Why These Famous Traditional Tunes Are Rarely Played in Sessions

Why it is surprising: Composed by Newcastle fiddle master James Hill, *The High Level* is celebrated in recordings by legends like Bobby Casey and Sean McGuire as a pinnacle of hornpipe playing.

Session obstacle: The tune modulates from G major in the first part to B-flat major in the second. While B-flat is beautiful on the fiddle or an accordion, it requires difficult half-holing on the standard D whistle, and is practically impossible on standard uilleann pipes. Unless you have a room full of fiddle players, this tune is a session-killer.

Why it is surprising: Boasting over 220 commercial recordings, *The Star of Munster* is one of the most famous reels in Irish music. Almost every student learns it early in their training.

Session obstacle: Despite its fame, the tune has a very low set appearance count (75) compared to session giants like *Cooley's* (over 1,500). Its B part is notoriously repetitive and features high, screaming G notes on the fiddle that require careful control. In a crowded, noisy pub, the repetitive nature and high register can easily sound screechy and tire out the players.

Why it is surprising: *The Blackbird* is a foundational melody, heavily recorded across the 20th century as a symbol of cultural pride.

Session obstacle: *The Blackbird* is actually a traditional **set dance**—meaning it is played in hornpipe time but has an irregular structure (8-bar A part, but a long 15-bar B part). Because it deviates from the standard 32-bar form, it cannot be easily paired with other hornpipes. It is played as a solo piece for dancers or showpieces, making it an awkward choice for group sets.

Why it is surprising: A classic jig recorded by master uilleann pipers and button accordionists to demonstrate complex ornamentation.

Session obstacle: The tune is a massive **6-part jig**. In a pub session, playing multi-part tunes is highly risky unless every musician knows all six parts in the exact same sequence. Because different regions and players omit or swap parts, sessions almost always stick to simpler 2-part or 3-part jigs to maintain cohesion.

Why it is surprising: A beautiful, driving jig in D mixolydian, highly popular in recording catalogs.

Session obstacle: While played occasionally, its ratio of recordings to session sets is heavily skewed. The tune features awkward fingering leaps and a circular, modal structure that makes finding a satisfying transition into a subsequent jig difficult. It is often treated as a standalone recital piece.

Why it is surprising: A globally recognized jig, historically published in almost every 19th-century collection and recorded by major folk bands.

Session obstacle: This tune is heavily associated with the traditional song of the same name. Because it is simple and has vocal roots, instrumentalists often find it too plain or slow to generate the drive expected in modern session sets. It is bypassed in favor of punchier jigs like *The Morrison's* or *The Kesh*.

Why it is surprising: A hauntingly beautiful melody recorded on dozens of albums by singers and harpists.

Session obstacle: Although occasionally transcribed as a polka on index sites due to its rhythmic structure, *My Lagan Love* is fundamentally a **slow air** and song. Slow airs are highly expressive, solo pieces that rely on free, unmetered rhythm (rubato). They do not translate to the steady, driving beat of a pub session and are rarely played in a group setting.

Why it is surprising: A famous hornpipe recorded by virtuosos to demonstrate speed and complex bowing or bellows work.

Session obstacle: *The Derry* is an extremely intricate **5-part hornpipe** packed with rapid triplets, arpeggios, and register shifts. While it is a beloved test piece for step dancers and solo violinists, its high technical barrier makes it too risky for casual, multi-instrumental sessions.

Why it is surprising: A legendary melody immortalized by bands like Planxty and The Dubliners.

Session obstacle: This tune is a classic ballad (song). Although rhythmically a polka, it is almost exclusively performed by singers with backing chords. Instrumental session players rarely adopt it because it lacks the typical ornamentations and drive of dance-oriented polkas.

Why it is surprising: *The Bucks of Oranmore* is arguably the most famous 5-part reel in the entire tradition, recorded on countless legendary piping and fiddle albums.

Session obstacle: It is known as a **"session-ender"** or showstopper. Because it is highly energetic, technically demanding, and has five distinct parts, starting it requires courage. It can quickly exhaust a group, and less experienced players will immediately drop out, meaning it is played far less frequently than its fame suggests.

Why it is surprising: A blistering, bright A major reel with 242 commercial recordings, representing one of the highest recorded counts in the database.

Session obstacle: *The Mason's Apron* is historically used as a platform for endless, virtuoso variations (specifically in the styles of Sean McGuire). In a collaborative pub session, playing a tune that is associated with solo exhibitionism is often avoided to keep the focus on group music-making.

Why it is surprising: A classic Sliabh Luachra slide, recorded by legendary players to showcase regional West Kerry styling.

Session obstacle: Slides are played at a fast, driving 12/8 clip. *Scully Casey's* contains complex, chromatic-feeling lines that are difficult to coordinate at high speeds compared to simpler slides like *The Road to Lisdoonvarna* or *Denis Murphy's*.

Why it is surprising: A famous polka widely documented in historical collections and recorded on classic traditional band albums.

Session obstacle: This tune is a march/polka heavily used by marching bands and set dancers. In a standard pub session, musicians prefer Sliabh Luachra polkas with a specific lift, bypassing this tune because of its square, brass-band feel.

Why it is surprising: A popular, bouncy polka that is recorded across many old-time and Irish albums.

Session obstacle: Originally a music hall song, its popularity is driven by vocal arrangements. Instrumentalists rarely include it in session sets because the melodic structure feels repetitive without the lyrics.