Categories
taking part

a guide to pronunciation

We know that not everyone who wants to sing this piece will be entirely familiar with the Welsh language, but we would encourage you to think of it like singing a piece in any other language such as Latin, German, French, Russian, Italian, or, indeed, English!

We would suggest a multi-dimensional approach: listen to Dafydd reading his englyn to get an idea of how the poem flows in and of itself; then, listen to Gwennan Williams, director of Côr ABC, speaking the words of the poem more closely to their appearance in the score, including some of the repeated phrases (below); listen to the video of Côr ABC and Côr Dinas singing the piece as you look through the score to get a sense of how the words are sung; and use the phonetic guidance (below) to get a stronger sense of how the sounds relate to English.

A reading of the words

Here is Gwennan Williams reading the text more closely to the way it appears in the score, with some of the repeated words and phrases.

Gwennan Williams reads the words to yn un rhith

Phonetic comparisons for English-speakers

Before going further, it is probably worth noting that English comes in many flavours of accent, and the following guide for English-speakers is given using what would commonly be considered received pronunciation, or BBC, English.

Alphabetic comparison

Welsh is a phonetic language, for the most part, and so once you know how its alphabet and diphthongs work, it is relatively straightforward to sing. The letters and sounds used in the text of yn un rhith are as follows:

a – as in Paris or parade
â – as in barn or arm
b – as in babble or bumble
d – as in dog or dated
dd – voiced, as in the or soothe (not thorough or teeth)
e – as in egg or energy
f – voiced fricative, as in very or move
g – as in get or fog
h – unvoiced aspirate, as in happy or behold
i – as in need or beam
ll – unvoiced lateral (sides of tongue) fricative – as in Llanelli
n – as in nut or undo or bun
o – as in not or orange
ô – as in oar or fore or ‘law
oe – diphthong as in loiter or void
p – as in plate or trap
r – is voice and rolled
rh – is unvoiced and rolled with an aspiration
th – unvoiced, as in thorough or wreath
u – as in need or indeed
w – is contextual, either as in food, or, as in good
y is contextual:
– alone, at beginning, or in middle of word – as in undone or run
– at end of word – as in sit or coming, or as in need or indeed

The poem in English phonetics

With all that in mind, Dafydd’s poem,

Er o bell, roedd herio byd heno'n gân
      yn y gwaed, yn fywyd,
  pob tôn yn fonllef hefyd,
 yn un rhith, yn gôr o hyd. 

can be rendered phonetically as something like

air o bell, roythe hairyo beed hairno'n garn
      un uh gwide, un vuhwid,
  pob torn un vonllev hehvid,
 un een rheeth, un gore o heed. 

In this version, we have shown the few sounds that do not exist in English in bold. To help a little more, below is a word by word guide.

Word by word English phonetics

Er o bell, roedd herio byd heno’n gân

er – like the ‘e’ of ‘hello’ plus a rolled r.
o – as in ‘or’
bell – like ‘bear’ ending with a ‘ll’ sound
roedd – like ‘roy’ ending with the voiced ‘th’ of ‘the’
herio – like ‘hair’ with ‘Rio’; the ‘r’ should be rolled; the ‘io’ is quite quick and nearly becomes ‘yo’ as in ‘yoghurt’.
byd – like bead
heno’n – like ‘hair’ plus ‘nor’, voice the ”n’ at the end, which really belongs to the next word …
gân – like ‘garn’, then move straight on from the ‘n’ of ‘gân’ to the next word …

yn y gwaed, yn fywyd

yn – like ‘un’
y – like ‘uh’ or the ‘ur’ of ‘urban’
gwaed – like ‘wide’ but beginning with a hard ‘g’
yn – like ‘un’
fywyd – like ‘vuh’ plus ‘wid’, as in ‘widow’; the ‘w’ sound should be very subtle not be strongly enunciated.

pob tôn yn fonllef hefyd

pob – like ‘paw’ ending with a ‘b’
tôn – as in ‘torn’
yn – like ‘uh’ or the ‘ur’ of ‘urban’
fonllef – like ‘on’ beginning with a ‘v’, plus the ‘ev’ of ‘ever’ beginning with the Welsh ‘ll’
hefyd – like the ‘hea’ of ‘heavy’ plus the ‘vid’ of ‘video’

yn un rhith, yn gôr o hyd

yn – as in ‘un’
un – like the ‘ean‘ of ‘bean
rhith – like ‘wreath’ but with the added breath of an ‘h’ instead of ‘w’ alongside the rolled ‘r’
yn – as in ‘un’
gôr – as in ‘gore’
o – as in ‘or’ or the ‘aw’ of ‘law
hyd – as in ‘heed’

Categories
taking part

warming up

For many people, the last few weeks have involved less singing, less movement, and even less speaking. As such, it would be a good idea to do some warming up to free your muscles and breath.

The video below provides a warm-up for you and your voice. It’s a long way from perfect, and you’ll have to excuse a few lapses of concentration, but we hope it helps!

On the day you plan to record, you might find it useful to go through this routine first thing in the morning, and then again before you sing.

Categories
taking part

recording

When you have got to know the piece, it will be time to film it. Hopefully, you will have everything you needed to hand, as suggested in the ‘step by step for singers‘ section. Here are a few pointers as to how to set it up and what to do.

recording set-up

We have found that the easiest way to record yourself is to play the video on one device (eg, a laptop or a tablet) and record yourself singing on another (eg, a camera or the camera on your phone).

For example, when we recorded our videos, we used a laptop and headphones to follow the music and set up a camera on a tripod to record the video.

where to record

If you can, find a quiet, well-lit space.

It might be worth closing any windows and making sure that your phone is set to silent before beginning. If possible, record yourself in a space that is not too resonant, and perhaps has some soft furnishings (your video editor will be able to add acoustics, so your sitting room would be better than your bathroom, for example).

If possible, stand facing a light source (such as standing near a wall and facing out towards a window or lamp). This will help to make sure that you are clear and looking your best. If this is not easy to achieve, try instead to avoid having bright lights behind you, or between you and your camera.

things to remember

Remember to listen to the video through headphones so that the only thing that can be heard is your singing.

Remember to set up your camera in landscape orientation, and try to position it so that the top half of your body and your head are in frame.

Remember, if possible, to find a way to keep your camera steady (eg, a tripod, a bookshelf, or a person) so that the video is not shaky.

Remember, if you can, to set your camera up reasonably close to you – it’s more important to hear and see you than the space you are recording in!

Remember that you do not need a printed copy of the piece or to have a full score on-screen when you are recording, the sheet music is in the video, and so is the conductor!

recording yourself

By the time you record, you will be familiar with the routine at the beginning of the video, so you will know what to expect and what you need to do in terms of following the instructions.

Do remember to clap in time with the clap-tests as it will help the video editor to line all of the videos up with each other; and, don’t forget to sing!

It is possible that you will make a few mistakes and need to have a few goes at making the recording – we certainly did! Allow yourself a bit of time for that and be patient with yourself.

When you’re done, send it to the person collecting the recordings on behalf of your choir. That’s it!

really want to do this; really don’t want to film yourself

We are very keen that you produce something that looks as much as it can like a choir, and so we are hoping you will send videos of yourselves singing. However, if the idea of filming yourself is making the difference between taking part and not taking part in the project, then record an audio file instead, following the same process but recording audio rather than video.

Categories
introduction taking part

responses to taking part

Here are a few things that our choirs have told us about the experience of taking part in this project and the virtual rehearsals that inspired it.

  • Image showing quotations from singers' responses to the project.
  • Image showing quotations from singers' responses to the project.
  • Image showing quotations from singers' responses to the project.
  • Image showing quotations from singers' responses to the project.
Categories
introduction taking part

thank you

Thanks are owed to Dafydd John Pritchard for writing and allowing the setting of his englyn; to Gwennan Williams for her support and work in producing the instructional videos; to Robert Russell for his work in accompanying, producing the instructional videos, and gathering together the completed virtual choirs; and, to you, for supporting the project, whether by taking part or your interest in it.

Categories
upper voices

upper voices, soprano 1

On this page you will find the materials for learning and recording the first soprano part of the upper voices version of the piece.

Categories
upper voices

upper voices, soprano 2

On this page you will find the materials for learning and recording the second soprano part of the upper voices version of the piece.

Categories
upper voices

upper voices, alto

On this page you will find the materials for learning and recording the alto part of the upper voices version of the piece.

Categories
mixed choir

mixed choir, soprano

On this page, you will find the materials for learning and recording the soprano part of the mixed choir version of the piece.

Categories
mixed choir

mixed choir, alto 1

On this page you will find the materials for learning and recording the first alto part of the mixed choir version of the piece.

Categories
mixed choir

mixed choir, alto 2

On this page you will find the materials for learning and recording the second alto part of the mixed choir version of the piece.

Categories
mixed choir

mixed choir, tenor

On this page you will find the materials for learning and recording the tenor part of the mixed choir version of the piece.

Categories
mixed choir

mixed choir, bass 1

On this page you will find the materials for learning and recording the first bass part of the mixed choir version of the piece.

Categories
mixed choir

mixed choir, bass 2

On this page you will find the materials for learning and recording the second bass part of the mixed choir version of the piece.

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