The Online Phenomenon

The web is truly a great way of uniting different cultures and communities separated by distance. In the realms of Irish traditional music, many online musical tutorials have sprung up in the cyber world. Included in this, of course, are our own tutorial videos and courses at the Online Academy of Irish Music! I'm writing this blog to highlight some of the great advantages of learning from online tutorials and how one should best utilise them.
Irish music has been passed down through generations via the oral tradition; through the vehicle of the internet, online communities are continuing in this age long tradition. No longer does an aspiring musician from Wyoming, USA need to be frustrated by a lack a of localized learning opportunities in his/her chosen field of Irish music study. With access to broadband, the highest caliber of Irish music instruction can now be accessed online. The tutors who give their time to record videos of technique and repertoire provide a valuable source of Irish music tuition to those from countries where there is not a vibrant community of Irish traditional musicians.
Within the vast quagmire of available online music tutorials, what must be reckoned with, is the caliber and experience of the tutors. You need only go to video websites such as Youtube to find a melee of dubious efforts of teaching our music to the masses. That is to say that you can find many musicians passing on knowledge that may not be entirely beneficial and, in some cases, blatantly incorrect or regressive to the learning process. There are, however, tutorials available where established well known musicians and teachers provide an utmost standard in passing on their knowledge. The Online Academy of Irish Music provides a handsome line-up of teachers. Another great online source worth checking out for pipers in particular is that of Na Píobairí Uilleann.
As with the study of any type of music, a wholly determined student of Irish music must be prepared to work hard at his/her selected instrument, be devoted to listening to records of vested musicians (both young and old) , seek others to play with in a session and be able to discuss the finer elements and nuances at play of their chosen genre. It is perhaps essential, to have a fixation or infatuation with one hero as you discover your way through the jungle of Irish traditional music. But one should not become fixated on that musician solely, so as not to risk adapting their whole performance practice around what that musician performs. One should adapt an open mind to all types of Irish music in this regard.
A complication in the teaching of pre-recorded video tutorials is the lack of direct interaction between the student and the pupil. The pupil will find it difficult to actively discuss the details and nuances of the music. In this regard, classroom chat forum helps somewhat. However, an advantage to pre-recorded tutorials is the students ability to rewind the tutorial again and again.
Online teaching facilities are continuing to grow,with instructional videos available on just about anything! Due to the global accessibility of the world wide web, the spread of niche communities, such as that of Irish music, is so much easier.

Fleadh 2011 Preview

That time of the year is nearly upon us again, ladies and gentlemen. Indeed, this week begins the run up to the 2011 Fleadh Cheoil na hÉireann. The 'Fleadh' is one of the biggest Irish music festivals of the year and encompasses a wide variety of events. For those that have never been before, or for those who simply don't understand the inner complexities of the event, here is my guide to the week:
ˊ ˔he Fleadh is a week-long event, this year running from August 13th-22nd. As has been the case for nearly 40 years now, the Scoil ĩgse summer schools precede the Fleadh weekend itself. They run from the 14th-19th. These summer schools are attended by a myriad of students from a variety of countries worldwide, all wishing to attain master-class tuition from the tutors. Every year, accomplished traditional musicians take time out to spread the tradition to younger aspirers and this year is no exception. Many of these tutors perform at the 'tutor's concert' during the course of the Fleadh. These are varying ensembles. As a final act, the tradition is to get all of the tutors on stage for a large group performance. Admittedly, this is musically poor as the intensity and personality of the music becomes diluted with so many musicians, but that is hardly the priority when there are 40+ masters on stage at the one time!
ˊ ˄uring the ĩgse week, there are many other proceedings which take place. In the case of Cavan this year, there are various affairs in motion even before ĩgse week even starts and most notable are: The Fleadh Play, Livetrad.com online launch, Concert with Kevin Burke, Seamus Fay & Friends, Official opening of Fleadh Cheoil na hÉireann 2011 and a flash mob dance! This is just a teaser for the many other happenings that will be under way during the week. There will be formal cϩlӤhe, singing sessions, lectures, concerts, recitals as well as informal pub sessions, street musicians, campsite sessions and other entertainment.
ˊ ˔he Fleadh weekend itself gets very busy, not least due to the influx of people from all around the world who wish to attend the festival. The final weekend is the 'big one' as this is also when the major All-Ireland Fleadh Cheoil competitions begin. The most keenly supported competitions are the Fiddle Solos and the Senior CϩlҠBand - that is not to take away the limelight from any other competition but, generally, the two mentioned get most exposure, closely followed by flute, uileann pipes and accordion solo competitions. That said, all competitions are of equal importance to most of their respective competitors. Rivalry can be very fierce during this final bout to become All-Ireland champion, though it is very evident that some take it more seriously than others. Debates about the good and bad of competition playing have been discussed since competitions came into being with regard to Irish music. Whatever your own slant on it may be, they do provide the perfect excuse for a week of powerful music and, for the most part, jolly camaraderie. An array of outstanding concerts will be run throughout the festival with a handsome amount performing on the outdoor, Peace III Gig Rig - one of last year's more successful outlets.

Historically, Cavan is a likely candidate since it held its first Fleadh in 1954, the fourth year of the festival's running. It was a long, dry spell for the Ulster county until the Fleadh returned there last year. This is the second year in succession it will visit Cavan town which fell under some criticism last year. Due to the small, tight nature of the town and the lack of a 'central location', a select number of attendants were not satisfied that Cavan town was up to the job of hosting the Fleadh in 2010. However, it did have a weight on its shoulders, having to take the place of such an iconic venue that was Tullamore (the location for several years previous). Tullamore was a wider setting and had the benefit of the The Bridge Hotel as a centre; Cavan was more dispersed. Despite that, the organisers did a fantastic job to produce a fun-filled week with next to no trouble attached. The streets were tidied up very rapidly during the early mornings and the crowd was generally positive.
One drawback to the Fleadh weekend is the presence of rowdy punters, with no real understanding or respect for Irish traditional music and whose main priority is to binge drink for a weekend. Whilst, generally, these are good-to-do people with decent spirits and no baleful ambitions,ʠtrouble at the Fleadh regularly centres on members of this bracket. Thankfully, such behaviour was avoided last year and I see no reason why 2011 will be any different. Although not one of the more memorable Fleadhanna, Cavan 2010 was certainly a huge success and surely, 2011 can only go one step further. Let's hope it does!
OAIM would like to wish all of the competitors the very best of luck in the 2011 competitions at Fleadh Cheoil na hÉireann.

Willie Clancy Review 2011

The Willie Clancy Festival 2011 certainly didn't disappoint, especially from the perspective of someone who had never visited before and didn't know what to expect. Yes, that's correct - despite playing Irish traditional music for a good many years now, and mixing with the highs and lows of the scene in my time, I had not yet been to Willie Week.ˊ On the evening of Friday the 8th of July, I made the long drive down to West Clare from Dublin.
ˊAfter parking the car at the church car-park, I took the liberty of walking the main street and peering into each pub to see what was taking place. There was, unsurprisingly, music in every one, of varying standards, but accompanied by jam-packed crowds. My first port-of-call was Cogan's, which is renowned for its wonderful food and I can certainly vouch for their seafood chowder! I was invited to play there on the Friday evening with Br O'Donoghue and her family. I immediately got a flavour for the music I hoped I would hear all weekend - nicely paced, solid tunes. Less could be said about the ambience, however! The pub got gradually crowded and, before long, we were fighting a tug of war with the punters for the crown jewel, that was, the noise level.
after some delicious fast food from one of the many chipper vans, it was straight out to the Bellbridge Hotel in Spanish Point for some music and craic. Admittedly, I left the banjo in the house before heading out as I knew, after the long day, I would have no stamina for playing and, to be brutally honest, the attraction of a couple of pints of creamy joy was all too appealing by then.
the Bellbridge itself is an attractive spot looking out towards the Atlantic coast but I could speak for many a man who was more concerned with the attractions indoors that night! Well dressed women and smartly dressed men decked out the entire hotel with as many as nine sessions running at one point, in the various rooms! Whilst this was indeed tremendous fun from both a punter's and a player's perspective, the pure drop was far cry from here...or so I thought. Japanese guitar and banjo player, Hajime Takahashi, had given me the nod about a session involving Andrew MacNamara and Eileen O'Brien in the Bellbridge. When I arrived, the thought of two stalwarts of a very strong style of music playing in such a generic setting was beyond comprehension and, so, I had resigned to the fact that they would not be there. However, big Liam O'Brien grasped my arm during the night, opened the door to the back room and abrasively told me, 'Go in there. Stay as long as you want. They'll be there for a while'. And so I did. And so they were.
ˊ ːints of Guinness were the order of the night as I basked in the wonderful sound created by Eileen's sweet fiddle playing under Andrew's punchy accordion. This was a Narnia amongst the mayhem outside. You would be totally unaware of the madness that was occurring in the other parts of the hotel, had it not been for the constant comers and goers, opening and closing the door at the turn of each tune. As time went on, I requested from Eileen a composition of her father's Քhe Barge Innծ She didn't reject it and I can't explain how content that made me. Nor can I explain how perfectly the night was capped off when I met Andrew in the main bar area and was subsequently invited me to play with them the following afternoon! I had been in Milltown for six very short hours and sizzling up for what was going to be a very intense and enjoyable weekend!
ˊ ˓o I took a trip out to the Bellbridge on Saturday afternoon for tunes with Andrew and Eileen. Dympna O'Sullivan also joined on concertina. Having had a slight hangover from the previous night, it was difficult to settle into the tunes but, as soon as Andrew had found his comfortable spot out of the sun, and I had bought a fresh packet of cigarettes, we were all fired up for an hour or two of classic old tunes - The Wheels of the World, The Humours of Kesh, Joe Bane's Schottische. I didn't have to ask. This was right up my avenue. I regarded this as a very special opportunity and am grateful to both Eileen and Andrew for inviting me along. My next task was to purchase a Ceolchoirm Mز ticket from Hurley's newsagents. It was expensive at ۲5 but would turn out to be money very well spent indeed.
ˊ ˉt was still only afternoon, though, and I had time to kill. So, Michael A's got a taste of the Cummins concoction when I heard tell of a session there with some boys from Belfast. The music was lively but not typically rushed. The pub was a nice setting at that time of day and was relatively quiet, a nice contrast from previous venues I'd witnessed. A few hours down by the campsite, chilling out in the sun and mingling with other musicians, kept me busy before the main concert in the town hall. This was to be quite a treat.
ˊ ˏpening up the show was local whistle and flute player, BrӤ O'Donoghue, and the organiser's son, Sϡmus Rochȩn, playing a Bb whistle and Bb pitched uileann pipes respectively. Then, BrӤ's family joined her for some sets from their recently released family album, ClӡbhȮ an Dݣhais. An unexpected act followed in the form of an Eastern European gentleman called Gregorά who performed a traditional Ukrainian song accompanied by his playing of a Ukrainian flute. This was an odd, but very welcome, addition to the line-up for a concert which embraced an array of first class musicians in the Irish music world, including: The Mulcahy family, Mick O'Connor and the Kelly family (i.e. James Kelly), Joe Burke and Ann Conroy, The McPeake School of Music, Tommy and SiobhȮ Peoples, Tim Dennehy, Martin Hayes, Mick Kinsella, Rick Epping, Edel Fox, Bobby Gardiner, Connie O'Connell, Ita Crehan (a direct line back to Junior Crehan), Noel Hill, Peadar O'Riada and Cةr Cݩl Aodha. There were many other musicians of note but, for my own listening pleasure, the tiebreak for my favourite acts has to go to Cathal McConnell with his song Քhe Illustrious Sons of Erin's Isleՠand his follow up of absolute madness with versions of Քhe Boys of Bluehillլ Քhe Humours of Tullaՠand Սary McMahon'sՠ.ʠEqualling that, on a very different level, was my inexplicable delight at the presence of Roscommon flute player, Patsy Hanley, and his version of the reel Miss McDonald's. It was all too short, Patsy's performance, but those notes will linger on for some time. As well as musicians, there was a host of renowned singers including Pauling Sweeney, Rita Gallagher, Jimmy eannabhȩn and SeȮ riain. Keeping them on their toes (or perhaps, keeping on their own toes) was a deluge of set, step and sean-nس dancers. Among the luminaries were AodȮ Gaughan, Deirdre Comer, Paddy Neylon, Mick Mulkearns, Deirdre Tobin and Patrick O'Dea.
ˊ ˁ total performance time of four hours prepared us listeners very nicely for another trip out to the Bellbridge that night for a session and a few more pints. There were good tunes had that night in the back room and the overall feeling was buzzing with positivity and strength.
The first stop on Sunday morning, for those hardcore enough, was mass in the church at the top of main street. Those attending mass were treated to a wonderful helping of hymns and gospel choir music from An Cةr Cݩl Aodha and the local priest gave an utmost approval and vented his satisfaction at the success of Willie Clancy week 2011 - this, of course, is an honorary mention in such a small town! There would be some drinking and music continuing on Sunday for whoever would be still around but, for the most part, a squadron of musicians, singers, dancers and listeners would pack off home for another year.
ˊ ˔hat should have been the end to my Willie Clancy week but there is always a final nightcap in store if you hang around long enough. After morning mass, I had been talking with an old friend outside and he, in turn, had been conversing with Brendan Begley who, in turn, had heard word that Cathal McConnell , needed a lift back to Dublin. When the filter had reached my ears, I obliged wholeheartedly knowing that, firstly, this would be a fantastic opportunity and, secondly, that my initial plans had to completely fall by the wayside! An afternoon stop in Limerick to visit a brother was canned. Leaving at 12noon was canned. Some small talk with Jimmy O'Ceannabhȩn and a few men from Connemara filled a gap, as Cathal had an afternoon drink. Regardless, the journey home was wonderful. To talk with and provide transport for a man of such high regard in the tradition was truly an honour for me and a moment that was undoubtedly the icing on the cake for what was, already, a magnificent weekend. Willie Clancy would be very proud indeed so hats off to everybody involved with the running of the festival and, in particular, Eamon McGivney, Harry Hughes and Muiris ochȩn. 2012 can't come soon enough!

Willie Clancy Week 2011

Milltown Malbay is gearing itself up for the final countdown to this year's Willie Clancy Summer School. The Summer School, which has been running annually since 1973, starts this weekend (July 2nd) and runs through to the following Sunday (July 10th). Willie Week, as it is affectionately known, is Ireland's largest summer school for traditional music and attracts a massive crowd, including many internationals from a variety of European countries, North and South America, Japan, Australia and a host of other locations. Ireland's premier musicians teach high-standard classes on a broad range of instruments and there are more diverse tuitions given for such skills as pipe-reed making.

As usual, there is a very healthy line-up of events for the week. On the opening evening, a BreandȮ Breathnach memorial lecture will take place. This is followed by a musical tribute at Willie Clancy's grave on Sunday afternoon. Classes begin on the Monday and, this year, include whistle, flute, concertina, banjo, harmonica, button accordion/melodeon, fiddle, harp and, of course, uilleann pipes. Dance workshops will also be run where one can learn lively set dances such as The Corofin Plain Set or The Ballyvourney Jig Set. Alternatively, one can take the opportunity to learn Connemara sean-nس dancing and other more intricate solo dance performances. Singing workshops will be conducted by BBC Radio's Brian Mullen and will take the form of lectures, group discussions, class participation and demonstrations by singers. This is not strictly a singing class, but a sure way to develop your standard of traditional Irish singing nonetheless. Even if you decide not to avail of the tuition as part of the summer school, the musical recitals and lectures are open to the public at a very affordable admission price. There will be sessions every afternoon, evening and night in just about any pub you can squeeze into in Milltown Malbay, as well as further out in places like Mullagh, The Crosses of Annagh and Spanish Point.CϩlӤhe have also been organised and will be accompanied by stalwarts of cϩlҠmusic such as The Tulla, The Kilfenora and The Matt Cunningham CϩlҠBands.

ˁlthough officially ending on Sunday 10th July, the Saturday concert on the previous evening, Ceolchoirm Mhز, will be a 'must-see' event. A rake of established Irish traditional musicians will perform for a few hours in the evening, providing the opportunity to witness the gold standard of musical genius within the Irish tradition today. All in all, Milltown Malbay is set for an influx of fantastic music and daily banter as it prepares for the 39th tribute to piper, Willie Clancy. Let's just hope that the sun gets an invitation from festival organisers Muiris ochȩn and Harry Hughes! The Online Academy of Irish Music (OAIM) will have an active presence during the week so if you see any of us in our brightly coloured OAIM t-shirts handing out leaflets, please come and introduce yourself to us!ʠKeep updated with the latest events on the Irish music scene through the Online Academy of Irish Music and be sure to check out the review article in reaction to the events of the 2011 Willie Clancy Summer School in a few weeks time.