The True Music of the Isles: Beyond the "Celtic" Label

By Adam R Sweet – Musician, Educator, and Advocate for Authentic Traditional Music

As St. Patrick's Day approaches, the sounds of jigs, reels, and ballads fill the air. Many people refer to this vibrant, rhythmic music as "Celtic," a catch-all term that has become synonymous with traditional music from Ireland, Scotland, Wales, and beyond. However, the term "Celtic music" is a modern marketing invention, and understanding the true origins and meanings behind this music deepens our appreciation for its rich cultural heritage.

The so-called "Celtic" music actually encompasses distinct musical traditions from the Isles, each with its own history, style, and cultural significance. Irish traditional music, with its lilting melodies and intricate ornamentation, developed through oral traditions passed down over centuries. It served as a form of storytelling and cultural preservation during times when the Irish language and culture were suppressed. Scottish folk music, including Highland bagpipe tunes and Gaelic songs, similarly reflects the resilience of a people who used music to maintain identity amid political upheaval.

In Wales, a nation with one of the oldest unbroken musical traditions in Europe, harp music and poetic song cycles known as "cerdd dant" hold a special place. The music of Cornwall and the Isle of Man also boasts unique forms, though less widely known. Each of these musical traditions stands on its own, representing a vibrant tapestry of history and regional identity that cannot simply be reduced to the term "Celtic."

The misunderstanding comes from a desire to market these traditions under one convenient label. "Celtic" became a commercial brand in the 20th century, popularized through festivals, recordings, and tourism. However, by grouping these distinct musical cultures together, we risk overlooking the nuances that make each tradition special.

These musical traditions are important because they carry the stories, struggles, and joys of generations. They connect people to their ancestry and give voice to histories that might otherwise be forgotten. In a world where culture is increasingly homogenized, these musical forms remind us of the beauty of diversity and the power of tradition.

At Sweet Music, we honor the authentic music of the Isles by offering private lessons tailored to these traditional forms. You can explore the rich repertoire of Irish jigs, Scottish strathspeys, and Welsh airs through individualized study. For those who prefer learning in a supportive community, we invite you to join our Thursday night group class at 7 PM, where adults gather to learn and play together.

If you play mandolin, mandola, or mandocello, consider becoming part of our Monday night mandolin group. This ensemble focuses on the intricate melodies and harmonies of traditional Isles music, providing a space where musicians can grow and share their passion for these timeless sounds.

Join us at Sweet Music to celebrate the real music of the Isles — music that transcends labels and speaks to the heart of cultural tradition. Contact us today to sign up for private lessons or group classes and become part of this living musical heritage. 

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We're So Back! In-Person Lessons Return to Granby, MA

Private Lessons and Group Classes are now in-person again at our location in Granby, Massachusetts!

We still offer remote lessons as a convenience for students who are more than 25 minutes away from our location, or inclement weather, but as most students (and our teachers!) prefer in person lessons, they are really the best way to get the most out of your lesson experience.

Here's how to start:

1. Fill out the registration form on this page.  Don't forget to include your optimal lesson time.  We are available 1-7pm, Monday - Friday. Some teachers may be available on the weekends, so please ask.
2. Plan to arrive at the studio at least ten minutes before your lesson starts.  You may sit in your car, or if the weather is warm enough, on the sun porch prior to your lesson.  
3. We will start promptly at the agreed-upon time.  If you are late, there may be a problem, so please don't put your teacher through that.  Schedules are tight because we try to fit everyone in during that period each day.
4. Come in through the front door.  You may leave your coat on the chair in the foyer.  You may put your case on the floor near the music stand you will be using.  Please don't put your case elsewhere as other people use the space and it may be in the way.
5. Dogs are welcome as long as they are well behaved!  Please bring your dog to attend your lesson with you.  In our experience, dogs are a positive influence on learning, both for the dog and for its human!
6. Please have your instrument in tune BEFORE your lesson starts.  You can do this at home, in your car or on the porch (in warm weather).  Do not tune your instrument in the foyer!  It will be disruptive to the other students.
7. Practice your lesson at least once a day for 6 days to make your lesson most productive.  If you can't remember what you were supposed to be studying, you should contact your teacher during the week.  Don't worry!  Teachers expect to be contacted with questions and there is no additional charge!  
8. We use DISCORD for all chats, postings and other notifications.  If you haven't signed up for our Discord server, here's a link.  Some people may prefer not to use Discord.  For them, we provide our generic email.  Make sure you put in the subject field the name of the teacher the email is for: sweetmusic@mm.st 
9. Because of the transition times between lessons, we note that "hourly" lessons are 55 minutes, "half hour" lessons are 25 minutes.  We recommend that all students register for hourly lessons!  There is a $320 discount for students that pay for a year of hourly lessons in advance.
10. Practice, Practice, Practice!  We recommend that students practice at least 30 minutes 6 days a week.  Speak with your teacher about practice recommendations.

Social Media Killed Music Education

The rise of social media has brought unprecedented access to knowledge and resources, but for music teachers, it has created a set of challenges that complicate the art of teaching. Platforms designed to connect people and share information are now pervasive, shaping students’ expectations and perceptions of learning, particularly in music. While some benefits exist, such as wider exposure to different musical styles and instant access to tutorials, the ways in which social media has impacted teaching music go beyond mere access to content. Instead, it has introduced obstacles that threaten the integrity of music education itself, affecting students' commitment, patience, and the depth of their learning experience.

One of the primary ways social media has negatively impacted music teaching is by fostering a culture of instant gratification. Music students are exposed to endless videos of professionals and influencers displaying highly polished performances, often without context regarding the years of practice required to achieve such proficiency. These clips, while inspiring, often give students a skewed perception of progress, causing them to expect rapid improvement without investing the necessary time and dedication. This culture of quick results can diminish the value students place on slow, deliberate practice, making it difficult for teachers to instill the patience required for true musical mastery.

Additionally, social media has created an over-reliance on tutorials and “hack” culture, where students are encouraged to find shortcuts rather than focusing on foundational skills. Platforms like YouTube and TikTok are filled with tutorials that offer bite-sized, simplified versions of songs, sometimes encouraging students to skip over crucial fundamentals. This can lead to gaps in technique and a superficial understanding of music. While these resources can be valuable supplements to traditional lessons, they often replace comprehensive teaching when students rely solely on them. Teachers now face the challenge of unlearning bad habits that students acquire from inconsistent or incomplete online instruction.

Moreover, the performative nature of social media can disrupt the learning environment by adding pressure to “perform” rather than “learn.” Many students feel compelled to share their progress online, seeking validation in the form of likes and comments. This shifts their focus from internal growth to external approval, altering the way they approach learning music. Teachers find it increasingly difficult to foster a space where students feel comfortable making mistakes or progressing at a natural pace, as social media encourages public sharing and the pursuit of social rewards over genuine development. This external focus can also erode students’ intrinsic motivation to learn music for the love of it, rather than for social recognition.

The influence of social media has also led to a decrease in face-to-face interactions, which are essential for effective music education. While online lessons have their place, especially for students in remote areas or during circumstances like the recent pandemic, they cannot replace the nuanced, immediate feedback that in-person lessons provide. Music is a deeply personal and physical art form, where posture, subtle movements, and tone are critical aspects that are difficult to correct through a screen. Social media and the rise of online tutorials can create a barrier to this type of learning, leading to misunderstandings and missed opportunities for growth that only in-person feedback can provide.

Furthermore, the rapid spread of misinformation on social media has added to the challenges of teaching music. While some credible musicians and educators share high-quality content, much of what circulates online lacks rigorous standards. Misinformation can include everything from incorrect historical context about a genre to misleading advice on technique and practice. Students who absorb this misinformation may inadvertently challenge their teachers, resulting in classroom conflicts or a need for extensive re-teaching. This has forced many teachers to spend additional time correcting false information or re-aligning students’ understanding, detracting from valuable lesson time that could otherwise be used to progress.

Finally, social media has altered the perceived value of music teachers themselves. With so much “free” content available, students and parents may question the need for formal instruction, seeing online resources as a sufficient replacement. This has led to a devaluation of music education, where the expertise and experience that qualified teachers offer are undervalued or dismissed entirely. Many experienced instructors find themselves competing with free, unvetted content that often lacks depth. This shift makes it harder for teachers to maintain a sustainable career in music education, threatening the profession and the quality of teaching available to future students.

Social media’s impact on teaching music is a complex issue, one that requires awareness and adaptation from educators. By understanding the ways in which these platforms influence students’ expectations and perceptions, teachers can work to mitigate the downsides. Educators may need to emphasize the importance of patience, critical thinking, and intrinsic motivation, while also guiding students in the responsible use of social media as a supplementary tool, rather than a substitute for real instruction. Only by addressing these challenges head-on can music teachers continue to provide meaningful, high-quality education in an increasingly digital world.

What is a Contradance?

Contradance, a lively social folk dance, has deep roots in English country dancing and French dance traditions. Originating in England during the late 16th and early 17th centuries, English country dancing was a social activity for all classes, distinguished by its formation-based style, where dancers would form long lines, circles, or squares. These structured arrangements allowed for easy participation, making it suitable for gatherings in both grand halls and small rural spaces.

When English settlers brought their customs to North America in the 18th century, the English country dance mingled with the French contredanse, a popular couple-based dance in French court culture. The term contredanse itself, derived from the English "country dance," was adapted into French and eventually reintroduced to English-speaking circles as "contradance." This blend of styles transformed in the New World, gaining local flavor as American musicians added regional tunes and rhythms, borrowing from Scottish, Irish, and even African musical traditions.

By the early 19th century, contradance had spread across New England and the American South, establishing itself as a lively, community-driven dance form that emphasized rhythmic patterns and simple, repetitive figures, making it easy for newcomers to pick up. Each community adapted the dance to its own musical preferences, solidifying contradance as an American tradition with European roots.

New England's contradance style today reflects this history, combining traditional tunes with the call-and-response method, where a "caller" guides dancers through the figures. This role of the caller originated as a way to accommodate growing groups of dancers, allowing people to follow patterns without prior experience. With a backdrop of fiddle tunes, contradance maintains its communal spirit, welcoming everyone to the dance floor.

What is the best way to practice?

We recommend that our students split their practice session into 3 equal parts that can be distributed throughout the day (sometimes that helps with motivating practice!)

The first part should always be scales, arpeggios and chords. Always practice scales with 2 octaves using 4th finger on the 7th (or 8th) fret. Don't skimp! Practice different picking patterns with each scale (we recommend quarter notes, 8th notes, triplets, tremolo). That part should at least be 12 minutes, maybe more if there's time, but at least 12 minutes.

The second part should always be new material. Whether you're learning bluegrass or roots/folk music or classical, new material is what stimulates our minds and makes us hunger for more. We recommend practicing the tunes note by note initially, using a pencil to make notes on the sheet - pencil is great because you can erase it later. For example, take Red Haired Boy: the first measure is 2 quarter notes and 4 eighth notes. Go slowly and sound out the notes you don't know. Once you can play that measure easily, move on to the next measure. Repeat.

The last part of the practice should always be review of known material. You should put tabs in the books you use to easily find old tunes you've learned, or photocopy them and make your own 3 ring binder of tunes. Either way, the faster you can get to those old tunes, the better/more successful your practice will be. In addition to using this time to review old tunes, we recommend using it to sight read new tunes (if you're learning by ear, this doesn't apply to you).

Finally, we encourage you to play as often as you can with family members and friends who also play instruments. No matter how "simple" the music is, there is an exponential benefit to playing music with other people, especially with adults. If you'd like to learn more about this, check out "Why Do People Sing" by Joseph Jordania. 

The Influence of Scottish and European Dance Forms on Irish Traditional Music

The evolution of Irish traditional dance music is often a story of cultural exchange, marked by influences from Scotland, England, and continental Europe. Certain dance forms—jigs, reels, hornpipes, polkas, and waltzes—did not originate in Ireland but were introduced over time, sometimes through itinerant dance masters, other times through cultural exchanges with Irish communities abroad, particularly in America. This post examines the documented history behind these dance forms and their integration into Irish traditional music.

The Arrival of Scottish Dance Forms in Ireland

The Scottish dance forms of reels and strathspeys gained popularity in Ireland after the relaxation of the Penal Laws in the 19th century. The Penal Laws, which were not fully lifted until the 1860s, restricted Irish Catholics from engaging in certain cultural practices. This makes it unlikely that organized teaching of Scottish dances, which would have required the presence of dancing masters, took place before this period. With the repeal of these laws, English and Scottish dancing masters began traveling across Ireland, and by the late 19th century, they were teaching reels, jigs, and strathspeys to Irish communities.

These dance masters played an instrumental role in formalizing the Scottish reels and strathspeys within Irish village dance events. Once adopted, these styles became woven into the fabric of Irish traditional music, as Irish musicians adapted the structures and rhythms to suit Irish melodies.

The Hornpipe in Irish Traditional Music

The hornpipe, another dance form originally from England, also found its way into Irish music during the 19th century. Hornpipes have a distinctive dotted rhythm and are typically in 4/4 time, making them somewhat slower and more articulated than reels and jigs. As with reels and strathspeys, the hornpipe was introduced and taught by dancing masters traveling through Ireland, especially in rural areas where such dances became central to social gatherings.

Documentation in music collections, such as O'Neill's Music of Ireland (1903) and Petrie's The Petrie Collection of the Ancient Music of Ireland (1855), confirm the presence of hornpipes in Irish music by the mid- to late-19th century. These collections contain numerous hornpipes and show that they had become well-established in the traditional Irish dance music repertoire by this period.

Polkas and Waltzes: European Influences and the American Connection

Polkas and waltzes entered Irish music somewhat later, likely in the latter half of the 19th century, as these forms gained popularity across Europe. Originating in Bohemia, polkas made their way to Ireland along with other European dance styles and took root particularly in County Kerry and County Cork, regions that embraced the polka rhythm with enthusiasm.

However, much of the popularity of these dances in Ireland is also attributed to Irish immigrants in America. In the 19th and early 20th centuries, Irish American communities adopted polkas, waltzes, and other dance forms popular in American social dances. Many Irish American musicians recorded traditional Irish tunes as polkas and waltzes, and these records circulated back to Ireland, where they influenced local musicians. This transatlantic exchange played a significant role in the spread of polkas and waltzes within Irish traditional music, particularly as American-made records became accessible in rural Irish communities.

The Dance Halls Act of 1935 and Its Influence

In 1935, the Irish government passed the Dance Halls Act, regulating public dances and leading to a shift toward organized dance halls over informal gatherings. This regulation solidified the popularity of waltzes, polkas, and foxtrots within Ireland, particularly those styles that had become popular among Irish immigrants in America. Documented evidence from this period shows that the structured dance environment of the halls accelerated the blending of Irish and American-influenced dance forms in Ireland, further embedding these newer dances into the Irish traditional music and dance repertoire.

These influences from Scotland, England, continental Europe, and Irish American communities reflect a unique historical blend that has continually shaped Irish traditional music. Through formal dance instruction, American recordings, and the spread of dance halls, each element found a place within Ireland's musical landscape. Today, the legacy of these exchanges is evident in the diverse rhythms, forms, and movements that define Irish traditional music, showcasing a dynamic history that honors both local heritage and a broader Celtic and European tapestry.