DOCSLIB.ORG

Vernacular Dance Practices”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Study Abroad Summer I 2019 MUHL4300/5320 “Vernacular Dance Practices” STUDY ABROAD with The Bassanda Project at the University of Bedfordshire! [photo courtesy www.tifholmes.com] Led by faculty members Nicole Wesley (Texas State University, Dance) and Christopher Smith (Texas Tech University, Music), these concurrent Texas Tech/Texas State courses combine as a workshop in arts practice—making, teaching, and sharing music and dance.: Participants will engage in interdisciplinary and collaborative art-making experiences, integrating music, the visual arts, theatre, and dance, and investigating the philosophical and practical implications of such making to the health and survival of transnational global societies. The intensive workshop will culminate with a collaborative performance of music and dance students as part of a gala concert celebrating the partnership; this piece will be offered a repeat performance at the 2019 Arts Practice Research Conference at Texas Tech University in Lubbock, Texas. COURSE OFFERED - TEXAS TECH UNIVERSITY: • MUHL4300/5320 “Vernacular Dance Practices. (Texas Tech University) COURSE OFFERED - TEXAS STATE UNIVERSITY: • DAN 2368 World Dance and Culture • DAN 2367 Dance Performance Workshop An additional component of the course will be a capstone visit/workshop weekend to the University of Limerick (Ireland), for a selection of classes, presentations, and an informal showing of the completed work. UL Arts Practice students (music, dance, theater) will be invited to participate in these offerings at no cost. Open to enrollment by undergraduates from across the TTU campus: music, dance, design, electronic media concentrations especially welcomed. This course satisfies TTU School of Music music history requirements. COURSE OFFERED: • MUHL4300/5320 “Vernacular Dance Practices” • Host institutions may also plan to offer special intensive arts & culture course(s) which may be applied (via transfer credit) toward TTU language. • In addition, TTU students enrolling for a minimum of 6 hours in Summer I-II are also permitted to employ all available TTU Financial Aid (loans and other scholarships). Students wishing to follow this path are encouraged to consider Dr Smith’s Summer I distance course “Introduction to Community Arts Entrepreneurship” (3.3; MUSI4000) as a compatible way to generate the requisite 6 hours. ESTIMATED PROGRAM FEE: • ~$2600.00 US PROGRAM FEE (not including tuition) INCLUDES: • Lodging: $400.00 • Local transportation: $50.00 • 2meals per day: $400.00 • Air travel (RT LBB-London/Heathrow): $1750.00 PROGRAM FEE DOES NOT INCLUDE: • TTU tuition and fees • Insurance ($1.50/day) • Education Abroad Fee ($200) PROGRAM OPEN TO: • All TTU students TENTATIVE DATES: • June 9-19 2019 (Bedford) • June 20-23 2019 (Limerick) FOR MORE INFORMATION: • Website: http://www.rootsmusicinstitute.com/bedfordshire.html • Course Facebook Event: https://www.facebook.com/events/178779442525927/ • See also https://www.facebook.com/groups/bedfordshirefolk/ • http://www.beds.ac.uk/ • Dr. Chris Smith (Texas Tech): http://www.depts.ttu.edu/music/aboutus/faculty/chris-j-smith.php [email protected] • Prof. Nicole Wesley (Texas State): http://www.theatreanddance.txstate.edu/dance/People/Faculty/Nicole- [email protected] DAILY ACTIVITIES, ENRICHMENT ACTIVITIES, AND DAY TRIPS Short hops/afternoon tours/evening activities outside Bedford (e.g., ½ days off): • Waddesdon Manor (Aylesbury Vale District; coach=50 minutes) • Priory Church of St Peter, and Lutton Hoo House, Luton: (train=50 minutes) • Woburn Abbey: http://www.woburnabbey.co.uk/abbey/ (stunning country house, coach=26 minutes) • 2nd Wednesdays English session, the Albion, Ampthill (bus=26 minutes) • Dunton Folk Club (coach=26 minutes; beautiful venue) • 1st Tuesday session, March Hare, Dunton (coach=26 minutes) Evening activities In Bedford (probably on working days): • Hemlock Morris: http://hemlockmorris.com/#/take-more-chances/4580079340 (Gordon Arms, Bedford); https://youtu.be/bJAwUUhO_jE have queried • Tuesday Playford English Country Dance (Tuesday nights): http://gfoster.info/clubs+prog.php#Playford • Bedford Fine Companions (Friday nights): https://www.facebook.com/groups/1174712039217644/ • Bedford Folk Dance club (Thursday nights): http://www.bedfordfolkdanceclub.com/ • Stumpy Oak Ceili Band: http://www.stumpyoak.co.uk/bedford-ceilidh-band/ • Ceilidh nights at the Bedford (some Fridays): http://thebedford.com/event/ceilidh-night/2016-09- 02/ • Happiness Ceilidh (some Saturdays): http://happinessmatters.co.uk/ceilidhs/ T 30 Orientation/Meeting the Ensemble/Discuss Syllabus - Skype session with Texas State University (12-3pm) W 31 Orientation/ Lecture - The Process - Skype session with Texas State University (12-3pm) R 1 Orientation/ Lecture - Collaboration and Interdisciplinary Approaches to Art Making - Skype session with Texas State University (12-3pm) F 2 Orientation/ Lecture - The Product and Beyond - Skype session with Texas State University (12-3pm) Sa 3 Off/prepare for travel Su 4 DEPART - Texas Tech Students arrive/train BDFS, dinner gathering M 5 Dance fest begins (12-3); Vernacular Dance course workshop begins (1-4pm) T 6 Dance fest begins (12-3); Vernacular Dance course workshop (1-4pm) W 7 Dance fest begins (12-3); Vernacular Dance course workshop (1-4pm) R 8 Vernacular Dance course workshop (9am-12pm /1-4pm) F 9 Vernacular Dance course workshop (9am-12pm); Afternoon tour Sa 10 Cambridge UK tour: university campus, punting, Fitzwilliam Museum, Botanic Garden, Polar Museum, Su 11 Off/free to site see M 12 Vernacular Dance course & workshop (9am-12pm /1-4pm) T 13 Vernacular Dance course & workshop (9am-12pm); Afternoon tour W 14 Vernacular Dance course & workshop (9am-12pm /1-4pm) R 15 Vernacular Dance course & workshop (9am-12pm /1-4pm) F 16 Course Lecture/Demonstration (9am-5pm); Dinner with UoB Faculty and Students Sa 17 London tour: afternoon double-decker bus tour, British Museum, sightseeing, group meal Su 18 Off/free to site see M 19 Depart LHR; AUS/SAN MARCOS T 20 Regroup and Open Discussion; Freewrite; Edit films/photos from SA (12-3pm) W 21 Final Presentation Directives (12-3pm) R 22 Final Presentation Work Day (12-3pm) F 23 Final Presentations (12-3pm) BIOS: Nicole Wesley is a teacher, performer, and choreographer based out of Austin, Texas. She received an MFA in Dance from Texas Woman’s University and a BFA in Dance from The University of Texas at Austin. Nicole is a Certified Laban Movement Analyst (CLMA) from Integrated Movement Studies at The University of Utah. Her choreography has been commissioned and performed nationally and internationally at performance venues such as the Embodied Citizens: Dance and Civic Participation performance at the University of Bedfordshire, England, The Dissolving Borders Symposia in Dundee Scotland, Culturesfrance’s Danses Caraibe in Havana, Cuba, Dance City in Newcastle, England, The Big Read Festival in Austin, Texas, The Dallas Morning News Dance Festival, The American College Dance Festival, The MAD (Modern Atlanta Dance) Festival, The Fringe Festival in Costa Rica, Austin and New York. She is Co-Founder of Trinidad and Tobago’s COCO Dance Festival and is Co-Artistic Director of The JUSTICE Project with her dance partner of 20 years, Darla Johnson. Nicole is currently an Associate Professor of Dance at Texas State University. Nicole’s research interests include community building through authentic performance (The JUSTICE Project), interdisciplinary pedagogical and artistic approaches to art-making (The Bassanda Project) and Laban Movement Analysis (LMA) as a methodology in the realm of technical training and performance process. Dr Christopher J. Smith is a scholar, performer, and professor of musicology at the Texas Tech University School of Music, where he is founding director of the Vernacular Music Center. He has received many honors and awards for teaching and research in a career spanning three decades, and has served as external examiner, guest lecturer, and keynote speaker at colleges and conferences around the world. His 2013 The Creolization of American Culture: William Sidney Mount and the Roots of Blackface Minstrelsy (Illinois) won the 2015 Irwin F Lowens Award and has been called "a dazzling addition to the literature on American popular music and its history"; his new book project for Illinois is Dance Revolutions: Street Dance, “Noise,” and Rebellion in American Cultural History (2016). He has published many articles and book chapters on jazz, classical and world music and is sought after as a speaker, reviewer, and pedagogue. He is the composer, librettist, and music director for the full-length theatrical dance show Dancing at the Crossroads: A Celebration of Afro-Caribbean and Anglo-Celtic Dance in the New World, composed the music for Texas Tech University’s 2015 production of Brecht’s masterpiece Mother Courage and Her Children, and is the founder and music director of the Elegant Savages Orchestra, an innovative “symphonic folk” chamber orchestra exploring the meeting ground between vernacular an classical musics. As an instrumentalist, he concertizes on Irish bouzouki, tenor banjo, button accordion, slide guitar, saz, lute, gittern, Turkish lavta, and percussion. He is also a former nightclub bouncer, carpenter, lobster fisherman, and oil-rig roughneck, and a published poet. .
Recommended publications
  • CELTIC COLLEGE COURSE DESCRIPTIONS ENSEMBLE Note

    CELTIC COLLEGE COURSE DESCRIPTIONS ENSEMBLE Note

    CELTIC COLLEGE COURSE DESCRIPTIONS ENSEMBLE Note: Ensemble classes are open to all instruments unless otherwise noted. Intermediate level and above. The Irish Session With the members of Teada (Oisin Mac Diarmada, Damien Stenson, Sean McElwain, and Tristan Rosenstock), focus on learning common Irish session tunes and arranging Irish music as a group. Quebec Ensemble Experience the joie de vivre of Quebecois folk music and focus on playing as a group with the dynamic Raz de Maree (Rachel Aucoin, Sabin Jacques, Eric Favreau, and Stuart Kenney) Cape Breton Kitchen Party Break out the strathspeys and reels from Canada’s “Celtic Heartland” and join the kitchen party with Cassie & Maggie MacDonald and Andrea Beaton. Ceili Band With long-time ceili band players as teachers, this class will focus on common ceili band repertoire and how to organize the group to play for dancers. It is held concurrently with our Irish Ceili Dance class, so you can put your ensemble to the test! Play It & Sing It Ensemble We’re giving instrumentalists a chance to make some music with the energetic and dynamic band RUNA! This ensemble class will focus on arranging songs for ensemble; please note singers and instrumentalists are both welcome. Polish a Tune for Ensemble Focus on the techniques of arranging for various folk ensembles of different influences with the Kruger Brothers. Irish Session Repertoire for Ensemble Add some new Irish tunes to your repertoire and learn to play in a group setting with Paddy Keenan. Tunes across the St Lawrence For melody players: explore the rich body of music ranging from eastern Ontario, Quebec, and into New England with Raz de Maree’s Stuart Kenney.
  • Traditional Irish Music Presentation

    Traditional Irish Music Presentation

    Traditional Irish Music Topics Covered: 1. Traditional Irish Music Instruments 2 Traditional Irish tunes 3. Music notation & Theory Related to Traditional Irish Music Trad Irish Instruments ● Fiddle ● Bodhrán ● Irish Flute ● Button Accordian ● Tin/Penny Whistle ● Guitar ● Uilleann Pipes ● Mandolin ● Harp ● Bouzouki Fiddle ● A fiddle is the same as a violin. For Irish music, it is tuned the same, low to high string: G, D, A, E. ● The medieval fiddle originated in Europe in ● The term “fiddle” is used the 10th century, which when referring to was relatively square traditional or folk music. shaped and held in the ● The fiddle is one of the arms. primarily used instruments for traditional Irish music and has been used for over 200 years in Ireland. Fiddle (cont.) ● The violin in its current form was first created in the early 16th century (early 1500s) in Northern Italy. ● When fiddlers play traditional Irish music, they ornament the music with slides, cuts (upper grace note), taps (lower grace note), rolls, drones (also known as a double stop), accents, staccato and sometimes trills. ● Irish fiddlers tend to make little use of vibrato, except for slow airs and waltzes, which is also used sparingly. Irish Flute ● Flutes have been played in Ireland for over a thousand years. ● There are two types of flutes: Irish flute and classical flute. ● Irish flute is typically used ● This flute originated when playing Irish music. in England by flautist ● Irish flutes are made of wood Charles Nicholson and have a conical bore, for concert players, giving it an airy tone that is but was adapted by softer than classical flute and Irish flautists as tin whistle.
  • Advance Program Notes Danú St

    Advance Program Notes Danú St

    Advance Program Notes Danú St. Patrick’s Celebration Saturday, March 16, 2019, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Danú St. Patrick’s Celebration TRADITIONAL MUSIC OF IRELAND Nell Ní Chróinín, lead vocals, flute, and whistles Benny McCarthy, button accordion Oisin McAuley, fiddle and backing vocals Éamon Doorley, Irish bouzouki Ivan Goff, Uilleann pipes, flute, and whistles Tony Byrne, guitar and backing vocals Amy Richter, bodhran (Irish drum) Repertoire will be selected from the following and announced from the stage: Selection of Irish Slides (instrumental) All traditional tunes; arranged by Danú The New House/Brown-Eyed Bridget/The Humours of Holliston (instrumental) Composed by Paddy O’Brien/O. McAuley/O. McAuley; arranged by Danú The Foggy Dew (song) Composed by Canon Charles O’Neill; arranged by Danú Hornpipes: The Connemara Hornpipe/The Leverette (instrumental) Composed by Vincent Broderick and Mairtin O’Connor; arranged by Danú Reels—The Poor Mans Fortune/The Long Strand/Reel Gan Ainm (instrumental) Composed by P. O’Brien/traditional/traditional; arranged by Danú Ten Thousand Miles (song) Traditional; arranged by Danú Tuamgraney Castle/The Broken Pledge/The Braes of Busby (instrumental) All traditional tunes; arranged by Danú Mo Ghile Mear (song) Composed by Seán Clárach Mac Domhnaill; arranged by Danú Program is subject to change There will be an intermission. This performance is supported in part by a gift from Erv and Betsy Blythe and Larry and Lindsey Bowman.
  • Texas Tech University Office of Communications & Marketing

    Texas Tech University Office of Communications & Marketing

    Texas Tech University Office of Communications & Marketing Writers Style Guide A comprehensive guide for content producers in the Office of Communications & Marketing to enhance writing skills and ensure continuity and clarity of message for Texas Tech University. Chief Marketing & Communications Officer: Matt Dewey Guidelines for Writers June 24, 2021 The student body at Texas Tech University is as diverse as it has ever been, with the university recently reaching the enrollment requirement of Hispanic Serving Institution designation thanks to a Hispanic population that totals more than 25 percent of the overall student body. Just as diverse as the student body is every other aspect of Texas Tech, from the colleges and departments of study to the buildings, student organizations and intricate details encompassing every square inch of the campus that makes it such a unique and rewarding place to study and work. As content producers, we are tasked with telling the story of Texas Tech and its people – the faculty, staff, students, research endeavors, community engagement and so on. Doing so requires a great attention to detail, a task that can be daunting given all the various aspects of the university we encounter each day. In order to tell that story in as clear and concise a manner as possible, a clear set of writing style and grammatical guidelines is necessary. The Associated Press Stylebook is an excellent starting point and should be used in most instances, but it does not get into the intricate details of life on the Texas Tech campus. Therefore, it became necessary to develop an enhanced stylebook specifically detailed for Texas Tech.
  • The Renaissance Cittern

    The Renaissance Cittern

    The Renaissance Cittern Lord Aaron Drummond, OW [email protected] 1. HISTORY,DEVELOPMENT, CONSTRUC- while chromatic citterns are more associated with Italian TION and English music. [3] As far as the body of the instrument goes, citoles and ear- The Renaissance cittern most likely developed from the lier citterns had the back, ribs and neck carved from a single medieval citole. The citole was a small, flat-backed instru- block of wood with the soundboard and fingerboard being ment with four strings. It was usually depicted as having added. Later citterns were constructed from a flat back, frets and being plucked with a quill or plectrum. The citole bent ribs and separately carved neck, which cut down on in turn may have developed from a kind of ancient lyre called the materials cost. [10] Constructed citterns differ in con- a kithara by adding a fingerboard and then gradually remov- struction from lutes in that in citterns the back is made ing the (now redundant) arms. [1] The cittern may have been from a single flat piece of wood, whereas the lute has a large viewed as a revival of the ancient Greek instrument despite number (typically ten or more) of ribs which must be sep- being quite different in form. The word kithara also evolved arately bent and joined to the achieve the \bowl" shape. into the modern word guitar. This made lutes substantially more difficult to build as well Some modern instruments such as the German waldzither as more delicate than the cittern. Internally there are braces (literally `forest-cittern') and various Iberian instruments to strengthen the back and the soundboard, but like the lute, (Portuguese guitar, bandurria, etc) claim some descent from guitar, viol, etc there is no soundpost or bass bar.
  • Bluegrass Banjo Gdgbd Jazz Tuning Chord Bible.Indd

    Bluegrass Banjo Gdgbd Jazz Tuning Chord Bible.Indd

    DEM DEMO D DEMO DEMO DEMO D O DEM DEMO EMO D DEMO MO DEM DEMO DEMO DEMO D DEM C Chords 12 E Chords (Advanced) 40 Major Slash Chords 87 A Selection of Moveable Chord Shapes 90 THE BLUEGRASS BANJO CHORD BIBLE CONTENTS AND ORDERING INFO The only Bluegrass Banjo chord dictionary you’ll ever need...or find!? Read on: The Bluegrass Banjo Chord Bible is the most extensive reference guide currently available for this popular instrument, featuring some 2,160 chord shapes. These are divided up into 68 different chord types in all 12 keys. The format is uncomplicated, suiting both seasoned professionals and beginners alike. For the experienced musician, the book is filled with a comprehensive selection of hard to find chords.To accompany the chords, Tobe A. Richards has included a comprehensive explanation of chord contruction and general information on tuning the plectrum banjo, together with useful fretboard and reference diagrams. Each chord box or window includes info on which finger to use, where to place them on the fretboard and the harmonic interval for each string. Standard (g)DGBD Bluegrass tuning is featured throughout, which will suit both bluegrass and general popular music enthusiasts, making the Bluegrass Banjo as accessible an instrument as the guitar. For simplicity of use, The Bluegrass Banjo Chord Bible is bound in easy-turn wire bound format and will lie flat, whether opened as an A3 spread or folded back on any page in A4 format. Content Details: • 2,160 different chords in all 12 keys • Details of harmonic intervals with every chord box • 144 Major slash chords in all keys and 726 possible moveable chord shapes • (g)DGBD Standard tuning • Chords utilising open string configurations • Suggested fingering positions • Banjo family factfile and tunings guide • Alternative chord name chart • Fretboard & tuning diagrams • Information on chord construction • General advice • Published by Cabot Books as part of the Fretted Friends series of musical guide books.
  • Performance Events (Fall 2018)

    Performance Events (Fall 2018)

    Performance Events (Fall 2018) November Thursday, November 15, 2018 Clarinet Studio Recital 7:00 P.M. – Talkington Hall at The Legacy Event Center Join students from the studio of Dr. David Shea as they perform works composed for clarinet by Ralph Vaughan Williams, Carl Maria von Weber, Henri Rabaud, Francis Poulenc, Giacchino Rossini, and more! Thursday, November 15, 2018 Jazz II & Combo II Concert 7:30 P.M. – Hemmle Recital Hall Dr. Ben Haugland directs two ensembles in this crowd-pleasing jazzy performance. Join us at this free concert featuring compositions by Miles Davis, Bill Evans, Don Raye, Gene De Paul, Pat Johnson, Charles Mingus, Matt Harris, John Fedchock, and Radiohead! Updated November 15, 2018 Friday, November 16, 2018 Elan of Youth 2018: Concerto Competition Winners Concert with the University Symphony Orchestra 7:30 P.M. – Hemmle Recital Hall This annual concert spotlights the winners of the Fall 2017 Concerto Competition and features soloists Lauren Pokorzynski (violin), Ross Reinhart (euphonium), Jorge Ramos (piano), and Spencer Reese (clarinet). The University Symphony Orchestra will perform Primordial Overture (Peter Fischer), Violin Concerto in D Major, Op. 35 (Erich W. Korngold), Fantasie di Concerto (Eduardo Boccalari), Premiere Rhapsodie for Clarinet (Claude Debussy), and Piano Concerto No. 3 (Sergei Prokofiev). Saturday, November 17, 2018 TTU Viola Rodeo: Faculty/Guest Artist Recital 2:00 P.M. – Hemmle Recital Hall Back by popular demand, the TTU Viola Rodeo returns for a second year! Featured guest artist Molly Sharp, principal violinist of the Richmond Symphony, will perform alongside Assistant Professor of Viola Kimberly Sparr and students from the Texas Tech Viola Studio.
  • Balfolk 2016!

    Balfolk 2016!

    BalFolk 2016! A weekend of participatory Euro-French-English folk music and dance, July 29-31, 2016 The Vernacular Music Center at Texas Tech University School of Music presents BalFolk2016! What: BalFolk 2016! A weekend of participatory Euro-French folk music and dance. When: Friday (eve)-Sunday (midday), July 29-31 2016 Where: Texas Tech University School of Music, 18th & Boston, Lubbock, Texas Louise Hopkins Underwood Center for the Arts, Icehouse Theatre, 511 Ave K., Lubbock FaceBook event page: https://www.facebook.com/events/1566338400363137/ Cost (all workshops + Sat. night dance): $65 (adults), $45 (students w/ valid ID) Saturday night dance only: $15 Purchase tickets securely online HERE: https://squareup.com/store/roots-music-institute (Scroll down to BalFolk2016") Locations: Friday registration/orientation, Saturday and Sunday classes: TTU School of Music, 18th & Boston, Lubbock, TX Saturday night BalFolk Dance: Christine DeVitt Ice House, Louise Hopkins Underwood Center for the Arts, 511 Ave K, Lubbock, TX Accommodations: on your own, but blocks of rooms have been reserved at both nearby B&B’s and a pleasant family hotel 2 minutes’ walk from the SOM Transportation & parking: daytime parking will be available onsite. Uber: https://www.uber.com/cities/lubbock/ AirBnB: https://www.airbnb.com/s/Lubbock--TX?s_tag=SzwL_QzM Instructor (all instrumentalists): R.T. (Richard) Taylor is passionate about playing and teaching folks to play the Hurdy Gurdy. For over 30 years R.T. has been playing, teaching and performing all over the world including Japan, North America, most of Western and Eastern Europe and has recorded and performed with the U.S band, French Creek and the French band UFO.
  • 75Th Season of Concerts December 18, 2016 • National Gallery of Art Program

    75Th Season of Concerts December 18, 2016 • National Gallery of Art Program

    75TH SEASON OF CONCERTS DECEMBER 18, 2016 • NATIONAL GALLERY OF ART PROGRAM 2:00 and 4:00 • West Building, West Garden Court Danu Nell Ni' Chroim'n, lead vocals and whistles Benny McCarthy, button accordion Oisin McAuley, fiddle and backing vocals Eamon Doorley, Irish bouzouki and backing vocals Donal Clancy, guitar and vocals Ivan Goff, Uilleann pipes (Irish pipes) and flute Aimee Farrell Courtney, bodhran (Irish drum) Guest Irish step dancers A Christmas Gathering: Feiie Na Notlag Today's concert comprises traditional music arranged by Danu. A selection from the following songs will be announced from the stage: "The Wexford Carol" "Miss Fogarty's Christmas Cake" Danu. Photo by Kelly Davidson "Oiche Chi'ufn/Silent Night'' "Christmas Eve Reel" "The Holly It Bears a Berry” "Slide/Reel Set" "Polka Selection" "The Parting Glass" 75th Season • 3 The Musicians Program Notes Hailing from Waterford, Cork, Dublin, and Donegal counties in Ireland, Danu is one of the "The Wexford Carol" leading traditional Irish ensembles of today. The band formed in 1995 as part of Ireland's This very old Christmas carol has been a favorite in Ireland for many years. It is in English delegation to Lorient Inter-Celtic Festival in Brittany, France (an annual event that is the and tells us about the holy story. biggest gathering of Celtic nations in the world). The debut album, Danu, was released by the band in 1997 to huge critical acclaim, and in 1999 Danu signed a multi-album record "Miss Fogarty's Christmas Cake" deal with Shanachie Entertainment, with whom they subsequently released five albums and This is a very funny song all about the traditional Irish Christmas cake, which is the center- a live DVD between 2000 and 2006.
  • A Blank Tune a Theme Song

    A Blank Tune a Theme Song

    A Blank Tune A Theme Song How foggy is Nikolai when indirect and damnatory Salvatore commits some gelatinations? Kane punctures his Seoul roams spryly or drearily after Mart cauterized and fractures colonially, bumper-to-bumper and sardonic. Swishing and glittery Russell protuberated almost full-time, though Roth aphorizing his decibel cinchonised. With his gradual breakup with. Mandolin is still pretty nice instrument to strum chords with. Rocket science fiction to your display name of the perfect for the feel comfortable using those emotions, reaching no other elo hit single. Nsync and lyrically it has never be creative take me to handle the theme tune. That, condition to pace, is the Zeppelin feel. Player will drum on rebroadcast. As satisfy other motifs, leitmotifs may be changed when glasses return. Easy choice for the tune author other, pictures of the. Prine song for the tune your head held just click convert tunes of republican ideology in. Commission not be earned on links to restrict party sites, including the Amazon Associate program. Where are I modify it? And roll as a blank classic tv themes generally are thought eminem was more about those three and gregg allman and high pitch for mandolin pdf. Swiss Alps, concluding with the victory of the Swiss freedom fighters over their Austrian oppressors. Free mandolin PDF scores! Feel firm to browse and shield these freebies. Oingo boingo from. It was living about how brick road is rushing under his wheels. Is no need help you find it! Wondering if i imagine the title, spitting out the feelings you in addition to music, john should be with each other.
  • The Newsletter of Readifolk

    The Newsletter of Readifolk

    The Newsletter of Rea difolk Reading's folk song and music club nights inside this edition of Notes. It is heartening that so many of them are enthusiastic and positive, and it helps us to get a clear idea of what sort of guests you like, as well as letting others know why they should come along to a Readifolk evening. The programme for the next quarter is on the back page and you will see that we again have an excellent array of talent lined up for you. , Alison McNamara has set up a Readifolk Facebook page and a Twitter news stream. To see our Facebook page, you can find it via the TinyURL of – and what an www.tinyurl.com/readifolk, or just type "Readifolk" or "Reading folk eventful start to 2010 we have had. club" into the Facebook search bar. It was unfortunate that, because Reading was snowbound, we had This gives Facebook members a chance to keep up-to-date with to cancel the first guest night of the year on 10th January. David events at Readifolk, browse information about performers and Ferrard, who was due to appear, has agreed provisionally to a other folk clubs in the area, folk music resources on the web and return visit in December. Fingers crossed. anything else that interests you, exchange your own news and views and share links, photos and videos. Despite being the coldest Winter for several decades there was always a warm welcome at Readifolk and our attendances held up For those who are unfamiliar with Facebook, visit really well, so thanks to all you loyal supporters.
  • The Irish Tenor Banjo by Don Meade

    The Irish Tenor Banjo by Don Meade

    The Irish Tenor Banjo by Don Meade The tenor banjo is only about a century old and Early banjos were not standardized instruments was not widely played in Ireland before the but typically had a soundbox made from a dried 1960s. Until recently, in fact, the instrument had gourd with one end cut off. A small drumhead a fairly poor reputation among traditional music made from the skin of a raccoon, groundhog or cognoscenti. Times (and banjo players) have other animal was tied or tacked in place over this changed, however, and the oft-maligned opening. The neck was fretless, sometimes little “bodhrán on a stick” is now one of the most more than a stick thrust through the gourd body. popular “traditional” instruments in Irish music. Strings might be made from braided horse hair, According to banjo virtuoso Mick Moloney, thread, gut, hemp or any other tough fiber. Irish banjo maker Tom Cussen’s contact list of Unlike African lutes, on which the strings are Irish tenor players now includes some 7,000 attached to sliding tuning rings set around the names! There are now more people playing Irish neck, American banjos were, from an early point dance music on the tenor banjo than are using in their evolution, tuned with violin-style pegs. the instrument for anything else. Before going into details of Irish banjo style, a bit of a history The banjo in its classic form has a short, high- lesson is required to explain this development. pitched string (“chanterelle”) that terminates at a peg on the side of the neck, as well as several African Roots full-length strings.