Here is the traditional English ballad, “Scarborough Fair,” played with melody on lyre, and harmony on zither. This is the fourth but not the final of my attempts to play lyre and zither at the same time, in preparation for playing a double strung harp.
As I mentioned last week,
tuning these instruments in exact unison is very difficult, mostly due to the difference in string materials. If you have a very sensitive ear for music, I apologize for the tuning discrepancies. Otherwise, I hope you enjoy hearing the possibilities offered by having two sets of strings!
Although “Come, Thou Almighty King” is often attributed to Charles Wesley, the text is actually anonymous. The melody is an Italian hymn, composed by Felice Giardini. The earliest known publication of text and melody together was in 1757. It remains a popular traditional Christian hymn today, more than 250 years later.
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!
Lowell Mason composed the tune “Bethany” in 1856. In many parts of the world, it is the musical setting for the hymn, “Nearer, My God, to Thee.” I first heard this hymn in a documentary about the sinking of the Titanic. It is said the ship’s musicians played “Nearer, My God, to Thee” as the ship took on water.
I hope this zither arrangement brings you reflection, comfort, and peace in the midst of whatever you may be experiencing right now!
“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!”
Mystical Strings 
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