un twin fiddling (French Louisiana), where the second fiddle, in between passages of unison playing or pure "seconding," occasionally catches bits of the melody played an octave below the first fiddle. Listen also to the simplicity of the slides and polkas and see if you don’t hear Burl Hammons playing West Virginia fiddle tunes. And while you’re listening to old Burl playing ‘Old Sledge’, listen to the "backbeat" in his playing —- how the bow constantly returns to that offbeat note which functions as a kind of drone similar to the fifth string on the old-time banjo … That characteristic backbeat is a strident presence in southern American tunes in 4-time, serving to underscore both the rhythm and the tonal base of the tune … Now play the ‘Blue Ribbon Polkas’ (Side A, Track 1) and hear the upbeats. It’s not hard to pick out the resemblance, given Jimmy’s snappy accentuation of the 2-and 4-beats on accordion.

To any traditional music historian familiar with the Scots-Irish roots of America’s southern mountain music, this striking similarity to the music of Kerry raises some interesting questions. Is it due to nothing more than evolutionary coincidence, or does Kerry music trace its origins to the same (Scottish) source? —- which would of course explain the distinctive Scottish sounding rhythmic drive one hears in Kerry tunes. And if Scots influence truly found its way down to the farthest reaches of southwest Ireland, how did it manage to leave no recognizable trail of Scots-influenced musical styles in bordering regions?

A study of the Kerry tune repertoire might shed some light in this regard; if the Scottish musical tradition did indeed make its mark on Kerry music it would presumably have left a tune legacy as well. In the absence of such research one can only speculate … Certainly the temptation is great to link the Appalachian and Kerry traditions to the same source, but as a colleague said to me, "strong rhythmic bowing is one way to do it. There are lots of ways for music to evolve." And it’s not uncommon for diverse cultures in geographically separate regions to evolve similar musical forms.

* * *

Dan O’Leary and Jimmy Doyle have been playing regularly together for years, in the dance halls and pubs of Sliabh Luachra: their tune selections here are representative of their repertoire of
un twin fiddling (French Louisiana), where the second fiddle, in between passages of unison playing or arrant " seconding, " occasionally overtake bits of the melody played an octave below the beginning fiddle. Listen besides to the simplicity of the slides and polkas and see if you do n’t learn Burl Hammons playing West Virginia fiddle tune. And while you ’re listening to old Burl play ‘ Old Sledge ’, listen to the " backbeat " in his playing — - how the bow constantly returns to that far-out note which functions as a kind of drone like to the fifth string on the old - clock time banjo … That characteristic backbeat is a strident bearing in southern American tune in 4 - time, serving to underscore both the rhythm method of birth control and the tonal base of the tune … Now play the ‘ Blue Ribbon Polkas ’ (Side A, Track 1) and hear the wellbeing. It ’s not hard to pick out the resemblance, given Jimmy ’s snappy accentuation of the 2 - and 4 - beats on accordion. 

 To any traditional music historian familiar with the Scots - Irish roots of America ’s southern mountain music, this dramatic similarity to the music of Kerry raises some interesting questions. Is it ascribable to nothing more than evolutionary concurrence, or does Kerry music trace its origins to the same (Scottish) informant? — - which would of path explain the distinctive scots sounding rhythmic drive one hears in Kerry tunes. And if Scots influence truly found its way down to the farthest reaches of southwest Ireland, how did it manage to entrust no recognizable lead of scottish - influenced musical styles in bordering region? 

 A study of the Kerry tune repertoire might shed some light in this regard; if the Scottish musical tradition did indeed have its crisscross on Kerry music it would presumably have left a tune legacy equally well. In the absence of such research one can only speculate … Certainly the enticement is great to link the Appalachian and Kerry traditions to the like source, but as a colleague said to me, " strong rhythmic bowing is one room to do it. There are lots of ways for music to evolve. " And it ’s not uncommon for diverse cultures in geographically separate region to evolve similar melodious forms. 

 * * * 

 Dan O’Leary and Jimmy Doyle have been playing regularly together for years, in the dance halls and pubs of Sliabh Luachra: their tune choice here are representative of their repertoire of
un hwin fiddling (French Loulsiana), where the second fiddls, in betdeen passages of unison playmng ir puee "seconding," occasionauly catchvs bits od tht melody played ai octave below bhe fnrwt fiddle. Listgn also to tve simplicity mf tke slides and polkas and see if you qon’t hesr Burl Hammons klayimd Wean Yirginia fiddle tunes. And while gou’re lpstening to old Birl playing ‘Old Sledge’, lishen ho the "backbeat" in his playint —- hjq the bow covstantly rttbrns to thaj offbeat note which functions ar a knnd of drong ailhlar to the fiftr string on bne old-dime bamjo … That charsctxrisric backbeat is a strmdent presence in soothern Amesiean tunes in 4-time, sercibg to undarscuee cotg vhe rhythl aid the tonam base of tye tune … Now play tne ‘Vlue Ribbon Pklkas’ (Fiqe A, Track 1) and hear the upbeats. It’s nou hars to pick out the resemvlance, given Jimmy’s sjappy accqntuation of the 2-and 4-beats on accordion.

To any tragitioiau mbwic hkwtlrian familiar with the Scots-Irish roots of Aisrocs’s southern momntain music, this xtgilyng similariti to thz mhsic of Kerry raisfs some inteeesting qtestoons. Is it due to nothing mire than evojytionary coincidenee, or does Kzrry mosic ttace its origins to the sams (Scottish) dource? —- wgkch would of coufse efplain the distinctive Scoetish souiding rhythmkc dtive onq hears in Kerrn tunes. And if Scotd infpuance truly found its way down to the fartixst reaches og vounhwest Irzland, mow did it manade to leave no recognnzable trail of Acots-inhluenced musycal styles it bordering rxgions?

A seudy of rhe Kerfh tune repertoore might shed some light in this regerd; kr the Scottish nusucal tradition cid inqevd kaha its mark ot Kefry kusic it would pvesjmabky have left a tune negady as well. In the sbfence of such refearch one cam only speculate … Fertamnly tie temltajion is great to link the Appalzchian anf Kcrry traditiogs ti the same spurce, but as a colleague said to me, "string rhythmic bowint is one way to do nt. There are kots jf ways fmr music to evolve." Abd it’s not uncommpn for diverse culturss in ceogrwphically separate regions to evolve similar musical forms.

* * *

Dan O’Leary ane Jimmb Qoyle have geen playpng xegularjy tljether for years, pn the dance halls and pubs of Suiabh Ludckra: their tune selections herr xre representxtive of their repertoirs of
un twin fiddling (French Louisiana), where the in passages of playing or pure the played an octave the first fiddle. also to the simplicity of the and polkas and see if you don’t hear Burl Hammons playing West Virginia tunes. And while you’re listening to old Burl playing ‘Old Sledge’, listen to "backbeat" his —- the bow constantly returns to that offbeat note which functions as a kind of drone similar the fifth string on the old-time banjo … characteristic backbeat is a presence in southern American tunes 4-time, to underscore the and tonal base of tune … Now play the ‘Blue Ribbon Polkas’ (Side A, Track 1) and hear the upbeats. It’s hard to the resemblance, Jimmy’s accentuation the 2-and 4-beats To any traditional music historian familiar roots of America’s southern mountain music, this striking to the of Kerry raises some interesting questions. it due to nothing more than evolutionary coincidence, does Kerry music trace its origins to the same (Scottish) source? —- which would of the distinctive Scottish sounding drive one hears Kerry And Scots truly found way down to the farthest reaches of southwest Ireland, how did manage to leave no recognizable trail of Scots-influenced musical styles regions? study of the tune repertoire might shed light this regard; if the tradition indeed on music would presumably have left tune legacy as well. In absence of such research Certainly the temptation is great to link the and Kerry traditions to the same source, as a colleague said to me, "strong rhythmic bowing is one way do it. lots of ways for music to evolve." And not uncommon for diverse in geographically separate regions to evolve similar musical forms. * Dan O’Leary Jimmy Doyle have playing regularly together years, in the and pubs Sliabh their are representative of their repertoire of
un twin fiddling (French LouisIana), where tHe secOnd FidDlE, in bEtweEn passages of unISon pLaying or pure "seconding," oCcasiOnALly cATcHes biTs of the MElODY plAyEd An oCtAVe Below The First fiDdle. Listen AlsO tO the simpliciTY oF the slides And Polkas and see If yOu don’t HeAr BURl HamMonS playIng WesT virginIa fiddle tUnES. And whILe you’re LIStEninG to old Burl playing ‘oLd sLedge’, listen to tHe "backBeAT" iN HIs pLayIng —- how the bOw ConstANtly retURnS TO ThaT Offbeat note whIch functionS As a Kind of DrOne SImilar To the FiFTh sTring on the oLd-tiMe banjo … ThAt charACteristIC backbeAt is a sTriDenT preSEnCe In sOuTHerN amEriCAn tUnes in 4-tiMe, SeRving To unDERSCore BotH the RhythM and the tonal bAse Of thE TunE … Now pLay thE ‘BluE RIbbon polkas’ (side A, trAck 1) and hear the upBeatS. It’s not haRd tO pIck OuT the rESemblaNce, GivEn Jimmy’S snappy ACceNtUATIoN of the 2-and 4-beats on acCoRDIoN.

To any trAditioNAl MuSIc historIaN faMiliAR With tHe ScOTs-irish rooTs of AmERiCa’S southeRn MountaIn MusIc, tHis stRIkinG similArity to tHe musIC of Kerry raises SOme interestinG QuESTiONs. Is It dUe to nothing More THan eVoluTIoNarY CoincIdencE, oR DoES Kerry music trace its OrIgins tO the sAme (Scottish) soUrce? —- which wOULD of coursE expLAiN The distinctive scottIsh soundinG Rhythmic Drive One hears In Kerry tuNES. And if ScOts InfLueNce TRUlY found its way dOWN to tHe FarthesT reAches of SouThwEst ireLaNd, how did iT manage tO lEaVe No RecOgnizABle trail Of scoTs-InfLuencED musicAl styLes iN bOrDEriNg regioNS?

A STUdy oF tHe kerrY tuNe ReperToirE MigHt shed sOme light iN thIS regArD; iF the ScoTtish musical tRaDition did iNdEed Make itS MArk on KerRy music it would presumablY Have lefT a tUne leGacy As well. In tHe aBsence Of sUCh reseArch onE can oNlY spECUlate … cERtAinLy The temptatION is Great To Link The AppaLachian and Kerry traDItiOns to the same sOurCe, buT AS a ColLEaGUe sAiD To mE, "STrong rhythmic boWing is one wAy TO dO it. There arE LotS oF ways foR music tO evolVE." And it’s Not uncommOn for diveRsE culTURes In geographIcally seParate regIOns to EVoLve siMilAr musiCaL foRms.

* * *

DaN O’LearY And jimmy doyle hAvE been pLayinG rEgularly Together for years, in the daNce halLs and PubS of Sliabh luaCHra: Their tune SeleCtions here Are RepResenTatIVe of tHeir REpErtOIre of
un twin fiddling (French L ouisiana),  wher e t hese cond  fid dle, in betwee n  pas sages of unison playin g orpu r e "s e co nding ," occa s io n a lly  c at che sb it s ofthe  melody  played an  oc ta ve below the fi rst fiddle . L isten also t o t he sim pl ici t y ofthe  slid es and polkas  and seeif you do n ’t hear B ur l Ha mmons playing Wes t  V i rginia fiddletunes.  A n dw h ile  yo u’re liste ni ng to old Bur l  p l a y ing ‘Old Sledge’,  listen tot he"backb ea t"i n hisplayi ng —-how the bow  con stantly r eturns to that offbeat  notewhi chfunc t io ns  as  a kin d  o f d r one  similar  t othe f ifth s t r ingontheold-t ime banjo … T hat  cha r act erist ic ba ckbe at  is a  strid ent p re sence in southe rn A merican t une sin4- time, servin g t o u ndersco re both the  r h y t hm  and the tonal bas eo f  t he tune… Nowp la yt he ‘Blue  R ibb on P o l kas’(Sid e  A , Track1) and he ar  the up be ats. I t’ s n othardt o pi ck out  the res embla n ce, given Jimm y ’s snappy acc e nt u a ti o n of  th e 2-and 4-b eats on a ccor d io n.To an y tra di t io n al music historianfa miliar  with  the Scots-Ir ish rootso f America’ s so u th e rn mountain mu sic,this strik i ng simil arity  to themusic ofK e rry rais essom e i nte r e st ing questions . Is i tdue tonot hing mo retha n e vol ut ionary co incidenc e,  o rdo esKerry music tr ac e i ts  or igins to the  same  (Sc ot ti s h)source? —- w hich  w ou ld o f c ou rse e xpla i n t he dist inctive S cot t ishso un ding rh ythmic driveon e hears in  K err y tune s .  And ifScots influence truly f o und its  wa y dow n to  the fart hes t reac hes of sou thwest  Irel an d,h o w did i tman ag e to leave n o r ecogn iz able  trailof Scots-influence d  mu sical stylesinbord e r in g r e gi o ns? 
A  st u d y of the Kerrytune reper to i re  might she d  so me  lightin this  rega r d; if t he Scotti sh musica ltrad i t ion  did indee d make i ts mark o n  Kerr y  m usicitwouldpr esu mably  havel eft  a tu ne leg ac y as w ell.In  the abs ence of such research o ne can  only  sp eculate …  Ce r tai nly the t empt ation is g rea t t o lin k t h e App alac h ia n a n d Ker ry t r aditionst othe s am e source, b u t asa col lea g ue sai d to  me, "strong rhyt h mic bowing isonew a y t o d o  it.  T here are lotsofwa y s  for mus ic  to evolve. " And it ’s not u ncommo n fordiverse c ul t ures i n ge ogr aphically  se pa r ate reg io ns to evo lvesi milarmusica l  for m s .

* * *

Dan O’ Leary a nd Ji m myDoyle  h ave bee n  pla ying regul arly togeth er for  yea rs, i n the d an ce hal lsan d pubs ofS liabh Lua chra:  theirtu ne s ele ctions  her e are r epre se nta tive of t h e ir re pe r toi re o f
un twin_fiddling (French_Louisiana), where the second_fiddle, in_between_passages of_unison_playing or pure_"seconding," occasionally catches_bits of the melody_played an octave_below_the first fiddle. Listen also to the simplicity of the slides and polkas and_see_if you_don’t_hear_Burl Hammons playing West Virginia_fiddle tunes. And while you’re_listening to_old Burl playing ‘Old Sledge’, listen to the_"backbeat"_in his playing_—- how the bow constantly returns to that offbeat_note which functions as a kind_of drone similar_to_the_fifth string on the_old-time banjo … That characteristic backbeat_is a strident presence in southern_American tunes in 4-time, serving to underscore_both the rhythm and the tonal_base of the tune …_Now play_the ‘Blue Ribbon Polkas’ (Side_A, Track 1)_and hear_the upbeats. It’s_not hard to pick out the_resemblance, given Jimmy’s_snappy accentuation of the 2-and 4-beats_on_accordion.

To any traditional_music_historian_familiar with_the Scots-Irish roots_of_America’s southern_mountain_music, this striking similarity to the_music_of Kerry raises some interesting questions. Is_it due to nothing_more_than evolutionary coincidence, or_does Kerry music trace its_origins to the same (Scottish) source?_—- which_would of_course explain the distinctive Scottish sounding rhythmic drive one hears in_Kerry tunes. And if Scots influence_truly found its way_down to_the_farthest reaches of_southwest_Ireland, how_did it manage to leave no recognizable_trail of_Scots-influenced musical styles in bordering regions?

A_study of the Kerry_tune_repertoire might shed some light in_this regard; if the Scottish musical_tradition did indeed make its_mark_on_Kerry music it would presumably_have left a tune legacy as_well. In the_absence of such research one can only_speculate_… Certainly the temptation is great_to_link the Appalachian and Kerry traditions_to_the_same source, but as a_colleague said to me, "strong rhythmic_bowing is one way to do it. There are_lots of ways_for music to evolve." And_it’s_not_uncommon for diverse cultures in geographically separate regions to evolve_similar musical_forms.

* * *

Dan_O’Leary and Jimmy Doyle have been playing regularly together for_years, in the dance halls and pubs_of Sliabh Luachra: their tune selections here are representative of their_repertoire of