| Class Schedule (PDF File) |
Class Schedule (MS Excel File) |
About Student Ages
Our regular classes are for students ages 11 and older. We have a Kids FUN Camp for ages 6-10 that will include musical instruction but also other fun activities. Please see the description under Kids FUN Camp below. For a child under 11 to enroll in regular classes, we require an audition recording and a written reference from a music teacher or non-family member who is familiar with the child's abilities.
About Class Levels
Classes are intended for players with the basic skills required to play their instruments. We regret that due to the short duration of the retreat , except for the bodhran and tinwhistle, it is not practical to offer instruction for novice students who have never played their instruments. All of our non-instrument classes are open to all levels. Here are the class levels provided at the retreat:
Basic or Fundamentals classes are for those students who know how to play their instruments at a beginning level and will learn the fundamentals of playing Irish music. These classes are not designed for players just starting to learn their instruments, but rather, students who are familiar enough with their instruments that they are already playing some melodies on them or, in the case of rhythm instruments, familiar with basic chording. A knowledge of Irish music is not necessary.
Intermediate/Adavanced classes are for those students who are able to play many tunes by ear with good technique and at a reasonable speed (i.e., dance tempo) or know how to accompany tunes on their rhythm instruments. A knowledge of Irish music is helpful. Please refer to requirements, if any, for these classes before enrolling.
About Class Progressions (Please Note)
Classes are progressive from one to the next if the class title includes a number that increases with each offering (e.g., Class 1, Class 2, Class 3, etc.) On the other hand, informances and specific non-instrument classes (e.g., ABCs and Learning by Ear) include the same content each time they are offered. IMPORTANT: Please attend only those classes that you have enrolled. If you would like to transfer to a different class, come to the main office or the retreat booth. Some classes may be full and can not accept additional students.
About Enrichment Classes
Each day of the retreat during a particular time period, our guest instructors offer "enrichment classes" that are designed to help provide context for the music that is learned at the retreat. The classes may present historical perspectives, actual life experiences or in-depth studies of the origins of styles, methods, tunes, etc. These are wonderful opportunities to learn about Irish music.
About Instruments Played in Classes (Please
Note)
In classes where Irish music is being taught on specific instruments,
students must use only those instruments in those classes. Examples:
Five-stringed banjos would not be appropriate for the tenor banjo classes;
cellos not appropriate for the fiddle classes; button accordions not
appropriate for the piano accordion classes, etc. If you don't have
the right instrument for a given class, you may audit the class but
please don't bring any instruments that aren't required for it.
ABC NOTATION
Learning Your ABCs (Rick Roberts)
ABC music notation has become the internet standard for sharing Irish tunes around the world. Using ABC notation, Irish tunes can be represented in a few lines of text that anyone can type at computer keyboard. For those that don’t read music, it is often easier to learn than standard music notation. For those that do read music, software is readily available to print high quality sheet music from tunes in ABC format. In this workshop, students will learn how to read and write ABC notation, how to print sheet music from ABC notation on your PC, how to play ABC tunes on your PC, and where and how to download Irish tunes from the internet.
BODHRAN
Bodhran (Mark Stone) -- Progressive Class
This class will introduce the rudiments of Irish music as applied to the bodhran. Class discussions will include such topics as session etiquette, care and feeding of the bodhran, rim shots, and basic left-hand techniques to adjust the tone. The class will also include an overview of the principal dance tune forms including jigs (double and slip), reels, hornpipes, polkas, slides, etc. This class is for all levels. Emphasis will be placed on variations of rhythm and style and using both hands to support and "play" the melody along with lead instruments
BOUZOUKI
Bouzouki (Jimmy Crowley) -- Progressive Class
The Irish bouzouki, or cittern, has gained a prominent role in Celtic music over the last thirty years, and Jimmy Crowley is one of its best players today. Jimmy will cover techniques of both melody and accompaniment, focusing on right and left hand position, posture, picking and strumming patterns, tone production, tunings, chords, capos, choosing an instrument, instrument care, etc. Also, Jimmy will teach students the history of the instrument and modes. He will also show students how to avoid repetitive chording, the effectie use of arpegios instead of strumming chords, and where counterpoint accompaniment feels natural and desirable.
BUTTON ACCORDIONS - C#/D & B/C
C#/D & B/C Button Accordions (Damien Connolly) -- Progressive Class
This class will explore the C#/D and B/C button accordions played in the Irish style. The focus will be on maneuvering over the keyboard, bellows control, fingering, ornamentation, phrasing, dynamics, chording, etc.
ENRICHMENT CLASSES
Composing Tunes (Liz Carroll)
Learn how Liz writes tunes. She will explore what makes a good tune, and how she goes about composing her own.
From Birmingham to Ballyogan (Kevin Crawford)
Emigration has played a huge part in bringing to foreign lands the music of Ireland. Some of this is well documented. In America, for example, the music of Michael Coleman, James Morrison, John McKenna, Lad O’Bierne, Martin Wynne, etc., is well known through their various recordings and the information gathered by musicians and scholars down through the years. Similarly over in London the likes of Bobby Casey, Roger Sherlock, Danny Meehan, Brian Rooney, Joe Ryan, Tommy McCarthy, Brendan Mulkere, etc., were all forced to leave Ireland in search of employment but retained their identity through the music. These musicians in exile spawned a whole new generation of Irish musicians and singers who in turn have continued to play an integral part in keeping our tradition such a vibrant and living one. Various cities in the U.K. have enjoyed boom periods in Irish music. Having lived through the Irish Music ‘boom’ in Birmingham during the 1980’s, Kevin will share his sense of how special and unique the the music and musicians of Birmingham were when he left late in 1989 eventually setting up home in Beautiful Ballyogan in Co Clare.
Gender and Uilleann Piping (Louise Mulcahy)
Louise will discuss gender in regards to uilleann piping and the possible reasons for it being a male dominated tradition.
Heritage, Symbol and Performance: The Transformation of the Irish Harp (Michelle Mulcahy)
This class will focus on the tradition of harping in Ireland. The harp is a significant instrument in the musical, cultural and performative world. The instrument itself has long been a poignant symbol associated with Ireland and all things Irish dating back to Ireland’s mythic and political history. Within the performance realm of the harping tradition, the performance itself offers a quality of insight into human experience, an experience relational to the cultural and sonic texture associated with the instrument but also linked to a creative voice embodied in the musical style itself.
The History of Irish Music Prior to 1900 (Damien Connolly)
This class takes the audience on a journey from pre-Christian Ireland to the about year 1900. Perfect for anyone seeking to learn or reacquaint themselves with the roots of the Traditional Irish Music that we love today.
Identity and Accent in Ethnomusicology (Jimmy Crowley)
This class considers identity and accent in ethnomusicology, using the ethnographical work of Jimmy Crowley on the Cork urban ballads as a reaction to the Dublin orientation of the folk scene in Ireland in the sixties and seventies.
The Music of East Clare (Martin Hayes)
Martin will discuss and demonstrate the tunes and variations that make the music of East Clare a distinct style.
Songs: Performance, Accompaniment and Composition (Robbie O'Connell)
This class will examine all aspects of songs, singing and performing. We will cover traditional and contemporary songs, both accompanied and unaccompanied. How do you get the most out of a song and make it your own? The answers are surprisingly simple and we will explore them in depth. We will look at guitar accompaniment in regular and alternate tunings. We will show you how to find the best key for you and explore the various options for accompaniment. What makes one singer's version of a song the definitive version? We will analyze the techniques that make a song great. We will see how introductions and links are put together and how they can dress up a song and give it a unique style. We will trace the evolution of a song from a book or a field recording to performance on stage. We will discuss how a spoken introduction can set up a song. Have you ever wanted to write a song but did not know where to begin? We will cover the stages of song writing from the initial idea to the finished song. We will discuss the tips and tricks for increasing your creativity and becoming a songwriter. Bring a recorder, a notebook and an instrument. If songs are your passion, this is the class for you.
Teaching Irish Music (Randal Bays)
We're all learners and hopefully we will all at some point be teachers, passing along what we've been given and keeping the music alive for generations to come. But it's far from straightforward, not just a matter of teaching a new page out of a book once a week. What does it mean to teach Irish traditional music (especially if you're not Irish)? What makes it different from other kinds of music, and how is it the same? How can you get those sounds to come out of your instrument, the way you first heard it and were so blown away? What's the best way to make really strong coffee when you're on the road? Oops... different class.
Telling Stories through Ballads (John Doyle)
History is often recounted in song blending wonderful melodies and thoughtful prose to tell the stories. John Doyle shares some of his favorite Irish, Scottish and English ballads and discusses what makes them so important to traditional music and why they are relevant for today.
Stringed Instrument Maintenance and Repair (Dave Cory)
Dave has been repairing non-bowed stringed instruments for 15 years, proffesionaly for 10 years. He will cover as many topics as possible, including: basic setups, buzz/rattle diagnosis, d.i.y. "in a pinch" repairs, what to expect with involved repairs, etc. Since to one degree or anther, the instruments we use affect the nature of what we can play, and how easily, Dave will try also to address how differences in set-ups, string gauges, and instruments can suit ones musical taste and style. There will be literature and reference material, no tools, and no shop knowlege needed.
When New York Was Irish – The Irish Trad Scene in the 1970s/1980s (Rose Conway Flanagan)
The folk music revival here in the U.S. in the 1970s and ‘80s brought an upturn of interest in traditional Irish music and an influx of "revivalist" players to the New York music circles. These players from that “long ago” era of Irish music have continued the tradition in various ways. Rose will take you back in time to relive her experiences from New York’s Irish music tradition and share her memories about such players—as her brother Brian, Eileen Ivers, Joanie Madden, John Nolan, Patty Furlong and many others who contributed to a music scene that is still thriving today. Rose will also discuss the various music schools, the friendly musician rivalries, the fleadhs and the sheer fun of this dynamic era.
FIDDLE
Basic Fiddle (Clare Cason and Bill Cummings) -- Progressive Class
This class is intended for fiddlers who know how to play at a basic level but have limited technique and repertoire. Students will learn during each class a few simple Irish fiddle tunes by ear and by standard music notation including a waltz, a jig, and a reel. Basic bowing technique and fundamental Irish ornamentation will be introduced.
Intermediate & Advanced Irish Fiddle (Rose Conway Flanagan, Liz Carroll, Randal Bays, and Martin Hayes) -- Progressive Class
This class is intended for fiddlers who have familiarity with Irish style fiddle playing. Students will learn Irish fiddle technique including ornamentation (rolls, grace notes and bowed triplets), tone, rhythm and the more common bowing patterns used in Irish style playing. Because of class limits, you are required to take all of your fiddle classes with the teacher whose classes you initially enrolled. Before enrolling, please review the requirements for this class -- PLACEMENT CRITERIA
FLUTE
Flute (Kevin Crawford) -- Progressive Class
This class is for students who are skilled enough to play tunes in a variety of rhythms (jigs, reels, etc.), with good technique and at a reasonable tempo. This course will expand on the skills and topics introduced in the beginners class, with more attention given to ornamentation, breathing, style and repertoire, while continuing to emphasize rhythm and phrasing in the music. Tunes will be taught by ear so bring a D flute and a recording device. ABC notation will be provided for those who need it.
GUITAR
Irish Guitar Fundamentals (Jeff Moore) -- Progressive Class
These classes will focus on the very basics of rhythms, using a pick, strumming, how to play a jig, reel, etc. in standard, dropped-D and DADGAD tunings, session etiquette and how prepare for playing Irish music in a session. Chord substitutions and common progressions will be covered. Students should be comfortable with basic chords and strumming.
Dopped-D Guitar (John Doyle) -- Progressive Class
In this class, students will learn to apply Dropped-D tuning to accompany Irish traditional music. The class will explore a variety of types of tunes, dynamics through syncopation and emphasis, chord substitutions and common progressions. Students should be comfortable with basic chords and strumming.
HARP
Harp (Michelle Mulcahy) -- Progressive Class
The harp is the most ancient and graceful of traditional Irish instruments. This class will explore the basic techniques of Irish harp playing with an introduction to the traditional repertoire including O’Carolan compositions and slow airs as well as the traditional dance repertoire.
IRISH TUNES PLAYED SLOW
Irish Tunes Played Slow
These instructor-led sessions are designed to teach new tunes and to cover some of the tunes students have already learned at the retreat. The tunes will be suggested by the students and played many times at a slow tempo and then faster so all levels of players can participate.
IRISH TUNES PLAYED UP TO SPEED
Irish Tunes Played Up to Speed
These instructor-led sessions are designed for students who are very familiar with traditional Irish music and can play tunes up to dance speeds.
LEARNING BY EAR
Learning by Ear (Kevin Alewine)
This class is offered for players of all instruments. The class will explore ear training and memorization tools to enhance the student’s ability to learn and retain tunes without the aid of written music or tablature.
MANDOLIN
Mandolin (John Liestman) -- Progressive Class
This class will explore the use of the mandolin in traditional Irish music. Particular emphasis will be placed upon proper left and right-hand techniques, ornamentation, variation, and translating concepts from other traditional instruments, pipes, fiddle, flute, whistle, etc., to the mandolin.
MUSIC THEORY
Keys, Modes and Scales -- Intro to Music Theory for Irish Players (Rick Roberts)
Using a combination of visual patterns and ear training exercises, you will learn the basic skills to recognize and understand the keys and modes commonly used in Irish traditional music. The simple relationships between keys will be explained. We will not be reading music notation. This class does not cover harmony.
Questions that students should be able to answer after this class:
PIANO
Piano (Allison Hicks) -- Progressive Class (Electric Pianos Provided)
In this class, students will learn to accompany Irish traditional music with the piano. The class will explore a variety of types of tunes, with some attention to rhythmic variation and emphasis, basic theory as applied to Irish music and chord substitutions. Students should be comfortable with basic piano technique. The ability to maintain a strong, steady beat is essential. Some knowledge of Irish music and of music theory (especially basic chord structure and function) would be helpful but is not necessary. Bringing a tape recorder is also recommended.
SINGING
Singing the Songs of Ireland (Robbie O'Connell) -- Progressive Class
The incredible story of Ireland is written in song, and Robbie O'Connell, will help students explore the importance of song in the Irish music tradition. His teaching style is through learning by repetition, so no background knowledge of music theory is necessary. There are no prerequisites, and if you simply want to sing in public or in sessions, then this class is for you. Robbie will teach a variety of songs and will suggest types of songs depending on the participant's voice. The aim of the class is to develop enough confidence to feel comfortable singing with others, and performing solo. It is a good idea to bring a recording device to help memorize melody. Robbie will have plenty of lyrics but is also open to some suggestions for songs.
SOUND SYSTEM OPERATION
Basic Sound System Operation (Travis Ener and Russ Alvey) -- Progressive Class
This three-part class will examine mixers, processors, power amps, microphones, and speakers and discuss ways to improve your sound individually or for an entire ensemble and how to interface with sound engineers.
TENOR BANJO
Tenor Banjo (Dave Cory) -- Progressive Class
This class will be a general tenor banjo class (4-string tuned in Irish style - GDAE). Dave will be looking at plectrum techniques, ornamentation, chord enhancements and, most importantly, melodic variation. Students will also learn simplistic playing styles, rhythm and syncopation, and pick tricks.
TINWHISTLE
Tinwhistle & Low Whistle (David Lovrien) -- Progressive Class
This class will explore the playing of traditional Irish music on the tinwhistle and low whistles. Students will learn jigs, reels, hornpipes and other types of dance music while exploring the elements of Irish style on the instrument. Students will be taught techniques in fingering, tonguing, tone, breathing and ornamentation. Whistles pitched in the key of ‘D’ are essential. Low whistles will also be covered.
TUNE AND SONG TUSSLE
Tune & Song Tussle -- Two Rehearsals & One Performance
This is a fun way to perform with an ensemble at the retreat. Those who sign up will be assigned to one of several groups. Each group will have a coach instructor who will help prepare the group for a contest to be held Saturday night. Awards will be given
and the top award will be given for "most entertaining." A great way to meet other players at the retreat, and perform for the entire camp! You must attend the two scheduled rehearsals (and others the group may plan) and perform with your group on Saturday evening. Click here for more details.
UILLEANN PIPES
Uilleann Pipes (Louise Mulcahy) -- Progressive Class
These classes, taught in a series by Louise Mulcahy, will examine what makes the uilleann pipes special. Why are they different from other woodwind instruments used in Irish music? How can the piper maximize the benefit? Louise will expand and illustrate these concepts. The class will discuss and draw up a list of the techniques that make the sound of good piping so appealing. Students should bring, at a minimum, a practice set with a satisfactory playing chanter reed.