Ireland - Instruments of traditional music Musical Instruments HARP Harp is an ancient instrument that has always been connected to Celtic music (it's one symbol of Ireland), above all in the most aristocratic environment. Celtic harps are generally smaller and can be played over one's knees. The Scottish Harp is called Clarsach and Welsh one is formed by 3 rows of strings with half tone of difference between the rows in order to obtain a chromatic scale. In these days Nylon strings are more common even if some musicians have began to use again the original stringings that produce a sound similar to the one of bells. BAGPIPES & UILLEANN PIPES The basic instrument is usually formed by a bag in which the air is blown through a blowpipe. Pressure of arm on the bag pushes the air through a reed in a pipe. The sound embraces 2 octaves. Scottish Highland Pipes are those that have the most acute sound and are played standing. The pipe has 8 holes. There are two pipes for "tenor" sounds and one for low sounds. Irish Warpipes is much similar but has only one tenor pipe.

Much more popular in Ireland are the Uilleann Pipes in which there is a small bellows. The small tube has a sound that extends on 2 octaves, the pipes are 3 or 4 and there are tone controls that are other pipes that can play chords. All these instruments are played without pauses, in a continuous way. BANJO Brought in the XIX century from United States now is part of the traditional Irish music instruments. The Irish Banjo has a string less, four, and these are usually heavier and are tuned on notes G-D-A-E. BODHRAN It's a wooden percussion instrument with goat skin much common in Irish traditional music. It's usually beaten with the right hand with a small stick called beater and touching or grazing in different points the back of the case with the left hand to vary the depth of the sound, from hollow and deep to acute and sharp. Other percussion instruments used in Ireland are bones and spoons that are beaten to produce a particular sound. GUITARS and BOUZOUKIS They are used in the accompaniment and to create a rhythmic background. Guitars are usually simple acoustic guitars with 6 strings.

The Irish Bouzouki is quite different from the Greek version. It has 4 strings and a rounded case. The tuning is usually set up on series G-D-A-D or G-D-A-E. FIDDLE It's the main element of all the Scottish and Irish traditional music. It's exactly the same as everywhere in the world. The term Fiddle is only used for traditional music. ACCORDION The melodion is a simpler version of accordion. The sound is produced by air that is blown inside by the movement of arms and that make vibrate metallic reeds inside. Depending on whether you compress or expand the bellows the note will be different. It has 10 keys that produce a series of 20 diatonic notes usually tuned in C. Accordion has a second row of keys generally a semitone over the first series that gives to this instrument a great chromaticity. The most used pair of tuning is B/C even if C/C#, C#/D and D/D# are also very common. But traditional music is often diatonic and the second series of keys is used mostly to create ornamental sounds. The Concertina is a small accordion of hexagonal shape.

In traditional music is generally used the diatonic form tuned in C and G. There are two keyboards each one at one side of the bellows (usually a row of keys on each head). FLUTE Flutes of varied kind always has been played in traditional music for hundred years. The types used today are those simplest ones with 6 holes and even 8 keys. Usually they are made with wood. Their construction gives a dark sound and the much softer than the tin whistle. TIN WHISTLE It's the most simple and economic of traditional instruments even if not that easy to manage. It's a simple metallic tube with 6 holes and a mouthpiece like the one of the recorder whose sound ranges between 2 octave. Celtic Music Instruments Tin Whistle (pennywhistle) The simplest and cheapest of traditional instruments, yet not so simple to master. The tin whistle is a simple metal tube, with six holes and a mouthpiece like a recorder, and a range of about two octaves. The cheapest ones cost about $5, though more highly-crafted ones run into the hundreds. Some of today's best players still play nothing but the cheaper brands, and make great music. More information: Ceolas Tin Whistle guide.

Out of date (written in 1994 and not even hypertext!), but has some good comparative information on whistle brands and sources. Bill McKenty's whistle site , idiosyncratic, but very useful. Online recordings of Tin Whistle, by David Walker Guide to making a Tin Whistle. Mike Simpson's ' Semi-Comprehensive Whistle Guide " - a big (>100kb) page with loads of information. Bagpipes & uilleann pipes Several forms of bagpipe are used in celtic music. The basic instrument has a bag of air, inflated by blowing through a blowpipe. Arm pressure on the bag sends air through a reed on a fingered chanter which makes the sound. The usual range is about two octaves. The Scottish highland pipes are the loudest, played standing, usually in pipe bands. The chanter has eight holes and plays a distinctive 'pipe scale'. There are two tenor drones, tuned an octave below the chanter and a bass drone a further octave down. The Irish Warpipes are similar, but have only one tenor drone. More popular in Ireland, and a lot quieter are the bellows-powered uilleann pipes.

The chanter has a range of two octaves (in the key of D), often has keys, and in addition to drones (three or four), the uilleann pipes have regulators, extra pipes which can play certain chords. A 'practice set' is often used, which has a chanter but no drones or regulators. In Northumberland (England), the Northumbrian small pipes are similar, with a variable number of keys and up to five drones. They are unique in having being able to cut off air to the chanter; all other pipes have to play continuously. In Brittany they play the binou, which has seven-holed chanter and a single drone. In the celtic regions of Spain, Asturias and Galicia, the local bagpipe is the gaita, similar to the Scottish pipes, with a 1-3 drones (usually 2; tuning is 2 octaves below the chanter, one octave below and the same octave). The usual key is C, with about a two octave range. More information: Bombarde This is a small oboe-like shawm with a penetrating sound, used widely in Breton music.

It is fingered like a tin whistle with an extra hole to allow one note below the stated key (usually B flat, sometimes C or D). It is often played in duet with the binou, whose chanter plays an octave above it and whose drone is an octave below. The bombarde is usually played for only part of the tune, giving the player time to relax from the very high breath pressure required to play the instrument. Free reed instruments This family of instruments was developed in the early nineteenth century. They all work on the same principle: air is blown across a set of paired metal reeds, causing them to vibrate and produce a particular note. All but the harmonica are powered by bellows pulled in and out by the arms (hence 'squeeze box'). The two reeds of a pair are placed in opposite directions, so each is vibrated by either the press or the draw (in or out) of the bellows. 'Single-action' instruments have the pairs tuned a tone apart, so the one key will produce two adjacent notes depending on whether the player is pressing or drawing. 'Double-action' accordions have the reed pairs tuned in unison, so one key produces one note.

The melodeon is a simple single-action accordion. It has ten keys, giving a twenty-note diatonic range, usually pitched in C. It also has two bass keys, which give the chords of the tonic and dominant keys. The button accordion has a second row of keys, tuned a semitone above the first set, giving a fully chromatic instrument. The most popular kind is tuned to B/C, though C/C#, C#/D and D/D# are also played. Traditional music is mostly diatonic, so the second set of keys is used mainly for ornamentation such as rolls. It also has extended bases. The piano accordion has a piano keyboard on the left and an extensive bass keyboard on the right hand. It is a double-action instrument (same note on press and draw) and much larger than the button accordion. It is most popular in Scotland and is also widely used in central European folk music. The concertina is a small, hexagonal accordion, which comes in both double-action chromatic ('English') and single-action diatonic ('Anglo' or 'German') forms.

The most common form for traditional music is an Anglo, tuned to C and G, which has the keyboard is spread out on both ends of the bellows (usually two rows of five keys on either end) with no bass. The stronghold of concertina playing has been in Co. Clare, where it is particularly common among women players. More information Mandolins, citterns, bouzoukis, guitars These fretted instruments are mostly used in accompaniment and for rhythmic backing. The guitar comes in from the folk boom of the sixties, and is usually a standard acoustic six-string model, though a variety of tunings can be used. A wide variety of instruments come under the general umbrella of the mandolin family. These have a rounded back and usually four pairs of strings (courses) tuned in unison. The mandolin is usually tuned like a fiddle. Larger versions include the mandola (tuned a fifth below) and the mandocello (an octave below).

The mandocello is also known as the octave mandolin and is similar to what is known as the Irish bouzouki - a much modified version of the Greek bouzouki, introduced to Irish music by Johnny Moynihan, in his Sweeney's men days in the late sixties, and now almost a standard in Irish groups. Bouzouki tuning is usually GDAD or GDAE. There are several other variants, including the five course citterns developed by Stefan Sobell (with the name borrowed from a medieval family of instruments) and various hybrids such as Andy Irvine's 'bizarre' (bouzouki-guitar). More information: Harp There have been harping traditions in the celtic countries of Ireland, Scotland, Wales and Brittany for hundreds of years and in Ireland at least it was closely tied to the old aristocracy and 'high' culture. Most celtic harps are small, and can be played on the knee. The Scottish harp is called a clarsach, and the Welsh harp is the triple-harp, a form once popular in art music until superseded by the pedal harp.

The triple has three rows of strings, tuned a semitone apart to give a chromatic scale. Most modern players use nylon or gut strings, but some have gone back to the original wire-strung harp, with it's bell-like sound. More information: Other percussion The bagpipes used in Scottish military music are usually accompanied by side and snare drums. In Northern Ireland, the gigantic Lambeg drums are a symbol of the Orange (unionist) musical tradition. Also in Ireland, bones (usually short wooden sticks or cow rib bones, clicked against each other, a little like castanets) and spoons are sometimes used to provide accompaniment. Voice There are many kinds of singing in celtic music, some more specialised than others. In Scotland, puirt a beul is a rhythmic form of unaccompanied singing that can be danced to. There is a long and popular choral tradition in Wales. In the west of Ireland, sean-nos singing is a very unusual unaccompanied and highly ornamented form. I'm no expert on any of these, so if you know more, let me know! Cór Gaeilge Texas have some good resources on singing in Gaelic, on the homepage.

Irish Traditional Singing styles from the Gaelic Songs archive. Celtic Harps : Official Symbol of the Emerald Isle Official Symbol of the Emerald Isle The mythical lore and storied past of Celtic harps make them a very special emblem of Ireland's pride. Indeed, one of the most remarkable ways in which the Emerald Isle distinguishes itself is that, as a tribute to the importance of music in Irish culture, Ireland is the only country in the world with a musical instrument as a national symbol. Otherwise known as the heraldic harp or Gaelic harp, Celtic harps have been part of the Irish landscape for centuries. Ever since the 16th century, when King Henry VIII of England made the harp the official symbol of his new land by putting it on Ireland's currency, harps have been beloved symbols of Ireland's national pride. The Ancient Legends... Celtic harps can be found on carvings dating as far back as the 12th century, with surviving examples of actual instruments dating back to the 15th. The harp legend tells us that Dagda, a chief among the Taatha De Danaan, owned the first Gaelic harp.

However, the harp was stolen by the gods of cold and darkness and given to the Fomorians, a group at war with the Taatha. Seeing this, the gods of light and art, Lugh and Ogma, entered the Fomorian fortress, recovered the harp, and restored it to Dagda. The gods then gave Dagda two secret names for the harp and called forth summer and winter. From then on Dagda could play Goltrai, Geantrai, and Suantrai...Music that could make men weep, music that brought joy, and music that lulled men to sleep. Thus, Celtic harps became known as the dispensers of sorrow, happiness, and rest. The Glory Days... In the days of the Celtic chieftains, the harpist was the most honored musician and ranked only behind chiefs and bards in social class. The harpists, often blind, would play as the bards recited poetry for their lords. And, when war came, the harpist would bring forth a golden instrument encrusted with fine jewels in order to lead men into battle and spur them to great deeds. The Sad Decline...

In the 16th century, harpists would often join revolutionaries for much the same purpose. The British crown, in an effort to stifle the rebellion, banned Celtic harps and instructing their men to kill any harpist and destroy their instruments. They were infamously successful. By the beginning of the 19th century, thanks to British measures and the bankruptcy of the Irish aristocracy, traditional Celtic harp music had all but died out. Bunting and O'Carolan... However, in 1792, there was a revival of traditional harp music. A festival was organized and harpists from all over Ireland were tempted with healthy cash prizes. Despite the allure this would seem to provide, only ten harpists showed up. But the day was not entirely a loss. A 19-year-old English organist named Edward Bunting was hired to notate the music the harpists played. His paper transcription of notes survives today, but the notation does have one flaw: Bunting did not record the bass lines. This part of the music is lost forever.

Nevertheless, Bunting's 1797, 1809, and 1840 collections of Irish harp music are a wealth of information for the serious student. By providing not only music, but lore and technical information, Bunting gives us all a chance to find out how these instruments were actually played. As well, Bunting's books are the only records we have for the great Irish harpist, Turlough O'Carolan. Now, instead of the oral tradition being lost on us, we can all read everything in a book. Official Symbol of Éire... The Celtic harp symbol found on the presidential flag, state seals, uniforms, and even bottles of Guinness is inspired by an exquisite harp periodically on display at Trinity College, Dublin. This extraordinary instrument is also known as the Brian Boru harp, named after the famed High King of Ireland. It is the oldest surviving wire-strung frame harp in existence. Its uniquely straight, boxed base topped by a gracefully arcing curve is immediately recognizable to all who gaze upon it. This harp was also the inspiration of the gold emblem upon the green flag that the rebels flew in the ill-fated Easter Rising of 1916.

Modern Revival... The 20th century has seen a great resurgence of popularity for the Irish harp. Thanks to traditional musicians such as Derek Bell of the Chieftains, Celtic harps are returning to the fore. No longer only a stale symbol of Ireland, Celtic harps find their music rising heavenward once again, raising the spirit of Ireland once more. And as technology advances, great strides are being made to recreate the tones of the long distant past. Now people everywhere can rejoice at the sounds that Celtic harps once brought only to the Irish kings of old. Through mythic lore and a storied past, Celtic harps have been a beloved symbol of Ireland, both in fantasy and in fact, for centuries. Stamped on the Irish euro of today as well as the Irish coin of old, you will see that the heraldic harp sings of the glorious Emerald Isle with all its countenance. And as they find their voices in the hands of new players, we can all hear the songs of gladness that only Celtic harps can play...today and for generations to come.

The mystery of Celtic and Irish symbols (PHOTOS) | IrishCentral.com The mystery of Celtic and Irish symbols (PHOTOS) Antoinette Kelly SHARES / The harp. The symbols and signs of our forefathers, the ancient Celts held incredible, meaningful power in their lives. Getty images The ancient Celts , the people who lived in Britain and Ireland from 500 B.C. to 400 A.D., considered their symbols and signs to hold incredible, meaningful power in their lives. The stories behind their symbols have been carried on from generation to generation with the help of bards and storytellers, allowing Celtic heritage to live on. Even though the lack of written history means that their symbolism is open to interpretation, the meanings are fairly evident. The relevance and significance of the Celtic symbols are timeless; themes of love, loyalty, energy, wisdom and war which are very much alive today. So tap into the nature and energy of the Celts, and learn about the language of Celtic symbols . Irish Harp: The traditional symbol of Ireland, the harp is said to reflect the immortality of the soul.

The musicians of ancient chieftains played the harp, and it remains one of the most popular Celtic instruments today. You’ll find the harp everywhere in Ireland, from coins, uniforms and the state seal to the Guinness pint glass. 14 Shamrock: Symbol for luck and the unofficial, yet most recognizable, symbol of Ireland. The shamrock is a single-stemmed plant with three leaves and grows on the hills of Ireland. The shamrock is everywhere: postcards, t-shirts, cereal boxes, you name it – if it’s “Irish,” there’s typically a shamrock involved. The shamrock was made famous by St. Patrick, the Patron Saint of Ireland. Legend tells that he used the shamrock’s three leaves to help explain the Holy Trinity to the pagans during his mission to bring Christianity Ireland. 14 Where did the symbols of Irishness for St Patrick’s Day, like the shamrock, come from? Claddagh: Border, claddagh, hands, heart, crown. Tri-Color Flag: The Irish Flag has three vertical stripes, from left to right: green, white and orange. The flag was first used in 1848, and symbolizes hope and political peace.

The green represents the Catholic population of Ireland, while the orange represents Irish Protestants. The middle stripe of white symbolizes a wish for harmony and unity between the two. 14 Celtic Cross: Symbol for Celtic Christianity that combines the traditional Christian cross with a ring through the cross’s intersection. Also referred to as the High Cross, the Irish Cross and the Cross of Iona. The ring is considered a solar symbol of energy, a life source. 14 Celtic Tree of Life: Oneness with nature. The Celts had many tree symbols. Birch signifies youth, beginnings and renewal. Ash signifies connection, wisdom and surrender. Heather stands for dreams, romance and feelings. 14 The Celts believed trees had sacred properties. Celtic Horse: Symbolizes victory in war for the Celtic people. The Celtic horse-goddess Epona was known as the “Great Mare.” 14 Celtic Dragon: A mythical creature thought to be a symbol of fertility and power. It was believed that the dragon was created when the first living cell was born from the earth, and the sky fertilized it with the wind and water. Because of this, the dragon is associated with seasonal fertility and the energies of the earth.

Christians later associated the dragon with Satan, and pagan evil. 14 Celtic Serpent: Celtic symbol for rebirth, healing and wisdom, due to its cyclical shedding of its skin. The serpent was considered an immortal creature that came to life each year with a new skin. The Celts believed serpents slithered up from the inside of the earth, and they held all of the world’s secrets and divine wisdom. The serpent was the Celtic people’s “Earth Healer,” but later turned into the Christian symbol for the devil and paganism. 14 Celtic Hounds: Guardian figures and sources of healing power. Hounds are associated with various Celtic gods and goddesses, including the famous Irish mythological hero Cuchulainn. In ancient Celtic Ireland, hounds were given as gifts to honorable men, and many warriors and chiefs took the name as a title (as in “Hound of Culann”) to demonstrate their loyalty and courage. 14 Celtic Birds: Stands for freedom and transcendence. Birds have the power to soar up into the heavens, and so they represented liberation of the human soul.

Birds were thought to bring messages of guidance and prophecy from the gods down to the earth, making them mediators between humans and the heavens. 14 Irish Ogham Alphabet: A gift from the Celtic god Ogimos, or the god of eloquence. The true origin of the alphabet remains a complete mystery. 14 Knots and Spirals: The knots and spirals with never-ending lines symbolize the Celts’ beliefs in eternal life and in humans’ complex relationship with the natural and the divine. 14 At Newgrange, County Meath, the wall of the passage tomb decorated with a Celtic spiral. Triquetra/Trinity Knot The most common knot. Unity and trinity of soul, heart and mind. Three distinct yet interlocked levels: physical, mental and spiritual. Love this living art from Co. Sligo, a woodland Trinity Knot. More info pic.twitter.com/e5ZCuxysG3 The Harp - a Symbol of Ireland The Harp - a Symbol of Ireland The Harp - a Symbol of Ireland Enlarge image From early times to the end of the 19th Century Ireland is unique in having a musical instrument, the harp, as its national emblem.

From antiquity to its decline in the early nineteenth century the harp was at the social centre of Ireland. Up to at least the seventeenth century harpists enjoyed a high status among all other musicians and in society. The woodcut illustrating an Irish feast in John Derrick's Image of Ireland (1581) shows the bard praising the harpist (who plays an incorrectly drawn harp) while the host or chieftain looks on. In the turbulent seventeenth century traditional musicians were outlawed or at least required a magistrate's permission to travel. However, new settlers in the country fell into the Irish pattern of cultivating the harp and its music. With the disappearance of the old Gaelic society traditional harpers became itinerant musicians travelling from one patron's house to another to earn a living. Carolan is a typical example of this and is often called the last of the Irish bards. By the nineteenth century harp making declined, society and tastes changed and this way of life died out. The harp is represented on early Christian stone crosses from the eight and ninth centuries and in early manuscripts. Usually the harpist resembles the biblical King David thus reflecting the prestige of the musician.

In about 1534 Henry VIII had a crowned harp appear on the Anglo-Irish silver groat (or 4 pence) and half groat coins. After this, the harp on a blue background features on various official royal occasions. It is on Queen Elizabeth I's charter to Dublin city in 1583. A banner with harp emblem was carried at her funeral in 1603. King James I incorporated the harp in the royal arms and standard of Britain in 1603 where it still remains. Visit Ireland - About Ireland: Musical Instruments Musical Instruments Genealogy Musical Instruments of Ireland Music has played and important role in Irish life for thousands of years. To gain a better appreciation of Irish music we have provided the following information on some popular instruments and the people who played them. ACCORDION Chromatic Button, Diatonic, Piano, Melodeon The Accordion is the bellows driven, free-reed family of instruments having chords and melody notes, developed in the early part of the 19th Century. The earliest accordions had a single row of ten buttons each controlling a valve, which controlled the airflow to a pair of metal reeds inside the instrument.

These reeds were tined to a diatonic scale, using a layout similar to the harmonica. With each button two different notes could be obtained, one by 'pulling' the bellows another by 'pushing' the bellows. The in and out movement of the bellows changes the notes and adds the rhythm necessary for the dance tunes. The Accordion family is comprised of a variety of instruments known specifically as a Button Box, Diatonic Accordion, Piano Accordion and Melodeon. Each instrument has a different sound and a variety of features, each played for different types and styles of music. Basically, for each instrument, the right hand plays the treble notes on the button keyboard or piano keyboard and changes switches on the grill. The left hand plays the bass notes and chords, plus changes switches and operates the air button (operates the valve that allows the bellows to open and close without making sounds). The Chromatic Button Accordion The Melodeon, also known as a Diatonic Button Accordion, was developed from the Harmonica in the early 19th Century. It has a single row of ten buttons on the right hand keyboard and two bass accompaniment buttons for the left hand.

So that ornamentation could accompany the fiddle and pipes and to be able to play in additional keys, a second row of buttons was added, which are also diatonic. These additional keys were a semi-tone higher or lower from the original row. Instruments were made in key combinations of C/C#, C#/D, D/D# and D/C#. By adding the second row of keys, it made the melodeon fully chromatic by providing the missing sharps and flats while preserving the push-pull technique and tone of the diatomic accordion. In the late 1800's the single row melodeon was introduced to Ireland. Its rhythmic qualities made it a good instrument for playing the dance tunes. It was inexpensive and easy to learn. It became a popular instrument for the women to play. Irish artists who play instruments of the Accordion family have included Joe Cooley, Jackie Daly, Mairtin O'Connor, Benny McCarthy of Danu, Dermot Byrne of Altan, Seamus Begley, Sharon Shannon and Johnny Connolly. BODHRAN (bow rawn) The Gaelic word for deaf is 'bodhar', whereby the Bodhran drum can be deafening.

The Bodhran is said to be an ancient drum used in battle and parades, but only in more modern times has it been used as a musical instrument. There are several theories on its origin. Sean O'Riada is given credit for incorporating it in his music, with Ceoltoiri Chualann, in the 1960's, bringing to the forefront for percussion. It has become the heartbeat in traditional Irish music. The Bodhran is a one sided drum, with a treated goatskin or other animal skin, stretched over a wooden frame approximately 18 inches in diameter. It is a percussion instrument, beat with a double ended wooden beater or tipper. The process of treating the skin is a trade secret of Bodhran makers. The early Bodhran had a cross bar on the back to keep the wooden rim from warping. The drum is held in one hand and struck with the other a beater or tipper. The skin of the drum is affected by the climate. Many times you will see the musician place a few drops of water on the skin to loosen to adjust the sound. A tunable Bodhran is now available.

These can be tuned either with a key or a cam wheel adjuster to adjust the sound. Many musicians decorate their Bodhrans with Celtic symbols or a family crest. The Concertina is a 'free reed' instrument whose origin is believed to be from the Chinese 'free reed' mouth organ. The concertina makes tones with reeds that are riveted over holes on reed plates, made from aluminum or brass. They can swing in and out of the hole making them a 'free-reed' instrument. There are many different types of Concertinas. The English Concertina was invented by Charles Wheaton around 1829, it is a chromatic instrument able to play full and half tones; it gives the same tone on push and pull. Carl Friedrich Uhlig invented the German Concertina in 1834. It has single tones on the right and left sides, later he added ten buttons on each side of the instrument. George Jones developed the German-Anglo Concertina in 1850. He combined the chromatic tones of the English concertina and the diatonic tones of the German concertina and included a third row of accidentals and additional redundant tones.

In other words there were different tones on the push and pull of the instrument, which made the instrument more adaptable to a wider scope of music. The German-Anglo Concertina was much better suited to playing the rhythmic Irish music. It was the German-Anglo concertina found it's way into many Irish homes. They were inexpensive and well suited for the ever-popular house dances. The music of the concertina in conjunction with the thump of the dancers feet made a lively sound. The concertina was very popular with the female musicians. Diverse styles of playing the where developed. The uilleann pipes influenced many concertina musicians. In Ireland, East Clare is the area most noted for fantastic concertina players. As in most towns each have developed their own styles of music, which are different from other parts of the country. This developed because in very early times the people were not as mobile as today and if they did not emigrate, they pretty much lived in the areas they were born. It wasn't until radio and records that you heard musicians from different areas play in their unique styles. Some East Clare concertina players that have gained international renown include Mrs. Elizabeth Crotty, Noel Hill and Mary McNamara. Mrs.

Elizabeth Crotty, (1885-1960) from Cooraclare in West Clare, was born into a musical family with her Mother playing fiddle and her sister playing concertina. Mrs. Crotty was one of the best-known Concertina players in the 1950's. She and her husband had a Public House in Kilrush where many a musician came and played. She played the concertina with great clarity and rhythm, not much ornamentation. She used a technique of playing the high part of the tune in double octaves. The tunes which made her famous were 'The Wind that Shakes the Barley' and 'The Reel with the Beryl". Mrs. Crotty along with her friend Mrs. Kathleen Harrington, who played the fiddle, were members of the Piper's Club in Dublin. Mrs. Crotty's fame grew as a result of recording sessions conducted by Ciaran MacMathuna and RTE. Her music was a favorite on his radio programs. Mrs. Crotty was a founding member and President of Comhaltas Ceoltoiri Eireann in County Clare until her death in 1960.

To this day she is remembered with a festival named in her honor Eigse Mrs. Crotty Festival of Concertina Music held each year in Kilrush, West Clare. Noel Hill, from Caherea, County Clare, is today in the forefront for virtuosity in playing the concertina. He is a musician, teacher of the concertina and an authority on Irish music. He has recorded four albums and has accompanied several other artists on their recordings. Mary McNamara, from Tulla, East Clare, is from a musical family with her Mother playing piano and her grandparents playing fiddle and concertina, dancing was another part of the musical fiber. Mary is a solo concertina player as well as a teacher on the instrument in East Clare. She has two solo recordings. TIN WHISTLE The Tin Whistle or Penny Whistle is a cylindrical wind instrument, made of metal, wood, or plastic. It is primarily used in Irish and Scottish music. Other ethnic groups use it as well. There is a plastic mouthpiece and six finger holes. Usually it comes in the key of D. Many tin whistles are inexpensive, but high-end whistles are available.

The tin whistle is relatively easy to learn and has become a favorite with main fledgling musicians. There are a variety of commercial materials available to learn to play the whistle. The tin whistle is similar to a recorder and has been in existence for about 200 years. It is sometimes referred to as a 'fipple flute'. Some world class whistle players include Mary Bergin, Joanie Madden of Cherish the Ladies, and Micho Russell. UILLEANN PIPES The Uilleann Pipes (pronounced ill un) have been in existence in some form as far back as the fifth century. Since the 18th century they have replaced the harp as the national instrument. A full set of Uilleann pipes consist of a bag, bellows, chanter, 3 drones and 3 regulators. A practice set does not include the drones or regulators. In playing the Uilleann (old Irish for elbow), the musician is seated with a bellows strapped to his elbow. This enables him to pump air into the bag, which flows through to the chanters. There are finger holes on the front of the chanter and a thumbhole on the back. The melody is played through the chanter.

The drones provide accompaniment in bass, baritone or tenor to the chanter and the regulators provide chordal accompaniment. The sound of the pipes is sweet and mellow but can also be wild and exhilarating, depending on the musician. In earlier times and number of pipers were blind. Music was one of the few professions a blind person could find employment. Many of them made their own pipes. Depending on the time in history, many pipers played for the autocracy and became known as 'gentlemen pipers'. The ordinary person made their own pipes from available woods and performed for their family and neighbors. Towards the end of the 19th century the living conditions became very desperate in Ireland. With people struggling to survive music was not a priority. Therefore, many pipers became destitute and went by the wayside. During the Irish music revival of the 1960's there were only a few Uilleann pipers on the scene, the legendary Willie Clancy, Leo Rowsome, and Seamus Ennis.

Willie Clancy (1918-1973) from Miltown Malbay, County Clare was born on Christmas Eve, and was the son of Gilbert Clancy and Ellen Killeen. It was a musical home, with Gilbert playing the concertina and flute. Prior to Willie Clancy's birth, the blind piper Garrett Barry would stay at the Clancy home for several months at a time. Garrett Barry was big influence on Gilbert Clancy. Gilbert Clancy encouraged his son Willie to become a musician at an early age. Willie Clancy learned the tin whistle and later the flute. He was twenty years old when he received his first pipes and was influenced by the traveler piper, Johnny Doran. By his 29th birthday, he competed in the Oireachtas and took first place with his uilleann pipes. Willie Clancy was a master carpenter working in Dublin when he joined Leo Rowsome's band for radio broadcasts. Later he traveled to London where the Irish music scene was better than in Ireland. Here he played with Bobby Casey, Seamus Ennis and Mairtin Byrnes. He moved back to Ireland in 1957, married and continued playing music.

He had a very large repertoire of tunes and folklore, many musicians enjoyed playing with him. Along with the Uilleann pipes, Willie Clancy was an excellent flute player and singer of songs. Willie Clancy had a huge influence on future pipers and the music in County Clare. Upon his untimely death, a music school was set created. It is internationally recognized and attended by players from around the world. Leo Rowsome (1903-1970) from Dublin was born into a musical home. His father William, Grandfather Samuel and uncles Tom and John were all uilleann pipers. His father made pipes and Leo was an expert reed-maker and pipe-maker. Leo Rowsome taught at the College of Music in Dublin for 50 years. He played on Radio Eireann in 1920 with Seamus O'Mathuna on fiddle and Nelius Cronin on flute. This exposed the music to a far-reaching audience and there were many requests for him to play at concerts and fesh's across the land.

Again in the 1930's Rowsome played on Radio Eireann in a piper's quartet with Eddie Potts, Tom Rowsome and Michael Padian and many others including Willie Clancy. In the 1940's Rowsome along with Tommy Reck and Sean Reid revived the 'Piper's Club' in Dublin. This was a place where musicians of all instruments, could learn and exchange with other musicians. Out of this venue, developed Comhaltas Ceoltoiri Eireann in 1951. Leo Rowsome for almost forty years dominated uilleann pipe playing; he set the standards and style at the time. He mastered the regulators; the feature of the pipes that allows chords to be played by pressing keys on a set of three additional pipes arranged parallel to the drones across the knee. He also had a recognizable chanter style. His grandson Kevin Rowsome marks the fifth consecutive generation of uilleann pipers. Seamus Ennis (1919-1982) from Jamestown, Finglas, County Dublin, was born into a musical home. His father James, played many instruments including the uilleann pipes, along with being a champion dancer.

It was his Father who had the most influence on Seamus. From the cradle he was lulled to sleep by the sound of the pipes. Throughout his youth many musicians visited the Ennis home. His Father was part of a trio that played and broadcast on Radio 2RN. Seamus Ennis was educated in the Irish language. Early in his work life he was employed in the printing trade. When the Second World War broke out, he went to work for the Irish Folklore Commission as a 'folk-music collector'. He gathered and achieved music from the West Coast of Ireland as well as the Scottish Gaeltacht until 1947. While in Scotland he secured a position at Radio Eireann as an Outside Broadcast Officer. His programs were 'Music Stand' and 'Folk Songs from the West'. He had the opportunity to record Willie Clancy, Bobby Casey, Sean Reid, Martin Talty and Micho Russell. These broadcasts reached a large audience. The music of various regions was played. Many listeners heard these different styles for the very first time. In 1951 he moved to London and worked for the BBC, recording the folk culture of England, Scotland Wales and Ireland.

His program there was 'As I Roved Out'. In 1958 he moved back to Ireland and did free lance work with Radio Eireann and also presented programs on Teilifis Eireann, the new TV station. During the 1960's he traveled around Ireland playing music. During the early 1970's he formed a group 'The Halfpenny Bridge Quartet' with Liam O'Flynn on uilleann pipes, Tommy Grogan on accordion and Sean Keane on fiddle. His style of playing the pipes was unique and easily recognizable because of his tone, technique, and variations. He often played slow airs along with a singer and dance music. He played pipes made by Coyne of Thomas Street in Dublin (circa 1800). Seamus Ennis was an important figure in Irish music. He was an accomplished musician and promoted Celtic music. Through his efforts much Celtic music was preserved which may have otherwise been lost.

The Irish harp (aka Gaelic harp, Celtic harp or Clarsach) is the official symbol of Ireland Home → Irish Symbols → The harp of Ireland The Irish harp, though not as popularly well-known around the world as the shamrock for being an Irish symbol, is the official emblem of Ireland. This status dates back several centuries and the instrument's history tells much about the history of the island. The Harp of Erin, from an 1855 engraving. Today, a representation of the traditional harp is to be found on the Presidential Seal and on many official documents, on passports, on the flag of Leinster (but not the national flag), on Irish euro coins and as a logo for a number of prominent state-supported organisations such as the National University of Ireland. As one of the national symbols of Ireland the harp is also used extensively by businesses and other corporations wishing to convey 'Irish-ness'. Guinness bottle labels are perhaps its most famous gig while a heavily stylised harp puts in an appearance on the tail fins of budget carrier Ryan Air. There are a number of names for the Irish harp.

It is also known as the Celtic harp, the Gaelic harp, the clàrsach (in Scotland) or the cláirseach (in the modern Irish language). Purists might argue some minor points of difference, but to the layman, these terms are synonymous. The history of the Gaelic harp. While its earliest origins are lost, the Irish harp has a certain history dating back at least 1000 years. Brian Boru, the last High King of Ireland (d 1014), is said to have been an accomplished player, but while he is attributed with all manner of skills for which there is no evidence, surviving 12-century annals refer to the Celtic harp being the only music played during the Crusades. Gaelic harp on 5c Euro coin. At this time, the Gaelic harp was revered in Celtic culture (and all over Europe). It was de rigeur for Scottish and Irish kings and chieftains to have their own resident harper who, in turn, enjoyed high status and special privileges. The musician's main duties were to accompany poetry recitations or the singing of psalms.

While they may have composed their own music, they did not write them down. The English monarch Henry VIII declared himself King of Ireland in 1531. Such was the fame and prestige of the county's harp, it was chosen as the official national symbol of Ireland and stamped onto the coinage of Henry's new realm. The Celtic social order was on the wane by this time and as the decades pass, harpers lost much of their status, and their numbers declined. Some become travelling musicians, playing their harps and singing, because rich patrons no longer retained them. In many ways, the harp's success became a problem. Still very much recognised as a symbol of Ireland and Irish pride, the Gaelic harp became an emblem of resistence to the Crown and England. As such, it was banned at the end of the medieval period and the old Celtic harp tradition began to die out. By the 18th century, the Scottish clarsach had disappeared. A century later, the Irish harp, too, was extinct.

Fortunately, a group of harpers had been lured to Belfast in 1792 for a traditional harp festival where the musician and folk music collector, Edward Bunting wrote down the music they played and the terminology of the harpers.. This was the first time traditional Gaelic harp music had been recorded on paper and it is thanks to Bunting that these genuine Celtic tunes were not lost forever. Characteristics of the Celtic harp The traditional Irish harp's distinguishing features are its use of wire (usually brass) strings and its resonating chamber carved from a single log (traditionally willow). The highly tensioned strings are played with fingernails, producing a very clear sound. Today, many Irish harps use gut or synthetic string and the construction of the chamber is also significantly different. Rather than being hollowed out from one piece of wood, the soundbox is more likely to be fabricated from sawn pieces of wood glued together which creates a different sound. Traditionally-constructed Irish harps also tend to be smaller than modern models. Surviving examples of ancient harps Less than a dozen Celtic harps survive from the medieval (pre-1700) period.

The oldest is the one on which the 'official' national emblem of Ireland is based: the Trinity College Harp. Also known as the Brian Boru or O'Neill harp, this 15th century Irish harp is on display in the Long Room of Trinity College, Dublin. Two other medieval harps are preserved in the Museum of Scotland: The Queen Mary harp (15th century) and the Lamont harp (date uncertain). The flag depicts the Irish harp. The Guinness Harp The Irish harp emblem was first used by the Dublin brewery of Arthur Guinness back in 1862 when it appeared on the label of the company's bottle of stout. Just eight years later, it was registered in London as the brewery's trademark. The emblem is based on the famous Trinity College harp (see Surviving Examples, in main text), but it has undergone many changes of style over the years and today's version is hugely simplified with just 6 strings. The biggest difference between the Guinness harp and the Irish harp that serves as the official symbol of Ireland is that the brewery's harp faces to the right while the State's Irish harp faces left.

In 1960, with the Irish harp device already so synonymous with Guinness, the company named its very first lager 'Harp'. The Guinness Storehouse is one of Dublin's top attractions. The Storehouse was originally built by Arthur Guinness and Co Ltd for use as a fermentation house. After a series of adaptations, the building was no longer suitable for modern brewing processes and it closed its doors in 1986. But just over 14 years later, those doors were thrown open again to welcome visitors. The Guinness Storehouse has gone on to become one of the top three attractions of Dublin. ERIC - The Harp: The Symbol of Ireland., 1985-May The Harp: The Symbol of Ireland. Hardy, Donna Dee The harp as a symbol of the Irish people is discussed. The first part of the paper discusses the early use of the harp in Irish society and how the magical powers of this instrument affected the natives and invaders of the small island for centuries.

From the time of the Celtic occupation of Ireland in 500 BC, music played by harpers has been associated with ancient warfare and with banquets and ceremonious occasions, e.g., song-loving poets accompanied by harpists could stop confrontations on the Celtic battlefield, and the Irish Parliament traditionally had a banquet with music after the business of the day was completed. The harp as a distinctive symbol of Ireland was introduced on the coinage by Henry VIII around 1526. As the feudal system declined and the influence of the English grew, harps were no longer heard in the banquet halls. The last of the wandering harpers died in the 18th century. The second part of the paper describes several Irish harps and examines their construction. Illustrations are provided. The paper concludes with a bibliography. (RM) Saint Patrick's Day Symbols - English-Zone.Com Holiday Pages ENGLISH-ZONE.COM HOLIDAY PAGES One traditional symbol of Saint Patrick's Day is the Shamrock. "Shamrock" is the common name for several different kinds of three-leafed clovers native to Ireland. The shamrock was chosen Ireland's national emblem because of the legend that St.

Patrick had used it to illustrate the doctrine of the Trinity. The Trinity is the idea that God is really three-in-one: The Father, The Son and The Holy Spirit. Patrick demonstrated the meaning of the Three-in-One by picking a shamrock from the grass growing at his feet and showing it to his listeners. He told them that just as the shamrock is one leaf with three parts, God is one entity with three Persons. The Irish have considered shamrocks as good-luck symbols since earliest times, and today people of many other nationalities also believe they bring good luck. Leprechauns The name leprechaun comes from the old Irish word "luchorpan" which means "little body." A leprechaun is an Irish fairy who looks like a small, old man about 2 feet tall. He is often dressed like a shoemaker, with a crooked hat and a leather apron. According to legend, leprechauns are aloof and unfriendly. They live alone, and pass the time making shoes. They also have a hidden pot of gold! Treasure hunters can often track down a leprechaun by the sound of his shoemaker's hammer.

If the leprechaun is caught, he can be threatened with bodily violence to tell where his treasure is, but the leprechaun's captors must keep their eyes on him every second. If the captor's eyes leave the leprechaun - he's known to trick them into looking away - he vanishes and all hopes of finding the treasure are lost. GREEN The Color Green Believe it or not, the color of St. Patrick was not actually green, but blue! In the 19th century, however, green became used as a symbol for Ireland. In Ireland, there is plentiful rain and mist, so the 'Emerald Isle' really is green all year-round. The beautiful green landscape was probably the inspiration for the national color. Wearing the color green is considered an act of paying tribute to Ireland. It is said that it also brings good luck, especially when worn on St. Patrick's Day. Many long years ago, playful Irish children began the tradition of pinching people who forgot to wear green on St. Patrick's Day and the tradition is still practiced today. The Harp The harp is an ancient musical instrument used in Ireland for centuries. It is also a symbol of Ireland.

Harpists, who were often blind, occupied an honored place in Irish society. Harpists and bards (or poets) played an important role in the social structure of Ireland. They were supported by chieftans and kings. Although it is not as recognizable as the shamrock, the harp is a widely used symbol. It appears on Irish coins, the presidential flag, state seals, uniforms, and official documents. O'Carolan was one of the most famous harpists, and many Irish melodies inspired by him still survive to this day. The Celtic Cross Saint Patrick was familiar with the Irish language and culture, because of his time as a slave there. When Patrick went back to Ireland to convert the Irish to Christianity, he was successful because he didn't try to make the Irish forget their old beliefs. He combined their old beliefs with the new beliefs. One example of this is the Celtic Cross. Saint Patrick added the sun, a powerful Irish symbol, onto the Christian cross to create what is now called a Celtic cross, so that the new symbol of Christianity would be more natural to the Irish. The Blarney Stone The word "Blarney" has come to mean nonsense or smooth flattering talk in almost any language.

Tradition says that if you pay a visit to Blarney Castle in County Cork and kiss the Blarney Stone, you'll receive the gift of eloquence and powers of persuasion, a true master of the "gift of gab." The Blarney Stone is a stone set in the wall of the Blarney Castle tower in the Irish village of Blarney. The castle was built in 1446 by Cormac Laidhiv McCarthy (Lord of Muskerry) -- its walls are 18 feet thick (necessary to stop attacks by Cromwellians and William III's troops). Thousands of tourists a year still visit the castle. The origins of the Blarney Stone's magical properties aren't clear, but one legend says that an old woman cast a spell on the stone to reward a king who had saved her from drowning. Kissing the stone while under the spell gave the king the ability to speak sweetly and convincingly. It's difficult to reach the stone -- it's between the main castle wall and the parapet. Kissers have to lie on their back and bend backward (and downward), holding iron bars for support.

The world famous Blarney Stone is situated high up in the battlements of the castle. Follow one of the several long, stone spiral staircases up to the top and enjoy the spectacular views of the lush green Irish countryside, Blarney House and The Village of Blarney. The stone is believed to be half of the Stone of Scone which originally belonged to Scotland. Scottish Kings were crowned over the stone, because it was believed to have special powers. The stone was given to Cormac McCarthy by Robert the Bruce in 1314 in return for his support in the Battle of Bannockburn. The origins of Irish traditional music Translation by GO! Network The origins of Irish traditional music The following discussion on the origins of Irish traditional music was assembled from several posts made by Caoimhín Mac Aoidh to the IRTRAD-L list. Caoimhín Mac Aoidh is an expert on the fiddle music of Donegal, which he has been collecting and studying for many years. The discussion can be broken down into the following topics: I feel that some confusion may have entered based on two concepts, namely the relativity of time and secondly the history of harp playing in Ireland. What is traditional?

The first point derives from the music being labeled "traditional". What does this mean? For every player/singer, there is a definition, but the prime common factor is typically some notion of "age"-it's being an "old" form of music. As Einstein might indicate to us, time is relative. Look at the Bunting, Joyce and Petrie Collections (the works of the early "great" collectors). They all invariably describe certain tunes as "ancient". This is the typical terminology of the "antiquarians" of their day (which they all were themselves). BUT, how old is old and ancient? A house in North America built in the 1700s is rare and considered very old. Alone in the small town in which I live, Ballyshannon in County Donegal there are several of them. How old is ancient? When Christ was born! That is a pretty good stab at ancient. Twice a day every weekday, I drive by a man-made religous structure that was very old when Christ was born! We have a notion about "traditional" Irish dance music as being ancient. Certainly we have read as much in the great collections.

The evidence (and this is critical and forms the basis of investigation into this subject) can only be derived from published collections and other literary accounts of what was played at various periods and it must be noted that these sources also contain their inaccuracies. If publications are examined through time, there is a clear indication that the body of tunes we now generally consider as traditional were composed in the 1700 and 1800s. For some, this is old, for others, it is hard to conceive of this as being ancient, and therefore not traditional. Those who don't accept that this is old enough to be "traditional" often discount this music and maintain that the "traditional music of Ireland" was the music of the harpists, a tradition which has died out in a direct aural, passing-on tradition. They commonly note that this music was music which was revered and was performed in venues of high status. What the latter view fails to recognise is that running exactly parallel with the harp history was a history of performance of music amongst the general public and there are numerous accounts of this music. In short music performed in houses by ordinary people on such instruments as primitive fiddles, flutes, pipes and whistles.

I would call this music as traditional as the music of the harpists. It has evolved directly into today's dance music which we discuss so passionately on the IRTRAD-L list. Personally I suspect that the "elite status" of the harp is true but also masks the performance at citizen level. I base this on accounts of harpists (at the end of the period) who note that while they certainly played for the upper echelons of society, they also did so for the general public with warm receptions. Furthermore, if one were to argue for the sole elevated status of harpists, they would in fact find themselves in difficulty. Much of the evidence for this high standing comes from State Papers, not in patronised harpists amongst royalty. In these same papers are accounts of pipers (presumably playing mouth blown pipes) holding equal status! Repressive laws designed to stamp out a Gaelic order lifestyle played a large part in the decline of the harp tradition but it is worth while to note that with the demise of the national musical symbol came a quick replacement of it in the upper echelons of society by the uilleann pipes.

Over a short period of time, the harp was wiped out and pipers quickly filled the gap with "patronised pipers" and "gentleman pipers" emerging rapidly as a distinct musical group which performed in the vacant venues left by the harpists. In short, to say that the true "traditional" music of Ireland died with the harpists is to fail to recognise the parallel tradition of dance music played by the ordinary public on instruments which have been evolving in an unbroken development history to today's instruments. The origins of the different dance metres There have been great debates about the evolution of the "traditional" dance music repertoire which we now generally agree as forming "traditional" Irish music. One fact of outstanding importance is that there are little facts to go on thus, our view of how we have what we have is from one point of view, purely speculative and from another, the result of a great deal of careful investigation and logical conclusion based on the tested information available.

A mathematician will argue very strongly that the number of music time signatures must be very limited since once you start assigning the number of beats to a bar starting up from one, you quickly meet numbers divisible by a smaller number and thus technically repeat a signature you've already accounted for. For example 1, 2, 3, the next number 4 is divisible by two and so is only a variant of 2, 5, the next number, six, is divisible by three so is only a variant of another time signature etc. As a result of this mathematical fact there are only really a limited number of basic rhythms available (though I fully accept complex rhythms can easily be generated without a lot of effort using unusual number combinations). So, in Irish music we wind up with hornpipes, jigs, reels, highlands (or fling/schottische variants), barndances, strathspeys (even Coleman played them!) slides, single jigs, slip jigs, mazurkas and polkas (I exclude airs as we are dealing with dance music).

Indeed, these are only the common forms; there are also other forms such as set dances (extra bar versions of key signatures already accounted for above), waltzes, rondos, etc. Although the vast quantity of performed traditional Irish dance music is now done in the absence of dancers, tracing the history of the musical rhythms is inexorably entwined with the history of the dances. It is now widely acknowledged a critical agent in the spreading of traditional (not contrived by cultural committees, etc.) dances were military regiments. They brought dances with them they knew from their own countries as well as those they picked up in others. The significance of these can still be seen in the names of some of the sets still danced in traditionally strong dancing areas, such as The Caledonian (after a Scottish regiment) and The Lancer (after the French De Lancier regiment). The history of the introduction of each of these rhythms into the performed "tradition" varies between complex to trace and simple to trace. For example, the introduction of the Polka into western European folk (Breathnach's definition of folk please, not to imply "Guns & Bullets" ballads etc.) idiom music is relatively easy to trace.

It exploded into the repertoire with the sudden mass popularity of the Swedish singer Jenny Lind. Such was her notoriety that not only were polkas named after her, but polka dances were created and named after her. Jenny Lind was primarily a singer, but her career was very much pushed by a new type of PR to emerge then. They made her a SOCIALITE. That is she performed on stage and was then invited to private (publicly covered in news terms by "Social Columnists") parties by influential, socially prominent people.. There was much dancing at these things and Jenny became well known for her preference for dancing a polka. (Jackie Small has done a good bit of digging on this one). As such, she was very much a "popularising vehicle" for the polka. The mazurka is a dance of eastern European origin, commonly credited to Poland. It more than likely entered Ireland through the military route but never gained a great foothold with the exception of Donegal. It certainly arrived by the middle of the last century and possibly earlier. The date of the strathspey is easy to fix as its invention in Scotland is well documented.

James Oswald printed the first strathspey in book 3 of his Pocket Caledonian Companion series in 1745. Its journey to Ireland was more than likely rapid, having only a sustained effect in the northern half of the country. Whether it gave rise to the highland, or whether the highland previously existed and used strathspeys as a melodic base to "compose" new highlands, would now appear to be impossible to determine. At this point we are left with the "big three" group of tunes: hornpipes, jigs and reels. Let's take reels first as they may be easiest to deal with. The typical statement is that "The reel came to Ireland in the 1700-1800s from Scotland". This is based on the known fact that early Irish publications do not show very many reels compared to jigs and we also know that thanks to the co-existence of the Scottish patronage system and affordable publishing costs, there was an explosion of reel composition going on in Scotland at this time.

Look at the current Irish reel repertoire and you will find it shot through with Scottish compositions (the actual composers are often known-thus the anonymity of "traditional" music is grossly overstated). Personally I accept that the reel in Irish music owes an irrepayable debt to the Scottish tradition (though accepting we have done some pretty remarkable things with what we have been offered). BUT, I would not accept that the reel was unknown in Ireland until the Scots composers got down to work. I think it certainly was there, but, like the polka, became a popular fashion reaction which has stuck to today. The jig appears to have had a greater popularity in Ireland before the reel (which is very different to saying it is older than the reel). O'Farrell's 1804 collection (obviously derived on a repertoire from at least the late 1700s) features a good number of jigs, many of which are still actively played today (a favourite Seamus Ennis jig - When the Cock Crows it's Day / Tá an coileach ag fogairt an lae). There are arguments for placing the slip jig as an older form.

The Single Jig and Slide are timing emphasis variants of the double jig, and there is some evidence to show that they may have derived from the latter and thus be more recent. As for the double jig and its emergence in its modern form, this argument was carried out in a printed exchange between Breandán Breathnach and Declan Townsend in the early 1970s. The latter maintained that the rhythm derived from Carolan's compositions of "Gigas", the form of which he learned from the Italian composer Correlli. Townsend cited supporting evidence on the jig performance of Donegal fiddlers (almost certainly singularly based on John Doherty), which no one today would support. The former, writing in the article Tús an Poirt in Éireann (the origin of the jig in Ireland; appearing in Irish Folk Music Studies, Vol. 1) refutes this and suggests amongst other things they may be based on older tunes such as clan marches which have had their speed altered slightly. In an English language summary, Breandan writes: "The jig most probably came to Ireland from England, perhaps as early as the 16th Century.

Native marches were adapted for dancing, some tunes borrowed from England and a start made on composing those tunes which constituted the greatest single division of the dance music until reels began to catch up on them in the second half of the last century". The hornpipes have been argued as a more recent arrival with some indications of England as a source. More recently it is being argued that this rhythm in particular has been popularly spread through publications with a respectable amount of evidence in the tradition to support this. The notion of the performance timing of the hornpipe-the question of dotted or undotted playing appears to be entirely a local matter based on the local dance tradition requirements. Its slower speed gives the player much more time to attempt more technically challenging performances of this type piece, thus the bunches of triplets and the "difficult" (flat) keys. As such hornpipes were sometimes played away from the dancing environment as a show of virtuosity. In an effort to establish virtuosity note reading players (usually the more formally trained and adapted to classical based techniques) were anxious to purchase books and learn new "virtuoso" hornpipes.

Examples of this are the popularity of James Hill (a Lowland Scot who came to settle in Newcastle in the north of England), who certainly had a big impact on Irish fiddle playing up to today, as well as the likes of Sean McGuire who liberally avails of published virtuoso hornpipes and who has impacted significantly on the tradition. For those living outside Ireland and building their repertoire in pub-based sessions, with the view that this music is not really "ancient", i.e. for the most part about 200 years old, and is massively reel, reel, reel dominated, it may be of value to note that if you listen to the still living older players in the west of Ireland, you will find their repertoire (when they play at home and not in "reel" demanding pub sessions) is certainly reel dominated but shows a more even balance of jigs, hornpipes and other rhythms compared to what is performed in sessions. For those interested in looking at early Irish music, could I suggest three excellent and highly affordable publications.

The first is Popular Music in Eighteenth Century Dublin published jointly by the Folk Music Society of Ireland and Na Píobairí Uilleann as well as A Collection of the Most Celebrated Irish Tunes by William and John Neal in 1724 and which was facsimile reprinted by the Folk Music Society of Ireland with Nicholas Carolan as editor. Lastly is O'Farrell's Collection of National Irish Music for the Union Pipes by O'Farrell and facsimile reprinted by Pat Sky as editor (IRTRAD-L list member). Irish music before 1700 In terms of the ORIGIN of what we now call "Traditional Irish Music" this is an absolutely central and critical question. It is also desparately hard to answer. I think anyone trying to do so must start from a viewpoint that says there was no "Adam then Eve" situation. In otherwords, there was no "Creation Instant" and then everything else followed after. The music has no defined origin instant. It has (as is often hotly debated on the IRTRAD-L list) been evolving constantly with mixed periods of revolutions and subsequent quiet periods of adjustments.

(Palaeontologists have called this phenomena "Punctuated Equilibrium" for some time now). For a period of revolution, look at the introduction of the reel, or similarly the polka and the subsequent adjustment period which followed. When speculating on the answer to this, we seem to be lost with the absence of bits of evidence which we can lay our hands on, like collections for instance. BUT, there are some reasonable assumptions that can be made which may guide our guessing. Start with instruments. There are very good ideas and even some examples of the kinds of instruments that were used before the advent of publishing. These allow us to conjecture the maximum level of performance which could be got by even a very gifted player of the day. In the case of fiddles (probably the most widely available along with fipple flutes) these indicate that the performance levels would not be of today's "technical wizardy" status. Even consider the playing advancements that string manufacturing technology have delivered to us. When trying to logically work backwards, look at what has been the approach of classical players trying to reproduce very early "period" performances.

Their experience, and I believe the parallel with traditional music is very strong, indicates the general type of music played was simpler and to an extent slower. Likewise, think of the social conditions of the era. If we are looking for "the music of the people" then the general populations of the pre-1600s were largely concentrating on basic survival! The amount of time they could devote to practising (our modern day "leisure time") was minimal. The average level of dexterity due to gruelling, heavy, largely agricultural manual labour would mean performance ability would be lower than that we know now. I also suspect that, like the "house dance players" of the early part of this century (who to a considerable degree parallel the latter group of players described) , they had a drastically smaller repertoire than the modern player has, as they only needed enough tunes to provide music for acouple of dances. In short, I personally suspect the music played for dancing was melodically simpler and probably a good bit slower. Going back to my mathematical reference above, I suspect we would recognise a couple of rhythmic forms arising from 2/4 and 3/4 timing variations.

Now if you wish to line these up with jigs, reels, etc, I suppose there is an argument there, but I personally would wait for evidence (which I don't expect to emerge). As regards what types of melodies were played, I agree with the thinking proposed by Henrik Norbeck that the melodies in the earliest publications are based on pre-exisiting ones which have been adapted to some extent, but I would stress that I, myself, think the types of melodies would be considered today to be simple, or, "the bones of the tunes". So, there are clues there. My personal overview of the evolution of the music has been one of melodically simple, unadorned (by today's standards) music up to the early 1700s with an explosion of repertoire at this time. A RELATIVELY large number of persons able to play per capita in existence. Numbers of players stayed high and technical advancements were massive and rapid in the 1800s due to more freely available, radically better and technically improved instruments. Performance levels soared and melodic and ornamentation complexities rocketed.

Throughout the 1900s the music gradually dropped off in terms of numbers playing in Ireland with economic decline and associated emigration but playing standards remained extremely high. By the 1960s the "folk boom" re-introduced the music to an excited new generation. Though numbers playing is still down on those which played at the start of this century, the standard of performance has never been as high and appears to continue to rise in the forseeable future (the medium term sustained rise will depend critically on education interventions-in short teaching availability by voluntary bodies). What I have stated above may appear to praise the youth and show the players of the pre-1700s in a poor light-as simple unskilled players. This is not how I see it however. These views must be taken in social context. The "early" players were of an equivalent level of genius as those we praise today. How? Because they were even able to play under the social conditions in which they had to live. Their leisure time and health conditions in no way parallel that which we appreciate today.

Looking at things that way, we must be massively grateful to the unnamed legions who proceeded us gradually shaping, crafting, creating, and selecting the inspired body of music which we today have inherited and in which can revel. Some time ago when the IRTRAD-L list considered the question of a short list of the most influential players in the tradition I forwarded the idea that Michael Coleman is as close to the traditional Irish music icon as anyone today will find. As a result, I argued that the person/s who taught him must therefore be the most influential. I still maintain this idea. Without those who have worked to pass on the music it would not have survived. As a result, if you play even just one tune you are indebted to a long line of people stretching back some goodly amount of time for having kept either the melody or the technical/ornamentation skills alive to be able to play that tune. Adh mor,

Question: What musical instrument is considered to be a symbol of Ireland?
Answer: Harp