John Blake is definitely among the rising stars, though he plays guitar more often. People have mentioned some chord progressions sounding "strong" and others "weak". He’s on Humdinger with Paul Brock and Enda Scahill - absolutely top-notch. We played Coleman tunes, but crucially in 4/4, with the master coupler on the box, and it worked very well. Practice common chord changes all on their own until they are automatic. Geraldine Cotter’s book "Seinn An Piano" is also … All seems like evidence that piano is alive and well in Irish music. The ceili vamping style is fine when one is playing reels in 4/4 but most modern players often prefer to play reels in 2/2 - even though they don’t know it… and zouk and guitar are well suited to the later… The problem occurs when one musician is playin in 2/2 and the piano is in 4/4. Why do those specific chords fit with those notes? Mind you, it’s nice playing at either, I’m all for diversity . I started playing about three years ago on the whistle and flute and I feel pretty good about where I am along the long path I am on. Re: Piano Vamping to Irish Tunes Here’s the walking down thing, where you could go 1, 7, 1, 7 (Am G Am G if the tune is in Am) but instead go 1 7 6 5 (or the equivalent) it starts at 3:27 Will you be playing the piano? Buille, Beoga, Reed Only and Tim Collins, North Cregg, Callan Bridge, Harry Bradley, never mind the ceili band explosion…, I think it’s coming back now. Sorry but I’m not fluent in ABC but it’s the easiest way to post melodies here, so here goes. http://www.brockscahill.com/. He’s a brilliant musician and a very worthwhile study. I agree with all Donald says. for general harmony and musical theory - http://www.tonalityguide.com/index.php or http://www.dolmetsch.com/theoryintro.htm Bernadette Flanagan… Rose Conway Flanagan’s daughter, Brian Conway’s niece. To me, their accompaniment is more sophisticated and satisfying than what I hear with Irish ceilidh bands. To my ears, Eleanor Kane Neary (1915-93) is still the leading innovator on piano in Irish traditional music. Vamp on the piano with help from a producer and musical director in this free video clip. I would like to learn how to accompany Irish tunes "correctly" on piano. Martin. Old timers called this "vamping." There are a lot of tunes where your I, IV, V chords will work, e.g. So, for example, in the turnaround (last two bars) of Brenda Stubbert’s I might go: |G2 F#2 E2 F#2|G2 G#2 A4| . The trouble is, for me, CB-style piano makes the music sound very …*Cape Breton* - no bad thing in itself, but it can obscure the nuances of Irish melody playing somewhat. Chord inversions are magic. Personally, I think this suits the … Featuring many of his wonderful compositions, the banjo is shown in a variety of different musical combinations and styles. From the jolly honky-tonk feel of the double tracked banjo on the opening polkas, to the powerful banjo and bouzouki air of the ‘Dear Irish … If electric pianos are "vampier", are they a pain in the neck? If there is such thing as *the* Shetland piano style, then I suspect she probably invented it. And Felix Dolan’s son, Brendan, is carrying on the tradition quite nicely. All the above recommendations are great for piano backing specifically. Geraldine Cotter’s book "Seinn An Piano" is also excellent. Martin T’s point about 4/4 and 2/2 helped me finally realize, however, why reels accompanied with the old piano style feel different. You don’t have to change chord every time the melody suggests that you don’t, and if you do, you don’t have to change to the same chord every time. You don’t need to use a lot of chords, as long as you use the right ones at the right times. players in other styles of piano music … Learn Piano Accompaniment Online. The BEST is Brendan Dolan — he backs up a lot of Brian Conway’s recordings and also plays for the Pride of New York Ceili Band. All seems like evidence that piano is alive and well in Irish music. In other words, sometimes chords that don’t initially seem to fit the best will work if part of a strong progression. That could just be a Hal Leonard Publishing thing, but it's all about the music for me. Practice to recordings. I play fiddle and piano. http://www.claddaghrecords.com/www/product.asp?pID=1596&cID=17. To quote the I Ching: "Perseverance furthers". Yes, it’s Leaving Lismore, and I’ll second everything Trish says. I have arrived and found some real clunkers. But for the best piano vamping accompaniment I would second listening to and studying the playing of Violet Tulloch. " I hear people talking of vamping on piano for Irish music. Take this waltz phrase (can’t remember the name of the tune or even the correct key) in C major: I know that I have to come up with some basic chord progressions, but how do I know what chords to use? 11 people found this helpful. Barnes, Peter - Interview with a Vamper: Piano Accompaniment Techniques for Traditional Dance Music - Piano - Canis Publ on Amazon.com. This was an impossible task (luckily, I gave it another go in my follow-up posts 10 More Irish Songs You Need to Know).. E.g. A question like: Kellie’s "Why do those specific chords fit with those notes?" Piano Accompaniment to Fiddlers, First Lesson, with Ryan Thomson - $29.95. Music full of warmth and exuberance from Seán O' Driscoll (banjo, bouzouki) and Larry Egan (accordion). If you are a member of The Session, log in to add a comment. time fiddle tune. The piano is commonly used for accompaniment. I … Piano vamping for an old. Why specific chords fit with certain notes is (apart from any theoretical and harmonic considerations) down to how they sound, as others above have suggested. reading ability is needed. Oh and nobody mentioned Jim Corry, he plays with the Tulla Ceili Band and is one of the few piano players in trad I like. Three Irish… With guitars and bozoukis dominating, apart from a mere handful of good solid piano players (notably lennon and mcgrath), the interest in piano backing is decreasing. I agree completely with the person who said that when a piano player makes a recording, they ought to use a real piano instead of an electronic keyboard because they are in a recording studio and you would think the studio could afford a real piano. Vamping on a piano or accordion etc, simply means going oom-pah, oop-pah (or boom-chick, boom-chick if you prefer). It is comforting to know that there are other who appreciate the skill and effort involved in successful accompaniment. The reason some of these chords are major and others minor is simply that they are built using the "legal" notes of the scale. You hear a non-musician electrical engineer’s impression about what a piano tone sounds like. How would one go about accomplishing (writing) this strong progression? Do you play in a session, and would like to try backing it with piano? The only thing I would add is that the harmony can be very improvisational. Comment Report abuse. Thanks! usually vamp in double octaves. If you are a member of The Session, log in to add a comment. Real piano in trad is generally dead. Ray T. Tipton. On demand 24/7. He’s not just backing either, he does a lot of melody playing, but he does it very well. I love introducing my favourite Irish songs to guests on Vagabond and Driftwood Small-Group Tours of Ireland.. (Bob considers getting out some wax teething for "vamping." Donald K’s answer is simple and concise. I guess no more than I am of "boom-chick" style guitar or anything else (that’s just me though). Molly Durkin, The Widow Malone, Let Mr McGuire Sit Down were my favorite of the songs utilizing vocals. | Am | Am | G | G | Am | Am | G | G | Membership is free, and it only takes a moment to sign up. I would have thought that the opposite is true. A strong progression is one that goes somewhere harmonically. Even better: I, IIm, IV, V. This can be used for any key. I suppose if one relied on real piano, one would be at the mercy of the venue having something playable. : P ; ). It becomes an aesthetic argument often between traditional and modern. it starts at 3:27 By the way Cape Breton piano style is a lot of fun, even if its wild and jangly craziness doesn’t always suit the more intricate Irish tunes. Now that is really taking the music form upscale. I don’t play piano but love to hear it done well - the Cape Breton style has already been mentioned, check out the related Shetland style, particularly Violet Tulloch, her musical partnerships with Tom Anderson, Aly Bain, Willie Hunter, etc are brilliant. Irish Pub Songs (Piano/Vocal/Guitar Songbook) Read more. If you aren’t a member of The Session yet, you can sign up now. I prefer to stick to simple chords but sometimes use chromatic bass runs. You should hear Ryan Molloy. To call for a vamp would be to call for an emergency time filler (given something isn't going as planned). These are the two best forms of tuition I’ve found in my personal journey to learn Irish music on piano, and they both offer not only backing/harmony, they also offer melody/self-accompaniment. or F# minor, or F Major instead of F minor, you hear various things, but the "walking" progression still works. Just as much as ignorance of the tune or appropriate chords, this generates a lot of bad feeling and negativity towards accompaniment, and is equally relevant to bodhran players etc. Donald’s three points again are wonderfully simple and concise. Simplicity is a virtue, especially when starting out as an accompanist. YES YES YES, Sez the guitar, mando, banjo and zouki player…from Ozzie land… Really, just like any dance-band music… Alot like having a submarine builder design a sail boat. | A | A | D A | A G | Oh yeah, he’s not an Irish player though, Cape Breton. It works just fine for accompanying anything and everything. "…when one is playing reels in 4/4 but most modern players often prefer to play reels in 2/2 - even though they don’t know it…" Yeah, but Cape Breton is a different thing altogether - the piano was alway thriving there, and the prowess and style of the CB piano players is in most cases admirable - they don’t go half way, oh no sir! Only one name to mention here.Beryl Marriott.The best. | A | A | D A | F#m G | for Irish Music in particular, look at http://www.capeirish.com/ref_lib/harmony.html "… listening to Cape Breton pianists …" Or the Beatles.) Some people are critical of the accompaniment style of John Doyle but I have more respect for the opinions of Liz Carroll and Jerry Holland. http://www.canispublishing.com/. If not, then read up on simple harmony. VINTAGE HARMONICA 78s Pat Missin. I’m not a huge fan of piano "vamping" in session music but oddly i do like it as a solo instrument and i think if the repertoire is chosen carefully, irish music does sound beautiful on the piano (i play a little myself!!) Membership is free, and it only takes a moment to sign up. As Trish pointed out above, they can be used for one or two fingered chord changes, complex chords, walking bass lines, and other nifty stuff. well I think, Kellie, you need to study some basic harmony: how chords are formed, the basic chords related to a scale and how the chords relate to each other" Also the head of the Music Academy at UL is Mícheál Ó Súilleabháin, a great pianist (I’m sure he can vamp if he feels like it). I know usually I would have a really long post explaining my exact situation, but that pretty much covers it. Steinways for ITM???!!! 1. Record yourself playing the tune so you can try the accompaniment - and vice versa - so that you can hear how melody and chords fit together. Re: History of the Piano … The arrangement, where the flute drops out leaving the fiddle to play solo, however, was a … The Cape Breton style is much better to the old vamping style though and I’d like to see more Irish players adopt it, it works well with Irish music too I think. p.s. As a fiddler I know that this music is overwhelmingly a melodic/rhythmic tradition. is irish piano playing dead? It’s its own style and vibe and was a fun change. Also the term vamp … Outside of music, the term means to improvise or fabricate, and also can hold true in theater music. the main trick to accompanying Irish music is to understand not only the tune melody and its harmonic possibilities, but the WAY the musicians are playing the tune, its ebbs and flows and natural structure. Yes, Zippy, Digital Pianos do seem to be an occupational hazard for piano players at sessions. These will cover most of what you need. | Am | Am | G | G | Fm | Fm | Em | Em | Also the head of the Music Academy at UL is Mícheál Ó Súilleabháin, a great pianist (I’m sure he can vamp if he feels like it). http://www.youtube.com/watch?v=TjyHur3_GdE&feature=related, And here for a few MP3 clips. A mixolydian, C# and F# but G natural. I happen to like the sound of a slightly out-of-tune saloony old upright piano, but that’s probably from listening to too many 78s. This is true to a certain extent in that there can often be different chord options that will work equally well in certain settings. Key of Dmaj (start with the major keys and if you keep at it, the mysteries of accompanying minor keys will yield themselves up). However experienced. I am a classically trained pianist, and vamping was a whole new technique for me. In fact, Geraldine Cotter and Felix Dolan are still active, and many of recent recordings have piano backing. http://www.capeirish.com/ref_lib/harmony.html, https://www.youtube.com/watch?v=kFthTtqaNVY. I reckon I’m hearing more piano in records than ever before. A(z) Yahoo a Verizon Media része. So true - at least, it seems to work that way in London - maybe sessions should advertise as being one or the other? Without a guitar in front of me I’m not sure of the exact chords being used, but the effect is there. using C as an example again: C root chord is CEG; playing that in your right hand, just move little finger up one white note to A: now you have an Am chord on CEA (2nd inversion). If not, who are the rising starts to look out for? If I was you, I would start with a tune you know really well (could be one of your own) and try to find chords that fit. They recognize that the music is not harmonically complicated (mostly), that the number of chords needed for a given tune are relatively few, but still it’s tricky. Knowing the tunes. is a question less about style and more about fundamental musical understanding, Irish or any other. No. Award-Winning Irish Music Teachers. A search of "piano" here will reveal multiple threads on the subject, and they will include recommendations on pianists to listen to. I started as a sax w/flute and clarinet doubling chops and learned to play adequate piano for pop bands - which is all ear and instincts. You will will lose fewer melody-playing friends and be in demand for sessions and shows as a member of a surprisingly small gang of capable ITM accompanists. Re: Piano Vamping to Irish Tunes If you can spare the $20 a month, the OAIM (Online Academy of Irish Music) has a course on accompaniment for piano. There is a danger, say, of looking at each bar of a tune in turn and saying "that chord fits those notes the best" and ending up with a nothing progression. On slow airs etc often use synth string sound and slip-finger sustained chords - can be nice. I learned jazz harmony and voicing but am worlds away from calling myself a jazz pianist - they are beasts. I agree with Zippydw’s comments about the differences between real pianos and digital pianos. 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