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Morriston Fiddle Maker

from the bbc
http://news.bbc.co.uk/1/hi/wales/south_west/7452522.stm



Concert celebrates violin maker


Lewis Roberts's violins are worth over £1,000 each on the open market
The work of a man regarded by some as Wales's greatest violin maker is to be celebrated at a concert at the chapel where he was buried in 1917.
Lewis Roberts of Morriston near Swansea made 87 instruments during his career and six will be played by a variety of musicians at Capel Seion Newydd.
Roberts, who was born in 1868 and made his first violin while in his teens, influenced several contemporaries.
The concert on 21 June is free to the public.
It has been organised by local antiques expert John Carpenter who has also researched the violin maker's life story.
"He was without any doubt the best [violin maker] Wales has ever produced," he said.
"Lewis Roberts was a violin maker who is described as a 'dreamer of dreams', which I have used as the title to my book.
"He worked in the tin industry, was a bachelor as far as we know and died at a young age pneumonia.
"He had have a brother - Willie Roberts - who was very well known locally as a violin player."
Mr Carpenter said he Roberts' mother had tried to discourage her son from violin making but he fashioned his first secretly in the back garden of their house in Morriston partly with a penknife.
He said what marked them out was the "neatness of his work".
Mr Carpenter's interest in Roberts was sparked around 20 years ago when he first acquired one of his violins.
"I have been an antique dealer most of my life and have played the violin since I was five years old.
"I have since bought another three - all of which will be played on the night along with another two."
The concert starts at Capel Seion Newydd at 1900BSTon Saturday 21 June.

preseli

Dv dy uarch du dy capan.
du dy pen du dy hunan
i adu ae ti ysgolan.

Mi iscolan yscolheic
ysgawin y puill iscodic.
guae ny baut a gaut guledic.

O losci ecluis. a llat buch iscol.
a llyfyr rod y voti.
vy penhid. ys trum kynhi.

Creaudir y creadurev. perthidev muyhaw.
kyrraw de imi vy gev.
ath vradas te am twyllas ynnev.

Blyutin llaun im rydoded.
ym. bangor ar paul cored.
Edrich de poen imy gan mor pryued.

Bei ys cuypun ar vn. mor amluc guint.
y vlaen bric guit fallum.
ar a vvneuthum e bith nys gunaun.



mountain gavotte
as plain as wind before the branch
words clothe articulate nature

here, life is movement
but slow

preseli trees are traces of time
tracks from a seeds urge
their shape the path of their history

bent by a crow's beak the scholars'
black flute twists the branch
persuaded by light, directed by wind

brilliant, unsymbolic lines
the mark of the action
taut against the reflected ocean sky

beverley evans reading the text here

branwen bendigeidfran gwales. yscolan & adar rhiannon. manawyddan lludd belinos lugobelinos a'r fisher king

branes yw'r hen air am heidio'r brain. nid o'r castell ond o'r fan hyn welodd bendigeidvran vab llyr llonge yn dod o werddon



mulfranwen yw'r enw am y deryn yma sy'n lluaws ar ynys gwales yn sir benfro



a branwen oedd whâr bendigeidfran a fuws ar ynys gwales, ne o leia'i ben hyfryd am 80 mlyned.



nes i heilyn vab gwyn agored y drws mynna manawyddan na ddylid ei agored. dyma lun david jones 'manawyddan's glass door'



cyn hyn yr oeddent yn ôl yn harlech am gyfnod lle ganws adar rhiannon iddynt



drudwns oedd adar rhiannon. wedyn aethpwyd â pen bendigeidfran fan hyn i wynebu tua ffrainc. ma bran yn gysylltiedig a'r fisher king, bron fyd achos y lôs gas e yn ei garffed



ma'r cigfrain yno o hyd.



fe gladdws lludd fan hyn, yn ludgate. lludd oedd yn fab i beli mawr ac yn gysylltiedig mynte rhai a lugh lamhada (a thrw hwnnw i lleu llaw gyffes) a lugobelinos, ac yn frawd i bran



a beli mawr fan hyn yn billingsgate. beli mawr oedd priod dôn, mam y mor, ac yr oedd e'i hun yn gysylltiedig a belenos - duw yr haul - apollo dim llai. belinos oedd tad bran



ceir yr hanes ar lein yn sysneg fan hyn . meddwl mâs yn uchel otw i, na gyd

's da'r tiwn a ganlyn ddim byd i wneud a'r uchod onibai am yr ail elfen. ty mawr yn nhgyffunie llandyfri yw glanbran. pam enwyd y nant cyferbyn yn bran, cwestiwn arall yw hwnnw




X: 1
T:glanbran
M:2/4
L:1/8
Q:250
K:G
G/A/|B2 Bd|G>A| BG|c2 B2|AA/B/ cA|
B>A Bd|G>A BG|Ad FA|G3:||
G|F>A G>B|Ac BA|G>B A>c|Bd BG|
B>A Bd|G>A BG|Ad FA|G3:||

dyma'r ty



ma bran i fran yn rhwle

welsh ballads. lord bateman, sweet william, siwsan lygatddu & the bishop of bangor

congratulation to the university of wales and particularly the welsh schools at university colleges bangor and cardiff for a new resource on line called cronfa baledi. it is a very usable site detailing authors, printers, sellers, catalogue numbers and tune lists of welsh language popular eighteenth century ballads, plus their first and last lines... and there's the rub



it is a pity that a quick comparison wih oxford's bodleian library collection of ballads exposes one final hurdle not crossed in terms of use to the general οἱ πολλοί on the university of wales site. 'what no pictures? said alice'. the bodleian not only gives us detailed photographs of these beautiful (and fragile - so nobody's fingering them) broadside ballads and a separate index for the woodcuts; but the site also has some midi files of the tune used. bingo.



it is of couse possible to retreive the catalogue number and see the mss for yourself at either bangor or cardiff but this is 21st century e-wales and for the artist who just wants to nick the words and tunes its a bit of a pity really. more hurdles to online viewing may be encountered here. another example of possibe frustration is to be seen below. in amongst a seemingly interminable ocean of religious balladry lies, temptingly, the ballad lord bateman. this is a screenshot of all we get



and on further perusal



nothing really to prepare us for the momentous discovery of this ballad, published in welsh speaking salop about a century before dickens and thackeray popularised the story of sofia and the owner of half of northumberland. here's one of the george cruikshank illustrations to dickens' words. the whole lot can be got here at the project gutenburg website




as it happens i copied the whole lot out by hand from the ms in bangor about a year ago. here's a free gift of it



C E R D D
o
hanes mab i wr BONHEDDIG
o
LANCASHIRE
AETH I DRAFEILIO

CYMERWYD hwn i garchar, o achos ei grefydd, yngwlad y Twrcs, a merch y brenin a’i ffan∫iodd ef, gan ddwyn yr agoriade, a’i ollwng ef yn rhydd gan wneuthur ammod a’u gilydd o doent i dro∫odd i Loegr ym hen y ∫aith mlynedd, gan bwyntio prïodas y cyfam∫er, ond y mab a brïododd un arall; ac ar y diwrnod y neithior daeth merch y brenin at ei haddewid, a bu ∫yndod mawr ar y mab, fe wrthododd ei wraig brïodol, ac a brïododd ferch brenin y Twrc.

gan EDWARD PUGH AP FYLLIN, Fardd
CROESOSWALLT
Argraphwyd gan J. SALTER
M, DCC, XCI,
Y MESUR A ELWIR
"NEW PRINCESS ROYAL"

I.
Gwyr a gwragedd dowch ynghyd,
hyna jeüenga’ brafia o bryd:
Clywch hanes mab bonheddig llon,
Aeth i deithio o’r wlad hon,
Ffordd i wledydd oedd digred
Gadawai ei wlad, i fynd ar led.
II.
I wlad y ffez Morocco’r aeth,
Bu arno yno gyflwr caeth;
Wrth rodio’r wlad nid rhad na rhwydd,
Cymerai’r Twrciaid e’n eu ∫wydd,
Rhodda∫ant ef mewn carchar cry’
Mynegaf ichwi fel y bu:
III.
Wylo’r dagre i lawr yn llyn
Yn y carchar ∫omgar ∫yn,
Dymunai dod’n ei wlad yn ol
Lle bod ymhlith rhai mor ddirol,

Lawr
Lawr i’r ∫eler ddu cadd fynd
Lle nid oedd posib gweled ffrind.
IV.
Y mab bonddigedd llariedd llon,
Hwn oedd heb gudd yn brudd i fron,
Mab oedd heb braw’ yn lan o bryd,
Carcharwr oedd ef yno o hyd,
O’r carcharorion daeth refiw
Fo oedd hawddgara’ lana’ ei liw
V.
Fe aeth un yno’n llon i’r llu
Sef merch y brenin atto fu,
Can wel’d mor lân o bryd a gwedd
Ffan∫iodd hon y mab mewn hedd,
Yn ei chalon yn ddi gudd
Ag ei∫iau cael y mab yn rhydd.
VI.
Yn y dyngiwn yn gla’ roddd dan glo,
Y ferch ofynnau iddo fo
Oedd ganddo fodd i’w brynnu’n rhydd.
A’r dagre’n rhedeg lawr ei grudd.
Dywedai ynte wrth y fun
Fod ganddo stât’n ei wlad ei hun


Bodlon
VII.
Bodlon wyf i roi f^y ∫tât
Os caf I fynd i dir fy ngwlad,
Nag aur, nag arian, bwyd, na bir:
Na dim arall yn wir nad oes,
Ofni rwyf mae b^yr yw f’oes.
VIII.
Y ferch rinweddol yno ddai,
A bara a diod iddo hi a roi;
A mentro a ddarfu hon yn hy’,
Agoriade a cloëau y carchar cry’,
A hi a ollyngai y mab yn rhydd,
A’i gyrchu heb braw o’r carchar prudd
IX.
Yno d’wedai’r ladi braf,
Yn brïod cym’raf chwi os caf.
Chwi eiff yn glen i dir eich gwlad
Na anghofiwch momo fi drwy wad;
Ym mhen ∫aith mlynedd gwedded gwiw
Byddaf finne ichwi’n driw
X.
Gwneuthur ammod a wnaeth y ddau
A’r ladi glws yn ledio’n glau


Pan
Pan ddoe’r ∫aith mlynedd maith i ben,
Y gwnaent brïodi i’w dau heb ∫en;
Dywedai’r ferch oedd lon ei gwedd,
Am gofio’r amod hynod hedd.
XI.
Hyn o amser oedd mor hir,
Fo anghofiai ei ∫eren ∫ir.
Pan ddaeth ∫aith mlynedd i’w coffhau,
Prïodi un arall yn wir fe wnai
Cadw neithior iddo ‘fe,
A phawb yn llawen iawn ei lle
XII.
Rhyw ferch jeüanc yno ddaeth,
Cnoccio wrth y drws hi wnaeth
Y gwas agorai iddi hi,
Fe welai’n ffraeth ryw ladi ffri
Hi ofynnai iddo’n hy’
Oedd ei fei∫tr yn y ty.
XIII.
Dywedai’r gwas yn ∫iwr ei fod,
A briod gydag ef trwy glod
Yn cadw neithior yno’n iawn,
Er y bore, a thrwy prydnhawn;
Gyda’r miwsig y mae fo
Yn prysur dawn∫io treio tro
Dywedwch
XIV.
Dywedwch wrth eich mei∫tr clir,
Am ddanfon imi fara a’i fir
A pheidio anghofio’r ferch a fu
‘N ei dwyn ef o’r carchar cry’
A fentrodd ei bywyd yn ddigon hy,
‘N ei gael yn rhydd o’r dyngiwn du.
XV.
At ei fei∫tr y gwas fo aeth,
A gore’n ffri mewn geiriau ffraeth,
Mewn agwedd hy’ mynegai hyn,
Dechreuai ei fei∫tr mynd yn ∫yn,
Ac wrth ei brïod dywedai’n hy’
Y cai hi fyned ffordd y bu.
XVI.
Am ei chorph nid oedd e’ waeth,
Roedd e’n ffri a’r feinir ffraeth,
Ar farch y dowch chwi yma’n ffol,
Yn eich coach and ∫ix cewch fynd yn ol,
Bai yn wir oedd arnaf fi,
Am dorri geiriau ‘rioed a thi
XVII.
I ffordd yr aeth y brïod ferch,
Ar ol prïodi a ∫oddi o’i ∫serch,
Dim

Dim count am dani mwy nid oes,
Am y ferch heini yn ei hoes,
A’r hen gariad priodi a wnai
A byw yn glen efo’r feinir glau
XVIII.
Wel dyna’r ∫tori heini hardd
O’ch blaen chwi rhwydd fel cadd y bardd;
Yn rhodd na fernwch anai’n faith,
Ewch gynta o’m gwydd i fendio’r gwaith.
Dim help os nad oes fy mhen fydd wan,
You may do better if you can.


T E R E Y N







new princess royal is the tune suggested to sing the ballad. not the princess royal of playford but a tune that was attributed to o'carolan by ed. bunting called there miss macdermott, and later re-appreared in various forms as the princess royal in the cotswold and other morris traditions. here's a full list of the tunes used by the ballad singers as appears on the cronfa baledi website

Acen Colomen

Amorillis

Anodd Ymadael

Anodd Ymadael y ffordd fer

Belisle March

Beti Brown

Black Eyed Susan

Black-Eyed Susan

Bodlonrwydd

Bonny Jockey

Bore Dydd Llun

Breuddwyd

Breuddwyd Cariad

Breuddwyd Dafydd Rhys

Breuddwyd y Frenhines

Bryniau'r Iwerddon

Bryniau'r Iwerddon y ffordd hwy

Buckledo

Bwrw Ymaith Ofalon

Calon Dderwen

Calon Drom

Cariad Nebyn

Cast Away Care

Charity Mistress

Charming Chloe

Cil y Fwyalch

Clochydd Meddw Mwyn

Codiad yr Ehedydd

Conset Capten Morgan

Conset Catrin Penllyn

Conset Clychau Rhuabon

Conset Gruffudd ap Cynan

Conset Gwyr Aberffraw

Conset Gwyr Dyfi

Conset Gwyr Gwent

Conset Gwyr y Gogledd

Conset Lord Wilbury

Conset y Brenin William

Conset y Brenin William ffordd newydd

Conset y Prince Rupert

Cowper Mwyn

Crimson Velvet

Crying Windsor

Cwymp i'r Nant

Cwymp y Dail

Cwymp y Dail y ffordd hwy

Cwynfan Prydain

Cyfarfod Da

Cysgod Uchod i Chwi

Dau Drawiad

Difyrrwch Gwyr y Gogledd

Difyrrwch Hugh Evans

Difyrrwch y Brenin Charles

Diniweidrwydd

Dol y Moch

Down With the Roundheads

Duw Gadwo'r Brenin

Duw Gadwo'r Brenin yr hen ffordd

Duwc y Dero

Eluseni Mistress

Eos Lais

Erlid y Geinach

Fell Into Two

Ffansi'r Milwr

Ffarwel Brydain

Ffarwel Dai Llwyd

Ffarwel Dickby

Ffarwel Gwyr Aberffraw

Ffarwel Gwyr Dyfi

Ffarwel Ned Puw

Ffarwel Trefaldwyn

Ffarwel y Brenin

Ffelene

French March

Full of Fancy

Gadael Tir

Gadael Tir y ffordd hir

Gadael Tir y ffordd hwy

Galar Don

Gentry's Delight

Glan Meddwdod Mwyn

God Save the King

Greece and Troy

Grisial Ground

Gwagedd y Gwalch

Gwel Adeilad

Gwel yr Adeilad

Gwinllan Ddyrus

Gwledd Angharad

Haf

Hau Cyn Dydd

Heart of Oak

Heavy Heart

Hen Don

Heppi's March

Hir Oes i Fair

Hitting Tinker

Hold the Way

Hope to Have

Hun Gwenllian

Hunting the Hare

Hyd y Frwynen

Hyd y Frwynen Las

I am a Poor Black 'Tis True

In My Own Mind

Janthee the Lovely

Jolly Breeze

King Charles's Delight

King George's Delight

King James' Delight

King's Delight

King's Farewell

King's Farewell y ffordd fer

King's Round

Lady Biram

Lawr a'r Pengrynion

Leave Land

Leave Land y ffordd fer

Leave Land y ffordd hwy

Let Mary Live Long

Llafar Haf

Llafar Lusg

Llef Caer Wynt

Loath to Depart

Loath to Depart y ffordd fer

Loath to Depart y ffordd hir

Loath to Depart y ffordd hwy

London Apprentice

Lucy Hoyw

Lusi Hon

Lwsi Hoyw

Mael Sims

Malldod Dolgellau

March Mwnc

Marwnad Bwnc

Marwnad yr Heliwr

Megan a Gollodd i Gardes

Mentra Gwen

Mentra Gwen yr hen ffordd

Miller's Key

Minswyn

Moggy Ladder

Monday Morning

Mwyn Susanna

Mwynen Gwynedd

Mwynen Mai

Mwynen Merch

Neithiwr ac Echnos

Neu Me Relas

New Cast Away Care

New Dachy War

New March

New Princess Royal

New Rising Sun

Newydd

Newydd

Now Comes the Glorious Year

Nutmeg a Sinir

Nutmeg a Sinsir

Old Darby

Parson's Parish

Passing Bell

Peggy Band

Pietty Pal

Pigau'r Dur

Pleasant Thought

Pretty Nancy

Pretty Sally

Princess Royal

Queen of May

Queen's Dream

Red House

Rhywbeth Arall i'r Wneuthur

Rhywbeth Arall i'w Wneuthur

Rodney

Rodney's March

Rogero

Sailor Bold

Sawdwl y Fuwch

See the Building

Sesiwn Fach

Shoe Bend

Spanish Basan

Spanish Gwenddydd

Spanish Minuet

Susan Lygad-Ddu

Susanna

Sweet Passion

Sweet Richard

Sweet William

Sybylldir

Synselia

Tempest of War

Terfyn y Dyn Byw

The Lover

To My Own Mind

Toll the Bell

Ton Fechan

Torriad y Dydd

Torriad y Wawr

Tri Thrawiad

Triban

Trip y Rhyw

Troead y Droell

Tros y Garreg

Trumpet Tune Denbigh Chast

Trychineb Bateman

Trymder

Trymder y Mab

Tyb y Tywysog Rupert

Unrhyw

Voice Love

Watkin Taylor

Welcome John

Wilkes's Wriggle

William Crismond

Wyneb y Gwrthwyneb

Y Ceiliog Du

Y Consymsiwn

Y Ddime Goch

Y Drymer Ifanc

Y Dydd Cyntaf o Awst

Y Famaeth

Y Fedle Fawr

Y Foes

Y Foes Fer

Ymadawaid y Brenin

Ymadawiad y Brenin

Ymadawiad y Brnein

Ymadawiad y Plant Man

Ymdaith Treffynnon

Yr Hen Foes

sweet william and black eyed susan (siwsan lygad ddu) both appear separately on this list and an interesting background to their story when they were one, can be found on andrew kuntz' wonderful (except for his fear of the word 'welsh'. not a word i use often, but it is useful when describing john parry who according to kuntz composed the 'english' tune cader idris, or sweey jenny jones) resource here


SWEET WILLIAM'S FAREWELL (TO BLACK-EYE'D SUSAN). AKA and see "All in the Downs," "Thus when the swallow, seeking prey," "Black& Eyed Susan [2]." English, Air (3/4 time). C Dorian. Standard tuning. AB. The music to this ballad is by Richard Leveridge while the words are by John Gay, based on the popular story of the courtship of William Whitcraft and Susan Cole, of Plymouth, commonly known as "Sweet William" and "Black-Eyed Susan." A version of this ballad was frequently reprinted in the late 18th-century as “William and Susan's Garland.” The lyric was first published by Gay in 1720, but was set to music by Leveridge and appeared in Watts' Musical Miscellany (1730), then ballad operas and broadsides from 1730 and later. Chappell and Scott note that Leveridge was "a genial and popular personage, possessed of a fine (bass) voice..," who was in the habit of challenging people to singing contests. In general, however (and despite his popular tune "Roast Beef of Old England"), he was thought a rather dull and mediocre composer; Chappel thinks the original tune for "Sweet William" was improved by time and the alterations of other performers. Gay also used the tune in his opera The Beggar's Opera (1729) under the title "Thus when the swallow, seeking prey." When Vauxhall Gardens was re-opened to the public in 1736, Peter Monamy was one of the artists commissioned to paint scenes of the creations and recreations of English life. One of the subjects he chose to illustrate was Gay’s song “Sweet William’s Farewell to Black-Eyed Susan.” Rod Stradling and Mike Yates (in a 2000 Musical Traditions article on singer Walter Pardon) note that “the song became extremely popular for 100 years or more - so much so that a number of sequels sprang up to trade on the original's popularity. Sweet William's Return to his Dear Susan was followed by Sweet Susan's Constancy and The True Answer to Black-Ey'd Susan … there may have been others (vague rumours of Son of Black-Eyed Susan and Black-Eyed Susan Goes Line-Dancing have been heard …) Even a stage play resulted, Black-Eyed Susan or All in the Downs (1829), involving the imagined melodramatic consequences of Sweet William's return.” Frank McHugh, writing on the London theatre season of 1812-1813, records: “David Mayer notes that the character Black-Eyed Susan appeared in pantomime soon after Jerrold's melodrama of 1829, but that she had appeared much earlier--in fact in the Sans Pareil pantomime of 1812-13, Davy Jones's Locker; or, Black-Eyed Susan. Mayer says, "A summary of the pantomime in the playbill of the 1813 Davy Jones suggests how extensively the character of Black Ey'd Susan belonged to the theatre, equally suitable to pantomime arrangers and to such serious dramatists as Jerrold" (Harlequin in His Element, 82-3).”  Gay’s lyric begins:
***
All in the Downs the Fleet was moor'd
The streamers waving in the wind,
When Balck-eyed Susan came on board
"O where shall I my true love find?
Tell me, jovial sailoers, tell me true,
If my Sweet William sails among the crew?”
***
The song’s popularity waned greatly after the mid-19th century, although there were occasional survivals to modern times in tradition. Stradling and Yates cite its appearance in Bob Hart’s, of Snape, Suffolk, repertoire in the 1970’s, and Walter Pardon’s sound recording. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 144. Scott, 1926; pg. 4.




X:1
T:Sweet Williams Farewell to Black-Ey’d Susan
M:3/4
L:1/8
S:Chappell – Popular Music of the Olden Time  (1859)
Z:AK/Fiddler’s Companion
K:C Dorian
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G2A2=B2|c>d e2d2|e2d2c2|B2c2=B2|c6||

here is the entirity of gay's lyric

All in the dawn the fleet was moor'd,
The streamers waving to the wind,
When Black-eyed Susan came on board,
Oh where shall I my true love find?
Tell me, ye jovial sailors, tell me true,
If my sweet William, if my sweet William
Sails among your crew?

Oh William, who high upon the yard,
Rocked with the billows to and fro,
Soon as her well-known voice he heard,
He sigh'd and cast his eyes below:
The cord slides swiftly thro' his glowing hands
And as quick as lightning, and as quick as lightning
On the deck he stands.

So sweet the lark, high poised in air,
Shuts close his pinions to his breast,
If, chance, his mate's shrill voice he hear,
And drops at once into her nest:
The noblest captain in the British fleet
Might envy William, might envy William's
Lip those kisses sweet.

'Oh Susan, Susan, lovely dear!
My vows shall ever true remain,
Let me kiss off that falling tear,
We only part to meet again:
Change as ye list, ye winds, my heart shall be
The faithful compass, the faithful compass
That still points to thee.

'Oh, believe not what the landsmen say
Who tempt with doubts thy constant mind,
They'll tell thee sailors when away,
In every port a mistress find:
Yes, yes, believe them when they tell thee so,
For thou art present, for thou art present
Wheresoe'er I go.

If to fair India's coast we sail,
Thy eyes are seen in diamonds bright:
Thy breath is Afric's spicy gale,
Thy skin as ivory so white:
Thus every beauteous object that I view
Wakes in my soul, wakes in my soul
Some charm of lovely Sue.'

Though battle call me from thy arms
Let not my pretty Susan mourn:
Though cannon roar, yet safe from harms
William shall to his dear return:
Love turns aside the balls that round me fly
Lest precious tears, lest precious tears
Should drop from Susan's eye.

The boatswain gave the dreadful word,
Her sails their swelling bosom spread:
No longer can she stay on board -
They kissed, she sighed, he hung his head:
Her lessening boat unwilling rows to land,
'Adieu,' she cries, 'Adieu,' she cries
And waved her lily hand.

tune players in the welsh and english traditions will recognize phrases from this tune in its truncated jig form as the earlier bishop of bangors jig, which appears in one of the later playford collections. here it is as i learned it from the whistle playing of jonathan shorland, then of aberystwyth, about twenty years ago. jonathan played it usually in g minor, on an f whistle and followed it with cwrw da, the (nearly) slip jig composed by john parry. geoff hardman of anglesey also plays this setting of jonathan's but on the timber flute and in e minor.



X: 1
T:Bishop of Bangor's Jig
M:6/8
L:1/8
K:Em
B|efg fge|^def B2e|dcB cBA|B3-B2B|
efg fge|^def B2e|dcB cBA|B3-B2|
B|dBG cAF|BGE AFD|GAB AGF|G3G2||
B|ge^c af^d|bge af^d|efg Be^d|e3-e2:||

ah well,
may get drunk, may get boozy
better stay a way from little black eyed susie

traditional welsh flute - ioan rhagfyr

last year llio rhydderch gave me a photocopy of a manuscript she had been looking at from the library of the university of wales, bangor (Llsg 2299). it contains nine tunes composed by the self styled ioan rhagfyr, or the more anonymous sounding john williams as he was christened, 'perthynol i'r german flute scale' (appertaining to the german flute scale) and a hornpipe by one thomas davies. here is ioan's entry in y bywgraffiadur cymreig.

WILLIAMS, JOHN (‘Ioan Rhagfyr ’; 1740-1821); g. 26 Rhagfyr 1740, yn Hafoty Bach, plwyf Celynnin, Meirionnydd, mab William Robert Williams, a'i fam yn berthynas i Edward Samuel, Llangar [q.v.]. Symudodd y teulu i fyw i Dalywaen, ger Dolgellau. Gwneuthurwr hetiau brethyn ydoedd y tad, a dysgodd y mab y grefft. Arferai masnachwyr gwlân o Amwythig letya yn Nhalywaen, a thynnwyd eu sylw at ddawn John Williams i ddysgu, a thalasant am dri mis o addysg iddo yn Amwythig. Cafodd wersi mewn cerddoriaeth, a dysgodd ganu'r trwmped a'r ffliwt. Wedi dychwelyd gartref dechreuodd gyfansoddi cerddoniaeth a barddoniaeth. Yn 1763 priododd â Jane, merch William Jones, Bryn Rhyg, Dolgellau. Yn 1772 rhoddodd ei grefft i fyny ac aeth yn glerc at Edward Anwyl, cyfreithiwr, ac wedi hynny bu'n cadw ysgolion yn Nhrawsfynydd, Abermaw, Dolgellau, a Llanelltyd. Efe oedd cerddor enwocaf ei gyfnod, a chyfansoddodd lawer iawn o gerddoriaeth offerynnol, anthemau, a thonau. Bu rhai o'i anthemau yn boblogaidd am amser hir, a cheir ei donau ‘Sabath,’ ‘Cemaes,’ a ‘Dyfroedd Siloah’ yn ein casgliadau tonau. Ceir ei ddarnau offerynnol — yr ymdeithganau, gavottes, a minuets — yn Y Cerddor Cymreig (‘Ieuan Gwyllt’). Yn llyfr Ffoulk Robert Williams (‘Eos Llyfnwy’ [q.v.]) ‘Cerddoriaeth o Gerddi Seion’ mewn llawysgrif sydd yn y Llyfrgell Genedlaethol ceir 59 o donau a 21 o anthemau o waith John Williams. Bu f. 11 Mawrth 1821 a chladdwyd ef ym mynwent Llanfair Bryn Meurig.
Llyfryddiaeth:

Ser. G., Mai 1822;
Y Cerddor, Chwefror 1889;
M. O. Jones, Byw. Cerdd. Cymr.;
Em. W.;
Enw. F.;
Y Gwyddoniadur;
J.T.J., ii, 645-6.
Awdur:

Robert David Griffith, M.A., (1877-1958), Hen Golwyn

Atodiadau a chywiriadau:

WILLIAMS, JOHN (‘Ioan Rhagfyr ’; Bywg., 985) Sylwer mai yn Ser. G., Mai 1822 (nid ‘Ser. Cym.’) y ceir ei hanes.

and in english

WILLIAMS, JOHN (Ioan Rhagfyr ; 1740-1821), musician; b. 26 Dec. 1740 at Hafoty Bach, parish of Celynnin, Mer., the son of William Robert Williams and his wife, who was related to Edward Samuel, Llangar (q.v.). The family moved to Tal-y-waun, near Dolgelley. The son learned his father's craft — that of making cloth hats. Wool merchants from Shrewsbury used to lodge at Tal-y-waun and some of these, after observing that John Williams had a gift for teaching, paid for three months' schooling for him at Shrewsbury; he also received lessons in playing the trumpet and the flute. After returning from Shrewsbury he began to write music and poetry. In 1763 he m. Jane, daughter of William Jones, Bryn Rhyg, Dolgelley. He relinquished the craft of hat-making in 1772 to become a clerk to Edward Anwyl, solicitor, Dolgelley; he afterwards kept schools at Trawsfynydd, Barmouth, Dolgelley, and Llan-elltyd. John Williams was probably the most prominent musician of his time in Wales. Anthems which he wrote remained popular for a long time, his hymn-tunes ‘Sabath,’ ‘Cemaes,’ and ‘Dyfroedd Siloah’ are found in many collections, whilst instrumental pieces by him (marches, gavottes, and minuets) were published in Y Cerddor Cymreig (Ieuan Gwyllt). In Foulk Robert Williams (Eos Llyfnwy, q.v.), ‘Cerddoriaeth o Gerddi Seion’ (in manuscript form in N.L.W.) are preserved fifty-nine hymn-tunes and twenty-one anthems by him. He d. 11 March 1821, and was buried in Dolgelley parish churchyard.

the hand in the ms is fluid and beautiful and similar to the hand of the many fiddlers' tune books that peppered england, wales, scotland and ireland during the period. the notes by llio point out that the ms was owned by his brother robert and that the tunes were collected by a third brother, ythyr. it dates from 1767, making this a particularly early ms of welsh flute music in particular, and flute music in general in the british isles, outside of a military or courtly context. folk music in fact.



it may be slightly predated by the 'aria de camera per flauto solo' published in london in 1735, but the printers, daniel wright snr and jnr, if not exactly crooks were nothing if not unscrupulous and were certainly cashing in on a) fancy modern italian fashions and b) the new vogue for all things 'celtic', in this hotch potch of italianate celtica featuring all the usual suspects; fanny dillon by carrolan, moggy lauther, meillionnen etc. and it has to be said that the contributors' (three flute players playing their new national airs) names are somewhat suspect; mr alex. urquahart of edinburgh, mr derm.t o'connar of limerick and mr hugh edwards of carmarthen, are all in all only slightly more believable than jock mactavish, paddy o' riley, and taffy jones. ioan rhagfyr is the real deal, though. nontheless being compositions, the tunes reflect to no small degree the italian atmosphere also.

they are also nearly contemporary to the tunes collected by flute player edward williams (iolo morganwg) of glamorganshire, but although iolo's tunes are beautiful to play on the instrument, the tunes he collected are not specificaly flute repertoire. it does indicate however quite a fashion for the (presumably) now easy to aquire instrument in wales. iolo's tunes - unlike hugh edwards and ioan rhagfyr however, not only sound far from italianate but reflect iolo's highly developed critical sense of the native esthetic, an esthetic he romantically ascribed to the ordinary folk of south wales, deriding the pompous baroque music of north wales as exemplified by edward (humstrum) jones the harper. iolo could hold a grudge longer and deeper than most and the king's harper had particularly irritated iolo. ioan's tunes would certainly not have incurred the gwentian wrath.

here is an abc transcription i made last year. i have copied the music faithfully as pricked down in the ms and any musical corrections i leave to those who know better. i love the rhythms these transcriptions give to the minuets particularly. correct at your peril.

X:1
T:Gavot by John Williams
C:Ioan Rhagfyr (John Williams)
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Gavot
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
f2a2^g2b2|afge dcBA|f2a2^g2b2|gfge d4:|
d'2b2=c'2a2|bgaf edea|d'2b2c'2a2|fba^ga4|
f2a2^g2b2|afge dcBA|f2a2^g2b2|gfge d4:|



X:2
T:Air by John Williams
C:Ioan Rhagfyr (John Williams)
M:3/4
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgelleu c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by llio Rhydderch.
R:Air
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
a4b2|a2gfed|Ag/a/bgda|Gf/g/afeg|Fe/f/gedf|
Gg/e/dcBA|a4b2|a2gfed|Ag/a/bgda|Gf/g/afeg|
Fe/f/geAc|d2AFD2:|
dcdgaf|ecefge|dcdfed|edcBA2|
FaGbAd'|b2c'2d'2|ab c'2>b|a4>"DC"||





X:3
T:Dolgelley Minuet by John Williams
C:Ioan Rhagfyr (John Williams)
M:3/4
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Minuet
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
dfa2g2|ceg2f2|dfgf ed|cdec A2|
dfa2g2|ceg2f2|egfedc|d4>:|
fad'2b2|egb2a2|fad'c'ba|g2fge2|
fad'2b2|egb2a2|fba2g2|a4|dfa2g2|
ceg2f2|dfafed|cdec A2|dfa2g2|
ceg2f2|eg fe dc|d4>:|
dfafed|cegedc|dfafed|cdec A2|
dfafed|cegedc|egfedc|d2A2D2:|
fad'c'ba|egbage|fad'c'ba|g2fge2|
fad'c'ba|egbage|fbagf^g|a4|
dfafed|cegedc|dfafed|cdec A2|
dfafed|cegedc|egfedc|d2A2D2:|
(3def (3agf (3fed|(3cde (3gfe (3edc|(3def (3bgf (3fed|(3cde (3edc A2|
(3def (3agf (3fed|(3cde (3gfe (3edc|(3efg (3fed (3edc|d2A2D2:|



X:4
T:Air by John Williams
C:Ioan Rhagfyr (John Williams)
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Air
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
B^ABc dcde|fefg f2>a|b^abc' bfgf|e2d2cedc|
B^ABc dcde|fefg f2>a|bfgf edcB|A2^G2F2>:|
c|cde fefg|f2d'2^a2b2|fbbb eaaa|dggg fedc|
B^ABc dcde|fefg f2>a|gfdc BdcB|F2^A2B2:||




X:5
T:A Hornpipe by Thomas Davies
C:Thomas Davies
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Hornpipe
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
d2AAd2A2|defga2gf|gbag f2ed|edcBA4|
d2AAd2A2|defga2gf|gbag f2ed|A2c2d4:|
gbgg f2dc|gabc' d'2c'b|a^gaba2gf|edef e4|
d2AAd2A2|defga2gf|gbagf2ed|A2c2d4:|



X:6
T:Bugeiliaid oed(d) yn gwylio
C:John Williams
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Hornpipe
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:A
A4D2E2|A2D2GAB2|A4|
"solo"(FGAF)G2FG|
W:Ha le liw ia
(F2E2)D4|F4G2A2|B2A2G2F2|E4|
"solo"(F>GAD)G2FG|
W:Ha le liw ia
(F2E2)D4|d4c2d2|e2A2d2e2|"ed"d4|
"solo"c>deAd2cd|
W:Ha le liw ia
(d2c2)A4|A4ABcA|d2F2G>AB2|A4|
dcdABcde|
W:Ha le liw ia
(d2c2)(d4|d8)



X:7
T:Nannau Minuet by John Williams
T:Illtyd Minuet
C:Ioan Rhagfyr (John Williams)
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Minuet
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
d4fg/a/|g2f2e2|fdgedc|d2A2G2|
FAdfed|Acegfe|Bdfagf|e2dcBA|
d4fg/a/|g2f2e2|fdgedc|d2A2G2|
FA dcdB|Acedec|Agfedc|d4>:|
A4de/f/|e2d2c2|d4fg/a/|g2f2e2|
f4bc'/d'/|c'2b2a2|gfedcB|A4>|
d4fe/d/|cdAcB^d|e4gf/e/|dfBdce|
f4ag/f/|eg^cedf|efgefd|e2dcBA|
d4fg/a/|g2f2e2|fdgedc|d2A2G2|
FA dcdB|Acedec|Agfedc|d4>||



X:8
T:Gavot by John Williams (9)
C:Ioan Rhagfyr (John Williams)
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Gavot
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
d2fde2ag|fdBdc2Bc|dAfd ecaf|gbBe dcBA|
d2fde2ag|fdBdc2Bc|dfaf dBag|FdEcd4:|
f2afg2eg|fdafe2dc|dfafdfed|c2B>AA4|
fdafgbeg|ecgefadf|gbd'bafed|AaG^ga4"DC"||



X:9
T:Hengwrt (?) Minuet
C:Ioan Rhagfyr (John Williams)
M:3/4
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Minuet
O:Wales
A:Sir Feirionnydd
N: Enw'r darn yn aneglur yn y llsg.
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:G
g2g2g2|(gab) d4|(efg) dBcA|(Bcd) G4|
B2c2d2|ecfdge|fdbgd'b|adefga|
(bd'b) (ac'a) (gbg)|a2g2f2|(bd'b) (ac'a) (gbg)|a2g2fd'|(bag) f2 e2|d4>:||
d2d2(de=f)|edcBAa|e2e2(efg)|fgdcBb|
f2f2(fga)|gfedcc'|bgd'baf|gec'abg|
afd'bca|bgcbag|fgadef|(gbg) (faf) (ege)|
d2c2B2|(gbg) (faf) (ege)|d2c2Bg|(edc)B2A2|G4||



X:10
T:Cynedda M.C.C
C:Ioan Rhagfyr (John Williams)
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:G
d4|B4A4|G4c4|A4A4|G4d4|
B4c4|d4d4|^c8|d4||
B4|d4d4|d4B4|c4B4|
A4A4|G4A4|B4c4|A8|G4||



llio recorded nannau minuet on her first cd called telyn.

nannau farm (the farm associated with the nannau minuet, also called the illtyd minuet in the ms, incidentaly) is the farm next door to one of the young students i worked with in the project described below. she informed me of this with great excitement, realising the closeness of the relationship between the tune and her own life.

on a tangent, i was told after a recent gig at ty siamas with the group i play in, fernhill, by a member of the audience afterwards that nannau farm is also associated with the great oak, the king of the trees, y brenhinbren as described in the traditional penillion verses below, inasmuch as a table that was fashioned from the great trunk was housed at nannau farm and the locals of my generation when they were young were taken on school trips to sit at the mighty table and marvel at its magnificent girth. here are the words as written down by me from memory and in my morgannwg, rather than the original meirionydd welsh.

ma llawer pen bencyn o'r dinas i benllyn
a dolydd i'w dilyn hyd lawr dyffryn clwyd
er garwed yw'r creigie sy o gwmpas dolgelle
gerwinach nag unlle yw'r ganllwyd
brenhinbren y ganllwyd oedd dirion a dorrwyd
mewn barieth fe'i bwrwyd o'r aelwyd lle'r odd
fe dyfodd yn gapten - ni fishodd un fesen
yn nolydd glyn eden glan ydoedd
yr odd yn bren gwrol a'i fodde'n rhyfeddol
a phawb yn ei ganmol o bobol y byd
a'r hen dade dywiol - rhai doethion odiaethol
a gadwodd yn fywiol ei fywyd
er claddu'r brenhinbren dan gwys y ddaearen
cynyddws un fesen yn gangen deg wych
ar hon y tyf gwyrdd-ddail - bydd mynych ei manddail
ma'r gwraidd mewn hen adfail hynodwych


later in the year, i will be starting an exciting project based in ty siamas, the national centre for welsh folk music, and the primary school in dolgellau. a pilot project has already taken place with the young students to considerable success. nearly eighty young people each built and began to learn to play their own flute alongside myself and john glennydd. the new project is a continuation of this work and involves a deeper, broader and slower aquaintance with the musical inheritance exemplified by ioan rhagfyr in particular and flute music and dance music in general.

we'll be learning to play tunes!

there will be individual tuition for the students at ty siamas during the schooltime afternoon and similar tuition for anyone else from about four pm till eight. there then follows a session till closing time.

ty siamas show commitment and vision for co-ordinating this project. the project is named in commemoration of one of the earliest flute players known in that area, sesiwn ioan rhagfyr

below follows their press and also dates of the upcoming sessions. please contact them for more info or to book a session

Tŷ Siamas, Eldon Sq, Dolgellau, Gwynedd LL40 1PU Phone: 01341421800

Sesiwn Ioan Rhagfyr
Lleoliad: Ty Siamas
7.30yh Sesiwn Anffurfiol yn y bar o dan arweiniad Ceri Rhys Matthews. O'r Hydref ymlaen bydd Ceri yn dod i Dy Siamas i gynnig gwersi ar y ffliwt i blant yr ardal. Bydd hefyd cyfle i oedolion ddechrau canu'r bib, y ffliwt neu'r pibau dan arweiniad Ceri cyn i weithgareddau'r diwrnod ddod i ben mewn sesiwn anffurfiol yn y bar. Mae croeso cynnes i bawb ymuno yn y sesiwn hon. Os oes gennych ddiddordeb yn y gwersi yna cysylltwch a Ty Siamas.

Location: Ty Siamas
7.30pm An informal session in the bar led by Ceri Rhys Matthews. From October Ceri will visit Ty Siamas every fortnight offering tuition to local children. There will also be the opportunity for adults to have lessons on the whistle, flute or pipes. The days's activities will culminate in an informal session in the Ty Siamas bar. Everyone is welcome to join in the lessons please contact Ty Siamas.

02/10/2007

16/10/2007

30/10/2007

13/11/2007

yscolan irish flute

hoff iawn o hwn ac o hwn gan 岩茸 'cawsllyffant y graig'