My husband and I just registered for the Gaelic Roots week in Boston June 16-22. Anyone else from the list planning on attending? Mary Bergin’s teaching and I’m totally excited. Has anyone gone in the past and have any hints on how to make the most of it? Thanks!
I went two summers ago when Joanie was teaching and it was amazing. I fell asleep pretty early each night, but I heard there were sessions every night on the instructors’ floor in the dorm. If you can stay up late, try to crash those.
Jessie
Im considering going, but the family is on vacation the week before that…so I may not be able to make it there (unless I stop by Boston on the way back from Yellowstone!)
Of course, there is the money issue…
I just heard about this a few days ago. Can’t break loose from work long enough, being that I’ll be back from a 10 day vacation just before. I hope you have sincere fun!
I went when Jessie did in 2000. There were 4 or 5 from Chiff and Fipple there, plus we recruited more. It was a total gas, I’m jelous! – N
On 2002-01-17 14:28, lawhistle wrote:
. . . Mary Bergin’s teaching and I’m totally excited. Has anyone gone in the past and have any hints on how to make the most of it?
I had a few days of class with Mary in 1999 at East Durham. Mary strongly discourages the use of sheet music (“put that away, it’ll do you no good.”). This was my first introduction to the “by ear” philosophy. All I was able to get out of the class at the time was how to correctly do some ornaments. I just didn’t have the mind set, nor the mental capacity to take advantage of what was being offered. It was a big hit to the ego (which I genuinely needed with my introduction to the reality of traditional music). Since that time, I have been learning to play music by ear. I’ve almost got it for tunes I listen to all the time. I have yet to get it well for tunes that I have not listened to 40 or 50 times. I’m working on that now.
I’d suggest that, if you can’t learn by ear already, that you take a crack at it. If you have some practice at it (even if it is frustratingly slow) you will enjoy Mary’s class much more. Mary has so much to offer with her instruction. I hope to take Mary’s class at East Durham this year (cash permitting). I expect that I will have the capacity to more fully benefit from Mary’s wonderful instruction (it is amazing just to watch her teach, she remembers everything everbody is doing; mind like a steel trap).
Also, bring a tape recorder or minidisc recorder. It is almost as important as your whistle. Mary did not allow recording during class, but did review everything for the microphones at the end of class in a condensed version.
And if I recall, Gaelic Roots has an audition for whistle and fiddle players. The instructors divide everbody up into classes according to ability. I suggest that you work real hard on a few tunes if you want to get into Mary’s class. I’d suggest Scoiltrad.com as Conal’s highly constructive criticism of your playing can make you a much better player. Conal’s style does have some things in common with Mary’s style, but is a bit wilder. I picked Richard Dwyer’s and Deirdre Collis’ reels because, to me, they sounded like “Mary Bergin tunes.”
I second what Mark said about auditions. You need to be able to play a reel or two at speed to be sure of getting into the “name” classes. Flubs and nerves are accounted for, don’t worry. And, by the way, if you don’t get the “name”, you will have a wonderful teacher anyway. — Nancy F
Man, I had forgotten about that. I am someone who can totally perform, but can’t audition. I freaked out, couldn’t breathe, couldn’t play (when I did musical theater years ago, they made an exception for me and cast me without making me audition), made a total fool of myself. So, needless to say, I was put in a lower class. I talked my way out of that and into Joanie’s class. I did fine once in the class. Hee.
Jessie