I didn’t use the paint chip words as colors, because as a blind person, I know them as things instead. Also, only my last poem really follows the “future” theme. But I did follow Linda’s example and write 3 poems using the angel card words from the challenge. Finally, for those of you who haven’t heard my lyre yet, please have a listen. Hope you enjoy! ❤
1. What kind of tokens do you leave?
What’s your special mark,
And what will be your legacy?
Every moment you share,
Though you may not be aware.
Consider: What kind of tokens do you leave throughout your life?
2. What kind of tokens do you share?
What do they remember?
Will it be your love and care?
Every moment you live,
There is something that you give.
Consider: What kind of tokens do you share throughout your life?
3. What kind of tokens do you hold?
Are they beneficial,
Or the thoughts that leave you cold?
Every moment you exist,
Life is made of consciousness.
Consider: What kind of tokens do you hold throughout your life?
Every moment you exist,
Life is made of consciousness.
Consider: What kind of tokens do you hold throughout your life?
This is a traditional Welsh lullaby, often used in harp therapy, whether for children or to calm someone of any age.
You will hear the melody played on lyre and left hand accompaniment played on zither. The second time through, both hands move up an octave.
This is the third of my double strung experiments.
I’m testing my ability to arrange for, and play on two rows of identically tuned strings, in preparation for a double strung harp.
I’ve learned that if I can successfully play two separate instruments at the same time, then I’ll surely be able to play one instrument that just happens to have two rows of strings!
I have logistical problems now, that I won’t have with a double strung harp. Namely, holding two instruments is difficult, since both are designed to be held on your lap. Uh, my lap is taken up by just holding the zither, let alone adding the lyre, which is larger and wider.
Also, I currently have to twist my left hand into an unnatural position to reach the second instrument. This won’t be necessary on a double strung harp, where both rows of strings are stationary and on a vertical plane.
Finally, the harp will have a lap bar, and if that’s not enough, there is a shoulder strap as well. This eliminates any trouble holding or balancing the instrument on your lap.
Tuning is a cumbersome task now. It’s easy to tune the lyre, which has nylon strings like a harp, and I always do that first. However, tuning the zither’s wire strings to match the lyre is frustrating.
The real double strung harp will have all nylon strings, and that fact, along with the natural resonance of the instrument, will make tuning both rows of strings in unison much easier.
Recording is another frustration. You can probably hear that the lyre and zither aren’t at the same volume level in these experiments. That’s because one instrument is closer to the microphone than the other. This won’t be an issue with a double strung harp. The rows of strings are very close together, and the microphone will be in front of the harp, rather than to the side as it physically needs to be now. So, the harp will record with better balanced audio.
I’m also doing these experiments because of what to me is a very large financial investment in a double strung harp! I wanted to find out if the benefits it brings to my work are worth the cost. My conclusion is that, yes, they are, and the harp will be a welcome and valuable addition to the instruments I use in songwriting, accompaniment, meditation, poetry, improvisation, and other calming and inspirational music!
Once again, I thank you for reading! If you have any questions, comments, or feedback on these two-instrument experiments or double strung harps, please do share! Meanwhile, I hope you enjoy listening to these arrangements!
Often a teacher will hear after years
How they helped a student with knowledge and cheer.
While parents are parenting, thankless it seems,
But they give their little ones great self-esteem.
It’s not only people enjoying their work,
But every soul living a life on this earth
Who leaves unique marks on our wonderful world:
You’re having an impact as moments unfurl,
Inevitable, choices changing our world!
—
67 words for Sammi’s Weekend Writing Prompt, Impact!
“Suo Gan” is a traditional Welsh lullaby, first published in print around 1800.
This is the second of my double strung experiments,
playing lyre and zither at the same time, getting ready for a double strung harp.
You can hear many places in this arrangement where both sets of strings (or instruments, in this case) play in unison. First, I play the piece with melody on lyre, and then on zither.
I vividly remember playing piano and singing “His Eye Is on the Sparrow” when I was in my teens. It was one of my favorite hymns to sing, and I didn’t know until recently that it was written in 1905. Clearly, it made no difference to me, or perhaps it did, since like many hymns and traditional tunes, it has endured for so long. The lyrics were written by Civilla D. Martin, and the music was composed by Charles H. Gabriel. If that name sounds familiar, you may remember “Send the Light,”
which Gabriel also composed.
Today I hope you enjoy this lyre arrangement of “His Eye Is on the Sparrow!”
1. My body is a little boat
That sails the raging seas,
Where illness, tension, pain and stress
Can get the best of me.
But Spirit guides my little boat
To everything I need.
2. My mind, it is a little boat
That sails a clouded sky.
When darkness falls, I see my fears
That vanish in the Light.
And Spirit guides my little boat
Through every stormy night.
3. My soul, it is a little boat
That sails eternally.
When I forget in trials deep,
To live my destiny,
The Spirit guides my little boat,
And I return to peace.
“The Skye Boat Song” is a traditional Scottish air, often sung as a lullaby or waltz. The lyrics tell of the journey of “Bonnie Prince Charlie” (Charles Edward Stuart) from Benbecula to the Aisle of Skye, as he evaded capture by government troops after his defeat at the Battle of Culloden in 1746. To this day, “over the sea to Skye” is a popular line used in tourism.
This traditional melody is often played by pipers (bagpipers, that is), pipe bands, whistlers, and harpers of many musical skill levels. Robert Louis Stevenson wrote alternate lyrics around 1885, as he didn’t think the journey of “Bonnie Prince Charlie” fit this calming melody. I tend to agree, but since I’m not singing here, I hope you enjoy this lovely melody played on lyre!
“Wiegenlied” (Lullaby or Cradle Song) was written by Johannes Brahms and first published in 1868. You probably know the melody, but stay tuned!
This arrangement is an experiment, in which I play the lyre and zither at the same time, in real-time. My left hand plays the bass notes, or accompaniment, on lyre, and my right hand plays the melody on zither.
Why 2 instruments?
Because I’m proving that if and when I’m able to acquire a double strung harp, I will indeed be able to play it!
A double strung harp has 2 parallel rows of strings that are typically (but not always) tuned the same. Having 2 rows of strings gives each hand more options for accompaniment. The hands don’t run into each other in more wide-spread arrangements, because each hand has its own separate row of strings.
Double strung harps also open up a world of effects that cannot be played on a single strung (regular) harp, lyre, or zither. You can double the melody, or, as I do here, play melody and accompaniment in the same octave. This is much easier heard than explained!
In this arrangement, I first play a standard accompaniment on lyre. I.e. the left hand plays bass notes below the right hand.
The second time through, I play the lyre accompaniment up an octave, with my right hand on zither, playing the melody in the same octave. Essentially this means the melody and accompaniment overlap and sometimes play the same notes at the same time. You can understand why this cannot be done on only one set of strings.
Finally, you’ll hear the zither arrangement with bass and melody.
If you’ve read this far, I thank you! If your head is spinning, I apologize and simply ask that you listen to the music and hear just a little of what can be done on a double strung instrument. It’s fascinating!
In 1873 beloved American hymn writer, Fanny Crosby, dictated the lyrics of “Blessed Assurance.” Phoebe Knapp composed the music that brings “Aunt Fanny’s” comforting words into hymnals, homes, and hearts to this day.
I hope you enjoy hearing “Blessed Assurance” played on lyre!
Mystical Strings 
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