harpsweretunedfromGtoF usingfifths,octaves,andonefourth.This
shiftingbetweenFandFcouldbeduetothepresenceofnaturalinstrumentspitchedinCplayingthe11th
partial,orbagpipestunedjustlyandpitchedinG,tomatchtheirleadingtone.Additionally,thetranslated
expressionnaturalkey,mightnotrefertothenaturalmajorofG,buttothetuningusedtomatchnatural
instruments.TheharpstringofF/Fisreferredtoastadanleithghlis(thestringofthemidtuning).
7/29/2019 The Celtic Lyre
11/20
xviThereisanothersimilarmechanismatworkthatseemstobeslowlychangingmelodies
overtime.Inthiscase,therearetwostressedsyllablesseparatedbyanunstressedsyllable.
Thetwostressedsyllablesmaybeapartinpitchbyaboutathirdormore.Incomparing
audiorecordingsatarchives,Ihaveoftenfoundthattheunstressedsyllablebetweenthe
twostressedonesisgenerallyplacedonthesamepitchasthefirststressedsyllable.The
pitchoftheunstressedsyllablecanbeimperfectlytranscribedsinceitissungimprecisely.Forexample,considerthesong,Dthaichnancraobh.Muchlikethesong,ofAllt-an-t-Sicair,considerthepickupmeasuretothefirstmeasure.ThefirstsyllableisAonE4.The
nextstressedsyllableisfg(offgail)onG4.Thereisanunstressedword, bhi,betweenthe
two. Over time, the singer perhaps slid between the stressed syllables, causing anintermediatepitchtodevelopontheunstressedsyllablebetweenthenotesofthestressed
syllables.Thetranscriberwith knowledgeof thediatonicscalemayhavesubconsciously
heardanintermediatenoteandwroteanoteofthediatonicscalebetweenthetwostressed
syllables.
Almostallofthesuggestednotesinthiscollection(placedinparenthesis;thisallowedthe tune to conform to the natural scale) originated from the abovestated conditions.
There were only a few instances when a suggested note fell on a stressed syllable.Generally,thisoccurredwhentheendofaphrasemovedtothefinalnote.Asanexample,
consider Moladh naLandaidh. On the finalword Landaidh, the transcriber placed the
syllableLanonanoteonefullstepabovetheendingnotefordaigh;thisplacedthenote
forLanoutsidethenaturalscale.Thisoccurrenceseemedtohappeningroups;thatis,I
noticed a few songs where this process happened repetitively and then stopped. This
suggests that therewas one particular transcriber who had a penchant to end musical
phrasesinthisparticularmanner,notthatthesongswereactuallysungthatway.
Alloftheabovecommentsweremadeforthoseinterestedintheunderlyingrootofthe
formthatIusedinthisnewmusicalsettingof TheCelticLyre.Totheaveragereader,this
formistransparent,asitshouldbe.Thetuneshavebeenupdatedinmakingtheirrhythms
reflect theGaeliclanguagewithoutregard toEnglish; the rhythmsnowapproximate thewaythatpeopleactuallysangthemandstillsingtheminGaelicsocietytoday.Themelodies
were not changed, but just set on the staff simply, so that they are easier to read. The
spellinghasbeenupdatedsothatitisconsistentandaidsintranslationandpronunciation.Inconclusion,itismysincerestdesirethattheformatoftheworkpresentedherewill
betakenasapossibletemplateforperformanceandnotaprescriptivemandate.Thereisagreatdealofbeautyinthesesongs,astheydescribetheyearningsanddepthoffeelingof
the universal human condition. Yet, they were created in the Highlands and Islands of
Scotland and their intent flows from the condition of the people rooted there. It is myferventwishthatthewordsandmelodiesinthiscollectionflowfromeveryreadersmouth
withthemomentumofGaeliccultureandtradition.
AindriasHirtAmBaileMr(Antaiginis),AlbaNuadh
7/29/2019 The Celtic Lyre
12/20
ClrInnsidhTableofContents
TaingThanks ........................................ .............................................. ........................................... ......................... v
FacaltiseachaidhForeword.........................................................................................................................viRoimhRdhPreface..........................................................................................................................................vii
HenryWhyteFionn............................................ ............................................. ............................................ .. xvii
ClrInnsidhTableofContents....................................................................................................................xix
1.MuilenamMrbheann.....................................................................................................................................1
2.Ghruagachdhonn................................................................................................................................................2
3.AChruinneagleach...........................................................................................................................................3
4.Bidhmigadchaoidh..........................................................................................................................................4
5.Morngeal,dleas...............................................................................................................................................5
6.Mobheannachdort,aMhiri..........................................................................................................................6
7.MoladhnaLandaidh...........................................................................................................................................7
8.Thamornairaghille ......................................... ............................................. ............................................ ...8
9.Gurmochrinnmidsgadh........................................... ............................................. ................................... 10
10.Gunchrodhgunaighean...................................... .............................................. ......................................... 12
11.Fearabhta......................................... .............................................. ........................................... ................... 14
12.Anrbhinndonn........................................... ............................................. ............................................ .......... 1513.Tuireadh..................................... ............................................. .............................................. ............................. 16
14.ranmulaid......... ............................................. ............................................ ............................................. ....... 18
15.Dealachadhleannain ............................................. ............................................. .......................................... 19
16.IstoighleamaGhidhealtachd............................................... ............................................. ................... 20
17.Anrbhinnluinn....................................... ............................................. ............................................ ........... 21
18.Monigheanchruinn,donn ............................................. ............................................. ............................... 22
19.AChuairtshamhraidh ............................................. .............................................. ..................................... 24
20.Senaidachilridh.......................................... ............................................. ............................................ 25
21.LeisanLurgainn...................................... .............................................. ............................................ ............. 26
22.Soiridh! ............................................ ............................................. ............................................ .......................... 27
23.ClachanGhlinndaruail .......................................... ............................................. ....................................... 28
24.AnGidhealsaleannan ......................................... .............................................. ...................................... 30
7/29/2019 The Celtic Lyre
13/20
xx25.Gurtrom,trommocheum...................................... .............................................. ...................................... 31
26.Citencaidilanrbhinn? ......................................... ............................................. ..................................... 32
27.Dthaichnancraobh ............................................ ............................................. ........................................... 33
28.Monigheandonn,bhidheach ......................................... ............................................. ........................... 34
29.Miribhidheach .............................................. ............................................. ............................................ .... 36
30.Amfleasgachdonn........................................................................... ............................................. ................. 37
31.SoraidhslnleFionnAiridh ......................................... ............................................. ............................... 38
32.Dhfhalbhmoleannanfhin ........................................... ............................................. .............................. 39
33.Ancluinnthu,leannain! ............................................. ............................................. .................................... 40
34.Mochailindonng ......................................... ............................................. ............................................ ...... 42
35.AlltantSicair ......................................... ............................................. ............................................ ............ 44
36.Nalitheanadhaom........................................ ............................................. ............................................ ... 4637.AntEileanMuileach ......................................... .............................................. ............................................ . 48
38.Amhaighdeanluinn.......................................... ............................................. ............................................ 49
39.Amfonn......................................... ............................................. ............................................ ............................ 50
40.Gabhaidhsinnanrathadmr ........................................... .............................................. .......................... 52
41.Ealaidhghaoil ...................................... .............................................. ............................................ .................. 54
42.igfhearachildualaich................................ ............................................. ............................................. .. 56
43.O,till,aleannan.............................................. ............................................. ............................................ ........ 57
44.Mochailindleasdonn.......... .............................................. ............................................ ............................. 5845.FuadachnanGidheal........................................... .............................................. ......................................... 60
46.Mirilaghach........................................................ ............................................ .............................................. .. 62
47.Aghruagachbhanail ......................................... ............................................. ............................................ .. 63
48.Cruachanbeann.......................................................................... .............................................. ...................... 64
49.Gillemoluaidh ......................................... ............................................. ............................................ .............. 65
50.Eilidhbhn.......................................... .............................................. ............................................ .................... 66
51.Monigheandonn.............................................................. ............................................ .................................. 68
52.EileananFhraoich.............................................. ............................................. ............................................ .. 69
53.Monigheandubh.................... ............................................ .............................................. .............................. 70
54.Eileanache ............................................ ............................................. ............................................ .............. 72
55.Cagarangaolach......................... ............................................ ............................................. ............................ 74
56.AnCineachan.............................. ............................................ ............................................. .......................... 75
7/29/2019 The Celtic Lyre
14/20
xxi57.CrodhChailein.......................................... ............................................. ............................................ .............. 76
58.Cuirachinndleas .......................................... .............................................. ............................................ ..... 77
59.Modhachaidh .............................................. ............................................. ............................................ ........... 78
60.AileanMideartach........................................... .............................................. ........................................... ... 80
61.Gaolantseladair......................... ............................................ ............................................. ....................... 82
62.Sfheudardhomhbhitogailorm......................................... ............................................. ...................... 84
63.Iorram............................................ ............................................. ............................................ ............................ 86
64.Donchuthaig........ ............................................. ............................................ .............................................. ... 88
65.Maraichenantonn..................................... .............................................. ............................................. ......... 90
66.Moshiladdhidh........................................... .............................................. ............................................ . 91
67.ToirtmaghaidhriDira......................................... ............................................. ..................................... 92
68.Antigearuallach.......................................................... ............................................ ................................... 93LeabhraicheanFiosrachaidhBibliography........................................... ............................................. .... 94
TabulaGratulatoria .......................................... ............................................. ............................................ ........... 95
7/29/2019 The Celtic Lyre
15/20
1
The Celtic Lyre
Copyright2012,SolCulturalEnterprises
Gusocrach
DonnachadhnamBlrMacaLeith,
Crogan,Muile
Seannhonn
Athsgrobhadh:AindriasHirt
1.MuilenamMrbheann
Sisd:
1.2. Do
Am
Bho n
*
SeDohC |stha
Muilshlios
|d' :mi
emar
.d'
gun
nanan
:l
sunnd,
craobhhaoil
|s :
s
thaean,
gur
:s
dth
mhaightaobh
|m' :
dean
dhomh
na
:m'
mul
bhanmar
|m'
ad,
ail,a,
:r'
DDo
Cha
an
|m'tog
tugghruaidh
|r'mi
mimar
:d'
mo
moan
:l
shil
ghaolcaor
|d' :
s
ri
ann,mi
:m'
sgr
faoinsgaoilt
|r' :adh
amair
:d'
tuill
bharmhean
|l
e;
ail;gan;
:s
SCha
Silma
|mtid
chaidhghorm
|smi
eis
:l
le
foglan
:s
mirn
sgaoilaoidh,
|m' :
s
gu
fonach
:f'
cirt
faodchaoin
|s' :nan
mirosg
:m'
cruinn
faightan
|r'
eag.
inna
:d'
3.Thasmuainenodhandrsdairmaire;
Chaninnismichchceannfthmoghalair;
Gedlaidheasmitrth,chatmhdhomhcadal,
Sdoghrdhgamsgaradhancmhnuidh.
4.Dochlmaranlonnamhlecamag,
Nachgreannachfochr,issodgacheangal;
Dodheudmarnadsnean,donach,daingeann;
Beulbinnaghabhailnanran.
S
SCha
tu
mo
n
|r'
taobh
rn
igh
|m':r'am
mia
:d'
Muil
cailmheall
|l
e
eagadh
:d'
nam
angach
:l
mr
Chmhig
|s : :bheann.
ail.ear.
|s
:
This is about half the length of afermata; it is somewhat analogous to rubato, but the time is not stolen from anothermeasure.
*Although better suited to 12/8 time (four groups of three eighth notes per measure), 6/8 is used here since it is
probably more familiar to the reader. The next song, Ghruagach dhonn, is in the same metre but is placed in 12/8 time.The lack of a bar line helps to make the realization moreparlando (speech-like). Extra bar lines are added here to easethe transition to 12/8 time. 6/8 time is used in lieu of 12/8 time throughout this collection whenever the scansion
proved dificult.
7/29/2019 The Celtic Lyre
16/20
2
Luath
The Celtic Lyre
Copyright2012,SolCulturalEnterprises
Seann9honn
Athsgrobhadh:AindriasHirt
Gunurra
2.Ghruagachdhonn
1.2.3. Rinn
GhruagGhruag
SeDohC |l :
miachach
:l
dhonndhonncoinn
|d' :
agun
eamh
:d'
bhroillgh,riut
|s :
ichgungl
:m
bhin,9hoill,
g,
|s : :
Ann
Chum
Chum
|d' :do
aan
:t
chdh
choinncoill
|l :
ail
eamhe
:l
rium
riumdhlth
|d' :
Di
annan
:r'
Mrt,
raoir,cn,
|m'
: :
BhaBhith
Ghrua
|s' :gach
miinn
:m'
g
dhonncmh
isd
|r' :
aradh
eachd
:d'
bhroillriut
ri
|r' :
sich
doa
:m'
bhin,choill,chel,
|s : :
4.Gunrobhisefallain,sln,
ChumachdhailriumDiMirt,
Iarguinmaignesmairsnealphrmh,
Smochiongridhdarreadhthu.
S
GuSinn
bha
|l :maando
:d'
slncaoimh
phg
|f ' :
aneasmar
:d'
ch
domh9hg
|r' :
miairis
:d'
thu.each.leam.
|l
: :
7/29/2019 The Celtic Lyre
17/20
8
*Gumall
8.Thamornairaghille
The Celtic Lyre
Copyright2012,SolCulturalEnterprises
CatronaMunn,
Muile
Seann
7/29/2019 The Celtic Lyre
18/20
9
S
SS mi
mi
truagh
|s :a
gungun
:l
Rghsibhsibh
|d' :
nachladhladh
:r'
robhleatleat
|m' :mi
tharan
:r'
msaogh
psdel
|m'
aais,al,
:s'
ig ear a chil
AirGedNan
|s'
saoil
igtha
|l':
anear
:l'
cta
inn
|s'
:
chila
do
:l'
dual
ruadhbhuan
|r' : :aich!ort.
achd.
|d'
Chunantoisich
: :
\.Sbeagashaoilmi
7/29/2019 The Celtic Lyre
19/20
30
Gusocrach
The Celtic Lyre
Copyright2012,SolCulturalEnterprises
Seann9honn
Athsgrobhadh:AindriasHirt
UilleamMacCoinnich,
InbhirNis
24.AnGidhealsaleannan
Sisd: Thid
*
SeDohC |d' : :i s
|m
gun
:s :
tid
|l :i
:s
leam,
|s : :
Leam
|m' : :sa
|r'
gun
:m' :
tid
|s' :mo
:f'
leann
|m'
an,
:r'
:
Thid
|d' : :i s
|m
gun
:s :
tid
|l :i
:s
leam.
|s
Andeireadh
: :
3.
1.2. Sel
Thid
Thid
|d :i
aidhi
:r
leamsinnleam
|s :
a
:s
trtr
null
|m'
:
namar
thar
:f'
fraochdthsil
|s' :
bheann,chais,
e,
:l'
*Amoreappropriatetimesignaturewouldbe12WX,butitisdif9iculttoread.
6.Chumsguntrrarmisesmannsachd,
Ntrnambeannnangleannsnangaisgeach.
5.Ismuncirearannsanirsinn,Semodhrachdtilleadhdhachaidh.
4.SgedabhiodhgachlnaShamhradh,
Chaoidhbidhtrnambeannairmaire,
O
FarCur
n
NotebyFionn:GaelicwordsandmusicfromtheCelticMagazine.
|s' :thaaran
:m'
daoin
dancl
|r' : :t
an
airaobh
dolris
Gidh
|d' :
naeal
:r'
fasbeannbeairt
|m'
an.aibh.eas.
:r'
Chunantoisich
:
7/29/2019 The Celtic Lyre
20/20
93
Glmhall
SeumasRothach Seann fhonnAth-sgrobhadh: Aindrias Hirt
68.Antigearuallach
1.2.3.
SGedCha
e n
*
SeDohC |s
b
tthig
ig
ion
:s
earan
ann
:l
m
uallSamh
bh
|d' :
achradhaist
:r'
alean
|m'shel
thrusguair
:s :
tharanbu
.s
greannghnth
chu|l
an:s
uainnmhorleam
:m
ABhi
Rinn
n
|rm
glaicsgead
Mhg
:m
ail
achmo
:s
truagh
ghleannghrdh
|m' :
dheth,
agaich
s
:r'
usair
a
|m'
luaisg
sgthbheann
:s' :
mo
lena
.m'
lth.frth!
chridh;
|r' : :
A
AnCha
|d'
duill
Mhleasgtog
:r'
aich
eache
:m'
uafonnuain
|s :
sailaire
:l
.san
namo
|mlead
sgilchridh
:r
ain
mune
:m
dual
cuairttrom
|s :
dhuinn,
aich,sa;
:l
*AmoreappropriatetimesignatureQouldbe12,butitisdifMiculttoread.
4.Ancoirealcelmhorairfeadhnancrcmheur,
Santeas,gubidheach,adrtadhstill;
Ancrodhairilean,santeasgansrach,
Snalaoighleilleasribhachddhuinn.
6.Ansinbemilleasachoillsnablithean,
Sbhitathaichfsaichissgilnafrth
Lemigearluinn,dondthugmingrdhsin
AdhWisgmochrdhonadhMhgentr.
5.Antigeardualach,sacheannancluainrium,
Agabhaildhuanagchuanalbinn;
Treiseilairbrodalgumilismogach,
SmochneasdlWthMhilltenamhnghlaicghrinn.
SThaTha
an
|d'mi
thrusgsaogh
:r' :
alfo
an
.r'
lom
ghruaim
snuadh
|m' :
oleam
mhor
ns
:r'
a
mumo
|d'dhMhgshonn
bhruaich
:l :
thu
aam
n
.s
tr.dhith.ghlinn.
|s : :