Musical Instruments of Ireland
Music has played and important role in Irish life for thousands of years. To gain a better appreciation of Irish music we have provided the following information on some popular instruments and the people who played them.
ACCORDION
Chromatic Button, Diatonic, Piano, Melodeon
The Accordion is the bellows driven, free-reed family of instruments having chords and melody notes, developed in the early part of the 19th Century. The earliest accordions had a single row of ten buttons each controlling a valve, which controlled the airflow to a pair of metal reeds inside the instrument. These reeds were tined to a diatonic scale, using a layout similar to the harmonica. With each button two different notes could be obtained, one by 'pulling' the bellows another by 'pushing' the bellows. The in and out movement of the bellows changes the notes and adds the rhythm necessary for the dance tunes.
The Accordion family is comprised of a variety of instruments known specifically as a Button Box, Diatonic Accordion, Piano Accordion and Melodeon. Each instrument has a different sound and a variety of features, each played for different types and styles of music. Basically, for each instrument, the right hand plays the treble notes on the button keyboard or piano keyboard and changes switches on the grill. The left hand plays the bass notes and chords, plus changes switches and operates the air button (operates the valve that allows the bellows to open and close without making sounds).
The Chromatic Button Accordion
The Melodeon, also known as a Diatonic Button Accordion, was developed from the Harmonica in the early 19th Century. It has a single row of ten buttons on the right hand keyboard and two bass accompaniment buttons for the left hand. So that ornamentation could accompany the fiddle and pipes and to be able to play in additional keys, a second row of buttons was added, which are also diatonic. These additional keys were a semi-tone higher or lower from the original row. Instruments were made in key combinations of C/C#, C#/D, D/D# and D/C#. By adding the second row of keys, it made the melodeon fully chromatic by providing the missing sharps and flats while preserving the push-pull technique and tone of the diatomic accordion.
In the late 1800's the single row melodeon was introduced to Ireland. Its rhythmic qualities made it a good instrument for playing the dance tunes. It was inexpensive and easy to learn. It became a popular instrument for the women to play.
Irish artists who play instruments of the Accordion family have included Joe Cooley, Jackie Daly, Mairtin O'Connor, Benny McCarthy of Danu, Dermot Byrne of Altan, Seamus Begley, Sharon Shannon and Johnny Connolly.
BODHRAN (bow rawn)
The Gaelic word for deaf is 'bodhar', whereby the Bodhran drum can be deafening. The Bodhran is said to be an ancient drum used in battle and parades, but only in more modern times has it been used as a musical instrument. There are several theories on its origin. Sean O'Riada is given credit for incorporating it in his music, with Ceoltoiri Chualann, in the 1960's, bringing to the forefront for percussion. It has become the heartbeat in traditional Irish music.
The Bodhran is a one sided drum, with a treated goatskin or other animal skin, stretched over a wooden frame approximately 18 inches in diameter. It is a percussion instrument, beat with a double ended wooden beater or tipper. The process of treating the skin is a trade secret of Bodhran makers. The early Bodhran had a cross bar on the back to keep the wooden rim from warping. The drum is held in one hand and struck with the other a beater or tipper.
The skin of the drum is affected by the climate. Many times you will see the musician place a few drops of water on the skin to loosen to adjust the sound. A tunable Bodhran is now available. These can be tuned either with a key or a cam wheel adjuster to adjust the sound. Many musicians decorate their Bodhrans with Celtic symbols or a family crest.
The Concertina is a 'free reed' instrument whose origin is believed to be from the Chinese 'free reed' mouth organ. The concertina makes tones with reeds that are riveted over holes on reed plates, made from aluminum or brass. They can swing in and out of the hole making them a 'free-reed' instrument.
There are many different types of Concertinas. The English Concertina was invented by Charles Wheaton around 1829, it is a chromatic instrument able to play full and half tones; it gives the same tone on push and pull. Carl Friedrich Uhlig invented the German Concertina in 1834. It has single tones on the right and left sides, later he added ten buttons on each side of the instrument. George Jones developed the German-Anglo Concertina in 1850. He combined the chromatic tones of the English concertina and the diatonic tones of the German concertina and included a third row of accidentals and additional redundant tones. In other words there were different tones on the push and pull of the instrument, which made the instrument more adaptable to a wider scope of music. The German-Anglo Concertina was much better suited to playing the rhythmic Irish music.
It was the German-Anglo concertina found it's way into many Irish homes. They were inexpensive and well suited for the ever-popular house dances. The music of the concertina in conjunction with the thump of the dancers feet made a lively sound. The concertina was very popular with the female musicians. Diverse styles of playing the where developed. The uilleann pipes influenced many concertina musicians.
In Ireland, East Clare is the area most noted for fantastic concertina players. As in most towns each have developed their own styles of music, which are different from other parts of the country. This developed because in very early times the people were not as mobile as today and if they did not emigrate, they pretty much lived in the areas they were born. It wasn't until radio and records that you heard musicians from different areas play in their unique styles.
Some East Clare concertina players that have gained international renown include Mrs. Elizabeth Crotty, Noel Hill and Mary McNamara.
Mrs. Elizabeth Crotty, (1885-1960) from Cooraclare in West Clare, was born into a musical family with her Mother playing fiddle and her sister playing concertina. Mrs. Crotty was one of the best-known Concertina players in the 1950's. She and her husband had a Public House in Kilrush where many a musician came and played. She played the concertina with great clarity and rhythm, not much ornamentation. She used a technique of playing the high part of the tune in double octaves. The tunes which made her famous were 'The Wind that Shakes the Barley' and 'The Reel with the Beryl".
Mrs. Crotty along with her friend Mrs. Kathleen Harrington, who played the fiddle, were members of the Piper's Club in Dublin. Mrs. Crotty's fame grew as a result of recording sessions conducted by Ciaran MacMathuna and RTE. Her music was a favorite on his radio programs.
Mrs. Crotty was a founding member and President of Comhaltas Ceoltoiri Eireann in County Clare until her death in 1960. To this day she is remembered with a festival named in her honor Eigse Mrs. Crotty Festival of Concertina Music held each year in Kilrush, West Clare.
Noel Hill, from Caherea, County Clare, is today in the forefront for virtuosity in playing the concertina. He is a musician, teacher of the concertina and an authority on Irish music. He has recorded four albums and has accompanied several other artists on their recordings.
Mary McNamara, from Tulla, East Clare, is from a musical family with her Mother playing piano and her grandparents playing fiddle and concertina, dancing was another part of the musical fiber. Mary is a solo concertina player as well as a teacher on the instrument in East Clare. She has two solo recordings.
TIN WHISTLE
The Tin Whistle or Penny Whistle is a cylindrical wind instrument, made of metal, wood, or plastic. It is primarily used in Irish and Scottish music. Other ethnic groups use it as well. There is a plastic mouthpiece and six finger holes. Usually it comes in the key of D. Many tin whistles are inexpensive, but high-end whistles are available. The tin whistle is relatively easy to learn and has become a favorite with main fledgling musicians. There are a variety of commercial materials available to learn to play the whistle.
The tin whistle is similar to a recorder and has been in existence for about 200 years. It is sometimes referred to as a 'fipple flute'. Some world class whistle players include Mary Bergin, Joanie Madden of Cherish the Ladies, and Micho Russell.
UILLEANN PIPES
The Uilleann Pipes (pronounced ill un) have been in existence in some form as far back as the fifth century. Since the 18th century they have replaced the harp as the national instrument. A full set of Uilleann pipes consist of a bag, bellows, chanter, 3 drones and 3 regulators. A practice set does not include the drones or regulators.
In playing the Uilleann (old Irish for elbow), the musician is seated with a bellows strapped to his elbow. This enables him to pump air into the bag, which flows through to the chanters. There are finger holes on the front of the chanter and a thumbhole on the back. The melody is played through the chanter. The drones provide accompaniment in bass, baritone or tenor to the chanter and the regulators provide chordal accompaniment. The sound of the pipes is sweet and mellow but can also be wild and exhilarating, depending on the musician.
In earlier times and number of pipers were blind. Music was one of the few professions a blind person could find employment. Many of them made their own pipes. Depending on the time in history, many pipers played for the autocracy and became known as 'gentlemen pipers'. The ordinary person made their own pipes from available woods and performed for their family and neighbors. Towards the end of the 19th century the living conditions became very desperate in Ireland. With people struggling to survive music was not a priority. Therefore, many pipers became destitute and went by the wayside. During the Irish music revival of the 1960's there were only a few Uilleann pipers on the scene, the legendary Willie Clancy, Leo Rowsome, and Seamus Ennis.
Willie Clancy (1918-1973) from Miltown Malbay, County Clare was born on Christmas Eve, and was the son of Gilbert Clancy and Ellen Killeen. It was a musical home, with Gilbert playing the concertina and flute. Prior to Willie Clancy's birth, the blind piper Garrett Barry would stay at the Clancy home for several months at a time. Garrett Barry was big influence on Gilbert Clancy. Gilbert Clancy encouraged his son Willie to become a musician at an early age. Willie Clancy learned the tin whistle and later the flute. He was twenty years old when he received his first pipes and was influenced by the traveler piper, Johnny Doran. By his 29th birthday, he competed in the Oireachtas and took first place with his uilleann pipes.
Willie Clancy was a master carpenter working in Dublin when he joined Leo Rowsome's band for radio broadcasts. Later he traveled to London where the Irish music scene was better than in Ireland. Here he played with Bobby Casey, Seamus Ennis and Mairtin Byrnes. He moved back to Ireland in 1957, married and continued playing music. He had a very large repertoire of tunes and folklore, many musicians enjoyed playing with him. Along with the Uilleann pipes, Willie Clancy was an excellent flute player and singer of songs.
Willie Clancy had a huge influence on future pipers and the music in County Clare. Upon his untimely death, a music school was set created. It is internationally recognized and attended by players from around the world.
Leo Rowsome (1903-1970) from Dublin was born into a musical home. His father William, Grandfather Samuel and uncles Tom and John were all uilleann pipers. His father made pipes and Leo was an expert reed-maker and pipe-maker.
Leo Rowsome taught at the College of Music in Dublin for 50 years. He played on Radio Eireann in 1920 with Seamus O'Mathuna on fiddle and Nelius Cronin on flute. This exposed the music to a far-reaching audience and there were many requests for him to play at concerts and fesh's across the land. Again in the 1930's Rowsome played on Radio Eireann in a piper's quartet with Eddie Potts, Tom Rowsome and Michael Padian and many others including Willie Clancy. In the 1940's Rowsome along with Tommy Reck and Sean Reid revived the 'Piper's Club' in Dublin. This was a place where musicians of all instruments, could learn and exchange with other musicians. Out of this venue, developed Comhaltas Ceoltoiri Eireann in 1951.
Leo Rowsome for almost forty years dominated uilleann pipe playing; he set the standards and style at the time. He mastered the regulators; the feature of the pipes that allows chords to be played by pressing keys on a set of three additional pipes arranged parallel to the drones across the knee. He also had a recognizable chanter style. His grandson Kevin Rowsome marks the fifth consecutive generation of uilleann pipers.
Seamus Ennis (1919-1982) from Jamestown, Finglas, County Dublin, was born into a musical home. His father James, played many instruments including the uilleann pipes, along with being a champion dancer. It was his Father who had the most influence on Seamus. From the cradle he was lulled to sleep by the sound of the pipes. Throughout his youth many musicians visited the Ennis home. His Father was part of a trio that played and broadcast on Radio 2RN.
Seamus Ennis was educated in the Irish language. Early in his work life he was employed in the printing trade. When the Second World War broke out, he went to work for the Irish Folklore Commission as a 'folk-music collector'. He gathered and achieved music from the West Coast of Ireland as well as the Scottish Gaeltacht until 1947.
While in Scotland he secured a position at Radio Eireann as an Outside Broadcast Officer. His programs were 'Music Stand' and 'Folk Songs from the West'. He had the opportunity to record Willie Clancy, Bobby Casey, Sean Reid, Martin Talty and Micho Russell. These broadcasts reached a large audience. The music of various regions was played. Many listeners heard these different styles for the very first time.
In 1951 he moved to London and worked for the BBC, recording the folk culture of England, Scotland Wales and Ireland. His program there was 'As I Roved Out'. In 1958 he moved back to Ireland and did free lance work with Radio Eireann and also presented programs on Teilifis Eireann, the new TV station.
During the 1960's he traveled around Ireland playing music. During the early 1970's he formed a group 'The Halfpenny Bridge Quartet' with Liam O'Flynn on uilleann pipes, Tommy Grogan on accordion and Sean Keane on fiddle.
His style of playing the pipes was unique and easily recognizable because of his tone, technique, and variations. He often played slow airs along with a singer and dance music. He played pipes made by Coyne of Thomas Street in Dublin (circa 1800). Seamus Ennis was an important figure in Irish music. He was an accomplished musician and promoted Celtic music. Through his efforts much Celtic music was preserved which may have otherwise been lost.
