Oirialla Trio

Click to listen to  Oirialla performing “Through the Heather”

Friday, October 12th, 2012 
Two Seatings 7:00 pm or 9:00 pm
Tickets $20  – Tickets are available at the door. Advance tickets are available by calling 613.729.0693 at Alcorn Music Studios. Please indicate 7:00 or 9:00 pm seating

Oct 13th, Saturday Three Workshops: Guitar, Fiddle and Accordian.
9:30 am to 12:30 pm.
Cost $30 per workshop. Please pre-register by calling 613-729-0693.  If you call and reach voicemail please leave a message.
Workshop Details are below the Oirialla Bios.

Trio Oirialla is comprised of fiddler Gerry O’Connor, accordionist Martin Quinn, and Breton composer and guitarist Gilles le Bigot.

Their music showcases both Irish and Breton songs and tunes. Many of these come from the ancient, mystical Irish kingdom of Oriel whose music has developed as an eclectic mix of rhythms, melodies, and strong poetical lyrics.

The three musicians making up Oirialla are renowned in their own right, and perform frequently as both soloists and ensemble players.  http://www.martinquinnaccordion.com/oirealla


Gerry O’Connor hails from Dundalk, a town close to the border with Northern Ireland, and is the product of four generations of fiddle players. His past recordings have focused strongly on local music and his work as a soloist and as a band member of Lá Lugh and Skylark is well known across the world. Over the past two decades he has recorded and performed with all the leading performers of the Irish music world including members of the Chieftains, Boys of the Lough, Planxty, De Dannan and Bothy Band. His solo album Journeyman has been hailed as one of the significant albums of Irish fiddle music. Gerry is also a violin-maker, music teacher and music producer and is currently directing a Traditional Music Initiative in a number of primary schools in the Drogheda area north of Dublin on the east coast of Ireland.

Martin Quinn comes from a family of musicians and raconteurs of traditional stories from just outside the village of Mullaghabane in South Armagh, in the north-east corner of Ireland. He has performed and recorded with a number of eminent line-ups including Lá Lugh, Dorsa, Josephine Keegan, Angelina Carberry, Paul Bradley and Cathal McConnell. His self-titled album with Angelina Carberry was included in the top 10 list of Traditional recordings by Earle Hitchner of the Irish Echo, a prominent newspaper within the Irish-American community in USA. Martin has developed an innovative and unique approach to playing the bass on the Button Accordion, developing and tuning new chords for the instrument based on the regulators of the Uilleann Pipes. He is also in keen demand as an accordion restorer and accordion tutor.

Guitarist Gilles Le Bigot, is best known in Brittany as the co-founder of the groups Skolvan and Barzaz. Since the early 1980’s his work as guitar-player and composer is characterized by the” open-tuning” style. Gilles recorded and performed with Lá Lugh throughout the 1990s and has continued to work with Gerry O’Connor since that time recording a duo album with him in 2006. As well as collaborating on several major recordings such as ” l’Héritage des Celtes” by Dan Ar Braz , and “Azéliziza ” by Le Bagad Kemper, he has performed and recorded with Kornog, Slovan, Barzaz, Fiddle Rendezvous and his own trio line-up, Empreintes with Jean Michel Veillon and Marthe Vassalo.

Oct 13th, Saturday Three Workshops: Guitar, Fiddle and Accordian.
9:30 am to 12:30 pm.  Cost $30 per workshop.
Please pre-register by calling 613-729-0693.  If you call and reach voicemail please leave a message.

GUITAR WORKSHOP with GILLES  LE  BIGOT  www.gilleslebigot.com
(This will be given in French and Engish)
This workshop is above all an occasion for pleasure and relaxation– pleasure to come together to learn new songs and techniques, each at one’s own pace and level.
My role is to best meet your expectations as you enter into my musical world, and to ensure that you leave with lots of new ideas to explore.
Level required: At least 2-3 years of experience in standard tuning.  In this workshop different levels are made possible by alternating group with individual work.
 TOPICS: Study of open tuning: The guitar being tuned DADGAD, we will work on different chording positions, accompaniment approaches and appropriate guitar works.
Repertoire: Celtic music
Techniques discussed: Working with both pick and fingers through a variety of songs and accompaniments. Appropriate exercises are offered in both techniques.
Rhythm: A look at different right hand rhythms in the accompaniment of dance music, along with relevant exercises in these rhythms.
Harmony: The goal is to provide some approaches to the harmonizing of melodies, and will be illustrated with specific examples of accompaniments in Breton and Irish music.
Material: Something to record portions of the workshop. Scoring will be in tablature.
Bring a pick and a capo.

Classes available in: B/C, C#/D, systems for every standard of player from beginner to advanced.
Areas covered include:
1) Command of instrument, i.e. fingering, bellows control.
2) Improvement in personal musicality, i.e. understanding of tune, phrasing, ornamentation and a special emphasis on rhythm and lift.
3) Students level will be assessed and shall be given tunes in accordance. Students are encouraged to ask as many questions as possible.
4) Different Box playing styles shall be demonstrated and discussed, and advice given on Box Players to listen out for commercially recorded and not.

FIDDLE WORKSHOP with GERRY O’CONNOR    www.gerryoconnor.net

  •  SomeTypical Bowing Patterns in Irish Music specific to the playing of Dance music.
  •  This class is offered to students of an intermediate level of fiddle playing.
  • Some experience in learning by ear would be an advantage; a positive approach to attempting to learn by watching and listening is essential

The bowing and articulation of bow patterns in the playing of jigs and other familiar dance rhythms introduced in the early part of the class will provide the basis for a systematic approach to a generic playing of Irish fiddle music suitable for this level of experience.This will enable the student to identify some repetitive patterns of bowing which, although non specific, will aid the student in understanding the non- random activity of fiddle bow activity in Irish fiddle playing.
Audio and selective video recording is encouraged. The notation of the workshop tunes with some typical bowing motifs indicated will be forwarded by email after the class
The focus in this class will be not just to learn more tunes but to improve the ability to play and enjoy the experience of playing the fiddle.  A class of 10 -12 would be considered appropriate.