faeeialy production Kilkelly presents a guide for the Celtic guitarist Soundirack a vailableA mally production Accompanying Irish Music on GUITAR A GUIDE FOR THE CELTIC GUITARIST by Frank Kilkelly A mally productionContents Accompanying Irish Music on Guitar 1.0 The developing art of accompaniment 1-1 The emergence of the guitar in the accompaniment of Irish music 1-2 Profiles of leading players 1-3 Accompanying tunes effectively 2.0 Getting started 2:1 Guide to choosing equipment 2:2 Developing a practice routine 23 Notation used in this book 3-0 Guide to tunings and accompaniment styles 3:1 The structure of Irish tunes 3.2 Strumming and picking patterns... 33 Tunings 2 3-4 Tunes accompanied in standard tuning John Brady's & Hexham races Pretty Peg & The baker Flogging reel & The whistling postman Pigeon on the gate & The Shaskeen reel 36 Tunes accompanied in dropped D: DADGBE Fred Finn's & Music in the glen Julia Delaney & My love is in America Cooley's hornpipe & The home ruler 346 Tunes accompanied in double dropped D: DADGBD Eddie Kelly's jig & Jerry's beaver hat Pigtown fling & Roly-poly 37 Accompanying tunes in DADGAD 38 Tunes accompanied in DADGAD ‘Mist-covéred mountain & The rakes of Kildare Doctor O'Neill & The mug of brown ale ‘The trip to Athlone & The rambling pitchfork My darling asleep & Boys of the town Shoemaker's daughter & Dinkie's reel 40 Appendix 4-1 Theory Chord construction Fretboard diagrams Chord inversions & voicings, modal chords & modes, barré chords, slash chords, relative minors 4-2 Full listing of all chords used in the book 43 Transposition chart 4-4 Running order of the accompanying CD 45 Discography for recommended listening Page 5 6 7 8 10 u 12 12 u 16 16 7 18 19 20 21 22 24 25 25 26 27 29 29 30 31 32 33, 34 34 35 36 37 38 39 40 The recording Ti bo ded bd In concn wth the compari cng alg number MPD foo he boot and he CD eave from the publherhove name and nds appar on he Jomipics or veh te edna ma ion. You's cnet aur eae tte ing etyeeconet ry at om ‘he dpa Aran Cont Gb, dnd » ‘Accompanying Wish Music on GuitarAccompanying Irish Music on Guitar Ireland, From 1986 to 1998 he lived in London where he played and recorded with a string of well-respected acoustic groups, including Zumzeaus and The Kimbara Brothers as well as regular work with Luke Daniels, Brendan Power and US dancer tra Bernstein, In addition, from 1995 to 1997, he toured regularly in Europe and sme to this guide tothe accompaniment of ‘dance music on guitar. tis designed fr those wito have a basic grasp ‘of some chords and some strumming ability on the guitar I don’t assume that you know much about the structure of Irish muse and 0 this book will also be of use if you are a competent sultarst in other styles. “The accompaniment of rsh dance music has come a long way since the fis atempts in the 19205 and today there is arch diversity of styles. ‘Use ofthe guitar for accompaniment has rapidly Increased since the "70s, when people lke Michéal 0 Domhnail and Paul Brady introduced new ways of playing. However, very litle has been writen about this developing art and so [ez a D6 Bm7 ACE Cdim [Bm7 E7 [A Bm7 [act D [ET A . cy rd 7A Dm tn? a RP ie 7 a aij 3 5 i ie! tt t tf ca co 7 aro birt i 7 i 7 ane f ary Accompanying ishPIGEON ON THE GATE & THE SHASKEEN REEL a r ning: ype of tune: Key on recording: Key in book and eapo position: ight han You should find the backing fn these tunes straightforward ‘enouigh if you are familiar with 1e basic chords The first time round the Pigeon on the 4gete uses only two chords, Em ‘and Dmajg, on the top four strings. This demonstrates how you can add sparse accompaniment effe u ively suggested fingering shown below, you'll find you can keep your lite Finger (fourth). on 1B ninth fret ‘he third for both chords, thereby acting as an hor between chords. Rhythmica light strum is played on the top four strings, playing two plectrum strokes for each beat ina down-up pattern, eed the two lly, a very EADGHE reels Em &G Em & G (no capo) In the second time round lines the tune | incorporate all six strings into a fi rhythm. AC the only important note is the beginning of each phrase, | often leave out the up-stroke in the ‘and! of the first beat 10 chord theory ate a sort of bounce in the chords) rhythm. Fr example, listen 0 AA, bars 1,3, and 5, The chord patterns used ery versatile: you'll 1 the way Some of the chord names I version of may be confusing under through bass note (e.g. in D/P, FE is the bass note—see appei slash The second chord played, GIA is really just a passing note of A, played as a stepping stone for the bass from G to B. In BI and 63 I find that they fit in many E use two alternating chords the Em-A7-D-Bm progres: sion forms the the pattern and the G and pivotal but pro: vide further movement co the bass line, In The Sheskes of moving. bass DIPgare le make use In particular, (Gi of a these are reel, | D and Gsus/D) against a drone on the D string, to ere break from along effect of the bass lines. In some places, bass notes in place of chords; the rolling 1 just play se letters and are played ‘on the fifth or sixth string Dmajo [em Em. Dmajo Dmaj9 Daj Em Em____| Dmajo maja Dmajo Em [Em Dmajg maja Dmajg Em Em maja Dmaja a Eo _ [pit Bm [em Em a7 [DG [Bm _Em PO Em birt Bm [Em Em a7 [DG |Bm Em o Dirt m Em bit G [Bm Em ees Em a7 [D Bm Em Em [DG [Bm Em cB Cc (Gm amd [G GA [omc _[p Deft G Ga [GBC (ae cp |¢ GA [eB c ([D ele Gib Gsusi___[G/D_Gsus/D|GID_GsusiD [GID GsusD_[Gsus/D___|Gsus/D GID. 6 Ditt G tm jam > |G GA |omc (Dp Def RG Gia Gem lamp |e aa_jow c [pv deft RG GIA G tm |Am@D |G GIA (Gime CD D__DIFE Bem cp GsusiD__|G/D_Gsus/D|G/D_Gsus/D | GID [Gsus/>_[GsusiD | Gsus/ G/D fe «iD Guid [GD DGD D [GD D [em Dd [ce aft. Opening chords ae Pe eee oe oo 6 an? go > ite 7 ™ om 7 T 7) OF t H tt f HHH HEE Ht tf 1 Accompanying rh Music on 19g is just what it 1 present three different ing to take the lower D string. ‘ount. Thankfully, you ys, standard tuning but with approaches to playing in this, te one or whole sep 0D ciecvely with Knied Veecieiane me sate sing EEE tepertoire of chards and most by fretting the fifth str Track 12 ff the chords are just altered the fifth fret and tuning to this Fred Finn’e & Music n the glen slightly. What's more, the note eRe learning experience will help Having Dasthelowest note EASIER increase your understanding ‘opens up several options. Track 4 ‘of the guitar fingerboard. Ticenables fuller sounding Sula Delaney & My fove ie in Because this tuning lends D chord string version Ameria itself to full bodied chords, it of D can now be played with is well suited to a right hand the root on the bass. Many MRAM rhythm which drives the tune tunes are in D, so this makes Track 13, along, by a strum which cov for a fatter sounding accom- Cooley's hompipe & The home ers all six strings. However, paniment ruler you may find that leaving out 2 Also. when playing in D With this tuning, you will the frst string (either by or Giit's possible to play bass have to modify many of the damping or by not hitting it hote lines going down to D. chords used in standard tun- gives a smoother sound. Session in Jimmy Burke's, Ardrahan, County Galway {ett o right: Filish O'Connor fiddle), Marion McCarthy (pipes) and Frank Klkelly (guitar 20 ‘pnying rsh Music on GitarFRED FiNN's & Music IN THE GLEN Tuning: DADGBE ‘Type of tune: reels Key on recording: D&G Key in book and capo position: D&G {no capo) Right hand pattern: steady strum The accompaniment starts Count this very slowly, say of S must become an up beat. with some triads (9-note the ‘I and 2 and 3 and 4 and” The chordsare based on the Chords) played ina Samba. out loud and tap out the bottom four sting: occasion Sole rhythm on the top 3 thm: you'l soon get the ally the rhythm is. pushed Stings. with a constant hang of As you ean se, the around, placing emphasis on second an third measures are the offbeat. Alo. i's played on seine Thence’ chordcused on the off eat, ie, they'e-on the beat now and again, spk bony arent shape Se AN! ar han hey of =i tine aan ree See the beat. When confortable Musio inthe gfon continues eee a ‘with it, you can add extra little in the same rhythmic flavour. Strums ino the gaps. as you Note that I use a descending drone going on the open fourth only used for the first time See n hear I have done on the ygression in Al bars 3 and 4, The Samba rhythm recording {GBs Am’) and in A2, 1 ‘The rhythm pattern here may On the second time round reverse it, (making it ascend) take a bit of getting used to. the tune, the strumming pat- and it still fits! ‘You can either try getting it by tern breaks into a fuller rhythm In the chord charts, I have TTohelpyouthepaternforone —inthesame places, This means the bar but they do not share baraffisshown in igure 1S. thatthedown baton and” the barequall Figure 12: the chords in FRED Finw’s Figure 13: the Samba rhythm 20 md amid AD go 1 fand | 2 [and] 3 [and] a [ana 1 [oe [Bel] Gaim im [D D ad [Emo pa [> tm [emo | D mid [mo po [> simi | Bwib T7nD | D em [wo pa [>| |__| D co [wD pe |p im 6 [> ao > A D D arate ace | am a] a vee ca | orf | oar caro D 8 mr i7om|¢ a | D « naa : c D ¢ D D [tim 77a [amb D[fim Fr tm? [amb c [p 6 ¢ D @€—|im?ant_|o am?_v | an?_D [Em AnD ¢ ¢ om Ic ‘Am? _D 1G am? [Em Bn? [Am?_D ae ee re ose : = = : tit tt tt Accompanying Ish Music on Guitar a1JULIA DELANEY & My LOVE I8 IN AMERICA Tuning: banat ‘Type of tune: slow reel & reel Key on recording: Dm&D Key in book and capo position: Dm & D (no capo) ‘Right hand pattern: plectrum picked chords & steady strum Jia Delaney is a very unusual chords I use ate also used style used here-The timing and rhythmically complex throughout the accompani- here is not written accurately. tune, in thatthe pulse doesn’t — ment for the first tune. The you will have to work it out fall on the top of the bar, for introduction is shown as the from listening to the record the A part it falls on the third firstlineinthe chord ehart and ing, beat, half way through the bar. there are «wo extra beats of The rhythm picks up in My On therecording, thers note silence between the introdue- love ie in America, with a that the accordion plays is on tion and the start ofthe tune. slight pause after the first, the ist beat of the bar, so you ‘The fitst time round the beat in the bar in the early should count through the tune, I use a sequence of stages. Otherwise, the rhythm beats. starting on that nore. chords fingering only the sec-__is a constant down-up stroke T've chosen to follow the pulse ond and third strings. All of with a slight emphasis on the with the accompaniment, so the slash chords (see appen- bass notes of new chords, 1 the guitar comes in half way dixforan explanation of slash play an oceasional down: through the first bar. On the B chords) in the first cune are stroke on the second beat, as part, the pulse returns to its played with an open Don the you ean hear in bars 2 of B2 normal position on the first fourth string. To demonstrate and AA. Listen for the ham- beat of the bar, may take athe right hand technique 1 —-mer-on (onto C4) In the last few listens to igure out what's have written out the intro- bar of A3. A popular device is, {going on in the tune, duction in TAB in Figure 14. to join in the rhythm at the The guitar starts this set Refer to page 13 for infor- end of the tune, as | do here with an introduction and the — mation on the right hand in the last two bars. Figure 14: Intro, Jutta DELANEY bmi) com ‘om9 com Amo yoetyyet ved teeet veeteeet od + a — 22 ‘Accompanying rsh Musi omaa Dm9() cpa) [BbID Jami 0) cow hip AmiD 11 pmg2)|cip@ pmaw|/_¢ Dmgai|eD@ Dmew|/_/_Dmge)|CD@) Dmoq|/_1_Dmse)|c/D@ Dmow) 1 pmo [cpa BD [7 7 Dma@|crDa BD |) 7 Dma@ [ema BD |) /_Dm9m|CiDa) ByD moa) lea BD Am/D moi) cow ByD_AnvD |Am/D Dm9() loa) BD Am/D B/D [Dm9Q) ca) yD AnvD |Am/D ew ic cw | Bm co |. Be |e ow | 7 Blam cw te co fy mw fe om | 7 Bw fe ow 7 Blam pb es oo (cpa BD Am/D_BiID_[Dm9() oa BD AnvD |AmiD_BYD Pe pm90) ‘cpa BD lAm/D B/D [Dm9a) cow B/D Amv |AmiD ATsus D [p D os GiB AT GiB D av [D D G2) DIF |GQ) ATE [> ce [b [p D D Ga)_A7 papi |p a |p ave [pie G@)_DiFE |GQ)// ATE Po ATsus D cp a7 [D Ga)_piee_[Bm7 ATGE ua J Dap)? |p Crmucay) GQ) DIE A rom > [p D cy AD DIRE A Peo ce |p D Em7_A_[D Ga) Dir A mam cD 8. ow amb aye tm? ares cenreerCOOLEY'S HORNPIPE & THE HOME RULER Tunings DADGBE Type of wane: hhomnpipes Key on recording: Gap Key in book and capo postion: G &D (no capo Right hand pattern: fingerpicked chords for nylon guitar These are accompanied in a examples shown in TAB should Cooley's, 1 play an Am?, home rulerexceptinbars 1 and fingerstyle and I play the beall you needto work out the because the fiddler on the 2 of A3, where D/F#(2) Is used. chords in a way similar to pattern for the tight hand, If recording chose a variation (C Some chord names may plano accompaniment where you glance at the chord chart, which would clash with A7/Cf, change depending on what the root and tenth (or third) you will see how versatile a which I use inthis place in the notes are played. For example, notes (See appendix) are small number of chord pro: ne onevery other occasion. the following chord could be played together on the on-beat _ gressions ean be. ‘About the chords DIF or D, depending on what (the first oF third beat). The Note that in bar 4 of Ad of DJ/EF¥(1) isused all through The stings you play: 9! T Figure 15: Bl bars 1 to 4, COOLEY's HORNPIPE at oom on < Arc o7 i i a2 a i { f f 3—t + — Ee + i ‘ — = © 3 2 = Figure 16: Bl bars 1 to 4, THE HOME RULER c Gin larics D7 |G cpr |e Cc GB fazcs 7 [6 CC [ow farich D7 |G G [6 Am? [pr G c [ap Avice D7 |G G |G am? [pr G RG pa |G [ec Gw_[azict v7 |G cp? |GCGBAm7 RG ova jam [ccm |amm or |G Dva jam Cp? [GCGIBAmT Pc pia [am c (aie auc pr [Gc _|¢ G_|tm7 Aw? [D7 G Pc pa low claw [arvcro7 [oc |e G (|G DYN [D7 GA no capo D Em? [DG (DIF) ——_[G Dem? [pre [a D pirnG | D/H GA |p em7 [pre [DG pra a Dra) [6 DM@)ET AT (Dem? [prs AD Dir) m7 D/FKD|G A [DGB |D AiD G DIF® dsus [D_om7 [er a7 DMG [A DG DFKQ) A pirKG —_[DIFAN Bm? [ETA DIG |A DG DFE) A Dirt) [mt Dir)|G A Dirk AD piri) [Em7 pin] A D 7D arc 77k am? km) or ra ft FR FR s OO 7 24 ‘ccompaning ish Music on Gularroe Eopie KELLy’s J1G & JERRY'S BEAVER HAT Tun papgsp Type of tune: lies Key on recording: Em&D Key in book and capo position: Din (capo 2) & D (no apo) Right hand pattern: steady stu The rhythm 1 use for the Chord changes are empha- the beat across the bar like accompaniment here fits in sised with a slightly heavier this is called syncopation. with the fist two bars of the down-stroke and I shift the In Jerry's beaver hat, the Imelody of Eddie Kelis ig, ina chythmic emphasis in the rhythm continues in the water like that shown in highlighted bars in BS to same style. As T strum, the Figure 17. add dynamic variation, The strings are damped, with the Before long, the space in chords are played on the heel of the right hand. You the second beat is illed with sixth (last beat) before the may find it easier to try this an up-stroke and the rhythm bar where they fit and then style with a soft plectrum at thereafter isa regular down- continued through the bar first, until you get used 10 up-down stroke pattern. where they belong, Moving the fee! of it Figure 17: Two bar rhythm pattern for EDDIE KELLY'9 110 gl) — 4 y tedte t tb tad down down down up down down up down down up down Dm Dm (Gm? An? [Dm bm € [Amt [Amr Dm Dm Gm Am? [Dm Dm ¢ [i Amt fam? Dm [pm Gm7_Am7_| Dm Dm C By Am7_ | Am7 Dm Dm Gn?[Am? Dm [Dm Dm ci Am? fam? [Dm Dm Gm? Am? [Dm Dm |B _am? [am Dm Amt [Dae Gm7_Am?_[Dm Dm [8 am? [ama Dm Dm Gm7_ | Am7//1/Bb [Bb / 11 Am? [Am7////B)| Bb Gm7_|Am7 Da Dm ‘Gm Am?_[Dm Dm [Bb Am? [Am? Ga? Dé [om a [p Diicoad| ominawea|o oom [6 AD cpm [6a om ae f oma [0 ¢ prea | @ bm [6 ao cpr [6a | oT 4 H f ing ash Muse on GultarPIGTOWN FLING & ROLY-POLY [) Funing: DADGBD Type of tune: reels Key on recording: Geo Key in book and capo position: 1D (capo 5) & D (no capo) Right hand pattern: Plectrum-picked chords & steady strum Plgtown fing is a short tune as bar of AG. In the lat bar of AB chords to start it off and the each partisoniy four barslong, the rhythm gets shifted in adif- chords are played mainly on Hence, itis played three times, ferent’ way. This time the the bottom four strings. It starts slowly with the guitar emphasis ison the ‘and! of the Physically, my hand is strum- playing plectrum-picked second eat. This falls on a mingup and down in the same chords and gathers tempo upstroke and is repeated in the pattern as before but I leave ‘Quickly, By the first B par, the fst bar of each ofthe remain- out some beats to create a syn- guitarisstrummingin a regular ing two B parts. copated feel. The basic down-up pattern and Inthe change to the next emphases are shown in Figure femphases are placed on the tune I moved the capo 10 its 18. bass note ofeach new chord. tn resting place behind the nut Inthe third bar of B2. I play the fist bar of Aa, [place an and you can hear the sliding another rhythmic variation fexira emphasis on the fourth action In the stop between the Here, the emphasis is on the beat ofthe bar. Ido it again two tunes ‘and’ of the tied beat, which is bars later and again inthe frst ‘In Rolypoly, [play damped played on an upstroke. Figure 18: The emphases in ROLY-POLY 1 and and | 3 [ and [ 4 | and down | up | down | up [down | up | down | up er pw D Dsus | DIF) Dsus Asus/E | D D Dsus | D/FE(I) Dsus D/FE (1) Bm a7 Bm Bm A7__|Bm a7 im Bm AT Be bap |p Gaz [D/P D [pd __Dsus_| D/FECA) Dsus | Dsus Bm Aw Gin cia A [Bm a GIA GAA Row co |p c lome [¢ a [emp [> « [pm eae Ey bm at G ca [Bar a7 Em7 DIF: |DIFE G G A “JAD DiFF@G a AED D Difé D D Dire D om 7 A A Dirt 6 A D > pee (A A Dirt G A D ie D En? Dy _|G A [D D DiFé > ie D im? Die [GA [D D DIF D dwn DO) Aue tm 47 GD AM GIA fy 0a ” mC GT aR ine t oF H HH HHH Ht tChord names in DADGAD Because of the nature of the tuning, many of the chords contain extra notes of the soale, (such ac the fourth or the ninth) which means that their full titles can be unnecessarily complicated. For example, the G chord that | use most offen has an A in it (the second and/or ninth note of the G scale) which technically makes the chord a major ninth. However, ‘the abbreviated titles give enough informa- tion fo tell you where ‘these chords will fit in ‘the tune. Accompanying rsh Music on G hisis the most popular alter Alvesnatively, you may find sive rhythm, One of the great native tuning used in folk gui- it easier co tune using the fol- advantages ofthis tuning is the tar today. It was invented by lowing method: fact that there are three strings Davy Graham and involves wer the frst string until tuned to D and any or all of tuning the first. second and i tine with the fourth — them can be allowed to ring sixthstrings one ton sie sting open: Uunfingered through many ofthe step] lower than stars wer the second string chords 1 ereate a modal effect, ve with the fifth By the same token, this limits ing. To wne your g tuning Hover the firsts itis in tune with the ‘until it sin une with the t string fretted at the second . the keys that are comfortable he sixth string anda capo isan essential acces in une with the sory for accompanying in this string open tuning. liferent find DADGAD particularly P by stable for jigs, which are in £ x Strom a light- time, The pattem of right hand ered 5 also stokes Gn a strumming pat 3 Lower the sixth string ny Inch ch is not ber of eas in the bar and in a Unt it sin tune with the fifth unlike bluegrass crosepicking jg the trum patterns shown in string fretted atthe fifth fet. 10 punchy. fullboxied agures” Figure 19 will work well Figure 19: Strum patterns in jig time Wbeat_ | 24 beat_| 3% beat sthbe: 6th beat A Zoe skip down § down upt EE down | ut down} upt downy up? c Ein upt down} | down wt down Hike to use a plectrum-picked rience, you may find the ‘accom: hand style a bit foreign at first, links the chords to right hand style wh ppanying jigs in DADGAD. This Bear in mind that you hhas a very light flavour. For slide ov ie. moving melody line that ther, This will become clear as you fol the low the examples on the next the strings ‘example, listen to the accom: plectrum rather than carefully few pages and listen 10 the ppaniment on thetunesin track picking out each note: I will appropriate tunes onthe 9,Dr O'Neil & Mug of brown ae track 1, Miet-oovered mountain lowing « and track 3, Tp fo Athlone. As you can hear, this style track, Examples milar effect. The fol- recording. On the recording les are played on the examples are introduced as tracks 15 to 26 of the sound- Example 1, then Example 1 oduse only faster and so on. hhasalight feel and beats some a D chord The first example shows a resemblance t0 the style used Since many of the chords repeating down-up pattem by many Irish bouzouki play ‘nly one oF tivo fingers. using only the top four stings crs. Depending on your expe With this example spend as much time as i of ast is itself to ‘lines’, (Tracks 15 and 16) CEI ytitit and ons. Ahammer-onissimplya repeating down-up-down, rhythm, way of getting two notes out pattern but replacing the sec ng picked once. ARer ond beat with a hammer-on, takes to get completely com- the string has been played. This example gives an fottable with it, as it must you “hammer-on’ your ring arpeggio (or do-mi-so-do) sound smooth, When it does, inger onto the position feel which can be played you can begin to add some where you want the second quite fast to give a flowing Variations using hammer note, Try Example 2, using a ringing sound. Hoye te vo vata the) —— —— a‘0 incorporate the six strings Iwo this style start by uying Example 3 (Tracks 19 and 20) veyed ° ° = &. +H pp —— (Once you get the el ofthese pattem, you cn ry it with dhe Tracks 2 and 2) sa progres hythms you can loosen up pleetrum. Next, you need 10 sion that [use a lot. You ean your right hand and try hitting learn a small handful of chords hear it in bars 1 to4 of BL in Tp different strings. Being in an and chord progressions 10 fo AtNlone. With the following ‘open tuning. more thanlikelyit enable you to use this style examples, the chords change will sound OK! The basic effectively and in the examples twice per bar, ie. every three shythm might initially be below Istart you off with a few beats. You may” notice that tograspusingyourindex finger ideas for your awn collection of some of the chords have two tead of a plectrum, Once DADGAD ticks and licks, ames; these ate known as you get the hang of the picking The next example (listen to slash chords (see appendix) ty vtagty btgetae tty et é pit piet pet ett Example & canbe head ying down-p-down pattern. you pay the chords have Paveinisbasalysropent=Sescendng fs hin and Soul eon heh ach ® coo ° wo E i : mm & denuesy i etovrd Vtebtd tage ‘ SS $ : Example 6 is another ‘phrase’ that Tuse often, veeerg etgatg a A : = With these examples as a ahammer-on:a second note a style of your own starting point, the secret isis sounded by pulling th you're new 0 to experiment with different finger off the string after DADGAD, DootorO°Neill picking/strumming patterns you've just played the fret- (Track 9} is a good starting, and hammer-ons, pull-offs ted note) and anything else place, as it uses very few {a pulloff is the opposite 1 you can think of to develop chord shapes. 28MIST-COVERED MOUNTAIN & THE RAKES OF KILDARE last four bars, use a moving bass line that | find invaluable on that! Its shown as Example 5 on page About the chords In the second bar of AB in Rokes of Kildare, 1 use a ham: Tuning: DADGAD ‘Type of tune: “ Key on recording: a Key in book and capo position: [Im (capo 7) & G (capo 5 LJ right hand patter: lect ‘chords & steady strum These two lovely jigs are Js used here wil 8 place to start if you're new to * ving DADGAD, Spending some the cape adapt time with the examples in see- the popu tion 3-7 will be of help if this alter 1 capo 2.t0 style is foreign to you pay i On the first time round Therhythm on the Rakes of ‘Mict-covered mountain the Kildare is slightly heavier, with backing uses only two one-fin-down-strokes covering all 6 gered chords, so this is a goad strings announcing each nev, place to get comfortable with chord and a light strum fli the rhythm, The picking pat- in the spaces tem described in section 37 The pattern used is down- ‘on DADGAD is used here and up-down down-up-down and for the second time round the occasionally (usually at the rhythm becomes a full stcum beginning of a phrase), 1 omit (on all six strings, emphasising the second beat, allowing the the chord changes with down first beat to ring on over the strokes, ‘The sequences of time ofthe second beat. In the iia aoe meron onto the F playing the FE on the fourth string Likewise, where I have used @ hammeron with A7/CE, itis played with the third finger fomto the fifth sting fourth tret. T stare with a d-sting D chord but, as the tune pro: iresses, 1 play all six strings ‘with the same left-hand finger ing Dm Dm. ‘Am? ‘Am? Dm Dm [Amz Am? Dm. Dm Am? Am? Dm Dm Am? amt Dm Dm Am? ‘Am? Dm Dm Am? Am7 Dm Dm Am? Am? ‘Am? Am7 Am? Am? EM Dm Dm G © Am7_[Dm pm GC Am? _[Am?_Dm u oo Dm G © Am7_[Dm Dm B> Am? [Am7_Dm Pom Dm Dm_G Am? [Dm Dm Am? [Am7_ Dm o oo Dm G « Am? [Am7 |B» Am? [Am7 Dm (cera7 Ea 0} DIFE a7__|D [ar D Dea |GEeswAvems| Dana! Bm7_[G_A7/C#{ho)| D pe [¢A7__[D G [ar __Azice|D le mH f HH Accompanying rsh Muse on GuitarDoctor O'NEILL & THE MUG OF BROWN ALE Tuning: DADGAD ‘Type of tune: igs Key on recording: D&am Key in book and capo position: G (capo 7) & Dm (capo 7) Right hand pattern: Plectrum-picked chords Here the focus is on the sound larly the case with the accom ative minors). Note the effect of some simple chords rat paniment for these jigs of the G used atthe stat of the fon than a driving rhytl Doctor OWN! is different second time round the tune. ractising the DADGAD exam- from many other tunes in this This chord fits here because ples on pages 27 and 28 will book in that it has five parts, the melody of the tune has help you with the feel for the each played twice, giving a notes that belong to both Dm right hand. Fehose to play with structure of A-A-B-B-C-C-D- and G major scales, the capo at the seventh fret D-E-E. Because of this. the About the chords. hhere, to showhow youcan play tune is just played once. You ‘The D chord used here can inthe key of Gusing DADGAD. can see from the chord win: aka be called Dm: this fy Also, because the second tune dows, that | use the top 4 ecause there is no third in is in Am, t's not necessary 10 strings (the four nearest your this chord, it can be used as move the capo for the second knee) for the iso A parts and either. Also, this chord Is tune: playing in the key of Dm then change to the bottom 4 played with or without the fifth with the capo on the seventh strings (the four nearest your and sixth strings, depending {ret will give us the key of Am. chin) forthe restof the wine. on the preceding and following You may find it altogether Theaccompaniment for The chords; use your ears to tell easier to learn 10 play the mug of brown ale is also very you which to play chord shapes and then figure sparse, with only slight varia Also, note that G (1) is only out how they are used by ear. tons on each part, You'll find used for the A-pa mentioned previously that that I swap Am and C chords of the time. use G (2). The fist using the fullnames for chords pretty much at random, that's four chords on the bottom of in DADGAD is somewhat because they are related (See the page are the ones to use in s. The rest redundant and this is particu- Appendix, Chord theoryon rel- the first two Ap ed cep [6a Dirt cre. ce D ce pire [ea DIFt CE cE D pa_[a cpp |¢ jc pa [em cp [pD G pa [a cpp (|é G pA [ep cp |p 6 G G cD GD Dees cD Am? _[D 6 G cp GD [ap pv |e cp Am7 [> GE G G cpp |¢ Gap |cp Ic GD [ep aD coma ee| Gl [ce [ow G Gop |¢ Gp jen op {an cw [an cD G c fF |¢ Gp cid [6D dD ap cm |e cD ¢ [pm m7, Am7_Dm Dm c Am7_Dm Dm Am? Am7_Dm Ds ¢ Am? G Am? “ Mom [bm Ge Amz [Dm Dm Amz [Amz a Dm Am? Am? Dm Dm Am? ¢ PE Dm Dm ‘Am? ‘Am? [Dm [Dm Am? Am? em pr ce Doom om oa. ew co . Amz « iT + 30 Accompanying Ish Musicon GulTHE TRIP TO ATHLONE, capo 7 THE TRIP TO ATHLONE & THE RAMBLING PITCHFORK Tuning: Type of tune: Key on recording: Key in book and capo position: Right hand pattern {use two diferent sisles he To vary the dynamics, | stan with a plectrum-picked sie which builds toa full strum joes back to picking again fo the sta ofthe second tune (On Al and A2 of The tap to Attlone, use a. plectrum: picked style using only the top four strings. The fist four chord windows (D, G,A7/E and DIF?) are used here and none fof these requires any more than wo fingers of the left hand. ‘This will give you a chance to concentrate on the style for the right hand. When. playing chords DIF and A/C tty using hammer-ons with the third finger ont the fourth and fit strings respectively, as described in 37. You'll find they work well with these sha hhave highlighted where they are used so you ean hear the effect. Bars Ito of BI are highlighted because they re used as Example 4, page 28 This continues into the second time round the une, with a strum taking in all six strings and the chords are modified 10 Finger any strings now being played. The 6-string version of the D, G, A7 and DIFE chords are used. The pleetrum pattern used here is dovn-up-down ‘up-down and occasion: (usually atthe beginning of a phrase), 1 omit the second boat, allowing the first beat to 1gon over the time ofthe sec ‘ond beat. The rambling pitchfork is a very popular session tune but it's usually played in D, Many ttaditional musicians are play ing old tunes in new keys, 10 sive them a new lease of ie. D nicked chor & steady strum tunes often get moved up to F This means that two tunes that have traditionally been played ether can suddenly sound like fresh pairing because of the new key of the second tune. ly, the accompa: ofthe iment drops atthe sta new tune, reverting to the plec trum-picked style, Towards the tend of AI bars 7 and &) and mingle pleetrum: picked chords with strummed chords to build up the intensity again, The B-pants are played Using strummed chords, On the second time round the tune, Lease up a little on the rhythmic intensity, in order to play hammer-ons About the chords Use versions (1) or(2) of chords as directed: only the changes are indicated, eg, start with D (0) and use it until directed to use D Into Az ba D > Ga_ave [D [Dp G are D D D Gave [D D [om ]avie_p [Dave [pr G [pm G lave vd |c GB com |My D D DATE [D/H G |ATIE D(C on CG [alc D De D [p G@ A7_[D D G AT D D Em? _A7__|D D 6 a7 D D D n7amaorgeel| Cl Gi ccm [AG D D Dem? [azamiozma cl cB Cc 6 [ace D GO) DIMM) A7/E Ale | DA) dD GQ) AT | De D__Die@|G cmayAreas|D D wD D a D__tw7 [oie _G [DIRE az D D M7 D_fm7 [Di G [DIRE [ar Wa bw ppm [Go _ pire |G ace [Di D Gwe [> DIFE DIF G a [> (|p bm |G ar_[D D a7 btm? [pi G [Dire A D D a7 Db _Em? [pirt_G [Dir AT Em? [D om ome on ome orm tn | « . m 7 t t | Accompanying rsh Musle on GuitarMy DARLING ASLEEP & BOYS OF THE TOWN Tuning: Type of tune: Key on recording: Key in book and capo pos Right hand patern; My daring adleep is accompa nied on its fist time through using only D, G and A. The focus here is on the rhythm, and drives The rhythm pattern starts off as. down space-down down-up-down, ie, the first beat of each bar is allowed toringom a litle, Since each new chord is played on either the first or fourth b which is consta Session in MeManus’ pub, Dundalk, County Louth, Left to right: Gerry O'Connor Feeley flute), Donal O'Connor DADGAD igs Dac D (no capo) & D (capo) Steady strum they are always on down: strokes. The fourth beat is only emphasise if there is a new chord. (Refer to section $2 for ‘more ight hand ideas). On the second time through, the same chords ate used for the most part but they are fleshed out in a few places with chord pro: _ressions, with the rhythm gee Tinga litle heavier handed, In Boye of the foun, the idle), Elish O'Connor, (fiddle) and rhythm continues in the same style. Note that the chords for A2 are a ropeat of Al and lik: wise, the chords for Ad are a repeat of A3. This consistency helps to define the flavour of the tune, About the chords Some chords here have abbre viated ttes, as ther fall names would make things unneces satily complicated, fiddle Prank Kilkelly (guitar Michael |p G Deere AED [p G dG arp D Go |p Garp D G dD G lav D DG [em a7_[p G [pg [Dirf Bm? [Em7 a7 [D ¢ DG D GE waD G DG bite bm? |Em? A? [D cz DFG [a7 D 7 |D D Dam [a7 Gp AT |D—*(D DG [a7 wD AT [D DAT GD _a7__|D DAT rom D prt G |p a7 |p Db prt_G [az au J D prt G |p a7 [D D [owe [az cam D G D Ga [D DAT Gem? 7D im > > Gm |p [ear [p> eG ED ° ° a7 Em? bir a oo are: ot HERS + # HP a tH i t H #8 i ¥ Accompanying lish MusSHOEMAKER'S DAUGHTER & DINKIE'S REEL Tuning: DaGAD Type of tune: reels Key on recording: GEA Key in book and) Right hand patter 1p0 position: () (capo 5) & D (capo 7) Plectrum.picked chords & steady strum The accompanimen ni of B2, to punctuate the Inbars 1103 of A3,Tusean, Shoomaker's daughter begins repeat of the tune. [sea six» ascending chord progression: with some gentle plectrum- string D chord at the start of use it again in with a differ picked chords but before the snd MM. to bul the entending in bars 5 to 8 of A3. fend of Al, it becomes a strum entum very slightly In bar 3 of A4, | emphasise a with the bass note of each Tighten up slightly going beat (other than the first beat) new chord being emphasised into Dinkie'e reef to allow the that is dominant in the With a slightly heasier down- new tune to announce itsown melody: this can be an effec heat. Hammerons ate used arrival, as it were. The accom- tive device. Also, in the last abundantly here to retain a paniment here continues in fourbarsof the set (bars Sto Tight feel. ‘There is a slight the same vein as for the first of BA) I feature a descending, pause on the D chord at the tune. progression, which | use a lot eee D [p> Ga [pray [pire prep [Am7 D bow Dito 6 | Dtho D GDh |G D D bp a7 D Dieercee| cm [AT (ho) D De ba [Davo] D pc ‘(eB AT (ho) D De par 7 ee) D € GiB_[A7(o D De) Da bp GD D GiB [A7tho D Da D D__Avtho|D D ATtho) D De Da D__A7tho|D [pe AT (ho) D 7 AT (ho) D A7 (ho) D ba ¢ G__ATtho|D D AED Da c D D> A7(ho) D Da DEea ches | cmipray ATIbo) D PM) Em? [DH @G@ [Amz ‘Am? D [AT (ho) DG) | I D2) Da fe GBC ATho|D D AT (bo) D PED 2 Dw ¢ c D D ‘AT (ho) D. Pee bw ¢ c pc |ee ar [emz De 2m Mekmy OM HKD Dh) Pr ee ™ OF whe mm i T T on q tf | 4 Accompanying Irish Musi on Gultar 33Section 4 4-0 APPENDIX Page 4:1 Theory 34 Chord construction. 34 Fretboard diagrams 35 Chord inversions & voicings, modal chords & modes, barré chords, slash chords, relative minors 36 4-2 Full listing of all chords used in the book 37 4-3 Transposition chart 38 4-4 Running order of accompanying 39 45 Discography for recommended listening 40 Chord Construction Chords ate derived from the scales on which they are based, By taking different combinations of notes out of the scales, we ger diferent chords Let's take the key of . ‘The seale of C the nowes C-D-E-F Figure 20: Chord construction the do-re-me, consists of “BC. The basic major chord comprises the notes C, EG and fst (root, tied, fifth and the eighth (root), notes of the scale. The eighth isthe same note as the fist oF root but an octave higher and is some- times omitted in explanations, So, Figure 20 shows how the main chords “derived from the scale in a root_[ 2 [at [ah [sm | ohm | 7m | root Major ¢ E G ¢ Minor c cy @ ¢ Minor7® | C G Major 7 € £ G 7ordominant| E G Halfdiminishedl —C =e & Diminished | C Eb @ Suspended | _C F G c ‘Augmented | C E a fe We can see from the chart that, for example, a ‘minor seventh chord has a flattened (or minor) third and a flattened (or minor) seventh, These alterations to the major ehord are what define any chord. Ifyou find this difficult o grasp it may help t work tit in conjunction with a piano. The notes are linear on the Keyboard so requited knowledge is minimal and hearing the notes will certainly help. So, there are four basic permutations of chords, depending on whether we have a major ‘or minor third and a major or minor seventh, | Major third and major seventh: 2 Major third and minor seventh Minor third and major seventh 4 Minor third and minior seventh: major seventh (M7) chord. eg. EMT seventh (7) chord, eg. E7 major minor seventh (Mm), eg, EMm? (not very common) ‘minor seventh (m7) chord, 4, Em?We have string condition note degree sisth string open E root fifth string second fret. «Bit second fret E root G third & open B fifth open E root tus that E on the sixth string is the therefore i an E chord of on the third is chord minor Figure 21: Standard tuning ois Music on GuitarChord inversions/voicings Inversions (or voicings) reer to the order in which the notes ofthe scale appear inthe chord. For example i an & (major) chord, we have the notes E, Gf, Band E. Ifyou playan Eehord on the puitar, strumming only strings 4,3, 2 and 1, you will hear nF chord with the notes in this oeder: This iscalled a closed voicing, I the notes did not appear in tis order, the chord would be referred to as semi-open oF open depending upon how they actualy appear Because ofthe nature of the guitar, we are restricted in the number of options we have to play chords indifferent voieings and the easiest chord shapes for different chords wil mean thatthe voieings are diferent. Modal chords & modes ‘The term modal can be a bit misleading. In its original meaning, modes refer to seals used in 8 melody. By this definition, every tune is modal, that it wll use predominantly if not toally, the notes of one particular scale. The regular doe me scale is known as the lonian mode. Modes ate defined by the pattern of intervals (tone oF semi tone) between each note in the scale. For exam ple, the Ionian mode bas the pattern of intervals shown in Figure 25 below: By definition, the patter isthe same for every key, To play the lonian mode (or scale) in any key you use this pattem of intervals to determine which notes are in the mode. The best way to familiarise yourself withthe ‘modes i to sit ata piano and find midaleC. Play a scale, starting at middle C and ending at the next € playing only the white keys. You've played the notes in the Tonian mode. f you start atthe next note up, D and play only the white keys up the next D, that gives you the Dorian mode, This hhasa minor sound because the third and seventh ‘notes are flattened in relation 1 the Ionian mode. the third popular mode is the Mixolydian ‘mode, which you can hear if you play only the white keys starting at G. This mode has a major thied but a latened seventh and quite afew t onal tunes are in this mode “The following list shows the modes inthe key of Cand they are found on the piano by playing the white keys stating atthe notes indicated. Dorian D Phrygian E tydian F Mixolydian — G ‘Acolian a Locrian B Figure 25: The lonian mode However, there is another use for the modal which I've only heard used among folk musicians. Chords that don'thavea third i them are sometimes referred to as modal, as the chord ‘ean be used as a minor of maja. This is because the third isthe note that gives the chord its major for minor tonality, so @ chord without the third can be used as elther a major or minor chord, For ‘example, aD chord in DADGAD, with jus the third string fretted atthe second fret ‘does not have an FE (third) in it so it falls under this definition of a modal chord, Barré chords A barré chord is one where the index Finger is used like a capo. These chords ean be moved up and down the fretboard since there are no open strings. The most easily adaptable chord shape foruse with abarréis the Eshape, followed close ly by the A minor shape. In addition, many chords can be played using a partial barré. Fr example ifyou want to play a B minor chord, you ean bar re the second fret on strings 1 to 5 with your index finger and finger the chord (an A minor shape) ‘with the remaining fingers: just don't hit the sixth string! Slash chords Chords which have mote than one tile with a slash (/) between them are known as slash chords This isa way of specifying the bottom-most note of the chord, For example, G/A isa G chord with an Aon the bass: D/FE isa D chord with an F¥ on the bass, etc Relative minors. Every major key has its relative minor key. In the key of C, for example, the relative minor is 4 (nninor). Ifyou play the chord sequence C-Am-F: , you will hear the relationship between C and Am clearly, The relative minor keys for the main keys used in flk music areas follows Key relative minor coo; Deol cl BoD Ge el ‘You will often find that in the course of the accompaniment ofa tune, a chord and its relative ‘minor are interchangeable, so relative minors are ‘one possible option in the search for alternative chords. © | tone | D | fone | E | semitone |F | tone | 6 | tone | A | tone | B | semitone | © |Figure 26: Standard tuning chords oo eee Figure 29: DADGAD chords (some names are approximate) < oD DA Ihe zw ish Municon Guitar 37ou can use the following chart to determine go down that column until you find G, Then go Fret an which you need to place the capo in aver tothe left and you will ee the eapo position Fiero play inany particularkey. Forexample,if you need to use. With a lite practice this will you want to play n the key of D but the tune isin become second natuee and you won't need the G.thisis what you do, Find Don the top tow and chart. Ee c [om] > [ove] e | F [re cua] A [an] _B 1 loys] p [oye] ec |e [rel a_lawe[ 6 | 2 | 0 [owe] e |r [eval c [oval a [aml ns | c [am 3 F |[m@| c [eal a [ae] 6 | © [ei] pb 4 Fe] G [arial A B | c [cem| D [owe 5 G [aga a [ages © [ao|_p_ [pre] 6 [ric] G [am] a [ave B | c lems) p [oe] & | F 7_| 6 [ala favo 5 [¢ lam] p [veel ec |r [rec Accompanying Ish Music on GuitarTracks 1-14 with accompaniment Tracks 27 - 40 without accompaniment 1 Mist-covered mountain The rakes of Kildare 2 Pigeon on the gate The Shaskeen ree 3 The tip to Athlon: imbling pitchfork 8 Pigrown fling 9Dr0'Ne mug 10 Eddie Kells ig/lerys beaver 11 Pretty Peg/ The baker 12 Fred Finn's/Musicin the glen 1:Cooley’s hornpipe/The home ruler 114 Shoemaker’s datghter/Dinkie 15 DADGAD Example 1 16 DADGAD Example 1F DADGAD Example 2 18 DADGAD Example 2 19 DADGAD Example 3 20 DADGAD Example 3 21 DADGAD Example 4 22 DADGAD Example 4F 23 DADGAD Example 5 24 DADGAD Example SF 25DADGAD Example 6 26 DADGAD Example 6F 27 Mist-covered mountain The rakes of Kildare 28 Pigeon on the gate/The Shaskeen reel The trip to Athlone/The rambling pitchfork 30 Julia Delaney/My love isin America 21 My darling asleep/Boys ofthe town 32 Flogging reel/The whistling postman 3 John Brady’s/Hexham races 34 Pigiown fling/Roly-poly 35 Dr O'Neill/The mug of brown ale 36 Eddie Kellys jig/ erry’ beaver hat 37 Pretty Peg/The baker 38 Fred Finn's/Music in the glen 39 Cooley's hornpipe/ The home euler 40 Shoeraker's daughter/Dinkie's ree!any of these artists have albums but the listed ones have aucible guitar aceompani track. listed contact information for albums that_might not be available in ment on almost every Where possible, 1 have record stores Martin Hayes Martin Hayes Under The Moon Bays and Bernstein Pigtown Fling Randal Bays (Out of the Woods Faypote Heeods Ed Boyd Red Ce Jump t0 The Sun eh rey ti Flook! Live Morning Rory Agri Re John Vesey & Paul Brady The Firs Month of Summer Matt Molloy, Paul Brady & Tommy Peoples A Mighty Session ‘Mulgan CUNT? ‘Andy MeGann & Paul Brady Traditional Music of eland Stanachie Shan 3401 Andy MeGann, Paddy Reynolds & Paul Brady Andy MeGann, Paddy Reynolds & Paul Brady ‘Tommy Peoples & Paul Brady The High Part of the Road Pe ‘Martin Hayes & Dennis Ci The Lonesome Touch Live in Seattle Tantarre KarenTweed sn Frace - oman Sua Fahy Teel The katy Tckel Bond The Gathering Ct eC Meitheal Humingird 8 004 Martin Hayes Under The Moon Sean Smyth The Blue Fiddle nie Kildufl The Boys from Blue Hill Sharon Shannon Sharon Shannon Fach Lisle Thing ‘Alan Kelly Our of The Blue Johnny Connolly Driobatl na Fainteoige Dermot Byrne Dermot Byrne mort Solas Solas Sunny Spells and Scattered Showers The Words That Remain Eileen Ivers Wild Blue oney Joannie Madden Song of the Irish Whistle Sharon Shannon Out the Gap Each Litle Thing Tunasa Lunasa Alan Kelly Out of The Blue Brendan Larrissey A Blick ofthe Wrist Donogh Hennessey & Mark Crickard The Hurricane re Donncha O Briain Donncha O Briain Charlie Lennon & Mick O'Connor Lucky in Love Maire Ubreathnach Angel’ Candles Altan lian Green inet GL. 1078 Horse with a Heart The Red Crow Harvest Storm The Fist Ten Years Island Angel Blackwater Rumaway Sunday ne ankle Gavin, Aiden Coffey & Arty MeGiynn Irtande Arty MeGlynn MoGiynn’s Fancy Emerald BER O11 oF LD 18 Nollaig Casey & Arty MeGlynn Lead The Knave Port an Phiobaire Paddy Keenan Four Men & A Dog Barking Mad Shifting Gravel Seamus MeGuite & John Lee The Missing Reel Matt Molloy The Stony Steps ‘hata Cr Music from Matt Molloy’ Shadows on Stone Sean Keane & Matt Molloy Contentment is Wealth Liam OFIynn The Piper (Out to.an Other Side The Given Now The Piper's Call Sean Keane, Matt Malloy & Liam OFyn The Fire fame hada cr 0 Patrick Street Patrick Steet ok Street Bt ‘ood Time De Dannan Beginish Core Bothy Band Bothy Band 197 Ola Hag You Have Killed Me Out ofthe wind into the sun Afterhours Relativity Cunninghams and 6 Dombnaills Gathering Pace Micheal 6 Domhnaill & Kevin Burke Portland Starve stare Bae James ety Pad Oren & Dart Rina ines ‘mm tical scart Paty Oren ‘an me Ucar eter Orono Wir Mo ie Altan - Island Anget Accompanying Ish Music on GultarSpee age PRU SI md PR anes Beto Pree ty Bee eR UN) arene Saat aes ied ee Te ee Se ee etd Se uceee nla Ce reno ee) sui Crete Pkt tro tid 3 CHORD THEORY eee Ree tee read Se eens Cd Ce A mally production RTM tial Al clk Meir alticte Ulster) od SORE Py (Ry §os zipue or pon te sinpn8 “E9pen uoipuow. uo} pu Sumas-aats Sp ‘gt soy apana AURIS or yasupunos jeuoudg YVLINI uo dIsnIQ, ysl] Suiueduosoy uoyonpoud dina?