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Camera Portrait by E. O. Hoppé,
 MVE ewe Sb CTED

SONGS or THE H EBRIDES

COLLECTED, EDITED, TRANSEATED,

AND ARRANGED
FOR

VOICE AND PIANOFORTE

BY

MARJORY KENNEDY-FRASER
AND

KENNETH MACLEOD.

PricE 7/6 NET.

IPGL
1 Ze aretaae Go
295, REGENT STREET, LONDON, W.;
anD 9, EAST 17TH STREET, NEW YORK.

THESE SONGS MAY BE SUNG IN PUBLIC WITHOUT FEE OR LICENSE.

Copyright by Marjory Kennedy-Fraser

 . Me - pat

422856

TWELVE SELECTED

SONGST@E GLH HERRIDES.

‘CONTENTS,

FoREWoRD

The Christ-Child’s Lullaby (Legendary)

; The Christ-Child’s Lullaby ... re Le oF,

Kighaitl’s Galley eee aa

The Sea-Sorrow (Legendary)

The Sea-Gull of the Land-under-Waves

An Island Sheiling Song

A Hebridean Sea-Reiver’s Song~

Fairy Music (Legendary)

A rains Love Song ...

Skye Fisher’s Song

Songs of Labour (Descriptive)

Milking Croon ... | Nae

A Churning Lilt

Spinning Song ...

In Hebrid Seas ...

Death Croon (Legendary)

Death Croon (Song)

 FORE-WORD.

HE Celtic Songs and Tales here given are a selection from my volume of “ Songs of the Hebrides,”
issued in Ig09.

In 1905 I first visited the Outer Hebrides in search of songs. With the help of my daughter I have
since steadily continued the work then begun.

From the outer Isles of Eriskay, Barra, North and South Uist, Benbecula and the Lewis, and from the
nearer Skye and Eigg, we have reaped a rich harvest of hitherto un-noted airs.

But, valuable as this work may have been, it has gained enormously by the collaboration of the Island
poet and litterateur, Mr. Kenneth Macleod, a native of Eigg, and himself a cultured and life-long enthusiast for
Island lore.

Of the twelve songs here bound together, two, the “Spinning Song” and the ‘‘ Death Croon,” were
noted by me from his singing; the Gaelic words of the “Sea-Reivers,” the “‘Sheiling Song,” and “ Tir-nan-dg,”
are from his pen; while the English Prose Tales, which abound in our joint volume, and are here only slightly
represented, are from his own unique renderings of the legendary lore of his race.

To Miss Frances Tolmie, of Skye, the well-known collector, I owe the air of “‘ The Sea-Gull of the
Land-under-Waves”; that of the “ Fairy’s Love Song,” my setting of which I have been asked to include
here, is the only hitherto noted air in the Album. It will be found, already engraved and published a century
ago, in Albyn’s Anthology.

To the late Dr. Alexander Carmichael’s collection of Hymns, Incantations, and Labour Lilts, entitled
“Carmina Gadelica,” I owe valuable verses of the Churning and Milking Croons.

In the work of making singing translations from the original Gaelic, where this could be secured,
Mr. Macleod and I collaborated. To some of the airs, those of the “‘Sheiling Song,” the “ Skye Fisher,” and
“In Hebrid Seas,” I had perforce to provide original English words. “ Better,” wrote Burns—zealously
collecting Scots tunes in the eighteenth century—‘“ mediocre words to a fine air than none at all.”

The airs are given here as the people sang them. The instrumental settings are my own. To add
harmony to an ancient melody, it has been said, is practically to produce a modern composition on an ancient
foundation. A born Celt, with a life-long familiarity with the music, I have tried, in the choice and figuration
of the harmonies, to preserve the atmosphere of the old songs, and while working at them have been ever
haunted by impressions of summers spent in a strange sound-world of surging sea, wailing wind, and Celtic
tonality.

MARJORY KENNEDY-FRASER,

6 CastLE SrREET, EDINBURGH.

1914.
—

%
§
 THE CHRIST-CHILD’S LULLABY.
[TALADH CHRIOSTA.]*
In Eigg and Uist this lullaby is associated with a legend of which the Sollowing ts
@ literal translation :-—
HERE was once a shiftless laddie in one of the isles who had lost his mother, and that
is always a sad tale, but had got a stepmother in her place, and that is sometimes a
sadder tale still. He was not like other children at anyrate, but wise where they were
foolish, and foolish where they were wise; and he could never do or say anything but
what put anger on his stepmother. There was no life for him in the house, and if out he should
go, as out he would, that was a fault too. His neighbours said that he was growing into the
grave. His stepmother said that he was growing up to the gallows. And he thought himself
(but his thoughts were young and foolish) that he was growing towards something which fate
was keeping for him. On an evening there was, he brought home, as usual, the cattle for
the milking, and if they gave little milk that time, and likely it was little they gave, who was
to blame for it but the poor orphan! ‘Son of another,” said his stepmother in the heat of
anger, “ there will be no luck on this house till you leave; but whoever heard of a luckless
chick leaving of its own will?’ But leave the shiftless laddie did, and that of his own will,
and ere the full moon rose at night, he was on the other side of the ben.

That night the stepmother could get neither sleep nor ease; there was something ringing
in her ear, and something else stinging in her heart, until at last her bed was like a cairn of
Stones in a forest of reptiles. “I will rise,” she said, “and see if the night outside is better
than the night inside.” She rose and went out, with her face towards the ben ; nor did she ever
stop until she saw and heard something which made her stop. What was this but a Woman,
with the very heat-love of Heaven in her face, sitting on a grassy knoll and song-lulling a baby-
son with the sweetest music ever heard under moon or sun; and at her feet was the shiftless
laddie, his face like the dream of the Lord’s night. “‘ God of the Graces!” said-the stepmother,
“it is Mary Mother, and she is doing what I ought to be doing—song-lulling the orphan.” And
she fell on her knees and began to weep the soft warm tears of a mother ; and when, after a
while, she looked up, there was nobody there but herself and the shiftless laddie side by side.

And that is how the Christ’s Lullaby was heard in the Isles.
LITERAL TRANSLATION.
Mo ghaol, mo ghradh, is m’eudail thu, My love, my dear, my darling thou,
M’iunntas ip is m’ eibhneas thu, My treasure new, my gladness thou,
Mo mhacan @lainn ceutach thu, My comely beauteous babe-son thou,
Cha’n fhiu mi fhein bhi’d dhail. Unworthy I to tend to thee.
Tha mi ’g altrum Righ na Morachd ! I the nurse of the King of Greatness !
*S mise mathair Dhe na Glérach |! I the mother of the God of Giory !
Nach buidhe, nach sona dhémhsa { Am not I the glad to-be-envied one!
Tha mo chridhe Jan de shdlas, O my heart is full of rapture.
Mo gbaol an t-siil a sheallas tla, O dear the eye that softly looks,
Mo ghaol an cridh’ tha liont’ le gradh, . O dear the heart that fondly loves,
Ged is leanabh thu gun chail Tho’ but a tender babe thou art,
Is lionmhor buaidh tha ort a’ fas. The graces all grow up with thee.
*S tu Righ nan Righ, ’s tu Naomh nan Naomh, Art King of Kings, att Saint of Saints,
Dia am Mac thu ’’s siorruidh t’ aois, God the Son of eternal age,
*S tu mo Dhia ’s mo leanabh caomh, Art my God and my gentle babe,
*S tu ard Cheann-feadhna chinne-daonda. Art the King-chief of humankind.
*S tusa grian gheal an déchais The fair white sun of hope Thou art,
Chuireas dorchadas air fogairt, Putting the darkness into exile,
Bheir thu clann-daoin’ bho staid bhrénaich Bringing mankind from a state of woe.
Gu naomhachd, soilleireachd, is edlas. To knowledge, light and holiness.

Hosanna do Mhac Dhaibhidh, Hosanna to the Sen of David,

Mo Righ, mo Thighearna, ’s mo Shlan’ear|! My King, my Lord, and my Saviour|
*S mér mo shdlas bhi ’gad thaladh, Great my joy to be song-lulling thee—
*S beannaichte measg nam mnai mi. Blessed among the women I,
“ The Gaelic verses are taken from a selection of Hymns compiled by the late Father Allan Macdonald,
the King-priest
of Eriskay, and printed for private circulation.

KENNETH MACLEOD.
 THE. CHRIST- CHILD'S LULLABY.
(Taladh Chriosta.)

Noted in Eriskay from the s ingingof Mrs John Macinnes. and arranged. with pianoforte accomp: by
Words from Farnrx ALLAN MACDONALD. MARJORY KENNEDY-FRASER.

With a gentle ro ching rhythm.

NAR

a
ghradh, is m’eud- ail thu! Gur m’ iunn-tas ur is m’ eibh-neas thu! Mo mhac- an al - ainn,
Zove, my dar ling thou! My trea- sure = =
~~ s> rap.- ture thou! My come ly feau -teous

fh.

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“ie aiiuded to here is said to have been a Northern Sailor’s folk-son z heard by Chopin in the Mediterranean.
F 2 » *
Ttaltan vowel sounds. * Copyright 1909 by Marjory Kennedy
- Fraser,
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 *KISHMUL'S GALLEY.
A Bhirlinn Bharrach.

Words from MES Maclean, Barra. With English adaptation and pianoforte accomp: by
Air from the singing of Mary Macdonald, Mingulay. MARJORY KENNEDY-FRASER.

about 104 =0

With exultation.

gun bheairt rith,....

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Copyright 1909 hy Marjory Kennedy-Fraser.

 oh Basa “TS TS SY
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Kishmul’s Galley.
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 THE SEA-SORROW,
HE sea has given to Hebridean song its fiercest joy and its most passionate sorrow. The
| former is illustrated in the “ Sea-reivers’ Song ” and “ The Ship at Sea; ” the latter
finds fitting expression in “ The Sea-sorrow,” “ Ailein Duinn,” and “The Seagull of
the Land-under-waves.” The songs of the sea-rapture are much less numerous and
are, as a rule, the songs of men; the songs of the sea-sorrow are invariably the songs of women,
The men reive and rove, and dream of strange lands and adventures beyond the waves.
Tha na luingis a’ seoladh The ships go a-sailing
Le’n cuid éigear tro ’n chaol, With the young throngh the straits,
An toir air gaisge 's air gabhadh, In search of adventure and danger,
Air ceol-gaire ’s air gaol. The music-of-laughter and love.
But the women lose their husbands and brothers and sons and sweethearts, and the burden of
their song is—
Fuar fuar fuar, / Cold cold cold,
Fuar an cuan ’s gur snagach, Cold the sea and snakish,
Fuar fuar fuar Cold cold cold,
O h-aigeal gu ’barr i. From depths to top-wave she.
This gloomy picture of the Tir-fo-thuinn, the Land-under-waves, is not, however, the one given
by those who ought to know best: the spirits of the drowned ones. “Cold thy bed to-night,”
said a woman once to the spirit of her drowned husband, “ It is neither hot nor cold,” was the
reply, “ but just as one might wish, if as he wished he got.”’ “ If not cold, lonely at any rate,”
suggested the woman. “‘I have the best heroes of Lochlann beside me,” said the man, “ and the
best bards of Erin, and the best story-tellers of Alba, and what we do not know ourselves, the
seal and the swan tell us.” ‘“‘ Treasure of my heart,’’ said the woman, “‘ are not we the foolish
ones to be weeping and sorrowing for the men, and they so happy in the Land-under-waves !”
“Ts fhior duit sin! Thou speakest truth there!” said the man, as he vanished into the night
and the sea. To sorrow for the drowned ones is worse than foolish, however, it is actually cruel
to the men.
Is trom an t-éideadh am brén, A heavy dress: sorrow,
Is truim’ an léine am bron, | A heavier shroud: sorrow.
And more than once the weeping woman on the shore has heard the voice of her lost one inthe
waves entreating her to lift off him the burden of her grief.
A-Vore, my love, lift off me thy woe, _ The cleric has gone above, but better far to be belo
The clouds are above and the clouds are below, | A-Vore, my love, a-vore, my love,
The stars are above and the stars are below, Lift off me thy woe, lift off me thy woe.*
“ Never a sigh comes from the heart,” said a woman of Uist, “ but a drop of blood falls in its
piace.” And in Eigg the old folk said that the tears of a woman o’ sorrow fell in blood-drops
on the heart of her loved one under the sea—“ and is it not the sad thing to be drowned twice,
once by the waves, and once by the tears of your folk!” And not only is the sorrow of the
women cruel to the drowned ones, but it is also a source of danger to themselves. It is con-
sidered wrong, for instance, to sing a drowning-song twice in an evening, and some of the older
generation refuse to sing one at all after sunset. “It is not right,” one is told, “to disturb
the rest of the ones-no-more; it is bad enough to put sorrow on them, but it is seven times
worse to put anger on them.” And stories are current in which the spirits of the drowned ones,
exasperated beyond all patience, appear in their old homes between midnight and cock-crow,
and give the women-folk a fright which soon dries their tears and banishes their sorrow.
It
is a remarkable fact, indeed, that in the Hebrides (where one would least expect
it) excess,
whether of joy or of grief, is regarded as a direct tempting of Providence, and one is often told
that “laughing overmuch is an omen of tears, and weeping overmuch an omen of greater
evil
to come.” But the folk will tempt Providence all the same!
KENNETH MACLEOD.
*® The Gaelic version has appeared in The Celtic Review, vol. 1V,, p. 248.
 THE SEAGULL OF THE LAND-UNDER-WAVES.
Old Skye Air from Frances Tolmie.
English adaptation and pianoforte accom paniment by’
Words from Kenneth Macleod.
MARJORY KENNEDY - FRASER.
Andante con moto. d— 7s. With a mournful rocking 1. ythm, but not too wc

rion el - le
white sea ~ gull, say

PIANO.
t as tenuto

nm ever recurrin s eres. and dim.

o-a - hi
Where, Aht ae thou’st

Ine
eaz/e
ya
ei - le
x i
i!

lads
=
AII¢ S|
iya,
rT

0-ibh O-]

Oo rhyme with “daily”

Copyright 1909 by Marjory Kennedy-Fraser.
ea

- ho-ee - o-

|:
li
il
,

Cd

Fhaoil - eig a’ chuain

Grief with-in my
a
ai i
a

‘bho o-a - ho

cold lips com-ing, Sea wrack their shroud And their harps
eer

‘The Seagull of the Land-under-Waves.

 rionn ei-=
aS S
—Y

NS Sy i)
yy

:|
aly
nil

:
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ee

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WY
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and dirge piy sea’s sad cr

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Ra,
‘The Seagull of the Land-under-Waves.
 12

*AN ISLAND SHEILING SONG.

- (Maighdeanan na h-airidh)
Old refrain with Gaelic verses.by Kenneth Macleod. Set with English words and pianoforte accomp. by
The melody taken down from the singing of Ann Macneill, Barra, and MARJORY KENNEDY- FRASER.

ivo. o = 88.

(Al
FH
a) ee
cf

SS ee
4S
i

a
r 7 aieA

61a.
2" a
Rest
ee a
PG So se ee ee |
0 ae a oF EOE PELE CS EES

raoir ’s mi bruad - ar
the sheil - ing

l
:

By
ue
Ih
‘

nion - a g - an
x
na _ buail- e, B fhin-ealt uas - al min na gruag-aich seinn nan
*
Mar - te my be - lov - ed, Out on the hill -side by the sheil - ing, My
te

tt
tt |
TWO
SH

Eyaueisem |
‘i
Qe
ie

*Gaelic “Mairi”is pronounced like French ‘Marie’

Copyright 1908 by M. KENNEDY-FRASER. |T o be had se paratel |
in E &G. f
 1

f\

HH
7 lh
Te

iloa %

me,
<a

lil
Weel
es

lh emote

mes
mes An,

Mes
lhiteeceeelll
ea ll it le

||
i

(ee
es RL
2 ae
eee. |

ii|

We Vdn
eS
\ B3 W :
.
duan- ag anns an

|
Thug min oidh - che

E an

eT
oie
a)
Ma ir - 1,

=
Mo

E
=

n
t
v~S
mae ey ees
hil MK
| ans

Ht
ct |

wl HO
Hy
pe
Cees maa 2

ll
eee oe

it

ety
—————- ee)

ih
}—-----—

a a

3
ste
ty4
oe

fies
tO See
=e —_ J
Sea
oes ae aE

Mis
a , ct)

Qe

yes
Sha

:&

UTS

rT

WeeAS |
Hs §
rl)
Ales
(Zan es ET , A aS
—
tT] 38

thee Sk
'
ee

| od
i ae WaelTh

tes
Se a
oidh - che raoir ’san ir - idh,Chaithmin oidh - che
Mhair - i, the
eS
F

%
a>

ea

(i
hs

Te
22) | ae Eee a
|

Hi

a
GS) 365i Gas a pee
i

e |

Nt

Il
TY)
5 ts
a

Aaa a
|

Ui
Ag
eh

iL 22S 3GS are

pa
“Arh

J
eeDi el
eee ee ee)

«
maigh-dean- an na
33

Sn
Sy
HM

Mair - a
3
>

|
:=

=
Ee

33
s
a,
ep§
:

mo
:
WHS
:
17)

An island sheiling song. *Pronounced here Varie +t lennan.

 —
ag
’S dealt nha ;
s
ey Pure and white -

A=?
‘DS

oS
3

:
'
t
Saale

aeaalii|
sella
ele

al

izas
hie |fh on
HS

2
a3
Sa

&
2

Thug min
ae
air - idh
A

S8
4 1

rt
“TH?

&
2

Mo
&

as lean - nan my
t

il
eae

ei
haa
I
er
|

ES SEIS
i sky Ay
Bat pees mir Reet
Reaes hee)
Ses er eee eet
Ph)

I
oh
oN

4
aq
| ae
=

(ane)
ee

t
>
ee. Ce _ a HOT
eS Se Re a Se ee a
Files
eo lee

ie Ly
abil

|
Baad

i|
=,

ah

HP

8
Yad)

peainan ES IL
Ee

Se oe
eee
oS
ois
fh & 2
wat

be@

ia .
idh Chaith min oidh- che cridh-eil caoimh -neil Mar ri mai
Ss
Pay s

S)
iS)

aeet li- ly white, Sloat - ing in

®

be
ae
CAL

i
“4
3

bard

il oo
l

a
Pa eee Fay
AE KLE) A EEA, et re eee
SE Eee OS ee
Gh

ALY

2s
SaaSFh nee
len OS ee F a CF oa
SSA
REE
.

~ An island sheiling song.

 Be

yell
h*

il

ctl
HA

NY

s &|
i.)

F
ll
v3 Mila

8
ali
TM

Ny.
On

i)

bd

DAL
EY SE — So
Pe
Ee ee
maas2
al r+

— p—— ae
a “SES
| és

(et 7a Danae ee as oe
oer
eed o-2 f@e|
& =

ionn - drainn ir a bhruad - air, ’S tiamh - aidh

X

in the sun - shine Are the

i) ® ° Comal = os =| gruag
pur - ple, blue

An island sheiling song.

 ~
FN} TMs _“Tisfe_fN TH?

Hit =e
| 3 . ati Sey

| TE BL
sae - til

ss (ih Le
a Ieal
1 Nie
Hi
iba
3
i T| ais
a
Sd TT 1 3
a i aes

| a Sze nes (i mes

y . dl |
+|
Ie
2 S eel . J ma.
ae Vit) ae
:
AG
8 r
TRI, ATI AW - Si A
ik ge He la: ail rl
° mal
mle
i It
- MW Ql. veal
en
oC
 A HEBRIDEAN SEA-REIVERS’ SONG. 17
(NA REUBAIREAN,).
Old Gaelic words and translation from .
Arranged by
KENNETH MACLEOD.
Air from Penelope Macdonald, Eriskay.
MARJORY KENNEDY - FRASER.

‘Con moto. ae
Like the wind.

ali
| LH

eS
: =o Boe AepaceeBS Bc
4
2
oR i?)
a
- 0 - rin-yo! When winds maddning mu- sit
fob)
i ~efeo
a 8o ov)
=
x a9
eS
tha
x
- OY - 4:- no; bhi reub- adh mar- a.
ten
e :
phe
OS
SS
eee Sas
PERE
a Fae
eae eR Hl
1a iTa til
pee —a
=
aay
=a es 6 this
ee
_

-stringendo un-| poco.

ee
. Th
TE Sa
ih ae i
J! (SS a
epee
fo sn eae
ol Rad
:
‘
7
:
‘

ee a
Ftemeee
i
= rs
\ ee ae jo ev come

Sin ESWe a ae ihe

‘i aae

‘ Q 3 LealoO
Ho
- 1-- 0, the windsS 4 1 aH
iS 8 do an S H
Wo ="2 =
5 S
(|
oO; Pe)at ; aa
Gg
2

J Ga2
NN aa
SS
aT
ec
F

a
|

aa
\\ Li i\.
‘
ian
JES aa
ls
-
feige
ee a= 5. sg |S
OR ae FS
—
e

5 : ~] BS) 3 Uh a &a 8
_ Copyright 1909 by Marjory Kennedy -Fraser. .
 8

8s nel =
ie
codes fee a S:s aea3 oN
by our keel
fo)
re a fast fol-low af ter.
i]
a bey so
os
8
dol ‘nan, sgaoth gu
.~)

er
S SD 8
°
’
as Eitr-inn mar ruinn.
a
He?

lite

$ -S=
ee

&
=

e
<<~
& A)
;
hei)

wa
Ss
NOL.
e

Ho = 12et0; the winds: do blow...

Ho =i =0, tha ghaoth San t- SOL .eccccccocccvn

mel
<INie
weeue

ni
ll
\\ TAA

sea-ducks and gree

7: ca geese for a feast when
0, tha S re es NXS 3
= duil ri roic *nuair
Se

winds do blow...
8

=
~~

&
s
%

Ss
3
8

haoth san b€-S€0b neceeevenserneen

3
‘ee

49

na
s

ss
~

i]
'

=
gi ee

Ber aE eS eae cP

iramananeReENSDA/ Sse?
=
1
a

8
a
]
=|

mM
=)
>

‘
co

|
2
M

5
 A\\
TY AY
‘

Sy
P

“ALLL
|

eed

SNe
A
eM

r
j

ce

1
2 ak
ma

°.3
§ Bes
Te

=
|

e q

low, There's kine and corn and

>

On gold-= en can-dles.
!

By
+
S

tha
~

f
Nt. ts)=pOr
’
9

air ce nan dabh- ach.

aly
A
Pat)

ull e
HI

o
NY

=>

——

os r Evciconae
Oh

—
ifee
THN

ss t

A
He

Ml
ql We ur)
ae en

A
TI) 2 I

‘Ly
oe PS
ee ——— boas Re ee
any)

[een Sear en ee
aS
Sk

oS

SCS ee ae
os8

mre
(=;

°
on

8S ~
1s

do blow. wor a Rc aaakien

by
S

S
8
IY
WE

SS

Ni
ait
AA

Hh
:

ity

|WRNERRAES Se es ee
Hlkee (ILL.

[sa
ee ae]
y

BUSS Sor ee
y

lt
on

—
tt

ll ee
i i se
a ee So
| gd OTe
BIL

*
Davach= a large corn vat- meaning here as much land as that amount of corn would sow. .
A Hebridean Sea- Reivers’ Song.
 =Sill

mill
lheceS

{tes

y 2 GcISlal l
mS NM
SS
es

ih : S$
$

ll)
=. il Sg
8
3

TUN
So
(=)

tai
ge
cs

5 p
hs

»~Oxy

ial eee
pa
i

fi}

li
Mi:
li) : .Ber
’

vara

oe
= 3Bos
aN
os

Bb
NP.

8
aw

O°

|
=
= o ¢ a ~~ a,i

|
oe a
ve!
BP -2
aes

©
|
5

AS]|

vii
>

|
lla-s

&
Ho>1="0,

&
s

~
§&
oan

So

;
=

ANI] *_
o
s S.
ah

it

ee
oS
51)
IY
es inde do bio Men that sleep will waken wide Ere

|
Shaoth san t-Seol ..nccceccccn.- Ho-1 =O, tha firairghill A

ores
Fe

Au//
Radia
RS]
Up

&
ap)a

12

:
bars
“Ul

on
|

ten.

with the tide we leave the ir Canh- 3la*

3 S ” Ss = S~~ tS) = re)ne mS° :
the
a4
eee do blow...
bn)
>
3 S oSSSP= = 3 & bpRY iS)3S fn3 ~ aay rS)ons
S— x»x)w “ ae F Ss
: 3

He

=i

= as > o& = S bo 3 2 = yiM4 AS Ss 2 2 ~~xe

bs te
o8
hs S 8 ’ ‘
Ss ts by
A Hebridean Sea- Reivers’ Song, Cala: Haven (hence Calais) pronounce Kala.
 FAIRY MUSIC,
([CEOL-BRUTHA.]
[A “iteral translation of some Gaelic notes taken down from old folk in the Hebrides.]

O-DAY is Friday, the day of the Cross, and we may speak well or ill, just as we like,
of the Folk of the bruth*, of the Fairy-den; were it any other day, they would hear
the least whisper, and an ill word might put great anger on them. Why
do they hate Friday and the Cross ?_ Darling of my heart, it isn’t hatred at all, at all—
it is only envy. Hast never heard of the man of God who was one day reading the Holy Book
on a knoll near Dunvegan Castle ? That were indeed a tale to tell, but to make it short, did
not the knoll open where there was no opening at all, and out came one of the Folk? “ That
is a good book thou art reading,” said she to the man. “It is the Book of God,” said he. ‘ And
is there any hope for us in the Book,” asked she. As I have said, the man was a man of God, but
though his heart was in heaven, his head was on earth, and if he told the truth, he told it artfully.
“There is hope in the Book,” said he, “ for the whole seed of Adam.”’ Almost before the words
were out of his mouth, the little woman in green gave the shriek of perdition and vanished out
,of sight, but, for long after, a voice of wailing was heard in that same knoll: Not of the seed of
Adam we, not of the seed of Adam we.
The poor Folk ! it is likely they have their own share of trouble, just like ourselves ; and if the
tales be true, they often put trouble on others too. There was a woman in Barra herding cattle
one day, and did not the Folk come upon her and carry her with them underground! At any
other time the same woman would not have been against a little ploy, but, sad-tale! she had
left a babe at home, and sweeter than Fairy music is the laughter of her only child to the mother’s
ear and heart. Och! och! she must have been the sad one, sitting day and night in the bruth,
eyes and arms seeking the little one that was not there. O darling of my heart, wae’s me for the
full breast and the empty knee. And the tale says that one evening she knew—but how she knew
is what I do not know—that her sister was sitting on the knoll, and she began to croon a song
in the hope that she might be heard above—
Little sister, O my sister,
Pitiest thou my plaint to-night?
For all that, few who go into the bruth are as keen to leave it as was the woman of Barra.
The Folk are so good at the music that if thou wert to enter the bruth to-day the sapling might
become the tallest tree in the forest ere thou would’st get tired of listening. Hast heard of
Cnoc-na-piobaireachd, the Knoll-of-piping, in Eigg ? In my young days, and in the young days
of the ones before me, all the lads of the island used to go there on the beautiful moonlight nights,
and bending down an ear to the knoll, it was tunes they would get, and tunes indeed ; reels
that would make the Merry-dancers themselves go faster, and laments that would draw tears
from the eyes of a corpse ; sure, in one night, a lad o’ music might get as many reels and laments
as would marry and bury all the people in Eigg—ay, and in the whole Clanranald country forbye !
But I never heard that any of the young lads in Eigg had the luck of MacCrimmon. It was
from the Folk of the Bruth that he got his share of music, and not little was that same share.
Three of them came to him as he lay weeping on the knoll, and said the first : “I will give thee
the championship of piping.’’ Said the second: “I will give thee the championship of goodly
company.” Said the third: “ Two championships are enough for any man; I will put an ill
along with them—the madness of the full moon.” And as it is the unlikely thing that often
happens, better was the ill than the good, for the MacCrimmons never played so well as when
the moon was full and the madness lay upon them. Hast ever heard of the two night-wanderers
who were passing a wood near Dunvegan Castle ? Said the one to the other: “Are they not the
two beautiful things, the full moon in the sky and the music of the mavis in yonder wood ?”
“It is not the mavis at all,” said the other ; “ it is Padruig Mor MacCrimmon, and the warbling
of the mavis in his fingers.”
KENNETH MACLEOD,

* Pronounced bréa.
 22

A FAIRY’S LOVE SONG.

Old Celtic Words and Air:
Lowland Words by JAMES HOGG, Pianoforte Accompaniment composed by
The Ettrick Shepherd, adapted. ‘“MARJORY KENNEDY- FRASER.

rete
aby
ies a
“ees

gee

22s
=a

gas
224%
aoe
FES

ul
at

ak

as
a

ee

at
WP
3

Rasem

ass
Tessa
1
my

1
D>

rs]
Nee

a
eof
a)

CS)

:
|

hil
rai

TT]

(an
j

|
SN

|
|
|
e;
b

te
l¢
ak
Hl |1)
{h
ih
|
HT
|

|
| |

|
|

it
i:

Tha mi sgith *smi leam fhin Buain a Tain - ic h

7
|

Ha mee s8 kee li1m. heen Boo -in

S mee
na rahn- ich *turn - an. -
Why should TI
Hill
i
fes2

sit and sigh On the hill - side

Ul

NANG

4
|

So

rsh“4h
Gh

WAR
116. ees
lees

—
a Sene i ee ae eee ae aS”.
OSSS ae
xx
rey
=
:

Ra. % Ra
|

Copyright 1 908 by M. KENNEDY-FRASER *or ‘anns a mhonadh”

+
The vowel here.is like that of the wor
yord “turn” as pronounced by the English without trilling the “1?
* Like German “ich?
 58S
Sel

828
Bia
mere
SER
Bes

aS
is}
~~

S78
5

op.
ae.!
t

Eee: li )
g

EES

a5
aes
1

BES
eae,
SgoS
an to - man
I see the ~

a)
t

|
||
8

8 .

i
,
BLES, [F
a Rea

(4/9
r
LT 7 ae ‘

CL)
[Sat ee eee eee

i
=< or
°
See
SL
ea eee ,
[he

ae

%
*k

4
os
o5

%
>

2
s
s

a8
o28
a2

Bs
a”
i

5
Cul
:

es
Sd

an
aun

Loan
Bes i\

m’on
> x
Foes]
a. 8

Aas
ae &

oF
aD.

qaqa

Hoe
one
xaS,

a OE ee
1

Cool an

ENS

:
8
LM

*ur

Then I steal
&

iva}
a

a
"EES
&

iE
4

W441)
|

.
ee

|
|

;
y

va

%
*&

Tha mi sgith
ai
’smi leam fhin a rain-- ich
Ha mee
Why should
s kee
I
s mee

set
lim
and
heen
sigh, gs* na rahn
iw’ brack - en,
- ich Boo-an na
pu - tn’ brack- en,

dh

Tha mi sgith ’s mi leam fhin Buain a rain-ich dao nn

Ha mee s kee smee lim heen Boo-an na rahn - ich turn - an.
Why should I sit and sigh All a-loneand wea- ry?
|

i il
5
i
i

A Fairy’s Love Song. 4 Like “y” in “try” *Do not sound the “e
 a little slower

-F S
* Ach’nuair chi |
Ach ‘noor hee
ort Se | a E
mee oo * cheen
‘When the day WEATS A-- WAY,

am beal- ach nuas am beal- ach ‘nach ‘b i sgith ~

am byal - lach nooas am byal - lach.- gur nach bee s kee.
L look a - down the val - ley, ii - ka sound a stound,

’S gaol mo chridh-e comhrium Tha mi sgith ’smi leam fhin Buain

mo chree- a Ha mee s kee smee lim heen Boo an na. _ rahn - ich
my heart a -thrill-ing. Why should I sit and sigh, Pu in’ brack
- en,

q
Cy

buain a rain-ich Tha mi sgith . ’smi leam fhin ‘Buain. a rain-ich dao
Boo an na- rahn - ich. Ha mee .s kee Ss mee lim heen Boo-an na rahn- ich ¥*tur
pu -.tn’ brack-en, Why should I sit and sigh Aull a-tone and wea- ry?

on
os
A Fairy’s Love Song.
Re
* “ch” as in the English “cheer” ‘+4 do not trill the “Pr | * this verse by Mrs Moodie:
 alin
"tits He
TengLa
Cul an tom-ain braigh an ; tom- ain an tom - ain bhoidh:

id
Cul ich

Uy”
Ht ()} ye
Ceal an To - man Bry an To - man Cool ar" to - man ‘VO a
Ah! but there some-thing want-ing,
ll Okt but I wea
zs am
hel
i li
SY

itll ba lr
‘
| lite

|
eh)

eae
i
|

mee
vg Sie
| Ass I
uli[itgee
SE
i 2
“I

a
il

53
o

58s Bos feaPS £23

UE a i
aes ~~
wR’ Bs 6
ry

®
hill -
_

ur
es

(
lad,Come ower the knowe to cheer
a
li | : at [16 1h Sa Sn A SORTA
ISH?

= care, ——
Ww?

fe

| (fh

Teeeg ES |x iyWeeTRENT
AD

4 Me
Ni)

| aeas ae
aa ee Se

es
Teese
ee See ey
ve:

Tt
a ro ; SaaS

Sis SydulleesRD.tempo +H
|

=,
pe
| [en
TMS

a eee Ta |

aes e42
Sy ROS aes oo a eeeEs
]

SEN mn
ee. Bes
roped
ENV

Buain
RRL

a
SE

rain-
NRE RRO BA

ich pbuain a rain - ich

ll NIN
Boo an na tahn - ich Booan na rahn - ich

SH,TA) TTY]
Pu - itn’ brack-en, Pp u- tn’ brack-en,
:

feo A
Qe '

(i
cr

| i“TMauweHAN
SS EY Kee war

\ He
pe
TNH?

CPE ay Loe fas]

STS
ES SeLe gy Tre bel esl
AS

ga ee Se fos SS
eg

\ Nie Slice sae

*ll
[eaer
SN);

oS
u Fe
TENCS Ie a ee ee
fp
x Ie
oehass
ge

<> =

Hytre! |
EMH Ta
Ra. :
“TT i6g
TTT

allel

re"
ASEHBe
TINY

ae oae|
ee |
Be Ses wes
oe.

UL eAUc lt
“ aN
So p. toe
—

Buain rain - ich

;
G Boo an na rahn - i
ich

IRM
ase

2 Part- ed frae my
i
( Ht
lite

CLE
tl |

eco aT

Hileimeiiheh]
am areneTa
eS |
\ SST
YY

i
::

\
ae ae Eh
WON)

Ee eee

a
au

EES el
bg ‘

*
“lIbd

z© : :: * Ray
id

é
os
26
TIR-NAN-OG,
Or Skye Fisher’s Song.
Original Gaelic poem by KENNETH MACLEOD. and fitted with English words and piano accomp.
by
Melody noted in a fishing boat off the Isle of Eriskay MARJORY KENNEDY-FRASER.
from the singing of Gillespie Macinnes, BS
With a heavily roll z z rhythm.
> S Leal
oR
ort nan tonn gur
aS
HOR the rug
- ged

ota
ie
S

1S
°
we
It canto marcato.

trom an nuall- an Seirm am chiuais do ghloir Dan nam béann gach allt is fuar-an
mts - ty Isle The tsle of Skye doth show Jag ged tine Cool- dins

es eee
=alST Ee © Pe Eos ee
Siar - adhnuas le d’' cheol ‘Stu gach la gun tamh mo bhuaireadh T” iar-gainbhuan’gam
In the ev ning glow Pur -ple wa-ter troughs swift cut ting. Clean my boat cleaves

eh

or or
4 = 7a eae
ala eR El a Bers rswesESE Tey
CLAS
ieee etree Ta] = ae ae
Sg pee See eae BS Boe=a
Se

leon ’S tu gach oidhchechaoidh mo bhruadar QO Thir nan dg.

thro’ And to-night a- gain IU greet thee, *mo nee -an doo.

————ee
nee
eae ES ee a)Seem nEL
Bi. @aieeer
ue (SS.
PTATT
LS
ty
ae
7 Seep
ae aos
es es
|
Ba a BaSe eemer al
mayen 2 Saeeeoe-

ale) ay A
a 4| sR 4
ABER Ser
SYDeereGort a Sag 7 ee EE|Ss
a ee eae kien|
Sa = a
-—— Pa oe fo inal @Sas
com
' * mo nl ighean dubh = my maiden dark va es
‘sii
ee by Marjory Kennedy-Fraser, *This song may be had separately.
 x
Bas no bron cha bhed. ’nad loinn-thir =)RS 3 Gsom ‘foil ’s air
By the glimmer a thine eyes 7n black-est nigh eu ee know,

dheo ’s do chaoimhneis Aoibhneas snamh’s na_ neoil Reul-tan ar - da la ’g a dh’ oidhche

love thats kin - dla When my love T show, By the joy that leaps and laughs there
P

Boill sgeadh seamh tro’ Teu- dan tlath-a fas ad choill- tean
_—
Oe SThirstian
Like the dane-ing sea, By ali these, Ix. know, mo nee - an, — Thou low - est
;
Mh
¥
v
A I 4

H@llP

[ ,

3
8

ws i ~ =) = 5 we)a= Oo) long mo bhruad - air

wo

Tir-nan-Og.
 Fuar- adh mar bu fosS=| 3 ei a a a 3 ghnath - ga gluas-ad Ciuin Je luaths an
of Skye doth loom, her pee:G S &Y ly Sea-ward . — In the- twit -Light

= oe
Pa eT

Sere oo,
Ba Set
fea

TE aE
es SS 2 gta sae Ficsaall ec
mee feral
ain fags mi
Like the light love that tra-vels Lwiat my heart and Chie
dx
Ts

ee ae ae“ Lae Besa

nO ESSE ee 7 eo OOD Beh atPn ad TS
eae eee ae an a a So
Renee a aa

a ae
BER Van ee ila eS
aN

aes RS Re ey ee
ml pean Soe) Sia OE SS
as [SS
eee eee al
e
lh
8bens
ily
:

An to -
(a
ee eS
|_ aN
a ae Ba 2 pee see pooeey
Ses

-Aw
8
aR
E

Doimh-ne craidh is gu Tir nan

0
il4,
Ss
:

And to night @ - ji
g=% iN ao

ae
Upoo
eae PSUS Nees Sn eee Loe)
Hy

Cres.
ee EES Ol (RE

oN
<2
mn See
EA
FE
Seren
a a
TE
eae
a anhy il
‘ar

By the glimmer > S& >é

fella voce | P
sad
 SONGS OF LABOUR.
N the Hebrides labour and song went hand in hand; labour gave rise to song, and song
lightened labour. In this book specimens are given of songs associated with spinning,
waulking, milking, churning, and rowing. Apart altogether from their musical value,
: they are of interest as a characteristic element in a life which is fast passing away. Labour
Is now being more and more divorced from song, and in the course of a very few years the folk
will be surprised to hear that their fathers and mothers once used song as a substitute for steam
and electricity! One reason is that labour itself is changing ; in its old forms it was suited
to song ; in its new forms the noise of machinery is its music. The quern, for instance, is never
used now except in a case of emergency in the outlying isles, and with the quern has disappeared
some of the prettiest Gaelic croons. Likewise, patent churns impoverish equally the lilts and
the buttermilk, and once sanitary law has forbidden hand-milking and home-waulking (or, at
any rate, “ human” waulking !) the last link between song and labour will have been snapped.
It is hardly necessary to say that the measure and the time of the labour-songs are suited to
the special kind of work involved. In the spinning-song, for instance, ‘‘ the long drawn out
gradually accelerating phrase culminating in a long pause, is evoked by the periodic rhythm of
the spinning itself.” The wool is carded into rolls or “ rowans ” (Gaelic rolag), and the time
of the song is really determined by the spinner’s manipulation of the rolls. As arule, the spinner
is singing the verse and the short chorus as she stretches out her hand for another roll, joins
it to the end of the spun one, and gets into the swing of the spinning ; this done, the wheel and
the long chorus go merrily together, gradually getting quicker, till the spinner, prolonging a
note, stretches out as far as her right hand can reach what remains of the roll, and then, with a
hithillean beag cha la o hill id ra bhé, runs it through to the bobbin.
Of the labour-songs which survive, the ones used for waulking, for fulling the home-spun
cloth, are the most numerous and the most varied. The theme may be love or war or the praise
of a chief, or even a tragedy such as the Sea-Sorrow ; any song, indeed, may be used for waulking,
provided the verse is sufficiently short and the chorus sufficiently long. Many of the old Ossianic
ballads have been adapted for the purpose, each line forming a verse, followed by a chorus; the
result being that ballads which might otherwise have been lost have been thus preserved, though
in every case the diction has been greatly simplified and modernised in the process. There are,
of course, different songs for different stages of the. waulking,* and the stages vary from two
or three at a “little” waulking to anything up to twelve at a “ big”? waulking. The writer
has noted the following well-defined stages at Hebridean waulkings within the last twenty years :—
(1) Fairly slow songs—drain-teasachaidh, “ heating-songs ””—to give the woman time to get into
the swing of the work. (2) Lively songs—drain-teannachaidh, “ tightening-songs ’’—to break
the back of the work. (3) Frolic-songs—drain-shagraidh—to give the maidens a chance of
avowing or disavowing their sweethearts. (4 and 5) Stretching and clapping songs—a’ sineadh
"s a’ baslachadh an aodaich—to make certain that the cloth is of even breadth. (6) The con-
secration of the cloth—coisrigeadh an aodaich. (7) Folding songs—a’ coinnleachadh an aodaich.
As the consecration of the cloth is now practically a thing of the past, a specimenf of the chants
used may be given—
Car deiseal a h-aon, The sunwise turn once, }Sutting the action
Car deiseal a dha, The sunwise turn twice, eye ee.
Car deiseal a tri. The sunwise turn thrice.
A’ ghrian gus a’ chuan shiar, The sun to the Western Sea,
An cinneadh-daonda gus an Trianaid Mankind to the Holy Three
Anns gach gniomh gu suthainn siorruidh, In each deed for aye and aye,
*S anns na sdlasaibh, And in the gladnesses.
Beannachd an Démhnaich air an aodach so, The blessing of the Lord on this cloth,
Gu meal ’s gu’n caith na fiurain e May the heroes wear it, enjoy it,
Air muir ’s air tir, ’s ann an caochladh By sea, by land, in the changes
Nam mor-thonna. Of mighty waves.
Oran a h-aon air, One song on it,
Oran a dha, Two songs,
Oran a tri, Three songs,
*S nar biodh fuaighteadh ris gu dilinn And may there be sewed to it never
Ach ceol-gaire nan nionag But music-laughter of maidens,
*S pogan-meala nam mineag Honey-kisses of fair ones
’*S nan dranaich’— And singing ones—
Is féghnaidh sin| And that sufficeth!
It may be added that, in the case of the frolic-songs, verses were improvised in which the
namé of each maiden present was coupled with that of her sweetheart, to whom some slighting
allusionf was invariably made; and the maiden, in her reply, was expected to resent this and
to praise the slighted one up to the skies. Sometimes, however, either from wantof will or
want of pluck in the maiden (in the Hebrides it could hardly have been lack of poetic talent !)
the young man was left unpraised and unsung, the result being civil war in the township, and
breaking of hearts, if not of heads. KENNETH MACLEOD.
* It may be explained that the object of the waulking is to shrink and thicken the cloth, The web is steeped in ammonia and
laid on a long narrow table, at which some twelve or twenty women sit down and thump and rub the cloth against the
boards, always taking care to keep it moving sunwise round the table. Cloth for Sunday wear gets about two hours’
waulking ; cloth for the wear and tear of tilling and boating has to be thicker, and gets at least double the time. No
one ever asks, however, ‘‘ How long will it take?" but ‘‘ How many songs will it take?"
+ From Janet Macleod.
} The Gaelic expressions are: cur nan gillean’san ditbhradh (or, tiradh J; (gan toirt as; ‘gam fagail ann.
 30
MILKING CROON.
Cronan Bleoghain.
Air, Refrain, and one Verse noted from
the singing of Peggy Macdonald ) S. Uist. arranged for voice and pianoforte by
Extra verses from Carmina Gadelica”
(ce
MARJORY KENNEDY-FRASER.
_with kind permission of M!$ E. Carmichael Watson.

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Additional verses from the “Carmina Gadelica?’ 3

*Pronounce like English “my? aoz=like eu in French peur.
T Kye= cattle (pronounce the vowels ye like the y in “by?”)
Copyright 1909 by M. KENNEDY-FRASER.
 ©

Silk-en te-ther for my ES =)

(~) G o =Ua a (acai=)Qn o Ge
vo.
straw for the town-land cat- tle, Herds-man
Bua-rach sio-mainidochradh na t *éi-le Bua-rach sio - da dom ‘aigh- ean fhein O bua- rach
Bo...... lur- ach P bo =nah-atr-idh Bo a? bha -theach math-air laogh Buachaille

ev er.
su- gain atr crodh na duth-cha Bua-rach ur air mo bhuail - etg..... gaoil - sa.
Pa- druig 1s ban-chaig Bri-de Dar... sion dar dion... ’s dar comh-nadh

s vo fe o ~ i]vo
=
v
=
~as)o 2 g 6 aryVv ~ 5 se} € I ne)?) i Q 2) 2 = g brook- let wan- der, Trav ) lling
oa)ao

a bho - lag-ain il bho maigh-ean Il a bho-lag-ain il bho m’aigh-ean Il a

moor - land, trav-lling moss-land, My own cat - tle, our saints . guard- ing.
bho -lag-ain il... bho m’aigh-ean Mo crodh - laoigh air gach taobh an....... abh- ainn.

Pronounce Breed-ya (or sing English equivalent, Bridget)

Milking. Croon, -
 g
5elt

eel
: a
ali

hairy
eal
oY

Pe
From rocks, from drifts, from flood-streams, Crooked pass- es and all dire pit - falls, Ar- rows

t;h
Bo lur- ach, 50 na hatr -idh Bo w bha-theach mathair laogh Buachatile
mg

MN$g
SM 3
aiihile
H:
3
(Mie =

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tn
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duly
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rk

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ca!
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Pre
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Bae
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esay solla8
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aya “(OY gQ2

we
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Gdlgea ees
reneeey

a =
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tO oe 2

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nf i i
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&
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"

Where the kye by the brook-let wan-der, Thro’the pass by the brook-let wan - der,
il a bho-lag-ain il bho m’aigh-ean Il a _ bho-lag-ain itl...... bho m’aigh-ean Ti a

el
a

bog-land or brook-let wan-der, My dear cat - tle, our saints be......... guard- ing.
bho - lag-ain 11...... bho m’aigh-ean Mo chrodh-laoigh air gach taobh @n........ -abh - ainn.
¢! lil

Milking Croon.
 33

:
=
aes, ea)
Minas

& : i 8 =lovd8

Sep
esl trea-sure
xs thou, my one, Red - eared, notch - eared, high horn-éd,

8 o
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Where the kye

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Tothe shore by ‘the brook-let
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* This and the following verse may be omitted.

Milking Croon.
 Grass and shel -ter for my own hei fer, = y ES oY) z OY hill » heat h, plain,
ise] im stub. -ble, » Ev - er
’S gheobh mo chiall- S@....... fiar us fas-gaSgeobh i aon-ach, fravch, us machatr, ’S geobh i

smooth be each knoll, each hil - lock J For aM kind fond, heartling heart, “my hei - fer.
mis - lean... ci0b us fas -bhuain,’S geobhi an fion thigo shian cas-bheann..

)
Where the kye by the brook- let wan der, O er the moor by the brook- let wan - der, Trav’ lling
bho-lag-ain il bhomaigh-ean Il a bho-lag-ain il... bho m’aigh-ean Il a

bog - land ? trav"ling bent - land, My own cat - tle, dear saints be........ guard La ing.

bho - lag-ain it... bho maigh-ean. Mo chrodh-laoigh air gach taobh aan........ abh - ainn.

_ Milking Croon.
 8 ~ cq les Shel
acd pace
= maw pues mm.

33 so thts nl g8 :
9 60 a ‘4 J ©
i] Ce)

Milking Croon.
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 36
A CHURNING LILT.
From the singing of Annie Johnstone. Translated and arranged for voice ahd pianoforte by
The Glen, Barra. MARJORY KENNEDY- FRASER.
Lightly and with well marked rhythm.
=>

mais-treadh bha aig

Ma
- ry had a o ne 3 & S ‘3& &
na saor - a, Thig =I Oo} 4)3 3 my ob Thig na caon - a,
oN

meu-dach-adh an ime, A laghdach - adh a’

bhainne, Thig, a chuinneig,
PE

milk she would be turning All in - to but - ter thick Quick,come but - ter
Thig na Thig naclao n A laghdach - adh bhainne,
a
4- a

i
=>

= a
BY -MLeE Ht j= 4
a PE
a oe
on eee Se ee es =
eae a eras
eee

ae
ee ea

SN
aS 4

gee
z3 a8 2s epi e a
SS

Flow
vA Sp§
Sy:

ao 2
oS
-—-)
re Sy

nilinn,
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Bes
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8
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4 at
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ow

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2 b|
en
1

wae
bs
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te
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ee
2S A As EY _A
ki

il
si)
PS

DE Sasa ee
as ES ed
Ay
«an Hf

cara Te Ss eT
Qh

SS a ae ee
[a ee)
2 EE Se

Copyright 1908 by M, KENNEDY-FRASER. *Uig. (Wick) a bay.

 Th M
glug an 80, Tha glag an so,Tha glag. an so, Tha ay an 380, Tha
Would but-ter but come quick-ly, Full blythewerewe I wist, With
Thig an lon, Thig an sme ol, Thig an ceol as @ bhruth

7
“i
4
—

ieee
mnUleAl
axe

Em
|et
ON

te
z's
“OD
ll&ZUTTH 33
Nees
28
:
s ‘
uii. &
S
80 ~~
&
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a
£2
Tha
& os as
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rud
X
fhearr octet
$s
oS
na

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c=
ifjon ann.
Ra
es)
‘Ss

ial

OTN
UD
TH? |
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|| pas lI TS
ll
!
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ii

1
: Ge
(]
38
é
ih le
oe
TS

Thig a chuinneig, this. Blathach gu dorn Sim gu uilinn, Thig a chuinnei§é, thig.
Heek ach -hoon-yak heek. Blach goo dorn, Seem goo ool- een Heek ach - hoon-yak heek.
) Hite
TT
'
;
ees ae
A

‘I
Aig
on
He

“This verse and the following were added (by kind permission of DF Alexander Carmichael) from the “Carmina Gadelica.
)

A Churning Lilt.
 38

SPINNING SONG.
From the singing of Janet Macleod, Figg, Noted and Arr: for voice and pianoforte by
memorized by Kenneth Macleod. MARJORY KENNEDY- FRASER.
Moderato. With daintily marked rhythm.
—
x
—_

pales
a

ree
i

>

:aq Ay.
Ra

f
:
ha
is tl

4
(ty
ER) ae Reese EE Pea

§,
Bh. EG Riel Peay yy
te
eer
eae Se SS Se es)B._
iia ees hy
O32 BS
JS
Geet pe
me pe (a3)
eG
425ASa el
stv ras rithill
rit iu riu- a@- ro hi
Ths

-
* Who . rne -

ee
reel - ‘your - you - are - oh he - Teel

--
fia aes SEE PERE,
!

Soo" wea? +> a

a Cara 4 a _ON SS AT
eee as ee). a 22a, [ee ee
_

CPi. al eee SS
BN

2 sls.
Se ee |S an eae) eae eae ee a
[ae
ee ee Re
eee = WSS
[net es
Le a ea ee ee,
dee ee

23 4i 3C
sz

a
S
ip ct

accel.

4 ¢ a Ke
aeaereneaas (eae
ne PSs Be Pea
,
Vl“ ieee

208
Ee REET A FETE IS
IRE TEE PES ETE Se) EE,
rith il - o
H

TO- a- ro hi rithill ithill 0 hiu o ro

:
TH?

reel oh row - ah - row he - reel - eel = oh hew- oh - row ~-

hie
rove- ah
i

Q
AG

ol Aes Say aay =

as, en A ee, e..4 RL
SS Cae ee a a SS aa) Rae
eh

Ree a eee Lea Sa

DERE aeraS Fae Ce ee

Se ee
ari |

_
|
<The.
TH

a tempo
Me

ten. A little slower.

TN 8 iy

SL eee i TS)
o

as ee) ee) a ae)

| aaa
pense
-——f&— ym ie iy me eS ej
aSS Ree)
ses rumen eee
Tee Rares,
Uf <.
Nee
te

shy

~ o
ss

hithillean beag cha la 0 hill iu

:

ra bho * Thug mi
heel - an - peck
:

ha-la- oh heel - your - ah - : vo 8 Love ' gave

en
as
Se Ss Se
eer pe
Pe ei Ras MESON amyea Gam FSa ES
| 4 BEER
Sr es mew
eae
: 1 a *ae
BN)

CE SET] ae ee a eH
a XS Se i n-ne eg
Se ee
| 5
col canto
(REaeT
Ba rea at
Beebe ESPressivo

Be eee: ka
eo ee ee
pear wee] FER PaeerS eee,
a ae eS
Be1909 by. M. Kennedy- Fraser. Re.
*The sounds of the syllables of the refrain are here represented
by. monosyllabic English words.,
 39

ma

a
a=
ha - la - oh heel - your

wt
fall
2:
&
3

2d
oO
2
alittle slower a tempo
Lh ears a Pes eas oe Peg
Sd See a ay
Seas SEE way Sag Rik Eee ea

f
= pete saa ciaha 2, SD
ree
ne | = Ssee RT, ae iar a
Aaa

Nach tug piuth - ar riamh @a brath - Hu ru

Be

alr
:

Love that aR never gave bro - ther, Who - rue -

ie
rea ee es i a = a as (ad ES =a =e
[eS ra ees ae eae Peelers font Lee
Pe Ta Ea ay ag prerae|
ag @na® a Ye 2@ 26 ee ee
re
eal
ae osoe= aaa

I
eT
eee eerie rare BB
ay me
_{oh) molto ies leggetermente
a 6
ah e
tf i

ae eae JTS
Ror sae Se a a a CS a ea Me]Zaha Bes Ty
——— as a

Ty
NG
Hs 4
mas

4S
ép|
Hl
>
the
fe

te-2
|

ak
“Cag ESS, CR (et ae, OP DRE ies eames [oe Saree es
ar

Ree Sses See aeJas

Bene aie eee S|

J
bi ino
=
)rT

EES
IS

i errr)

ro hi rithill rithill 0
;

Tlu a lu TO a To hi rithill ‘ithill 0 hill

you - are-oh he - reel you reels on) = row-are
oe: - oh he - reel - eel i oh be
heel - oh-
SS
een

h~2 ESS ee ed Lee ee Se

= ae es [eee
;

ye a
ha
eaeSes
rae eee
Rae Be eee eee)
h
A
NEA
il.

asa aa Ge LS ee es << as ee ee
Be eS Ta i ee aE Sn Dees ET (a PN ek Bia
GS eas oe aGl GS ea el Pe ies
aq

Bom eeeoon ee
= es
|
gt = oe Oe |
og @ a 4 P a @|}
eee Bade, Sa
|

(¢)
Lr]
AL)
me
UG
7 il

Tro ro bhan ‘ho hithillean beag cha la 0 hill in Ta

heel - an - peek ha - la - oh heel - your ah vo

= SA ea

col canto

Spinning Song. - This gradually accellerating phrase was sung as the thread was long drawn out.
 2

“Nach tug piuth - ar

a h |]

mf espr ESSWO

hithillean beag

clase
you-are - oh he - reel reel - oh - row-ah - row hi - reel = eel =

aes yerewsrsdoe
BS a
? PERSer ea)
eee ST
eee eee

aes pee pe Herel aan Be? epoas mes Wea ee ees

MESS BA

——
Sa Sp eae enn ag aa BS SS Ea Bia
Ss ae ay
a a ee 2 oe | 8 2a 2a @ | | a Bs @
a eee pee ee eee

=
ro bhan 10) hithilean beag cha la
Th Wl

:
TOW - van hoe Heel - an - peck ha - la - oh heel - vu
4 om
imi
rr

fe
oN

F1
f

aN,

iC
r) ei
col canto
Fars]
fh

eS
ND
f\
eae
ary, ‘‘\

Spinning Song.
Pee
41
ie 4 es
[ee
eae ey

+
SLi
oarsaren
Nee

,
STM

(ys

[oo Ser Tr Ne eR ae

il wt
TY
an
peeee ee
HT
it
il

Hf
|
Hli

Pear

+
aL
il
i
my)
i
! mies

i
moe lee |
Te

aA
|

mi

fas ae
Swe

|
TS 22S
Pi
a3
ll sya

st
:
i
SY

snaith - lean

2 thelelwre
alle

7
thread, fo -
LT
i

zi
1

Sart ae aR PE
eed ae ae Bee a
eg @ 9 2 oe
Gaeta ae ee
|
sak

;
ie a
Cieaie STE oe
ca ea

all
arylnal
3ail
It ty

a4
es
:

rithill iu
ee
rithill 0
22 11 a
=%
ie |

= 3
2aeai||°
ee
2%
“iagl|
a

oat

he - reel - ou - oh
idl @] Td
'
bhs7

om
‘fl )

'

—
i

ak hee eee Csi BET,

1 GS) ite.2 &

|
|

<p rere. 2 ue eee S|

Rd
RG RSS ST ee
See Ee ae

tia
ne

aal]
i
al
.
all

Hs
teh

TH ase

=]
WY) GHW os
ly
ih,

rnBt
4h|&
Ih
Ba

anatase radia
pes

ih

“ll
es
a. ee
TS
i

GeN25

UIT

—
1 y)
TY

ieee
il Z

|3

NS ie In
|

ia Raed
eelbie
grok
et

fOO
en:
5

ho
A

2
E

Till
Il ay

c=

:>)
Te

pb Heel - an - peck
ray

.
gees

O Ea, @s-
ToS88 TT
|
ill 3
4

_——_—
i]

eee
SS as,
AWLD

aaa mes,
SY

i
: 'ih

ll
Eh

pe leggiero
x
pd
a, [en
|

2A EEN >}
BIS
i

‘J
ee eee, SSS ES
hill

ESF a aD
aa 26 ae eed
Eran, /—}————_}

Spinning Song.
 42

IN HEBRID SEAS
(Heman Dubh. An ancient Waulking Song )

Noted from thé singing of Joan Stuart, Coll, Lewis, and Arr: for voice and piano with English words by
Moderato MARJORY KENNEDY- FRASER.

ie
NER
Ns
ne

ee
With.a swinging rhythm.

Bs Tit)
ine
il

ss W||

2 |
ee 4 iy
es yp
eee
- To
A§ |
LN

3
=

ee
a

Green lies the danc - ing wa

he
Hem - an dubh 667d $s
' PP
ky
8ies
SS

NY

g
len

i
ll

71
Hee
a

| Hl
dl

(Pe
boat flies o’er her, Brown
ie es out the wa ter White the keel, the curl Ga wave - let
sear no Siar @, Hem - an dubhchacidhnachgabhainn Uas- al mor se guan-ach fal - amh,

ih
q

| : 2

es high,spraying round._
an dubh ht - rz 0.
LE a

Copyright 1909 by M. Kennedy- Fraser.

H. 6700.
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suaint-e thar-am Hem-an adubh ht

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seas
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Hh;
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&

Se ee ane ee at sa,

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|
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i
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etd SS Leav-ing the
Hem. - andubh hi -Ti-0 - ro Hem - andubh hi -ri-0 Hem-an adubhe

ase ‘Pines ae 7.

Ss
Tee _fh

oa iat ee oF SIE

badimemmane
ee ae ee cee ee eae
ee ee

lhl
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£2 ET ELIE BTA IF BP ITE FTE TO
a

aa
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FEED EE, Eo? AR ER BO EA
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*Lews to lee - ward, Blyth-ly a - sail- ing sea-ward, White the keel, curl-ing wave - let ~
SE
By
mo lean- nan Hem- an adubh hi - ri- 0 - 70 Falbk mo lean-nan- sa? Fulbh e, falbh e?

es high, spray-ing round. 2 now by

an dubh hi- TE Hem - an adubh

cree
we leave, as “ high cliffs are
bs
re-cedes, As we sail o'er the Minch to Skye, Blue peaks of
ruag nanaigh - ean Hem-andubh hi- ré-o Hem - an dubh rinn em’ sharr-aid, Hem - an adubh

ae
&-
4A

~
SBoolla voce

Yn Hebrid Seas. * Pronounce like English word “lose?

 “s

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' H. 6700.
L
 THE DEATH-CROON.’'
N the days of the old Celtic church, the Death-c1oon was chanted over the dying by the
| anam-chara, the soul-friend, assisted by three chanters. Later on, the rite passed into
the hands of seanatrean a’ bhaile, the elders of the township, and the mnathan-tuiridh,
the mourning-women, the latter eventually developing into a professional class, whose
services could aways be obtained for a consideration. In more recent times, the bean-ghluin,
the knee-woman, the midwife, was also the bean-tuiridh, the mourning-woman, and as the
friend of the folk in the coming and the going of life, was regarded with the greatest veneration
both by young and by old. To this day the knee-woman of the isles chants her runes and celebrates
her mysteries in the houses of birth and of death, but always with closed doors—metaphorically,
at any rate. As recently as eighteen years ago, a Death-croon was chanted over a dying person
in the Island of Eigg.
An ced ’s an drichd, The mist the dew,
An drichd ’s an ced, The dew the mist,
An ced ’s an drichd The mist the dew
An stil mo ghraidh, In the eye of my love,
An stil mo ghraidh, In the eye of my love. ;
A Thi dh’ fhosgail an t-suil og, Thou who did’st open the young eye,
Daun i an nochd an cl6 a’ bhais, Close it to-night in the sleep of death,
An cl6 a’ bhais. In the sleep of death.

From the nineteenth to the sixth century is a far cry, but the Death-croon brings the two
together. St. Donnan of Eigg and fifty of his muinntir, his disciples, had suffered martyrdom
at the hands of the Queen of the Isle, and were sleeping their first night’s death-sleep in the
churchyard now known as Cill-Donnain. At midnight solus an digh, a blessed light, was seen
above the graves, and voices were heard chanting a croon of which only a few lines have been
handed down.
2 Is moch a chuireas a’ ghrian failt air Donnan, Early gives the sun greeting to Donnan,
Is moch a sheinneas an t-ian ailleachd Donnain, Early sings the bird the greatness of Donnan,
Is moch a dh’ fhasas am fiar air dir Donnain. Early grows the grass on the grave of Donnan,
Suil bhlath Chriosd air an tir, The warm eye of Christ on the grave,
Reulta na h-iarmailt air an tir, The stars of the heavens on the grave,
Cha bheud' cha bheud a dh’ tir Donnain. No harm, no harm to Donnan’s dust.

And said the old folk of Eigg : The Queen and her maidens saw the light and heard the singing
and, way of the women! wonder brought them towards the churchyard. And, sure, there must
have been ¢aladh, fascination, in the light, for as 74 would move they would follow, and did it not
bring them little by little, and not little was that same little, to the loch* you know yourself, |
the one in which the each-uisge, the water-horse, lives—and, O Mary Mother, was it not there
the judgment was!

In the isles the black loch among the hills is always associated with death and unholy
deeds and croons. The sea, with its ebb and its flow, is suggestive of life. If it has the terrible
strength, it has also the nobility, of the lion. But the loch among the hills is a snake—black
and slimy, with death in its eye. A tale and a croon# will tell the rest.

On a night there was, it befell a pears-eaglats, a cleric, to be returning from the hill to the
shore-clachan, and what came upon him but the weather of the seven elements—and what can
be worse than that! Since he could not do better, he did the best he could, and his only choice
being an evil, he took shelter in a cave under arock. He had not been long there when a great
white lightning sudden-flashed before his two eyes, and in the glare he saw a deep black loch
between two precipices; and O Blessed Being of the Graces! beside the loch was a man in
the death-throe, and three wizards crooning over him—a lean black wizard, a bald grey wizard,
and a sleek yellow wizard.
1 Learned by the writer, partly from his aunt, Janet Macleod, and partly from Raonaid Campbell, a native of Eigg;
stray lines were afterwards got from Catriona Macleod, Trotternish, Skye, but she said they were part of a
piobatreachd which was much played at funerals in olden days.
* lain Og Morragh, the poet-schoolmaster of Eigg in the early part of the 19th century, began one of his songs. in praise
of the island with the lines: ; ;
Is moch a chuireas a'ghrian failt air Strédha,
Early gives the sun greeting to Strddha,
® Still called Loch nam ban mér, ‘‘the loch of the big women.”
* The tale and the croon were got from old Vincent MacEachin, Island of Kigg.
 Ars’ am baobh caol dubh: Said the lean black wizard:
Ospag, ospag, fhir a th’ ann! Torture, torture, man that be!
"Nuair bhios tu thall, ’nuair bhios tu thall, Over there, over there,
Bidh tus’ an laimh, bidh tus’ an laimh, Thou shalt be bound, thou shalt be bound,
Speachan an diugh, meanbhagan am miireach, Wasps to-day, midges to-morrow,
*Gad itheadh, ’gad thachas, ’gad mhamadh, Eating thee, itching thee, tumouring thee,
Thall thall, Over there, over there,
Fhir a th’ ann. Man that be.
Ars’ am baobh maol glas: Said the bald grey wizard:
Ospag, ospag, fhir a th’ ann! Torture, torture, man that be!
“Nuair bhios tu thall, ’nuair bhios tu thall, Over there, over there,
Bidh tus’ an laimh, bidh tus’ an laimh, Thou shalt be bound, thou shalt be bound,
Fitheach os do chionn, giogan ad shail, A raven above thee, a thistle in thine eye,
Nathair-nimhe ’s i teachd dlith, ’s i teachd dlath, A venom-serpent coming nigh, coming nigh,
Thali thall, Over there, over there,
Fhir ‘a th’ ann, Man that be.
Ars’ am baobh caol buidhe: Said the sieek yellow wizard:
Ospag, ospag, fhir a th’ ann! Torture, torture, man that be!
*Nuair bhios tu thall, ’nuair bhios tu thall, Over there, over there,
Bidh tus’ an laimh, bidh tus’ an laimh, Thou shalt be bound, thou shalt be bound,
Gaoth 'ga reothadh feadh an t-seilich, Wind a-freezing through the willows,
Guin is fuachd mar uisge goileach, Stinging cold like scalding water,
Thall, thall, Over there, over there,
Fhir a bh’ ann. Man that was.® i

And while the wizards were at the croon, the cleric was making the caim, the sacred circle,
round about himself; and once he had made the picture of the Cross on it and blessed it in
the name of Father, Son, and Holy Spirit, he knew then that no evil could come upon him,
howsoever long till cock-crow—but for all that, O man of my heart, the loch was deep and the
loch was black!

From the hills, the last refuge of paganism, the Death-croon leads us to the sea and the
Iona coracles. A world of years ago (said an old Eigg woman), long long before Prince Charlie
landed in Moidart, the folk there were fierce and dark and ignorant ; they kept Bealltainn, Beltane,
better than Christmas or Easter Sunday, and (O Mary Mother, sain us from evil !) it is said they
would even be praying to the serpents. Columba of my love heard of this, and it gave him a
sore heart that people should be so far in their own light as to turn their back on heaven and
the saints—sure, he was ever the dilleagan, the beauteous-one, son of a king and grandson of a
king, and he might have been a king himself, had that been his wish—but to get back to my tale,
he sent two of his monks to Moidart to teach the folk there the good Christian ways of the church.
But were they not the foolish ones, the folk of Moidart! They would not listen to the monks,
and at last the younger of the two said: ‘‘ We will return to Iona and leave the seven curses
of the church on Moidart.” In the dusk of evening the two were down on the shore, with
their coracle in sailing trim, and something in their faces which no wise person would wish to
see. “I hear the dip of oars,” said the younger one, “and the sound is making for the point
further down.” Wonder soon brought them to the spot, and what they saw was a coracle gliding
away into the darkness, a lady-lord clothed in white lying on the strand, anda baby boy sucking
a cold breast. And the older monk began to chant the Death-croon over the dead, but I do not
know what the words were, for it is said he never chanted that croon again, but always a better
one. Before he was through with it, the eyes of the baby boy were upon him. “ She is not
dead,” said the little one, “ but she always loses life and milk when the monks of Iona lose their
heat-love for the folk.” What more? O treasure of my heart, miserable creatures like us
may not know what passed between the Blessed Mary and her Son and the monks
of Iona—
but, at any rate, the two men returned to their coracle and made a hole in her.

KENNETH MAcLEop.
§ Witches and wizards were notorious for tricky diction, One of their worst
An Ti bh air Neamh ‘gad bheannachadh, ‘‘The Being that was in curses went forth disguised as a blessing:
Heaven bless thee.”
same,” said the unwary ones, and at once the curse took a grip of them, ‘“May He do that
sain us,” said the wise ones—and lo! the curse disappeared in black smoke. ‘*May the Being that is in Heaven
© Peggy MacCormick—Peigi Bhan. She and her brother, Vincent MacEachin, carried with them into the grave legends
and runes which, had they been noted down, would have made guite a remarkable
volume.
 48
THE DEATH CROON.
(AN CRONAN BAIS)
As traditionally sung by
Kenneth Macleod.
Condensed version.

Thu
ie 5 o ~eSSs}3 aS be)

PIANO.

3 =

t-sior thigh Geamh Do’n t-sior thigh

9 w
os
a

Wi n ter Ev er- Th Le Au tumn, Sum “mer,

68
“=

XY
—~

Earr- aich.... Sauiteraidh erhedal dhach-aidh an nochd an seirm

er- house, Home art go - ing to - night on mu - sic of
te.
ani
a2

SLT
mace

Ig
P|

b
zu

G
weet a= aS)
cann -tair ’S geal ain glean )gad o =~~ o oO = [a] ae h-aibh- ne
cd
can - tors, White an - gels thee watt on Ad = Ons

Copyright 1909 by M. Kennedy- Fraser.

* English form of the Gaelic word meaning River. Pronounce with Italian A.
 Cad - al og Io~sa Cad-al bed —° t Dn is] O se]BS) 1 to]—
Cad - al gaoil Io- sa Cad -al muirn Io-~sa Cad-al Io-~ sa Sle ep and put
Youth-sleep of Jes aus; Life-sleep of Jes -us, Glo- rysleep of Jes-us,
Love- sleep of Jes -~us, Joy- sleep of Jes-us, Peace-e-sleep of Jes -

= Poe
‘ a,
—
caid-il e sdhiot gach br on, Caidi24] <e caid-il a ’sdhiot gach bron
from thee thy ev - ’ry woe, Sleep and put off from thee ev - ’ry woe.
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Cad - al nan seachd bu-adh ort Cad - al nanseachd lu- an ort Cad - al nanseachd
Sleep of sev-en virtues on thee, Sleep of sev- en moonsup-on thee, Sleep of sev-en

su - an ort Caid-il e caid-ilxo e ’sdhiot gach bron Caid-il e caid- il e 'sdhiot gach
slumbers on thee. Soft- ly sleep, Soft. 2>
12) free from woe, Soft- ly sleep, Soft- ly sleep, Sree Jrom

The Death Croon.

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dream-ings, dear love, be thine

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cad - ail gach aon do nY ghaol Bruad ~ ar

these dream-ings, dear love, be thine. All these dream-ings, dear

The Death Creon.

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