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Traditional Gaelic Singing

19/5/2012

91 Comments

 
Seinn Dùthchasach / Seann Nòs
(Indigenous Gaelic Singing Styles)


Some of you have written to ask what the definition of 'seann nos' singing is. Well now, that certainly is a loaded question, but I'll do my very best to help.

The following will refer to indigenous/regional Gaelic singing styles and not the general performance of a Gaelic song:-

Firstly, the term 'seann nos', means 'old way/style', although this doesn't sufficiently describe our traditional, regional Gaelic singing styles. The term 'seann nòs' is relatively new and I think I would be right in saying that it was coined in Ireland around the middle or early 20th century. 

The word 'seann' (old), suggests that it is no longer current and that it is something which has died out or is old-fashioned. I prefer to use the term 'seinn dùthchasach' (indigenous / traditional / culturally rooted style of singing), although I admit that it may not trip off the tongue too easily! However, I feel it best  describes this form of singing, which has been passed down via aural/oral transmission for hundreds of years, but which is still as relevant today as it was in the past. Although becoming rare, there is still a living and unbroken tradition of singing in distinctive regional styles in some areas of Gaelic Scotland.

Singing a Gaelic song in a classical or contemporary style (Americana, Country, Jazz, Rock, fusion etc.) is very different to singing the same song in a regional seann nòs (style). While many singers can perform a Gaelic song quite beautifully, if they learn the words and tune well enough, and many are even able to imitate some of the traditional styles to a degree, singing in an authentic indigenous style which has developed within the singer's own area/family/culture for hundreds of years, is a much more complex form of singing altogether; it is full of nuances of language and style, melisma, rhythmic shifts and pitch shifts which can too often be lost on singers who were not reared with it. I like to compare it to one's lingustic accent, which is a STYLE of speaking which one soaks in subliminally, it was not specifically taught and is practiced naturally, without plan or thought.  It is the same for seinn dùthchasach - it is a SINGING ACCENT, if you will.  There are many and varied regional Gaelic singing styles, and also many forms of ornamentation within those styles, which can be found in the nòs of Gaelic regions stretching from the Butt of Lewis, in the Hebrides, down to the tip of Co. Kerry in Ireland.

The authentic way to perform 'seinn dùthchasach', is unaccompanied (a-capella), from memory, never from a written score.  The natural Gaelic speech within the poetry should always take precedence over the melody. The melody should always be fluid in order that the language rhythms are never compromised or distorted and the technical quality of the voice is never as important in these regional styles as it is in classical singing. The song text (the poetry), holds the most prominent position and if the text cannot be understood or is marred by such things as unclear diction, faulty pronunciation, broken phrases or even unsympathetic accompaniment then, to the ear of the Gael, the entire performance is compromised.  

There has been a lot of influence on Gaelic singing styles from other cultures and this is now beginning to influence audience appreciation of the genre. Having a tuneful, natural voice and an uncontrived regional singing style is crucial. The essence and beauty of good seann-nòs singing is its totally untrained, natural, free and relaxed quality. Authentic singers are completely comfortable with their language, their song and their singing style; having been exposed to it and nurtured in it, within their homes or communities, since childhood, and these performances rarely have a contrived feel to them. 

For a performer to suggest that they are a 'traditional Gaelic singer' by merely singing a song which is generally accepted as being from the traditional canon is misleading.  There is a LOT more to it than that.

The stress pattern of the Gaelic poetry in the song should dictate the rhythm and use of the basic melody, so that no two verses are alike, with regard to note values. Rhythmic freedom is one of the most important aspects of traditional Gaelic singing and is the one least understood by those not brought up with it. Nowadays, with so many Gaelic songs being accompanied by musical instruments, the rhythmic freedom can often be the most frustrating for any accompanying musician who is unfamiliar with the genre. 

With fewer opportunities to hear true traditional singing, in the remaining Gaelic communities, younger singers should therefore take time to seek out older traditional singers to listen to and learn from. Archive recordings are now easily accessible from the likes of the Tobar an Dualchais online database, and these can help singers to familiarise themselves with songs in their own regional style. Care should be taken, however, about learning from these archive recordings without the help of a mentor who is familiar with the songs and styles, as nuances of pronunciation, style and phrasing could be lost on novices. I would always advise singers to fully digest the text of the song before marrying it with the melody. In this way it is hoped that the nòs, phrasing, word stresses, assonance etc would be fully understood and appreciated. This should make an enormous difference to how a young singer will eventually communicate the song to their audience. There has been a tendency, over a number of years, for singers to be heavily influenced by regularity of rhythm, and even native Gaelic speakers are now subject to this trend. Some singers can be seen playing out the rhythm with their hands and/or fingers, while singing the song, keeping it in a strict rhythm. This often shows a lack of familiarity with the traditional free style and the all important language rhythms; giving the performance a very contrived quality.

Ornamentation
The tempo of a song may also vary according to the degree of ornamentation used. In the Scottish Gàidhealtachd, melismatic singing is much more pronounced in Lewis and in Harris, but nowadays there are fewer singers who ornament naturally and effortlessly in the traditional style. However, some singers, wherever they come from, feel that ornamentation is a requisite of any traditional singing; this, unfortunately, results in the introduction of a very artificial form of ornamentation in some performances. Affected, excessive or peculiar embellishments / ornamentation are unpleasant to listen to and add nothing to a sean-nòs performance, indeed they totally strip it of its traditional  'nòs' and should be avoided at all costs.

A style of singing which has been nurtured since childhood will always sound natural and will stand the test of time. A true traditional singer, brought up with melismatic singing, will never think about when or where to embellish notes, it will be as natural to them as breathing or as natural as their accent (as mentioned above).

When a singer is brought up with an indigenous singing style their performance of a song will always sound natura,  but as so little true 'seinn dùchasach' is now heard in our Gaelic communities, younger singers often have to learn their songs from commercial recordings which, although attractive in sound and quality, are too often based on techniques and styles outwith their own region and culture, and are usually from a variety of sources, with many singers now adopting mainstream jazz, blues, rock and pop styles within their performance. This shows that the emphasis is more on pleasing a non-Gàidhealach audience than on respecting the song or the traditional genre.  There is an element of the inferiority complex in this trend and suggests that some Gaelic song performers require to be validated by those from outside the culture before they feel comfortable about their own performance.  The danger in this is that the fickle nature of fashions and trends will render them ignorant of the true roots of the songs they perform, and they will certainly be unable to perform them authentically and/or pass them on to a younger generation.  What then of the unbroken chain ?


Free Rhythm
Another phenomenon attached to traditional Gaelic singing is that the singer will often make changes in the song each time it is sung. I know I do this myself, through my ornamentation or by subconciously making other slight changes in the melody notes. It will depend on how one feels at the time, on one's familiarity with the song, on the atmosphere, on how relaxed one is, or on the state of one's voice at the time.

Musical Accompaniment
Insensitive musical accompaniment has certainly had an adverse effect on the performance of traditional Gaelic song over the past 70 years or so. Songs which should be unrestricted in their rhythm are often forced into measured time because of unsympathetic musical arrangements, and possibly the intimidating tactics of instrumentalists who are unfamiliar with the genre and who force singers to alter or distort the natural linguistic rhythms within a song.

When Gaelic songs that are naturally free in rhythm are forced into a strict, and what is in fact an alien rhythm, many of the Gaelic words are stretched out unnaturally, poetic phrases are broken and the entire performance loses authenticity, particularly for the informed listener. Too often the meanings of the words are altered by the distortions of rhythm created by thoughtless instrumental accompaniment. I should add, however, that there are many accomplished musicians who are extremely adept and sensitive to the nuances of traditional singing styles (many of whom I've had the pleasure of working with) and who go out of their way to ensure that the song text is given due respect and that the singer is happy with their accompaniment. 

For those of us 'of a certain vintage', who were brought up in Gaelic speaking communities, local or regional singing was a part of our cultural landscape - it was always there and a constant in our lives, just as our language was. I am painfully aware that, nowadays, young people in the Highlands and Islands do not have this luxury and that their main exposure to Gaelic singing is through the medium of social media, CDs, videos, television, and large festivals, which too often marginalise or even exclude the most traditional performances.

Traditional singing, within communities, and performed in an informal and relaxed manner is becoming frighteningly rare.

I hope the above highlights the fragile state of traditional Gaelic singing (not to be confused with 'traditional' songs) in the 21st century, and the need to keep these precious living traditions alive within Gaelic speaking communities.  

I hope the blog encourages debate, and I would welcome any questions or feedback.  (please use the contact form).  

To finish, I'd like to quote Sorley MacLean;
Gaelic songs -  "the songs in which ineffable melodies rise like exhaltations from the rhythms and resonances of the words, the songs that alone make the thought that the Gaelic language is going to die so intolerable to anyone who knows Gaelic, and has in the least degree the sensibility that responds to the marriage, or rather the simultaneous creation, of words and music. 

It may be that a great piper without Gaelic can play pibroch supremely; it may even be that a great singer without Gaelic can be coached into a great performance of one of those songs; but it is CERTAIN that no one who does not know Gaelic can really hear one of those songs. I am convinced that Scottish Gaelic song is the chief artistic glory of the Scots, and of all people of Celtic speech, and one of the greatest artistic glories of Europe. I have been of this opinion for nearly 40 years, I have reiterated it ad nauseum, and now I am more convinced of its validity than I have ever been".
91 Comments
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29/7/2013 04:45:15 am

Traditional Gaealic songs are a great treat for our ears. They are the most meaning full songs among the folk songs. The meanings do have other hidden knowledge base within them. My information on these songs is broadened by your article. Thanks a lot for sharing this page.

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9/10/2013 11:32:35 pm

At times the meanings of the words are altered due to distortions of rhythms to match thoughtless instrumental accompaniment.

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19/3/2017 02:47:19 pm

Hi Margaret, thanks for this post. It has articulated something I have been trying to find elsewhere. Have you written more on seinn duthchasach?
-Dónal

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Kate McLaren
7/9/2017 12:52:58 pm

How disappointing to see that most of the comments aren't really comments at all. Wondering how on earth (and why!) they found their way to this blog.

I found this article very interesting, but also, as a learner, slightly depressing. Am I to think that because I am a learner, because I come from the Borders (which was never a Gaelic-speaking area) I had better not even attempt to sing Gaelic traditional songs?

Well, I'll never be Ishbel McAskill (or you) but I will continue to do my best, and try to forget how people who were lucky enough to grow up with the tradition regard me.

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Margaret Stewart link
7/9/2017 01:48:28 pm

Dear Karen,

Thank you so much for commenting on the blog. Yes, I agree that some of the comments are spam and it is a constant battle for my website hosts to keep them away.

I'm sorry that you found the article depressing (although interesting). It was never intended to put anyone off learning or singing Gaelic songs. It is an honest article aimed at addressing many of the questions that have been put to me with regard to sean-nòs singing and as a guide to those who strive for some measure of authenticity when performing in public whether that be in Mod competitions, commercial recordings or live professional performances in the sean-nòs style. The article does not refer to the actual songs but to the traditional and regional singing styles which are now fast disappearing

I am very glad to read that you are learning Gaelic and that you will continue to sing Gaelic songs. If I can be of any help please do not hesitate to contact me anytime via my website email [email protected].

I lead short courses on various themes of Gaelic song at the Sabhal Mòr Ostaig from time to time if that might be of interest.

Kindest Regards
Maighread

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Kate McLaren
7/9/2017 04:33:08 pm

How nice of you to respond, and I do see what you mean. And it's certainly true that I don't entirely appreciate traditional song unless it is also beautifully presented to a modern (-ish) ear, as it is by you and Ishbel and Cathy-Ann and...

So I think you're right in that I wasn't making the distinction between the songs and the style, thank you for clarifying.

It's quite likely that we will meet at SMO - I'm doing the Cursa Adhartais and although it's challenging to learn the language almost entirely online I'm getting there. I considered your course last summer but the actual language still took priority. Maybe next year!

Dòmhnall Briggs
30/8/2021 01:15:14 pm

A Mhaighread.
Thank you for your encouragement! I was feeling a bit like Kate after reading your article, but as a Gaelic speaker of some years, I think I realise and accept exactly what you say. I will never sing in seinn-dùthchasach, but that does not put me off singing Gaelic songs that I know and are very dear to me. Maybe the following ideas will be of assistance to the discussion:

I think I am right in saying there is a strong traditon for communal singing that still exists today - just watch Gaelic-speaking audiences at gigs today - in village halls, Celtic Connections, mods, and other festivals. The audience, given half a chance, joins in! They know the songs!. I know this is a different tradition from the old story-telling that Gaelic song was and is, which of course, calls for a soloist. However, rhythm and communal story-telling played a big part in life in the Gàidhealtachd in work songs.so such communal singing is valuable tn keeping some aspects of Gaelic song alive.

Sort of connected with the previous point is that broadcast shows on radio and TV and theatre priductions did an enormous amount in bringing Gaelic songs to the attention of an audience outwith the Gàidhealtachd and giving them a popularity. The most popular, maybe for commercial reasons (?) had a wider appeal because of their beautiful/memorable/catchy tunes and, often, very inappropriate lyrics. These 'arrangements' are aimed at appealing to non-Gaels. Many Scots and even Gaels have been and are 'guilty' of this.

The work I did during my course at Sabhal Mòr Ostaig has helped me enormously to understand the beauty of the language and culture underlying Gaelic poetry and story-telling, which is, of course, the basis of songs and I fully understand, appreciate and agree with the things you are saying, Margaret.

So, I hope I can feel confident in continuing to sing my songs with feeling, even if in a popularised way far from sean-nòs.

But there is nothing, but nothing, like hearing a Fileantach singing the lovely Gaelic songs in one of the many dialectical seinn-dùthchasaich. Keep learning Gaelic, Kate, and singing your songs; they are really uplifiting. And keep singing them properly for us, Margaret.

Hermann
15/9/2017 12:00:01 pm

Hi Margaret,

very interesting blog - I stumbled over it looking for singers of aCapella gaelic/scottish songs. Even if I cannot understand the lyrics (being german ;-) ), I am deeply impressed by the power and special magic of pure voice art, and the strength behind those.
Could I ask you for some recommendations of some 'sean nos' artists? I found you and Ishbell MacAskill so far, but would like to enjoy more...
Thanks a lot!
Greetings from the Isle of Skye (being here at least for some days ;-)

Hermann

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Kate McLaren
15/9/2017 03:48:50 pm

I'm pleased to see that this thread has been revived as it's really interesting. I'd also like recommendations from you, a Mhaighread - I listen to a lot of Gaelic song and am not sure how to classify it all! I assume Cathy-Ann MacPhee comes under the heading of sean nos? Christine Primrose? James Graham? How about the Mackenzie sisters? I presume you wouldn't include any bands...MacTalla, Cruinn...how about choirs?
I will ask the same sort of question of my Welsh trad music friends and see whether the answers are similar - would you see the Eisteddfod and the Mod as being the same sort of thing?

Reply
Margaret Stewart link
16/9/2017 07:29:18 pm

Hi
To help you appreciate and learn more about sean nòs singing, perhaps I could recommend the Tobar an Dualchais website www.tobarandualchais.co.uk. Here you will find many sean nòs singers from all parts of Gaelic Scotland as well as musicians, storytellers and some Mod competition performances which were recorded by the BBC.

I would not say that Gaelic choirs use a sean-nòs singing style. They do sing choral arrangements of 'traditional Gealic songs' but as sean-nòs singing is, basically, a solo performance which gives the singer freedom of expression, phrasing, stressing and ornamentation, this would not work in a choral environment.
Bands, by their very nature, would also not come under the heading of 'sean-nòs, due to the restrictions of the musical accompaniment, unless their lead singer(s) were to perform solo sean-nòs pieces as part of their set.

With regard to individual singers perhaps it would be best if you were to contact the singers you've named to discuss their singing styles.

Margaret

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10/11/2017 02:47:19 pm

Gaelic songs have something special that no other music does. I think younger generations should listen to this and learn about their roots.

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16/3/2018 11:48:21 am

Gaelic songs are great, I think it's up to us to keep them alive and share them with as many people as possible.

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Andrew Stone
19/3/2018 09:55:26 am

Fascinating piece, it could also be a description of the problems faced with modern interpretations of blues and swing music, which in the traditional context also have free rhythm and flexible interpretation

People not brought up with music invariably try to 'straighten it' which destroys the music.

It's, really, really difficult to explain the difference between straight and swung music if you don't have a childhood experience. Gaelic music is 'swung' a term used for Blue/Jazz/Swing and more for what you describe as 'Rhytmic Freedom' and more readily understood by non-Gaelic musicians and singers.

'It don't mean thing if ain't got that swing'

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Pádraig Morgan
7/7/2018 06:06:08 am

This article is a distillation of what defines sean nós/seinn dùchasach singing that should be required reading for everyone, Gaedheal or Gall, who is interested in this ancient art. Míle buíochas, a Mhaighréad.

While you justifiably criticise accompanying musicians unfamiliar with the genre, I would be most interested in your take on the flipside of this coin, namely sensitive accompaniment such as Dé Danann's on Tom Pháidín Tom Ó Coisdealbha's rendition of "The Banks of the Nile" (https://www.youtube.com/watch?v=LTkVisIvfog).

I'm not sure if this was accompaniment per se or was a separately recorded instrumental track, but I would venture to say that it embellished the final recording.

P.S. to those who might be unfamiliar with his singing, Tom Pháidín Tom of Spiddal, Connemara was a renowned sean nós singer who could perform with equal facility in English and Gaelic.

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Hilary NicPhaidein
8/9/2018 12:55:08 am

I sang for the first time at the Mòd nan Lochan Mòra in Akron, Ohio this past June. Margaret's comments about sean-nòs are invaluable to me as a beginner singer who wants to do justice to Gaelic poetry/song.

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22/2/2023 03:04:59 pm

Traditional Irish singing is the singing of traditional songs in the native styles such as sean nós. Though some people consider sean nós to particularly refer to singing in the Irish language, the term 'traditional singing' is more universally understood to encompass singing in any language, as well as lilting.

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12/4/2023 10:14:16 pm

Oh my goodness, I know these songs!

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Gaelic singing is a cherished art form that has been passed down through generations. It continues to thrive today, with dedicated singers and enthusiasts keeping the tradition alive and ensuring its preservation for future generations to enjoy and appreciate.

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The passage expresses a deep appreciation for Gaelic songs and the profound connection between the melodies and the language itself. It emphasizes that truly experiencing and understanding these songs requires knowledge of the Gaelic language. The author believes that Scottish Gaelic songs are not only a significant artistic achievement for the Scots and Celtic people but also hold a place among the greatest artistic glories of Europe. This opinion has been reiterated for many years and remains steadfast in the author's conviction.

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3/7/2023 12:11:57 pm

The preservation of traditional Gaelic singing is crucial in Gaelic-speaking communities. With the decline of opportunities to hear true traditional singing, younger singers must make an effort to learn from older singers and familiarize themselves with their regional styles. Traditional singing performed within communities and in an informal and relaxed manner is becoming increasingly rare.

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Authentic seann nòs singing is deeply rooted in the singer's regional style, which has developed over centuries. It encompasses nuances of language and style, including melisma, rhythmic shifts, and pitch shifts specific to each Gaelic region. The rhythmic freedom in traditional Gaelic singing is often misunderstood by those not familiar with the tradition, especially when accompanied by instruments.

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What is traditional Irish singing called?

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I'm glad to know that this tradition is still alive.

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What are the traditional Irish singing techniques?
Irish folk singing techniques include ornamentation, particularly in the form of melodic variation (trills, rolls, grace notes, etc.). The ornamentation on the melody gives life to the song and showcases the singer's emotional depth.

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I wanted to take a moment to express my appreciation for the authentic voice that permeates your blog. The sincerity and genuineness in your writing create a connection that goes beyond the screen. It's clear that you're not just sharing information; you're sharing a part of yourself.

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"While 'seann nos' translates to 'old way,' it may unintentionally imply something outdated or fading. Perhaps a more accurate term, especially considering its continued relevance, is 'seinn dùthchasach,' meaning 'indigenous/traditional/culturally rooted style of singing.' T

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Thank you for your dedication to preserving and promoting this treasured aspect of Gaelic culture, and for sharing your knowledge and passion with others. Your blog serves as a valuable resource for those seeking to deepen their understanding of traditional Gaelic singing and its enduring significance.

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While traditional Gaelic singing holds immense cultural significance, it faces challenges in the modern world. The decline of the Gaelic language and the dominance of mainstream music threaten the preservation of this ancient tradition.

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Partly related to the latter point, radio, TV, and theatrical productions played a significant role in popularizing Gaelic songs and drawing attention from audiences outside of the Gàidhealtachd.

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Traditional Gaelic singing, often referred to as seann nòs (meaning "old style") or more accurately seinn dùthchasach ("indigenous/traditional singing style"), is a deeply rooted Gaelic vocal tradition that is still alive in certain regions of Scotland and Ireland. While seann nòs is the more commonly used term, some traditionalists feel it implies that the style is outdated, whereas seinn dùthchasach emphasizes the cultural continuity and heritage of the style.

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Your blog serves as a valuable resource for those seeking to deepen their understanding of traditional Gaelic singing and its enduring significance

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I love how you explained the depth of 'seann nòs' singing. It’s so interesting to think of it like a natural singing accent, where the rhythm and language truly take the lead. The way tradition still lives on through this style is something really special.

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This is a thoughtful explanation of seann nòs singing and its cultural significance.

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Only few could understand and appreciate the beauty of Gaelic Singing. It was wonderful.

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The way you combine insightful analysis with actionable takeaways significantly enhances its value. In summary, it’s an inspiring, informative piece that leaves a strong impact and exemplifies high-quality content in its field.

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Thanks for sharing this detail about Traditional Gaelic Singing, and it is good for the users who need help. You are having the best ideas that we all are searching to get information.

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Wow. Interesting can you make a cover of the latest songs using gaelic style?

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This is a compelling and well-researched take on Gaelic singing traditions. A slight refinement in structure and clarity could make it even more engaging for a broader audience.

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7/2/2025 08:22:07 am

So, you're curious about "sean nós" singing? It's a great question, and honestly, it's a bit of a tricky one to answer simply, but I'll give it my best shot!

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Wow. I've got a goosebumps listening to this song!

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This is an excellent and informative explanation of seann nòs singing, but it could benefit from some refinements for clarity, conciseness, and readability.

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I was able to listen to Gaelic Singing when i was in Scotland. It gives me goose bump!

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Traditional Gaelic Singing is a nice idea and there are a lot of people who need help to get the right solutions. It is good for us to see how we can learn more of these ideas. When we use it, we can get the desired results.

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7/4/2025 11:14:30 am

That's really interesting — I had no idea the term 'seann nòs' was such a recent development!

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This is a rich and insightful piece, Leon — the blend of personal reflection, linguistic depth, and cultural respect makes it deeply engaging for anyone curious about traditional Gaelic music.

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14/4/2025 12:19:14 pm

"That's really interesting—I'd always assumed 'seann nòs' was a much older term, given how ancient the singing style itself is.

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I miss listening to live Gaelic music performance.

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I'm happy to get a chance to listen to Gaealic Singing.

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9/5/2025 01:34:27 pm

The music should never take precedence over the poetry's organic Gaelic speech.

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Maybe your ideas will be of assistance to the discussion.

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    Margaret

    Award-winning Gaelic singer, folklorist and Gaelic Song Specialist from the Isle-of-Lewis,



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