Musical and Poetical Relicks of the Welsh Bards

The third class, though listed last, was probably not the least respected. This group consisted of Herald Bards original: Clerwr or Arwyddfardd, who served as the national historians. They were also experts in genealogy, the heraldry of coats of arms, and the works of ancient Bards such as Taliesin and the two Merlins. According to the account given by Giraldus original: Cambriae Descriptio (Description of Wales), chapter 3 in the following century, they were wonderfully suited for poetry, if imagination is considered one of its main requirements. He claims they could trace the ancestry of their princes and nobles not only back to Rhodri the Great but even to Beli, Sylvius, Aeneas, and eventually to Adam himself. However, their poetry was generally of a more humble variety; it was usually limited to joking, mimicry, insults, and criticism.

Among the musical Bards, the first class was dedicated to performers on the Harp. Readers can find more information about them in the following history and in the section on Welsh musical instruments elsewhere in this volume.

The second class included performers on the six-stringed Crwth An ancient bowed string instrument; I refer the reader to the same sections for more information about them.

The third class consisted of singers original: "fingers" (OCR error), whose job was to sing the compositions of the poetical Bards to the accompaniment of others' harps. A variety of other skills was expected of them. "A singer," according to the Laws, "should know how to tune a Harp or Crwth and play several exercises and ornaments: two preludes, a cwlwm, a caniad, and the 13 principal tunes, including all their flats and sharps original: ^p. He should also understand the 13 principal styles of expression and how to accent them with his voice to various tunes. He should know the 24 metres of Poetry and the 24 measures of Music, and be capable of composing in two of the Englyn metres and one of the Cywydd metres. He should read Welsh with propriety and write it accurately, and be skilled in correcting and restoring any old poem or song that has been corrupted by transcribers."

Technical terms of Welsh music: These terms are very obscure and difficult to translate precisely. Until scholars can fully decode ancient musical manuscripts, consider these definitions: Cwlwmn: A harmonious piece of music with lyrics. Colofn: A "pillar" or fundamental musical part. Cydgerad: Music arranged in parts or harmony. Cadair: A "chair" or masterly piece of music. Performing this likely allowed a Bard to rise to a higher rank or "the chair." Caniad: A tune or song. Gofteg: A prelude or overture. Difyr: A measure or an entertaining melody. Mwchwl: A famous type of music that could only be mastered by a pencerdd (Doctor of Music) of the Harp. Note: Three "noble Mwchwls" were equal to four Colofns; one Colofn equaled 10 cwlwms; one Cadair was equal to 5 cwlwms.

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Specimens of all these metres are shown by Dr. Rhys, John Rhydderch, and the Reverend Mr. Gronw Owen (see Beirdd Môn by Hugh Jones, octavo, London, 1763), as well as in the records of the Society of Cymmrodorion, reprinted in 1778. There are other metres now considered obsolete and irregular, such as the Triban or Englyn Milwr (The Warrior’s Song), Englyn o'r hên ganiad (The Song of the Ancient Strain), Englyn garhir (The Song of the Long Thigh), and Englyn cildwrn (The Song of the Closed Fist).

"The Welsh Muse has, at the request of her followers, condescended to wear various other outfits in which she has appeared not only graceful but even with some degree of dignity and ease. Yet the robes she has always taken most pride in are the Twenty-four celebrated ancient British Metres, unknown to every other Muse, in which she has always shown unrivalled brilliance."

The Reverend Mr. Walters' Dissertation on the Welsh Language, p. 51.

The 24 Metres of poetry were likely created before the 24 measures of Music, as the latter seem to have been adapted to and based upon them.