ancient

Track 7 of my album, "The Ancient Roman Lyre". This album is the third in my series of ancient Roman-themed albums, the sequel to “Echoes of Ancient Rome” & "Ode To Ancient Rome". Like the first two albums in this series, "The Ancient Roman Lyre" comprises of a series of original compositions for an ancient lyre in authentic ancient musical modes, to evoke once more, the lost music of ancient Rome. These set of compositions for my replica Kithara-style lyre is my attempt to restore a precious remnant of the music of ancient Rome, which for the most part, is now forever lost... 

Unlike ancient Greece, tragically, virtually no surviving written music has survived from ancient Rome. These set of composition for my replica Kithara-style lyre is my attempt to restore a precious remnant of the music of ancient Rome, which is now forever lost - so far, all that has been discovered, is one pitiful fragment by Terence: 

TERENCIO, HECYRA 861 (Terence). Versus 861. Hecyra of Terence. Codex Victorianus Laurentianus XXXVIII-24, saec. X 

This piece can be heard track 19, on the recording "Musique de la Grece Antique". Here are some more details from the notes for this unIque album, about the only surviving fragment of written music ever found from ancient Rome: 

"We have added the only surviving musical fragment of 
Imperial Rome: four mutilated measures from a work by Terence. It is as if nothing were 
left of the Acropolis but a few scattered bits of columns and a pair of ruined capitals" 

Even this tiny fragment is no longer deemed to be authentic, according the musicologist Thomas J. Mathiesen). However, since Rome borrowed so much from the culture of ancient Greece, in attempting to recreate an evocation of the lost music of ancient Rome, it is most likely that the Roman composers of antiquity also used the ancient Greek musical modes... 

THE ANCIENT MUSICAL MODES USED IN THIS ALBUM 

Due to the known prominent influence of Ancient Greek culture in the Roman world, in order to create an authentic-sounding evocation of what the solo lyre music of ancient Rome may have once sounded, I decided to base the compositions in a selection some of the original Ancient Greek modes, with melodies inspired mostly by a "Musical Adventure in Time Travel" of the gods of Ancient Rome. 

The names of musical modes in use today, (e.g. Dorian, Mixolydian etc) although having the same names as the original Greek musical modes, were actually misnamed during the Middle Ages! Apparently, the Greeks counted intervals from top to bottom. When medieval ecclesiastical scholars tried to interpret the ancient texts, they counted from bottom to top, jumbling the information. The misnamed medieval modes are only distinguished by the ancient Greek modes of the same name, by being labelled “Church Modes”. It was due to a misinterpretation of the Latin texts of Boethius, that medieval modes were given the wrong Greek names! 

According to an article on Greece in the New Grove Dictionary of Music and Musicians, the original ancient Greek names for species of the octave included the following (on white keys): 
B-B: Mixolydian 
E-E: Dorian 
A-A: Hypodorian 
D-D: Phrygian 
G-G: Hypophrygian 
C-C: Lydian 
F-F: Hypolydian 

For what Plato & Aristotle had this to say about these ancient musical modes, please see this fascinating link: 

www.pathguy.com/modes.htm 


THE TUNING OF ANTIQUITY 

In antiquity, lyres were tuned either cyclically, in perfect 5ths, the 3rds & 6ths then being fine-tuned by ear (Pythagorean tuning) or divisively (using exact mathematical ratios to precisely divide a musical string into specific pitch ratios) to achieve what is called "Just Intonation". 

The modern tuning system of equal temperament was devised to enable music to be performed in any of the 12 keys of the chromatic scale whilst keeping exactly the same equal ratio of pitch between each of the 12 notes of the chromatic scale...which sadly has sacrificed the essential purity of tone, which can only be heard in the just intonation once used in antiquity. 

Divisive tuning was the most natural way to tune the ancient lutes, or any fretted instrument, which uses frets to divide the vibrating portion of each string into the required precise ratio of pitches. Although more often cylically tuned when played solo, Lyres were also often divisively tuned in antiquity, as they were quite often played in ensemble with other instruments which were in turn, divisively tuned. 

Although described in the writings of Pythagoras in his experiments at dividing a musical monochord, the divisive tuning system predates Pythagoras by thousands of years and may have evolved along with the origin of the long-necked lute in ancient Babylonia some 5000 years ago, according to John Wheeler (editor of Suzanne Haik Vantoura’s book, “The Music of the Bible Revealed”): 

"The long-necked lute (according to Curt Sachs) was invented in Babylonia, and indeed thanks to that fact divisive tuning was invented there also. Cyclical tuning was also known there (and that got documented long after his death by the famous theory and hymn tablets from Babylon and Ugarit), but there is this curious fact: the Babylonians used divisive tuning as the basis for their symbolic correlation of the pillar degrees of the octave (e.g., C-F-G-C') with the four seasons, while the Chinese used cyclical tuning as the basis for the symbolic correlation of the same. This (wrote Sachs) is consistent as Babylon was the "home" of the lute and China the "home" of the harp (even though Babylon knew of harps and lyres too and China, if memory serves, also knew the lute from very early times). Divisive tuning is the "natural" tuning of the lute, as cyclical tuning is the "natural" tuning of the harp and lyre, according to Sachs. By that he meant that it's easiest and most natural to tune, and then to play, folk instruments of those genres that way - as I can vouch as a working musician" 

I have used divisive tuning throughout this album, in my attempt to recreate the purity of the just intonation used in antiquity, which like the music of ancient Rome, has now sadly been forgotten... 


ANCIENT LYRE PLAYING TECHNIQUES 

All the various lyre-playing techniques heard in this album, are authentically based on lyre-playing styles which have remarkably survived from Antiquity & which still can be heard today in the amazing lyres still played throughout the continent of Africa, where unlike the rest of the Western world, a precious remnant of the cross-cultural influences from the around ancient world have miraculously survived. 

Some of these lyre-playing techniques include the “block & strum” method, still practised today by the Krar Lyre players of Eritrea in East Africa – this technique allows the player to strum rhythm & basic chords on the lyre, similar to an acoustic guitar. This technique entails blocking strings with the left hand which are not required and leaving open only the strings which form the required intervals, which then can be strummed with a plectrum in the left hand. 
Ancient illustrations of Kithara players seem to infer that this technique was also prominent in Ancient Greece – many illustrations clearly depict the left of the lyre player blocking/dampening the strings with the left hand whilst strumming the open strings with a plectrum in their right hand. 

Other lyre playing techniques include the use of tremolo (based on the style of Egyptian Simsimiyya Lyre Players still heard today), alternating between harp-like finger plucked tones played with the left hand, and guitar-like plectrum-plucked tones with the right hand, using basic finger-plucked intervals/chords with the left hand to form a basic harmonic background for the melodic line being played with the plectrum in the right hand. 

I also explore the rare percussive hammered lyre playing technique, where the stings of the lyre are hit with small wooden baton (like on a hammered dulcimer), instead of being plucked with either the fingers or a plectrum... 

THE TRACKS 

1. Cogitatio (Reflections) - this piece uses the introspective ancient Greek Hypophrygian Mode. 

2. Amatores (Lovers) - this piece uses the wonderfully dream-like, feminine-sounding ancient Greek Hypolydian Mode 

3. Tranquillitas (Serenity) - this piece features the ancient Greek Hypodorian Mode. This mode, for me evokes feelings of inner contentment, serenity and tranquillity... 

4. Contemplationis (Contemplation) - this piece is composed in the ancient Greek Dorian Mode - intensely introspective, this mode enhances the feeling of concentration in the listener. 

5. Desiderantes (Yearning) - this composition features the ancient Greek Phrygian Mode - the Mode seems to create a sense of beautiful poignancy, longing & yearning... 

6.Tristitia (Sorrow) - this piece explores the mournful quality, also inherent in the sound of the ancient Greek Hypophrygian Mode. 

7. Gloria Belli (Glory of Battle) - as well as the intense, concentration-increasing qualities of the ancient Greek Dorian Mode when played slowly and softly, (as explored in track 1 of this album), according to Plato & Aristotle, the ancient Greek Dorian Mode was also the most "manly" of all the musical modes - they even went so far as to suggest that it could inspire bravery in battle! In this piece, I attempt to explore the war-like quality of the the ancient Greek Dorian Mode, which is most evident when played in a vigorous piece such as this. 

For full details of all my releases on iTunes & Amazon for solo lyre, please visit my offical website: 

www.ancientlyre.com

Buy on iTunes

Gloria Belli (Glory Of Battle)

Track 1 from my album, "The Ancient Roman Lyre". This album is the third in my series of ancient Roman-themed albums, the sequel to “Echoes of Ancient Rome” & "Ode To Ancient Rome". Like the first two albums in this series, "The Ancient Roman Lyre" comprises of a series of original compositions for an ancient lyre in authentic ancient musical modes, to evoke once more, the lost music of ancient Rome. These set of compositions for my replica Kithara-style lyre is my attempt to restore a precious remnant of the music of ancient Rome, which for the most part, is now forever lost... 

Unlike ancient Greece, tragically, virtually no surviving written music has survived from ancient Rome. These set of composition for my replica Kithara-style lyre is my attempt to restore a precious remnant of the music of ancient Rome, which is now forever lost - so far, all that has been discovered, is one pitiful fragment by Terence: 

TERENCIO, HECYRA 861 (Terence). Versus 861. Hecyra of Terence. Codex Victorianus Laurentianus XXXVIII-24, saec. X 

This piece can be heard track 19, on the recording "Musique de la Grece Antique". Here are some more details from the notes for this unIque album, about the only surviving fragment of written music ever found from ancient Rome: 

"We have added the only surviving musical fragment of 
Imperial Rome: four mutilated measures from a work by Terence. It is as if nothing were 
left of the Acropolis but a few scattered bits of columns and a pair of ruined capitals" 

Even this tiny fragment is no longer deemed to be authentic, according the musicologist Thomas J. Mathiesen). However, since Rome borrowed so much from the culture of ancient Greece, in attempting to recreate an evocation of the lost music of ancient Rome, it is most likely that the Roman composers of antiquity also used the ancient Greek musical modes... 

THE ANCIENT MUSICAL MODES USED IN THIS ALBUM 

Due to the known prominent influence of Ancient Greek culture in the Roman world, in order to create an authentic-sounding evocation of what the solo lyre music of ancient Rome may have once sounded, I decided to base the compositions in a selection some of the original Ancient Greek modes, with melodies inspired mostly by a "Musical Adventure in Time Travel" of the gods of Ancient Rome. 

The names of musical modes in use today, (e.g. Dorian, Mixolydian etc) although having the same names as the original Greek musical modes, were actually misnamed during the Middle Ages! Apparently, the Greeks counted intervals from top to bottom. When medieval ecclesiastical scholars tried to interpret the ancient texts, they counted from bottom to top, jumbling the information. The misnamed medieval modes are only distinguished by the ancient Greek modes of the same name, by being labelled “Church Modes”. It was due to a misinterpretation of the Latin texts of Boethius, that medieval modes were given the wrong Greek names! 

According to an article on Greece in the New Grove Dictionary of Music and Musicians, the original ancient Greek names for species of the octave included the following (on white keys): 
B-B: Mixolydian 
E-E: Dorian 
A-A: Hypodorian 
D-D: Phrygian 
G-G: Hypophrygian 
C-C: Lydian 
F-F: Hypolydian 

For what Plato & Aristotle had this to say about these ancient musical modes, please see this fascinating link: 

www.pathguy.com/modes.htm 


THE TUNING OF ANTIQUITY 

In antiquity, lyres were tuned either cyclically, in perfect 5ths, the 3rds & 6ths then being fine-tuned by ear (Pythagorean tuning) or divisively (using exact mathematical ratios to precisely divide a musical string into specific pitch ratios) to achieve what is called "Just Intonation". 

The modern tuning system of equal temperament was devised to enable music to be performed in any of the 12 keys of the chromatic scale whilst keeping exactly the same equal ratio of pitch between each of the 12 notes of the chromatic scale...which sadly has sacrificed the essential purity of tone, which can only be heard in the just intonation once used in antiquity. 

Divisive tuning was the most natural way to tune the ancient lutes, or any fretted instrument, which uses frets to divide the vibrating portion of each string into the required precise ratio of pitches. Although more often cylically tuned when played solo, Lyres were also often divisively tuned in antiquity, as they were quite often played in ensemble with other instruments which were in turn, divisively tuned. 

Although described in the writings of Pythagoras in his experiments at dividing a musical monochord, the divisive tuning system predates Pythagoras by thousands of years and may have evolved along with the origin of the long-necked lute in ancient Babylonia some 5000 years ago, according to John Wheeler (editor of Suzanne Haik Vantoura’s book, “The Music of the Bible Revealed”): 

"The long-necked lute (according to Curt Sachs) was invented in Babylonia, and indeed thanks to that fact divisive tuning was invented there also. Cyclical tuning was also known there (and that got documented long after his death by the famous theory and hymn tablets from Babylon and Ugarit), but there is this curious fact: the Babylonians used divisive tuning as the basis for their symbolic correlation of the pillar degrees of the octave (e.g., C-F-G-C') with the four seasons, while the Chinese used cyclical tuning as the basis for the symbolic correlation of the same. This (wrote Sachs) is consistent as Babylon was the "home" of the lute and China the "home" of the harp (even though Babylon knew of harps and lyres too and China, if memory serves, also knew the lute from very early times). Divisive tuning is the "natural" tuning of the lute, as cyclical tuning is the "natural" tuning of the harp and lyre, according to Sachs. By that he meant that it's easiest and most natural to tune, and then to play, folk instruments of those genres that way - as I can vouch as a working musician" 

I have used divisive tuning throughout this album, in my attempt to recreate the purity of the just intonation used in antiquity, which like the music of ancient Rome, has now sadly been forgotten... 


ANCIENT LYRE PLAYING TECHNIQUES 

All the various lyre-playing techniques heard in this album, are authentically based on lyre-playing styles which have remarkably survived from Antiquity & which still can be heard today in the amazing lyres still played throughout the continent of Africa, where unlike the rest of the Western world, a precious remnant of the cross-cultural influences from the around ancient world have miraculously survived. 

Some of these lyre-playing techniques include the “block & strum” method, still practised today by the Krar Lyre players of Eritrea in East Africa – this technique allows the player to strum rhythm & basic chords on the lyre, similar to an acoustic guitar. This technique entails blocking strings with the left hand which are not required and leaving open only the strings which form the required intervals, which then can be strummed with a plectrum in the left hand. 
Ancient illustrations of Kithara players seem to infer that this technique was also prominent in Ancient Greece – many illustrations clearly depict the left of the lyre player blocking/dampening the strings with the left hand whilst strumming the open strings with a plectrum in their right hand. 

Other lyre playing techniques include the use of tremolo (based on the style of Egyptian Simsimiyya Lyre Players still heard today), alternating between harp-like finger plucked tones played with the left hand, and guitar-like plectrum-plucked tones with the right hand, using basic finger-plucked intervals/chords with the left hand to form a basic harmonic background for the melodic line being played with the plectrum in the right hand. 

I also explore the rare percussive hammered lyre playing technique, where the stings of the lyre are hit with small wooden baton (like on a hammered dulcimer), instead of being plucked with either the fingers or a plectrum... 

THE TRACKS 

1. Cogitatio (Reflections) - this piece uses the introspective ancient Greek Hypophrygian Mode. 

2. Amatores (Lovers) - this piece uses the wonderfully dream-like, feminine-sounding ancient Greek Hypolydian Mode 

3. Tranquillitas (Serenity) - this piece features the ancient Greek Hypodorian Mode. This mode, for me evokes feelings of inner contentment, serenity and tranquillity... 

4. Contemplationis (Contemplation) - this piece is composed in the ancient Greek Dorian Mode - intensely introspective, this mode enhances the feeling of concentration in the listener. 

5. Desiderantes (Yearning) - this composition features the ancient Greek Phrygian Mode - the Mode seems to create a sense of beautiful poignancy, longing & yearning... 

6.Tristitia (Sorrow) - this piece explores the mournful quality, also inherent in the sound of the ancient Greek Hypophrygian Mode. 

7. Gloria Belli (Glory of Battle) - as well as the intense, concentration-increasing qualities of the ancient Greek Dorian Mode when played slowly and softly, (as explored in track 1 of this album), according to Plato & Aristotle, the ancient Greek Dorian Mode was also the most "manly" of all the musical modes - they even went so far as to suggest that it could inspire bravery in battle! In this piece, I attempt to explore the war-like quality of the the ancient Greek Dorian Mode, which is most evident when played in a vigorous piece such as this. 

For full details of all my releases on iTunes & Amazon for solo lyre, please visit my offical website: 

www.ancientlyre.com

Cogitatio (Reflections)

Black River Killer

Blitzen Trapper - Black River Killer

Asteriai (Nymphs of the Stars) - a spontaneous improvisation for solo chelys (tortoise shell form) replica ancient Greek lyre, in the profound and timeless ancient Greek Phrygian mode, (equivalent intervals as D-D on the white notes of the piano and misnamed the 'Dorian' Mode in the Middle Ages) in the just intonation of antiquity.

This piece forms track 5 of my album, "The Lyre of Hermes":

http://michaellevy.bandcamp.com/album/the-lyre-of-hermes

This album will also be available from iTunes & Amazon before April 2015!

Asteriai (Nymphs Of The Stars)

 "Odysseus and the Sirens" - a clip of track 1 from my new album, in progress, "The Ancient Greek Kithara of Classical Antiquity"...

Regarding the story of Odysseus and the Sirens in Homer’s “Odyssey”, quoting from Wikipedia:

“In Greek mythology, the Sirens (Greek singular: Σειρήν Seirēn;Greek plural: Σειρῆνες Seirēnes) were dangerous yet beautiful creatures, who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island…Odysseus was curious as to what the Sirens sang to him, and so, on the advice of Circe, he had all of his sailors plug their ears with beeswax and tie him to the mast. He ordered his men to leave him tied tightly to the mast, no matter how much he would beg. When he heard their beautiful song, he ordered the sailors to untie him but they bound him tighter. When they had passed out of earshot, Odysseus demonstrated with his frowns to be released”

This piece is an evocation of the sort of melody which may once have accompanied a recitation of this tale. I use the distinctively poignant and luring ancient Greek Phrygian mode (misnamed the ‘Dorian’ mode in the Middle Ages), featuring an atmospheric background of ocean sounds, with the sound of the kithara enhanced by a subtle reverb, sampled from Belgian monasteries…

The album will on all of the major digital music stores and streaming sites real soon - keep an eye on my new bulletins!!

The album features the wonderfully recreated Kithara of the Golden Age of Classical Greece - hand-made in modern Greece by Lutherios:

http://en.luthieros.com/

Since late 2014, I have been collaborating with Lutherios in their inspirational "Lyre 2.0 Project" - dedicated to reintroducing the wonderful lyres of antiquity back into the modern world, to make these beautiful instruments accessible to each and every modern musician:

http://etc.ancient.eu/2016/01/11/luthieros-lyre-2-0-project/

This recording hopefully demonstrate why the kithara was so venerated in antiquity, as the instrument of the professional musician - perfect for both accompanying the human voice and for as an incredibly versatile solo instrument.

In particular, I attempt to demonstrate the wonderfully reconstructed 2500 year old vibrato mechanism, for which there is an almost overwhelming body of visual evidence to support this theory. All original illustrations of the ancient Greek kithara clearly show what appear to be curved springs beneath the yoke to which the strings are attached, with the top of the arms carved almost wafer thin, which almost certainly was to allow for lateral movement of the yoke and the attached strings, creating an eerie vocal vibrato effect - some 2500 years before the invention of the 'whammy bar' of the Fender electric guitar! 

The vibrato mechanism can be operated either by light lateral movement of either of the vertical wooden levers at each end of the yoke, or a more subtle vibrato can be achieved by pushing the discs either side of the yoke.

This piece is in the poignant and enchanting ancient Greek Phrygian Mode (misnamed the 'Dorian' mode in the Middle Ages).

My kithara is also tuned in lovely pure sounding just intonation, with A tuned at 432 Hz - although I do not believe in all the 'New Age' nonsense clogging the Net about 432 Hz, the subtly lower pitch does enhance the overall richness of the timbre of my gut strings in the lower registers.

Here is my blog on the whole 432 Hz thing:

http://ancientlyre.com/blogs/is_432_hz_new_age_schmertz/

For full details on all my research into the kithara of ancient Greece and Rome, please also see my blog:

http://ancientlyre.com/the_kithara_of_ancient_greece__rome

Many thanks for listening!

http://www.ancientlyre.com/
https://www.facebook.com/beautifullyre
https://twitter.com/AncientLyre
http://www.cdbaby.com/Artist/MichaelLevy
https://itunes.apple.com/us/artist/michael-levy/id4324920

"Odysseus and the Sirens" - Clip of Track 1, "The Ancient Greek Kithara of Classical Antiquity"

Zac Brown Band - Big Fat Bitch

The new single from First Aid Kit is live favourite "Wolf". 

It will be released digitally on the 16th September.

An expanded boxset edition of the album which adds "Wolf" and two more bonus tracks, as well as a DVD with tour documentary and three videos, poster and guitar pick will also be released on the 17th September.

First Aid Kit on tour:

AUGUST
09 – Way Out West Festival, Gothenburg
11 – Oyafestivalen, Oslo
17 – Pstereo Festival, Trondheim 
23 – Dognvill, Tromso
24 – Ratt og rade, Stavanger
26 – Zurich Open Air, Zurich

SEPTEMBER
02 – End Of The Road, Dorset
06 – Boileroom, Guildford
07 – Bestival, Isle Of Wight
08 – Berlin Festival, Berlin
25 – Blind Pig, Ann Abor, MI
26 – Danforth Music Hall, Toronto
28 – Royale Boston, Boston,  MA
29 – Irving Plaza, New York, NY
30 – Music Hall Of Williamsburg, Brooklyn, NY

OCTOBER
02 – Sixth & I Historic Synagogue, Washington DC
03 – Orange Peel, Asheville, NC
04 – Buckhead Theatre, Atlanta, GA
05 – 3rd & Lindsley, Nashville, TN
06 – Firebird, St Louis, MO
08 – Waiting Room, Omaha, NE
09 – Granada Theatre, Lawrence, KS
12 – Austin City Limits, Austin TX
13 – The Kessler Theater, Dallas, TX
16 – The Fonda Theater, Hollywood, CA
17 – The Fillmore Audiotorium, San Francisco, CA
19 – Roseland Theater, Portland, OR

NOVEMBER
11 – Vega, Copenhagen
12 – Voxhall, Arhus
13 – Gruenspan, Hamburg
15 – Zakk, Dusseldorf
16 – Crossing Borders Festival, Enschede
17 – Crossing Borders Festival, The Hague
18 – Crossing Borders Festival, Antwerp
20 – Shepherds Bush Empire, London
22 – Ritz, Manchester
24 – QMU, Glasgow
25 – Vicar Street. Dublin
27 – Academy Bristol
28 – Trabendo, Paris
30 – Rietschule-Dachstock, Bern

DECEMBER
01 – Viadukt Club, Zurich
03 – Hansa, Munich
06 – The Circus, Helsinki
30 – Falls Festival, Marion Bay, Tas, Australia
31 – Falls Festival, Lorne Vic, Australia

JANUARY
05 – Southbound Festival, Busselton, Australia


ancient

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