New-id car-iad pob py-thef-nos

CHORUS of Bards.

Dy-na gan-u et-to
Er hyn i gyd ni all fy nghal-on Sian fw-yn Sian.
Lai na char-u'm hen gar-iad-on, o'r brw-yn,
Der-e, der-e'r Ilwyn; ni sonia i fwy am Sian-tan fwyn.]

In the eleventh century, Gerald Barry, an entertaining writer, made a
tour of Britain, and his account of the people in different parts of
the country is still extant and full of interest. Of the Welsh he
says: "Those who arrive in the morning are entertained until evening
with the conversation of young women, and the music of the harp, for
each house has its young women and harps allotted to this purpose. In
each family the art of playing the harp is held preferable to any
other learning."

He adds (chapter XIII, "Of their Symphonies and Songs"): "In their
musical concerts they do not sing in unison, like the inhabitants of
other countries, but in many different parts, so that in a company of
singers, which one very frequently meets with in Wales, you will hear
as many different parts and voices as there are performers, while all
at length unite with organic melody in one consonance, and in the soft
sweetness of B-flat. In the north district of Britain, beyond the
Humber and on the borders of Yorkshire, the inhabitants make use of
the same kind of symphonious harmony, but with less variety, singing
in only two parts, one murmuring in the bass, the other warbling in
the acute or treble. Neither of the two nations has acquired this
peculiarity by art, but by long habit, which has rendered it natural
and familiar; and the practice is now so firmly rooted in them that it
is unusual to hear a single and simple melody well sung, and what is
still more wonderful, the children, even from their infancy, sing in
the same manner. As the English in general do not adopt this mode of
singing, but only those to the north of the countries, I believe it
was from the Danes and Norwegians, by whom these parts of the island
were more frequently invaded, and held longer under their dominion,
that the natives contracted this method of singing." In further token
of the universality of music among these people, Gerald mentions the
story of Richard de Clare, who a short time after the death of Richard
I, passed from England into Wales, accompanied by certain other lords
and attendants. At the passage of Coed Grono, at the entrance into the
woods, he dismissed his attendants and pursued his j