1660:. These are usually strummed with a plectrum (pick) to provide backing for the melody players. Irish backing tends to use chord voicings up and down the neck, rather than basic first or second position "cowboy chords"; unlike those used in jazz, these chord voicings seldom involve barre fingerings and often employ one or more open strings in combination with strings stopped at the fifth or higher frets. Modal (root and fifth without the third, neither major nor minor) chords are used extensively alongside the usual major and minor chords, as are suspended and sometimes more exotic augmented chords; however, the major and minor seventh chords are less employed than in many other styles of music. Players usually strum only two to four strings at a time, rather than across all six at once; the strings are often slightly muted with the palm of the plectrum (picking) hand. A monotonous alternating bass is not appropriate, but basslines and flashes of improvised counterpoint, well played, can add considerable style and verve.
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overlap and the third row contains additional redundant notes, so that the same note can be sounded with more than one button. Often, whereas one button will sound a given note on bellows compression, an alternative button in a different row will sound the same note on bellows expansion. Thus, by playing across the rows, the player can avoid changes in bellows direction from note to note where the musical objective is a smoother sound. Likewise, the
English system accommodates playing styles that counteract its inherent smoothness and continuity between notes. Specifically, when the music calls for it, the player can choose to reverse bellows direction, causing sequential notes to be more distinctly articulated.
531:("old style") dancing. Sean-nĂłs dancing has a large element of improvisation, but at its best is more than a mere frenetic jumping about; the performance of a skilled sean-nĂłs dancer should convey both restraint and wildness packaged in an unpretentious dignity. The upper body and arms are loose and relaxed, rather than held erect and still as in modern stepdancing, and the footwork is low, hard, and percussive, without the high kicks (over the knee height) of stepdancing. Props are occasionally employed - for example, in "The Brush Dance" the dancer uses a sweeping brush (broom) as a prop.
1265:. Some of the late exponents of the harping tradition, such as O'Carolan, were influenced by the Italian Baroque art music of such composers as Vivaldi, which could be heard in the theatres and concert halls of Dublin. The harping tradition did not long outlast the native Gaelic aristocracy which supported it. By the early nineteenth century, the Irish harp and its music were for all intents and purposes dead. Tunes from the harping tradition survived only as unharmonised melodies which had been picked up by the folkloric tradition, or were preserved as notated in collections such as
1527:
virtually any key. A series of sequential notes can be played in the home-key rows by depressing a button, compressing the bellows, depressing the same button and extending the bellows, moving to the next button and repeating the process, and so on. A consequence of this arrangement is that the player often encounters occasions requiring a change in bellows direction, which produces a clear separation between the sounds of the two adjacent notes. This tends to give the music a more punctuated, bouncy sound that can be especially well suited to hornpipes or jigs.
1281:, along with such old harp tunes as they could find, and applied to them techniques derived from the orchestral (pedal) harp and an approach to rhythm, arrangement, and tempo that often had more in common with mainstream classical music than with either the old harping tradition or the living tradition of Irish music. Over the past thirty years a revival of the early Irish harp has been growing, with replicas of the medieval instruments being played, using strings of brass, silver, and even gold. Further information is available from the
429:, and rhythmic emphasis. It should be noted that, as an aural music form, Irish traditional music is rather artificially confined within time signatures, which are not really capable of conveying the particular emphasis for each type of tune. An easy demonstration of this is any attempt to notate a slow air on the musical stave. Similarly, attempts by classically trained musicians to play traditional music by reading the common transcriptions are almost unrecognisable - the transcriptions exist only as a kind of shorthand.
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1748:
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calls to curtail 'jazz dancing' and other suggestions of a dereliction in Irish morality -- though it was not until 1935 that the Public Dance Halls Act curtailed the right of anyone to hold their own events; from then on, no public musical or dancing events could be held in a public space without a license and most of those were usually only granted to 'suitable' persons - often the parish priest.
27:
448:, generally danced in "sets" of four couples (eight hands; a "half set" is two couples or four hands), is one of the most popular forms of the Irish traditional dances. After almost having died out, the recreational dance form was revived in the 1980s in counties Clare and Kerry. Venues for set dancing are often pubs, which might reserve one evening of the week for dancing, and
1158:) all with double reeds and keys worked by the piper's forearm, capable of providing harmonic support for the melody. (Virtually all uilleann pipers begin playing with a half set, lacking the regulators and comprised of only bellows, bag, chanter, and drones. Some choose never to play the full set, and many make little use of the regulators.) The bag is filled with air by a
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1344:, often having strong competency on another instrument more common in the living tradition, such as the fiddle or concertina, and work very hard at adapting the harp to traditional music, as well as reconstructing what they can of the old harpers' music on the basis of the few manuscript sources which exist. However, the harp continues to occupy a place on the fringe of
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1519:
characteristic of the Anglo system is that each button sounds a different note, depending on whether the bellows are compressed or expanded. Anglo concertinas typically have either two or three rows of buttons that sound notes, plus an "air button" located near the right thumb that allows the player to fill or empty the bellows without sounding a note.
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are athletes as well as dancers; champions train for competition in a manner similar to ballet dancers, ice skaters, and gymnasts. It is largely a solo dance form, although group dances or figures exist in a set curriculum of ceili (or, in
Scottish Gaelic, ceilidh), or party, dances. Stepdancing was hugely popularized after the success of the
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a deep and abiding, if sometimes unreasonable, hatred for the instrument. (A well-known fiddler once described the sound of an ineffectively played bodhrán at a session as 'sounding like a sack of spuds falling down stairs'.) It is therefore considered wise for those who play the bodhrán to cultivate a skin thicker than that upon their drum.
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While Irish traditional music, and more recently rock music, have gained such an international following, Irish classical music has had a long struggle to become accepted. Some music comes from the world between popular and classical music. One well-known example is the internationally renowned choir
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Concertinas are of several types, the two most common in Irish traditional music being the
English and the Anglo systems. Each differs from the other in construction and playing technique. The Anglo is the more common in Irish music and its use in that genre precedes the English. The most distinctive
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The first generations of twentieth century revivalists, mostly playing the gut-strung (frequently replaced with nylon after the Second World War) neo-Celtic harp with the pads of their fingers rather than the old brass-strung harp plucked with long fingernails, tended to take the dance tunes and song
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The concept of 'style' is of large importance to Irish traditional musicians. At the start of the last century, distinct variation in regional styles of performance existed. With increased communications and travel opportunities, regional styles have become more standardised, with soloists aiming now
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having played much part in traditional music before art musicians abandoned the wooden simple-system instrument still preferred by trad fluters for the Boehm-system of the modern orchestra, and the tin whistle is another mass-produced product of the
Industrial Revolution. A good case can be made that
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are among the youngest major instrumental bands of a largely traditional bent (although Gráda is not so easily defined. While showing a strong understanding of their historical roots, they intertwine more contemporary sounds into their playing, bridging a gap beween traditionalists and modern fusion
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Although skilled bodhrán players are highly prized by most traditional musicians, the inaccurate perception of many neophytes and other persons only peripherally involved with the living tradition that the bodhrán represents an "easy" way to participate in sessions has caused some players to develop
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The guitar is used to accompany singers as well as instrumentalists, but it is generally considered to be a serious violation of session etiquette to play behind a singer without being asked. The purest form of Irish traditional song is the unaccompanied solo, and singers often vary their rhythm and
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As a general rule, no more than two guitarists should play at any one time, and players must strive to complement the tune and each other, instead of competing. The guitarist must be as skilled and as dedicated to the tradition as any of the melody players, and must hold in mind that "less is more."
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Modern Irish accordion players generally prefer the 2 row button accordion. Unlike similar accordions used in other
European and American music traditions, the rows are tuned a semi-tone apart. This allows the instrument to be played chromatically in melody. Currently accordions tuned to the keys of
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The harp is among the chief symbols of
Ireland. The Celtic harp, seen on Irish coinage and used by Guinness, was played as long ago as the 10th century. In ancient times, the harpers were greatly respected, considered to have near-magical powers and assigned a high place amongst the most significant
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Although the choice of the wooden flute over the metal was initially driven by the fact that, being "outdated" castoffs, the old flutes were available cheaply second-hand, the wooden instrument has a distinct sound and continues to be commonly preferred by traditional musicians to this day. A number
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tunes and hybrid-form dance numbers. Many of the eager new musicians vanished upon discovering that Irish traditional music requires practice, skill, and commitment and is not merely an exercise in mass participation to the exclusion of musicality or an excuse to carouse and receive free drink. (The
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An
Coimisiún Le Rincà Gaelacha has long instituted a certification system for teachers and adjudicators through scrúdaithe (examinations/tests). An Coimisiún was established by Conradh na Gaeilge – The Gaelic League – in the late twenties as a commission for the purpose of examining the organisation
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A caller will sometimes call a set, especially when there are many beginners, but set dancers strive to memorize their sets in order not to need a caller. Attendees will generally see a few of the easier sets at the beginning of the night called for new dancers and visitors, and then the rest of the
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Most sets consist of a series of figures. Each figure is danced to a different type of tune with a pause between each figure for the dancers to catch their breath (and perhaps to quickly review the next figure); a reel, jig, hornpipe, and a polka, for instance. Each figure calls for a certain amount
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Musicians from non-Irish styles (bluegrass, oldtime, folk) have discovered the appeal of Irish traditional music. However, the rhythmic pulse and melodic flow of Irish traditional music are quite distinct to the rhythmic and melodic structures that govern other musical forms, even in the case of the
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Music and lyrics are passed aurally/orally, and were rarely written down until recently (depending upon your definition of "recently", there are many examples of written music previous to 1800). Of major importance to the transcribing of melodies belonging to both the instrumental traditions and the
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The revival of interest in Irish traditional culture was closely linked to
Nationalist calls for independence and was catalysed by the foundation of the Gaelic League in 1893. This sought to encourage the rediscovery and affirmation of Irish traditional arts by focusing upon the Irish language, but
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The guitarist follows the leading melody player precisely rather than trying to control the rhythm and tempo. The backing should follow the rhythmic emphasis and pulse of the tune, rather than being simply metronomic counting; a backing that does not "lift" the tune generally kills it. "Folk," "old
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English concertinas, by contrast, sound the same note for any given button, irrespective of the direction of bellows travel. Thus, any note can be played while the bellows is either expanded or compressed. As a consequence, sequential notes can be played without altering the bellows direction. This
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Two-row Anglo concertinas usually have 20 buttons that sound notes. Each row of 10 buttons comprises notes within a common key. The two primary rows thus contain the notes of two musical keys, such as C and G. Each row is divided in two with five buttons playing lower-pitched notes of the given key
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was much criticised in the traditional cultural communities as being only derived from the Irish tradition, with many hybridised dances (American tap, ballet, and jazz elements were introduced; the rhythmic structure of much of the music is not based on traditional Irish music, but has roots in the
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Irish traditional music, like most traditional music, is characterized by slow-moving change, which usually occurs along accepted principles. Songs and tunes believed to be ancient in origin are respected (though, in reality, many are less than two hundred years old). It is, however, very difficult
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Mention should also be made here of the "bones" -- two slender, curved pieces of bone or wood -- and "spoons". Pairs of either are held together in one hand and shaken rhythmically to make a percussive, clacking sound. They should be used sparingly and never (one may fear the worst from the simple
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Irish schoolchildren are generally taught the rudiments of playing on the tin whistle, just as school children in many other countries are taught the soprano recorder. At one time the whistle was thought of by many traditional musicians as merely a sort of "beginner's flute," but that attitude has
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or metal whistle, which with its nearly identical fingering might be called a cousin of the simple-system flute, is also popular. It was mass-produced in nineteenth century
Manchester England, as an inexpensive instrument. Clarke whistles almost identical to the first ones made by that company are
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style, a few scattered remnants of other regional forms of stepdancing, and other forms of
Southern style dancing not under the auspices of An CoimisiĂşn Le RincĂ Gaelacha). Modern stepdancing is connected to the Irish cultural revivals of the nineteenth century in one long line. Modern stepdancers
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Despite the inherent bounciness of the Anglo and the inherent smoothness of the English concertina systems, skilled players of Irish traditional music can achieve either effect on each type of instrument by adapting the playing style. On the Anglo, for example, the notes on various rows partially
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More recently, traditional Irish music has been "expanded" to include new styles, arrangements, and variations performed by bands, although arguments run rife as to whether you may then call this music "traditional." However, the greater part of the community has accepted that the music played by
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Religion also played a role in the re-development of Irish culture. The actual achievement of independence from the United Kingdom tallied closely with a new Irish establishment desire to separate Irish culture from the European mainstream, but the new Irish government also paid heed to clerical
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depending upon local dialect) are complex and said to take years to learn to play. It was common to have learning to play the pipes said to be 7 years learning, 7 years practicing and 7 years playing before a piper could be said to have mastered his instrument. Its modern form had arrived by the
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Another feature of set dancing is "battering", where the dancers tap/stamp out a rhythm on the floor as they move through the set. At one point in time, this was mainly the province of the "head couple" at the top of the set, as this was generally the most experienced pair of dancers in the set.
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occasionally used Irish musical traditions in their songs. For example, the song Emerald used a jig (6/8) time signature, and a melody that was influenced by traditional Irish music. Also, the song "The Black Rose" contained a traditional Irish reel being played by guitar, bass, and drums. Most
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was an enjoyable, expert piece of Broadway-style theatre that did an extremely good job of popularizing Irish culture and arts worldwide, but that the rate of change it inflicted upon the traditional artforms that inspired the show did not sit comfortably with many of the original participants.
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favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the trad ear. Greatly preferred are flat-topped "Irish-style"
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Three-row concertinas add a third row of accidentals (i.e., sharps and flats not included in the keys represented by the two main rows) and redundant notes (i.e., notes that duplicate those in the main keys but are located in the third, outermost row) that enable the instrument to be played in
510:
Those who pass the teachers examination receive the TCRG (TeagascĂłir CoimisiĂşn Le RincĂ Gaelacha) certification as certified instructors. After ten years of holding the TCRG certificate, teachers may then test for the ADCRG (Ard Diploma CoimisiĂşn Le RincĂ Gaelacha) in order to adjudicate dance
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continues the "tradition" of the saxophone in Irish music.) As of current writing, the first three instruments are now generally accepted in traditional Irish music circles (although perhaps not in the most purist of venues), while the latter three are generally not. (The Pogues received much
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come in various other forms for dancing -- the slip jig and hop jig are commonly written in 9/8 time, the single jig in 12/8. (The dance the hop jig is no longer performed under the auspices of An Coimisiun.) The form of jig danced in hardshoe are known as double or treble jigs (for the
1976:
Combined with continued emigration, and the priesthood's inevitable zeal in closing down un-licensed events, the upshot was to drive traditional music and dancing back into the cottage where it remained until returning migrants persuaded pub owners to host sessions in the early 1960s.
1787:. Today's Irish bouzouki has four courses of two strings each tuned GDAD, GDAE, or ADAE; unison courses are probably most common, although octaves in the bass are favoured by some players. The back is flat or lightly arched and the top is either flat or carved like that of an arch top
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musicians appear to be almost directly opposite to the pulse of Irish tunes. While a sensitive and well-informed five-string player can develop an approach which would complement Irish traditional music, he or she would have to overcome considerable skepticism in a session context.
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few tunes shared between these musical genres. Also, Irish sessions and bluegrass and old time jams carry completely different sets of etiquette and expectations, and these do not, for the most part, integrate well; this has led to many misunderstandings and outright confrontations.
375:. (16 measures are known as a "step", with one 8 bar strain for a "right foot" and the second for the "left foot" of the step. Tunes that are not so evenly divided are called "crooked".) This makes for an eminently danceable music, and Irish dance has been widely exported abroad.
2376:, which in turn has come back to influence modern Irish rock music). This series also helped to raise the profile of many artistes relatively little known outside Ireland. The fashionability of Irish folk music at this time may be judged from the huge success that non-Irish band
87:
During the 1970s and 1980s, the distinction between traditional and rock musicians became blurred, with many individuals regularly crossing over between these styles of playing as a matter of course. This trend can be seen more recently in the work of bands and individuals like
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Despite the enormous international successes of Irish performers in the fields of traditional and rock music, classical Irish music has struggled hard over the last 100 years to gain a strong and secure foothold in the psyche of the Irish people though groups such as
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Skilled craftsmen make fine custom whistles from a range of materials including not only aluminium, brass, and steel tubing but synthetic materials and tropical hardwoods; despite this, more than a few longtime professionals stick with ordinary factory made whistles.
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and many others. Though solo performance is preferred in the folk tradition, bands or at least small ensembles have probably always been a part of Irish music since at least the mid-19th century, although this is a point of much contention among ethnomusicologists.
1683:, used the DADGAD tuning, to the point that some musicians came to believe that only DADGAD was appropriate. However, tasteful use of standard (EADGBE) and dropped-D (DADGBE) tunings is perfectly suited to traditional music, as shown by the work of, amongst others,
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The mandolin, a fretted instrument strung with eight steel strings in four unison courses and played with a plectrum (pick), is not a common instrument amongst Irish traditional musicians. When it appears at a session, it's usually tuned GDAE, like the fiddle.
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However, it has become much more common for many if not all of the dancers in a set to batter throughout the set. (This provides either a great deal of energy or simply an overwhelming conglomerate of noise, depending on one's personal viewpoint of the matter.)
519:). Both tests involve considerable practical, oral, and written demonstration of Irish stepdancing, including the ability to sing certain tunes and identify snippets of the traditional and non-traditional sets -- a formidable task for (often) non-musicians.
935:, but many others find that the simple system flute best suits traditional fluting. Original flutes from the pre-Boehm era continue in use, but since the 1960s a number of craftsmen have revived the art of wooden flute making. Some flutes are even made of
502:
The litmus test of the solo stepdancer is the non-traditional set dance (not related to set dancing, where groups of dancers form figures) which is generally choreographed by a dancer's teacher for that dancer or for the teacher's dancing school.
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1260:
The native Irish harping tradition was an aristocratic art music with its own canon and rules for arrangement and compositional structure, only tangentially associated with the folkloric music of the common people, the ancestor of present day
1968:
The Gaelic League was often accused of being a largely middle-class organisation and of taking little heed of the interests or enjoyments of those living in rural areas of Ireland; most of the League's meetings were in fact held in London.
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The flute has been an integral part of Irish traditional music since roughly the middle of the nineteenth century, when art musicians largely abandoned the wooden simple-system flute (having a conical bore, and fewer keys) for the metal
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A "rhythm section" is not necessary in the traditional session, and it is always better to sit out a tune or to play so quietly as to only be heard by oneself than to wreck the music by playing jarring chords or an incorrect beat.
452:, which almost always feature live céilà bands. It is not uncommon for young people in Ireland's cities (and other large cities around the world) these days to "go set-dancing", as others of their contemporaries go "clubbing".
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and other genres. Some of these fusion artists have attained mainstream success, at home and abroad. (One example of a traditional song that has received exposure as the result of being recorded by pop and rock artists is
1835:
Chord-strumming on the mandolin (particularly bluegrass-style "chop" strumming) does not fit at all well with Irish traditional music; an approach of two and three note chords mixed with "countermelody," as used by
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is also breathing new life into the international classical music scene with his fresh and original style, drawing from a wide range of influences that cross the boundries of Jazz, Rock, Folk and Classical genres.
1943:
A well-known instrument found in many kinds of traditional music, the Irish harmonica tradition is best-represented by Mick Kinsella, Paul Moran, the Murphy family from County Wexford, the late Eddie Clarke and
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Nevertheless, Irish music has shown an immense inflation of popularity with many attempting to return to their roots. There are also contemporary music groups that stick closer to a traditional sound, including
1706:
Melody playing on the guitar is quite possible, but tends to be drowned out in a session environment by the louder instruments such as fiddle and flute. Masters of the guitar in Irish traditional music include
187:
In addition to folk music, Ireland also has a rich store of contemporary classical music. However, contemporary classical music has no impact, and very little exposure in Ireland itself, and therefore abroad.
645:
One of the most important instruments in the traditional repertoire, the fiddle (or violin - there is no physical difference) is played differently in widely-varying regional styles. Modern performers include
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or impossible to know the age of most tunes due to their tremendous variation across Ireland and through the years; some generalization is possible, however -- for example, only modern songs are written in
1581:. Unlike the cittern, however, it is seldom strummed (although older recordings will sometimes feature the banjo used as a backing instrument), instead being played as a melody instrument using either a
618:
Still, even the most gloomy or vehement of the show's detractors will often admit that, at the least, the show brought a great deal of needed funds to the Irish cultural and arts communities worldwide.
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1795:. All in all, the Irish bouzouki has evolved into a member of the mandolin family with little resemblance to the round-backed Greek bouzouki with its guitarlike (in the four course version) tuning.
2580:
are beginning to change that. Music education at school level is not a core subject either but in recent years the Leaving Certificate has introduced a more populist curriculum in Musicianship.
2009:(although some ethnomusicologists believe that Irish immigrants in the United States may have held sessions before this); the practice was only later introduced to Ireland. By the 1960s pubs like
947:
still available, although the original version, pitched in C, has mostly been replaced for traditional music by that pitched in D, the "basic key" of trad. The other common design consists of a
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or other observances. Tunes (songs have words, tunes do not) are most usually divided into two eight-bar strains which are each played as many times as the performers feel is appropriate; Irish
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and guitar players. Structural units are symmetrical and include decorations, in many cases imaginative and elaborate, of the rhythm, text, melody and phrasing, though not usually of dynamics.
67:, Irish music has kept many of its traditional aspects; indeed, it has itself influenced many forms of music, such as country and roots music in the USA, which in turn have greatly influenced
1997:
Pub sessions are now the home for much of Irish traditional music, which takes place at informal gatherings in urban pubs. The first known of these modern pub sessions took place in 1947 in
1828:
mandolins (remniscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s. The mandolins built by British
301:
should be kept simple (although, fitting with the melodic structure of most Irish tunes, this usually does not mean a "basic" I-IV-V chord progression), and instruments are played in strict
1562:
The four-string tenor banjo is favoured by most Irish traditional players, and is commonly tuned GDAE, an octave below the fiddle. It was brought to Ireland by returned emigrants from the
1523:
on the left-hand end of the instrument and five buttons playing the higher pitched notes on the right-hand end. The row of buttons in the higher key is closer to the wrist of each hand.
1883:, usually of bent wood and goatskin, the bodhrán is considered a relatively modern addition to traditional dance music. Some musicologists suggest its use was originally confined to the
584:
rather than taken directly from the tradition, the artistic standards of the show were very high, featuring the work of world-class designers, choreographers, dancers and musicians.
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1896:
939:; these are especially popular with new learners and as travelling instruments, being both less expensive than wooden instruments and far more resistant to changes in humidity.
1401:
1369:
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2607:, but beyond this Irish classical artists have to struggle for any recognition in their own country. Many of them seek education and work beyond the boundaries of Ireland.
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of measures of music, and the musicians will often be given a list of the music required for each set ahead of time so the figure and the music will end at the same time.
278:
the Irish traditional music of the year 2006 has much more in common with that of the year 1906 than that of the year 1906 had in common with the music of the year 1806.
169:
1832:
Stefan Sobell are perhaps the most highly prized for Irish traditional music, although many other makers, such as Ireland's Joe Foley, also make well-regarded mandolins.
1703:
alter the melody from verse to verse; an accompanist unfamiliar with the specific song and the individual singer's approach to it will throw the singer off completely.
1115:
1620:
The five-string banjo has had little or no role in Irish traditional music, and is often actively loathed by Irish musicians as a potential session-killer, since the
752:(who was born in Sligo and played that style of music, but moved to Dundalk where he was a huge influence on traditional music and on playing in the Sligo style) and
1819:
Although almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval
1664:
timey," rock, and bluegrass guitar styles do not fit well with Irish traditional music, not least because many Irish tunes do not fit into a neat chord progression.
982:, a derivative of the common tin whistle, is also popular, although some musicians find it less agile for session playing than the flute or the ordinary D whistle.
2399:
Country and Western music from the United States, which was influenced indirectly by Irish music, returned back over the ocean and is immensely popular in Ireland.
1895:(although there are mentions of "tambourines" without zils being played as early as the mid nineteenth century), and quickly became popular. Great players include
1405:
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singer will vary the melody of every verse, but not to the point of interfering with the words, which are considered to have as much importance as the melody. Non-
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continues to maintain itself as a living tradition despite the popularity and flash of the more athletic modern stepdancing forms and theatrical spectacles.
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of Irish dancing as it existed at that time and to make recommendations as to how it might be better organised in the future. The body first met in 1930.
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style which was common throughout much of Europe, and soon evolved into Celtic battle metal, Celtic doom metal and Celtic pagan metal. Artists included
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singing is highly ornamented and the voice is placed towards the top of the range; to the first-time listener, accustomed to pop and classical singers,
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1589:, a poorly played or overly loud banjo can be disruptive. Skilled and sensitive players will generally find themselves welcomed in "open" sessions.
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O'Connor, Nuala. "Dancing at the Virtual Crossroads". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.),
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in 1792) in which the tunes were most often modified to make them fit for the drawing room pianofortes of the Anglicised middle and upper classes.
1002:
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to create their own, unique, distinctive style, often hybrids of whatever other influences the musician has chosen to include within their style.
2307:
are the most well-known. Later in the 80s and into the 90s, Irish punk, like the scene in the UK, US and elsewhere, fractured into new styles of
1543:
1481:
The C#/D accordion lends itself to a punchier style and is particularly popular in the slides and polkas of Kerry Music. Notable players include
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1724:
590:'s appeal was such that the arts of Ireland were made globally popular in a very short time. Dancing school enrollments skyrocketed, Irish
205:. Most of the oldest songs, tunes, and methods are rural in origin, though more modern songs and tunes often come from cities and towns.
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who had an international breakthrough, peaking with two UK No. 1 singles (Clair, Get Down) and one US No. 1 (Alone Again, Naturally).
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in the 1950s and 60s and is popular with box players of the Galway style including Billy McComiskey. Other famous B/C players include
2577:
323:("in the old style") are considered the ultimate expression of traditional singing, usually performed solo, but sometimes as a duet.
1728:
720:
The fiddling tradition of Sligo is perhaps most recognizable to outsiders, due to the popularity of American-based performers like
1799:
is the only notable player still using a Greek bouzouki, one of the older style three course (six string) instruments tuned DAD.
407:
doubles/trebles performed with the tip of the hardshoe), and the jig danced in ghillies/pomps/slippers are known as light jigs.
2784:
A searchable database of traditional dance tunes which identifies sources for tunes on commercial recordings and in tune books.
2336:, and continuing to incorporate a number of styles on later albums into the next century. Other rock bands of the era included
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is often credited with paving the way for the banjo's current popularity, and is still actively playing. Great players include
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allows sequences of notes to be played in a smooth, continuous stream without the interruption of changing bellows direction.
309:
is mostly unknown to traditional music, although a form of improvised "countermelody" is often used in the accompaniments of
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tradition. Irish influence in a more strictly pop idiom was represented in this period by Waterford born singer/songwriter
594:
found their numbers swelling with new musicians wishing to take part, and interest in Irish arts rose to an all time high.
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retainers of the Irish lords and chieftains. Perhaps the best known representative of this tradition of harping today is
51:, which has remained vibrant throughout the 20th century, when many other traditional forms worldwide lost popularity to
2326:
The '80s also saw the rise of Irish international stars. The biggest Irish musical performer of any kind is undoubtedly
273:
made their appearances in Irish traditional music only late in the nineteenth century. There is little evidence for the
484:
or southern style form, is the most widespread of the Irish dance forms, although there are many others (including the
2537:
1102:, an organization open to pipers that included such legends as Rowsome and Ennis, as well as researcher and collector
603:
was derived, but more spectacle after the fashion of the original stage show, or even direct imitations of the show's
339:
traditional singing, even when accompaniment is used, uses patterns of ornamentation and melodic freedom derived from
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famously, their reworking of the traditional folk staple, "Whiskey in the Jar" was a huge hit. Singer and songwriter
2055:
were in large part responsible for a second wave of revitalization of Irish folk music in the 1960s, followed up by
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and featuring Davy Spillane on uilleann pipes - the first time this had effectively happened in a rock setting.
1987:
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folk song and the way in which Irish traditional music has travelled, especially in the New World following the
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1573:. The banjo, as a relatively loud wire-strung instrument, serves a similar musical function in sessions to the
1152:
and a two-octave range, three single-reed drones, and, in the complete version known as a full set, a trio of (
597:
However, many artists found that what was wanted by much of the new audience was not the traditions from which
2458:
and inspired a number of newer hip hop crews, though Exile Eye was not the first Irish hip hop performers, as
2348:. A growing interest in Irish music at this time helped many artistes gain more recognition abroad, including
2246:
844:
573:. Popular reaction to the act was so immense that an entire musical revue was built around the act. Although
570:
2074:, for example, first performing as a duo, and later creating two of the most well-known bands of the era,
2600:
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New bands that promote the pub ballads and raucous instrumentals so familiar to Irish music fans include
1680:
2696:
2616:
1134:(Traveller) families, such as the Fureys and Dorans and Keenans, are famous for the pipers among them.
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entered Ireland in full in the late 1970s, and flowered in the following decade with performers like
1313:
1099:
675:
1082:, in refined and ornate pieces, as well as showy, ornamented forms played by travelling pipers like
1695:. A host of other altered tunings are also used by some players, most of them modal, like DADGAD, (
1241:, a blind 18th century harper who is often considered the unofficial national composer of Ireland.
702:
2636:
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2091:
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broke open the field in the US in the early part of the decade, which inspired vocal groups like
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also established an annual competition, the Feis Cheoil, in 1903 as a focus for its activities.
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and Kerry, in the south of Ireland. The main differences between these types of tunes are in the
824:
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Several phenomenal fiddlers have also emerged in the United States in recent years, among them
808:
177:
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players can be more appropriate, but is often lost amidst the other instruments of a session.
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1090:. The uilleann piping tradition had nearly died before being re-popularized by the likes of
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The '70s saw the beginning of fusions of Irish traditional music with American and British
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or a "thimble". While the instrument's percussive sound can add greatly to the "lift" of a
784:
1435:. While uncommon, the melodeon is still played in some parts of Ireland, in particular in
8:
2316:
2312:
2040:
1712:
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A somewhat older system pioneered in America was the D/C# system that was popularized by
1167:
1123:
222:
125:
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held between the piper's elbow and side, rather than by the performer's lungs as in the
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Overall, the general feeling of the Irish traditional arts communities seems to be that
2505:. There are many other Irish bands developing fusions of local and Irish music such as
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1171:
998:
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in the 20th century. It has occasionally also been modernised, however, and fused with
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Ireland's national resource and archive centre for contemporary Irish classical music.
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Notable present-day flute-players (sometimes called 'flautists' or 'fluters') include
2759:
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One of the very few respected five-string banjo players involved with Irish music is
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Irish traditional music was largely meant (to the best of our current knowledge) for
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same held true in other Irish cultural communities, such as the stepdance schools.)
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and other quasi-ritual processions. It was introduced/popularized in the 1960s by
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Piano accordions are somewhat unusual in Irish Music, but not completely unknown.
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had set the stage for a major popular blossoming of Irish music. Formed in 1974,
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The accordion plays a major part in modern Irish music. Popular players include
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The uilleann pipes play a prominent part in a form of instrumental music called
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The accordion spread to Ireland late in the 19th century. In its ten-key form (
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975:) is often credited with revolutionising the whistle's place in the tradition.
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under "Rock" in some stores.) New groups that appeared in their wake included
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Many of the earliest notable guitarists working in traditional music, such as
2455:
2451:
2377:
2136:
2129:
2121:
2094:'s instrumental music spawned perhaps the best-known Irish traditional band,
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210:
72:
64:
2621:
California Gold: Northern California Folk Music from the Thirties Collection
2459:
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2419:
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2018:
1916:
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832:
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306:
109:
2396:'s confrontational style won her a legion of fans as well as controversy.
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is also renowned from the trad-rock scene, and is known for incorporating
1823:
to the Italian-style bowl-back mandolins or the carved-top mandolins with
1030:
580:
complex polyrhythms of Eastern Europe) and music composed for the show by
2447:
2423:
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2083:
2071:
2002:
1991:
1949:
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The B/C accordion lends itself to a flowing style; it was popularized by
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1397:
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1034:
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did much to popularise Irish music in the States in the 1920s and 1930s.
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screened a documentary series about the influence of Irish music called
2203:, played a major part in Irish popular music later in the century, with
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2518:
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1880:
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only entered the traditional Irish music world in the late 1960s. The
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2403:
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scene inspired a legion of punk bands from Northern Ireland, of whom
2288:
2268:
2232:
1937:
1796:
1784:
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1373:
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972:
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176:. Others incorporate multiple cultures in a fusion of style, such as
105:
76:
52:
1952:). A detailed discography of Irish harmonica albums can be found at
1507:
is one famous player of Piano Accordion in Irish Traditional Music.
1245:, a slightly earlier Sligo harper, composed such well known airs as
157:
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2140:
1884:
1809:
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1757:
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1953:
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1959:
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1574:
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1159:
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2692:
List of songs that reached number one on the Irish Singles Chart
2514:
2482:
2418:
also became internationally renowned. Ireland had developed the
290:
and their numerous spiritual descendants is indeed traditional.
165:
153:
2276:
2155:
2014:
1998:
1824:
1788:
1768:
1650:
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1427:), it was popular across the island, and was recorded early by
1179:
948:
638:
395:
302:
230:
2787:
2775:
2727:
Mathieson, Kenny. "Ireland". 2001. In Mathieson, Kenny (Ed.),
2687:
List of songs that reached number one on the Irish Dance Chart
2392:, both of which are full of Irish folk influences. Meanwhile,
2259:, who is Ireland's biggest selling artist, and only second to
2239:
achieved considerable fame adding West African influences and
2113:
became the spearcarriers of that movement; their debut album,
2024:
was sparking increased popular interest in traditional music.
898:
621:
331:
often sounds more "Arabic" or "Indian" than "Western". A true
2781:
2744:
Geoff Wallis and Sue Wilson "The Rough Guide to Irish Music"
2584:
2531:
2486:
2435:
2272:
1556:
1131:
908:
706:
426:
410:
356:
274:
149:
2623:; performed by Aaron Morgan (harmonica) on July 17, 1939 in
390:(the common double jig is in 6/8 time), as well as imported
26:
2521:. These bands are no longer formed exclusively in Ireland.
2256:
2216:
1927:
existence of this warning) during waltzes, airs, or songs.
1282:
1230:
1110:
is one of the most popular of modern performers along with
398:, and highlands (a sort of Irished version of the Scottish
297:
Due to the importance placed on the melody in Irish music,
59:
and a well-developed connection to music imported from the
1871:
1286:
2599:
have had considerable international success. There is a
2361:
875:, actually from Westmeath, is imbued in the local style.
403:
387:
2555:
951:
made of seamless tubing fitted into a plastic or wooden
265:
Furthermore, such "unimpeachable" instruments as button
2715:
World Music, Vol. 1: Africa, Europe and the Middle East
2603:
of very good quality , a classical music radio station
2327:
2260:
2175:
is often said to have been a modern incarnation of the
2116:(1975), inspired a legion of fans. (One can often find
1340:. The best of these have a solid background in genuine
262:
criticism for their use of a drum kit, for instance.)
89:
2756:
Music and Paintings in the National Gallery of Ireland
2186:
1220:
play these traditional airs today, among many others.
1166:
and almost all other forms of bagpipe, aside from the
963:
disappeared in the face of talented whistlers such as
2792:
2778:
for live classical, jazz and traditional Irish music.
2619:- Irish harmonica tune from the Library of Congress'
1699:), rather than being open-chord tunings like Open-G.
701:
The best-known regional fiddling traditions are from
2534:, with its unique and unusual sound and stage show.
2330:, who entered the mainstream beginning in 1980 with
851:. Contemporary fiddlers from Sliabh Luachra include
209:
song traditions were the collectors. These included
2162:was renowned for his masterful guitar playing. The
1771:, the bouzouki was introduced in the late 1960s by
1447:B/C and C#/D are by far the most popular systems.
2235:to some success beginning in the 1980s, while the
1514:English concertina made by Wheatstone around 1920.
2776:Ireland's national music development organisation
2682:List of artists who reached number one in Ireland
2536:
2245:
2066:The 1960s saw a number of innovative performers.
1208:were among the many pipers famous in their day;
245:, is first mentioned in the nineteenth century.
2717:, pp 170-188. Rough Guides Ltd, Penguin Books.
2027:
1628:styles used on this instrument by old-time and
557:is a musical and dancing interval act starring
2454:, which generated a great deal of interest in
1960:Late 19th century revival and the 20th century
759:Other established fiddlers include(d) Clare's
2524:
2219:achieved enormous international success with
2215:using traditional elements in popular songs.
2017:were holding their own pub sessions, and the
343:, and, generally, a similar voice placement.
902:Tin whistles in a variety of makes and keys.
305:, always following the leading player. True
2195:The Waterboys performing in Dublin in 2004.
1847:(who almost always tunes the E down to D),
1351:
1189:, closely related to unaccompanied singing
622:Instruments used in traditional Irish music
413:are a type of 2/4 tune mostly found in the
2311:, which included the critically acclaimed
1843:Noteworthy Irish mandolin players include
1656:Guitars have become commonplace in modern
1178:found in both parts of the Anglo-Scottish
967:, whose classic early seventies recording
2702:Top selling singles and albums in Ireland
736:; Irish Sligo fiddlers included the late
201:, with few exceptions, the rest being in
2554:
2190:
1870:
1746:
1640:, who also plays oldtime and bluegrass.
1509:
1292:Notable modern players include the late
923:flutes of present-day classical music.
897:
25:
831:. Sliabh Luachra, a small area between
14:
2782:The Irish Traditional Music Tune Index
2462:and others came first. These included
1538:Well known concertina players include
527:Modern Irish stepdancing evolved from
460:sets tend to be for "those who know".
931:being perhaps the best known—use the
378:Traditional dances and tunes include
1140:are among the most complex forms of
893:
350:
249:bands of the 1940s often included a
191:
2360:, Hothouse Flowers and others. The
2267:In the 1980s, major bands included
2187:Late 20th century: Rock and more...
522:
386:(4/4 with swung eighth notes), and
23:
2741:Carson, Ciaran. "Last Night's Fun"
2139:, beginning perhaps with the band
1283:Historical Harp Society of Ireland
24:
2808:
2793:Contemporary Music Centre, Dublin
2769:
2158:to great effect. Blues guitarist
1044:
253:set and stand-up bass as well as
47:is internationally known for its
2667:Irish Recorded Music Association
2538:
2315:, the renowned underground band
2247:
971:(with bouzouki accompaniment by
2677:Irish traditional music session
1988:Irish traditional music session
1980:
1954:http://www.irishmusicreview.com
1763:A relative of the once-popular
2642:List of Irish Music Collectors
2319:and the popular punk sound of
2231:, helped fuse Irish folk with
2199:Traditional music, especially
569:. It was performed during the
467:
432:
13:
1:
2731:, pp. 10-53. Backbeat Books.
2707:
2566:The West Ocean String Quartet
2402:In the 1990s, pop bands like
1392:. Concertina players include
1174:of northern England, and the
799:, while Donegal has produced
565:and also featuring the choir
540:
241:, once known in Ireland as a
30:An Irish band playing in the
2028:1960s and 70s: Revival again
1930:
1566:, where it was developed by
571:Eurovision Song Contest 1994
7:
2630:
2601:National Symphony Orchestra
1802:
1742:
1057:Uilleann pipes (pronounced
10:
2813:
2697:One Hit Wonders in Ireland
2610:
2576:and the young vocal group
2525:Classical music in Ireland
2380:enjoyed with their albums
1858:
170:Noel Shine and Mary Greene
82:She Moved Through the Fair
2414:and the somewhat rockier
2368:(a reference to both the
2366:Bringing it all Back Home
1643:
1066:1890s, and was played by
626:
2098:, which formed in 1963.
1915:) and John Joe Kelly of
1775:and then popularized by
1549:
1352:Accordion and concertina
1247:"The Dawning of the Day"
1098:), and the formation of
1017:while whistlers include
2637:List of Irish musicians
2597:Irish Chamber Orchestra
2539:File:Ciaran Farrell.jpg
2441:In 1998, a crew called
2101:By the 70s, bands like
1897:Johnny 'Ringo' McDonagh
1346:Irish traditional music
1342:Irish traditional music
1279:Irish traditional music
1263:Irish traditional music
1223:
417:area, at the border of
2560:
2544:
2264:
2237:Afro-Celt Sound System
2196:
1876:
1752:
1613:, Gerry O'Connor, and
1515:
1196:("in the old style").
903:
686:. Sligo fiddlers like
178:Afro Celt Sound System
39:
2593:Opera Theatre Company
2570:The Musicians of Prey
2558:
2542:
2251:
2194:
1948:(the latter being of
1874:
1750:
1731:(Kieran O'Loughlin),
1513:
1410:Gearoid O hAllmhurain
1402:MĂcheál Ă“ Raghallaigh
1271:Belfast Harp Festival
1269:'s, (he attended the
933:Western concert flute
927:of excellent players—
901:
756:, John Joe's sister.
316:Unaccompanied vocals
36:Penn State University
32:Hetzel Union Building
29:
2625:Columbia, California
2305:Stiff Little Fingers
1875:Bodhrán with tipper.
1626:three-finger picking
1314:Máire Nà Chathasaigh
1130:and many more. Many
1100:Na PĂobairĂ Uilleann
825:Proinsias Ă“ Maonaigh
676:Mairéad Nà Mhaonaigh
672:the Glackin brothers
480:Stepdancing, in the
359:at celebrations for
2422:scene, part of the
2317:My Bloody Valentine
2313:That Petrol Emotion
2248:File:Anywhereis.jpg
2041:The Clancy Brothers
2007:The Devonshire Arms
1681:MĂcheál Ă“ Domhnaill
1431:and Irish-American
1168:Scottish smallpipes
1104:Breandán Breathnach
754:Kathleen Harrington
223:Canon James Goodman
126:My Bloody Valentine
2617:Download recording
2574:The Crash Ensemble
2561:
2545:
2265:
2197:
2181:Gilbert O'Sullivan
2092:CeoltĂłirĂ Chualann
1877:
1753:
1751:An Irish Bouzouki.
1516:
1470:of County Offaly,
1322:Antoinette McKenna
1239:Turlough Ă“ Carolan
1172:Northumbrian pipes
999:Michael McGoldrick
904:
660:Paul O'Shaughnessy
40:
2472:Creative Controle
2468:Third Eye Surfers
2383:Fisherman's Blues
2346:The Boomtown Rats
2223:/Celtic fusions.
2145:Singer-songwriter
1889:St. Stephen's Day
1607:Angelina Carberry
1255:"Carolan's Dream"
1144:; they possess a
894:Flute and whistle
785:Peadar O'Loughlin
750:John Joe Gardiner
351:Music for dancing
192:Traditional music
182:Loreena McKennitt
134:Republic of Loose
49:traditional music
2804:
2589:Camerata Ireland
2540:
2499:Dropkick Murphys
2309:alternative rock
2249:
2209:Hothouse Flowers
2201:sean-nĂłs singing
2082:(in the 1980s).
2005:at a bar called
1378:Billy McComiskey
1243:Thomas Connellan
1124:Jerry O'Sullivan
1068:gentlemen pipers
865:Connie O'Connell
861:Gerry Harrington
813:Vincent Campbell
535:Sean-nĂłs dancing
523:Sean-nĂłs dancing
2812:
2811:
2807:
2806:
2805:
2803:
2802:
2801:
2799:
2772:
2754:Barra Boydell:
2710:
2633:
2613:
2583:Groups such as
2543:Ciarán Farrell.
2527:
2416:The Cranberries
2394:Sinéad O'Connor
2213:Sinéad O'Connor
2189:
2030:
1983:
1962:
1933:
1861:
1805:
1773:Johnny Moynihan
1745:
1646:
1638:Chris Grotewohl
1599:Kieran Hanrahan
1552:
1441:Johnny Connolly
1357:Main articles:
1354:
1338:Bonnie Shaljean
1226:
1047:
907:Main articles:
896:
849:Pádraig O'Keefe
839:, is known for
801:Danny O'Donnell
726:Michael Coleman
688:Michael Coleman
680:Maire Breatnach
633:Main articles:
629:
624:
559:Michael Flatley
543:
525:
493:-style musical
470:
435:
353:
219:Francis O'Neill
194:
122:Sinéad O'Connor
102:The Cranberries
22:
21:
20:
18:User:Setanta747
12:
11:
5:
2810:
2797:
2796:
2790:
2788:TheSession.org
2785:
2779:
2771:
2770:External links
2768:
2767:
2766:
2752:
2742:
2739:
2725:
2709:
2706:
2705:
2704:
2699:
2694:
2689:
2684:
2679:
2674:
2669:
2664:
2659:
2657:Sean-nĂłs dance
2654:
2649:
2644:
2639:
2632:
2629:
2628:
2627:
2612:
2609:
2549:Ciarán Farrell
2526:
2523:
2495:Flogging Molly
2374:Irish diaspora
2358:Sharon Shannon
2342:Energy Orchard
2338:The Undertones
2285:Patrick Street
2253:County Donegal
2243:in the 1990s.
2229:Shane MacGowan
2188:
2185:
2160:Rory Gallagher
2118:The Bothy Band
2111:The Bothy Band
2096:The Chieftains
2057:The Bothy Band
2037:The Chieftains
2029:
2026:
2022:music festival
1986:Main article:
1982:
1979:
1961:
1958:
1936:Main article:
1932:
1929:
1909:Fergus O'Byrne
1864:Main article:
1860:
1857:
1838:Irish bouzouki
1808:Main article:
1804:
1801:
1767:imported from
1756:Main article:
1744:
1741:
1713:Dáithà Sproule
1673:Dáithà Sproule
1649:Main article:
1645:
1642:
1611:Fergus O'Byrne
1591:Barney McKenna
1555:Main article:
1551:
1548:
1483:Sharon Shannon
1414:Mary MacNamara
1386:Sharon Shannon
1353:
1350:
1326:Michael Rooney
1310:Grainne Hambly
1306:The Bumblebees
1298:The Chieftains
1267:Edward Bunting
1229:Main article:
1225:
1222:
1164:highland pipes
1148:with a double
1138:Uilleann pipes
1096:the Chieftains
1052:Uilleann pipes
1050:Main article:
1046:
1045:Uilleann pipes
1043:
1023:Carmel Gunning
1003:Desi Wilkinson
991:Kevin Crawford
895:
892:
853:Máire O'Keeffe
843:, her brother
841:Julia Clifford
734:Paddy Killoran
730:James Morrison
711:Sliabh Luachra
696:Paddy Killoran
692:James Morrison
684:Gerry O'Connor
643:
642:
635:Irish fiddling
628:
625:
623:
620:
546:Main article:
542:
539:
524:
521:
511:competitions (
473:Main article:
469:
466:
438:Main article:
434:
431:
423:time signature
415:Sliabh Luachra
352:
349:
282:such bands as
229:For instance,
215:Edward Bunting
193:
190:
174:Border Collies
130:Rory Gallagher
118:Ciarán Farrell
61:United Kingdom
55:. In spite of
15:
9:
6:
4:
3:
2:
2809:
2800:
2794:
2791:
2789:
2786:
2783:
2780:
2777:
2774:
2773:
2765:
2764:0-903162-22-9
2761:
2757:
2753:
2751:
2750:1-85828-642-5
2747:
2743:
2740:
2738:
2737:0-87930-623-8
2734:
2730:
2726:
2724:
2723:1-85828-636-0
2720:
2716:
2712:
2711:
2703:
2700:
2698:
2695:
2693:
2690:
2688:
2685:
2683:
2680:
2678:
2675:
2673:
2670:
2668:
2665:
2663:
2660:
2658:
2655:
2653:
2652:Sean-nĂłs song
2650:
2648:
2645:
2643:
2640:
2638:
2635:
2634:
2626:
2622:
2618:
2615:
2614:
2608:
2606:
2602:
2598:
2594:
2590:
2586:
2581:
2579:
2575:
2571:
2567:
2557:
2553:
2550:
2541:
2535:
2533:
2522:
2520:
2516:
2512:
2508:
2504:
2500:
2496:
2491:
2488:
2484:
2480:
2477:In the 2000s
2475:
2473:
2469:
2465:
2461:
2457:
2453:
2450:
2449:
2445:released the
2444:
2439:
2437:
2433:
2430:, Bran Barr,
2429:
2425:
2421:
2417:
2413:
2409:
2405:
2400:
2397:
2395:
2391:
2390:
2385:
2384:
2379:
2378:The Waterboys
2375:
2371:
2367:
2363:
2359:
2355:
2351:
2347:
2343:
2339:
2335:
2334:
2329:
2324:
2322:
2318:
2314:
2310:
2306:
2302:
2298:
2294:
2290:
2286:
2282:
2278:
2274:
2270:
2262:
2258:
2254:
2250:
2244:
2242:
2238:
2234:
2230:
2226:
2222:
2218:
2214:
2210:
2206:
2202:
2193:
2184:
2182:
2178:
2174:
2169:
2165:
2161:
2157:
2153:
2149:
2146:
2142:
2138:
2137:rock and roll
2133:
2131:
2130:Christy Moore
2127:
2123:
2122:Moving Hearts
2119:
2115:
2112:
2108:
2104:
2099:
2097:
2093:
2089:
2088:The Dubliners
2085:
2081:
2080:Moving Hearts
2077:
2073:
2069:
2068:Christy Moore
2064:
2062:
2058:
2054:
2050:
2049:Sweeney's Men
2046:
2045:The Dubliners
2042:
2038:
2034:
2025:
2023:
2020:
2016:
2012:
2008:
2004:
2000:
1995:
1994:
1993:
1989:
1978:
1974:
1970:
1966:
1957:
1955:
1951:
1947:
1946:Brendan Power
1941:
1940:
1939:
1928:
1924:
1920:
1918:
1914:
1910:
1906:
1902:
1898:
1894:
1890:
1886:
1882:
1873:
1869:
1868:
1867:
1856:
1854:
1850:
1846:
1841:
1839:
1833:
1831:
1826:
1822:
1817:
1813:
1812:
1811:
1800:
1798:
1794:
1790:
1786:
1782:
1778:
1774:
1770:
1766:
1761:
1760:
1759:
1749:
1740:
1738:
1734:
1733:Dennis Cahill
1730:
1726:
1722:
1721:Paul McSherry
1718:
1714:
1710:
1704:
1700:
1698:
1697:Paul McSherry
1694:
1690:
1686:
1682:
1678:
1674:
1669:
1665:
1661:
1659:
1654:
1653:
1652:
1641:
1639:
1634:
1631:
1627:
1623:
1618:
1616:
1615:Kevin Griffin
1612:
1608:
1604:
1600:
1596:
1595:The Dubliners
1592:
1588:
1584:
1580:
1576:
1572:
1569:
1565:
1564:United States
1560:
1559:
1558:
1547:
1545:
1544:Padraig Rynne
1541:
1536:
1532:
1528:
1524:
1520:
1512:
1508:
1506:
1501:
1499:
1494:
1492:
1488:
1484:
1479:
1477:
1473:
1469:
1468:Paddy O'Brien
1465:
1464:Sonny Brogran
1461:
1457:
1453:
1452:Paddy O'Brien
1448:
1444:
1442:
1438:
1434:
1430:
1426:
1421:
1419:
1415:
1411:
1407:
1403:
1399:
1395:
1394:Niall Vallely
1391:
1390:Dave Hennessy
1387:
1383:
1379:
1375:
1371:
1370:John Williams
1366:
1365:
1364:
1360:
1349:
1347:
1343:
1339:
1335:
1331:
1327:
1323:
1319:
1315:
1311:
1307:
1303:
1299:
1295:
1290:
1288:
1284:
1280:
1274:
1272:
1268:
1264:
1258:
1256:
1252:
1251:"Raglan Road"
1248:
1244:
1240:
1234:
1233:
1232:
1221:
1219:
1218:Robbie Hannon
1215:
1214:Davy Spillane
1211:
1207:
1203:
1199:
1198:Willie Clancy
1195:
1194:
1188:
1183:
1181:
1177:
1173:
1169:
1165:
1161:
1157:
1156:
1151:
1147:
1143:
1139:
1135:
1133:
1129:
1125:
1121:
1120:Davy Spillane
1117:
1116:John McSherry
1113:
1109:
1105:
1101:
1097:
1093:
1092:Paddy Moloney
1089:
1085:
1081:
1080:Willie Clancy
1077:
1073:
1069:
1064:
1060:
1055:
1054:
1053:
1042:
1040:
1036:
1032:
1028:
1024:
1020:
1019:Paddy Moloney
1016:
1015:Joanie Madden
1012:
1008:
1007:Conal O'Grada
1004:
1000:
996:
992:
988:
983:
981:
976:
974:
970:
969:Feadóga Stáin
966:
960:
956:
954:
950:
945:
940:
938:
934:
930:
929:Joanie Madden
924:
922:
916:
915:
914:
910:
900:
891:
889:
885:
881:
876:
874:
873:SĂ©amus Creagh
870:
866:
862:
858:
857:Matt Cranitch
854:
850:
846:
842:
838:
834:
830:
829:Bridget Regan
826:
822:
818:
817:Francie Byrne
814:
810:
806:
805:NĂ©llidh Boyle
802:
798:
794:
793:Junior Crehan
790:
786:
782:
781:Patrick Kelly
778:
774:
773:Jack Mulcaire
770:
766:
762:
757:
755:
751:
747:
743:
739:
735:
731:
727:
723:
718:
716:
712:
708:
704:
699:
697:
693:
689:
685:
681:
677:
673:
669:
668:Frankie Gavin
665:
664:Matt Cranitch
661:
657:
653:
649:
641:
640:
636:
631:
630:
619:
616:
615:
609:
606:
602:
601:
595:
593:
589:
585:
583:
578:
577:
572:
568:
564:
560:
556:
555:
550:
549:
538:
536:
532:
530:
520:
518:
514:
508:
504:
500:
498:
497:
492:
487:
483:
478:
477:
476:
465:
461:
457:
453:
451:
447:
443:
442:
441:
430:
428:
424:
420:
416:
412:
408:
405:
401:
397:
393:
389:
385:
381:
376:
374:
370:
366:
362:
358:
348:
344:
342:
338:
334:
330:
326:
322:
321:
314:
312:
308:
304:
300:
295:
291:
289:
285:
279:
276:
272:
268:
263:
260:
259:At The Racket
256:
252:
248:
244:
240:
236:
232:
227:
224:
220:
216:
212:
211:George Petrie
206:
204:
200:
189:
185:
183:
179:
175:
171:
167:
163:
159:
155:
151:
145:
143:
139:
135:
131:
127:
123:
119:
115:
111:
107:
103:
99:
95:
91:
85:
83:
78:
74:
73:rock and roll
70:
66:
65:United States
62:
58:
54:
50:
46:
45:
37:
33:
28:
19:
2798:
2755:
2729:Celtic music
2728:
2714:
2672:Irish topics
2647:Celtic music
2620:
2582:
2562:
2546:
2528:
2517:, Gráda and
2492:
2476:
2446:
2440:
2420:Celtic metal
2401:
2398:
2389:Room to Roam
2387:
2381:
2365:
2331:
2325:
2299:, while the
2293:Gavin Friday
2266:
2205:Van Morrison
2198:
2177:Irish poetry
2148:Van Morrison
2134:
2114:
2100:
2065:
2063:in the 70s.
2033:Seán Ó Riada
2031:
2019:Fleadh Ceoil
2010:
2006:
1996:
1985:
1984:
1981:Pub sessions
1975:
1971:
1967:
1963:
1942:
1935:
1934:
1925:
1921:
1913:Ryan's Fancy
1893:Seán Ó Riada
1878:
1863:
1862:
1849:Mick Moloney
1842:
1834:
1818:
1814:
1807:
1806:
1762:
1755:
1754:
1737:Steve Cooney
1709:Arty McGlynn
1705:
1701:
1689:Arty McGlynn
1685:Steve Cooney
1670:
1666:
1662:
1655:
1648:
1647:
1635:
1619:
1561:
1554:
1553:
1537:
1533:
1529:
1525:
1521:
1517:
1502:
1495:
1480:
1449:
1445:
1433:Peter Conlon
1422:
1367:
1356:
1355:
1334:Patrick Ball
1330:Aine Minoque
1302:Laoise Kelly
1291:
1287:Clarsach.net
1275:
1259:
1254:
1250:
1246:
1235:
1228:
1227:
1210:Paddy Keenan
1206:Garret Barry
1190:
1184:
1176:Border pipes
1153:
1136:
1128:Mick O'Brien
1112:Paddy Keenan
1108:Liam O'Flynn
1088:Johnny Doran
1072:Seamus Ennis
1067:
1062:
1058:
1056:
1049:
1048:
1039:Packie Byrne
1027:Paddy Keenan
984:
977:
968:
961:
957:
941:
925:
921:Boehm system
917:
906:
905:
888:Eileen Ivers
884:Marie Reilly
877:
845:Denis Murphy
821:John Doherty
797:P. Joe Hayes
789:Pat O'Connor
758:
742:Martin Wynne
738:Andrew Davey
722:Lad O'Beirne
719:
700:
656:Martin Hayes
644:
632:
612:
610:
598:
596:
587:
586:
574:
552:
545:
544:
533:
526:
516:
512:
509:
505:
501:
494:
479:
472:
471:
462:
458:
454:
444:
437:
436:
409:
377:
365:saint's days
354:
345:
340:
336:
332:
328:
324:
317:
315:
307:counterpoint
296:
292:
280:
264:
257:. (The band
228:
207:
195:
186:
146:
110:Van Morrison
86:
48:
42:
41:
2448:Optic Nerve
2424:black metal
2241:drum n bass
2173:Phil Lynott
2164:heavy metal
2126:DĂłnal Lunny
2084:The Clancys
2072:Donal Lunny
2011:O'Donoghues
2003:Camden Town
1992:pub session
1950:New Zealand
1905:Colm Murphy
1901:Tommy Hayes
1845:Andy Irvine
1821:sound holes
1781:Andy Irvine
1777:Donal Lunny
1505:Karen Tweed
1498:Joe Derrane
1487:Jackie Daly
1472:James Keane
1429:John Kimmel
1406:Tim Collins
1398:Kitty Hayes
1318:Mary O'Hara
1202:Leo Rowsome
1076:Leo Rowsome
1035:Mary Bergin
1011:Emer Mayock
995:Peter Horan
987:Matt Molloy
980:low whistle
965:Mary Bergin
944:tin whistle
913:tin whistle
880:Liz Carroll
809:James Byrne
769:Bobby Casey
765:Paddy Canny
761:Frank Custy
652:James Kelly
648:Peter Horan
605:Bill Whelan
582:Bill Whelan
563:Jean Butler
475:Irish dance
468:Stepdancing
446:Set dancing
440:Set dancing
433:Set dancing
369:dance music
2708:References
2662:Irish rock
2519:Bad Haggis
2503:LeperKhanz
2501:, and the
2460:Scary Éire
2354:Andy White
2350:Mary Black
2297:Bob Geldof
2225:The Pogues
2168:Thin Lizzy
2124:formed by
1881:frame drum
1853:Paul Kelly
1725:Zan McLeod
1717:John Doyle
1693:John Doyle
1677:Bothy Band
1622:clawhammer
1603:John Carty
1491:Joe Cooley
1476:John Nolan
1363:concertina
1294:Derek Bell
1182:country.
1155:regulators
953:mouthpiece
869:Tim Browne
777:John Kelly
614:Riverdance
600:Riverdance
588:Riverdance
576:Riverdance
554:Riverdance
548:Riverdance
541:Riverdance
515:; plural,
499:in 1994.
496:Riverdance
400:strathspey
288:Bothy Band
271:concertina
255:saxophones
243:tambourine
138:The Pogues
114:Thin Lizzy
69:rock music
57:emigration
2547:Composer
2490:groups).
2443:Exile Eye
2428:Waylander
2408:B*Witched
2404:the Corrs
2370:Bob Dylan
2289:Punk rock
2269:De Dannan
2255:musician
2233:punk rock
2227:, led by
1938:harmonica
1931:Harmonica
1797:Alec Finn
1785:Alec Finn
1630:bluegrass
1540:Noel Hill
1460:Joe Burke
1456:Tipperary
1437:Connemara
1418:Noel Hill
1382:Joe Joyce
1374:Joe Burke
1359:accordion
1187:Fonn Mall
1084:John Cash
1031:Seán Ryan
973:Alec Finn
746:Fred Finn
517:feiseanna
486:Connemara
384:hornpipes
373:isometric
267:accordion
235:bouzoukis
106:The Corrs
77:punk rock
53:pop music
2758:, 1985,
2631:See also
2605:Lyric FM
2595:and the
2464:Homebrew
2432:Cruachan
2141:Horslips
2090:, while
1885:wrenboys
1810:mandolin
1803:Mandolin
1793:mandolin
1758:bouzouki
1743:Bouzouki
1675:and the
1658:sessions
1583:plectrum
1579:mandolin
1425:melodeon
1277:airs of
1193:sean nĂłs
1142:bagpipes
871:, while
592:sessions
529:sean-nĂłs
491:Broadway
392:mazurkas
361:weddings
341:sean-nĂłs
337:sean nĂłs
333:sean-nĂłs
329:sean-nĂłs
325:Sean-nĂłs
320:sean-nĂłs
311:bouzouki
286:and the
142:Westlife
94:Horslips
63:and the
2611:Samples
2578:Bulraga
2507:Skelpin
2456:hip hop
2412:Boyzone
2301:Belfast
2281:Dervish
2221:New Age
2156:R&B
2107:Clannad
2103:Planxty
2076:Planxty
2061:Clannad
2053:Planxty
1866:bodhrán
1859:Bodhrán
1830:luthier
1825:f-holes
1765:cittern
1587:session
1575:cittern
1568:African
1160:bellows
1146:chanter
1063:ill-yun
703:Donegal
482:Munster
382:(4/4),
357:dancing
299:harmony
284:Planxty
247:CĂ©ilidh
239:bodhrán
231:guitars
199:English
98:Clannad
44:Ireland
2762:
2748:
2735:
2721:
2559:Anuna.
2497:, the
2277:Arcady
2015:Dublin
1999:London
1789:guitar
1783:, and
1769:Greece
1729:Loughy
1651:guitar
1644:Guitar
1571:slaves
1474:, and
1388:, and
1204:, and
1180:Border
1170:, the
1059:ill-in
1037:, and
1013:, and
949:barrel
867:, and
847:, and
827:, and
639:Fiddle
627:Fiddle
450:cĂ©ilĂs
411:Polkas
396:polkas
303:unison
172:, and
162:LĂşnasa
158:DĂ©anta
2585:Anuna
2532:Anuna
2511:Flook
2487:Teada
2479:Gráda
2436:Geasa
2273:Altan
2166:band
1917:Flook
1557:banjo
1550:Banjo
1132:Pavee
1070:like
909:flute
833:Kerry
715:Clare
707:Sligo
567:AnĂşna
427:tempo
380:reels
275:flute
203:Irish
150:Altan
16:<
2760:ISBN
2746:ISBN
2733:ISBN
2719:ISBN
2515:KĂla
2485:and
2483:DanĂş
2470:and
2434:and
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