This last week has seen me visiting Cornwall again for a musical few days, partly with my scientist/musician friend David Sanderson from Scotland (of SUERC) who was on holiday in Cornwall with his wife Anne.  The first evening was spent in Newlyn Harbour in the home of artist Bo Jaffares Sekine who kindly hosted us. During that evening, we played to the private gathering in a variety of styles, including some jazz and some highland folk tunes, with a variety of instrumentations, combinations of piano, bass, violin, soprano sax, later joined by a neighbouring accordion player.

After arising to a spectacular sunrise over Newlyn Harbour and St Michael’s Mount, and a little Bach, the next morning was spent conducting a gamma ray survey with David of the old uranium mine around St Ives, as part of a project for my forthcoming book “Radioactive Ghosts”.  Thereafter, we repaired for lunch to the Tinner’s Arms in Zennor, just a few miles along the coast from St Ives. Parting company with my friends I remained in Zennor as I was staying at the Tinner’s for the night in anticipation of the folk session that evening.

The afternoon was spent exploring the spectacular coast around Zennor. It was especially beautiful during this Spring visit with its explosion of colourful flowers and amazing light.

That evening I joined in the folk session with my bass and a splendid time was had, helped along by few pints of the black stuff. As is usual on my occasional visits, I ended up in the corner at the end of the space where the musicians assemble. It is the corner where there is a stone replica of a 14^th century wood carving of the Mermaid of Zennor. The original carving is located in St Senara’s Church opposite the pub in the village of Zennor

The tale of the Zennor Mermaid has been an inspiration over the years for many artists, poets and musicians. On return to Devon the muse was with me to compose something in memory of the trip. Undeterred by the prior history I came up with my own little offering to the mermaid.  The result is a slow reel in D minor (dorian mode, i.e. parent key of C) arranged for violin, flute, guitar and bass under the title “Song for the Mermaid of Zennor”.

This composition is different from the prior musical compositions, which are primarily based on the narrative of the tale, in that it is intended to be heard by the mermaid herself in the hope that it might lure her from the waters along the shores of Zennor! The AAB 16 bar form of the piece is standard for a reel but I’ve pushed out the melodic and harmonic boundaries from a jazz and baroque perspective, making much use of 7^th and 9^th chords to create a more other worldly feel. The B section briefly modulates to F with a baroque-like cycle of 5ths progression.  The violin carries the reel rhythm and harmonic progression in a fairly standard way and could/can be played solo, but is contrasted by a slow melody with the flute. It is this slow melody that is calling to the mermaid. Being in the key of D Dorian, the piece could be played by the uilliann pipes,  with a D chanter drone on the A section at least.

Well, I hope on my next visit to Cornwall to be able to have the Song for the Mermaid of Zennor played live in the Tinner’s Arms. Who knows – maybe the mermaid will get to hear it?