According to the best authorities the bards were divided into three great classes. The first class was composed of the historians and antiquaries, who piqued themselves a little upon their sorcery, and who, upon occasion, took up the rôles of diviners and prophets. The second class was composed of domestic bards, living in private houses, quite after the custom of ancient Greece. These we may suppose were chiefly devoted to the annals and glories of their wealthy patrons. The third class, the heraldic bards, was the most influential of all. They wrote the national annals. All these classes were poet-bards as well as musicians.
The musical bards were divided into three classes. In the first were the players upon the harp; they were called doctors of music. To be admitted into this class it was necessary that they should perform successfully the three Mwchwl—that is, the three most difficult pieces in the bardic repertory. The second class of musical bards was composed of the players upon the crwth, of six strings. The third class were the singers. From the wording of the requirement it would seem that these must have had the same qualification as the first class, and therefore have been true doctors of music. For, in addition to being able to accord the harp or the crwth, and play different themes with their variations, two preludes and other pieces "with their sharps and their flats," they had to know the "three styles of expression," and accent them with the voice in different styles of song. They had also to know the twenty-four meters of poetry as well as the "twenty-four measures of music." Finally, they must be able to compose songs in many of these meters, to read Welsh correctly, to write exactly, and to correct an ancient poem corrupted by the copyists.
The classification of new bards was made at an Eisteddfod once in three years. It was a public contest, after the custom of the Greeks. The degrees were three, conferred at intervals of three years respectively. The organization of the bards existed until the sixteenth century; it was suppressed under Queen Elizabeth. The Eisteddfod has been maintained until the present time. The learned musical historian, J.J. Fétis, attended one in 1829, of which he has left an interesting account. The performances of the blind minstrel of Caernarvon, Richard Robinson, excited his admiration beyond anything else that he mentions. He says: "His skill was something extraordinary. The modern harp of Wales has no pedals for the semitones in modulations. It is supplied with three ranks of strings, of which the left and right give diatonic notes, those in the middle the half-tones. Nothing more inconvenient could be imagined; in spite of his blindness, this minstrel, in the most difficult passages, seized the strings of the middle ranks with most marvelous address. The innate skill of this musician of nature, the calm and goodness painted upon his visage, rendered him an object of general interest."
Independently of the minstrels of this high class, they had also wandering minstrels who played the crwth of three strings, and who made themselves useful in the customary dances and songs of the peasants and the common people.
There exists an old manuscript, supposed to have been begun in the third or fourth century, Y Trioeddy nys Prydain ("The Triads of the Isle of Britain"). It contains the traditions from the ancient times until the seventh century. Among the famous triads of this book are: The three bards who bore the cloth of gold, Merlin Ambrosius, Merlin, son of Morvryn, and Taleisin, chief of the bards. There were three principles of song: Composition of poetry, execution upon the harp, and erudition. In the sixth century we see the bards playing the harp and singing their stirring songs with inspiring effect in animating the hearts of their compatriots again in their successful combats against the Saxons. Edward Jones, bard of the Prince of Wales in the last part of the eighteenth century, preserved the names of twenty-three bards who lived in the sixth century. The principal were Taleisin pen Beirrd, Aneurin Gwawrydd, Gildas ab Caw, Gildas Badonius. Taleisin was bard of Prince Elphin, then of King Maelgwin, and in the last place of Prince Urien Reged. He lived about 550; a number of his poems remain, but no fragment of his melody. Aneurin was author of "Gododn," one of the best Welsh poems that has come down to us.
In the British Museum there is a manuscript supposed to have been begun in the eleventh century, containing much music for the harp. Among it are exercises in the curious notation of the Welsh, in which chords are freely used, and in positions suggesting the immediate occasion of their introduction—that, namely of supplementing the small power of the instrument by sounding several tones together, which, as octaves were impossible outside the middle range or pitch, were necessarily chords. Among the songs given are several which betray the transition period of tonality, when chords had come into legitimate use, but the true feeling for a tonic had not yet been acquired. The preceding, for instance, proceeds regularly in the key of G in all respects but the very ending of each strain, which takes place in the key of C. Or to speak tonically, the melody and accompaniment after being written nearly all the way in the key of Do, suddenly diverge to the key of Fa, and there close.
