Ok I am loosing all track of where we are going here. As far as I can see people have been playing what were and actually remain dance tunes for dancing and for general pleasure for at least 500 years.

They were and are still played in a range of situations from 2 men and a dog in the kitchen to major concert halls and even sports arenas across the world.

Some of us gather in something we call "Sessions" and play together because we like doing it. Our Session like most is open to anybody who comes through the door. Last week we had: 6 fiddles,5 whistles, 5 guitars,2 melodeons, 1 accordian, 1 hammered dulcimer, 1 mandolin, 1 snare drum, 2 concertinas and 2 banjos.

Now, no bods that day but I guess the snare would have to go and Jim isn't keen on the accordian or the banjos. Steve would chuck at the guitars.

But this is a social event where we enjoy each others company and play great tunes. I guess at some other sessions somewhere security is refusing entrance to the Bods.

How about those mandolas / bazookis / citterns strummed within in inch of they lives without a hint of melody.

I don't know which I enjoy most, Jim's detailed and extensive knowledge of Irish Music or his subtly understated criticism of those with whom he does not entirely agree:

"The only reason bodhrans are 'singled out' is because of the spectacularly destructive effect they can have on a session and they that they are the natural choice of people who don't want to put in the time but are happy to bang away in order to practice in public - or even, give the appearance of practicing."

And:

"Even if that were not the case, it has to be recognised that a percussive instrument changes the nature of the music from melodic to rhythmic,"

Because of course it has to be one or the other doesn't? You see I am not really a musician but I have noticed those numbers at the start of music: 6/8, 3/4, 9/8, 2/4, are these just left overs from the bad, bad old days of dancing when people played for jigs, slip jigs, polkas and so on?

I much enjoy teasing the English Folk Dance and Song Society with the idea that Sharp and his mates went out and kidnapped all those songs and locked them up in Cecil Sharp House. Who are the gate keepers of diddly tunes - who is saying how they should be played, where and upon which instruments?