The melody in Celtic music frequently uses parallel octaves; it is also subject to variations or improvisations. The fourths and fifths are pronounced in chordal texture. The second inversion of chords is used so often that it is almost interchangaeble with the root position. Wide intervals are another characteristic of both the melody and the harmony of Celtic music. The harmony has a heterophonic texture having a group of musicians sing or play the same melody, but each will vary it in some manner.
Strophic form is common, which uses repeated verses or adds a refrain. Modes used vary from region to region. Typical modes are pentatonic modes, hexatonic modes, and heptatonic modes. A "double tonic" is sometimes created in Celtic tonal music because the piece will advertise two chords equally and may cadence on a note contrary to the perceived home note.
The rhythm is often compound, but some compositions are classified as non-mensural music without time signatures - most in the lament category. Rhythm is also subject to improvisation. "Sprung" rhythms are completely at will of the musician because they are written differently than they are performed.
Some purpose was behind every classic Celtic song: laments, lullabies, or work songs. There was even a distinction between songs performed by men and those performed by women. During a performance, the musician uses improvisation, normally with the bagpipes and harp, vocables, and macaronic lyrics. Macaronic lyrics alternate between lines of English functioning as refrain and lines of a Celtic language. The two lines typically have no connection with the other lyrically.
Conventional instruments are the flute, fiddle, harp, mandolin, bagpipe, bouzoukis, bodhran (Irish tambourine), and dulcimer.
No comments:
Post a Comment