Chris Drinkwater Posted September 25, 2015 Share Posted September 25, 2015 two Irish tunes I had learned over the years, Out on the Ocean and Calliope House Calliope House was written in America by an Englishman who lives in Edinburgh. two Irish tunes I had learned over the years, Out on the Ocean and Calliope House Calliope House was written in America by an Englishman who lives in Edinburgh. Yes, it was written by Dave Richardson of Boys of the Lough, to be accurate and name after the house of piper and arts administrator George Balderose in Pittsburgh. Chris Link to comment Share on other sites More sharing options...
ceemonster Posted September 25, 2015 Share Posted September 25, 2015 (edited) I would add cds by dympna o'sullivan and the late Tom Carey, Kitty Hayes, and Elizabeth Crotty to the excellent suggestions already posted here. Yes, Irish is totally possible on EC. Irish music already has a number of air-driven instruments which do not articulate bisonorically---pipes, whistle, & flute. They have their own ways of achieving the lift essential to the style, and it is the same with EC. there are just not enough people doing it (yet) for that to be as evident as it could or should be. Choosing and timing bellows direction switches in irish EC playing is a whole art in itself that is much like the choices fiddlers make, and has been under-explored . . . . Edited September 25, 2015 by ceemonster Link to comment Share on other sites More sharing options...
Daddy Long Les Posted September 25, 2015 Author Share Posted September 25, 2015 I would add cds by dympna o'sullivan and the late Tom Carey, Kitty Hayes, and Elizabeth Crotty to the excellent suggestions already posted here. Yes, Irish is totally possible on EC. Irish music already has a number of air-driven instruments which do not articulate bisonorically---pipes, whistle, & flute. They have their own ways of achieving the lift essential to the style, and it is the same with EC. there are just not enough people doing it (yet) for that to be as evident as it could or should be. Choosing and timing bellows direction switches in irish EC playing is a whole art in itself that is much like the choices fiddlers make, and has been under-explored . . . . Thank you. A very interesting answer and I'll definitely explore those musicians you mention. Link to comment Share on other sites More sharing options...
Peter Laban Posted September 25, 2015 Share Posted September 25, 2015 (edited) I would add cds by Dympna o'Sullivan and the late Tom Carey, Kitty Hayes, and Elizabeth Crotty to the excellent suggestions already posted here.Ideally you will probably want to listen to as many players as you can and there are many lovely players around. But it's perhaps a good idea to start somewhere, Geoff's suggestion of Mary Mac is an excellent starting point, and branch out from there through related styles and on from there as you find them. Although perhaps I sometimes feel CDs don't do many concertina players justice, C's recommendations are a good next step. To avoid information overload I won't add any further recommendations, you have plenty to get started on. The Clare Library website however has a few items that may be of interest to you however, so I'll add that. Good luck. Edited September 25, 2015 by Peter Laban Link to comment Share on other sites More sharing options...
ceemonster Posted September 26, 2015 Share Posted September 26, 2015 (edited) I'll hone my starter suggestions to, Tom Carey and Mrs. Crotty. Reason being, I recall a previous thread of this kind where it was pointed out that sometimes folks starting out like recording in "good ole D and G" as well as "exotic" keys. I too consider Mary an ideal starting point for aesthetics and much else, but if a beginner ear would like to orient to some "familiar" keys, there are a couple. Edited September 26, 2015 by ceemonster Link to comment Share on other sites More sharing options...
Peter Laban Posted September 26, 2015 Share Posted September 26, 2015 Perhaps style and aesthetics are the most important element when starting out in a new musical field. Many concertina players move tunes around to other keys, Mary McNamara, Dympna, Claire Keville, Lorraine O Brien and others do this to great effect. Lizzie Crotty's party piece was one she played in a key away from its 'original'. It comes with the territory. Learning to recognise when this is the case is also part of the learning process. Kitty Hayes played tunes in their 'usual' keys when it was called for. A great example, three reels with Dympna O Sullivan: Maid of Mt Cisco set Link to comment Share on other sites More sharing options...
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