Page:A Dictionary of Music and Musicians vol 4.djvu/459

WELSH MUSIC. of the key are omitted, a fact which accounts for the peculiar effect produced upon a cultivated ear by the Scotch bagpipe of the present day, where the music passes from minor to relative major, and back, without the least regard for the tonic and dominant drones of the original key, which continue to sound. The story, if true, would show that the Welsh were already in possession of a Scale or Key, which, by their own showing, consisted of notes that formed perfect concords; whereas the other, which they objected to, was of a mixed nature, neither major nor minor, but a mixture of the two—which is not altogether an inapt way of describing the pentatonic or Scotch Scale.

The 'Caniad Pibau Morvydd' (The Song of Morvydd's Pipes), above alluded to, is also included in the ancient manuscript.

The 'twenty-four measures' consisted of a given number of repetitions of the chords of the tonic and dominant, according to the length of each measure, and are represented by the following marks, 1 standing for the tonic chord, and 0 for the dominant:—

or in modern notation

The positions of the chords are arranged so as to admit of their being played on the open strings of the Crwth.

These measures do not appear in Welsh music after the date to which the manuscript refers, a circumstance which may be considered most fortunate; for, though well adapted to their purpose at that early period, viz. for the guidance of performers on the Harp and Crwth—the latter being used as an accompaniment to the Harp—had such rules remained in force, they would have rendered the national music of Wales intensely monotonous and uninteresting, and thoroughly destroyed all freedom of imagination in musical composition; whereas, it is remarkable for its beauty of melody, richness of harmony and variety of construction.

The Welsh manuscript mentioned in the foregoing article as in the British Museum is in Add. MS. 14,905. The writing shows it to be of the date of Charles I. It came to the Museum from the 'Welsh School.' The book contains the name of Lewis Morris 1742, and Richard Morris, Esq., 1771, and the following MSS.

The portion containing the Ancient Music is printed in vol. iii. of the 'Myvyrian Archaeology of Wales' (1807). See Transactions Cymmrodorion Soc. i. 361.

Other collections of Welsh music in the Museum are, Ad. MS. 14,939, 'Collections by R. Morris, 1779.' Do. 15,021, Account of the Old Welsh Notation. Do. 15,036, Tracts on ancient Welsh Music transcribed by Hugh Maurice for O. Jones, from a MS. by John Jones. [ J. T. ]

WELSH TRIPLE HARP (Telyn dair-rhes). This instrument has three rows of strings; the two outside rows being tuned in unison, according to the diatonic scale, and the inner row tuned so as to supply the flats and sharps required to complete the chromatic scale.

The Welsh Triple Harp is the only instrument of its kind that has ever been known with the strings on the right side, of the comb; thereby