Notes on Celtic Music (Traditional)

One cannot hope to cover even the major aspects of any folk music tradition in such a small space. And surely there are persons here today, both practitioners and fans, who are more familiar with Irish/Celtic folk music than I am. Nevertheless a few general remarks may be made for those who are unfamiliar with this idiom. Folk music in Ireland, at least in terms of historical records, goes back to around 1000 A.D. It has always been strongly based in traditional tunes, which were passed down orally from generation to generation until some began to be notated for publication during the 18th century. Solo performance remains fundamental in both vocal and instrumental repertories, though small bands have emerged as interest in harmony has become at least as important as a performer’s variations on an age-old melody. As with all folk traditions, regional variants are significant and jealously maintained; furthermore, the role of dance cannot be overemphasized. We note below in Beethoven’s folksong settings the preponderance of four-square phrase rhythm, aaba, with a great deal of parallel (i.e., identical) phrase beginnings. Certain instruments are idiomatic to the Irish/Celtic traditions (such as the tin whistle and harp), and fiddle and accordion are among the most popular instruments in modern folk performances. Harmonic structure, as in American jazz and blues, is often rigid and formulaic, resting principally on tonic, dominant, and subdominant chords.

(c) Jason Stell