The Kesh Jig-an Old Standard Brought to Life

Ok this is a bit of a teaser. It’s a video of Kevin Burke doing a tutorial video for an online service called fiddlevideos dot com. But, it is the abridged version of the lesson. They hope to leave you wanting more. I’m sure they have some great content, but this isn’t about them, it’s about the Kesh jig! Check them out, though, if you’re so inclined.

This video shows Mr. Burke playing the kesh jig right off the bat. I wanted to share this to show how this simple, perhaps overplayed tune can sound really amazing if its strong points are emphasized. It’s got a lot going on, lots of variety in melody and texture, so to speak, all of which can be emphasized to great effect. Here, have a listen:

More Airs–What About O’Carolan?



In Music

a. A melody or tune, especially in the soprano or tenor range.
b. A solo with or without accompaniment.

(Disclaimer–there are many opinions on the definition of the meaning of “air.” Please take the following as the ramblings of a moderately intelligent monkey.)

In my limited understanding of the Irish musical tradition so far, airs are most often sean nós songs stripped of their words and played solo on a melody instrument, slowly and with no set rhythm. There are also jigs and reels and that sort of thing that were originally songs, were stripped of their lyrics, and turned into fine dance tunes. Sean nós airs, by contrast, owe no allegiance to meter or tempo, as even these are flexible and used as part of the expressive potential of the song or tune. This lack of rhythmic structure carries over to the instrumental playing of airs as well.

It came up in the last LVISS session that O’Carolan’s tunes might be considered airs. Well, I think they are, but most of the musicians I know that play this music call airs airs, and O’Carolon tunes O’Carolan tunes. You can tell the difference between them right away–they just have such a different feel from each other.There are a couple of important ways in which they differ. (Be sure to see the link below for an interesting discussion of what an air is and isn’t.)

For one thing, O’Carolan composed his tunes first, and added words later. Other airs are derived from a song that would have been composed with words and melody at the same time. Here I quote

His practice was to compose the tune first and then write the words. This was opposite of the traditional Irish practice. Although music was always important, prior to Carolan, poetry always took precedence.

Secondly, all the O’Carolan tunes I have heard have a definite rhythm. Sean nós songs are not traditionally sung with a set rhythm, nor are airs derived from them played that way, though they can be. Usually the rhythm is slow, not regular, and very flexible.

Sung solo, with little rhythm, sounds like this:

With a bit more rhythm next. This is probably because to get everyone playing together you need at least a bit of predictability!

This one has ALL the rhythm:

O’Carolan’s tunes are played the way most other session tunes are–all together as a group. Everyone in unison. Sean nós airs are played solo at sessions, if at all, and as I said in my last post, I have now heard that done exactly once! I am in the States, though.

Finally, O’Carolan’s tunes were influenced by and incorporated other European music styles of his time, notably the Baroque style. Not that Irish sean nós wasn’t influenced by the “outside world” throughout its history, but the influences really stand out, and are in fact highlighted in O’Carolan’s work. Again, from

There were three musical traditions in Ireland, art music, folk music and the harper tradition. The harper tradition served as a bridge between art and folk music and was the primary conduit for the oral tradition. Carolan created a unique style by not only combining the two art forms but by adding elements then-contemporary composers, including Vivaldi and Corelli. He greatly admired Geminiani, whom he probably met in Dublin.

Obviously O’Carolan would have been influenced by the sean nós traditions of his time, but it may be that his primary concern was making a living, and he was offering what would best serve that mission. His wealthy patrons would probably have been looking for something they felt was slightly different from the folk music of the time, so O’Carolan’s Baroque infused compositions would have suited their tastes well. But that’s just me speculating.

In any case, he managed to fuse the two traditions of Irish and classical music very effectively, creating something entirely unique from the traditions of the time. As unique as the sean nós tradition? Hmmm….

Carolan “bridge [sic] the gap between continental art music on the one hand, and the Gaelic harp and folk music on the other.” “At his best he wrote music that is distinctively Irish, yet has an international flavor as well. It is this achievement that suggests that Turlough Carolan does indeed deserve the title of Ireland’s “National Composer”

Look, I’m not an expert, so let me know if you think I’ve mucked something up here. What do you think? Leave a comment below!

For more on O’Carolan see Wikipedia. Also see THIS page.

For more on the sean nós style of singing, see Wikipedia.

Discussion about airs, on

Ó Amhrán go Fonn — From Song to Tune

I went to the NcNeill’s session in Brattleboro this week, and a fella there played an air on his flute. Honestly I don’t remember ever hearing an air played at a session before. I’ve heard lots of them sung, along with other song types (this is common at the McNeill’s session) but never done instrumentally.

Fast forward to today–I’m listening to Macdara Ó Raghallaigh’s album “Ego Trip”–which is absolutely brilliant, by the way–and on comes an air called Bruach na Carraige Báine, or “The Edge of the White Rock.” It’s a lovely sad tune, slow and kinda painful, and a bit unresolved melodically, leaving you with a bit of an empty space inside, to good effect, I think.

For awhile I’ve been thinking about how airs generally come from songs that are sung, and I have wondered  do musicians take liberties with the melodies of songs to make them more palatable as airs? Well I’m sure it varies by musician. I have heard some liberties taken in the more modern arrangements. These songs were originally sung solo, as part of a tradition called “Sean Nós,” or old style singing, literally. The singer, or amhráiní, would use various embellishments in the melody for mood and effect, much as we do when adding ornamentation to jigs, reels and the like. However quite often nowadays you hear amhráin (songs) accompanied by guitar, or harp, or even arranged with more complexity–think of the big name “Celtic” super groups, like Altan and the like, I suppose.

So of course, I turned to good-old YouTube, and I did manage to find a nice, unaccompanied version of Bruach na Carraige Báine, and luckily, Macdara’s version is also on the Tube for comparason. In the first video, the tune in question begins shortly after the beginning, but the video goes on with other songs and stuff, so watch it through after you make your comparisons.

For the curious–the lyrics can be found HERE.

(I have not vetted the lyrics, so, here’s a grain of salt for ya’s.)


An Fonn is Déanaí–Sean Reid’s Reel

Much confusion over this on my part because the version I have been listening to is on Mícheál Ó Raghallaigh’s Inside Out album but the title used there is “West Wind.” Thank the gods for, I managed to find the proper name there anyway.

Here’s a version not to be sneezed at: Mary Bergin’s!

Can’t find any others on the YouTube that I really like (Mr. Ó Raghallaigh’s isn’t there) so I’ll leave it at that. Check out the page for this tune over at HERE.

Closed vs Open Sessions

357410-closedThere’s a session I go to monthly that is held in a public place, but in order to play you need to be invited. Seems kinda exclusive, right? Well, it is, really. See, there are two kinds of Irish sessions–“open,” and “closed.” Ok–not entirely true, but read on…

At an open session, anyone can play. That’s not to say that there aren’t rules around playing. There’s an etiquette in place to guide the behavior of the musicians who play at an open session to help insure that everyone gets along, and more importantly, that the music is honored and that the quality of the music remains as high as possible. You’re going to get folks who can play very well at an open session, but you’re also going to get those who play only passably, sometimes poorly. As long as the poor players follow the rules–only playing tunes they know well enough to play without too many horrible mistakes, not noodling* during tunes they don’t know–then they probably will avoid irritating their fellow sessioners, and will be welcome to return. There’s a great potential for unexpected wonderfulness at open sessions, as new players might introduce new tunes to the group that they hadn’t heard before, or new sets, or stories. It can also bring in players with no respect or knowledge of the tradition, much less skill at playing. God forbid a cocky bones or tuba player should show up. But that’s why the etiquette is in place, and hopefully folks are mature enough to enforce it without being insulting–except when absolutely necessary!

A closed session is one at which musicians may play by invitation only. There’s probably a leader, or organizer, who wants to keep the quality of the music from falling below a certain point, so they invite only those who they know who can play well. Those invited to a closed session have usually already demonstrated that they respect the tradition of the music, as well as the rules of conduct, so there’s no worry that there will be any unexpected friction. I suppose there’s some variation in leading style from various organizers, and from session to session, but that’s to be expected.

That said, some sessions are more closed than others. For example, trusted invitees can sometimes invite others who they feel can play well enough to attend–sometimes those players are further vetted by the organizer, sometimes not. Around here, in western Massachusetts, the “closed” sessions I have attended have most often been house sessions. There is one closed session I attend currently, and I think that regardless of my place as one of the least skilled musicians (my own opinion) in the group, the fact that I respect the tradition, the music, and the rules goes a long way toward making me welcome. And that is a result of the very important social aspect of sessions–it’s a place where both music AND friends are made. In fact, it’s a lot like college–you’re all interested in the same subject, and you get together periodically to practice and study. Birds of a feather, and all that.

Regardless whether the session is “open” or “closed,” or something in between, the rules apply. The music is played. Friendships are made.

Do you have experiences with closed or open sessions? Share them in the comments!

Port na Seachtaine – The Gatehouse Maid

This week for Port na Seachtaine (my tune learning and practicing endeavor on YouTube) I decided to to one from the LVISS playlist–The Gatehouse Maid. A simple tune on the surface, but as I am discovering, it really isn’t at all.

Have a look at this video of Paul O’Shaughnessy playing it in a set for Irish Traditional Music Archive. It’s the second tune. And pay close attention to his pinky! I was watching it because playing this tune would be easier if I could use the pinky instead of crossing the strings, especially in the A part. Just watch it.

An Port Seisiúin is Déanaí–The Breeches Buttoned On

I pretended I knew what the heck I was doing this past session and taught the crowd a tune–a polka called The Breeches Buttoned On, which  I learned from Matt Cranitch and Jackie Daly’s album.

This is the only decent youtube vid I could find to share, but it’s probably the best one could ever hope for anyway!

The tune’s page on