I have been a public school teacher for almost 35 years and am delighted to use those skills to teach adults about Irish song and singing in general. I have led these workshops at the Northwest Folklife Festival, the Bellingham Celtic Festival, The O’Flaherty Irish Music Retreat in Texas, and at folk music camps from San Francisco to Vancouver, BC, to Washington, DC for the past 35 years.

I am available to lead the following workshops (details and handouts below):

* The Amazing Variety of Irish Singing Traditions Learn more

* Introduction to Sean-nós Singing Learn more

* Learn a Simple Sean-nós Song Learn more

* The Singer’s Toolkit: Principles and Techniques for Bringing a Song to Life

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Comments from anonymous students at the O’Flaherty Irish Music Retreat, Texas:

David Ingerson gave excellent presentations. I am interested in learning sean-nós singing, and I received some very useful information.

The Amazing Variety . . . with David Ingerson, excellent presentation.

David Ingerson’s Amazing Variety . . . was very well organized and informative. Learned a lot about Irish song traditions I haven’t heard before.

David Ingerson was very organized and added an element that the singing community needed (sean-nós) to have available.

I loved David Ingerson and all he did—now that’s real Irish music!

Really enjoyed David Ingerson’s class of different song traditions.

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The Amazing Variety of Irish Singing Traditions: Lecture/demo/(participatory)

I present the characteristics and historical context, with recordings, of seven types of Irish singing traditions: Ossianic Lays, Caoineadh na Marbh or Keening, Sean-nós, rhythmic Irish language songs, Anglo-Irish songs, Parlor songs, and pub songs. Although I lead the workshop in a lecture-demo format, I encourage questions or comments throughout and often end up in lively discussion. I provide an outline of the workshop with links (click the button below). In extended time formats, I teach participants songs in several of the traditions.

“This was thoroughly enjoyable, David. Thank you for drawing all the threads together, showing us the evolution of the styles and influences through the clips, and playing so many wonderful voices for us!” Christa Burch, Contemporary California Celtic Singular Voice, http://www.christaburch.com/

“Loved your workshop! Learned so much!” Linda Allen: https://www.lindasongs.com/

“Well done, David! Your clear and layered introduction to the distinct song styles in Ireland was prepared and presented with respect for the material and for listeners.” Patience Young, singer and editor of Dick Holdstock’s Again With One Voice.

 

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Introduction to Sean-Nós Singing: Lecture/demo/participatory

I list and comment on the important characteristics of sean-nós (old style Irish) singing and play a number of examples of masters of the style. I then teach a moderately simple example of a song in the sean-nós style (but in English for ease of learning), based on a recording of one of the masters. In addition, I provide a handout which lists all the characteristics and includes commentary, a discography, and links.

“David Ingerson . . . led an elegant discussion of sean nos singing and singers and gave us an overview of styles and sources.” Jon Bartlett

 

More about Learn a SN Song

Learn a Simple Sean-nós Song: Participatory

We quickly review the most significant characteristics of sean-nós singing, then listen to five true-to-the-style renditions of Ard Tí Chuain, a relatively simple song that is often sung in the sean-nós style (and also often not sung in that style). We then work on learning the air and the pronunciation (and meaning) of the words starting with the chorus, then the first verse. If there is time we will work on the second and third verses as well. If you are planning to attend, please download the handout and listen to the five renditions on YouTube so you can get a head start on the learning process.

 

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The Singer's Toolkit: Techniques for bringing a song to life: Lecture/demo/discussion

I briefly describe and play examples of a number of particular vocal techniques (based on the four “elements” of a single line of music: pitch, timbre, volume, rhythm) then explain the main principles for applying these techniques to heighten the impact of a song. Several examples are played and analyzed.

I have led one or more of these workshops at the following events:

O’Flaherty Irish Music Retreat near Dallas, Tex.

Northwest Folklife Festival, Seattle

Singtime Frolics, Portland, Ore.

Camp New Harmony, SF Bay Area

The Getaway, Washington, DC

Spring Harmony Online Music Festival

Raise the Rafters near Portland

Bellingham Celtic Festival

Sean-nós Festival, Olympia, Wash.

Rainey Camp, Seattle

Vancouver Folk Song Society Fall Retreat, BC

Tumbleweed Music Festival, Richland, Wash.

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