Gaelic harp music was an oral tradition, which was not written down by the harpers. It became extinct in the 19th century, before audio recording was invented. So, the repertory has to be reconstructed from scattered and fragmentary sources noted by collectors and other musicans.
Read more about the sources...

Accompanying Vocal music was the main role of the Gaelic harp. A harper would work with a singer, playing to accompany their performance of a complex formal Gaelic poem or song. Sometimes, especially later in the tradition, the harper would sing whilst playing.
Read more about song...

A right-hand
bass chord
from
Bunting's
1840 book. Click here for an online edition

Instrumental music was played by the harpers. From the 17th century, the earliest notated Gaelic harp tunes are instrumental compositions, known as ports. Song airs were also played, sometimes elaborated and formalised.
Read more about the port...

Ceòl mór ('great music') is the modern term used to refer to the most formal and elaborate instrumental music of the Gaelic world. Now played only on the bagpipes, where it is known as píobaireachd or pibroch, this style of music is much older and used to be played on fiddle and also on Gaelic harp. A piece is generally formed of a slow air with figured variations and can last for 10 minutes or more.
Read more about ceòl mór...

The Gaelic harp was used for church music from earliest times to the end of the tradition, but little is currently known about the details. 18th and 19th century stories include accounts of harpers providing music for the liturgy.
Read more about liturgical music...

Foreign music was played on Gaelic harps in Ireland and Scotland as well as abroad. Irish harpers worked in the courts of England, Spain and even Poland; the harpers at home didn't hesitate to include the latest imported styles and tunes in their repertory.

Click here for a general overview of the historical Gaelic harp music.

The old traditions listed above all died out about 200 years ago. Over the last 30 years there has been a small but significant revival of historical Gaelic harp playing. A number of recordings have been issued, ranging from close interpretations based on the historical sources to free use of elements of the tradition in folk and contemporary music. Also there are some tutor books and collections of arrangements, which can be very useful to a student looking for guidance on approaching the original sources.

Simon Chadwick