Instruments

This page deals with common instruments in Irish Traditional Music and some representative musicians (don't be TOO surprised if you see some of the musicians more than once!).
Accordion - Bocsa / Bosca Ceoil

The kind of accordion used nowadays in ITM has two rows of buttons (and eight basses) instead of just one row (as on the melodeon - not to be confused with the "melodeon" in UK - which is a two-row accordion, in a different tuning though, more like D/G or C/F). The Irish melodeon was played using much "press-and-draw" (and had only two basses). Therefore the B/C system was developed, which enabled playing in the key of D across the rows - a more "fluid" way of playing. Famous B/C players:

Later on, the Irish tended to like the old "staccato" way, and constructed a C#/D-box. Again, they could play in D (on the D row), and using the C# row - the "outer" row - for ornamentation. Or, on the "inside-out"-system, vice - of course - versa. Famous players:

However, quite a few players can handle both systems, among them Jackie Daly who easily shifted between them in his class at Willie Clancy Week 1999 (which I attended). Some players also play the other system by using the same fingerings - therefore the tunes actually "sound" in a different key (as if you change tin whistle). Sharon Shannon, for example, plays a couple of tunes in E and F#m, obviously D and Em tunes. She most likely uses the B/C fingerings on the C#/D box. On the other hand, she also plays tunes in C and F (on the B/C) with the C#/D pattern.

Two other "systems" exist: C/C# and D/D#, both of which according to the Dutch box player Han Speek are a totally different chapter. The C/C# system was invented to be played on the outside row, and the C# row providing the accidentals, almost as the white and black keys on a piano. B/C stylists nowadays use this box to play "a semi-tone up" (as if you had a capo on the box). Shane Mitchell of Dervish fame plays this box. The D/D# box works the same way for C#/D players (listen to De Dannan; almost every line-up has featured a D/D# player - e.g. Jackie Daly, Máirtín O'Connor, Aidan Coffey, Derek Hickey).

My research shows that the B/C players have their stronghold in U.S. while the C#/D is more common in Ireland. However, most people in Ireland today play B/C despite that most of the famous Irish players don't. There were six classes, three for each system, in Miltown Malbay at Willie Clancy Summer School 1999. Out of about 16 people in Jackie's class (which was intended as a C#/D class), eight (!) were B/C players. At sessions I played with seven or eight box guys who all played B/C. I never met any C#/D players (in sessions).

Another difference betwixt the B/C and C#/D is the setup of the basses. Since the B/C is tuned one note below the C#/D, the basses usually follow the same pattern. USUALLY. Small variations exist. This could be regarded as quite weird since you don't really play the systems the same way (thus, you won't always have the proper chord in the proper direction). There are also boxes with up to twelve basses (OK, I've seen some 14-basses as well, but they're very rare). Quite uncommon, you won't find the 12-bass setup. The extra basses have chords which the player find suitable; for a C#/D (12), you would normally have a C on the draw. The other basses are pretty much up to the musician - I've seen (and heard!) some spicy C#'s and G#'s. Maybe a B(m) on the press would be useful (since I'm a C#/D player myself, I'm referring to the common eight-bass setup of that system). I believe John Williams has come up with his own setup (the same chords in both directions), Joe Burke has got another, and Billy McComiskey yet another. Some models have extra treble notes ("reversals") as well; four or five of them, supplying "important" notes in the "other" directions. The drawback "designing" your own bass setup, is that you won't be able to play another box - and after all - if you design too much, e.g. giving your tiny box an extra treble row, plus 48 piano accordion basses (beware John Kirkpatrick...) - it won't really be a box any longer (in my humble opinion).

Besides getting extra notes and/or basses your box can have "couplers" or "stops" (eliminating the thirds of the chords for instance, or changing the octave). Moreover, there are different ilks of reed tunings, e.g. "dry", "swing" and "musette", which give your playing even more spice. "Dry" tuning seems to be the popular one nowadays, favoured by Dermot Byrne, Shane Mitchell and Sharon Shannon. "Swing" is used by Jackie Daly and Jörgen "Dudde" Astner, while "musette" is out of fashion. Personally I associate that sound with the old red Paolo Sopranis (not to mention the Scottish piano accordions, which by the way is tuned even more strangely).

Banjo - Banseo

The banjo used in ITM has only four strings and nothing much in common with the horrible 5-stringed one used in American music (my opinion). The "original" tuning was CGDA, just like a viola, but since the chord and scale patterns are the same as on the fiddle (but in different keys) the more common tuning nowadays is GDAE, which enables players to play reels & jigs with the "proper" fiddle fingering. "More common", that's an understatement. I only know about one or two players who stick to the older tuning, one of them being Gerry "Banjo" O'Connor of Four Men And A Dog fame. When I bought my banjo here in Sweden it had CGDA strings, which I changed, although not immediately.

When most people (i.e. the average man on the street) hear about banjo in ITM, they think of Barney McKenna from Dubliners, who by all means is not a bad example. However, I think the most influental banjo players are Charlie Piggot and Kieran Hanrahan, from Dé Dannan and Stockton's Wing respectively. Quite different styles - Charlie plays more "basic" (although not as "straight" as Barney) and Kieran uses more ornamentation. Famous players:

... and some Swedish locals:

Bodhrán - Bodhrán

The bodhrán (Irish - a "deafener") is one of the most misunderstood instruments of ITM. The simple design makes one think it is an easy instrument to play. It is not. More than one session has been interrupted by a newbie, thinking he was able to play. In the hands of a skilled player, the bodhrán sounds very good.

The (goat-) skin is attached to a wooden frame. The beater (tipper, cípin) can have one or two "ends". Both designs have their own way of playing. Besides playing just the "rhythm" on the skin, the beater can play other effects on the rim.

After its introduction in the middle of the 20th century the design has developed by leaps and bounds. Nowadays you can get one in almost any size, from the small 12" bodhráns to the larger 26" bass bodhráns, from the the "Celtic Design Tourist Bodhrán" to the more genuine stuff. If you like, it can be tuneable as well. COMMERCIAL - Jörgen "Dudde" Astner is a maker of fine bodhrans used by Johnny "Ringo" McDonagh and Martin O'Hare amongst others.

Famous players:
Bouzouki - Bosúcaí

The bouzouki is originally a Greek instrument, which I believe Johnny Moynihan introduced to the ITM in the late 1960's. Two Greek versions exist:

...and the "Irish" bouzouki which has a flat back and mostly four courses; often tuned in GDAD or ADAD I'm told. Five-course bouzoukis exist ("Blarge" = "bouzouki large"), DADAD or DGDAD. The cittern is a somewhat related instrument, originated from the old "cister", which is a type of lute. Stefan Sobell made a cittern in the 1970's and the long-necked family of the British Isles had got a new member. The difference is not too obvious. Some say that a cittern "should" have 5 courses. As for the sound, I can't say what's a cittern and what's a bouzouki, or a mandola for that matter. I've sometimes heard greater differences between bouzoukis, than between a bouzouki and some other long-necked instrument. British players tend to call their instruments "citterns" while Irish players use "bouzoukis". Hybrids also exist - bouzouki-guitar ("bouzár") and guitar-bouzouki. I don't know if they are the same. Andy Irvine uses a bouzouki with a guitar body. Other famous players:
Concertina - Consairtín

The concertina was invented in the 19th century by Charles Wheatstone. It comes in three models:

Famous players:
A concertina A picture of two concertinas
Fiddle - Fidil

The "main" instrument of ITM and other traditional music genres for that matter is of course the fiddle. A session without a fiddle isn't a session. An advanced instrument, it's rare to find musicians who by chance also plays the fiddle, or fiddlers who play something else (in comparison to members of the "Long-necked Instrument Mafia", who easily shift between guitar, mandolin, bouzouki, et.c.).

A thing that is more apparent amongst fiddlers than amongst players of other instruments, is regional style. Almost every single county (it seems) has their own style, and there is even a distinction between West and East Clare. Just a few fiddlers off the top of my head (*laughter*):

Flute - Fliúit

The second most important instrument at a session is the flute. Made of wood, with or without keys, it comes in different tunings - the most common is D, or Eb (if you play with "up-tuned" fiddles). The "classical silver flute" doesn't really have a "folky" sound. Famous players:

Guitar - Giotár

The guitar of ITM is mainly an accompanyist's instrument. There isn't too many recordings of people playing lead, Paul Brady does it on few tracks, as does Arty McGlynn. John Renbourn plays more from the repertoire of O'Carolan, than from the fiddle tradition.

The most common tunings besides Standard (EADGBE) are "dropped-D" (DADGBE) and DADGAD. The latter two are very suitable for the Irish modal tunes, the only drawback being the excessive use of the capo. There is a vast amount of other "strange" tunings (to which the "excessive capo use" is even more apparent):

Famous players:
Harp - Cruit/Clárseach

The harp is associated with Ireland, although not many people play it nowadays. Of all the sessions I've attended, only one has featured a harp player. Perhaps the O'Carolan stuff doesn't suit the pub. Famous players:

Low Whistle - Feadóg Mhór

The low whistle is a late phenomenon invented by Finbar Furey in order to provide a flute-like sound when no flute player is around. You could start learning the tin whistle and change to the low whistle when your hands are big enough. "Riverdance" and "Lord Of The Dance" has made it very popular. Famous players:

Mandola - Mandóla

A larger cousin to the mandolin, the mandola comes in two sizes - tenor mandola (CGDA), and octave mandola (GDAE). Sometimes the octave mandola is referred to as an "o. mandolin" (mostly in U.S.). Another relative is the mando-cello. Famous players:

Mandolin

The mandolin isn't that common at sessions, but in the hands of Andy Irvine or Donal Lunny it can be very effective for accompanying songs. Famous players:

Tin Whistle - Feadóg Stáin

The tin whistle is sometimes regarded as a children's instrument, which is sad. Some are made in one piece of metal, others from wood, but the British Generation whistles with red plastic fipples are actually the best ones, I'm told. After the success with "Lord Of The Dance", one company actually sells "broken" whistles. Famous players:

Uilleann Pipes - Píob Uilleann

A bellows-blown instrument, a set of uilleann pipes is regarded as one of the most advanced thing you can play. As the saying goes: "7 years learning, 7 years practising and 7 years playing". A full set has three drones and regulators, the latter being used for chords and complementary notes. Famous players:

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Latest Updated: March 24, 2002

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