Recently I was asked to put on a workshop to teach ITM to other musicians who would be attending a day of Irish concerts. I play a hammered dulcimer, not strictly a traditional instrument. Even though I live in a state where the hammered dulicmer is somewhat well known (we actually have a large dulcimer festival) I'm assuming most of what I'll get in the workshop will be non HD players. What skills, techniques, information do you think cross all instrumental lines? What workshops have you attended that present material in such a way that it would work for any instrument?
Give them a dose of the music first, with some short introductions. Then, as soon as possible, get interactive, put it in their hands ~ give them an introduction to the basic rhythms ~ percussion, the bodhran...
You don't need anything fancy, it can be bare hand or you can just go out and buy doweling and cut it into lengths and round both ends. Just focus on the one end. You could 'REUSE', collect a slew of plastic bottles, various drinks and potions long consumed, remove the lid, with the open end out hold the neck and put the bottom against your belly. The idea is to strike the side of it with either your fingers/knuckles/fingernails or the bottom end of the length of doweling.
You would need some basic understanding of the bodhran to pull this off, but there are probably a fair share of folk about who can help you there. The heart of this music is the rhythm, the dance, and another option would be to put them in touch with the most common structure to the tunes, 32 bars, or AABB, but doing a short simple dance, and you could just walk it, no steps necessarily needed. Although a popular and relatively easy one for this would be one of the polka set figures, like for the Kerry Set.
Give them an 'experience' of the music, make it physical, get their blood circulating so they understand that this is all integral to the life of the music.
If they already have an ability with their instrument of choice you could then work from a lilt to putting the melody in thier hands. One tune played with understanding is better than half a dozen half baked.
Try not to use sheet music, but you could offer them that at the end, when they are packing up and leaving. Better that their attention is on the music and you that's teaching it, and that they also listen collectively, to themselves and each other, without the damned dots and sheets to hide behind... If there's sufficient laughter and empathy the sheet music addicts are likely to survive what for them may be an ordeal by ear... I've never known an addict, dependant on hiding behind notation, that wasn't glad of breaking that addiction...
Good luck, and come back and let us know what you do and how it goes, good and difficult...
In your neck of the woods you're sure to have friends who'd be willing to help, maybe even a set's worth, but don't push the tempo if you take that route, the old more relaxed tempos are better for novices...
On the dance side of the experience, a simple contra dance would do too...
I'd assume, hopefully correctly, if they are HD players and you have to teach them ITM, that they are coming from American Folk type genres?
If so, I would emphasisze where the beats/notes are stressed in ITM as opposed to American music. I do Dropped D Guitar workshops on occassion, crossing over folk players (well hopefully it sticks!) to ITM type backing, and the main difference is that they want to fill in the off beats rather than stay on the beat of the music. On HD with tunes, a similar thing could be happening, emphasis on the wrong syllable as they say.
If you are teaching tunes, I'd think the best way to do this is to have a handful of tunes that have ITM counterparts, and show the difference between how both are played. Something like Mason's Apron may be a good one, played the American way, then the ITM way, so they can hear the differences.
The phrasing is the thing that will be different, so that's what I would do, comparisons. Maybe others here can suggest tunes played in Old Time or Bluegrass that have ITM counterparts. I am useless on names and not well versed in American folk music at all. Done that way, I'd think it would sink in better than just trying to teach tunes and explain verbally. Also they already may know many common tunes by ear, which will make the changeover simpler.
I would think that an introduction to Irish music, the types of tunes, what a session is, teach them an easy jig and easy reel, a little about Irish dance. Click on my member name and go to my member description. There is an essay there about beginning Irish accompaniment that also has a lot of general info on The Music that applies to every instrument, feel free to borrow anything that might be helpful.
Also, give them a listening list, list of youtube links, top ten CDs, so they get an idea of what is good, and can hear samples.
When first getting into this music, I was at the weeklong Gaelic Roots festival, and signed up for a morning beginner's bodhran class with Myron Breckholtz. He used the approach of a general introduction to Irish music, and although I set the drum aside soon afterwards, his class was one of the best I ever had because so much of what he showed us and taught was applicable to all instruments.
Good luck and have fun!
The Hammered Dulcimer is a great instrument for showing the relationship that notes have to each other. Go up the scale along the edge, and do the same up four notes each side of the bridge pegs. You can see as well as hear the relationship of the notes each side of the bridge, and how chords are laid out. Also a good techqnique is needed to ensure that the correct hand falls on the note so that you don't get yourself crossed. A bit like picking in jig time, or bowing a polka. And as the HD is essentially a melody instrument, it is eminently suited to ITM. A couple of strips of paper with the notes clearly marked in large type can easily be stuck to the top under the strings to help beginners. Good luck and have fun, as AlBrown says. That's the main thing.
If the course is given to people who already play, as you say in your post, I'd get them to play - by ear ! just three easy tunes in the three basic dances (in my last workshop, I used Morrison Jig, Rights of Man for a hornpipe, and the Teetotaller for a reel)... I did it first very slowly till everybody had the tune, then - still slowly, a few typical ornaments. I put the emphasis on the rythm : very steady tempo, rolls and triplets to arrive on the next note... and I did it with HD... and in the class, there were fiddles (violins...), accordions (chromatic button type, with playerstrained in classical music), and clarinets...
BTW, hammered dulcimer HAS been played in Antrim for at least 2 hundred years in ITM... have a look at Ptarmigan's site (goggle Causeway music)
"~ that present material in such a way that it would work for any instrument?" ~ it's all in the ears, and the body, in my suggestions above to get them out of their comfort zone and out of their seats. It all depends on how much time you have and exactly what their various backgrounds and instruments might be. You should be able to get some hand on that from the organizers ~ and with introductions, as they gather. Numbers will be another important consideration. This is also where calling in some friends to help might be a wise decision, and a wider introduction to the ITM community in your area.
Are you expecting small and intimate or large and unweildy?
I took it that you meant the basically 'uninitiated'? I find that the sooner you get past discomfort to some laughter and a bit of foolishness, the quicker things will move forward, whatever eventual direction you take. It sometimes helps to just catch people off guard and out of their expectations. I've had to do similar with young orchestra and concert band musicians and the classically drenched, as well as young criminals in prison.
Every situation is unique and sometimes takes you in directions other than you were prepared for. A little physical activity has never gone amiss, especially if your situation is all concerts and they've been sitting on their asses all day, a little rise in circulation wouldn't hurt, meaning some dance mixed in with the music...
Other great suggestions above... Mine will always have some kind of rhythmic/dance centric consideration to it, as too does Iris's & Al's, getting to the heart of the matter.
If you do have time for three tunes, or whatever the situation, a way to introduce hornpipe swing and the reel, in shorter forms, would be through a highland fling and a single reel...
How much they bring with them in understanding and ability will make much of these decisions for you.
''The heart of this music is the rhythm, the dance'' ''one tune played with understanding is better than half a dozen half baked.''
Its great to hear simple sound advice from someone who really has spent a lifetime deeply immersed in Trad.
I have yet to disagree with anything I have read here from C. Fair play to you. Though I have to admit learning some tunes from Photocopies! but Ive often bought the books afterwards if they proved of value to me. [sheepish icon]
My suggestion would be to work on a reel. Show the numerous different ways it can be played. Get them to sing/hum it as well, or before playing it So that the melody is already felt before going to an instrument.
I certainly agree that its wise to concentrate on aspects of the music that are universally applicable. Once an in-depth understanding of a tune is reached [as much as possible in a few hours!} then that understanding can be applied to all other tunes. Once the tune is sung then the space for breathing and therefore phrasing becomes more obvious. I personally find the standard superficial learning of a bunch of tunes to be uninteresting. I understand that in this day and age, the average consumer is after quantity as cheap as possible. but I reject this approach.
From years and years of traditional training where we concentrated almost to a fault on minute and subtle aspects I feel that a thorough grasp of simple essential aspects is far better than a rough overview. I feel its best to offer a simple and effective approach to learning and to encourage self study.
So I think a simple reel and dance to go with it. concentrate on the phrasing, lift and drive, to 'put the tune under the dancers feet.
Obviously you will be constrained by a time limit. Normally this would be 3 hours split between 2[ or 3] sessions. so I might be tempted to focus on the tune in the morning and dance in the PM, but not exclusively.
Most of all enjoy, share your enthusiasm and love for the music to inspire the same.
Looking at the differences between bluegrass, old timey and Irish would be enlightning. Also, currently there are discussions of ear training on other local lists, something I'd been wanting to teach for a while. I pretty much pick up the music by ear. I can see, distilling your comments that the essence of Irish is a few tunes done well.
I have NO idea of my audience. I might get a bunch of spectators from the various concerts, dedicated ITM musicians or boom-chuckers who sing cowboy songs in small bars. I have until August so I'll have the chance to work up a number of ideas.
Yes, if you hum, lilt or dance to the tune you're halfway there to adopting it...
"~ share your enthusiasm and love for the music to inspire the same..."
So much more than just music is passed on in such situations.
I remember a few cases where being in a rotten mood I sinned in not realizing I'd taken that into a workshop with me ~ finding out almost too late that suddenly everybody else was reflecting my mood ~ becoming miserable impatient sods. Fortunately, at least in this situation, I caught myself in time to turn me into a point of laughter and the heaviness lifted. There are times though, regretted, where I was not so observant or quick to clear my less than considerate influence... But, usually, the good company and my passion for such things quickly has me pushing any moans and groans I might have to the back, to be dealt with later... Music is such good medicine that, at least for me, more often than not, it helps clear the head and raise the spirits...
Exactly jrathbun. Listen to Paddy Murphy's reminiscences on 'In good hands' a real treasure of old kitchen recordings spanning many years. many of his contemporaries just had a few tunes they played well for the sets. Of course, like Paddy some of us want to progress beyond this basic functional level but its completely legitimate to have a few tunes to fulfil a role and social function.
IMO, in setting up a group event its good to have a clear focus and explain at the begining' the form' and what you hope to achieve with the group., really grab their attention at the start. but only introduce the short term goal of the first session. This means you still have material for your introduction of the next session.
Make small achievable steps that each session can build upon.
Im a great believer in a small 'ritual' to begin and end a class, To differentiate between your focused session and the rest of the world. To go a small bit towards dropping the cares and troubles of daily life and devote a few focused hours to the music.
Like C says, break the ice get a laugh A little talk to set the scene, to bring them together and the same at the end.
How you structure a class like this is tricky, because so much depends on who is there and there 'level' Id suggest forming a number of plans to accommodate some projected scenarios.
It can be quite nice to have a Q+A at the end before the finishing talk, but try to keep the main session chatter free .
This is just my take on it of course.
Ideas for an Irish music workshop
Ideas for an Irish music workshop
Recently I was asked to put on a workshop to teach ITM to other musicians who would be attending a day of Irish concerts. I play a hammered dulcimer, not strictly a traditional instrument. Even though I live in a state where the hammered dulicmer is somewhat well known (we actually have a large dulcimer festival) I'm assuming most of what I'll get in the workshop will be non HD players. What skills, techniques, information do you think cross all instrumental lines? What workshops have you attended that present material in such a way that it would work for any instrument?
# Posted on April 18th 2009 by jrathbun
Re: Ideas for an Irish music workshop
Try starting on something easier to work with than a Hammer Dulcimer, Something more normal like a flute or fiddle, or even a banjo.
# Posted on April 18th 2009 by Magnetic Cheesecake
Re: Ideas for an Irish music workshop
"Something more normal"
Define normal
# Posted on April 18th 2009 by upmine3
Re: Ideas for an Irish music workshop
Give them a dose of the music first, with some short introductions. Then, as soon as possible, get interactive, put it in their hands ~ give them an introduction to the basic rhythms ~ percussion, the bodhran...
You don't need anything fancy, it can be bare hand or you can just go out and buy doweling and cut it into lengths and round both ends. Just focus on the one end. You could 'REUSE', collect a slew of plastic bottles, various drinks and potions long consumed, remove the lid, with the open end out hold the neck and put the bottom against your belly. The idea is to strike the side of it with either your fingers/knuckles/fingernails or the bottom end of the length of doweling.
You would need some basic understanding of the bodhran to pull this off, but there are probably a fair share of folk about who can help you there. The heart of this music is the rhythm, the dance, and another option would be to put them in touch with the most common structure to the tunes, 32 bars, or AABB, but doing a short simple dance, and you could just walk it, no steps necessarily needed. Although a popular and relatively easy one for this would be one of the polka set figures, like for the Kerry Set.
Give them an 'experience' of the music, make it physical, get their blood circulating so they understand that this is all integral to the life of the music.
If they already have an ability with their instrument of choice you could then work from a lilt to putting the melody in thier hands. One tune played with understanding is better than half a dozen half baked.
Try not to use sheet music, but you could offer them that at the end, when they are packing up and leaving. Better that their attention is on the music and you that's teaching it, and that they also listen collectively, to themselves and each other, without the damned dots and sheets to hide behind... If there's sufficient laughter and empathy the sheet music addicts are likely to survive what for them may be an ordeal by ear... I've never known an addict, dependant on hiding behind notation, that wasn't glad of breaking that addiction...
Good luck, and come back and let us know what you do and how it goes, good and difficult...
# Posted on April 18th 2009 by ceolachan
In your neck of the woods you're sure to have friends who'd be willing to help, maybe even a set's worth, but don't push the tempo if you take that route, the old more relaxed tempos are better for novices...
On the dance side of the experience, a simple contra dance would do too...
# Posted on April 18th 2009 by ceolachan
Re: Ideas for an Irish music workshop
I'd assume, hopefully correctly, if they are HD players and you have to teach them ITM, that they are coming from American Folk type genres?
If so, I would emphasisze where the beats/notes are stressed in ITM as opposed to American music. I do Dropped D Guitar workshops on occassion, crossing over folk players (well hopefully it sticks!) to ITM type backing, and the main difference is that they want to fill in the off beats rather than stay on the beat of the music. On HD with tunes, a similar thing could be happening, emphasis on the wrong syllable as they say.
If you are teaching tunes, I'd think the best way to do this is to have a handful of tunes that have ITM counterparts, and show the difference between how both are played. Something like Mason's Apron may be a good one, played the American way, then the ITM way, so they can hear the differences.
The phrasing is the thing that will be different, so that's what I would do, comparisons. Maybe others here can suggest tunes played in Old Time or Bluegrass that have ITM counterparts. I am useless on names and not well versed in American folk music at all. Done that way, I'd think it would sink in better than just trying to teach tunes and explain verbally. Also they already may know many common tunes by ear, which will make the changeover simpler.
# Posted on April 18th 2009 by irisnevins
Re: Ideas for an Irish music workshop
I would think that an introduction to Irish music, the types of tunes, what a session is, teach them an easy jig and easy reel, a little about Irish dance. Click on my member name and go to my member description. There is an essay there about beginning Irish accompaniment that also has a lot of general info on The Music that applies to every instrument, feel free to borrow anything that might be helpful.
Also, give them a listening list, list of youtube links, top ten CDs, so they get an idea of what is good, and can hear samples.
When first getting into this music, I was at the weeklong Gaelic Roots festival, and signed up for a morning beginner's bodhran class with Myron Breckholtz. He used the approach of a general introduction to Irish music, and although I set the drum aside soon afterwards, his class was one of the best I ever had because so much of what he showed us and taught was applicable to all instruments.
Good luck and have fun!
# Posted on April 18th 2009 by AlBrown
Re: Ideas for an Irish music workshop
Oh and PS, I must say that I very much like what ceolachan and irisnevins said as well!
# Posted on April 18th 2009 by AlBrown
Re: Ideas for an Irish music workshop
The Hammered Dulcimer is a great instrument for showing the relationship that notes have to each other. Go up the scale along the edge, and do the same up four notes each side of the bridge pegs. You can see as well as hear the relationship of the notes each side of the bridge, and how chords are laid out. Also a good techqnique is needed to ensure that the correct hand falls on the note so that you don't get yourself crossed. A bit like picking in jig time, or bowing a polka. And as the HD is essentially a melody instrument, it is eminently suited to ITM. A couple of strips of paper with the notes clearly marked in large type can easily be stuck to the top under the strings to help beginners. Good luck and have fun, as AlBrown says. That's the main thing.
# Posted on April 18th 2009 by gam
Re: Ideas for an Irish music workshop
If the course is given to people who already play, as you say in your post, I'd get them to play - by ear ! just three easy tunes in the three basic dances (in my last workshop, I used Morrison Jig, Rights of Man for a hornpipe, and the Teetotaller for a reel)... I did it first very slowly till everybody had the tune, then - still slowly, a few typical ornaments. I put the emphasis on the rythm : very steady tempo, rolls and triplets to arrive on the next note... and I did it with HD... and in the class, there were fiddles (violins...), accordions (chromatic button type, with playerstrained in classical music), and clarinets...
BTW, hammered dulcimer HAS been played in Antrim for at least 2 hundred years in ITM... have a look at Ptarmigan's site (goggle Causeway music)
# Posted on April 18th 2009 by Nikita Pfister
Re: Ideas for an Irish music workshop
"~ that present material in such a way that it would work for any instrument?" ~ it's all in the ears, and the body, in my suggestions above to get them out of their comfort zone and out of their seats. It all depends on how much time you have and exactly what their various backgrounds and instruments might be. You should be able to get some hand on that from the organizers ~ and with introductions, as they gather. Numbers will be another important consideration. This is also where calling in some friends to help might be a wise decision, and a wider introduction to the ITM community in your area.
Are you expecting small and intimate or large and unweildy?
I took it that you meant the basically 'uninitiated'? I find that the sooner you get past discomfort to some laughter and a bit of foolishness, the quicker things will move forward, whatever eventual direction you take. It sometimes helps to just catch people off guard and out of their expectations. I've had to do similar with young orchestra and concert band musicians and the classically drenched, as well as young criminals in prison.
Every situation is unique and sometimes takes you in directions other than you were prepared for. A little physical activity has never gone amiss, especially if your situation is all concerts and they've been sitting on their asses all day, a little rise in circulation wouldn't hurt, meaning some dance mixed in with the music...
Other great suggestions above... Mine will always have some kind of rhythmic/dance centric consideration to it, as too does Iris's & Al's, getting to the heart of the matter.
If you do have time for three tunes, or whatever the situation, a way to introduce hornpipe swing and the reel, in shorter forms, would be through a highland fling and a single reel...
How much they bring with them in understanding and ability will make much of these decisions for you.
# Posted on April 19th 2009 by ceolachan
Re: Ideas for an Irish music workshop
''The heart of this music is the rhythm, the dance'' ''one tune played with understanding is better than half a dozen half baked.''
Its great to hear simple sound advice from someone who really has spent a lifetime deeply immersed in Trad.
I have yet to disagree with anything I have read here from C. Fair play to you. Though I have to admit learning some tunes from Photocopies! but Ive often bought the books afterwards if they proved of value to me. [sheepish icon]
My suggestion would be to work on a reel. Show the numerous different ways it can be played. Get them to sing/hum it as well, or before playing it So that the melody is already felt before going to an instrument.
I certainly agree that its wise to concentrate on aspects of the music that are universally applicable. Once an in-depth understanding of a tune is reached [as much as possible in a few hours!} then that understanding can be applied to all other tunes. Once the tune is sung then the space for breathing and therefore phrasing becomes more obvious. I personally find the standard superficial learning of a bunch of tunes to be uninteresting. I understand that in this day and age, the average consumer is after quantity as cheap as possible. but I reject this approach.
From years and years of traditional training where we concentrated almost to a fault on minute and subtle aspects I feel that a thorough grasp of simple essential aspects is far better than a rough overview. I feel its best to offer a simple and effective approach to learning and to encourage self study.
So I think a simple reel and dance to go with it. concentrate on the phrasing, lift and drive, to 'put the tune under the dancers feet.
Obviously you will be constrained by a time limit. Normally this would be 3 hours split between 2[ or 3] sessions. so I might be tempted to focus on the tune in the morning and dance in the PM, but not exclusively.
Most of all enjoy, share your enthusiasm and love for the music to inspire the same.
# Posted on April 19th 2009 by the wicked hacker
Re: Ideas for an Irish music workshop
Wow! This is great stuff.
Looking at the differences between bluegrass, old timey and Irish would be enlightning. Also, currently there are discussions of ear training on other local lists, something I'd been wanting to teach for a while. I pretty much pick up the music by ear. I can see, distilling your comments that the essence of Irish is a few tunes done well.
I have NO idea of my audience. I might get a bunch of spectators from the various concerts, dedicated ITM musicians or boom-chuckers who sing cowboy songs in small bars. I have until August so I'll have the chance to work up a number of ideas.
# Posted on April 19th 2009 by jrathbun
Re: Ideas for an Irish music workshop
Yes, if you hum, lilt or dance to the tune you're halfway there to adopting it...
"~ share your enthusiasm and love for the music to inspire the same..."
So much more than just music is passed on in such situations.
I remember a few cases where being in a rotten mood I sinned in not realizing I'd taken that into a workshop with me ~ finding out almost too late that suddenly everybody else was reflecting my mood ~ becoming miserable impatient sods. Fortunately, at least in this situation, I caught myself in time to turn me into a point of laughter and the heaviness lifted. There are times though, regretted, where I was not so observant or quick to clear my less than considerate influence... But, usually, the good company and my passion for such things quickly has me pushing any moans and groans I might have to the back, to be dealt with later... Music is such good medicine that, at least for me, more often than not, it helps clear the head and raise the spirits...
# Posted on April 19th 2009 by ceolachan
Re: Ideas for an Irish music workshop
Exactly jrathbun. Listen to Paddy Murphy's reminiscences on 'In good hands' a real treasure of old kitchen recordings spanning many years. many of his contemporaries just had a few tunes they played well for the sets. Of course, like Paddy some of us want to progress beyond this basic functional level but its completely legitimate to have a few tunes to fulfil a role and social function.
IMO, in setting up a group event its good to have a clear focus and explain at the begining' the form' and what you hope to achieve with the group., really grab their attention at the start. but only introduce the short term goal of the first session. This means you still have material for your introduction of the next session.
Make small achievable steps that each session can build upon.
Im a great believer in a small 'ritual' to begin and end a class, To differentiate between your focused session and the rest of the world. To go a small bit towards dropping the cares and troubles of daily life and devote a few focused hours to the music.
Like C says, break the ice get a laugh A little talk to set the scene, to bring them together and the same at the end.
How you structure a class like this is tricky, because so much depends on who is there and there 'level' Id suggest forming a number of plans to accommodate some projected scenarios.
It can be quite nice to have a Q+A at the end before the finishing talk, but try to keep the main session chatter free .
This is just my take on it of course.
# Posted on April 19th 2009 by the wicked hacker