Irish Harping Irish Harping: Styles, Repertoire and Technique Helen Lyons Introduction The Irish harp in Ireland is currently flourishing.’ Although the day of the harper- composer is gone, so too is the era within which figures such as Connellan and Carolan thrived. In the twenty-first century, however, the Irish harp is re-asserting itself as a popular instrument. Furthermore, the expansion of the Irish harp is developing in two spheres: firstly as a mainstream traditional Irish instrument and secondly as an art-music instrument. There is widespread support for the Irish harp in musical organisations such as Comhaltas Ceoltéri Eireann, the D.LT. Conservatory of Music and Drama, the Royal Irish Academy of Music, the Irish Harp Centre and Cairde na Cruite. The demand for harps can now no longer be met by indigenous makers and supplemented by imported instruments. The number of harpists competing at music competitions has steadily risen and there are currently over five annual summer schools in Ireland offering Irish harp classes. This essay will explore the two types of Irish harping that are developing along diverging lines. Repertoire and technique are fundamental elements in the division between these two styles. Diverging Styles In his foreword to The Irish Harp Book, Brendan Breathnach describes the book as a vehicle for developing a national style of harping in Ireland. He also comments: In Ireland, as elsewhere, one senses a latent antagonism between ‘art’ and folk-music. The contemptuous dismissal on the one and the declaration of total indifference on the other are signs of this phenomenon. Sheila Larchet Cuthbert by persuading composers of the first rank in Ireland to compose works especially for her tutor and by her use of the older native music, must, whether "In this paper ‘Irish Harp’ designates the Neo-Irish harp. 121The Musicology Review by design or otherwise, achieve a considerable advance towards breaching that barrier between ‘art’ and folk-music in Ireland * Thirty years later, however, this is not the case. There are in reality, two different schools of harping in Ireland that all fall under the title “Irish harp’. It is therefore no longer tenable to use the designation ‘Irish harp’ without qualification. In order to venture into a ‘meaningful discussion of the varied aspects and current status of these styles, each must be labelled, One strand of Irish harping is that of the ‘art-music’ style. I have applied this title to this, particular branch due to the nature of the style and playing technique. The inclusion of art music in the repertoire and technique are the two most prominent criteria for my application of the term ‘art-music’ style to this branch of Irish harp playing. The ‘art music’ style of playing Irish harp mirrors in many ways the style of playing concert harp. The music is played as notated and is accented according to the set time signature and notated accents, with concert harp technique which produces a definite and even tone quality. An interesting feature of the repertoire of the ‘art-music’ style is that it encompasses Irish dance tunes and ancient Irish harp music in addition to pieces from the canon of Western art music. The second term I have applied to Irish harp playing is ‘traditional’ style. I have chosen the term ‘traditional’ to describe the current growth in the playing of traditional Irish dance music on the Irish harp. The Irish harp has, over the last number of years been absorbed into the mainstream of traditional Irish music. The main repertoire of the ‘traditional’ style of Irish harping is that of any traditional Irish instrument: dance tunes, This is a radical inclusion to the repertoire and is a relatively new occurrence. The harpers’ airs must also have a place in this repertoire, however, if it is to be considered “traditional” harping. No longer are harpists expected to s ng to their own accompaniment as their primary means of performance. The Irish harp of the ‘traditional’ style has become an ensemble and an accompaniment instrument. A radically new technique has Sheila Larchet Cuthbert, The Irish Harp Book (Dublin: Mercier Press, 1975), 9 122Irish Harping also developed, which allows harpists to play dance music at speed with a particularly ‘traditional’ style. The term ‘traditional’ has many implications. The word ‘traditional’ implies that this is a long-established style and also has connotations of folk music. However, the ‘traditional’ style of Irish harping that I will discuss is a relatively recent phenomenon, In fact, the ‘tradition’ of harp playing in Ireland, going back to the harper- composers of the seventeenth century is an art-music tradition. These harper-composers were the main propagators of indigenous art music. Carolan’s music (for example, Carolan's Concerto) displays many features akin to European art music at the time. Despite the many connotations of the term ‘traditional’, it remains the most suitable choice for this style harping, Repertoire One of the most widely used harp books in the ‘art-music’ style of playing is Sheila Larchet Cuthbert’s The Irish Harp Book. Larchet’s book is an excellent example of the types of repertoire played in the ‘art-music’ style of Irish harping. This book is divided into twelve lessons, each comprising some technical instruction, a collection of studies and pieces. The book contains graded technical exercises that train the harp student both in the technique and style of the ‘art-music’ tradition. Students follow a programme that exposes them to classical techniques such as harmonics and glissando. There is an emphasis on the standard harmony of the Western art-music tradition. For example, lesson ten introduces students to the dominant seventh chord, a chord that is unmistakably ‘classical’, The diminished seventh is introduced in the following lesson, thus widening the student’s harmonic vocabulary. Appendix 1 shows the distribution of technical exercises throughout the book, while Appendix 2 shows the distribution of studies. * The studies used in this book, such as that by Schumann, are borrowed directly from the canon of art-music studies. Naderman is widely known as a composer of art-music for the harp. His studies are also used for concert harp tutors, such as the Sept sonates * Larchet Cuthbert, The Irish Harp Book, 10-2. 123The Musicology Review progressives pour la harpe. The studies in Larchet’s book serve to provide students with an opportunity to put into practice the technical exercises discussed in each chapter. Appendix 3 displays the types of pieces included in Larchet’s book. The repertoire is quite wide, in that it covers art music, the music of Irish harper-composers and traditional dance music. The arrangement of the pieces themselves borrows heavily from the style of ‘art music’, even in the arrangement of traditional Irish tunes. From lesson eight to the end, there is an emphasis on art music. ‘Allegro Giocoso’, ‘Interlude’ and ‘Etude Bitonal” are all to be found in this section. Repertoire therefore contributes significantly to the classification of this style of music as the ‘art-music’ style. ‘The main repertoire of “traditional” harpists on the other hand, is almost identical to that ofall traditional instrumentalists. Harpists playing in this style play traditional Irish dance music and some slow airs. The proportion of dance music to music of the harper composers is largely in favour of dance music. Diagram 1 illustrates the distribution of tune types through Grainne Hambly’s CD, Berween the Showers.’ The jig was the type most used by Hambly, with eight different jigs recorded. The reel followed second, with five recorded. The hompipe, air and O’Carolan pieces were all recorded in equal amounts. The remaining tunes were dance tunes and slow airs. This distribution of types is a classic example of the ‘traditional’ style repertoire. All types are ‘traditional’, with dance tunes making up the majority of types played. Diagram 1 * Naderman, F.J., Sept sonates progressives pour la harpe / FJ. Naderman; Revues et doigtees selon Fenseignement de Alphonse Hasselmans: par Raphael Martenot. (Paris: Alphonse Leduc, 1925). * In the “Traditional style’ of harping, as with all mainstream traditional instruments, music is generally taught orally. Therefore, the production of commercial recordings isthe primary means of dissemination ‘within the “traditional” harp style and indeed within traditional music circles at large. The publication of books then, is of secondary importance. When books are published, they are often produced as companions to CDs, such as: Kathleen Loughnane, Affairs of the Harp, (Galway: Reiskmore Music, 1997) and Maire Ni Chathasaigh, The Irish Harper, Voll, (likley: Old Bridge Music, 1991). Diagram 1 refers to Gréinne Hambly, Benveen the Showers, Shamrock Records, 1050-2, (1998). 124Irish Harping Grainne Hambly, Between the Showers There are harpists who come mid-way between the ‘art’ and “traditional” styles. The term. ‘mid-way’ does not imply middle of the road; rather these harpists play a representative proportion of the traditional art music of this country, that is, the music of the seventeenth-century harpists and dance music. Their technique is also more closely allied to that of the ‘art-musie’ Je than the ‘traditional , although some overlap may occur. And I think people like Kathleen Loughnane or Maire Ni Chathasaigh (...] would be a bridge between the classical and that approach to the ish harp. Where they've borrowed from the classical technique and the way they approach it° The shift in emphasis from predominantly dance music to music of the seventeenth century harper-composers can be easily identified here. Again, approach and technique are important contributing factors to designation allocation. As Cormac De Barra commented in the above quote, it is both the repertoire and technique that serves to “bridge the gap’ Diagram 2 shows that the repertoire in this mid-style is more varied than that of the ‘Traditional style’.’ Kathleen Loughnane recorded five O°Carolan pieces and also * Interview with Cormac De Barra in Helen Lyons, State of the Harp, (Unpublished M.Mus. Thesis, UCD, 2005), Appendix 2The Musicology Review included three by other seventeenth century harper-composers. While traditional Irish da ice music still very much present, this type of music is not the dominant type. Kathleen Loughnane Alfairs of the Harp 5 ‘These albums include a mix of traditional Irish dance tunes, airs or slow airs and O’Carolan music. The repertoire of the ‘traditional’ strand of harping is far more reliant on traditional music than that of the “art-music’ style. Loughnan S.Air Affairs of the Harp. tn this diagram, 17 C. Harp denotes 17th Century Harper-Composers. fenotes ‘slow ait 126Irish Harping Janet Harbison describes her perception of Irish harping as follows: ‘it will become evident to any observer that there are indeed a number of “voices”, “styles” or “traditions” of Irish harping, each quite distinct from each other.”* Harbison’s comment aptly describes the situation of Irish harping today. While these styles are distinct they also have much in common. Much of the repertoire of both the ‘art-music’ style of harping and that of the “traditional” style is shared. The particular emphasis that each style group places on certain types of repertoire, however, serves to differentiate one from the other. Although some repertoire is shared between the ‘art-music’ style and the “traditional” style, the repertoire of ‘art-music’ style leans quite heavily on art music, while still including some pieces from the traditional repertoire. The repertoire of ‘traditional’ style is exclusively traditional, encompassing dance music, slow airs and the music of seventeenth-century harpers. Harp Techniques A primary differentiator between ‘art-music’ and ‘traditional’ styles of playing is technique. Harpists of the ‘art-music’ style borrow concert harp technique. Indeed, the term ‘borrowing’ is not entirely apt as this technique is an international technique of quality sound production on the harp, and has been in use in Irish harping throughout the twentieth century. Cormac De Barra commented that in the late seventies and early eighties, there was no discrepancy between concert-harp and Irish-harp technique. Well basically when I was starting off, there wasn’t much of a difference, except for the tension you had to deal with because, most of the technique that was being taught for the Irish harp was borrowed back fom the concert harp. [...] in terms of what was being taught, I think, generally, ‘was more or less classical technique, so there was no conflict” This technique is still very much in use for Irish harpists playing in the ‘art-music’ style. ‘The hand forms a t in its closed position, with the fingers pointing down, the thumbs resting across the index fingers and the wrists dipped. When each note is played, the " Janet Harbison, Haypists, Harpers or Harpees? in *Crossbhealach an Cheoil. The Crossroads Conference” (Dublin: Whinstone Music, 1996) 94-100, this quotation, 95. Lyons, State of the Harp, Appendix 2. 127The Musicology Review finger should reach back to its position in the palm of the hand. The entire arms move towards the extreme bass or treble so that the hands and wrists are rarely resting in the same position, Sheila Larchet Cuthbert comments in The Irish Harp Book on the necessity of this hand position: ‘The manner of plucking the strings is of great importance. The finger, on releasing the string should travel inwards to the palm of the hand and make contact with it. This complete finger action is essential. The thumb travels to the side ofthe first finger and makes contact with it ‘The completed action of fingers and thumb is vital ifthe performer is to produce not only a full and beautiful tone but Resonance as well."" The following photograph shows the correct hand position as described above.'' The thumbs point upwards when they are on the strings while the fingers point down towards the soundboard. All efforts are made to bend the fingers at the first and second joints/knuckles and to keep the ends of the fingers as straight as possible. The left elbow is brought out so that the wrist is at a horizontal angle with the soundboard and also slightly dipped. The right wrist should also be in a similar position, as figure 1 demonstrates. Figure | °° Larchet Cuthbert, The Irish Harp Book, 18. "Photograph of Denise Kelly taken at D-LT by Helen Lyons (April, 2005), 128Irish Harping The dual motivations behind this technique are longevity and sound production. This technique allows for strong, robust sound production as well as subtle variations in tone. These are important both for the particular range of music played in the ‘art-music’ style and for one of the functions of the instrument. The Irish harp is often used as a preparatory instrument for the concert harp and while no harpist would deny its validity as an instrument in its own right, it is practical to play the Irish harp with concert harp technique. The potential progression to concert harp is then more accessible in terms of technique. Advance finger placement is a high priority in the ‘art-music’ tyle. The music is almost always written down and therefore it is pragmatic to decide on fingering patterns. It would be considered very bad technical practice not to ‘place’ fingers in advance Preparation of Fingers. This most important point consists of placing firmly one or mote strings prior tothe action of releasing the strings. The finger or thumb then travels rapidly to complete the action already referred to. [...] It will also be found thatthe tone is improved by the steadying of the hand brought about by this preparation. But even in the playing of single finger not linked ‘with any other, the finger action procedure should be completed as before." While the practice of preconceived finger placing allows greater security in playing, it prevents, to a large extent, improvised ornamentation, This improvisation is characteris ic of traditional Irish music. When Irish dance tunes are played then in the ‘art-music’ style, placing to such a regimented extent as is the norm in ‘art-music’ style can seriously inhibit authentic performances. Given that ornamentation is a widely used feature of Irish music, this must be seen as a failing in the application of the technique of ‘art-music’ style to traditional music. However, as considered above, this technique remains both widely popular and effective The ‘traditional’ technique is one that has very recently evolved and is not as standardised as the classical technique. The hand rarely forms a closed position and the technique is akin to a very relaxed version of the classical technique. The same motion is Larchet Cuthbert, The Irish Harp Book, 18, 129The Musicology Review used in plucking strings although it is not necessary to bring the fingers fully back into the palm of the hand. The inside of the wrist generally rests against the soundboard which in tum allows for a cupped position to be adopted in the right hand. The palm itself is almost horizontal to the strings, as can be seen in figure 2.'* Figure 2 Denise Kelly described the ‘traditional’ technique from the point of view of a trained concert harpist a very wide open hand [.. the ability, always on a lightstrung harp, the ability to play extremely fast which is [...] just incredible. [...] 4, 3,2 triplets et cetera, which of course you'd have to change your hand shape for, but which is fantastic to do [...] a lighter sound. I don’t think a huge range of dynamics [...] But technically, that wider and the fact that they don’t what I call ‘play through the string’. They don’t bring the fingers the whole way into the palm and there is a lighter, it is a shorter sound span. (...] when they are going down the harp, they just stretch out their fingers, traditional players. They never move." This hand position allows for the fluid playing of dance music at speed. The execution of the ‘triplet’ roll (see section on omamentation) is greatly facilitated by this hand position. It is easy to “flick” or roll fingers 4-3-2 or 3-2-1 across the string within the time frame of one or two beats, depending on the context. Cormac de Barra defends the use of this technique to produce stylistically accurate ornamentation: " Photograph of Helen Lyons (3rd September, 2004), Lyons, State ofthe Harp, Appendix 3. 130Irish Harping the classical technique in Irish harp playing is not suitable for dance tunes completely. [...] So, it’s ‘not right or wrong, it’s just different and it’s adapting the hand position to being able to play dance tunes faster and more accurately and keeping all the ornaments possible.'* The emphasis on set finger placement is not as strong in the “traditional” style. An authentic traditional performance would incorporate improvised ornamentation, therefore in order for this to be successful on the harp, the harpist may have to adapt the fingering of the melody approaching or leaving an ornament. However, because of the lack of, strong emphasis on this aspect of harp technique, some players in the purely ‘traditional’ style may lack the discipline and resource of training in finger placement. Some harpi such as Anne-Marie O'Farrell feel that the ‘traditional’ technique is not sufficient to cover all aspects of Irish harping: if they're using a classical technique, then they can choose their tone, their dynamic, all the inflections. If they're using a traditional technique, I'm not convinced they can choose from the same variety of tone colours. Cormac De Barra also warned of a potential failing of this technique: it depends on what they want from their music. Ifthey don’t want to play the other then there’s no, it’s nota fault, it’s not a failing, it’s jut they've decided to go down, it’s a choice. However, with the harp, I think if you want to play Irish harp in Ireland, then what goes with that is alot of art iusic that was our own, We've hundreds of harper's music. We haven't got all their tunes but we {know that they were playing them and they were the classical music of Ireland. And I think if you're playing a harp and if you've any notions of being true to the culture (...] then you really have to be fluent enough in some of the harper's airs and be able to expand on it in your own way. Because they were all [..] coming up with new ideas. [...] So I think if hrpers now only go down the jigs and reels road, then they're missing out, they're discarding something that’s crucially esential to the whole idea of the harp in Ireland. If they're not doing it for any other reason than they love their dance tunes then that’s perfectly their choice, but otherwise, if they have any notions of being a harper in that sense, then they need a bit of both." "Lyons, State ofthe Harp, Appendix 2. "Ibid. Appendix 6. Lyons, State ofthe Harp, Appendix 2. 131The Musicology Review The points raised by both O'Farrell and De Barra are both valid. The intentions of the performer should not be ignored. If a performer is seeking to use the harp as a mainstream trad nal instrument and play in the ‘traditional’ style then he/she cannot be accused of ‘losing’ the ‘classical’ or ‘art-music’ element of the Irish harp tradition. However, as De Barra mentioned, if a performer intends to produce authentic Irish harp music, then his/her technique must be one that can allow adequate playing of art music and Irish traditional music. To my mind there is only one solution. To be an authentic “Irish harpist’ in the fullest sense of the word, the harpist would need to be fluent in both techniques. This is not an impossible feat as ability to master one does not necessarily eliminate the ability to master the other. Just as is the case with the fiddle/violin issue, one player, potentially, can be fluent at both Musical Analysis: Melo I will turn now to an examination of h harp music to show that contemporary harpists| approach and treat melody from very different perspectives, depending on their stylistic orientation. Any traditional musician will naturally ornament and vary any melody that they play. If the Irish harp is to stand up to my claim that it is being used by some harpists as a mainstream traditional instrument, then these two processes should be easily observed within a stylistic traditional performance. To illustrate this, I will now examine musical examples 1, 2 and 3, below. Example 1 shows the tune model notated by the composer, Brendan Tonra in his publication of hi music. Undoubtedly the composer does not expect the tune to be played ‘as written’, but I have presented here to show the original version of the tune. Thi is the jig is in D major in this publication and th standard key in which this tune is played. There is no ornamentation notated on the score. Example 1'* "Brendan Tonra, 4 Musical Voyage (Boston: Mac an Ri Publishing), 48. 132Irish Harping Tonra's Jig (Tone-Rowes) ~ ==! (ITT dled este 6 E B. : Example 2'° "Transcription by Helen Lyons of “Tonra’s Jig’. Grdinne Hambly, Benween the Showers, Track 12. This transcription does not accurately portray the rhythmic emphasis of the tune as played on the recording and acts therefore as a guide. The aforementioned unequal rhythmic subdivision of beats is employed here, otherwise known as the ‘lilt’ in Irish music. 133The Musicology Review Tonra's Jig rraxciion sovng sos om rm ral 1 reir tset Be e 5, fl a Bn ke B This transcription of ‘Tonra’s Jig’ is played by Grainne Hambly on her album Between the Showers. Hambly plays Irish harp in the ‘traditional’ style and would be widely known as a player of such. Cormac de Barra commented on her playing and style: ‘Grdinne Hambly would be the ideal example of the person who plays, of a polished player with that [‘traditional’] approach to the harp and she just glides along effortlessly when she plays.””” The tune is played twice through on this recording and example 4 illustrates the first round only. The tune is played by Hambly in C major. It is not unusual for traditional players to record tunes in keys other than the standard session or notated key. Alll of the variations between Tonra’s original score and Hambly’s version are marked with a line over the note. Hambly has made several changes to this jig. She introduces an anacrusis which has a rhythmic repercussion on the remainder of the tune. The repeated note in bar one is altered rhythmically by the insertion of a triplet ornament. This * Lyons, State of the Harp, Appendix 2. 134Irish Harping ornament is used frequently throughout the jig on all such occasions where there are repeated notes at the beginning of phrases, that is, seven times during this round of the tune. The ornament that is used the most in this setting is the cut or grace note. The ‘cut’ is commonly inserted between two repeated notes and is a very popular traditional ornament. Hambly also uses it here to decorate notes that had different pitches preceding, such as in bar 3. There are instances of melodie variation from the original in this setting. The second time ending of the first part ends with D, not G’; in bar 13, Hambly delays arrival at the tonic chord by playing D-E instead of E. In bar 14, G is extended to a crotchet instead of what would be G-C-D. This provides rhythmic and melodic variation. Bar 21 is a repeat of 13. In bar 22, Hambly plays a triplet followed by a crotchet on G instead of rising up to D. These variations are subject to further change in the second round of the tune. Example 37! * Transcription by Lyons, Hambly, (1998).The Musicology Review Tonra's Jig “Tension sowing vais from round I ofthe tne 2 a Example 3 illustrates the differences between the first and second rounds of the tune. As can be seen, there are few changes between the two versions. The variations that are used are significant, however, and therefore give a sense of altered tune. In bar 12, a crotchet G is followed by a triplet on the same note. This arrangement has not been used in the tune so far. In bar 13 the melody is syncopated with a crotchet rest taking the place of the usual triplet on E. There is only one variation in the second part of the tune. The first half of bar 17 is now played for the first time as written in the original score. Hambly’s treatment of melody in this transcription is consistent with other mainstream traditional instrumentalists. She employed ornamentation that was both traditional (cuts, grace notes) and stylistic to her instrument (triplets) in addition to rhythmic and melodic variation. 136Irish Harping Example 4 is an arrangement of the traditional air An Buachaill Caol Dubh by T.C. Kelly. This is a song from the Irish tradition and is arranged by Kelly for Irish harp. It is taken from the Cairde na Cruite book, Sounding Harps, book three, within which the editors, Mercedes Bolger and Gréinne Yeats, comment: ‘the music is all Irish, and is representative of our folk and harp tradition.? This is certainly true, and this piece exemplifies one approach to melody in the ‘art-music’ style. There are some changes in time signature between 3/4 and 4/4 because the song would not originally have had a strict time signature. The melody is played twice through with a central development section. ‘The ornamentation used in this arrangement by Kelly is quite different to the type played by “traditional” style players. He incorporates triplet ormaments into the arrangement, but never uses the repeated note triplet that is so stylistic of ‘traditional’ style. The alternation of notes in these triplets allows for the alternation of fingers, thus eliminating the need for the 4-3-2 fingering progression. The hand position of the player will not be compromised, as they now do not need to use this particular omament. Kelly utilises grace notes and appoggiaturas throughout this arrangement. The primary difference between their usage here and in the previous two examples lies with intention. In this arrangement, the performer needs to play these ornaments and only these to produce a true performance of the piece. In ‘traditional’ style of harp playing, however, the performer would have to incorporate their own ornamentation into the piece. In ‘art-music’ style, the music is to be played as written. Denise Kelly commented on her approach to ornamentation: ‘I don't. I'd use ornamentation if it’s written in [...] I would use specifically what is down on the page. In the following example, parts A, B and C are indicated by square brackets and labelled under the stave. Example 4 (A) shows a ‘classical’ style chord progression. Example 4 (B) demonstrates that Kelly had quite a free approach to the melody. He did not adhere strictly to the form and structure of the melody. The original melody was treated here as Mercedes Bolger and Grainne Yeats eds, Sounding Harps, Music for the Irish Harp, Book 3, Cairde na Gruite, (Dublin: Céirde na Cruite, 1994), 2 of the preface * Lyons, State of the Harp, Appendix 6. 137The Musicology Review material for a ‘piece’ as opposed to setting the original version. From bars 25 to 33, the opening of the melodic line is treated episodically. The characteristic changing time signatures are not used which helps to differentiate this section from the main melody. The running semiquavers are played in the right hand and then echoed in the left. The texture here is imitative with both hands playing melodic lines. This section also demonstrates an interesting example of the use of dynamics. In bar 25 there is a diminuendo to mp followed by a crescendo for two bars culminating in forte at bar 28. The use of such detailed, notated dynamics is idiomatic of the ‘art-music’ style. Example 4 (©) shows further melodic variation. At bar 33 the original melody returns, this time beginning in the left hand, an octave lower than the original pitch. In bar 36 the right hand plays off beat semiquaver arpeggios over the melody. This type of figuration is characteristic of the ‘art-music’ style and is almost pianistic in approach. Coupled with the approach of the ‘art-music’ style, this piece will sound very different from the same piece played with traditional-style chords in a ‘traditional’ style. 138Example 4: A, B and C. ‘An Buachaill Cao! Dubh a on SR 139) Irish HarpingThe Musicology Review Conclusion In conclusion, the state of the Irish harp is one of growth and development. The Irish harp is more popular now in Ireland than it has been in the past two hundred years. Within the sphere of Irish harp playing in Ireland, there are two differing styles of harping. I have applied the designations ‘art-music’ style and ‘traditional’ style to these two styles. This stylistic division permeates all areas of Irish harping. The repertory of Irish dance tunes is accessed by players of both styles, although this repertoire comprises the bulk of the ‘traditional’ repertoire. The music of the seventeenth century harpers is also utilised by all Irish harp players. The inclusion of art music is exclusive to the ‘art-music’ style. The techniques used in ‘art-music’ and the ‘traditional’ styles differ significantly. This is a time of optimism for the fate of the Irish harp. The continuous growth in numbers of, harpists and interest in the Irish harp should serve to further strengthen the state of the harp. 140Irish Harpi Appendix 1 aaa iret Lesson he Instrument Compass - Stings - Tuning - Blades Placing the Instrument ‘ey Board, Key change system, Keys Position of Hands dependence orPingenng- eauanty or rone ford Praying Articulation rourth Lesson pe Octaves sliding [Scale and Arpeggio of C Major (2 octaves) Farmonce {Scale and Arpeggio of G and D Major Recaprutaton lissando [Scale and Arpeggio of A and E Major Pictatve Minor Scales "CC and D (rarmone Form iSixths and Tenths Fistatve Minor Scales “Aan iSixths and Tenths [Temnetument= Compass “Stings Tommy Bites | Plscigthestument Foy Boar, Key change System, Keys Postion ofHends eg pndependence of Fingering Equality offone ale and Apoggio of © Fat Major fd Prod Payng Aneto Ecce and Rpaggio oS Pal Major and F Hao Pocises ict Scale ad ApEggG OC Naor W estes) PC piamonics Scale and Apeggio Cag Mae CO recapitulation fsissando Scale and Apeggio TA ana E Waly eee frelative Minor Scales-C, GandD (Harmonic Form) Biths and Tens fd Biths and Tens eh Scales al possibe Keys, Aipeggos ana mersions, Sans and Tents ntrary Motion (One Octave) ales asm Nin Lesson 2]3]o] |2 alelal |g siai5} |g 3/3/2} |3| 219/21 || sic |g alg) | |é zo] | ofa} | [S| 3/8 Bl als] | |e ag] | 5 2 3 Complete Scale Programme as Ty Preventh Lesson jmished Seventh Chord and inversions. Similar and Contrary Motion 141The Musicology Review Appendix 2 es iret Lesson Tnger Exercises ae aT poe Eine 5 a 5; 5 7 iChafoner Study No. 12 halloner Study No. 13 iner Btody Study No. 15 a Study No. 16 on m ry = om a zeny Study No. 21 P. Pole Study No. 22 jother MAttraccta Caffe finth Lesson Study No 17 Tardon Fils Study No. 18 Bochsa Study No. 19 szemy Study No. 27 rumpholtz Stacy Terman Study No. 24 Study No. 25 jalimark 142Appendix 3 Cailin © Chois tSiuire ME Caoine Phiarais Feiriteir Tiara Mhaigh Eo ‘The Parting of Friends The Irish Ho-Hone ‘Scaruint na gCompanach Miss Hamilton ‘The Gaelic Farmer Wiliam OF lynn Lament and Hompipe 1 Will Leave This Country David Foy Suite of Four Precss for Harp To Maurice O'Connor For the Children: (1) Song without Words (2) Set Dance “An Collin Dea John Kelly ‘An Spalpin Fénach (Song) Dilin © Deamhas (Song) 143 Irish Harping Tradtionar Traditional Traditional "A David Murphy Arr. C. Milligan Fox. “The Fitzwilliam Vignal Book Rory Dall © Cathain Comelius Lyons. ar S. Larchet Cuthbert From Treasa Ni Chommaic Carolan arr S.Larchet Cuthbert Arr. Mercedes Bolger ‘Arr. Mercedes MeGrath ‘Arr. Mercedes MeGrath nne Crowley Carolan- arr. S.Larchet Cuthbert Edgar M. Deale Edgar M. Deale “Aloys Fleischmann Carolan- arr. S.Larchet Cuthbert ‘Arr. Caroline Townshend ‘Arc. Mairin Ni She ‘Ton KelyThe Musicology Review Farewell to Music Carolan- arr. S.Larchet Cuthbert Maire Ni Eidin (Song) ‘Arr. Mairin NI'She Annon’ s Anall Arr. Grainne Yeats John O'Connor Carolan. ar, S Larchet Cuthbert Interlude T.C. Kelly ‘An Fhallaingin Mhuimhneach (Song) Arr. Ruth Mervyn, Grd Mo Chroi Tha (Song) ‘Arr. Naney Calthorpe Do Chuala Scéal (Song) Arr. Cian © hEigeartaigh Toncano Carolan art, S Larchet Culnbert Three Pieces Gerard Victory Duet Joan Trimble "Tis Pretty to be in Ballinderry (Song) | Arr. Redmond Frie! Piobaire an Mhala (Song) Arr. Carl Hardebec My Lagan Love ‘Arr. Hamilton Harty Darin De Tir. Eamonn © Gallchoonalr Fantasia Daniel Mc Nutty Little Boats (Song) ‘Arr. Herbert Hughes ‘A Soft Day (Song) CV. Stanford Spanish Arch (Duet) James Wilson Ko Pater ‘The Small Black Rose (Song) ‘Arr. John F. Larchet Two Sketches (Duets) Brian Boydell (i) Dance for an Ancient Ritual (i) No. 2 of Four Pieces for Two Irish Harps Scintllae (Duet) Sebirse Bodley ‘A Carolan Tune for Harp and String Quartet ‘Arr. Havelock Nelson (Quintet) 144