Strike the Gay Harp

I was listening to an album by Kevin Crawford called In Good Company today, and this one jig stood out to me, and it turns out it’s because my musician friends play it at sessions. It’s called Strike the Gay Harp, and I love it. It has three parts, in the key of D. Here a link to a recording of my friends playing it, and a few videos from YouTube for your viewing and listening pleasure. Tell me what you think of it! I’ll post a vid of me playing it soon! But first–

My friends playing Strike the Gay Harp.


Tommy Coen’s Reels

I recently learned two reels from my fiddle teacher, both called Tommy Coen’s reels.

According to “The Fiddler’s Companion:”

Coen was born in Urrachree, East Co. Galway, but moved with his family to Salthill, just west of Galway City, in the late 1920s. He started out as an accordion player, but later switched to the fiddle and it is for his skill on the latter instrument he is remembered. Coen worked as a conductor on Connemara buses and is said to have been inspired by the local scenery when composing his tunes. Flute player Mike McHale was overheard to tell a story about Coen during a concert at the East Durham Irish Arts Festival in 2000 (communicated by Mike Hogan). McHale was a boy who had picked up the tin whistle, and was entertaining himself by noodling around with it during his bus ride on his way home from school. Hearing him, the vehicle’s conductor approached him a asked, “Can you play that thing?” McHale answered, “A couple of tunes, Sir.” “Well then” said the conductor, “My name is Tommy Coen, will you come to the back of the bus, I have a fiddle under the seat.” Later, according to his student Séamus Walshe (Taylors Hill, Galway), when Coen’s health failed he returned to accordion playing, “putting his fiddle playing into the box. I think he wrote a total of about six tunes.

In this video, I know the first as Tommy Coen’s (or Sean Ryan’s,) and the second as Tommy Coen’s #2. I learned them both in G minor–not sure what key the video has them in. Really nice playing here, though. Enjoy!

Apples in Winter

It hardly feels like winter here, or well, I should say it hardly looks like winter–there’s little snow, but the temperature is low enough. This morning as part of my second breakfast (yes, I am a giant Hobbit) I had an apple. And just two days ago I was playing the concertina and this tune, Apples in Winter, spontaneously popped out of it. So of course, I took that all as a sign that I should share this tune with the world. It’s a wonderful and not difficult jig in E dorian.

I first heard a two part version of this tune played by Edel Fox and Neill Byrne at a house concert a few years back. I have a recording so I was able to learn it. There’s also a four part version. Here are a few examples–not Edel and Neill, but good ones nonetheless. Note how there are a couple variants of the ending of both the A and B parts.

A four part:

Our pal Gilles Poutoux:

Paddy Cronin:


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.)