Famous Tunes Rarely Played in Sessions

Sliabh Na mBan has a prominent commercial footprint in traditional Irish music, appearing on 72 commercial recordings by 60 different artists. However, it has a comparatively modest presence in documented session sets, with only 8 appearances.

The data suggest that this discrepancy reflects the tune's primary role as a slow air. In standard group sessions, players typically opt for rhythmic dance tempos (like reels or jigs) over slow, unmetered melodies, which are historically performed as solo pieces.

Popularized by groups like Planxty and The Dubliners, As I Roved Out has accumulated 63 commercial recordings by 51 artists. In contrast, it appears in considerably fewer documented session-set appearances, with only 15 entries.

This may reflect the tune's origin as a song melody. Even though the instrumental phrasing conforms to a polka meter, musicians in casual sessions may prefer dedicated dance tunes that possess more rhythmic drive and ornamentation.

Roisin Dubh is a cornerstone of the traditional repertoire, with 56 commercial recordings by 41 artists. Yet, it has a comparatively modest presence in documented session sets, with only 16 appearances.

This discrepancy likely arises because the tune is typically performed as a slow air. Slow airs are historically solo, expressive pieces with free-flowing rhythm, which does not translate easily to the steady, collective tempo of a group session.

Easter Snow is highly regarded in commercial studio projects, counting 42 recordings by 33 artists. Despite this, it has a comparatively modest presence in documented session sets, with only 12 appearances.

The data suggest that the tune's flowing, air-like qualities may make it less suitable for group session play. Musicians may find it fits solo piping or fiddle performances better than structured, multi-instrument sets.

With 94 recordings by 72 artists, The Cuckoo is a classic showpiece. In documented session sets, however, it appears only 28 times.

One possible explanation is the tune's technical demands, including frequent triplets and descriptive bird-call imitation passages. This level of ornamentation may make it much more prominent on commercial recordings, where solo players can showcase their skills, than in standard group sets.

Johnny Cope has a long commercial history, with 49 recordings by 44 artists. Yet, it has only 16 appearances in documented session sets.

This may reflect the tune's complex, multi-part structure, often containing up to six distinct parts. Such complexity is often well-suited for studio arrangements or solo exhibitions, but can make coordinating a set in a busy pub session much more difficult.

The Banks is a prominent display hornpipe with 66 recordings by 59 artists. In session sets, however, it appears in considerably fewer documented appearances, with only 23 entries.

A possible explanation is the tune's key. Written in F Dorian (often modulating to F major), it requires advanced half-holing on the standard D tin whistle or uilleann pipes, which may deter players in open sessions.

My Lagan Love has a massive commercial footprint with 52 recordings by 45 artists. However, it shows up in only 19 documented session sets.

The data suggest that this discrepancy is due to the tune's character as a song or slow air. In group sessions, players typically opt for rhythmic dance styles like jigs or reels over slow, unmetered melodies.

The Cliff has been recorded 64 times by 50 artists, showing its popularity in the studio. In documented session sets, it appears only 24 times.

One possible explanation is the tune's wide melodic range and complex leaps, which are well-suited for solo fiddle or button accordion recordings but present coordination challenges in a crowded group.

Colonel Fraser is a legendary five-part reel, recorded 123 times by 92 artists. However, it has a comparatively modest presence in documented session sets, with only 49 entries.

This may reflect the reel's length and the technical precision required to execute its key transitions across five parts. It is highly valued as a test of solo piping and fiddle playing, making it much more prominent on commercial recordings.

The Garden Of Daisies is a traditional set dance with 57 recordings by 53 artists. In documented session sets, it appears only 23 times.

This may reflect the irregular, asymmetrical structure characteristic of set dances. Since set dances do not conform to the standard 32-bar structure of typical session tunes, they are more difficult to pair with other hornpipes.

President Garfield's has 49 recordings by 43 artists, demonstrating its studio popularity. However, it has only 20 documented session-set appearances.

One possible explanation is the tune's rapid string-crossing patterns and arpeggios. While accordionists and fiddle players enjoy this complexity on solo albums, the tune presents technical hurdles in a casual multi-instrument session.

The Blackbird is a classic melody, counting 142 commercial recordings by 118 artists. In documented session sets, it appears in considerably fewer appearances, with only 60 entries.

The data suggest that this reflects its role as a traditional set dance with an irregular 15-bar B-part. This structural asymmetry makes it difficult to blend into standard sets of 32-bar hornpipes.

James Hill's famous hornpipe is highly popular in studios, with 97 recordings by 76 artists. In documented session sets, it has a comparatively modest presence, appearing only 43 times.

This may reflect the key change in the second part to B-flat major. While B-flat works well on fiddle or accordion, it requires difficult half-holing on standard D tin whistles and is nearly impossible on standard pipes, which likely limits its use in group sessions.