Celtic Carol

The eleventh piece in the concert, entitled Celtic Carol, was arranged by Robert W. Smith (see below) in 2002.

Celtic Carol is a very imaginative setting of the one of the oldest pieces of secular music in Western culture. The tune we call “Greensleeves” has been traced back to about 1360. While we are not certain of its original title, it is known that in the latter 14th century, English ladies wore gowns with billowing sleeves. The lyrics that have come down to us speak of a lover’s lament of the heartless treatment of him by a lady clad in a dress with green sleeves.

By the time of William Shakespeare, the song had already become a classic, and he made use of it in two of his plays. Since then, the tune as been adapted as the basis for several popular songs, particularly the Christmas carol “What Child Is This?”.

In 1865, William Chatterton Dix wrote the lyrics to the poem “The Manger Throne”. At the time, Dix worked as an insurance company manager and had been struck by a severe illness. While recovering, he underwent a spiritual renewal that led him to write several hymns. It’s not known who paired the poem with the tune of “Greensleeves”, but six years later in 1871, it was featured in a printed collection entitled Christmas Carols Old and New. Although it was written in Great Britain, the carol is more popular in the United States than in its country of origin today.

The context of the carol centers around the adoration of the shepherds, who visited Jesus during His nativity. The questions posed in the lyrics reflect what the shepherds were possibly pondering to themselves when they encountered him, with the rest of the carol providing a response to their questions. The minor tonality of the “Greensleeves” tune fits perfectly with the questioning nature of the words.

This arrangement features the percussion section throughout, with a very prominent role given to the spoons. Originally, folk musicians would tap out rhythms with two spoons held “just so” in the player’s hand, rounded “bowls” tuned opposite each other, while their opposite hand and leg were struck lightly with the spoons and the spoons “clacked” against each other. These days, we use spoons mounted in a wooden or plastic casing (so we don’t have to spend time figuring out how to best hold the spoons). But the action of lightly striking the other hand and leg remains the same.

Another unusual instrument which is used in this arrangement is the bodhrán, a frame drum used in Irish music. The drums range from 10 to 26 inches in diameter, with most drums measuring 14 to 18 inches. The sides of the drum are 31⁄2 to 8 inches deep. A goatskin head is tacked to one side (synthetic heads or other animal skins are sometimes now used). The other side is open-ended for one hand to be placed against the inside of the drum head to control the pitch and timbre. One or two crossbars, sometimes removable, may be inside the frame, but this is increasingly rare on modern instruments.

We’ll leave it to the English and Irish to argue about whether “Greensleeves” is of English or Celtic origin (clearly, the arranger favored the Celts). But he noted on the score that he (and therefore we) want to “draw the listener into a traditional Irish celebration”. The arrangement begins with a mysterious solo statement on piccolo (imitating an Irish penny whistle) over a low drone. By the end, it builds to an almost manic celebration by the whole band.

Arranger Robert W. Smith (1958 - 2023) was one of the most popular and prolific composers in America. He has over 600 publications in print with the majority composed and arranged through his long association with Warner Bros. Publications and the Belwin catalog.

Mr. Smith held a Bachelor of Music Education degree from Troy University in Troy, Alabama, and a Master's degree in Media Writing and Production from the University of Miami. In 1997, he became the Director of Bands at Troy University, following the retirement of his former band director. Smith remained at Troy for four years, directing the Sound of the South Marching Band and the Symphony Band. In 2001, he took a full-time position with Warner Brothers Publications, though he maintained a part-time teaching post at Troy.

Mr. Smith’s credits include many compositions and productions in all areas of the music field. His original works for winds and percussion have been programmed by countless military, university, high school, and middle school bands throughout the United States, Canada, Europe, Australia, South America and Asia.

Mr. Smith’s music has received extensive airplay on major network television as well as inclusion in multiple motion pictures. From professional ensembles such as the United States Navy Band, United States Air Force Band, Boston Pops and the Atlanta Symphony to school bands and orchestras throughout the world, his music speaks to audiences in any concert setting.

As a conductor, clinician and keynote speaker, Mr. Smith performed throughout North America, Asia, South America, Europe and Australia. His music has been recorded by various ensembles and is available on CD and download through Walking Frog Records, iTunes, Amazon, and other recorded music outlets.

Mr. Smith was the President/CEO of RWS Music Company, exclusively distributed through C. L. Barnhouse.

The music for Celtic Carol was purchased for the band

by Tara and Kevin Myers.