An Irish traditional music session is a gathering of musicians--most often
in a pub--playing traditional tunes and singing traditional songs. The session
can been rightly understood as one manifestation of the music's social element:
while many Irish musicians obviously play concerts and record CD's, the session
is, and has always been, the place where people come together to share tunes,
tell stories and enjoy one another's company.
"Which instruments are played in a session?"
An Irish traditional music session can consist of any combination of musicians
playing traditional instruments, such as: fiddle, flute, accordion, concertina,
whistle, pipes, guitar, bodhran, bozouki, mandola.
"How does a session work? Are the musicians just improvising?"
There is, indeed, a structure to an Irish traditional music session. In
fact, there is very little improvisation involved. Typically there is a lead
musician in every session, and she/he will often start off most of the tune
sets. Tunes, whether they be reels (in 4/4 time), jigs (6/8 time), hornpipes
or marches, are strung together--usually in groups of three or four. If other
musicians sitting at the session know the tunes, they play along. The guitar,
bozouki or mandola will usually play the chord structure of the tune, while
melody instruments will play the tune melody itself. There are an estimated
20,000 Irish traditional tunes, and new ones are being composed all the time,
so any given session truly has infinite musical possibilities! Occasionally
there will be a break in the tune sets for a song or a limerick to be performed.
"Does dancing ever accompany sessions?"
Irish traditional music has always been a dance music. Different tune types,
such as the reel and the jig, have their respective dance steps. Furthermore,
just as the music is diverse from county to county within Ireland, so are
the dance steps. A crucial event in the history of Irish traditional music
was the Public Dance Halls Act of 1934. The Irish National Government, working
hand in hand with the Catholic Church, decided that public house dances in
rural Ireland--filled as they were with laughing, socializing and physical
contact between men and women--were sites of misconduct and immorality, and
banned all forms of public dancing. Traditional music had been dealt a severe
blow, and it then declined for a number of years until Sean O'Riada emerged
in the 1950's to revive the tradition. The late fiddler Junior Crehan describes
the feeling people experienced after the Dance Halls Act:
"It was this loneliness that I felt most of all; there was
no one to swap tunes with, very few to talk about music, and the flag floors
were silent. In corners, in attics, and on shelves, fiddles and flutes lay
gathering spiders and cobwebs. There was no heart to play and I remember finding
it a struggle to take down the fiddle and play a few tunes to oblige a neighbour.
There seemed to be no point in it; the music was slipping away in spite of
us."
(http://www.setdance.com/pdha/pdha.html)
Fortunately, the music did revive, and today Irish traditional music enjoys
tremendous popularity around the world. There continue to be many dance competitions
and festivals, and the dance tradition has been given a big boost by the success
of shows such as Riverdance and Lord of the Dance. Most often, dance only
accompanies session music if someone spontaneously decides to perform a step
upon the floor, but the Irish dancing, instrumental music and song tradition
have thrived in their own ways within the past several years. In fact, whether
you find yourself in rural County Clare, San Francisco, Barcelona or Cape
Town, chances are you will find a session on at least one night a week in
the local Irish pub!