The name literally derives from the wooden galleries which were constructed in churches during the eighteenth century upon which the choir would perform. Victorians disapproved of these Georgian galleries, and most were removed during restorations in the 19th century.
The instruments and singing style are more reminiscent of folk music than organ music or contemporary hymns. They are characterised by a strong melody backed by complex, often improvised harmonies.
Most early West Gallery groups sang unaccompanied, but later they were augmented by instruments such as the violin, cello, serpent and flute. Each instrument tended to lead a group of singers who gathered around it.
The West Gallery tradition was exported to America around the mid 18th century, where it inspired the creation of many new compositions.
Use of West Gallery music in the Church dwindled when the organ became popular, since it was cheaper to keep up one instrument than a West Gallery group. Furthermore, the old church bands were often difficult for a vicar to control, while influence over an organist was a much easier task. Such an ousting of the band by an organist is given a fictional treatment in Thomas Hardy’s early novel, Under the Greenwood Tree, which reflected actual events at Hardy’s church at Stinsford. Another factor was that the music was disapproved of because it was considered not solemn enough for worship.