Explanation of analysis
Táim i mo Chodladh has three sections of 16 bars. The first section contains 8 bars of
material which is repeated to form a total of 16 bars. In the analysis, compound intervals
an octave or more (for example, notes 12 strings apart on a harp) are described as
simple intervals less than an octave, (eg., 5 strings apart) to show their harmonic
relationship clearly. Concordant intervals are those posited as being related to the
theoretical triads but which are not octaves. Bass and treble notes are defined as being
The analysis recognises at least two hypothetical triadic chords built on G & D (F & C in
the key of F). The hypothetical E chord (D in F) may exist halfway through the third
section at the cadence of the line. Hypothetical triads may not explain the harmony of
the stressed melody notes F & E in this piece (Eb & D in F).
F (Eb in F) is harmonised with the bass through a fairly simple octave staggering. E and
A (D & G in F) might be appoggiatura-like notes occuring against a hypothetical triad and
resolving onto it. The notion of appoggiatura raises significant questions in relation to
Gaelic bass harmonisation techniques. Such an appoggiatura occuring simultaneously
in treble and bass on a downbeat against a hypothetical triad is a possible theoretical
explanation for some uses of E and A in this tune. The possible instances of
appoggiatura in this piece may reveal a stylistic preference of the old harpers against
striking appoggiatura notes against other notes when using a melodic form of bass at
certain points in a piece.
Táim i mo Chodladh
Explanation