Pan-Celtic Repertoire Class
This class explores the traditional music of Celtic cultures. During the five days we have together we will build a sample repertoire of the traditional music heard in the regions of Europe that are known as the “Seven Celtic Regions”: Brittany, Cornwall, Galicia, Ireland, Isle of Man, Scotland and Wales.
The class is organized to study Celtic tunes using sets of tunes from each region. Each day we will explore a different region. The class will begin by studying a set of tunes from Wales and then move on to the music of Cornwall, Galicia, Brittany, Isle of Man, and lastly Ireland and Scotland.
Don’t expect to know all the tunes by the end of the week, much less master them! That’s your homework. The goal of this class is to cast a broad net to cover what’s called “Celtic” music.
Each regional chapter of this site provides short descriptions of the uniqueness of place to provide context for the music.. Tunes are available for download in standard notation and ABC notation. Each regional chapter has mp3 files that allow you to audition a tune. The download page makes tunes available for practice. More than fifty tunes are currently available for study and download.
If you have never been to a Celtic session, it may be helpful to view and listen to videos showing how these social gatherings of musicians function. Live TradConnect proivdes a collection of such videos on YouTube: https://goo.gl/HkAVXM
All melody instruments are welcome in this Pan-Celtic Repertoire class A good place to start is with a SHORT discussion on the question of What is Celtic Music?
As you explore the tunes offered in the class, keep in mind this quote credited to famed American old-time banjo player Tommy Jarrell:
The class is organized to study Celtic tunes using sets of tunes from each region. Each day we will explore a different region. The class will begin by studying a set of tunes from Wales and then move on to the music of Cornwall, Galicia, Brittany, Isle of Man, and lastly Ireland and Scotland.
Don’t expect to know all the tunes by the end of the week, much less master them! That’s your homework. The goal of this class is to cast a broad net to cover what’s called “Celtic” music.
Each regional chapter of this site provides short descriptions of the uniqueness of place to provide context for the music.. Tunes are available for download in standard notation and ABC notation. Each regional chapter has mp3 files that allow you to audition a tune. The download page makes tunes available for practice. More than fifty tunes are currently available for study and download.
If you have never been to a Celtic session, it may be helpful to view and listen to videos showing how these social gatherings of musicians function. Live TradConnect proivdes a collection of such videos on YouTube: https://goo.gl/HkAVXM
All melody instruments are welcome in this Pan-Celtic Repertoire class A good place to start is with a SHORT discussion on the question of What is Celtic Music?
As you explore the tunes offered in the class, keep in mind this quote credited to famed American old-time banjo player Tommy Jarrell:
"I once met a man who knew a thousand tunes. And he couldn't play a single one."
Learning a tune is more than memorizing the notes. It's about feeling the music. Developing the accuracy, tempo, phrasing, dynamics and expression.that make for the compelling performance of a tune takes time. Many fine musicians believe that a player can only hold about twenty or thirty tunes at performance level at any one time. Impress listeners by the quality of your playing not the scale of your repertoire. Build your repertoire slowly, carefully, deliberately. Pick tunes that move you and live with them.until they become your voice.
The music and study aides for this class is available at these links:
The music and study aides for this class is available at these links:
Keep the history of humanity in mind as you study these tunes. As far back as the archelogical record reports, people have been on the move both as emigrants and immigrants. The Celtic peoples have moved about western Europe and the Atlantic Fringe for thousands of years. The Celts have spanned Europe from Ireland in the West to Asia Minor (modern day Turkey) in the East. They shared language, beliefs, material culture and they intermarried. No one can draw a bright line separating any one Celtic region from another. The relationships were, and are integrated, and the boundary, if it exists at all, is blurred beyond any utility.
Much of the traditional music of the Celtic nations is a shared repertoire. Some folks argue that this or that tune MUST come from...... choose the Celtic nation here. That is a pointless debate. Take the music for the value of its beauty, durability and adaptability.
Much of the traditional music of the Celtic nations is a shared repertoire. Some folks argue that this or that tune MUST come from...... choose the Celtic nation here. That is a pointless debate. Take the music for the value of its beauty, durability and adaptability.
Each Celtic region has its own form of uniqueness . Scotland has its "snap" and the strathspey. Brittany has its ridee and the bombard. Wales owns the harp and choral songs. Cornwall has its Christmas Carols. Galicia has the Spanish pipes and drums and is sometimes called "the Spanish Scotland". Ireland won the marketing battle and is the indisputable origin of bluegrass music and much of the Old Time music of the Southern Appalachians. Isle of Man may not have the harp, but it is a hub of Celtic history and culture. Besides, the Isle of Man holds the irrefutable claim as the childhood home of the Bee Gees!
It is important to understand that among many musicians the classification of "Celtic" has little meaning. This is particularly true of Irish and Scottish musicians. In the 21st century "Celtic" has become a marketing tool for festivals, promoters of recordings, radio and blog hosts. The concept of "Celtic" in contemporary times seems to have originated within a counter culture that seeks to differentiate itself from the mainstream by asserting is perceived shared identity. No definitive definition of Celtic music can be written. The closest definition that may suffice is that Celtic music includes all styles, instrumentation, generas and repertoires that currently exist in those regions where a Celtic language is spoken. Yet, this broad approach would rule out the traditional music of Galicia and Asturia. Both of those regions have substantiated claims as Celtic regions.
Take a deep breath and let the music of the Celts wash over you. Listen carefully to the music of our time. You won’t be able to escape the primal fact that throughout the Western world, Celtic music, with numerous different accents and dialects, is everywhere.
It is important to understand that among many musicians the classification of "Celtic" has little meaning. This is particularly true of Irish and Scottish musicians. In the 21st century "Celtic" has become a marketing tool for festivals, promoters of recordings, radio and blog hosts. The concept of "Celtic" in contemporary times seems to have originated within a counter culture that seeks to differentiate itself from the mainstream by asserting is perceived shared identity. No definitive definition of Celtic music can be written. The closest definition that may suffice is that Celtic music includes all styles, instrumentation, generas and repertoires that currently exist in those regions where a Celtic language is spoken. Yet, this broad approach would rule out the traditional music of Galicia and Asturia. Both of those regions have substantiated claims as Celtic regions.
Take a deep breath and let the music of the Celts wash over you. Listen carefully to the music of our time. You won’t be able to escape the primal fact that throughout the Western world, Celtic music, with numerous different accents and dialects, is everywhere.
- Timeline of the Celts