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Traditional Irish Celtic

Celtic music originated in Scotland, Ireland and Wales in the 1600s and is still a popular style of music to this day. Celtic music also grew in popularity in Canada and the United States after two major events.
 
The first happened in Scotland in the late 18th century, when the government attempted to eradicate Scottish culture, which led for Scottish people to flee to neighbouring countries, Canada and the US.
 
The second was in 1845 - 1851, when the great famine occurred after fungus had killed potato plantations, which also led for people to flee the country.
 
Celt people created this music using traditional instruments such as the flute, lute, violin, bagpipe, harp, Fiddle, Bodhrán, the Tin Whistle and many others. Celtic music is best described as folk music with a dinstricitve style of music and lyrics. Celtic music is a style of music that can be danced to which is called a Ballad. Some famous Celtic musicians are Clannad, Enya, The Chieftains and The Corrs. Celtic music is typically played in unison, not in harmony and the music tends to repeat many times. Since the music is quite repetitive, musicians ornament the music using the Fiddle, Tin Whistle or the Uilleann pipes and other typical instruments. The use of microtonal bends are familiar in Celtic (heart in Blues and Arabic music as well) along with the use of Mixolydian and Dorian modes and pentatonic scales. (Forsyth, n.d.)
This extract was chosen since it is the top track from their first album: "The Chieftains 1" 
Extract 1: Women of Ireland / Morning Dew

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Texture:

  • Monophonic (0:00 - 0:36) on the fiddle

  • Monophonic with the fiddle solo introduction and then, some homophonic passages (0:35 - 1:09) with celtic harp broken chords and fiddle melody

  • Polyphonic (1:09 - 2:20) - all the instruments are played at the same time with melodies weaving in and out of each other. (Celtic harp accelerates the broken chords) 

  • Melodic Unison: (Fiddles and tin whistle play in melodic unison 8ve apart) (1:09-2:18)

  • Homophonic: (2:20 - 3:17) Tin whistle -high pitched melody with the celtic harp accompaniment playing broken chords

    • Celtic harp fades away at about 3:17

  • Tin whistle plays one octave lower 3:17 - 3:28

 

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Dynamics:

  • Mezzoforte (0:00 - 1:11)

  • Forte (1:11 - 2:00)

Tempo:

  • Largo (0:00 - 2:00)​

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Tonality:

  • Minor

Melody:

  • Conjunct melody (featuring rising 5th and falling 6th, in the melody line, bars 2-5)

  • Rising and falling contour (rising: bars 2-4; falling: bars4-6)

  • Melodic ornamentation (grace notes) to emphases the melody at 0:06, 0:23, 0:29, 0:34

  • Antecedent (bars 2 - 7) and Consequent phrases (bars 7-15)

  • Imbalanced phrasing

Duration:

  • Compound time

    • 6/8 time signature

Timbre:

  • Fiddle

  • Tin Whistle

  • Celtic Harp

Articulation:

  • Portamento (Pitch slide) on the fiddle (1:09 - 2:22) and tin whistle (2:22 - 3:27)

  • Legato throughout 

Structure:

  • Strophic

    • Repetitions in extract: 

      • (0:00-0:19) and (0:19-0:36)

      • (0:38-0:52) and (0:52-1:08)

      • (1:08-1:48) and (1:48-2:17)

      • (2:21-2:45) and (2:45-3:27)

(Balloon, 2017)
This extract was chosen since it is one of the top tracks by the Chieftains with 1901994 views on Youtube 
Extract 2: O’Sullivan’s March

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Texture:

  • Monophonic introduction on the Bodhrán rhythmic ostinato(0:00 - 0:16)

  • Polyphonic texture as the Bagpipe enter with drone and the main theme (0:17 - 0:44)

  • Polyphonic with melodic unison on the Bagpipe and Uilleann pipes (0:44 - 1:06)

  • Homophonic texture - Celtic Harp starts to play chords along with the melody (1:07 - 1:55)

  • Rhythmic ostinato from introduction returns (percussion solo on Bodhrán) (1:51 - 1:53)

  • Irish Flutes (more than 3) plays in unison (1:53 - 2:35)

 

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Dynamics:

  • Mezzoforte (0:00 - 2:00)

Tempo:

  • Moderato (0:00 - 2:00) 60 Bpm

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Tonality:

  • B (flat) Major (0:00 - 1:54)

  • F Major (1:54 - 2:35)

Duration:

  • 6/8 time signature march

  • Compound meter

Melody:

  • Conjunct on the Great Highland Bagpipe

  • Rising and Falling contour (0:22 - 0:44)

  • Modulation on the flutes (1:54) 

  • Melodic Ornaments (0:22, 0:27, 0:32, 0:34, 0:38, 0:40, 0:43)

  • Antecedent (bar 2-5) Consequent (bar 6-9)

  • Balanced phrasing

Timbre:

  • Bodhrán

  • Bagpipe

  • Tin Whistle

  • Uilleann Pipes

  • Celtic Harp

Structure:

  • Strophic

  • ABABAB

Common Musical Features of Culture 1

As the investigation unfolded, the common musical features found in both extracts for culture 1 are as follows:

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Conjunct melody with rising and falling melodic contour

Antecedent and consequent phrases

Compound meter

Antecedent & Consequent phrases

Monophonic introduction

Melodic Unison

Melodic Ornaments 

Rhythmic Ostinato

Strophic Structure

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