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Page interprets Jerome’s third tuning, GGdc’c’ as a constant bordun played by the lower three strings with a unison melody played on the upper two, and describes the resulting sound as “one large, humming block” (Page '86:129). Christopher Page’s interpretation of Jerome’s first tuning, dGgd’d’, is that the strings are arranged in two pairs with an additional bordun string to the side of the fingerboard that can be either plucked or bowe In his view, the player fingered the Gg strings together in parallel octaves and the d’d’ strings together in unison, resulting in octave- ambiguity as the melodic line shifted from one string pair to the other. The doubled melody line would be accompanied by the “plucked, percussive drone of the bourdonus”. These three different sonorities, octave, unison, and bordun would result in what Page terms “disjunctions”, creating “an impression of density, changeability and abundance.”(Page '86:128)

Figure 31 Page interprets Jerome’s third tuning, GGdc’c’ as a constant bordun played by the lower three strings with a unison melody played on the upper two, and describes the resulting sound as “one large, humming block” (Page '86:129). Christopher Page’s interpretation of Jerome’s first tuning, dGgd’d’, is that the strings are arranged in two pairs with an additional bordun string to the side of the fingerboard that can be either plucked or bowe In his view, the player fingered the Gg strings together in parallel octaves and the d’d’ strings together in unison, resulting in octave- ambiguity as the melodic line shifted from one string pair to the other. The doubled melody line would be accompanied by the “plucked, percussive drone of the bourdonus”. These three different sonorities, octave, unison, and bordun would result in what Page terms “disjunctions”, creating “an impression of density, changeability and abundance.”(Page '86:128)

Related Figures (53)

ill. five-string bridge, photograph from Kolltveit Gjermund Kolltveit has written about two bridges found in Gamlebyen, Oslo in 1971 and 1988.(Kolltveit '98) They are both made of pine and are relatively well preserved. The largest bridge, found in 1971 and dating from the middle of the 13th century, is flat and has notches for seven strings. Kolltveit concludes that this is a bridge for a plucked lyre of the sort found in Germany and Scandinavia. The second bridge was found in Oslogate 6 during excavation in 1988. It dates from the second quarter of the 13th century. It is 74 mm long, 29 mm high and 14 mm thick. The notches for the strings are clear and large, but not all the same size. There are notches for five strings, and an important characteristic of this bridge is that it is clearly curved along the top.
ill. five-string bridge, photograph from Kolltveit Gjermund Kolltveit has written about two bridges found in Gamlebyen, Oslo in 1971 and 1988.(Kolltveit '98) They are both made of pine and are relatively well preserved. The largest bridge, found in 1971 and dating from the middle of the 13th century, is flat and has notches for seven strings. Kolltveit concludes that this is a bridge for a plucked lyre of the sort found in Germany and Scandinavia. The second bridge was found in Oslogate 6 during excavation in 1988. It dates from the second quarter of the 13th century. It is 74 mm long, 29 mm high and 14 mm thick. The notches for the strings are clear and large, but not all the same size. There are notches for five strings, and an important characteristic of this bridge is that it is clearly curved along the top.
for a bridge by Bjorn Aksdal and Jan Ragnar Hagland.(Aksdal and Hagland '87)3° The archeological context dates this item from the first quarter of the 13th century, but the authors note that it could be somewhat older. It is made of pine and is inscribed on one side with runes reading RUHTA. Aksdal and Hagland are certain that this is the name of the stringed instrument, rotta or rotte, and that ruhta is a Latinized form of the continental European name of the instrument. They write that it is uncertain where the name rotta originates, but that it could have a Celtic origin in the form krotta or an origin in the old Frankish form hrota.(op.cit.:4) It is unclear exactly which instrument was called rotta in the Middle Ages. According to Aksdal, in the Middle Ages, several forms of the word rotta were used to describe lyre instruments in the British Isles, while in Europe, it was used to describe several different types of instruments, mainly psalteries.(op.cit.:4f.) Examining the Trondheim find in detail does not result in certainty about the instrument it came from. The feet of a bridge are normally concave and can indicate the arching of the instrument body and possibly give some indication of the instrument's design. In this case, the feet are convex, which Aksdal considers to be probably the result of erosion, and they slant to one side, so they can provide no information about the instrument it could belong to.
for a bridge by Bjorn Aksdal and Jan Ragnar Hagland.(Aksdal and Hagland '87)3° The archeological context dates this item from the first quarter of the 13th century, but the authors note that it could be somewhat older. It is made of pine and is inscribed on one side with runes reading RUHTA. Aksdal and Hagland are certain that this is the name of the stringed instrument, rotta or rotte, and that ruhta is a Latinized form of the continental European name of the instrument. They write that it is uncertain where the name rotta originates, but that it could have a Celtic origin in the form krotta or an origin in the old Frankish form hrota.(op.cit.:4) It is unclear exactly which instrument was called rotta in the Middle Ages. According to Aksdal, in the Middle Ages, several forms of the word rotta were used to describe lyre instruments in the British Isles, while in Europe, it was used to describe several different types of instruments, mainly psalteries.(op.cit.:4f.) Examining the Trondheim find in detail does not result in certainty about the instrument it came from. The feet of a bridge are normally concave and can indicate the arching of the instrument body and possibly give some indication of the instrument's design. In this case, the feet are convex, which Aksdal considers to be probably the result of erosion, and they slant to one side, so they can provide no information about the instrument it could belong to.
ill. eignt-string bridge, from Kolltveit unpublished page of illustrations A rounded bridge was found in Glimmingehus in Skane, dating from ca. 1500. (Kolltveit '98:57), (Krongaard Kristensen and Vellev:229)*° It is made of bone and has grooves for eight strings in pairs. Although this dates from the very end of the Medieval period in Scandinavia, there is evidence of bowed instruments with double course strings from the Middle Ages in Europe. Kolltveit mentions a bridge from 15th century Paris with notches for six strings arranged in three pairs.(op.cit.:57) 2.4. Three-stringed fiddles from Novgorod
ill. eignt-string bridge, from Kolltveit unpublished page of illustrations A rounded bridge was found in Glimmingehus in Skane, dating from ca. 1500. (Kolltveit '98:57), (Krongaard Kristensen and Vellev:229)*° It is made of bone and has grooves for eight strings in pairs. Although this dates from the very end of the Medieval period in Scandinavia, there is evidence of bowed instruments with double course strings from the Middle Ages in Europe. Kolltveit mentions a bridge from 15th century Paris with notches for six strings arranged in three pairs.(op.cit.:57) 2.4. Three-stringed fiddles from Novgorod
ill. Novgorod fiddles, from (Kolchin:385)
ill. Novgorod fiddles, from (Kolchin:385)
ill. musician, manuscript Canterbury c. 1100, from Bachmann: plate 32
ill. musician, manuscript Canterbury c. 1100, from Bachmann: plate 32
ill. bowed lyre, from (Lawson:141)
ill. bowed lyre, from (Lawson:141)
The second depiction of the “bowed harp” is a sculpture found in the Trondheim Cathedral, dating from 1325-1350.(Andersson) It represents a musician playing a stringed instrument and perhaps singing as well.#+ The section of the Trondheim Cathedral that was damaged by the fire of 1528 was rebuilt in an English Decorated Style.(op.cit.:5) Fischer notes that sculptures similar to this musicia are found in other English churches, including the Beverly Minster.(loc.cit.) Andersson points out, however, that although the sculptor might have been English, the instrument itself might not be and that the sculptor might have chosen to represent a local instrument.(op.cit.:6) He adds that there are no similar instruments represented in the Beverly Minster. The instrument has been enigmatic, and at the beginning of the 20th century, the scholars Harry Fett and Hortense Panum were not able to determine its identity.(op.cit.:4) After research trips to Estonia, Finland, and Sweden, Otto Andersson published his findings in 19236, and the Trondheim sculpture was seen to be a type of bowed harp, related to the instruments Andersson had documented, the talharpa of Orms6 in Swedish Estonia, and the Finnish jouhikantele.
The second depiction of the “bowed harp” is a sculpture found in the Trondheim Cathedral, dating from 1325-1350.(Andersson) It represents a musician playing a stringed instrument and perhaps singing as well.#+ The section of the Trondheim Cathedral that was damaged by the fire of 1528 was rebuilt in an English Decorated Style.(op.cit.:5) Fischer notes that sculptures similar to this musicia are found in other English churches, including the Beverly Minster.(loc.cit.) Andersson points out, however, that although the sculptor might have been English, the instrument itself might not be and that the sculptor might have chosen to represent a local instrument.(op.cit.:6) He adds that there are no similar instruments represented in the Beverly Minster. The instrument has been enigmatic, and at the beginning of the 20th century, the scholars Harry Fett and Hortense Panum were not able to determine its identity.(op.cit.:4) After research trips to Estonia, Finland, and Sweden, Otto Andersson published his findings in 19236, and the Trondheim sculpture was seen to be a type of bowed harp, related to the instruments Andersson had documented, the talharpa of Orms6 in Swedish Estonia, and the Finnish jouhikantele.
Olav Seeta has written about the eleven tunings documented in Slatter for vanlig fele.(Seeta in print) As is the case for the hardingfele repertoire in NF, the tuning ad’a’e’ is used most often, for between 48% and 68% of the tunes, depending on which district they come from. The tuning gd’a’e’ is the next most frequent tuning used, with the tunings ae’a’e’ and ae’a’c#’ as third and fourth most frequently used. Seeta lists the additional seven tunings, five of which are found in NF, and two of which are unique to the vanlig fele repertoire. The two that aren’t found in NF are both tunings using three tones, dd’a’e”’ and bd’a’d”’. which are unique to the vanlig fele repertoire. The two that aren’t found
Olav Seeta has written about the eleven tunings documented in Slatter for vanlig fele.(Seeta in print) As is the case for the hardingfele repertoire in NF, the tuning ad’a’e’ is used most often, for between 48% and 68% of the tunes, depending on which district they come from. The tuning gd’a’e’ is the next most frequent tuning used, with the tunings ae’a’e’ and ae’a’c#’ as third and fourth most frequently used. Seeta lists the additional seven tunings, five of which are found in NF, and two of which are unique to the vanlig fele repertoire. The two that aren’t found in NF are both tunings using three tones, dd’a’e”’ and bd’a’d”’. which are unique to the vanlig fele repertoire. The two that aren’t found
The manuscript has been dated ca.1280, but Levy believes that the hymn could be older. The Magnus hymn has been the subject of much study and speculation because it is the first known notated example of polyphony from the Nordic region, and because its tonality is difficult to define. Levy finds that the same tonal system can be seen in both the Magnus hymn and the gorrlaus slatter, and that it can not be understood in terms of traditional tonal description.(op.cit.121) ( ee SS a wn eo 2 ©. Se ln ee eee ee. 2. i ee. foe. eo, | es. — ace” ae ae Morten Levy and Gorrlaus slatter/ Magnus hymn
The manuscript has been dated ca.1280, but Levy believes that the hymn could be older. The Magnus hymn has been the subject of much study and speculation because it is the first known notated example of polyphony from the Nordic region, and because its tonality is difficult to define. Levy finds that the same tonal system can be seen in both the Magnus hymn and the gorrlaus slatter, and that it can not be understood in terms of traditional tonal description.(op.cit.121) ( ee SS a wn eo 2 ©. Se ln ee eee ee. 2. i ee. foe. eo, | es. — ace” ae ae Morten Levy and Gorrlaus slatter/ Magnus hymn
ill. Levy’s hexachords, from (Levy ’74:127)
ill. Levy’s hexachords, from (Levy ’74:127)
Perhaps the musical structure and the nature of some of the musical motives could give a glimpse of the performance possibilities. Although itis most likely that the endings, x/y, were not varied in length in performance, it seems possible that the other sections could have been played differently by different musicians, or by the same musician on different occasions. In the quarto pars, after G, section B begins at beat 27, but it could just as well start at 25 or 31 in order to provide a transition of different possible lengths to C. There are several small motives that could have been repeated in performance, for instance,
Perhaps the musical structure and the nature of some of the musical motives could give a glimpse of the performance possibilities. Although itis most likely that the endings, x/y, were not varied in length in performance, it seems possible that the other sections could have been played differently by different musicians, or by the same musician on different occasions. In the quarto pars, after G, section B begins at beat 27, but it could just as well start at 25 or 31 in order to provide a transition of different possible lengths to C. There are several small motives that could have been repeated in performance, for instance,
The notation of Laus virginis in the Pies Cantiones includes both text and music, and therefore must present the piece in a written-out form, from beginning to end. In the printed edition from 1582, phrases 1-5, 7- 135 are written as pairs of texts. Phrases 6,14 ,15 and 17 are written as a Single line of text followed by a pair of texts, and phrase 18 is written
The notation of Laus virginis in the Pies Cantiones includes both text and music, and therefore must present the piece in a written-out form, from beginning to end. In the printed edition from 1582, phrases 1-5, 7- 135 are written as pairs of texts. Phrases 6,14 ,15 and 17 are written as a Single line of text followed by a pair of texts, and phrase 18 is written
Austena’s form of “Kjempe-Jo” has two possible beginnings. It can begin with line one, starting with a short motive of three beats establishing G as the tonal center, and then continuing with the first two lines reinforcing the tonality on G. When the slatt is repeated, the first three beats are omitted. However, Austena sometimes begins the slatt with the vek beginning in line three on the upper two strings. In this case, according to Geoffrey’s descriptions, he is using an artistic order beginning in the middle. Rather than providing an opening that firmly establishes G tonality on the lower strings, beginning in the middle, the first interval heard is a major seventh. The slatt travels from the upper strings, through the middle strings, finally reaching the lower strings and the octave G in the ninth line which gives a feeling of tonal stability. The repetition of the slatt includes the opening two lines emphasizing G tonality. “Skuldalsbrura ette’ Borjeen”, as played by Salve Austena, begins with a short motive that serves as an introduction and does not appear later in the slatt. Repetitions of the slatt begin after this motive so that it is only played as the opening figure. It is rhythmically similar to motives in the beginning of the slatt, measures 3 and 7, and could be interpreted according to Geoffrey’s categories, as a proverb drawn from the beginning. Therefore, this slatt follows an artistic, rather than natural, order.
Austena’s form of “Kjempe-Jo” has two possible beginnings. It can begin with line one, starting with a short motive of three beats establishing G as the tonal center, and then continuing with the first two lines reinforcing the tonality on G. When the slatt is repeated, the first three beats are omitted. However, Austena sometimes begins the slatt with the vek beginning in line three on the upper two strings. In this case, according to Geoffrey’s descriptions, he is using an artistic order beginning in the middle. Rather than providing an opening that firmly establishes G tonality on the lower strings, beginning in the middle, the first interval heard is a major seventh. The slatt travels from the upper strings, through the middle strings, finally reaching the lower strings and the octave G in the ninth line which gives a feeling of tonal stability. The repetition of the slatt includes the opening two lines emphasizing G tonality. “Skuldalsbrura ette’ Borjeen”, as played by Salve Austena, begins with a short motive that serves as an introduction and does not appear later in the slatt. Repetitions of the slatt begin after this motive so that it is only played as the opening figure. It is rhythmically similar to motives in the beginning of the slatt, measures 3 and 7, and could be interpreted according to Geoffrey’s categories, as a proverb drawn from the beginning. Therefore, this slatt follows an artistic, rather than natural, order.
Although Geoffrey doesn’t discuss where to end the story, it is interesting to note that there are slatter without clearly defined ending points. “Bestelanden” is an example of this and the transcription gives no indication where the slatt should end. Salve Austena’s performances of this slatt are so varied, that it is not possible to define the ending. In this case, he is using the motivic material to shape the path and outcome of the musical text. The beginning is consistent, but the ending is not. “The way continues along two routes: there will be either a wide path or a narrow, either a river or a brook. You may advance at a leisurely pace or leap swiftly ahead...Reflect upon the precepts below; they will guide your pen and teach the essentials for each path. The material to be moulded, like the moulding of wax, is at first hard to the touch. If intense concentration enkindle native ability, the material is soon made pliant by the mind’s fire, and submits to the hand in whatever way it requires, malleable to any The hand of the mind controls it, either to amplify or form. curtail.” (op.cit.: 23f.)
Although Geoffrey doesn’t discuss where to end the story, it is interesting to note that there are slatter without clearly defined ending points. “Bestelanden” is an example of this and the transcription gives no indication where the slatt should end. Salve Austena’s performances of this slatt are so varied, that it is not possible to define the ending. In this case, he is using the motivic material to shape the path and outcome of the musical text. The beginning is consistent, but the ending is not. “The way continues along two routes: there will be either a wide path or a narrow, either a river or a brook. You may advance at a leisurely pace or leap swiftly ahead...Reflect upon the precepts below; they will guide your pen and teach the essentials for each path. The material to be moulded, like the moulding of wax, is at first hard to the touch. If intense concentration enkindle native ability, the material is soon made pliant by the mind’s fire, and submits to the hand in whatever way it requires, malleable to any The hand of the mind controls it, either to amplify or form. curtail.” (op.cit.: 23f.)
The second technique of amplification Geoffrey discusses is periphrasis. He writes, The opening of the slatt “Dolkaren” illustrates extensive use of repetition of a short motive with slight melodic variations. The almost hypnotic repetitions serve to emphasize the opening tonal center on E. Much of the slatt is made of passages where adjacent fifths alternate back and forth. Repetition of the short motives on one fifth, either EB or BF#, is used to establish the tonal center before the motive is shifted to the fifth a tone lower. “Since a word, a short sound, passes swiftly through the ears, a step onward is taken when an expression made up of a long and leisurely sequence of sounds is substituted for a word. In order to amplify the poem, avoid calling things by their names; use other designations for them. Do not unveil the thing fully but suggest it by hints. Do not let your words move straight onward through the subject, but, circling it, take a long and winding path around what you were going to say briefly. Retard the tempo by thus increasing the number of words.” (op.cit.:24)
The second technique of amplification Geoffrey discusses is periphrasis. He writes, The opening of the slatt “Dolkaren” illustrates extensive use of repetition of a short motive with slight melodic variations. The almost hypnotic repetitions serve to emphasize the opening tonal center on E. Much of the slatt is made of passages where adjacent fifths alternate back and forth. Repetition of the short motives on one fifth, either EB or BF#, is used to establish the tonal center before the motive is shifted to the fifth a tone lower. “Since a word, a short sound, passes swiftly through the ears, a step onward is taken when an expression made up of a long and leisurely sequence of sounds is substituted for a word. In order to amplify the poem, avoid calling things by their names; use other designations for them. Do not unveil the thing fully but suggest it by hints. Do not let your words move straight onward through the subject, but, circling it, take a long and winding path around what you were going to say briefly. Retard the tempo by thus increasing the number of words.” (op.cit.:24)
Another rhetorical technique of amplification that can also be found ir musical performance practice is digression. Geoffrey describes this technique in terms of poetic material.
Another rhetorical technique of amplification that can also be found ir musical performance practice is digression. Geoffrey describes this technique in terms of poetic material.
Vidar Lande has transcribed versions of “Fanten” played by five spelemenn from Bygland. Two versions of “Fanten” which don’t include Austena’s extra vek are quite short, transcribed in four lines and consisting of two contrasting motives and a cadence figure. In two other versions, played by Gunnar Liestgl and Tor O. Sandnes, motivic material appears that is similar to the Salve’s additional vek.(Lande '83: 335-8) In Austena’s form, the vek begins after the cadence figure of two quarter notes, and its end returns to the previous vek. It is additional material that could be left out without altering the identity of the slatt, but which functions as a digression, amplifying the usual “Fanten” melodic material.
Vidar Lande has transcribed versions of “Fanten” played by five spelemenn from Bygland. Two versions of “Fanten” which don’t include Austena’s extra vek are quite short, transcribed in four lines and consisting of two contrasting motives and a cadence figure. In two other versions, played by Gunnar Liestgl and Tor O. Sandnes, motivic material appears that is similar to the Salve’s additional vek.(Lande '83: 335-8) In Austena’s form, the vek begins after the cadence figure of two quarter notes, and its end returns to the previous vek. It is additional material that could be left out without altering the identity of the slatt, but which functions as a digression, amplifying the usual “Fanten” melodic material.
In the slatt “Froyrakjen” the ending illustrates an effective use of the technique of abbreviation.9® The main body of the slatt in this version consists of eight short phrases, each of which is repeated. The slatt begins on the lowest two strings with short melodic figures that move from G to A and back to G, establishing G as the tonal center. With the third phrase, the slatt moves to the middle two strings, and with the sixth phrase, it moves to the top two strings. The slatt has travelled a leisurely path from its lowest to highest range, repeating each short phrase. The ending provides a marked contrast when repetition is abandoned and after stating a short motive that has been heard and repeated before on the top string, the slatt cascades through the open string fifths, plays one motive without repetition on the lower strings emphasizing the return to G, and then returns to the beginning.
In the slatt “Froyrakjen” the ending illustrates an effective use of the technique of abbreviation.9® The main body of the slatt in this version consists of eight short phrases, each of which is repeated. The slatt begins on the lowest two strings with short melodic figures that move from G to A and back to G, establishing G as the tonal center. With the third phrase, the slatt moves to the middle two strings, and with the sixth phrase, it moves to the top two strings. The slatt has travelled a leisurely path from its lowest to highest range, repeating each short phrase. The ending provides a marked contrast when repetition is abandoned and after stating a short motive that has been heard and repeated before on the top string, the slatt cascades through the open string fifths, plays one motive without repetition on the lower strings emphasizing the return to G, and then returns to the beginning.
In this framework, there is first a cadence on the third degree, and then the tonic.
In this framework, there is first a cadence on the third degree, and then the tonic.
Salmen notes that many dances are constructed of motives based on a major triad. ill. ( op.cit.:225)
Salmen notes that many dances are constructed of motives based on a major triad. ill. ( op.cit.:225)
emphasize its significance, a prosa was added in a constrasting style. It was common to set new words to existing chant melodies when constructing the liturgy for a saint’s feast day, and this prosa text is set to one of the most well-known prosa melodies, found in the office celebrating saint Nikolaus. The prosa, Innocentum te servavit, is a syllabic setting of a melody that is easy to remember and could have been sung by pilgrims as a walking song. (Edwards et al.:67 entire paragraph) Perhaps it also could have been played on instruments as part of the church festivities or pilgrimage. The song could have been played as notated or the melodic material could have been adapted to different musical forms. The first line could function as a refrain between the following phrases. If the ending of the first phrase were slightly altered, the second half of the first phrase could function as the open and closed endings of an estampie. Melodic material could be extracted and used as short motives in pieces with slatter construction
emphasize its significance, a prosa was added in a constrasting style. It was common to set new words to existing chant melodies when constructing the liturgy for a saint’s feast day, and this prosa text is set to one of the most well-known prosa melodies, found in the office celebrating saint Nikolaus. The prosa, Innocentum te servavit, is a syllabic setting of a melody that is easy to remember and could have been sung by pilgrims as a walking song. (Edwards et al.:67 entire paragraph) Perhaps it also could have been played on instruments as part of the church festivities or pilgrimage. The song could have been played as notated or the melodic material could have been adapted to different musical forms. The first line could function as a refrain between the following phrases. If the ending of the first phrase were slightly altered, the second half of the first phrase could function as the open and closed endings of an estampie. Melodic material could be extracted and used as short motives in pieces with slatter construction
There are several sources of melodic material that could be used in the reconstruction of music for fiddles in medieval Norway both from the Middle Ages and from the folk tradition. Walter Salmen has described three types of melodic formulas used to construct instrumental music in the Middle Ages in Europe that could have possibly been used by leikare in Norway as well. Melodic material could be derived from the written chant repertoire from Norway. From the folk tradition, melodic material from slatter could be used, as well as motives from the vocal tradition. constructed a modal language which was then used to perform texts of the Poetic Edda and to construct instrumental pieces and song accompaniments. One example of this is the arrangement of “The Lay of Fafnir” in which motives from rimur were used both to perform the text and in a fiddle piece. The opening motive of the sung text is used as the opening motive of the fiddle piece and is combined with additional figures to form a vek that is repeated and varied throughout the piece. This form allows the piece to be played in varying lengths, and much of the material is also used as musical interlude between text segments. !°
There are several sources of melodic material that could be used in the reconstruction of music for fiddles in medieval Norway both from the Middle Ages and from the folk tradition. Walter Salmen has described three types of melodic formulas used to construct instrumental music in the Middle Ages in Europe that could have possibly been used by leikare in Norway as well. Melodic material could be derived from the written chant repertoire from Norway. From the folk tradition, melodic material from slatter could be used, as well as motives from the vocal tradition. constructed a modal language which was then used to perform texts of the Poetic Edda and to construct instrumental pieces and song accompaniments. One example of this is the arrangement of “The Lay of Fafnir” in which motives from rimur were used both to perform the text and in a fiddle piece. The opening motive of the sung text is used as the opening motive of the fiddle piece and is combined with additional figures to form a vek that is repeated and varied throughout the piece. This form allows the piece to be played in varying lengths, and much of the material is also used as musical interlude between text segments. !°
Norafjells-trall by Gro Heddi Brokke, from Levy ’89, III p.122
Norafjells-trall by Gro Heddi Brokke, from Levy ’89, III p.122
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