Bring a Traditional Welsh Dance Tune to Life with Expressive Ornamentation and Dynamic Techniques

Wales has a deep folk tradition dating back to the sixth century, and one of its most vibrant expressions is dawnsio, the tradition of Welsh dance music. Featuring jigs, reels, and hornpipes, it has a distinct character shaped by unique phrasing, rhythmic lift, and melodic ornamentation. While sharing some characteristics with Irish, Scottish, and English folk music, Welsh dance tunes often carry a unique lilt and phrasing that set them apart.

In this lesson, we’ll explore “Nyth y Gwcw” (“The Cuckoo’s Nest”), a haunting Welsh reel that embodies the drive and fluidity of dawnsio. We’ll examine its ornamentation and phrasing, drawing inspiration from traditional Welsh instruments like the harp, crwth, and fiddle to bring its rhythmic pulse and expressive nuances to life on acoustic guitar.

Ornamentation is central to Welsh folk music, enhancing rhythmic drive and adding character while keeping melodies from sounding rigid or mechanical. These embellishments not only create movement but also introduce subtle variations, preventing a melody from feeling repetitive. Many traditional players vary their phrasing slightly each time through a tune, and ornaments play a key role in making these variations feel natural and expressive.

A cut (Example 1) is a quick pull-off from a note one scale degree above the melody note, creating a crisp articulation without interrupting the melodic flow. A tap (Example 2) reverses this motion, hammering on from a note below, reinforcing the rhythmic pulse of the tune. Another common ornament in Welsh fiddle music is the slide (Example 3), in which a note is initially picked at one fret and, while maintaining constant finger pressure, slid to another fret. This technique adds a fluid, expressive quality to the melody, mimicking the natural phrasing and glides of bowed instruments.

In addition to these ornaments, rolls (Example 4) and mordents (Example 5) provide further expressiveness. A roll is a rapid five-note embellishment consisting of the melody note, a note above, the melody note again, a note below, and a final return to the melody note. Played in one smooth motion, it adds rhythmic lift to the melody. A mordent, similar in concept but shorter, is a three-note flourish that oscillates between the melody note and the note above before quickly returning. The first bar of each of these examples shows how the ornaments are typically played, while the second bar shows the notation symbol for the technique on beat 1. 

While these examples demonstrate specific moments where ornaments can be applied, they serve as a starting point rather than a rigid framework. Ornamentation is as much about personal interpretation as it is about tradition, and experimenting with where and how to apply these techniques can bring a melody to life in unique ways. By varying ornamentation and articulation each time through the tune, you can keep the performance fresh and engaging while adding a personal touch.

Harmonics and CampanellaThe harp, Wales’ national instrument, plays a central role in the country’s folk music. Its resonant, bell-like sustain is a defining characteristic of Welsh traditional music, and while the guitar cannot fully replicate its ethereal quality, certain techniques—such as campanella fingering and natural harmonics—can help evoke a similar shimmering resonance.

Campanella—Italian for “little bell”—creates a harp-like effect by playing consecutive melody notes on separate strings, allowing them to ring together rather than being muted by finger movement. This technique, while sometimes challenging, lends a cascading, fluid quality that works beautifully in Welsh and Celtic music. Example 6 demonstrates the
C major scale played both with and without campanella fingering, highlighting how the technique enhances sustain and tonal richness.

Another way to achieve a harp-like sound on guitar is through natural harmonics, which produce delicate overtones similar to the bright, ringing timbre of a harp. You create natural harmonics by lightly touching the string at specific points—typically the 12th, seventh, and fifth frets—before plucking to generate a pure, bell-like overtone. Precision is key. Exact finger placement and plucking near the bridge will enhance clarity and sustain. 

While you cannot always play an entire melody using harmonics alone, integrating them into an arrangement can add contrast and variation. Example 7 illustrates this effect using a passage from “Amazing Grace” arranged with natural harmonics, showcasing their atmospheric quality.

By blending these techniques—ornamentation, campanella fingering, and harmonics—you can add richness and variety to a trad-
itional melody, making it more dynamic and expressive on guitar.

Nyth y GwcwA staple of Welsh dance music, “Nyth y Gwcw” has been passed down through generations, preserving its place in the dawnsio tradition. First appearing in Cambrian Trifles (1812), it was later documented in Welsh Dance Tunes (1935) after Hugh Mellor transcribed it from an itinerant fiddler performing on the streets of Bangor, North Wales. Its Dorian-mode tonality and flowing phrasing lend it an air of mystery.

This arrangement translates the tune’s rhythmic and melodic nuances beautifully to guitar while incorporating the techniques covered in this lesson. A reel in common time with a triplet-based feel, “Nyth y Gwcw” features a swinging eighth-note groove that gives it a lively, danceable quality. To enhance its rhythmic drive, an alternating bass pattern provides a steady pulse beneath the lilting melody. Dropped-D tuning facilitates this approach, allowing the thumb to pedal a low D root note while the fingers handle embellishments.

With the rhythmic foundation in place, ornamentation further enhances the tune’s character. The piece begins with ornamented slides, cuts, and taps, adding lift and articulation to the melody. As the tune repeats, rolls and mordents provide additional variation. In bar 19, the melody shifts down an octave, offering a fresh perspective on the theme before culminating in a passage that highlights nat- ural harmonics, bringing a luminous quality to the final section.

While this arrangement presents one possible interpretation, I encourage you to experiment with ornamentation, phrasing, and dynamics to make the piece your own. By drawing inspiration from traditional Welsh instrumental styles, you can uncover new ways to bring out the tune’s rhythmic energy and expressive depth.

I hope you enjoy playing this arrangement of “Nyth y Gwcw” and are inspired to further explore dawnsio and other rich Welsh musical traditions.