Customer Reviews

Celtic Music: A Complete Guide

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I am very disappointed by the number of inaccuracies, inconsistencies and contradictory statements that this book contains. It appears that no one proofread the manuscript for content before it was approved for publication. On page 10 we are told that "Irish music falls into primarily two broad categories: songs and dance tunes. Of the latter, marches constitute the largest class." Surely if we consider the published collections and the predisposition of today's players this largest class must be reels? Page 25 includes the assertion that "Irish music is primarily modal, in contrast to the more harmonic characteristics of Western music; notes appear in clusters, as in chords or in harmony singing." This appears to tell us that Irish music notes are grouped in chordal clusters, although I am sure that the opposite must have been intended. The sentence that immediately follows, "Traditional Celtic music largely depends on a single melody line," does little to clarify this once the initial confusion has been established. The harper Rory Dall is referenced on page 37 with the statement that "Unfortunately, none of his harp music has survived, just his reputation." However, on page 50 we learn that Alison Kinnaird's recording The Harp Key "features music of Rory Dall... the great highland harper." On page 39 the Welsh triple harp is summarized with the observation that "Unlike the pedal harp it is fully chromatic." Since pedals render the pedal harp fully chromatic, if there is another distinction to be understood from this statement I don't know what it might be. We learn on page 28 that the Brian Boru harp was "named after the Irish high king who died ... at the Battle of Clontarf ... It actually dates from the fourteenth century and thus could not have been played at the battle scene." However, on pages 36-37 we are told that the Scottish Queen Mary harp "is said to resemble the harp of Brian Boru (now in Trinity College, Dublin), slain at the Battle of Clontarf in 1014. Scholars tell us that there was little difference between the Scottish and Irish harps at that time." Which time would that be, exactly?
I finally decided to take this book as the work of an enthusiast in the act of enthusing, but I would not recommend it to anyone with a serious interest in traditional music. To call this a "Complete Guide" is a misreprentation, and a better subtitle would have been "A Personal Guide." I'm sorry to have to file such a negative reaction. I harbor no ill will towards the author but simply feel sufficiently distressed by what I have read that I am compelled to speak up.

There are far too many people writing books. Those who can't write and who don't know what they're talking about should not be published. That also applies to some reviewers.

The title of the above book alone should ring alarm bells: the term 'Celtic Music' is too large to be meaningful and in Ireland, for example, it is rarely used at all. It would have to include the music of Ireland, Scotland, Wales, Isle of Man, plus aspects of France, Scandinavia, Canada, US, Australia, New Zealand, etc. There is also a strong following of Irish music in Japan. Since the subject area is so massive and there are important differences between, say, Irish, Scottish, Welsh and Breton music then it is safer to use those terms - although even then careful qualifications are needed. 'A Complete Guide' is a grandiose and egotistical claim clearly the product of ignorance.

There is no point in reiterating what "the reader" reviewer below said - she is a good reviewer but unfortunately did not leave her name so we could thank her. She highlighted very well the crucial weaknesses of this book. Her conclusion of "inaccuracies, inconsistencies and contradictory statements" sums it up well.

It is annoying that writers like June Skinner Sawyers are allowed to produce such time-wasting material. Obviously the publishers are equally to blame. I saw this book in a shop once and realized very quickly it was useless: by having so many important mistakes a naive reader will not know what is correct and what is not. That's all that needs to be said about it. (I was forced to give the book one star only because amazon does not allow 0 stars.)

I must also comment, though, on the appallingly bad reviewer who said: 'Celtic music uses aolian (sic) and lidean (sic) modes for many of its melodies - I didn't see this mentioned once.' No, Kate (Can't Spell) Smart, you wouldn't - because it is not true! Irish traditional music rarely uses the Aeolian mode, e.g. starting and ending on the note of B in the key of D. Furthermore, Irish tunes in the Lydian mode (please note again the correct spelling) are even more rare, e.g. starting and ending on the note of G in the key of D. (The only musicians I know who use Lydian are jazz players.)

The most commonly used minor mode in Irish music is the Dorian, e.g. starting and ending on the note E in the key of D. Sometimes the mode of Mixolydian is used, e.g. starting and ending on note A in the key of D. (I have given the key of D major - or D Ionian - as the example because that is the most commonly used key in Irish traditional music, along with G major. The keys of A, C and F are played much less, mainly due to the limitations of traditional instruments such as two-row button accordions and tin whistles.)

For those looking for a general book on Irish music I would recommend:
Wallis, Geoff & Wilson, (2001) `The Rough Guide to Irish Music (Rough Guide Music Reference). ISBN 1 85828 642 5

For a book specifically about Irish traditional music:
Vallely, Finton (1999) 'The Companion to Irish Traditional music'. Cork University Press. ISBN 1 85918 148 1.

A previous reviewer goes into greater detail as to the problems with this book. I'll say this: Celtic music uses aolian and lidean modes for many of its melodies - I didn't see this mentioned once.

The foundations of Celtic Music from early to modern times is revealed in Celtic Music: A Complete Guide, a history of the genre which considers all aspects of the music; from its roots to its contemporary development. From the artists who have produced the sound to lists of Celtic publications and festivals which have fostered its growth, Celtic Music: A Complete Guide packs in a fine history.