DISSERTATION MAIN - DRAFT 7e FINAL - Sep 2015

A Critical Analysis of Traditional
Irish Flute Playing
Éamonn de Barra
December 2014
Supervisors
Dr Helen Lawlor, Section of Music
Mr Paul McGettrick, Section of Music
External Examiner
Dr Mel Mercier
Internal Examiner
Dr Daithí Kearney
Submitted in partial fulfillment of the Master of Arts
(by Research) in Music Performance
The Section of Music
Dundalk Institute of Technology

Acknowledgements
I would like to express sincere gratitude to my supervisors Dr Helen Lawlor and Mr Paul
McGettrick for their advice, assistance and academic stimulus during the duration of this
dissertation, and to the staff at The Section of Music, Dundalk Institute of Technology (DkIT)
for all their support.
I am also grateful to the librarians and staff at the DkIT Library, and to those in the
Administration Office for their continued assistance.
I wish in particular to mention those who gave their time and knowledge so graciously,
without whom I would not have been able to complete this dissertation. These are: Matt
Molloy, Harry Bradley, Niall Keegan, Brian Finnegan, Ravichandra Kulur, Seán Gilraine
Alan Morrisroe, Fabrice de Graef, Gerry Flynn, Tom Mulligan, Dr Seán McElwain, Dr
Éibhlís Farrell, and the staff at the following archives and institutions: The Irish Traditional
Music Archive, National Library of Ireland, and the Cregan Library/Leabharlann Uí
Chriagáin, St Patrick’s College Drumcondra.
I would also like to sincerely thank the musicians and individuals who have encouraged my
musical, and academic development. Among these are mentors and tutors, including Seán Ó
Tuama, Máire Ní Thuama, Róisín Uí Chuill and Dónall Ó Cuill, Paul McNevin, Peter
Browne, Donnacha Dwyer, John Byrne and Des Seery.
On a personal note, I would like to thank my family, in particular my mother Nessa Ní
Thuama for her continued and unwavering support during the duration of this dissertation,
and my father Tony de Barra for providing an outlet for my other musical interests.
Finally I wish to express a special thank you to Michela for her support over the course of this
dissertation, and to our daughter Micòl for providing archival assistance.

Abstract
This dissertation critically analyses Irish traditional flute playing from the perspectives of
performance practice research and ethnomusicology. The analysis is based on contrasting
styles of contemporary Irish traditional flute playing and engages with related issues
including: physiology, transmission and socio-cultural history. In order to provide a cross-
cultural and international perspective, I have conducted a minor comparative analysis with the
North Indian bansuri flute, given its affinities in construction, tuning, scales, ornamentation
and technique.
Performance practice assessment and academic inquiry, utilising ethnomusicological
methodology, are at the core of this research. The philosophy that underpins my continued
musical development as a practitioner of Irish traditional flute playing is to obtain a
comprehensive understanding of this field of study from a stylistic and technical perspective,
and I have elected to conduct this research with the aim of developing new methods of
interpretation and analysis. This dissertation thus examines relevant historical elements and
research associated with Irish traditional flute playing and performance, and identifies
distinguishing stylistic components, while analysing techniques employed by some of the
foremost contemporary practitioners of this instrument.
The objective of the cross-cultural comparative study is to analyse and evaluate techniques
employed on the North Indian (Hindustani) bansuri, which is very similar in physical layout
to the ‘pre-Boehm’, keyless flute commonly used in Irish traditional music, and how the
aforementioned techniques may be employed in an Irish context. The overall aim of this
cross-cultural adjunct is to broaden my understanding of repertoire, tonal spectrum and
ornamentation.
While matters related to the Irish traditional flute have been discoursed in published and
unpublished works, there is scope for further investigation in the specific area of the technical
analysis of Irish traditional flute playing including physiological elements of performance. I
have undertaken to present the most relevant literature in my research, and appraise the
potential application of research findings and perspectives through critical discussion and
analysis.

Table of Contents
i
Table of Contents
List of Figures ..................................................................................................... iii

From Chapter 2:................................................................................................................ iii

From Chapter 3:................................................................................................................ iii

From Chapter 4:.................................................................................................................iv

From Chapter 5:..................................................................................................................v

Chapter 1 ...............................................................................................................1

Introduction ........................................................................................................................1

Aims of Dissertation...........................................................................................................2

Literature Review ...............................................................................................................2

Methodology.......................................................................................................................9

The Challenge of Notation ...............................................................................................10

Chapter Outline.................................................................................................................13

Chapter 2 History and Styles of Irish Traditional Flute Playing.........................14

History of the Flute in Irish Traditional Music.................................................................14

Construction of the Flute ..................................................................................................15

The ‘pre-Boehm’ Flute .....................................................................................................15

Modern Use of pre-Boehm Flutes ....................................................................................16

Sounding System ..............................................................................................................17

Fingering Charts ...............................................................................................................17

Defining ‘Style’ in Irish Traditional Music......................................................................18

Towards Stylistic Designation in Performance of Irish Traditional Music......................20

Area-Related Flute Styles.................................................................................................21

The Influence of Early Flute Recordings on Style ...........................................................22

Chapter 3 Contemporary Irish Traditional Flute Players: Analysis and
Discussion ...........................................................................................................24

Techniques Associated with Stylistic Threads .................................................................24

Matt Molloy......................................................................................................................25

Harry Bradley ...................................................................................................................26

Analytical Method ............................................................................................................27

Legend of Symbols and Terms.........................................................................................27

Comparative Analysis of Matt Molloy’s Interpretation of Captain Kelly’s Reel and the
Setting Contained in O’Neill’s Tunebook ........................................................................29

Comparative Analysis of Harry Bradley’s Interpretation of Captain Kelly’s Reel and the
Setting Contained in O’Neill’s Tunebook. .......................................................................34

General Analysis: Captain Kelly’s Reel ...........................................................................41

Brian Finnegan .................................................................................................................43

Analysis of Articulation and Ornamentation in Brian Finnegan’s Donegal Lass Jig......45

General Analysis: Donegal Lass Jig ................................................................................48

Niall Keegan.....................................................................................................................49

Comparative Analysis of Niall Keegan’s (2004) Interpretation of The Lane To The Glen
Reel, and the Setting Contained in The Collected Compositions of Ed Reavy (1996). ....54

General Analysis: Lane to The Glen Reel ........................................................................59

Conclusion........................................................................................................................59

Chapter 4 The Physiology of Irish Traditional Flute Playing.............................61

Introduction ......................................................................................................................61

Posture ..............................................................................................................................61

Table of Contents
ii
Holding the Flute: Finger Position ...................................................................................64

Head Positioning...............................................................................................................66

Breathing ..........................................................................................................................68

Embouchure......................................................................................................................70

Articulation in the Context of Physiology........................................................................72

Vibrato..............................................................................................................................72

Conclusion........................................................................................................................74

Chapter 5 The North Indian (Hindustani) Bansuri..............................................75

Terminology .....................................................................................................................76

The Modern Bansuri in North Indian, Hindustani Music.................................................77

Comparison of Physical Characteristics Between the Bansuri and the pre-Boehm Flute
used in Irish Traditional Music.........................................................................................77

The Scale ..........................................................................................................................78

Irish and Hindustani Flute Playing Practices: Challenges and Possibilities.....................80

Improvisation in Hindustani Music ..................................................................................81

Rāga..................................................................................................................................82

Tāla ...................................................................................................................................82

Bansuri Techniques ..........................................................................................................83

A Hiberno-Indo Perspective and the Potential Utilisation of Bansuri Techniques on the
Irish Flute..........................................................................................................................87

The Indo-Hiberno Perspective Examined.........................................................................89

Conclusion........................................................................................................................92

Chapter 6 Summary and Conclusion...................................................................93

Bibliography........................................................................................................95

Webography ......................................................................................................107

Appendices........................................................................................................108

Appendix 1: Interviews ..................................................................................................108

Appendix 2: Images........................................................................................................109

Appendix 3a Solo Performance Recital, Number 1, by Éamonn de Barra on 27th
May
2013. ...............................................................................................................................114

Appendix 3b Solo Performance Recital, Number 2, by Éamonn de Barra on 26th
March
2014 ................................................................................................................................138

Appendix 3c Lecture Recital, Number 1, by Éamonn de Barra on 20th
November 2013.
........................................................................................................................................163

Appendix 3d Lecture Recital, Number 2, by Éamonn de Barra on 19th
June 2014. ......175

List of Figures
iii
List of Figures
From Chapter 2:
Fig. 1: Seven flutes horizontally positioned
Fig. 2: African blackwood four-piece flute horizontally positioned
Fig. 3: Pre-Boehm, blackwood, 8-keyed flute horizontally positioned
Fig. 4: Early design, metal, Boehm-system flute, horizontally positioned
Fig. 5: Close-up of blackwood embouchure
Fig. 6: Pre-Boehm fingering chart, natural scale
Fig. 7: Pre-Boehm fingering chart, accidental notes, utilising the ‘moveable doh’ system.
From Chapter 3:
Fig.1: Captain Kelly's Reel, O’Neill’s (1907) setting, and transcription of performances by
Matt Molloy (1985) and Harry Bradley (2002), bars 1 to 4
Fig. 2: Captain Kelly's Reel, O’Neill’s (1907) setting, and transcription of performance by
Matt Molloy (1985), bars 1-4
Harry Bradley (2002), bars 1 to 4
Harry Bradley (2002), bars 5-8
Fig. 10a: Captain Kelly's Reel, O’Neill’s (1907) setting, and transcription of performances by
Matt Molloy (1985) and Harry Bradley (2002), bars 1 to 12
Fig. 10b: Continuation of Captain Kelly's Reel, O’Neill’s (1907) setting, and transcription of
performances by Matt Molloy (1985) and Harry Bradley (2002), bars 13 to 16

List of Figures
iv
Fig. 11: Donegal Lass Jig, composed and interpreted by Brian Finnegan (2014) bars 1-32
Fig. 12a: Lane To The Glen Reel, interpretation by Niall Keegan (2004) bars 1-32
Fig. 12b: continuation of Lane To The Glen Reel, interpretation by Niall Keegan (2004) bars
33-64
Fig. 13: Lane To The Glen Reel, Ed Reavy setting in The Collected Compositions of Ed Reavy
(1996) bars 1-32
From Chapter 4:
Fig. 1: Examples of typical and recommended seating positions for flute players
Fig. 2: Harry Bradley, posture, front-right aspect
Fig. 3: Fig. 3. Matt Molloy, posture front-left aspect
Fig. 4: Performer holding flute at approximately 20° below horizontal
Fig. 5: Straight-fingered hand position
Fig. 6: Straight-fingered hand position, side aspect
Fig. 7: Inclined upper hand A
Fig. 8: Inclined upper hand B
Fig. 9: Niall Keegan front aspect, inclined upper hand position
Fig. 10: Brian Finnegan front aspect, straight-fingered
Fig. 11: Brian Finnegan front aspect, inclined upper hand
Fig. 12: Michael McGoldrick (with flute rested on shoulder while playing)
Fig. 13: Garry Shannon (with flute rested on shoulder while playing)
Fig. 14: Conal Ó Gráda (with flute rested on shoulder while playing)
Fig. 15: Harry Bradley 1 (with flute rested on shoulder aspect)
Fig. 16: Harry Bradley 2 (flute and head positioned without support of shoulder)
Fig. 17: Quaver-rest breath
Fig. 18: High A’ roll
Fig. 19: Substituting the middle quaver value of a high A’ roll to enable a quaver-rest breath
Fig. 20: Close-up of embouchure (pre-Boehm)

List of Figures
v
Fig. 21: Close-up of raised embouchure (Boehm-system)
Fig. 22: Diagram of vibrato waveform.
From Chapter 5:
Fig. 1: North Indian bansuri
Fig. 2: Bansuri second-digit grip
Fig. 3: Pre-Boehm flute, first-digit grip
Fig. 4: Bansuri fingering chart
Fig. 5: Keyless pre-Boehm flute fingering chart, accidental notes
Fig. 6: Primary tones or swaras of Rāg Jayashri
Fig. 7: Introductory or ālāp section of Rāg Jayashri as played by Hari Prasad Chaurasia
Fig. 8: The jor section of Rāg Jayashri as played by Hari Prasad Chaurasia
Fig. 9: Meend 1
Fig. 10: Meend 2
Fig. 11: Tuttukara or tonguing technique
Fig. 12: Vilambit gat section of Rāg Jayashri as played by Hari Prasad Chaurasia
Fig. 13: Kan komal. (similar to the Irish finger technique, the ‘pat’)
Fig. 14: Melodic framework and gamaka characteristics associated with Rāga Ahir
Bhairav/Chakra Vaka (author’s transcription)
Fig. 15: An Bhuatais with appoggiaturas indicating kan and ties indicating meend
Fig. 16: Complete cycle of An Bhuatais with appoggiaturas indicating kan and ties indicating
meend
Fig. 17: Midnight Ladies reel with indicators for the use of the tonguing technique tuttukara
Fig. 18: Rāg Khamaj which shares modal characteristics with The Donegal Lass Jig
Fig. 19a: Ravichandra Kulur’s interpretation of The Donegal Lass Jig, utilising the conceptual
framework of Rāg Khamaj for improvisational purposes
Fig. 19b: Continuation of Ravichandra Kulur’s version of The Donegal Lass Jig, utilising the
conceptual framework of Rāg Khamaj for improvisational purposes

Chapter 1
1
Chapter 1
Introduction
The flute is recognised as one of the core melodic instruments employed in Irish traditional
music, with evidence of widespread flute performance dating from the mid to late-nineteenth
century (see Vallely, 2013a: pp. 8-13; 2013b: pp. 399-400), although performance as early as
1714 has been noted (see Carolan, 2010),1
and since the mid-twentieth century, the growth in
popularity of Irish traditional music has facilitated an environment where performers can
maintain a viable professional career (see Wilkinson, 1991).
This dissertation critically analyses Irish traditional flute playing, in terms of both
performance practice research, and ethnomusicology. The analysis is based on contrasting
contemporary styles and engages with related issues, including: technique, transmission, and
physiology. In order to provide an international perspective, a minor comparative study with
North Indian bansuri flute playing is included. Given the affinities of the bansuri and ‘pre-
Boehm’ flute in terms of construction, tuning, scales, ornamentation and technique, the
comparative study provides a cross-cultural element to this dissertation. 2
I have elected to conduct this analysis to enhance my understanding of Irish traditional flute
playing more generally and to improve my performance practice through the detailed
investigation of techniques and stylistic approaches of four contrasting contemporary Irish
traditional flute players, specifically those of: Matt Molloy, Harry Bradley, Brian Finnegan,
and Niall Keegan. From an Indian perspective I have conducted an analysis of stylistic and
technical elements in selected performances by bansuri players Ravichandra Kulur and Pandit
Hari Prasad Chaurasia, identifying techniques that may be employed in an Irish context,
further enhancing my performance practice, and enabling this dissertation to contribute in
detail to inter-genre discourse on flute playing-styles and techniques. This cross-cultural
adjunct enables the broadening of my repertoire; my understanding of ornamentation and
tonal spectrum, and generates an alternative technical approach to Irish traditional flute
playing. As a performer and teacher, I am acutely aware of physiological issues that abound in
relation to flute performance. This dissertation thus analyses physiological aspects of Irish
traditional flute playing and contributes a critical appraisal in relation to this
area.…………………………...
1
Deduced from historical references by Carolan, N., (2010) in 2nd
facsimile edition of A collection of the most celebrated Irish tunes: proper
for the violin, German flute or hautboy, orig. eds., John & William Neal (1724), Irish Traditional Music Archive in association with the Folk
Music Society of lreland, Dublin, p.15.
2
‘Pre-Boehm’ is one of the designations given to the flute that is the primary focus of this dissertation.

Chapter 1
2
Format of research:
This is a practice-based Masters (MA (by research) in Performance). There are four
performance elements in addition to this minor dissertation, namely two recitals and two
lecture recitals. These were conducted during the course of this research:
• Recital 1, Exploration of the diversity of repertoire in Irish traditional music
• Lecture Recital 1, Techniques employed in Irish traditional flute playing
• Recital 2, Irish traditional flute-music of northern Connaught and northeast
Ulster
• Lecture Recital 2, North Indian bansuri techniques assessed for their
utilisation in an Irish traditional context.
Aims of Dissertation
The aim of this dissertation is to investigate contemporary flute playing styles in the genre of
Irish traditional music, identifying historical stylistic influences, and critiquing how
techniques of North Indian (Hindustani) bansuri playing may be employed in an Irish
traditional context. Issues concerning the physiology of Irish traditional flute performance are
examined and discussed. This is performance practice research, therefore all research will
impact on and contribute to Irish traditional flute playing. This dissertation also provides an
in-depth analysis of the performing styles of some of the foremost Irish traditional flute
players by applying analytical methodology to each performer’s style, which brings up a set
of data that can be utilised to understand elements of performance in a more practical manner.
As a professional flute player I have been able to work with key informants in addition to
being able to draw on emic knowledge and experience. Through professional outputs I will
disseminate this new knowledge in future publications and performances.
Literature Review
While much research concerning Irish traditional music studies is widely available, the
specific area of the technical analysis of Irish traditional flute playing and performance
requires further investigation, particularly where elements of performance practice research,
physiological aspects of performance, and socio-cultural issues are discoursed within one
body of work.

Chapter 1
3
Dónal O’Sullivan’s Irish Folk Music Song and Dance – Ceol Amhránaíocht agus Rince na
hÉireann (1952/R1974)3
- establishes a precedent for new academic considerations and
critical thinking in the revival years of Irish traditional music.4
Although he invokes twelfth
century chronicler Geraldus Cambrensis’ postitive reference to the musical abilities of the
Irish people, (p.7) the author evaluates current thought as erroneous in regard to the
mistaken … widespread … belief that there is something especially antique and venerable about
Irish folk tunes as compared with those of other nations . . . [a belief he suggests was] encouraged
to some extent by nineteenth century collectors, stating ‘[t]here seems no good reason for
supposing it to be the case.
This publication is important for its brevity and the nature in which it presents one of the first
general accounts of the state of Irish folk music and song in ‘modern’ Ireland.5
Our Musical Heritage ([orig. 1962] R1982), is Seán Ó Riada’s influential presentation and
analysis of Irish traditional music, which remains important due to its canonical status. Tomás
Ó Canainn (2003) suggests that Ó Riada ‘revolutionized the presentation of Irish music, and
changed our attitudes, and enriched our appreciation of what is fundamental to it’ (p.84). The
divisive nature of Ó Riada’s opinions and presentations are still being debated today,6
and in
the RTÉ radio programme Our Musical Heritage (1962)7
which he produced, Ó Riada
presents an unprecedented analysis of musical instruments utilised in the performance of Irish
traditional music in the early 1960s. Among them is the ‘concert’ or ‘German’ flute; its stated
popularity extending to ‘well over a hundred years’ ([orig. Ó Riada, 1962] Ó Cannain,
3
It is interesting that the Cultural Relations Committee was responsible for publishing O’Sullivan’s work. Perhaps this is indicative of the
general feeling towards culture at the time, also evidenced by the establishment of An Tóstal Festival (1953-8) as a response to the ‘tourism
crisis’ of 1948-51, where it drew its inspiration from the 1951 Festival of Britain’ (see Dick Glasgow as [DIG] in The Companion to Irish
Traditional Music ed, Vallely 2011: 12); and the founding of Comhaltas Ceoltóirí Éireann, which convened its first meeting in 1951; with the
first Fleadh Cheoil occurring in 1952.
4
see ed. Vallely (2011) The Companion to Irish Traditional Music, Cork University Press, Cork, for more on ‘revival’, p. 576.
5
However see Ua Súilleabháin, S., (2011) in The Companion to Irish Traditional Music, Cork
University Press, Cork, p.536, where he invokes Breandán Breathnach who criticized
O’Sullivan’s omission of Francis O’Neill in his Grove’s article, ‘Irish Folk Music, Song and
Dance’.
6
See Taylor, B., (2007) ‘A Problem for the Public’, Seán Ó Riada and Irish Traditional
Music’ In ed. Clune A., Dear Far- Voiced Veteran: Essays in Honour of Tom Munnelly.
7
which was subsequently transcribed and formatted by Tomás Ó Canainn (music editor) and
Thomas Kinsella (general editor), and published by Dolmen Press (1982).

Chapter 1
4
Kinsella, 1982: 60).8
While evidence to substantiate this claim is not present, there is
consensus to attest to Ó Riada’s assertion in modern scholarship.9
Ó Riada also introduces concepts of area-related flute styles,10
focusing on County Sligo,
County Clare, and West-Limerick, and conducts a comparative analysis of selected audio
recordings of five flute players.11
While referring to Sligo flute style, he observes that ‘the
phrases are broken up, somewhat irregularly and rather more frequently than in other regions’
(p.61). Differentiating between Sligo and Clare styles, he proposes that Clare flute players
‘use longer phrases which occur a little more regularly’ (p.62) and of the West-Limerick style
he suggests that it is ‘dominated by a strong very virile rhythm’ where the ‘[o]rnamentation is
somewhat sparse, and the phrases are short,’ where ‘the drive – the tremendous force of the
rhythm – more than makes up for what it lacks in other fields’ (p.63). Worth noting is Ó
Riada’s tendency for polemic assertion,12
which features throughout this publication. While
he expresses strong views, they should be considered in the context of the era in which they
are propounded.13
Scholarly discourse on the Irish musical tradition has evolved since the publication of
Breandán Breathnach’s Ceol Rince na hÉireann I (1963), Folk Music and Dances of Ireland
(1971), Ceol Rince na hÉireann II (1976) and in the same year of Breathnach’s death, Ceol
Rince na hÉireann III (1985), however, much of the information on the construction and
8
Ó Riada, Seán, [original broadcast of Our Musical Heritage, presented by Seán Ó Riada on
Radio Éireann, 7th July to 13th October,1962], The book by the same title was compiled from
the programme series and edited by Thomas Kinsella and Tomás Ó Canainn, and published
by Fundúireacht an Riadaigh i gcomhar le The Dolmen Press, Mountrath, Portlaoise, Ireland.
9
See Vallely (2013), Kavanagh (2001), and Carolan (2001).
10
Although Kearney (2012: 133) suggests that a regional understanding or categorisation of
Irish musical traditions was not an intended outcome of Our Musical Heritage, rather being
‘interpreted from his work’, the development of such a framework represents one of the
enduring, if perhaps unintended legacies of Ó Riada’s programme (in McElwain, 2014: 14).
11
For County Sligo: Micky-Joe Ryan; Séamus Tansey, County Clare: Michael Tubridy; Peter
O’Loughlin, and West-Limerick: John-Joe Harnett).
12
See Taylor, B. (2007) ‘A Problem for The Public – Seán Ó Riada and Irish Traditional Music’ In ed. Clune, A., Dear Far - Voiced
Veteran ‘ Essays in Honour of Tom Munnelly’, The Old Kilfarboy Society, Miltown Malbay, Co. Clare, pp.331-60.
13
It is important to acknowledge Ó Riada’s significant influence on Irish musical paradigms through his re-formatting of traditional music
performance with Ceoltóirí Chualainn (1962-69), his compositional works, arrangements and re-setting of old Irish song-airs in the
filmscores of Mise Éire (1959) and Saoirse (1960). ‘The dynamic new sound of Ceoltóirí Chuala[i]nn and the authoritative exuberance of Ó
Riada took Irish traditional music into a ‘brave new world’, away from the country house session into the ‘high art’ concert halls of the
nation (Ó hAllmhuráin, G., 1998: 148).

Chapter 1
5
process of traditional music contained in these publications remains relevant. Breathnach
presents one of the first analyses of traditional techniques and styles in Folk Music and
Dances of Ireland (1971), which is drawn upon in this dissertation. Nicholas Carolan (2005)14
states that ‘he was in short a major authority on the traditional music of Ireland in his time’. In
Folk Music and Dances of Ireland (1971), Breathnach states that [t]raditional music,
instrumental and vocal, is a system of music in its own right. It has its own rules, and by these
it must be judged’ (p.88), and he presents a very useful description of how staff notation
should be interpreted in an Irish traditional context (p.89). Like Ó Riada, however,
Breathnach (1971) cultivates bias through his perspectives on the use of certain elements of
ornamentation in instrumental and vocal performance (pp. 88-102). His indictment of the
stylistic approach of accordion players (which was more acute due to his public profile)15
is
noted here due to his reference to the flute. Breathnach lauded the incompatibility of certain
instruments, declaring that the ‘revolution’ that occurred when accordion players began
utilising the inner row, with the subsequent development of a semitone ornamentation (that
was being emulated by young fiddlers), was ‘fortunately’ not transferable to certain
instruments, remarking that ‘because of the limitations of their instrument, pipers, flute
players and whistle players are largely immune from this contagion’ (p.94). While it is
important to acknowledge Breathnach’s significant contribution to the development and
maintenance of Irish traditional music,16
it is similarly important to contextualize opinions he
held through the prism of modern performance practice. On the use of dynamics Breathnach
suggests that
[i]ntensity, the varying loudness and softness of sound, is not a feature of traditional music …
[c]rescendo and diminuendo are terms for which one finds no use in the notation of the music, and
this rule applies equally to singing and to playing (Breathnach 1971: 89-90).
While dramatic crescendi and diminuendi (as in Western art music) may not strictly be
features of the musical palette of performers in the Irish traditional idiom, they nonetheless
utilise dynamic elements including climactic finishes (see Ó Súilleabháin, 1990: 128).17
I will
demonstrate how Breathnach’s view is contrary to current practice, specifically in relation to
14
Carolan, N., (2005), Journal of Music 1st
May, available at http://journalofmusic.com/focus/because-its-our-own-breandan-breathnach-
1912-85, [accessed June 2014].
15
Ceol Rince na hÉireann I (1963) had been in general consumption for eight years, and was an influential publication due to its specialized
nature, with numerous issues of the Irish traditional music journal Ceol (1963-) also having been published. These added to the gravitas
Breathnach’s opinion held.
16
Refer to his Irish traditional music journal Ceol (1963-85). He was also a founding member of Na Píobairí Uilleann (1968).
17
Ó Súilleabháin, M., (1990:128) The Creative Process in Irish Traditional Music ‘Patrick Kelly of Cree … improvises around the set
accented tones of D and F… achieving a … musical climax which signals the end of the piece.’

Chapter 1
6
flute players Matt Molloy, Harry Bradley, Niall Keegan and Brian Finnegan who utilise
dynamics as a central feature of their performances.
Tomás Ó Canainn’s publication Traditional Music in Ireland (1978, R1993) presents an
introduction to Irish traditional music, with many interesting observations on processes and
melodic analyses. Particularly relevant to this dissertation is Ó Canainn’s (R1993) perspective
on traditional music performance which he suggests ‘is a thing of the moment - a few short
minutes filled with music that is the result of many long hours of practice, years of listening
and perhaps generations of involvement in the tradition’ (p.40). However, the prescriptive
nature of this publication, is represented by the manner in which it puts emphasis on specific
instruments (uilleann pipes, and fiddle) and the singing tradition. The author provides an
interesting method for analysing traditional melodies, and has developed his own scoring
system through the enumeration of tonal frequency, determining the tonic of melodies by how
many times certain notes occur. It is questionable however, whether this system could be
utilised generally outside analysis already conducted, as it gives undue weight to particular
notes (see analysis of Cailleach an Airgid, p.29).
Sean Williams’ style of writing and the interdisciplinary nature of Focus: Irish Traditional
Music – Focus on World Music Series (2009) suggests a publication intended for non-
specialist readers in Irish traditional music and related matters for the first time
‘[t]he Irish transverse (“sideways”) flute differs from the silver flute of classical music in two
major respects: it is made of wood, which gives it a softer (yes, “woodier”) sound than the purity
of the silver flute . . .’(p.138).
This publication discusses a wide variety of topics including language, film and history, with
the intended aim of introducing the reader to ‘Ireland’ through the idiom of traditional music.
The Companion to Irish Traditional Music 1st
edition (1999), 2nd
revised edition (2011) edited
by Fintan Vallely, and The Encyclopaedia of Music in Ireland (2013) edited by Harry White
& Barra Boydell, are seminal texts for initial research, providing an overview of scholarship
in the field of Irish traditional music, and a broad perspective of how critical thinking in Irish
music studies has developed from the mid-twentieth century to the present day with The
Companion to Irish Traditional Music providing a comprehensive overview of matters
relating to the Irish traditional flute.18
18
With contributions by Colin (‘Hammy’) Hamilton as [HAH] under flute: principle materials p.272, history; keyed flutes p.273, flute types;
pre-Boehm flutes (German, English); modern simple system flute; new designs; Irish music; cost p.274, regions; popularity p.275, and
makers pp.276-7; by Desmond (‘Desi’) Wilkinson as [DEW] under flute: McKenna’s style p.275; Sligo style p.276; technique; reputation
p.276, flute status; furawn flutes p.277, native flutes?; boor-tree flutes p.278; by Fintan Vallely as [EDI] under flute: ‘Flute’ p.272; and Gary
Hastings as [GAH] under flute: flute band; 1.’First Flute’ bands p. 278; 2. ‘Part’ bands p.279.

Chapter 1
7
In The New Grove Dictionary of Music and Musicians: Volume Twelve (2001) and A
collection of the most celebrated Irish tunes: proper for the violin, German flute or hautboy
John & William Neal [orig. eds. (1724)]19
Nicholas Carolan (2010) as contributor and
facsimile editor respectively, presents important historical information on the flute and flute
performance in Irish traditional music, and accredits instrument maker John Neal with the
earliest evidenced performance of the ‘German flute about 1714’ (p.15). On flute playing
styles, Carolan (2001) suggests that they ‘range from a hurried, puffing choppy northern style,
found mostly in Counties Sligo and Roscommon, to one that is smooth and rolling, centred on
Counties Clare and Limerick.’ However, he acknowledges that ‘the flute is now widely
played throughout the country, and the styles are generally mixed’ (p.565).
Unpublished, flute-specific theses, conducted under the auspices of ethnomusicological
academe, and relevant to this dissertation for their socio-cultural, historical and stylistic
considerations include those of Desmond Wilkinson (1991); Niall Keegan (1992); Nóra
Kavanagh (2001); and Fintan Vallely (2005).
Keegan in The Words of Traditional Flute Style (1992) undertakes an ambitious research
project, attempting to categorise ‘traditional flute styles’, and determine his position in this
regard (Keegan 1992: preface) only to reflect almost two decades later that his 'expectation of
discovering a scientific, Aristotelian categorical structure where every category has a limited
list of attributes and a well defined border to separate it from others’ was unfeasible (Keegan
2010: 63). The ‘conceptual framework’ Keegan proposes for analysis of Irish traditional
music is one of the most interesting findings in this research which is worth quoting here. He
suggests its function as
all-encapsulating for the classification of stylistic descriptions and labels and would work for the
study of such perceptions on any traditional instrument (although categories may change in
relative importance). The actual musical content of these categories is defined by the sound
parameters which are those technical facets of which combinations and permutations constitute
the reality of style, especially for the traditional musicians who are constructing the
performances. Within the categories of the conceptual framework, and through the sound
parameters, the translation mentioned above can take place relatively simply and accurately.
(Keegan 1992:145)
Keegan employs the ‘sound parameters’ stated above in an analytical context in The
Parameters of Style in Irish Traditional Music (2010) which is also drawn upon in this
dissertation.
19
2nd
Facsimile edition edited by Carolan, N. (2010) Dublin: Irish Traditional Music Archive in association with the Folk Music Society of
lreland.

Chapter 1
8
Fintan Vallely’s (2005) unpublished PhD, Flute Routes to 21st Century Ireland: the history,
aesthetics and social dynamics of three centuries of recreational and political music in
Ireland, is indispensable for those researching matters related to Irish traditional flute playing,
its political associations and important historical information.
Elements of two important published articles are relevant for their stylistic considerations,
definitions, and analytical formulae, including work presented by Mícheál Ó Súilleabháin
(1990), and Lawrence E. McCullough (1977).
Publications that deal specifically with Irish traditional flute playing, tend to take the form of
tutorial literature aimed at students, some with informative introductions on history, style and
technique. The first comprehensive modern tutorial book for Irish traditional flute playing is
Timber (1986) published by Fintan Vallely. It is ‘devised and designed for instruction on the
‘wooden Concert Flute’ (Vallely, 1986: 1). Until its publication, he suggests people relied on
the ‘introductory sections of some of the very many – and very varied in information – tutors
for the Boehm flute, none of which are adequate at all’ (ibid). This publication is informative,
and includes a range of basic to complex instructions which enable proficiency through their
implementation, from playing the scale to a discussion on passage-work variation and styles
of playing. Vallely presents a completely updated edition in his Complete Guide to Learning
the Irish Flute (2013b), which contains a more detailed approach, and an addendum CD,
which aids the student with specific instructions for ornamentation and phrasing. This
highlights the importance and benefits of detailed audio referencing.
Colin (‘Hammy’) Hamilton’s (1990/R2008) The Irish Flute Player’s Handbook is presented
from the perspective of a flute-maker and player, with detailed sketches and diagrams of
fingerings and flute schematics. It offers historical information, and advice on certain aspects
of technique and physiology (although the latter is not stated as such) including breathing, and
posture. It has the most comprehensive chronological index currently available in print of
Irish traditional flute recordings dating from the early 1920s to 1990, compiled by Nicholas
Carolan. Hamilton has also contributed considerably to discourse on the Irish traditional flute,
with important entries in The Companion to Irish Traditional Music (2011: pp. 272-7).
Grey Larsen’s The Essential Guide to Irish Flute and Tin Whistle (2003) presents
transcriptions and analyses of selected traditional flute performances from 1925 to 2001.20
It
20
The earliest recording transcribed is of John McKenna (1880-1947); flute, The Corry Boys; reel (1925) US release on O’Byrne DeWitt
label (p.364) while the most recent music transcribed is of a performance by the author Grey Larsen (b. 1955-); tin whistle, The Cuckoo’s
Nest; hornpipe (2001) released with Paddy League, The Green House, p.436).

Chapter 1
9
also presents a comprehensive list of techniques and ornamentation, which is useful for
practitioners at every level of proficiency. Valuable biographical information on early
pioneers of commercial recordings including Tom Morrison (1889-1958) and John McKenna
(1880-1947) is additionally presented.21
Morrison, while not as well documented, was a
contemporary of McKenna’s in New York, and released over twenty recordings, a situation
that deserves further investigation. Indeed Belfast flute player Harry Bradley in an interview
with this author cites Morrison’s influence over McKenna’s on his flute playing style
(Bradley interview with de Barra, 2014). However, the commercial incentive of Larsen’s
publication precludes the discussion of ethnomusicological and socio-cultural concepts which
form part of the discussions in this dissertation.
June McCormack’s two publications Fliúit I (2006) and Fliúit II (2009) are easily accessible,
and are intended for students wishing to improve their rudimentary knowledge of Irish
traditional flute playing. While there is none of the historical information that is included in
Vallely’s or Larsen’s publications, McCormack’s practical approach in Fliúit II, including
indicators for appropriate points for breathing, and ornamentation substitutions instead of
longer note values is welcomed. It must also be noted that while these may be perceived as
elementary suggestions, a great number of traditional melodies are not written specifically for
the flute, thus it is important for those approaching it for the first time to have the requisite
resources which present ‘troubleshooting’ methods for dealing with issues as outlined by
McCormack.
Conal Ó Gráda’s (2011) publication An Fheadóg Mhór: Irish Traditional Flute Technique is
another welcome addition to the general canon, as Ó Gráda presents his unique stylistic
approach first-hand, through detailed audio examples. He also analyses (written word only)
performances by leading practitioners, with comparably brief descriptions to Larsen,
describing with a vernacular approach, what he ‘hears’. This method impels the reader to
listen to the accompanying CD in a manner that impresses a natural learning environment.
Methodology
This research is rooted in the disciplines of ethnomusicology and performance practice. The
primary methodological tools comprise: creation and analysis of field recordings; interviews
with informants; ongoing writing of reflective journal; performance practice; library and
archive research; transcription and analysis; oral transmission and secondary orality.
21
Biographies are provided by Harry Bradshaw.

Chapter 1
10
As the structure of, and technical elements associated with performance are central to this
dissertation, it is important to acknowledge performance as a crucial factor in research
methodology because of the insights it provides into musical constructs (Baily, J. 2001: 86). I
have therefore conducted a detailed analysis of performances by culture bearers central to
contemporary Irish traditional flute playing, including Matt Molloy, Harry Bradley, Brian
Finnegan and Niall Keegan, thus broadening my understanding of the mechanics of
performance through the cross-referencing of stylistic approaches, and the subsequent
dissemination of work. I have selected Captain Kelly’s Reel as the musical example for the
analysis of Matt Molloy’s and Harry Bradley’s performances due to the existence of a
recording of this piece by both performers, thus enabling a comparative analysis with the
version contained in published format in O’Neill’s (1907) collection. The Donegal Lass Jig
was selected as a basis for analysis of Brian Finnegan’s playing, as it is his own composition,
and it was also recorded by bansuri player Ravichandra Kulur. Finnegan agreed to discuss
elements of his playing style and approach in an interview with this author, as did
Ravichandra Kulur. Niall Keegan’s performance of The Lane to The Glen Reel (Reavy) was
selected for the final analysis to represent the diversity of flute styles in existence today.
From an ethnomusicological perspective I have engaged with related issues, including:
physiology, transmission, socio-cultural history, and conceptual processes of Irish traditional
music. I have internationalised my research by examining the highly developed, intricate,
complex, and versatile musical tradition of North Indian bansuri flute-music engaging with
this research through the prism of an etic and bi-musical framework.22
I have conducted a
technical analysis of repertoire associated with this instrument to extract musical material, and
identified specific techniques that can be employed in an Irish traditional context. This will
not only enhance my own playing, in an academic, structured, and rigorous manner, but also
in a performative way, thus establishing a new approach to performance on the Irish
traditional flute.
The Challenge of Notation
Due to the very complex nature of the ornamental and rhythmic improvisation of Indian
music, an in-depth knowledge of music notation practices is required to conduct analysis and
transcription. However, one’s focus is drawn to the efficacy or lack thereof of staff-notation in
22
I subscribe to Blacking’s suggestion (while advocating bi-musicality) that it is not a necessity to learn an instrument superbly unless one
wishes to become a concert artist. He suggests learning from those who ‘have and follow “folk theories” of music’. [It is more about] cultural
realities and deep structures of the music than the sophisticated teaching of the playing.’ from Baily, J. (2001) ‘Learning to Perform as a
Research Technique in Ethnomusicology in ‘British Journal of Ethnomusicology’, Vol. 10, No. 2, p.88.

Chapter 1
11
denoting microtonal subtleties and extreme ornamentation apart from the general notation
utilised in passage-work. The similarities between this anomaly and the conundrum one
encounters in transcribing for example the Irish song-air and the nuanced improvisatory
passage-work of an adept performance of a fast-paced reel, are striking. This illustrates how
the development of Indian and Irish music - which have until relatively recently existed as
monophonic or heterophonic musics - is markedly different in transcriptive substance to the
harmonic and contrapuntal sensibilities of Western art-music. Grove’s (2001, vol. 19) entry
on ‘notation’, states that it ‘serves largely as a set of mnemonics for a repertory that has been
transmitted and memorized in a fundamentally aural manner’ (p. 385). Indeed, Hood (1982:
82) invokes Taylor Piggott (Taylor Piggott, 1893: 5), who was of the opinion that, while
Western notation was capable of expressing certain aspects of musical phrasing and
conveying musical concepts through notation to those already familiar with the musical idiom
in question, he was ‘uncertain whether their more complicated forms could be set down in it
with sufficient accuracy to enable a stranger to interpret them satisfactorily’ (Taylor Piggott,
1893: 5 in Hood 1982: 82). The challenges associated with notating music of aural traditions
persists, creating obstacles for those wishing to conduct in-depth analytical studies.
Emic and Etic Perspectives (Positionality)
In an Irish traditional context, I am an emic researcher, and have fifteen years of professional
experience in this field, having recorded and collaborated with a variety of musicians and
groups including Dónal Lunny and Andy Irvine, Liam Clancy, Slide, Damien Dempsey and
Clannad. I have produced a radio documentary series for RTÉ Lyric FM on the history of
Irish music, and have received funding from the Arts Council of Ireland to record and publish
Irish language songs as sung by the reclusive Ó Cuill Family. This insider perspective
provides me with access to select artists and an in-depth, first-hand knowledge of the
tradition. Emic research however, can at times give a narrow perspective and I have sought to
address this by introducing research on the North Indian (Hindustani) bansuri, thus partially
broadening the horizon of this dissertation.
From an Indian perspective, and with particular focus on the bansuri, I am an etic researcher.
I have had sustained communication with professional bansuri player Ravichandra Kulur
which has been invaluable in enhancing my understanding of the bansuri generally - in
addition to receiving tutelage from Harsh Wardhan over ten years ago. However, the
traditional guru-shishya relationship that is common among North Indian musicians, where
the shishya or disciple spends exceptionally long periods with the guru or master is beyond
the scope of this research. I am therefore locating my research in the established

Chapter 1
12
ethnomusicological methodology of secondary orality (Nettl, 2005). This etic stance allows
me to view the musical materials of the bansuri from an objective perspective, which enables
me to draw on suitable techniques to inform my playing. I am not burdened as an etic
researcher with the responsibility of transmission of a tradition as in the case of the emic
researcher. This allows me to utilise the musical materials associated with bansuri music in a
new, independent context.
The challenges I face as an emic researcher in the Irish tradition include negotiating the
responsibilities incumbent upon me as a culture bearer of this musical tradition. On the one
hand, I attempt to maintain and uphold the tradition, and on the other to push the boundaries
and explore my own musical voice. Overcoming subjectivity and dealing with issues of style
and perceived conventions are a further challenge in dealing with Irish traditional music.
As an etic researcher into the bansuri tradition, the principal challenges I face are; dealing
with a tradition that has developed over several centuries and distilling the information so that
it is reliable and intelligible to the general reader. While the bansuri is similar in construction
to the pre-Boehm flute, adapting to technical and stylistic constructs presents a variety of
challenges in performance.
I endeavour nonetheless to present elements of technique that I have identified as being
compatible with Irish traditional flute playing. The primary aim of engaging with the bansuri
is to enhance my conception and approach to musical sonority, improvisation, and
ornamentation on the Irish traditional flute, and how I can broaden the scope of the
articulative repertoire that exists. It is through analysis of recorded audio material that I have
identified the aforementioned techniques, based on my familiarity with the various technical
elements and ornamentations that are commonly employed on the Irish traditional flute.

Chapter 1
13
Chapter Outline
Chapter 2 presents a brief history of the flute in Irish traditional music, and examines its
physical construction. Chapter 3 provides a stylistic overview of some of the foremost
practitioners in the field, with a detailed critical analysis of selected works. Chapter 4 focuses
on physiological aspects of Irish traditional flute playing, and provides holistic suggestions
for effective performance. Chapter 5 presents a brief history of the North Indian bansuri-flute,
and analyses performances by some of the foremost practitioners in the field, identifying
technical aspects of their playing that may have applicable potential in the framework of Irish
traditional flute playing. Chapter 6 presents a summary and provides conclusions which are
drawn from the discussions contained within the dissertation.

Chapter 2
14
Chapter 2 History and Styles of Irish Traditional Flute
Playing
History of the Flute in Irish Traditional Music
The flute under investigation in this dissertation is the keyless, simple-system, side-blown
aerophone, which is known under a multitude of designations, including the transverse;
wooden; German; concert D; and Irish traditional flute.23
Also known as fliúit (Breathnach,
1971:85), or feadóg mhór in Irish, this instrument was developed in France in the late 1600s
(Carolan, 2001:565), and is currently the most common type of flute employed in the
performance of Irish traditional music (see Vallely, 2011: 272; and Hamilton, 2008: pp.12-
40). Although Dublin-based instrument maker John Neal is accredited by Carolan (2010) as
playing the ‘German flute about 1714’ (p.15) it is not precisely known how or when this
instrument entered the general instrumentarium of Irish traditional music. O’Neill (1913)
suggests nonetheless, that ‘quite likely the use of the flute in Ireland was contemporaneous
with its popularity in England (O’Neill, F., [orig. 1913] 1973: 409) while Vallely (2013)
proposes ‘military and political historical precedent’ as the most ‘probable basis for the place
of the flute in Irish [traditional] music today’ (p.14), and suggests that
it is likely…interest in, and development of skills on, the concert D flute, were sparked by the
widespread use of small B-flat 'band' flutes in the many marching bands of political and
temperance movements in the 19th century. This leaves a legacy of flute skills and taste in north
Connaught (courtesy of the Land League) and in northeast Ulster (courtesy of religious politics).
(Vallely, 2011: 272, see also Hastings, G., [as GAH] in: ed. Vallely, 2011: 279, under ‘Part’
bands.)
Hamilton (2011) considers the regional association of the flute with Connaught and Ulster
‘one of the imponderables in the history of the flute in Ireland’ (p.275). Nevertheless, he
attests to Vallely’s (2011) suggestion with his observation that ‘[a]lthough it was, and is,
played in every county, it has a very strong heartland in the north Connaught counties of
Sligo, Leitrim and Roscommon, with south Fermanagh, east Galway, Clare and west
Limerick also having a reputation (p.272).24
In Ulster, particularly Belfast, the association of
Irish traditional flute playing from the 1970s to the modern day has occurred through
performers including: Gary Hastings, Gerry O’Donnell, Tara Bingham, Tommy Guihan,
Frankie Kennedy, Colin (Hammy) Hamilton and Desmond (Desi) Wilknison (Keegan, N.,
1992: 92). Harry Bradley, whose playing is analysed in this dissertation, is also from Belfast.
23
See Scholes, P. (1991, pp. 361-63) : Hamilton, C., (2008: 11) for more on nomenclature.
24
See also Keegan, N. (1992: Introductory); Ó Riada ([orig. 1962] Ó Cannain, T., and Kinsella, T., 1982: 61); Kearney, D. (2013)
Ethnomusicology Ireland 2/3 July; and O’Shea, H. (2008: pp. 53-77) for more on regional styles.

Chapter 2
15
Construction of the Flute
The fully assembled transverse D flute under investigation in this dissertation measures
approximately 60-68 centimeters in length, with a diameter of approximately 3 centimeters at
its upper, and 2 ½ centimeters at its lower end. It has six primary open finger-holes and is
produced in a variety of wood including: African blackwood; tropical darkwood (ebony);
rosewood; mopane; cocus; boxwood; and in synthetic materials including plastic, ebonite and
acetal (a synthetic polymer also commonly referred to as Delrin, a trademark of the DuPont
company, see Fig. 1).
Fig. 1. Seven flutes positioned horizontally together (source: worldtrad.org, 2014)
It is the keyless ‘pre-Boehm’ four-piece variety of flute depicted in Fig. 2 that is under
investigation in this dissertation.
Fig. 2. African blackwood four-piece flute, positioned horizontally
(source: hobgoblin.com, 2014).
However, the popularity of the ‘pre-Boehm’ keyed-variety (ranging from one to eight keys)
also commonly employed by Irish traditional flute players warrants a brief discussion for the
purpose of contextualization. It will also help to illustrate the function of the additional note-
holes located in the foot-joint (see Fig. 3).
The ‘pre-Boehm’ Flute
‘Pre-Boehm’ refers to the period preceding the introduction of Theobald Boehm’s patented
keyed-system and design for the flute in 1847 (see Fig. 4); or to flutes that continue(d) to be
produced based on earlier designs (see Fig. 3).
Fig. 3. Pre-Boehm, blackwood, 8-keyed flute horizontally positioned,
(source: mcgee-flutes.com, 2014)

Chapter 2
16
Fig. 4. Early design, metal, horizontally positioned, Boehm-system flute
(source: Dayton C. Miller Flute Collection, 2014)
Modern Use of pre-Boehm Flutes
Until the 1970s, the general production of flutes specifically for Irish traditional flute players
was not widespread, with Hamilton (2011) citing 1977 as the year ‘where the first instruments
were produced’ in Ireland (p.274). Australian flute-maker Terry McGee (2014) states that he
was one of the first to re-introduce this type of flute in 1975, and was ‘certainly unaware of
any other makers anywhere. At this time, I'm still unaware of any before me’ (McGee-
flutes.com: 2014), although Kavanagh (2001) cites 1955 as the year Brendan McMahon, from
Ennis/Ennistymon, Co. Clare began producing flutes based on a copy of a ‘Ruddall & Rose
flute’ (p.100). Kavanagh informs us that this was initiated by McMahon because ‘simple-
system flutes were scarce’ (ibid). Indeed 19th
century designs including those of Ruddall &
Rose (& Carte) from 1820-, and the ‘Pratten Perfected’ models sponsored by flute impresario
Robert Sidney Pratten (1824-1868) constructed by John Hudson (1821-1908) for Siccama,
and Boosey & Co., in the early to late 1850s, have served as popular schematic templates
from which contemporary makers produce flutes for Irish traditional players (see Hamilton,
S.C., 2011: 274, and McGee-Flutes.com for more on 19th
century flute makers). Typically, the
attachment of up to eight keys provides access to notes that are unobtainable - as is the case
with low C-sharp and C located on the foot-joint - or would otherwise require cross-fingering
(see fingering charts: Figs. 6 & 7).

Chapter 2
17
Sounding System
Sound on the flute is generated by blowing across the edge of a tone-hole found in the head-
piece known as the embouchure (Fig. 5).
Fig. 5. Close-up of blackwood embouchure (source: mcgee-flutes.com, 2014)
Fingering Charts
Fig. 6. Pre-Boehm fingering chart, natural scale (source: martindoyleflutes.com, 2014)25
25
The natural scale of the type of flute depicted in Fig. 6 is a diatonic D major scale (where D is one full tone above middle-C). The default
note that sounds when all six finger holes are uncovered, is C’-sharp, and the performer artificially alters the length of the flute by placing
fingers on the holes, obtaining lower notes by covering subsequent holes (see Hamilton, 2008: pp. 125-48, and McGee.com for more on
construction; for Sounding Systems of Flutes see Vallely (2005: 28).

Chapter 2
18
Fig. 7. Pre-Boehm fingering, accidental notes, utilising the ‘moveable doh’ system.
(source: martindoyleflutes.com, 2014)
Defining ‘Style’ in Irish Traditional Music
‘Style’ in the context of Irish traditional music is a broad term comprising many constituent
elements. Although styles and repertories originally evolved in given regions, ‘natural
processes of diffusion and especially modern communications media have spread them more
widely’ (ITMA, 2014).26
While scrutinizing ‘style’, two main threads of investigation should
be considered. Firstly there is the physical, tangible or analyzable thread, which is articulated
through McCullough’s (1977) definition where he defines the term ‘style’ as denoting the
‘composite form of the distinctive features that identify an individual's musical performance,’
(p.85) translating its constituent elements into four main variables: ‘ornamentation, variation
in melodic and rhythmic patterns, phrasing and articulation’ (ibid). The second thread is
perceived by Wilkinson (1991) as ‘existential rather than existant’ (p.79), where it ‘consists of
many extra-musical components, among them, shared experience, celebration of social
cohesion and continuity, and the socio-musical strategies of significant individuals at home
and abroad’ (ibid). Vallely (2011) similarly relates style to the ‘idiosyncrasies of the
individual person, to the region where they learned, and to the genre and era in which their
26
See www.itma.ie, ‘What is Irish Traditional Music?

Chapter 2
19
playing is situated' (p.669).27
A conundrum exists while formulating a method to identify
individual performers from a geo-musical perspective, particularly when factored in with
additional opaque stylistic variables. Let us consider McCullough (1977), who states that
a style is essentially a conglomeration of elements absorbed unconsciously or appropriated
outright from other styles and then reshaped and refined into a "new" style that is distinct yet
never entirely divorced from its predecessors or contemporaries (McCullough 1977: 96).
Furthermore, Kavanagh (2001) suggests that ‘ambiguity surrounds the application and very
meaning of the word ‘style’ [because] no definition or clear explanation exists to differentiate
between various styles’ (p.15). 28
Contained within each performance of Irish traditional music, are subtleties and nuances
which are challenging to enunciate as Seeger’s (1977) ‘musicological juncture’ theory
suggests (p.183). Assessors must occasionally straddle their definitions between strictly
objective and loosely subjective dimensions, as with Vallely (2005) who, while likening
'[s]tyle' in flute music [to] 'dialect' in language’, perceives it as ‘acculturated local accent,
absorbed mass-media sound, 'textbook' articulation, originality, eccentricity . . . syntax and
idiom’ (p.103). Breathnach (1971) similarly charaterises musical performance through a
dialectic analogy, by suggesting that ‘as we speak, we are not conscious of the rules of
punctuation or of spelling of the words we are using (p.90). Ó Súilleabháin (2011) also
follows a similar thread when he refers to this phenomenon as the performer’s ‘sonic
fingerprint’ (Compass Ceoil, 2011: programme 3, at 34:16). Irish traditional musicians
access a repository of instantly accessible techniques, both on a conscious and sub-conscious
levels, to use while playing their chosen instrument, which is bound by its own limitations
(see Ó Súilleabháin, 1990: 122). When the performer gives a physical embodiment to those
learned techniques through their own unique physiological engagement with their instrument,
which acts as a conduit of expression during performance, they present sonic data that can be
analysed.
27
His use of the words ‘genre’ and ‘era’ pertain to any of the various forms of flute-music that developed on the island of Ireland over the
past three hundred years, see Vallely, F. (2005: pp.11-20).
28
For additional contributions to the debate on ‘style’, see Kearney, D. (2009),‘Towards a regional understanding of Irish traditional music’,
Unpublished PhD, National University of Ireland, Cork; McElwain, S. (2014) ‘Opening up the canon of Irish traditional music: The music
of the Sliabh Beagh region of north Monaghan / east Fermanagh’ Unpublished PhD, Dundalk Institute of Technology, Dundalk; O’Shea, H.
(2008), ‘The Making of Irish Traditional Music’, Cork University Press, Cork: Keegan, N. (2010) The Parameters of Style in Irish
Traditional Music in ‘Journal of Irish Music and Dance’, Inbhear, Vol. 1, Issue 1.

Chapter 2
20
Towards Stylistic Designation in Performance of Irish Traditional Music
The performer may employ very rigid bowing technique on a fiddle, or a fluid, softly accented
technique on the flute, which can be described as primary definable stylistic features. Within
the main melodic phrasing, they may choose to employ ornamentation including cuts, pats or
rolls on various notes during passage-work, or distinctive articulation including glottal stops
or pulses. These features, when considered with other elements including additional aesthetic
and technical parameters will tell us a great deal about where the musician has positioned him
or herself in the broader context of Irish traditional music, and crucially, direct us towards
their style of playing. However, an interesting discovery made by Niall Keegan (1992;
R2010) while conducting his research was that 'one man's east Galway style, was another's
Clare style, was another woman's Sligo style' (Keegan, 2010: 63); a finding that highlights the
difficulty one encounters while attempting to define, associate and compare the abstraction of
‘regional style’ with the clearly defined borders of region or ‘place’.29
McElwain (2014)
asserts that ‘many pockets of regional musical practice and accent lie beyond most observers’
psychological horizons and are extrinsic to the accepted framework of Irish music’ (ix). The
‘accepted framework’ to which McElwain alludes is an extant problem in the general
discourse on Irish traditional music, where there is no one accepted convention on what
constitutes a regional style, however frequently it may be stated by influential figures.
Kearney’s (2013) and McElwain’s (2014) research, both evidence the difficulties of
categorically satisfying the notion of regional style. However, the fact remains that a strong
affinity with Irish traditional flute playing existed, and still exists, in areas/regions identified
by current research, and warrants further examination.
29
Ó hAlmhuráin, G. (1998) observes that ‘Irish instrumental music is sometimes referred to in terms of regional styles, [where] a fiddler may
be described as having a Sligo, Clare or Donegal style,’ suggesting that these simple county divisions are only ‘valid to a degree, [because]
research among some older communities in the West of Ireland has revealed a more precise topography of musical dialects. Many of these
are based on older clachán- type communities (rural clusters of extended kin and neighbours) which have remained intact since the post-
famine era and are distinguished by specific dance rhythms, repertoires and other features’ (p.9).

Chapter 2
21
Area-Related Flute Styles
Research conducted by Keegan (1992; 2010), Kavanagh (2001), Vallely (2005; 2011) O’Shea
(2008) and Hamilton (2011), identifies encompassing areas with strong affinities to Irish
traditional flute playing, including:
Clare / West Clare Leitrim North Mayo
Ballinakill/ East Galway Roscommon South Fermanagh
Northern Sligo West Limerick
The province of Connaught features prominently as evidenced by the list above, with five out
of the nine specified areas located there. Indeed Hamilton remarks that
Although it was, and is, played in every county, it has a very strong heartland in the north
Connaught counties of Sligo, Leitrim, and Roscommon [and Mayo, Vallely 2005: 11], with
south Fermanagh, east Galway, Clare, and west Limerick also having a reputation (Hamilton,
2011: 275).
Vallely (2005) previously suggested that this is likely as ‘a consequence of a history of
proficiency in flute playing which has created an enabling set of standards, and repertoire, and
a pool of local performance skills, reputation and appreciation’ (p.15).
While it is true that there are, and have been identifiable concentrations of flute players in
specific areas, the following example demonstrates how those concentrations are affected by
demographic migratory variables, which can bring perceived regional stylistic designations
into question. While addressing the broadly termed ‘Northern style’ in his dissertation,
Keegan (1992) interviewed Belfast flute-maker/player Colin ‘Hammy’ Hamilton, who
elucidated that he ‘started at the same time [in Belfast] as Frankie Kennedy … Desi
Wilkinson … Gary Hastings, Gerry O’Donnell, and Tara Bingham’ who (including himself),
were all ‘reasonably strongly influenced by the Fermanagh type thing [sic]. He explains that
‘Fermanagh music was very popular in Belfast in those days because [of the influence of]
Fermanagh musicians like Tommy Guihan … Gerry O’Donnell [who’s ‘people were from
Fermanagh’] and Cathal McConnell’ (cited in Keegan, 1992: 92)30
. Alluding to the potential
influence of this group of flute players as a consequence of their relative fame, Hamilton
recalls, they were ‘reasonably well known . . . within the traditional music world in Ireland’
(ibid). A reasonable deduction of the observation above, is that this influential collective of
Belfast-centric flute players subsequently transmitted – having been influenced by Fermanagh
30
Hamilton interview conducted by Keegan (1992: 92, transcriptions pp. 61-2).

Chapter 2
22
migrant flute players – their newly hybridized flute playing styles through various outlets
including classrooms, recorded material, and a variety of additional informal social and
formal concert settings. While this ultimately highlights the nature of transmission, it also
emphasizes the potential in any analysis for the erroneous designation of regional style, as
underscored by this new ‘Belfast-Fermanagh style’.
The Influence of Early Flute Recordings on Style
Born near Drumkeeran, Co. Leitrim, John McKenna (1880-1947) emigrated to the United
States in the first decade of the 1900s.31
His initial recordings represent some of the very first
commercial recordings of Irish traditional flute music both in solo and collaborative
formats,32
for four recording companies including: New Republic; Gennett; Columbia; and
Decca, in New York city, between the early 1920s33
and 1937 when he finished his recording
career.34
He is the most widely documented exponent of early twentieth-century Irish
traditional flute playing, and is attributed with influencing many contemporary flute players
including Séamus Tansey, Matt Molloy, Liam Kelly, Conal Ó Gráda, and Harry Bradley.35
His influence is such, that the style in which he played, and which others have become
synonymous with bears his name, as in ‘McKenna style’ (Wilkinson 2011: 275). Wilkinson
(2011) elaborates on McKenna’s style, describing it as ‘a driving, puffing, extrovert style,
comparatively sparing in the use of rolls’ (ibid).36
Although Belfast native Harry Bradley
(2014) concedes in an interview with this author to having been influenced by John
McKenna, it is a less-well documented flute player with whom he states his preference. Tom
31
In The Buck From The Mountain (2014: pp.13-4) the ship’s manifest is referred to, date, 27 October 1904. Aboard the S.S. Cedric in
Queenstown, Cobh, Co. Cork was McKenna, who returned to Ireland to marry Mary Jane Keaveney, having spent five years in the USA. The
married couple later returned to the USA in 1909. The ship’s manifest of 24 October 1909, evidences John and Mary Jane McKenna
boarding the R.M.S. Baltic at Queenstown. However in the Encyclopaedia of Music in Ireland (2013: 653) Bradshaw, H., cites the year of
McKenna’s emigration as 1911.
32
The Buck From The Mountain (2014: 54) cites 44 sides while the Encyclopaedia of Music in Ireland (2013: 653) cites ‘60 sides for a
variety of labels’.
33
The Buck From The Mountain (2014:17) cites circa 1922/3, while The Encyclopaedia of Music in Ireland (2013: 653) cites the early
1920s.
34
See The Buck From The Mountain (2014) and The Encyclopaedia of Music in Ireland (2013:653-4) for more on John McKenna.
35
See introductory of The Buck From The Mountain (2014).
36
In June 2014, a complete collection of McKenna’s recordings was assembled and made available by the John McKenna Society, under the
stewardship of Ballinaglera (Leitrim) flute player Seán Gilraine (b1969-), in The Buck from The Mountain (2014). The accompanying
seventy-five page booklet contains historical and biographical information and transcriptions, stating ‘through the medium of recording his
musical imprint has spread, extending through the years to the present and moves beyond the geographic bounds of Leitrim to become part of
the fabric of modern traditional music and aesthetics’ (The Buck From The Mountain, 2014: 41).

Chapter 2
23
Morrison (Glenamaddy/Dunmore, Co. Galway, 1889-1958) began his recording career in the
early 1920s. Bradley suggests that
Morrison had a bigger dynamic range than McKenna, he was doing very interesting things . . .
overblowing the flute for passage[s], and then contrasting that with sort of staccato accented
runs. Very effective you know? Just for his breadth of range, dynamic range, and just the
ingenuity of it (Bradley, interview with De Barra, 2014).
Niall Keegan also discussed McKenna’s stylistic approach with this author observing that
‘everyone is influenced by McKenna in an ancestral sort of way. Personally much more of a
Tom Morrison fan’ (Keegan, personal communication with De Barra, 2014).
Since McKenna’s and Morrison’s recordings first became available in the early twentieth
century, the popularity of Irish traditional flute playing has steadily grown, and it is now one
of the key instruments of the tradition. Media consumption, competitions, education, and
festivals are among the primary influencing factors that have played significant roles in
establishing the wide variety of contrasting styles that exist. In this chapter I have appraised
historic, aesthetic and stylistic concepts. This serves to contextualize my research and analysis
within the discourse of Irish traditional music.

Chapter 3
24
Chapter 3 Contemporary Irish Traditional Flute Players:
Analysis and Discussion
Techniques Associated with Stylistic Threads
The central focus of this dissertation is the critical analysis of contemporary flute playing
styles in Irish traditional music. Based on existing evidence, the most prominent stylistic
threads of flute style are associated with northern Connaught and northeast Ulster, which
account for the respective selection of performances for analysis by Matt Molloy, and Harry
Bradley who represent northern Connaught and northeast Ulster respectively.37
Brian
Finnegan from Co. Armagh, and Niall Keegan from St. Albans, England, are stylists of an
alternative nature to both Molloy and Bradley with unique identifiable elements associated
with their playing which will also be discussed and analysed.
In this chapter I conduct a comparative analysis of the popular reel Captain Kelly’s as
performed by Matt Molloy (1985) and Harry Bradley (2002), using a conventional setting of
the melody contained in O’Neill’s ([orig. 1907] R1995) collection for cross-referencing
purposes.
Stylistic and technical traits of each performance are identified and analysed. I examine how
each of the performers utilise flute-specific and player-specific elements of ornamentation and
technique which draw on the possibilities of the instrument, and gain in-depth perspectives to
stylistic approach from both Molloy (2012) and Bradley (2014) in interviews conducted.
In my second analysis, I focus specifically on elements of ornamentation and articulation in
Brian Finnegan’s interpretation (2014) of his own composition The Donegal Lass Jig. In an
interview (2014) with Finnegan, I garner personal perspectives on tonguing technique and the
importance of establishing an adequate breathing regime.
In my third analysis, I examine Niall Keegan’s (2004) interpretation of The Lane To The Glen
Reel and consider his intricate use of finger-based ornamentation, discussing his stylistic
approach to improvisation and harmony and the shifting modality of this melody in personal
communication (2014) with him.
37
although Bradley acknowledges in an interview with this author (2014) the influence of two Connaught flute players: John McKenna
(Leitrim) and Tom Morrison (Galway) on his style.

Chapter 3
25
The purpose of this chapter is to critically examine stylistic and technical elements of four of
the foremost contemporary flute players in the Irish tradition. This discussion will encompass
the analysis of phrasing, attack, ornamentation, improvisation, tempo, and articulation. I
endeavour to reveal how each performer has a unique stylistic and technical approach. While
each of the selected melodies for analysis have a relatively basic melodic framework, each
performer has developed their own artistic interpretation, representing highly advanced
considerations of both style and technique. The analysis contained in this chapter presents an
in-depth perspective on the technical aspects of Irish traditional flute performance, which
often remain elusive in the aural realm.
Matt Molloy
Matt Molloy, from Ballaghadareen, Co. Roscommon, north Connaught,38
was initially taught
by his father Jim Molloy, who was from outside Ballymoate Co. Sligo, and in an interview
with this author (2012), elucidated on how he was surrounded by flute players
like Josie McDermott, Patsy Hanly, Séamus Tansey, Peter Horan, Sonny McDonagh, and . . .
Harry McGowan' [all from north Connaught] and that 'to make any sort of impression . . . you
really had to think for yourself, because they were all pretty hot. (Molloy interview with De Barra,
2012)
This concept of ‘thinking for yourself’ has therefore been a contributing factor in the
development of complex technical elements, and unique interpretations employed by Molloy
in his performances. He elaborates in the same interview on the importance of technique in
the context of performance, stating that ‘the more of that you have, I think the better able you
are to express yourself’ (Molloy, interview with De Barra, 2012). Among other technical
subtleties in his music, he utilises dynamic phrasing, sliding inflections, octave shifts, and
condensed rolls. Larsen (2003) comments on Molloy's approach to ornamentation as being
‘very dense and dramatic, it is also judicious, perfectly complimenting his long, smooth
phrasing... [and has] intense forward motion’ (p.395).
38
Molloy has gained acclaim across the globe for his technical mastery of the Irish traditional flute. A journalist once asked of classical
flautist James Galway ‘what it felt like to be the greatest flute player in the world’ to which he replied, "I don't know, ask Matt Molloy."
Chicago Tribune, 15 Jun 1986 ,Jocelyn Lowry Haas, Available : http://articles.chicagotribune.com/keyword/irish-dance/featured/5, [accessed
26 Feb 2013].
For further biographical information, see under ‘Molloy, Matt’ in Companion to Irish Traditional Music (2011) ed. Vallely, p.458.

Chapter 3
26
Harry Bradley
Harry Bradley from south Belfast employs a highly rhythmic and disciplined technique.39
Ó
Gráda (2011) suggests that one of the most distinctive aspects of his playing
is his use of glottal stops as an articulation technique. It allows Harry to achieve great urgency and
power in his playing and gives a real punch to the rhythm. Harry uses glottal stops on almost every
note in the reel (Ó Gráda, 2011: 51).
Ó Gráda (2011) also suggests that Bradley is purposeful and calculated in his approach, and
that he ‘is a hugely accomplished flute player on a technical level and a tremendous
interpreter of tunes on a musical level’ (p.48). This author further suggests the existence of an
underlying refinement and delicacy in his playing, as evidenced by his dexterous navigation
of the higher octaves and his dynamic phrasing.
39
for further biographical information on Harry Bradley, see https://www.allcelticmusic.com/artists/Harry%20Bradley.html [accessed June
2014]

Chapter 3
27
Analytical Method
The method of cross-referencing accessible recorded audio examples with conventional,
published print-settings of the same melody is an effective process by which to highlight the
stylistic preferences of individual performers, and to identify specific techniques for analysis.
I have thus selected two interpretations of the melody Captain Kelly's Reel, by flute players
Matt Molloy and Harry Bradley, of which audio examples are publicly available. 40
The
printed setting available in O’Neill’s published collection has been selected for cross-
referencing purposes.41
Legend of Symbols and Terms
tr: trill segment, where a short trill is performed on the note indicated below the tr symbol.
Roll: (the ‘roll’ ornamentation as denoted by Frances O’Neill) where the performer should play
this type of ornamentation over the value of the note/s indicated below this symbol. It usually occurs
over the space of three quavers, although it can also occur over the space of two quavers/ one crotchet.
Notation for typical roll:
Cut: a type of grace note from above.
Tap: a type of grace note from below.
light tonguing: the performer lightly articulates with the tongue on the note/s under the term ‘light
tonguing’.
breath: the performer inhales during the rest indicated below the word ‘breath’
40
For Matt Molloy, listen: ‘Contentment is Wealth’ (1985). Kitty in the Lane/Captain Kelly's/The Green Mountain, Green Linnet, track 4;
for Harry Bradley, listen: ‘As I Carelessly Did Stray’ (2002) Highland/Captain Kelly's, Phaeton Records, track 14.
41
Captain Kelly's Reel is sixteen bars in length, and is classed as a ‘single reel’. There are three lines, each marked with the number 1,
representing bar 1 of 4 as seen in Fig. 1. Each line of four bars represents an alternative setting or interpretation of Captain Kelly's Reel, and
is marked as such. While it is not possible to definitively ascertain ‘the’ standard version of this tune, Francis O’Neill’s published collection
of Irish traditional melodies contains many tunes that are in common use by traditional performers. O’Neill’s collected setting is a version
closely resembled by additional online resources including www.irishtune.info [accessed June 2014] and tunepal [accessed June 2014]. It is
also a version with which this author is familiar. For referencing purposes, ‘O’Neill’s’ indicates the version available in Francis O’Neill’s
collection, ‘Molloy’ indicates the transcription of Matt Molloy’s recorded audio performance, as does ‘Bradley’ for Harry Bradley’s recorded
audio performance. It must be noted that Ó Gráda (2011) conducted a general analysis of this tune as played by Harry Bradley in An
Fheadóg Mhór - Irish Traditional Flute Technique, Cork, Self-Published (pp.48-52). However, it was a written description with no musical
transcription.

Chapter 3
28
:trill segment, where a short trill is employed.
di-dl-e: the word diddle is split over three utterances by the performer to articulate three separate
notes, usually as an articulated ornament.
sync. push or syncopated push: the player performs this articulation to provide impetus to the
passage-work through the use of syncopation.
overblow: the player channels a surplus amount of air over the tone-hole or embouchure to create a
stressed sound, which contrasts with the fluid nature of the preceding passage-work.
F cran: a type of finger-articulated ornament involving four repeated primary
notes, F in this case, interspersed with three cuts.
D cran: a type of finger-articulated ornament involving four repeated primary
notes, D in this case, interspersed with three cuts.
D’ short cran: a type of finger-articulated ornament involving three repeated
primary notes, D in this case, interspersed with two cuts.
condensed roll: a type of clustered roll that occurs over the space of two semi-
quavers and one quaver.

Chapter 3
29
Fig.1. Captain Kelly's Reel, O’Neill’s ([orig. 1907] R1995) setting, and transcription of
performances by Matt Molloy (1985) and Harry Bradley (2002), bars 1 to 4
(source: author)
In this author’s experience as a practitioner of Irish traditional music,42
O’Neill’s setting of
Captain Kelly’s reel is commonly employed by performers as a template from which
interpretations are developed, as with Matt Molloy’s version. I have also analysed Harry
Bradley’s virtual re-invention of this melody. Through cross-referencing with O’Neill’s
setting, and through personal communication (2013) and an interview (2014) I conducted
with Bradley, I will elucidate his motivations for this re-interpretation.
Comparative Analysis of Matt Molloy’s Interpretation of Captain Kelly’s
Reel and the Setting Contained in O’Neill’s Tunebook
In an interview (2012) with this author, Molloy states the importance of the individual
performer making ‘their own’ of each tune, and ‘cutting their own furrow’ (Molloy, interview
with De Barra, 2012). While his interpretation of this tune does correspond to O’Neill’s
setting closely, there are various points where he employs condensed ornamentation,
articulation, and variations which characterise his playing. Ó Súilleabháin (2011) refers to this
as the ‘sonic fingerprint’ of the performer (Compass Ceoil, RTÉ Lyric FM, 2011: programme
3).
42
A detailed examination of techniques employed by Molloy and Bradley will be cross-referenced with the published setting contained in
O’Neill’s to highlight the stylistic preference of the performers in question. A perspective will also be given on how melodic structures
operate more generally in Irish traditional music, highlighting the vital role of repetition in establishing a platform from which all other
technical elements including interpretation develop.

Chapter 3
30
Fig. 2. Captain Kelly's Reel, O’Neill’s ([orig. 1907] R1995) setting, and transcription of
performance by Matt Molloy (1985), bars 1-4 (source: author)
Bar 1. In this bar Molloy’s interpretation corresponds to O’Neill’s setting closely. He does
however, play a G quaver instead of O’Neill’s G crotchet in the second section of the first bar
in order to take a breath, having established the main theme of the melody. The breath serves
two important functions: the first of which is its obvious necessity to the performer; the
second function is where it punctuates the melody, giving definition and impetus to the
subsequent phrase. It is often challenging to locate an optimum point to take a breath during
fast-paced passage-work where it does not upset the melodic flow of the tune. By replacing
the G crotchet with a G quaver, Molloy provides himself with sufficient space to take a breath
while maintaining the melodic integrity of the reel.
Bar 2. The first section of this bar in Molloy’s setting is identical to O’Neill’s setting. The C
enables access to D’ as a grace note or cut before the subsequent B where a trill-segment is
also utilised. While Molloy employs short bursts of condensed ornamentation as evidenced
here, a further examination of this section of bar 2 reveals a stylistic characteristic of his
playing. It lies in his utilisation of arpeggiation instead of the use of triplets, rolls or tonguing.
He presents an alternative to O’Neill’s setting where he employs a more effective melodic
contour for flute-specific passage-work. One practical reason for considering this alternative
interpretation to O’Neill’s setting is to counter the inconsistency and un-responsiveness of the
E note in the lower register, which is the weakest note on this instrument due to its physical
size (it is smallest of all the tone-holes),43
and in such a fast-paced performance, playing the E
roll as indicated in O’Neill’s would diminish the power of the passage-work. It must be noted
however, that when O’Neill, who was a traditional flute player himself, collected and
published this melody, Irish traditional music was performed in a different manner to the way
in which it is widely performed today, where the rhythmic emphasis would more closely have
43
This was a problem Theobald Boehm remedied in the mid-19th
century with the new mechanical system which bore his name. Boehm
increased the physical size of the finger-holes to a scientifically calculated optimum diameter and position to obtain maximum audible tone
output. This process rendered the holes too large to cover with the human finger, thus the Boehm keyed-system came into existence
supplanting what is now referred to as the pre-Boehm flute. See Chapter 2 for more on flute construction and nomenclature.

Chapter 3
31
resembled the aesthetic sensibilities of early 20th
century flute players John McKenna or Tom
Morrison. 44
Mid-way passage-work punctuation such as the E[roll]- in bar 2 (O’Neill’s), and
the G crotchet in bar 4 (O’Neill’s) would not have been uncommon, where the players
frequently utilised the technique of overblowing, to create a greater degree of rhythmic
pulsation throughout their passage-work.
Bar 3 is an exact repetition of bar 1.
Bar 4 commences with no articulation or ornamentation, and corresponds to O’Neill’s setting
almost exactly. However, Molloy employs the C instead of D’ as in bar 2, to enable a
smoother transition to the subsequent note, B. While Molloy’s interpretation in the second
section of bar 4 is very similar in melodic contour to O’Neill’s setting, one major difference is
present, in that Molloy does not resolve as O’Neill’s to the tonic G crotchet, but concludes the
bar on an F# quaver, which is a device he employs to pre-empt the condensed roll to triplet
flourish which commences the subsequent bar.
Bar 5. In this bar Molloy commences with a condensed short roll on G. The rapid ascending
triplet thereafter involves a technique widely employed by flute players where the movement
from B through C to D’ is a form of finger articulation involving full utilisation of the upper
hand. Molloy then moves from D’ with a slide up to a G' roll before finishing on E’, which
enables a smooth transition into the first note, D’, of the subsequent bar. This combination of
technical elements is typical of Molloy’s playing, where he contrasts simple melodic passage-
work in the preceding bar with short bursts of flamboyant, intricate ornamentation. It is also
indicative of his stylistic approach, and can observed throughout his recorded audio
44
Listen: Fluters of Old Erin: Flute, Piccolo, and Whistle Recordings of the 1920s and 30s (1990).

Chapter 3
32
performances.45
While this bar is full of ornamentation in Molloy’s setting, it does however
match the melodic contour of O’Neill’s to a high degree, where the G crotchet from the first
section of O’Neill’s is a condensed short G roll in Molloy’s (see Fig. 3, bar 5). The principal
accents on notes B, and D’ in the ascending triplet employed by Molloy are harmonic
counterparts to O’Neill’s E’ and F#’. The G’ triplet in O’Neill’s setting is also matched by
Molloy’s G’ roll, and both settings conclude with an E’ quaver.
Bar 6. The passage-work and ornamentation employed by Molloy in this bar is identical to bar
2.46
Bar 7. The passage-work and ornamentation employed by Molloy in this bar is almost
identical to bar 1. However, O’Neill’s setting contains a melodic development transitioning to
the upper octave.
Bar 8. Molloy commences with the same four quaver-note grouping as in bars 2,4, and 6. This
matches O’Neill’s setting closely in the corresponding locations in bars 2 and 4. In the second
section of this bar Molloy employs a B to G roll where the second and third G of the roll are
blown in the second octave. This is another characteristic of Molloy’s playing, where he shifts
from the lower to higher register mid-way through an ornamentation, particularly during a
roll, which provides impetus and urgency to the passage-work. This type of octave-shift
ornamentation is readily accessible on the flute due to the relative ease with which the
performer can transition between registers by applying greater air pressure while regulating
the embouchure.
Bar 9. By playing four quaver-notes in succession, as opposed to O’Neill’s crotchet and two
quaver-notes Molloy creates urgency. The use of cuts on A’ and B’ in the second grouping of
45
Listen: Matt Molloy (LP, Mulligan, 1976;R/CD. Green Linnet, 1984); The Heathery Breeze (LP, Polydor-Ogham, 1981); Stony Steps (LP,
Claddagh, 1987); with Seán Keane Contentment is Wealth (CD, Green Linnet, 1987); with Liam O’Flynn & Seán Keane The Fire Aflame
(CD, Real World, 1992); Shadows on Stone (CD, Virgin 2006); with John Carty Pathway to the Well (CD, Racket Records, 2007).
46
Molloy utilises the first four-quaver grouping of notes |D’BAC ….| in bars 2,4,6, and 8. O Neill’s setting contains this grouping once in
bars 2 and 6, while slight variants are present in the response elements of bars 4 |D’BCA ….| and 8 |D’BAB ….|.

Chapter 3
33
four quavers subtly infuses the passage-work with additional nuance which demonstrates
another key feature of Molloy’s style, and impresses elements of his dexterity upon the
listener where he emphasizes key melodic points in the passage-work.
Bar 10 Molloy’s interpretation corresponds to O’Neill’s setting almost identically in this bar,
where the first four quaver-note grouping is the same, with Molloy simply omitting the final
quaver-note F#’ contained in O’Neill’s to accommodate a breath before the subsequent bar.
Bar 11. This bar is an exact repetition of bar 9 in both Molloy’s and O’Neill’s settings.
Bar 12. The melodic contour of Molloy’s interpretation corresponds to O’Neill’s closely,
however, in the first four quaver-note grouping Molloy elects to play E’G’F#’A’ as opposed
to O’Neill’s D’G’F#A, which affects the passage-work in two ways. Firstly, it operates within
a relative E-minor framework with the first three quaver-notes where O’Neill’s operates in the
root harmonic framework of G-major with the first three quaver-notes. Secondly, as a result
of maintaining such a narrow melodic range in the passage-work, Molloy impresses the
perception of greater control. In the second section of this bar, he plays a G’ roll and takes a
breath over a quaver rest. This accommodates him with sufficient air for the subsequent bar,
while maintaining the melodic integrity of the tune through his conclusion of the phrase on
the tonic, G’.
Fig. 5: Captain Kelly's Reel, O’Neill’s ([orig. 1907] R1995) setting, and transcription of
Bar 13. This bar is identical to bar 9 in the case of O’Neill’s setting, with Molloy’s
interpretation varying slightly, where he has omitted one grace note in the second grouping of
four quaver-notes and employed light tonguing, which Molloy employs only occasionally in
his playing.
Bar 14. This bar is identical to bar 10 in both Molloy’s and O’Neill’s settings, as discussed
above.
Bar 15. The two-bar crescendo of the melody commences in this, the penultimate bar. Molloy
employs dynamic passage-work, where he utilises B as a focal-note or pedal, returning to it
repeatedly. This creates a final surge of impetus, and is in keeping with previous stylistic

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