For the first time in my life I’ve been checking out some Irish traditional music. It’s something I know sweet nothing about. (Meaning you get a mercifully brief post today.)
So far I’ve really enjoyed it. I thought I’d give my jazz/bluesman’s thoughts on a couple of pieces I’ve worked on.
This all ties in with the awesome book I reviewed recently, van der Merwe’s Origins Of The Popular Style. After reading it I’m primed to find unexpected resemblances between Irish and African-American music. Van der Merwe opened my mind to how constant and complex interchanges between African, British and Irish cultures were the backdrop for the development of blues in the US. That book also put me in the mood for simple, modal melodies.
The first thing I liked about trad was that it’s dance music played with “metronomic” pulse, i.e. without the expressive tempo alterations of Western classical music. So, it grooves.
As well as that, I heard time feels that were triplet-based and exploited the flexibility of triplets. In jazz, a “swing 8ths” jazz feel can encompass placements of the off-beat varying from almost in the middle of the beat to right at the end. In a similarly physical way (by physical I mean deriving from the movements of playing the instrument), the different phrases of this piece lean differently against the steady beat, depending on how complex a figure is being fit into each beat (2 or 3 notes, or much more when trills and ornaments are used):
At this slow tempo, the piece has a ceremonial and martial feel befitting the title. The fanfare-like phrase at 0:20-0:25, and the overall use of a mixolydian mode, evokes “natural horn” instruments that can only play overtones of a single note.
(The King of Laois referred to, by the way, is the Irish nobleman Rory O’Moore who, after the violent destruction of his clan, led a rebellion against the English Crown in 1641.)
The mixolydian mode, distinguished from a major scale by its use of a flattened seventh note, is common in Irish trad. That flattened seventh, and in particular its use as a plaintive high note is common to blues, English folk song and Irish trad. You can hear it a 0:58 in this pretty tune by famous 70s Irish folk band Planxty.
Notice how the accompanying chord is an F, bVII in the key of G major. The chord after is a C, the IV of the key, with an A melody note. The chord progression F C gives a more “modal” feeling than the other possibility, G7 C, which would be strongly “functional”.
I’m honestly completely ignorant as to the history of chordal accompaniment in this tradition. Nowadays it’s part of the standard trad session format. But it’s clear that the melodies are by far more important, and they’re what has come down the centuries. Not all of them are modal, though. This awesome little piece is clearly harmonically oriented.
Tying back to what I said earlier, again there are varieties of triplet feel: compare the percussive start of the phrase at 0:33 with the smoother triplet at 0:35. The former has the first two notes shortened and the third lengthened, while the latter is more rhythmically even. I won’t start pontificating about a style I’m ignorant of, but these kinds of subtleties clearly add to the lilt and groove of the tune. Nicely played, anonymous Youtube whistle guy.
But I was talking about harmony. The second strain at 0:22, for instance, sketches a clear I V I V harmony. Interestingly the cell outlining the first V chord starts with B, the 6th of the key and the 9th of the implied A7 (or A9) chord. Another interesting implication is the II- we hear from the low E at 0:07. Very simple stuff, of course. But clearly the writer understood basic chord progressions and upper structures. I can’t find info on Google but I’ve heard this tune is 200 years old.
It sounds silly to say, but in a way this music reminds me of bebop! Not in its mood or texture, but in its construction from blocks (typically either arpeggios or diatonic cells like 3 4 3 1 or 6 5 6 8), use of interspersed triplets and sixteenths (often generated by turns/trills) and outlining of syncopations by accenting notes (for example a high note) within a steady stream of swung notes.
Also, the “fractal” aspect that Steve Coleman finds in Charlie Parker’s music, whereby strongly melodic movements are found at different levels of scale, is present here: the first note of each bar could be isolated into a completely coherent melody of its own.
I enjoyed discovering these tunes. These days, I feel I’m homing in on my preferred melodic style after many, many years of believing that I would discover it in some advanced harmonic concept. Actually, it’s been under my nose all this time: I like modal melodies and melodies with simple, strong harmonic implications. This kind of thing, say:
Somehow, the idea that I should try write or work with the sort of melodies I enjoy or naturally sing has taken a long time to filter into my head! I think it’s almost impossible to go through jazz education without acquiring a prejudice in favour of complex or systematic melodies (i.e. derived from symmetry, synthetic scales, bitonality, or what-have-you). But at the end of the day, only your inner melodic ear – the part that responds natively to melody – can tell you what sounds good.
I’m not writing jazz at the moment, but I think when I return to it I’ll have a much stronger idea of what materials to work with than ever before.
Anyway! Hope you enjoyed my naive dip into Irish trad. Here I am trying to play “Pat Ward’s Jig”. I was pleased to find that all the hours I’ve spent in my life noodling blues lines meant that I was able to approximate some of the beautiful ornaments that characterise this style. (Of course, this is trifling compared to the art of a trad musician who has studied an entire system and aesthetic of ornamentation.)
And here’s the proper version I based mine on.
See you next time! Please comment if you’ve any thoughts, whether about Irish music or about developing and discovering your own melodic style.