Mi Contra Fa

Miscellany

Runo 3 (The Singing Challenge)

(Context)  I have ten of thirty verses fairly well in memory; working on the rest.  I've found that 'playing' the notes with my fingers, when I am sans instrument, helps me keep track of which permutation of the melody I'm on.  (Also, keeps me from messing up the 11th measures, which I was doing regularly...)

I've tried the music on early harp, wire harp, and lyre.  Not sure which I want to use for accompaniment yet.  Also not sure if I want to have the accompaniment be the melody or some moving open fifths. Time and practice will help me figure out what's doable and what's not.  I do eventually hit a wall where I can't concentrate on all the moving parts.  And I'd rather focus on the vocal performance and simplify the accompaniment than the other way around.  I can always do an instrumental intro and/or postlude to show off the instrument.

York/Dublin cap

(Context) Finally got around to reworking this.  Managed to make it too short.  Sigh.  I have been really careful with pinning, ironing, and finishing.  Somehow the pins that marked the right length the last time have resulted in a cap that hangs barely below my chin.  Eh, whatever.  It's still pretty cute.  I need to make tying strings, and I'm trying to figure out how I should do that.  My linen coif has 4-strand braided linen ties, made using a fairly coarse linen thread (1.5mm dia?).  I have some nice blue linen thread, but it's much finer.  I could spin it to cord, or try whipcording it... or I could use the (undyed) thicker linen thread I have in a braid or whipcord, or... I'm going to just play around with some things.  I'm also thinking the edge by the face needs a decoration, either a matching blue silk braided band like the bottom edge has, or else those teeny Viking embroidery circles from Oseberg.

Hand spindle/nostepinne

(Context) Found my stuff!  Hiding under fabric stash, naturally.  I don't know/don't think the hand spindle I bought is actually an Oseberg repro, now that I look at it.  It definitely does not function as a ball winder.  It's got a knob at the end of it (like some other things) and the wound ball can't pass over it.

Spindle trials

My darling husband got me three spindles from Hershey Fiber Arts for Christmas, and they are lovely.  I've used the low whorl one as both a low whorl and a high whorl, and I've also tried the spiral-grooved one.

Using low whorl as low whorl: This worked really rather well.  I tried a combination of park-n-draft (modified for the way I'm trying to spin) and a more continuous motion when I spun the spindle in one hand, pulling it right as I drafted off the distaff with my left.  But I wasn't using the tiny ledge cut into the spindle to secure a half-hitch, and I thought it might be abrading the yarn.

Using a low whorl as a high whorl: So I turned it upside down, because the tip in low whorl configuration was totally smooth.  I think that helped, but I found the high whorl set up much harder to grasp.  I had to do a supported spinning sort of park-and-draft, where I spun the thing on my leg until I had a good amount of twist, then drafted out.  When I tried the grasped spinning, I tended to drop it a lot.  I should also try her high whorl spindle, although I suspect the only difference between the two is which end the little notch goes on.

Grooved spindle: Just started this one today.  It's low whorl.  It also works very well.  Jury is still out on whether or not the groove is fuzzing up the yarn.  The yarn is already pretty fuzzy. I think learning to spin worsted in definitely on my to do list.

 

ap Huw Measures: Cadences

There are 24 measures of cerdd dant in the ap Huw manuscript.  Looking at them today, wondering what the various punctuation marks might mean  - . and : and ) are used - I noticed something else.  Many, but not all, of the measures have sub-elements that are 4 'digits' long.  The ap Huw uses a binary tablature, with 0s and 1s corresponding to something like one measure of "away" or "home."  So I've been practicing mak y mwn hir, 1111 0000 1010 1111 0000 1011, as six lines of four-bar melody.  The actual melody is improvised, drawing on the "home" notes when there's a 1 and on "away" notes when there's a 0.* 

*With two caveats: One, I don't think I've got the notes sorted correctly into "home" and "away" bins yet, according to the Bragod website anyway.  Two, I definitely use the "home" or "away" note on the stressed notes of the measure, but maybe not on the unstressed.  I use the "other team" as passing tones or such.  Dunno if that's exactly right, but considering that a lot of the ap Huw ornaments sort of require it, I think I'm OK.

ANYWAY the point of the post is: Although there are 24 measures, if you look at the last four digits of each pattern, there are only 5 cadences in use:

1111

1011

1101

0011

0001

That seems like a useful thing to know!  Possibly also misleading - for example, while there is no 1001, there is a 10001.  Looking only at the last four digits may not be the right call when universally applied.  Still, I thought it was worth noting.

Kalevala Runo 3: The Singing Contest

My resolution to practice my harp again has mostly been working.  Keeping it very very limited in scope seems to have helped me actually do it.  So hurray!  Now to see if I can keep it up through the rest of the holidays.

My approach was to take one new period (or in this case, period appropriate) song to learn, and one of the ap Huw song structures to learn.  And the song I picked was "Vaka vanha Vainamoinen," from Lani Thompson's My Kantele Is My Teacher.  (I sneakily thought that a 5-note kantele tune on harp might then also get ported over to lyre.)  It's a Kalevala tune.

The Kalevala is the national folk epic of Finland.  It was collected and collated in the early 1800s.  No single singer ever sat down and performed the Kalevala, start to finish. Rather, Elias Lönnrot (the collector) gathered the songs of many poem singers and shaped them into a single coherent whole - sort of like what Thomas Malory did for the Arthur legends.  

Thompson helpfully included some of the lyrics for the tune - in Finnish.  I Googled them, and came up with... more Finnish lyrics.  But a touch of Google Translate helped me correlate the runo to John Martin Crawford's 1888 translation over at sacred-texts.com.  It appears to be Runo 3, about a young hotheaded rune singer who challenges the hero-god figure Vainamoinen to a musical duel. The translation isn't alliterative, like the original, nor rhyming, but it does scan in the original meter.  So I could sing it to the music that I have.

Now it also happens that I have The Kalevala Heritage, which contains old recordings of Kalevala singers (some were recorded on wax cylinders!).  And track 9, "The Singing Contest," is the same tune as the kantele tune I have.  The lyrics are not identical with the "official" Kalevala, but I'm not surprised by that.  Lönnrot included one "authoritative" version of the runo, but naturally it exists in different forms and lengths in the wild.

So I'm fairly well convinced that I've correctly matched the tune to the poem.  Next problem: Thompson gives three lines of a melody, each line 32 notes/syllables long.  Each line matches a Kalevala verse.  So I could sing three verses to the music I have.  Do those three verses have to all be part of a larger uber-verse?  That would really limit the ways in which I could cut down and re-organize this for performance.

Facebook to the rescue!  The Atlantian Bards and Performer's Guild page got me in touch with Hakon of Ponte Alto, who has also been studying Kalevala performance.  He said his impression was that you'd just keep cycling the verses through the available melodies, without worrying about matching groups of three verses.

After that, reading some of the liner notes to "The Kalevala Heritage" and also the notes on "From the Land of the Kalevala," I learned some more about the performance of the runos.  They were performed by pairs of singers, a master and an apprentice (more or less - a more and a less skilled performer).  The master would sing a verse, and the apprentice would repeat it - giving the master time to recall the next verse and possibly plan variations on the melody (as is done in other folk oral epic traditions, and I really need to write up my references for those). I listened carefully to my recording of "The Singing Contest," and it actually seemed like the three lines of music collapsed into one or two lines of music by the end.  I'll have to listen a few more times, but it may be the first verse Thompson gives was only sung once, at the very start of the runo (at least, by this particular singer for that particular performance).

Finally, lyrics.  The Crawford translation ran 16 pages when I put it into a Google doc.  I began cutting.  There was a definite tension - repetition is a huge poetic feature of the Kalevala, and yet repetitions are also the easiest things to cut!  I tried to leave a few in for flavor, but removed most.  I removed most of Joukahainen's lame attempts at wisdom (because that seriously went on for pages); I removed his mother warning him not to fight Vainamoinen; with sad heart, I removed the verse where Vainamoinen pretty much calls him a little punk and a bad driver, and to get off his lawn/road.  But after I got it down to 45 verses that I thought told the whole story, I went back with a razor and managed to get it down to 30.  That's about where my "Matty Groves" comes in.

Aaaand that's when I realized that this had gone well past "harp practice" and was becoming "major performance development project" and thought I should put up a few notes on what was going on. 

Music Goals

Decluttering, I ran into old papers and books for my music, and as usual, I started to feel like I should wanted to actually do something with them. (No shoulds!)

Trouble always is, I want to do ALL THE THINGS and so end up doing none of them. Too overwhelmed.

I'm going to go back to my piano classes from when I was ten.  I usually had some warm-up or technique exercises and some songs to play.  My son, almost ten, is usually only practicing one song at a time.  (So he says. The handouts that came home said to make sure he practices for 15 min, but if there's just one song and it takes 30 sec to play... He's not doing 30 reps, you know?)

I will take one (1) (uno) (not a couple) (just one) of the apHuw patterns as a warm up, and improvise on it.  Then, I will take one (1) (etc.) of the songs I have printed out - either the kantele ones, or the Regia Anglorum ones - and do it 5x through.  They are mostly super short, so this isn't a big time sink.  I think to start, I will do this on the harp.

Mysterious harp string breakage - solved

I have had my wire-strung Kilcoy harp for about a decade, and in all that time, I've never had a string break.  I had one go just before the winter solstice, and I had another go last month.

Well, I said to myself, maybe ten years is just the lifetime of these bronze strings.  They'll all be going soon.

I took out my poor neglected instruments two nights ago to tune them up.  Both were about two tones flat!  I started tuning, but it seemed really hard to raise past a tone - so, not wanting to snap strings, I left them tuned a tone flat.  The next night, I raised another semitone so that I was only a semitone flat. Almost there.

The third night, last night, I sat down to bring them all up to tune.  I took up my electronic tuner - and stopped.  The temperament indicator wasn't 'PG,' the Pythagorean I usually use.  As I cycled through my options to set that correctly, I noticed that the calibration indicator was no longer set to A = 440 Hz.  It was some random number like 483 Hz.  A memory came back to me in a flash - taking the tuner away from one of my boys, telling him to stop pushing buttons.

Oh crud.

I cycled the calibration back to 440 Hz and picked up a harp.  Sure enough, I was a half-tone sharp.  I relaxed all of the strings and, except for the new string that's still settling in, everything was in tune.

If I've been tuning almost an entire tone above where the harp is supposed to be tuned to (B = 494 Hz), no wonder I lost two strings!

Beowulf at KASF

Huzzah for Lady Sophia the Orange, who arranged to videotape the entire KASF Performing Arts exhibition!

This here's my bit of Beowulf.  I got up my courage to watch it, and hey - I'm pretty good!  (Need to learn not to watch the harp so much.) The entire thing is worth watching, but if you click the video below, it'll start right at Beowulf.

 

Pennsic Report

It was a good war.  A bit odd for me - not one class given or taken!  But a good war.

Food Experiments Report

Bread: There are beehive ovens popping up all over Pennsic!  I was aware of at least three.  I did not get to the open Bread Day at Aethelmarc Royal, alas.  My own bread went fairly well.  I brought King Arthur bread flour, and it made a huge difference.  The loaves baked up much higher.  Loaf One sat directly on the coals and the bottom burnt to a crisp.  However, it was easy enough to cut pieces off, and it was tasty.  

Fresh baked bread at Pennsic

Loaf Two used foil balls inside the Dutch oven to elevate the springform bottom.  It rose so high it touched the lid, burning the top slightly.  The bottom only had a few scorch marks and was largely edible. Morgan felt this one was not as good as the first, although  I couldn't tell a difference.  Loaf Three used large (2") foil balls to support the oven above the coals, and this seemed to work the best of all.

I learned from Meisterin Johanna that when you thump bread, it should be on the bottom of the loaf.

In all cases, I used more coals than the recipe book called for - essentially, ALL the coals I used for the preheat.  I did arrange them in open circles, to prevent a central hot spot, but I did have ~15 on the bottom and ~30 on the top.

One-Pot Stews: My Eadric the Potter bowls worked great!  I did a (canned) chicken stew with fresh onion, carrot, potato, sage and parsley, and it was super-delicious.  Also surprisingly good was the bean dish - cannelloni beans, tomato paste thinned with enough chicken stock, onion, garlic, chopped summer sausage, and I think more parsley.  The Italian-accented shrimp and grits was the least good, but I still ate most of it - canned shrimp with lots of garlic, onion and some summer sausage (standing in for bacon) sauted in a lot of olive oil in one pot (on the Coleman stove - the others were done on coals) and then polenta cooked up and grated Parmesan cheese stirred in.  Put shrimp on top of polenta, stir in and serve.  The canned shrimp sort of shredded into a onion-y, garlicky protein gloop with occasional grits of sand.  There was too much polenta.  It wasn't bad, but it wasn't particularly good, either.

Espresso: I am currently of the opinion that a 2-cup espresso maker is the ideal camp coffee maker for one.  Strong coffee, fast!  Not so good if one were brewing for an entire camp.

Lunch Salads: Several days, I made salads of cold chopped stuff.  I brought a jar of "Sun of Italy" marinated mushrooms, and one of kalamata olives, and they were worth three times what I paid for them.  'Shrooms, olives, cannelloni beans, sausage, sharp cheese, and basil made a filling lunch.

Ice: For future reference: When it was warm-to-hot, the little cooler needs one 7-lb bag of ice per day. It was just big enough to hold a quart of milk, some bits of cheese, my yeast, and some leftovers (unused onion, beans, sausage).

Eaten/Uneaten:
Used up: 4-6 oz cheese, 1 summer sausage, 1 jar each mushrooms and olives, 1 can beans, 1/2 small can tomato paste, 1 onion, several carrots, 2 cans chicken, 1 can shrimp, ~6 garlic cloves, 1 'juice box' chicken broth, 1 quart milk, 1 lb. hazelnuts, 1/2 bag Post Shredded Wheat, 1/3 can Melitta coffee, most of a 5-lb bag of flour, yeast, salt, pepper, fresh herbs, 1/2 c. oats, cinnamon, 1/2 c. polenta, 3 snack bags of Cheez-Its.  Plus assorted snacks from Cooper Store.  1 32-pack of water.

Brought home: 1 can black beans, 1 can corned beef hash, 1 'juice box' vegetable stock, all the bulgur wheat, the rest of the oats, polenta, and bread flour, all the lentils, all the canned fish (sardines and anchovies - not brave enough to try them), unused coffee, cereal, extra lb. hazelnuts.  The other 32-pack of water.

Verdict: Overpacked on grains, but all told - not bad! Particularly pleased the cheese - which was carefully measured out as "whatever is in the fridge the day we leave" - lasted.

Special note: I never used the honey, and the ants found it.  Ziploc!

Camp Life Experiments Report

Bowl and Pitcher: THIS WAS THE BEST.  Simple, effective, not messy.  The sump was close enough that I just emptied the bowl each time, didn't use the slops bucket.  For modern hygiene purposes (e.g., hand washing after every bathroom trip), the sink with running water was easier/better.  But this worked well for morning/evening wash-ups in my own space.  Also good for washing the veggies!

Camping Pad: The Exped MegaMat 10 LXW only needed topping off once - the patch held all war.  (Huh, I didn't realize they had a 25" wide version.  That would have probably been enough for me.)  It does need a natural fiber layer between mat and me - a sheet did not cut it, so I used a folded-over length of wool.  One layer of Army blanket would do it.  The fitted sheet didn't really stay well-tucked, and the top sheet kept pulling up.  I think I should make some items with elastics to secure them, and/or which are sewn to each other.

Sleeping on the floor still works, but it is starting to get old.  A cot or rope bed might be something to look into.

Washing:  The microwave bacon tray made a reasonable washboard.  I only did a load of small items; this War wasn't sweltering, so I was able to re-wear big garments without stink.  Bras, I rinsed out in the shower each day, and that seemed to work.  It wasn't that much work, and I would do this again as a way to pack smaller.

Cooler Covers: Reed mats were meh.  Wooden hidey-boxes would look the best, but fabric covers (with that shiny insulation stuff?) would pack the best.  Or go Full Cariadoc and go without.

Stuff!: I could have left at home: mazers, glass drinking horn, cow drinking horn, 1 cloth drape (of 4 brought), RenFest chemise, violet tunic that doesn't quite fit, 1 or 2 fewer small baskets, most of the veils, some of the kitchen utensils

The pop-up and zero-g chair took the most space in the car, along with clothes; however, they contributed greatly to my comfort at War, and I am glad I brought them.  Kitchen stuff and fire stuff took the next most space; I can probably skinny that down, but not by more than 10-20%?  (Linkage to single-burner butane stoves and single-burner propane stoves. Only one burner on the ancient Coleman really works anyway - the other's more of a warmer.)

I am having vague ideas of multiple smallish A-frame canvas tents - one for adults, one for kids, one for gear? - and a tarp.  Have to see what can fit in a reasonable footprint.  Then we have a camp that's modular for our family - just me (one tent), me and Husband (sleeping tent + gear shelter), entire family (+ kid tent).

A&S Report

I was pressed into service to calligraph a poem for a young lady being taken as a squire.   First time I've actually used calligraphy for anything other than practice! (Or a really short dedication.)

Bardic Report

Beowulf: Crammed it all back into my head in time for performance on Wednesday at the Harp Symposium.  I felt it went really well!  I also did it, in parts, at the Atlantian Royal Bardic, and for Master Dolan Madoc of Calontir, in camp.  He had participated in other readings of Beowulf in the SCA, so one of my camp-mates brought him over to hear me.  In return, he told a wonderful story of William Marshall.  We really need more tales of history, and of the big period legends.

Southwind Bardic: We had a really great bardic in camp.  Yaakov kicked it off with his long-form story, which was very well-told and a lot of fun.  Then around and around we went.  We had everything from tales of Ye Olden Days in the SCA to some filks to period stuff to original compositions.  I got to take... 4 turns?  Which was enough that I didn't feel stifled, and not so much that I felt like I was running roughshod over it.  

Atlantian Royal Bardic: Great performers!  Most splendiferous site at War!  (See 'Their Majesties' New Camp,' below.)

Known World Poetry Competition: I got the days confused and thought this was on Tuesday, not Monday, and so missed it.  Master James informed me that he really liked my entry, but it lost by 4 points.  Considering how lousy my documentation was, I think that's fair!  Poeta got 4 entries, which sounds like a number similar to what I got when I did it, back in 2009ish.  Why can't poetry get more traction?

Known World Harp Symposium: Enjoyable as always.  Mistress Linette did a great job of wrangling the scheduled performers and the ad hoc sign-ups.  We had pure instrumental music, accompanied song, wire and nylon harps - and one great carbon-fiber harp! - and my recitation.  Some of the performers snuck in a bit of education/lecture, too.  Mistress Fevronia did 'Queen of Air and Darkness,' which I remember hearing at my first Pennsic.  Still gives me shivers.

UnLove Songs: At the Southwind Bardic, one storyteller commented that "the theme of the evening seems to be love."  And I thought about it, and no, it wasn't.  It was "Women as Reward" pieces - women who marry a man so he doesn't die of love, women handed out as prizes by their fathers.  (And I don't except myself from this theme, as I did 'The Perilous Bed,' wherein  the maiden is given to Sir Gawain by her father.)  So I think I want to write something poking at this.

Their Majesties' New Camp: We camped across from Atlantian Royal, the most glamorous and ornate encampment at War.  Knights in full regalia guarded the gate, which stood, turreted and tall, with archers upon it for defense.  Within lay carefully planned paths through a garden sprung up as if by magic, with picture-perfect pavilions flanking it.  An enormous camp kitchen housed a long trench of a fire, over which entire hogs and legs of beef turned on spits, while six Laurels prepared subtleties to amuse the eye and the tongue.  A full staff of heralds, trumpets in hand, announced each visitor flawlessly, with their complete and most accurate title and name, no matter where in the Known World they hailed from.  Before the thrones, perfectly well-behaved children, adorable in their tiny garb, played merry games while a consort of musicians played the songs of long ago.  Wandering minstrels recited poems and told stories, each a masterwork, neither too short nor too long, neither too dull nor too unseemly.  All this, and more!

You saw it too, didn't you?  Of course you did.  They say that such wonders could only be beheld by those true to the spirit of the Society, so I am sure a fine gentle such as yourself looked upon these marvels with a glad heart.

Oh yeah. This is gonna be a song.

Personal News

For my work as Storvik Chronicler, I was recognized with the Opal at Royal Court.

More importantly, on Tuesday evening, Meisterin Johanna accepted me as her protege.  

This might seem somewhat odd, as it did to me when she first suggested it.  After all, I do more art than service, I think.  But I am not looking for a Laurel.  Not because I think I have nothing left to learn - far from it! - but because I feel confident charting my own path on the voyage of learning it.  She proposed a more general mentoring relationship, and as I find much admirable about her, I thought it best to accept.  

I deeply, deeply hope this does not bother any of the other Peers whom I respect and admire.

 

Roland for BotB

The theme for Battle on the Bay 2015 is "Normans," so I started poking around for a good verse translation of "The Song of Roland."  My copy from college is nice, and even poetic, but the poetry is free verse-like.

The first one I came across was this new translation, which comes in "normal edition" and "performance edition" - with the text broken up by speaker, for multi-person staging.  I looked at the Kindle previews and it seemed okay.  But in the course of looking for some reviews of it, I came across a mention of the poetic edition that preceded it.

Dorothy Sayers, it turns out, before inventing Lord Peter Whimsey, had an advanced degree in Old French.  And her verse translation of "The Song of Roland" is the Penguin Classics edition!  Some reviewer dinged it for the archaic terms she uses on occasion.  Now, I don't have any problem with "bliaut," but I admit that using "County" instead of "Count" (e.g., County Roland) threw me.  But you know what? That's readily fixed by changing "County" back to "Count."  It may throw off the syllable count of the line, but since there's no fixed meter, the audience will never know.

I've taken laisses 128 - 138 and edited them way down, to about 780 words.  (My 10-min "Beowulf" is 830 words, so this should be a reasonable length. We'll see how it goes as I rehearse it.)  "Roland" uses a lot of repetition as an emphasis device, so I cut a good deal of that out (but not all of it).  I edited out other references that didn't seem critical to get the word count down.

This part of the text is toward the end of the great battle, when all but 60 knights of France have fallen.  Roland asks Oliver how they can possibly inform Charlemagne of what's going on, and Oliver tells him off. (At the start of the battle, Oliver had suggested they signal the king, and now it's too late).  Archbishop Turpin reconciles them, and Roland blows Oliphant three times.  Each time, we cut away to Charlemagne, who hears it, but treacherous Ganelon downplays it.  Finally, another advisor tells Ganelon to cut the crap, and Charlemagne's troop (in a really scenic set of laisses) turns around and heads back - but they will not come in time! 

I am thinking harp accompaniment for this one - more appropriate for Norman era than the lyre.  A vielle would be the best, but I don't do bowed strings.  Maybe I'll try a tune to sing it to.  Something to work on at Pennsic!

Return to ap Huw

I get the impression that every so often, I get pulled back toward the ap Huw manuscript, get very excited about it, and then totally forget about it.

I've got Karen Marshalsay's book, for instance, on the ap Huw ornaments.  I've even managed to learn a few.  But it's the cerdd dant, the 24 measures of Welsh music, that have my attention this time. I'm still dipping into it, but the cerdd dant are represented in a binary notation: 11001011, for example.  1's are home notes (or figures of notes?), 0's are aways.  Home is tonic; away is a step below tonic.  This page talks about it some more, and gives an example of a Scottish pibroch bagpiping tune that follows the 11001011 pattern.  Each 1 is a rising third from home, and each 0 is a rising third from away.

Don't that look just like the rising fifths I do (on home and away) to accompany poetry recitation?

So I hauled out the harp and tried the same 11001011 pattern, using fifths instead of thirds, and throwing in some grace notes via thumb chokes (descending grace notes) and fallings (rising grace notes - the thumb is the thing that's falling) per Marshalsay's book.  And HEY WOW that's loads better than plain old re-la, re-la, ti-so, ti-so etc. and so forth.

Here's a link soup on cerdd dant.  I want to come back to this and dig a little deeper, try to find the actual 24 patterns.  (Master Gregory Blount of Isenfir has the original manuscript scanned, because of course he does, so I can go get that if no one's conveniently transcribed it elsewhere yet.)

Simon Chadwick's list of books on Welsh music

Cerdd Dant Society of Wales (I think?)

A Tolkien fan's article on cerdd dant, with good resources

Wire Branch of the Clarsach Society article

Bill Taylor article on it.  I have his "Two Worlds of the Welsh Harp" CD, and he's generally considered the leading interpreter of the MS.

Article on musical group Bragod, who've crossed my radar before.  Some information on cerdd dant.

A PDF of Chapter 1 of... someone's thesis? on ap Huw?

Edit: Ah, more of the good stuff:

Peter Greenhill's 1995 magnum opus on the MS

Important paper by Bill Taylor, plus the rest of the periodical's contents

Paul Dooley's website (still under construction as of a year ago). Do I have his CD?  Dooley is another interpreter of the MS.

Master Gregory's page of resources, including a scan of the MS

Edit again:

Bragod's website has a huge tutorial.  Huzzah!  The 24 measures!

A pile of Eberhard Kummer videos

Putting these here so I can watch them later. I think I'll have to download his Nibelungenlied...