Mickaleen Conlon Irish Traditional Music Co Clare

Mickaleen Conlon playing at Greene's Pub, Ballyvaughan, Co Clare. "Closing TIme" was made on 17th August 1994. The great late musician Mickaleen was a regular on the traditional music circuit, in particular at the Road Side Tavern in Lisdoonvarna.
Mickaleen Conlon - Concertina /Accordion
Vincent Browne - Guitar
Gabrielle Casey - Whistle
Shane Holden - Guitar
Liam Lewis - Fiddle
Sean Tyrrell -Vocals / Mandocello / Banjo
A magical night of Irish Music featuring some of the great names of Irish tradiotional music.

Demo of "Concertina" for the iPhone and iPod Touch

Concertina is a series of very high quality Anglo Concertinas in multiple keys for the iPhone and iPod Touch (2nd Generation).

Anglo concertinas are very popular for playing traditional Irish jigs and reels.

The Anglo concertina is diatonic, meaning they play a different note for each button depending on whether you are pushing or pulling on the bellows.

To play, simply tip to the left for a bellows push note, or to the right for a bellows pull note, and press a button. The PUSH/PULL display shows which direction the bellows is going.

You may reverse the bellows while pushing a button simply by tipping in the opposite direction.

Multiple buttons may be pressed at the same time to play chords.

Learning mode (touch the '?' icon) shows the note names for each button when pushed or pulled.

Adjust the tilt sensitivity and volume on the settings page.

The button layout is based on a 17-key modified Jeffries style for playing traditional Irish dance tunes in the most common keys.

The graphics are based on my 1860s vintage Lachenal 30-button Anglo.

Uses extremely high-quality audio samples recorded from a high-end Anglo C/G concertina.

Up to 5 buttons may be pressed at the same time to make chords.

Four different keyed versions of the app are available, "Concertina" in C/G, "Concertina Bb/F", "Concertina A/E", and "Concertina G/D".

Available soon for $0.99 each on the iTunes App Store.

Damien Mullane on Irish Button Accordion

All-Ireland senior button accordion champion (2005 and 2007) Damien Mullane plays the four-part jig, "The King of the Pipers", which he played in the 2005 All-Ireland Fleadh.

More info and videos at http://comhaltaslive.ie

Irish trio Seán and Gearóid Keane with Cormac Murphy

We conclude the programme from Leixlip Comhaltas Branch, Co. Kildare, with Seán Keane (fiddle), his brother Gearóid (concertina) and Cormac Murphy (button accordion) from Newbridge. They play a Brendan McGlinchey three-part hornpipe, follwed by two reels: "The Kiltoon" and "The Béara Reel" composed by Finbar O'Dwyer.

Ciarán Fitzgerald on Irish Concertina

Now on concertina, Ciarán Fitzgerald plays two reels: "Master Crowley's" and "Paddy Fahy's" with his father John, originally from Co. Kerry, on piano.

Irish music trio from the 2008 Comhaltas Convention

A set of reels played by Galway natives Charlie Coen (New York) on concertina and Ena O'Brien (Toronto) on box together with Larry Mc Cullough (Woodbridge, New Jersey) on whistle. At the end of the clilp, we see Comhaltas statwart Bill Mc Evoy and his wife Lilly. The Reels are: "Kitty Goes a Milking", "Music in the Glen" and "Green Fields of America".

They were recorded at the 2008 Comhaltas North American Convention, held in the Hilton Hotel at Parsippany, New Jersey between the 26th and 30th of March.

Sharon Shannon Receives Civic Reception From Clare County Council

PRLog (Press Release) – Sep 21, 2009 – The Ruan-born accordionist, who began her recording career in 1989, is best known for her collaborations with some of the biggest names in the Irish and Global Music Industry, including Bono, Sinead O'Connor, Jackson Browne, John Prine, Steve Earle, Mark Knopfler, The RTE Concert Orchestra, The Chieftains, The Waterboys, Willie Nelson, Nigel Kennedy, Alisson Krauss and Shane MacGowan.

Sharon Shannon's self titled 1991 album remains the best selling album of traditional Irish music ever released while she became the youngest person ever to win the Lifetime Achievement Award at the 2009 Meteor Awards.

"A Civic Reception is the highest accolade at the disposal of Clare County Council for any individual, group or organisation and one that is - for Sharon Shannon - thoroughly deserved", stated the Mayor of Clare Councillor Tony Mulcahy.

Addressing those gathered at Aras Contae and Chláir in Ennis this evening, the Mayor said: "By demonstrating her most wonderful talent as an accordionist, Sharon has brought great acclaim to the Irish traditional music scene, County Clare and those who have had the pleasure of working with her down through the years. Sharon's versatility as a musician is one of her most outstanding traits and is widely recognised by the global music industry."

"In presenting Sharon Shannon with a Civic Reception, Clare County Council is also recognising Clare's rich talent of Irish traditional musicians who have brought happiness to thousands of people throughout the world.

"By making such a rich contribution to the development and promotion of Irish traditional music, Sharon has honoured her contemporaries and those who have come before her. When speaking of figures that have contributed to making County Clare synonymous with Irish traditional music, I know the name Sharon Shannon will forever be mentioned in the same sentence as the likes of Willie Clancy, The Russell Brothers, the Tulla Ceili Band, the Kilfenora Ceili Band and Martin Hayes", added the Mayor.

Sharon Shannon played festivals all over Europe including Womad and Glastonbury in 2009, and has recently completed a sell-out UK tour and Irish nationwide tour with guests including Shane MacGowan, Mundy and Dessie O' Halloran. Sharon performed at the Rose of Tralee Festival 2009 and will be touring Ireland in October and December 2009. She is scheduled to perform at the prestigious Sydney and Perth Festivals in Australia in January 2010.

Her new album 'Saints And Scoundrels' is due for release this Friday, September 25th 2009.

Today's Civic Reception took place following the September monthly meeting of Clare County Council at Àras Contae an Chláir, New Road, Ennis, County Clare.

-ENDS-

Notes to Editors:
- Cllr. Tony Mulcahy, Mayor of Clare (086-2436345) is available for interview and further comment
- High resolution images of the Civic Reception are available on request
- For further information please contact Mark Dunphy of Dunphy Public Relations on 086-8534900 or media@dunphypr.com

Schoolboy crowned accordion champ

Don Frame

SEPTEMBER 18, 2009

FORGET chart-toppers like Little Boots, Dizzee Rascal and Kings of Leon.

The only music that matters to schoolboy Sean Scally is played on the Irish piano accordion.

And now he has been crowned under-12 world champion after taking on the best at the All-Ireland Fleadh Cheoil competition in Tullamore - Ireland's largest cultural and musical gathering.

Sean, from South Reddish, Stockport, began playing at five, encouraged by his Irish grandparents.

He quickly embraced the culture, and is also an accomplished Irish dancer and captain of a local Gaelic football team. Sean, who has been studying music at the St Wilfrid's branch of the Irish cultural movement Comhaltas, based at the Irish World Heritage Centre in Cheetham Hill, started his playing days on tin whistle.

Mum Collette said he found the piano difficult and instead tried the piano accordion.

Talented

His teacher Michelle O'Leary said: "He's incredibly talented. I knew he was going to be very good, but it's terrific to become a genuine world-beater."

Sean, a pupil at the local St Anne's RC School has made it to the finals of the Fleadh for the past three years.

"It was great to win it this year because everyone was really talented," he said. "I was ecstatic when I won it. It was a great feeling."

Mum Collette said: "I suppose it does seem a little strange to some that a lad of Sean's age is so much into Irish music, but his dad Pat and both sets of grandparents are Irish, so he grew up with that kind of influence.

"He really took to the piano accordion.

"For the last two years he's won the All Britain piano accordion championship for his age group, and it was wonderful that he got the world championship.

"His older brother, Donal, 15, is also a keen musician and they regularly play together. We were all over there in Tullamore to see Sean win, and it was particularly good for us because that's where his dad originally comes from."


http://www.manchestereveningnews.co.uk/news/s/1137514_schoolboy_crowned_accordion_champ

The Green Groves Of Erin/The Ivy Leaf

William J. Mullaly-The Green Groves Of Erin/The Ivy Leaf

Recorded on November 22, 1926 in Camden, New Jersey. Mullaly plays the concertina and is accompanied by the piano of Edward Lee on this version of a medley of Irish reels. According to Philippe Varlet and Richard Spottswood, Mullaly was the only Irish concertina player to be recorded prior to World War II.

Niamh Ni Charra CD Launch Video

Biography of Niamh Ni Charra, Concertina Player

Niamh hails from Killarney, where she started playing music at the age of 4. An All-Ireland Champion on both fiddle and concertina, Niamh had supported The Chieftains and Noel Hill, in addition to performing at festivals throughout France and England, before reaching her teens. She toured Europe, Asia and North America for 8 years as a soloist with Riverdance, performing in over 2500 shows, before returning to Ireland where she is now based.

She has taught both fiddle and concertina at Comhaltas Ceoltoiri Eireann's national headquarters, An Culturlann, in Monkstown, and regularly gives workshops on both instruments. She released her debut album "On Da Thaobh / From Both Sides" in 2007 to much critical acclaim - it was the only Irish album to make MOJO’s Top Ten Folk Albums for 2007. She was also presented with the “Best Trad Music Act 2008” award by The Irish World, the largest newspaper for the Irish community in Britain. Along with performing regularly as a solo artist, Niamh also tours extensively as a member of the Carlos Nunez band.

In Full

Niamh Ni Charra hails from Killarney, County Kerry in the south west of Ireland. Strongly influenced by the wealth of local Sliabh Luachra musicians, she started playing music at the early age of 4, under the tutelage of well known local musician Nicky McAuliffe. Equally talented on fiddle and concertina, she has won numerous awards, including Fleadh Cheoil na hEireann, Oireachtas, and Slogadh Naisiunta and has represented Ireland at folk festivals in Britain and France. Somewhat of a child prodigy, she had support gigs for The Chieftains, and Noel Hill under her belt before she reached her teens.

Despite this rich background, she put aside her music to persue a career in Electronic Engineering. After graduating with honours, Niamh was employed by an Irish software company who regularly sent her on business trips to Boston. Here she was exposed to a continuous flow of Irish musicians (Arcady, Sharon Shannon, Nomos) as well as locally based musicians (Paddy Keenan , Seamus Connolly, Tommy McCarthy).

The draw of the music proved too strong, and Niamh decided to resign from work to persue a career in music. She moved to Cork to take a year-long course in 'Music, Management, and Sound' at Colaiste Stiofain Naofa, where she graduated with distinctions in every subject - the only student ever to have achieved this feat. The college subsequently awarded her "Musician of the Year". She swiftly followed this with recordings for Irish radio and television, and performances with Riverdance 's european troupe in Europe, Asia and on board the QE2, before joining the U.S. troupe in 1998. Niamh performed with Riverdance from that date until December 2005, touring with them in North America. From Mexico to Vancouver, and Los Angeles to Broadway, New York, Niamh has delighted audiences with her fiery fiddling, fancy footwork and dazzling smiles. More recently she shared her talents in Riverdance's Irish and Far East productions performing in her native capital as well as the more exotic locations of Tokyo and Taipei among others.

Niamh has returned to Dublin, Ireland where she is working as a freelance musician, regularly gigging accross the city. She has taught both fiddle and concertina at Comhaltas Ceoltoiri Eireann's national headquaters, An Culturlann in Monkstown, and regularly gives workshops. She released her debut album "Ón Dá Thaobh / From Both Sides" in 2007 to much critical acclaim - apart from many great reviews, Niamh´s album was the only Irish album to be listed in Mojo´s Top Ten Folk Albums for 2007. She was also presented with the "Best Traditional Music Act" award, 2008, by The Irish World - the largest newspaper for the Irish community in Britain. She is a member of the Carlos Nunez band and tours both with them and as a solo artist.

Irish Music Workshops

Edel Fox (concertina) and Shauna Davey (harp)

Holding the Concertina

By Goran Rahm (goran.rahm@telia.com), April 2001
In previous articles in CW [Concertina World] No. 410 and No. 416 I have suggested some modifications of the concertina design with the motive to make playing more comfortable. In later discussions on the subject it has been questioned that the modifications would result in musical disadvantages.

The main objections have been that wrist straps limit fingering movements and the number of reachable buttons and that wider buttons may cause fingers to hook up on adjacent buttons. The latter problem could be dealt with by a wider spread of the buttons which of course requires a profound redesigning. This in fact might be motivated anyway since the traditional English keyboard measures actually are too small for many players.

The eventual problem with a limited keyboard note range raises interesting questions concerning priorities in the musical performance worth some discussion.

With all squeezeboxes pressing the button only decides which note (frequency) that will sound. The amplitude and all the finer qualities of the tone are regulated by working the bellows. Dynamic expression with force and rhythm requires that working the bellows is not straining. Consequently the mechanical and ergonomical circumstances in this case are of greatest importance for the quality of musical performance.

Now - music may be used very differently indeed, but generally playing well and expressively probably is of greater interest than producing an imposing multitude of notes. This means that making the bellows-work efficient is at least as important as providing access to the buttons. This may not be obvious to a constructor who is not actively playing the instrument. As a matter of fact neither the work with the bellows nor the work at the keyboard is arranged very effectively. The design of the English concertina seems to have been guided primarily by technical demands rather than musical ones.

The English concertina impresses most of all as an extremely compact device for producing plentiful notes at high speed. It does not offer good means for bellows-control however. It is obvious that players of the Anglo or Duet concertinas for example more easily manage getting dynamic expression into their playing.

The dynamic efficiency is accomplished by the transmission of energy from the hands to the sound-source. Ideally the force of the hands should be applied at the very centre of the endplate. Any other place of application results in unwanted movements, stabilizing efforts, loss of energy and time delay. Despite that flexibility of the bellows is ergonomically attractive since it admits a comfortable position of the hands, the resulting instability is a musical disadvantage while it impairs the energy transmission.

The importance of bellows-stability for playing efficiently could easily be demonstrated if you fasten a couple of leather straps (or rubber bands rather) across the bellows between two pairs of end-bolts at the upper end of the instrument so that the bellows move only at the lower end when pushing or pulling. The control of tone will be greatly improved. Accordion players frequently use a similar technique moving only the upper part of the bellows.

The traditional English concertina offers poor stability due to both the polygonal shape and un-balance of the holding position. The more folds and corners the bellows have the less stability. The thumb strap and little finger rest usually are located eccentrically so that the instrument twists with push/pull. The instrument also wants to rotate around the thumbs with the upper part moving away from the player (unless hanging down on the thumbs below the waist with an elbow angle about 120°.

Mostly, in order to get a better position for the fingers, only the thumb end (and eventually the little finger) has got contact with the instrument, the rest of the hand being a bit apart. This circumstance, additional to the instability of the bellows, means that the efficiency of energy transmission spoken of above is seriously reduced. The result inevitably is a loss of precision as well as dynamic capacity. To make the situation even worse the thumbs and little fingers actually are too weak for executing both the job working the bellows by push/pull and stabilizing the unwanted movements of the instrument. If the player is not seated the thumbs and little fingers also have to carry the weight of the instrument.

All these factors are obstacles to optimal performance with the English concertina.

To improve the situation and for greater bellows stability, central application of force, more stable attachment and better means to carry the instrument are required.

This leads over to the question of playing in a sitting or standing position. Some of the problems discussed here may seemingly be treated by playing seated with the instrument on one knee. The most common way - (resting the left end of the instrument on the left knee, keeping it steady there, and working the bellows with the right hand along a straight line) - means that at least the left part of the instrument is fairly stable.

The English concertina is symmetrical however and it is in principle impossible to obtain equal conditions for articulation of the tone at both end parts of the instrument unless it is played symmetrically, which means that it is carried or placed with even load on both ends and that both ends are equally movable. Considering this it is amazing that the method of resting the left end on the knee and doing the bellows-work just with the right end is recommended in most tutors. It seems desperate and the cause likely being the great problems to manage otherwise.

One way to create a little bit more symmetry, practicable on a small instrument with flexible bellows, is resting not the flat part, but the outer edge of one end on the knee, balancing it there, and working the bellows like you open and close a book. With larger concertina models a symmetrical situation is achieved by resting each end on each knee and working the bellows with both hands. The problem combining the need for stability with free movements of both ends remains. With the traditional design it probably is not possible to find a satisfactory solution. To provide for greater freedom to move both ends there has to be a better attachment. The best playing position is standing (or sitting on a footstool) with the instrument slightly below the waist. Sitting on a table-chair with the instrument breast-high is not suitable. When support is needed (and in fact this should be generally recommended) the instrument ought to hang on elastic braces, not a string around the neck.

The modified attachment, which I have suggested, offers greatly improved stability and thus better bellows control. It does however in fact increase the eccentricity, which as I have said before only may be compensated by moving the attachment to the centre of the instrument, which in its turn calls for moving the keyboard towards the top end. It needs to be mentioned here that the ordinary relation between the thumb-strap and keyboard is not very good either and the thumb-strap should be relocated about 20mm further down so that the fingers do not have to bend as much as they do otherwise. (The left side thumb-strap on a treble which normally is level with c' should rather be level with an imaginary B two rows below).

The suggested attachment also offers means to play symmetrically with both ends free in the air since the carrying load is transferred from the thumbs to the wrists.

Now back to the initial question about note range. All resources concerning bellows control must be related to the kind of music being performed. A solo part in a violin concerto for example may not require much energy transmission but a great deal of precision and it also may need a wide note range. Dance music on the other hand may call for great power but not an extensive note range. In practice there should be only a few conflicts depending on the wrist straps, but the fingering habits may need adjustment and a re-learning period of half a year or so may be expected. I use the attachment on a 56 key tenor-treble and a 56 key baritone-treble myself and I have no problems reaching all individual buttons despite having fairly small hands. Only very complicated polyphonic music might demand unmanageable hand positions.

Finally some words about the little finger. The most common method of holding the English concertina is by carrying it with the thumbs, which also are working the bellows while the 4th fingers are stabilizing the process, resting against the fingerplate or the end of the instrument. Fingers 1-3 do the button work. This is also called the "three finger method".

Charles Wheatstone however presupposed that 1st and 2nd fingers were used for button work while 3rd and 4th fingers would be placed at the fingerplate. This also explains the otherwise strange design and location of the fingerplate.

For better fingering capacity different "four finger methods" have been advised, by letting the 4th finger take active part on the buttons either occasionally, or as often as possible. The resulting difficulties holding the instrument probably has limited the use of the method to a small number of advanced players, but with an improved attachment this situation might change.

As far as I have noticed one important circumstance has yet not been regarded concerning this subject. The anatomical linkage between the 3rd and 4th fingers means that if the 4th finger is kept still it will inevitably restrain the movements of the 3rd finger, and it may even affect the movements of the others. For optimal efficiency of the finger work the 4th finger must be touching neither the fingerplate nor the end of the instrument at all.

If not taking active part in work on the buttons it should be "resting" in the air - i.e. following the movements of the 3rd finger.

The consequence of this is that the role of the 4th finger becomes more complex than what is usually understood. If it is actively stabilizing the instrument it will always cause unwanted muscular tension. When playing slowly the musical disadvantage of 4th finger slowing down the 3rd might be negligible but for fast or ornamented playing it would be a mistake not to consider the potentially hindering effect. Due to this the main issue is not if the 4th finger is used for button work - it actually is whether it is used for stabilizing - and the answer is that it should not be.

Since the modified attachment liberates the 4th finger from its stabilizing duty the question arises what to do with it instead. Some alternatives could be seen
a) playing with the first three as before, just letting the 4th follow along
b) using the 4th only when it comes in handy, mainly on the 4th row
c) using a "four finger method" in the sense that the 4th finger takes active part like the others
There are different approaches to alternative c). The Alsepti method, which advises 1st finger 1st row and so on, of course can not be strictly practised. A realistic distribution of the respective duties for the fingers may be 1st finger rows 1,2,3 - 2nd finger rows 1,2,3,4 - 3rd finger rows 2,3,4 - 4th finger rows 3,4.

The deciding difference is whether the 1st finger is primarily used on 1st or 2nd row. In two extreme examples the choice is easy. For single note playing in keys with few signatures it should be on 2nd row. For polyphonic playing in keys with many signatures it should be on 1st row. The problem for the individual player is to change method depending on occasional type of music and the realistic way may be to stick to a method suitable for the main part of the individual repertoire.


SUMMARY

The suggested modified attachment particularly if applied on a well-balanced instrument will generally not only improve comfort but will also provide better conditions for effective bellows-work, symmetrical handling, relaxed finger movements and a purposeful use of the 4th finger. All of this potentially improves musical performance for the majority of players. In my opinion there are only few selected situations, as when performing music written for the original instrument, where complicated fingering and note range demands motivate the original arrangement of the attachment to be used. Tradition and habits can be expected to resist acceptance but maybe young players and instrument makers may be stimulated to try the ideas and maybe some of the older players also, who, like myself, in spite of years of experience still have a feeling they have to fight against their instrument.

Classical music on english concertina

A lesson using a classical solo piece for english concertina. Played using 4 fingers.
This was one of the exercises on www.concertina-academy.com. Now included in the supplement cd to the tutor. Regularly you will find other music to practise and play on this website.

Irish concertina player Rory McMahon

Concertina for Beginners

Concertina Tutorial Video

Tim Collins on Concertina

Tim's formal introduction to music began at the age of 10 when his parents bought him a 'black dot' Hohner accordion in O'Neill's in Newcastle West. He and his brother John picked up tunes by ear from their father before attending Celia Regan's music lessons in the old hall in Templeglantine. Three years later, Con Herbert, a family friend from Killeedy, who had learned music from Collins' granduncle Tadhg, introduced Tim to the concertina. Herbert, a highly respected musician and teacher, trusted the thirteen-year-old with a 28 key rosewood ended Jeffries to practice on. Within a year, Herbert found a 38 key metal ended Jeffries that put Tim firmly on the road to concertina music. Herbert also loaned his young charge two key recordings of Irish concertina music, The Flowing Tide by Chris Droney and Irish Traditional Concertina Styles, a compilation released by Topic in 1977 that featured several legendary players; among them, Tom Carey, Solus Lillis and Paddy Murphy. Both discs had a seminal impact on Collins' style and repertoire.

The Kilfenora Ceili Band
Like his predecessors, Collins brought his music across the river to Clare, where he has taught music for almost a decade and played with Clare's legendary Kilfenora Céilí Band, one of the most decorated traditional ensembles in the country, with an unprecedented seven All Ireland titles and several award winning albums to its credit. While the musical ethos and philosophy of the Kilfenora, especially, the importance of tune structure, rhythm and lift has had a profound impact on his music, Collins has also contributed in no small way to the Kilfenora; not least, the seminal stock of slides and polkas that he has given to the band.

Mairéad Corridan on Irish Concertina

From Templeglantine CCÉ, Co. Limerick, Mairéad Corridan (concertina) plays a Paddy O'Brien composition, "Mike Cooney's Fancy".

Mike Cooney was the drummer in Paddy O'Brien's Ormond Céilí Band, which won four All-Ireland titles, including the three-in-a-row 1979/1980/1981 and again in 1984. The band played newly-composed tunes by Paddy, which is surely a record

Anglo Concertina Fingering Chart

Download a fingering chart for Anglo concertina at tradschool.com

Edel Fox plays "The Drunken Sailor" Irish Hornpipe

One of the great old multi-part hornpipes, "The Drunken Sailor", played by concertina player Edel Fox from Miltown Malbay, Co. Clare. Edel was TG4 Young Musician of the Year in 2004 and has toured Britain and North America with Comhaltas.

Padraig Rynne Band - Marga's Moment

Padraig Rynne

Pádraig Rynne is regarded as one of the finest concertina players in Irish music today being described by The Irish alphabet stew as "one of the freshest sounds in Irish music". Born in County Clare, Pádraig grew up in a house steeped in Traditional Irish Music.

In his early years Pádraig won five all Ireland titles as well as three Oireachtas titles. By the age of seventeen Pádraig had all ready toured the U.S.A, Canada, Ireland and Australia as well as having recorded an album with the young band "Turas".

In 1998 Pádraig joined the well known band "Cían" with which he recorded two albums as well as touring the world extensively.

Since his departure from that band in 2001, Pádraig has worked and recorded with artists of the calibre of Arty McGlynn, Alan Kelly, John McSherry, John Jo Kelly, At First light, Flook & Tamalin just to name a few, as well as recording an album entitled "Live in Belfast" with Paul Meehan & Paul Bradley.

"Bye A While" - Padraig's first solo album was released in 2005. This long awaited album has some of the finest Irish musicians you can find in Irish music guesting on it. It shows the through ability of this young concertina player and the bright future that he has ahead of him.

Also, visit my MySpace page and leave a comment! Thanks, Pádraig.

The Anglo Concertina: A Handbook of Tunes and Methods for Irish Traditional Music

Book and CD by Frank Edgley, 2001
(text below provided by Frank Edgley)

Frank Edgley is a concertina player with over twenty years experience, and anglo concertina builder. He has played at several festivals in North America and has performed in duet with Chris Droney at the Mrs. Crotty Festival in Kilrush, County Clare. Before that, he led the Scottish Society of Windsor Pipe band to several North American Championships. This experience with Celtic music has given him an understanding of the music.

He has just produced a new concertina tutor called "THE ANGLO CONCERTINA, A Handbook of tunes and Methods for Irish Traditional Music." A 73 minute instructional CD is included with the book. It takes players or aspiring players from the basics to fairly complex embellishments and variations. Embellishments are explained and played slowly on the CD. Contents of the CD directly relate to the text. There is a collection of jigs, reels, hornpipes, slides, polkas, airs and marches that has been selected to be "concertina friendly". Several tunes have been broken down to present embellishments and variations.

For information on ordering, prices, etc., e-mail Frank at edgley@concertinas.ca , or fedgley@cogeco.ca