Super thanks.





On 28 Oct 2008, at 02:08, Alasdair Codona wrote:

> Simon, a charaid,
>
>> How about feith as waiting?
>
> To avoid me completely boring this group, check out this webpage of
> mine for that element:-
> http://www.calumcille.com/modhan/gleusan/3DA.html
>
>> Your string of lamentation sounds fun but looks contrived. Also
> would it be reasonable for the modal base to have that name? I'm
> thinking a note that is obsessively returned to even if its not the
> modal base (like Ann uses E in cumh Iarla Wigton, in G) Please
> explain what you mean by 'Plagal' in one sentence for noggins <
>
> If the main dyad is perceived to be D but the tune doesn't end on
> an 'authentic' D pitch but on another 'side-pitch' like A, as the
> archetypal keening melody (F E D C A) does, then the tune can
> justifiably be described as being 'plagal' (if we want to use that
> term).
>
> I'm sure it's just as reasonable for the authentic modal final D to
> have that name as the plagal modal final A. Or the sad note that
> falls down by a semitone (eg F to E). Or any transposition of these
> or others! The archetypal keening melody constantly heads towards D
> and A at the end of phrases.
>
>> Also arent you going to tackle freagrach and dofreagrach? Or did I
> miss that one? <
>
> Check out this webpage of mine for that:-
> http://www.calumcille.com/modhan/gleusan/4C.html
>
> In Ann's rendering of Cumha Iarla Wigton, the keening melody is
> translated from F E D C A to G F# E D B. Her E tonal centre is a
> transposition of the D and through this she shows a clear sensitivity
> towards of one of the harmonic implications of the lament nature of
> the piece.
>
> Is that meaningful?
>
> Beannachdan,
>
>
>
> Alasdair
>
>
> --- In clairseach@..., simon@... wrote:
>>
>> How about feith as waiting?
>>
>> Your string of lamentation sounds fun but looks contrived. Also
> would
>> it be reasonable for the modal base to have that name? I'm thinking
> a
>> note that is obsessively returned to even if its not the modal
> base
>> (like Ann uses E in cumh Iarla Wigton, in G)
>>
>> Please explain what you mean by 'Plagal' in one sentence for noggins
>>
>> Also arent you going to tackle freagrach and dofreagrach? Or did I
>> miss that one?
>>
>> Simon
>>
>>
>>
>>
>>
>> On 27 Oct 2008, at 20:27, Alasdair Codona wrote:
>>
>>> A chàirdean,
>>>
>>> The last of my etymological musings for a while.
>>>
>>> The name of the D string above the sisters is given by Bunting
>>> as 'ted na féola' (p36) and as 'tead na feitheolach' and 'tead na
>>> feithe-o-lach' (pp21/22). The first spelling seems to indicate a
>>> long E vowel; the last spelling seems to indicate a long O
> vowel. It
>>> is interpreted in p21 as 'the string of the leading sinews' (or
>>> strings). It is translated in pp21/22 as the 'leading sinews' and
> in
>>> p36 as 'leading sinews or strings' in a perhaps awkward plural.
>>>
>>> The possible link of féola to the word 'féith' (muscle, vein,
> sinew)
>>> would be interesting from an organologist's point of view as the
>>> Gaelic harp does not have gut strings. The word 'eolach' has been
>>> variously spelled in the past, sometimes with the fada mark over
> the
>>> E, sometimes over the O. 'Téad na bhféith-eolach' (the string of
> the
>>> sinew-knowing ones) is a possible interpretation of the string
> name.
>>> This interpretation is not exactly appropriate on a harp using
> wire,
>>> although the word 'string' is used in English for wires on musical
>>> instruments. It may be that whoever collected this word recorded
> it
>>> in the form 'féola' and personally interpreted it as 'féith-
> eolach'.
>>> However, this exact hyphenation never appears in Bunting.
>>>
>>> The masculine word 'eól' (knowledge) is the origin of the
> word 'iúl'
>>> (guidance) while the Irish phrase 'déanamh an eolais'
> means 'leading
>>> the way'. This may be the concept which lies behind Bunting's
>>> term 'leading sinews' but the word 'eolach' cannot be used here to
>>> mean 'leading/guiding'. Only if the word 'éola', an obsolete and
>>> debatable genitive singular of 'eól', was used could 'téad na
> bhféith
>>> eola' be produced (ie téad na bhféith iúil) which would translate
>>> as 'the string of the guiding strings', a strange term.
>>>
>>> Another possibility is the word 'eol' which appears in the
> Dictionary
>>> of the Irish Language. It may be the element which appears in the
>>> feminine word 'éolchaire' (lamentation). If 'eol' was feminine
> too,
>>> then it would be perfectly natural for the word to accrue an
> initial
>>> F in Gaelic, leading to a modern 'téad na feola' (string of
>>> lamentation). This would be an extremely appropriate name for a D
>>> string: the D scale forms the basis of most of Carolan's laments
> and,
>>> with plagal final, of the archetypical keening tunes.
>>>
>>> Beannachdan,
>>>
>>>
>>>
>>> Alasdair
>>>
>>>
>>> ------------------------------------
>>>
>>> Yahoo! Groups Links
>>>
>>>
>>>
>>
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