Lawrence Reeves

My C/G has never sounded better. Will go all,the way to 1/4 comma on my next Anglo. I play regularly with uilleann pipers and with this 1/5 comma tuning my chords don't clash with their chanter or regs.

Thank you peter, I saw the promos, and forgot about it.

Sounding lovely Doug, nice pace to the music.

Lovely playing, and a great sense of emotion throughout. You make the concertina laugh when you laugh.

Mike, from my experience teaching flute, whistle and mandolin to adults/ some retired, here is my take. If you love something, and want to learn it is never too late. I feel like with the information you have presented, my suggestion is a good concertina teacher will be of great help. The other thing I suggest, is not a once per month lesson, do it every week. A month is a long time to struggle when starting out, and potentially a long time to develop a bad technique or habit. So, the lots of time to practice part. Spend lots of time listening and practicing each day. Two or three half hour practices in the day will be better than sitting down for a focussed hour and a half. The other thing I want to mention is the session. A slow session is great. If you play 2 to 10 tunes really well, and start putting them in pairings, you will enjoy a slow session. My method of teaching tunes groupings for beginners has always been one new with one old tune. You are learning and memorizing the new and at the same time reinforcing a tune learned previously. Guitar, Mandolin both being stringed instruments will give you no reference for the concertina and its mechanics. However, the ability to hear, and understand rhythm will. Renting a concertina may not be wise. I suggest that if you are serious about learning to spend a fair price for your budget and consider purchasing a restored well functioning and tuned steel reeded concertina. For Irish music, A Lachenal with 22-30 keys will get you going. The tone will be authentic, and the better instrument you purchase now keeps you from being limited by the quality and response of what is in your hands as you take the first steps.

The remainder of the specialist workshops have been announced as well as the sessions at Fawl's. Simon Thoumire will be giving a workshop for Scottish tunes, as well as playing at Glór for the Gala concert. Also joining the specialist category and evening concert are Niall Vallely, and John Williams. My reservations are booked, and I look forward to seeing many familiar faces in Ennis.

New details were added in the letter out to previous attendees. There is still one advanced player master class to be announced for the Sunday time. Registration is open, and the 20% online pre registration deadline a very attractive deal. As I mentioned please check the website frequently for new details. The accommodations in previous years were a package at The Old Ground, and I expect this to be available again this year. 2.00pm – 6.30pm Registration Old Ground Hotel 2.00 – 5.00pm Clare concertina tunes An extra class for early arrivals featuring an opportunity to learn some of the extensive Clare repertoire of tunes for the concertina. Suitable for players of all levels; le Gearóid Ó hAllmhúráin Holy Family School, Station Road (next door to Old Ground Hotel) 4.30pm Teacht le chéile. Gathering session Old Ground Hotel 4.00pm – 6.00pm Specialist Workshop 1: From Chicago to Doolin with John Williams (Advanced players only. Pre-booking essential as numbers are limited. Fee: €20) Holy Family School, Station Road 6.30pm Official opening by Mícheál Ó Raghallaigh followed by the Sonny Murray Memorial Lecture by Prof Gearóid Ó hAllmhúráin Old Ground Hotel 8.00pm Concert Old Ground Hotel Admission: €15 (includes admission to Concertina by Candlelight tonight) 10.30pm Concertina by Candlelight le Edel Fox, Jack Talty agus go leor eile Rowan Tree Café Bar Admission: €10 (includes a complimentary glass of wine and finger food) 9.30pm Club Consairtín Fawl’s Railway Bar, O’Connell St Saturday 2 April 9.30 am Registration and grading for classes Holy Family School, Station Road 10.00 am - 1.00pm Concertina classes for all grades. Holy Family School, Station Road Tutors will include Mary MacNamara, Micheál Ó Raghallaigh, Pádraig Rynne, Jack Talty, Edel Fox, Caoilfhionn Ní Fhrighil, Cáitlín Nic Gabhann, Mairéad Corridan, Francis Cunningham, Katie O’Sullivan, Liam O’Brien, Sorcha Curtin, Clara Mannion Beidh ar a laghad rang amháin á rith trí Ghaeilge Fee for tuition and admission to all other events (except Glór and Old Ground concerts and specialist workshops): Pre-registered students: €50 for two days; €70 for three days (register online at www.consairtin.ie from 1 January) Registration at the venue: €60 for two days; €80 for three days Concessions for families and other groups Concertina EXPO 2016 Friday, Saturday and Sunday Concertina makers and menders, designers and decorators Associated merchandise, CDs and books Showcase performances A unique opportunity to try out new instruments Holy Family Hall, Station Road Please contact Áine or Tim to reserve a space and to ensure that your product is on display in this unique marketplace. Further details at www.consairtin.ie 2.00pm & 3.00pm Instrument maintenance tutorial A practical opportunity to learn and carry out some basic concertina maintenance skills with Seán Ó Fearghail Registered students: free. Non-students: €10 Pre-booking is essential as materials will be provided and places are limited. Holy Family School, Station Road 2.00pm – 4.00pm Specialist workshop 2: Creative playing: Tunes and improvisation with Niall Vallely (Advanced players only. Pre-booking essential as numbers are limited. Fee: €20) Holy Family School, Station Road 2.00pm Rang Gaeilge. Spoken Irish for beginners Free admission Holy Family School, Station Road 3.00pm Siamsa na nÓg (part 1) A showcase concert with ten of Ireland’s finest young concertina players. Followed by an open session for teenagers. Players of all instruments are welcome. Cois na hAbhna, Gort Road 8.00pm Gala Concert in association with Glór GLÓR Admission: €20 (includes admission to Concertina by Candlelight tonight) 10.30pm Concertina by Candlelight le Gearóid Ó hAllmhúráin agus a chairde. Rowan Tree Café Bar Admission: €10 (includes a complimentary glass of wine and finger food) 9.30pm Club Consairtín Fawl’s Railway Bar, O’Connell St Sunday 3 April 10.00am – 1.00pm Concertina classes for all grades Holy Family School, Station Road 2.00pm & 3.00pm Instrument maintenance tutorial le Seán Ó Fearghail. Registered students: free. Non-students: €10 Pre-booking is essential as places are limited. Holy Family School, Station Road 2.00pm – 4.00pm Specialist workshop 3: TBA (Advanced players only. Pre-booking essential as numbers are limited. Fee: €20) Holy Family School, Station Road 4.00pm Siamsa na nÓg (part 2) A showcase concert with ten of Clare’s finest young concertina players. Followed by an open session for teenagers. Players of all instruments are welcome. Cois na hAbhna, Gort Road 5.00pm Concertina Club. A tribute to Tom Carey 6.00pm Scattering Concert Mary MacNamara & Sorchadha Costello The Droney Family Old Ground Hotel 8.00pm Slán Abhaile. Club Consairtín Fawl’s Railway Bar, O’Connell St

The website has been updated to give preliminary details. Last year every few weeks a bit more was added, up until shortly before the event. So, please check the site often for updates. Things that stand out are, new location of classes, and workshops at the National School. Literally around the corner from the Old Ground Hotel, and cafes and shops. This will make the chance for snacks on break much more available. Also, no need for driving to class if staying at the host hotel. Like last year, in addition to lectures, classes, maintenance, and recitals there are 3 special workshops to be announced. A very nice looking event already listed is Dr. Gearóid Ó hAllmhuráin doing a Friday afternoon class on Clare concertina tunes. He is an excellent teacher, and an authority on the concertina music of Clare. This will put both the present and past concertina of the Kilfenora Ceili Band in the same place, along with a frequent player for the band Francis Cunningham. The main recital will be in Glór this year, which should be perfect, we had standing room only last year at the Old Ground. Everything is in easy walking distance of the Old Ground, including Ennis's fabulous pubs, and cafes. See you in April. http://www.consairtin.ie/programme-2016/4583628116

My former Shakespeare had the very same pulls as handrails. Different from the Jeffries I've seen with them. Those were rounded.

The note choices and combinations are playable on a 30 buttoned C/G. The tune is also playable by an 8 keyed simple system flute. Meaning that the notes are all there, if a player chose to tackle the tune. By comparison the notes, and patterns are probably easier to execute than the G minor hornpipe "The Drunken Sailor".

Susan, something struck me in one of your earlier comments. "I just want to sound like Dympna O'Sullivan, or Mary MacNamara, or Edel Fox, or Claire Keville, or Kate McNamara.......etc." I think a better way of putting it, that is attainable,sound like yourself. You can be influenced, and learn from these players. You can learn from recordings of players no longer with us. But it is your individual touch on the music you play that comes through. On a side note, if you had their instruments in your hands, and yours in theirs, you would still not get the same sound on a tune.

I'm heading off to an informal gathering with the Southeast Piper's Club in the mountains of North Carolina this afternoon. It was a group I helped to start many years ago, and also when I was playing uilleann pipes. Looking forward to the tunes, and bringing my Bb / F along in hopes of a C session. Next weekend will be performing in Louisiana with Joey Abarta on pipes, and John Coyne on Bouzouki. We have been playing at a festival in the south together for 3 years, and we just have a blast. So, now a second festival called the Northeast Louisiana Celtic Festival has us on stage. No fancy name, just Coyne, Reeves and Abarta. The sound of steel reeds with pipes really is something to experience. It gives me a chance to play some tunes and some phrases very staccato " closed in piping terms". It also is nice to use those implied chords of D/A, and D/G along with the source of why they are in my music. We play a fair amount from the repertoire of Willie Clancy, Tommy McCarthy, and even some Slíabh Luachra and east Clare in the mix.

I would suggest a class with Micheál the best way to answer that question in total. However, my thought is the extra 8 buttons are not a big part of what you are hearing on the recordings. The mastery of the instrument to know on push and pull possible chords, and knowing which notes create the complex chords he uses. Other factors in what you are hearing is the subtle fine tuning of his concertina. Some notes have been flattened slightly to make the chords sound rich. On this site you will hear references to several tunings such as 1/5 comma, and 1/4 comma mean tuning. Others are versions of that to make the instrument sweeter sounding. As, for the additional buttons, they do allow a few extra ways to play notes such as g#, and a few spare f naturals, and the like. They are convenient in some tunes, but the meat of playing an anglo happens on the buttons found on a 26 through 30 keyed instrument. He may use some of those for the "runs" you mention.

Stephen, who do you most suspect this maker really might be? Taking into account not a Jeffries, but a metal ended 26 button of that vintage. Being no expert myself, only have seen metal ended 26 buttoned instruments from Crabb and Jeffries. 28 button, I remember a Lachenal.

Next stop, Ennis, then on to Feakle. Hope to see some familiar faces there.

All notes except one speak. Will need bushings, as when I took the ends off the bushings didn't stay put. The reeds look fantastic, and no rust. The interior had Chris Alagar's stamp and the inside of the instrument is beautiful. No pitting, and no dents in fretwork. I don't play English but could tell that the quality of tone were excellent, and the action all felt good. No leaks on any note, and as would be expected some valves not opening and closing fully. The instrument does not need a rebuild or refurb, just standard tuning and valve / bushing work. All screws turned easily, and the reed pans are snug with no sign of warping. If you play an English style, tis is a very clean nice sounding concertina. If it were an Anglo in this condition I would have bought it.

Michael, I have played that Jeffries, and it is one of the best concertinas I have ever touched regardless of maker

David, send me a PM. I am happy to give suggestions

Just got my Suttner Bb / F back from some tuning and valve work. After playing it, realized just how lucky we are to have Greg Jowaisas able to work on our instruments here in North America. As always the instrument comes back as expected, in tune, responsive and carefully shipped.It is great to have someone you can trust with your instruments. The next morning I sent my C/ G off for a little work. Going to join the hipsters in 1/5 Comma tuning. Consairtín coming in in a few weeks, and wanted all to be right with the universe. See you in Ennis.

If you haven't looked at the website lately, it is very impressive. The official sessions in multiple places throughout town have some amazing players as leaders. It is nice to see many known concertina players from around the country included, even if not being a tutor. If anyone is around the week before drop me a note. I am on a session/pub/concertina crawl, and would look forward to seeing you if our path cross. http://www.consairtin.ie

I use the B 29L with my AKGs on both concertinas. Another option I use when the sound crew is top notch and have two or 4 spare channels is to use the mini xlr to full XLR ( either with phantom power ) or with the board providing phantom power for the mics. This gives individual level and EQ for each hand. The level matching is easy on an Anglo, play notes back and forth that live on both hands. Most places I do the down and dirty of use B29L, match my own levels, and then tell them to roll the extreme highs out of the mix.

Doug, along with being an honor, it is a reward for the years of dedication to the tradition and the hours of practice. Learning and listening to those before you, and the ability to pass that on. Way to go.

Consider taking another look t the website fro Consairtín 2015, coming up in April. There have been many additions to programme, including a listing of additional concertina players not on the tutor list that will be in Ennis for the popular Club Consairtín. Also of note, the Concertina by Candlelight has some very nice pairings each evening. Im not certain if rooms are still available at The Old Ground, but this the hub of the weekend, and a delight to stay there. http://www.consairtin.ie

Try and think in piping terms. These triplets are tight in the style of closed piping. Descending triplets with a change in bellows such as B A G , or f# e d have a certain lightness built in. And, where they fall on the same row, and so do ascending ones of A B C natural, and e f# g gives a built in lightness, I try for that on all triplets of scale tones in tune. When we add the fact we are on two rows for note shouldn't change the crisp nature. With concertinas lacking a pushed C# I would use the C natural as the ascending. It goes by quickly, and in my opinion the middle of the three notes the least important. Breaking down the Sligo Maid omitting the C# totally and no triplet, the melody still goes nicely.The same thing in Dr O'Neill's Jig, taking the triplet in and out for variation a nice treat.

Push. All three. So all red notes on the G row. |: A2BA (3B^cd ef | gedB AGEF | G2BG dGBG | DEGA BAdB | A2BA (3B^cd ef | gedB AGEG | B3G A2GE | DEGA BAA2:| |: eaag a2ga | bgaf gfed | eggf g2ge | dega bgag | eaag a2ga | bgaf gfed | eg (3gfg edBA | dBgB BAA2 :| I would add triplets in a few areas,but just lifted this abc from session.org Obviously the low F# on G row, The Low Ds could go either way, but I like the C row.