Classical Guitar Festival June 8-10, 2018
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Carl Jackson- Musical Dream Maker
Carl Jackson- Musical Dream Maker By Lee Kotick Carl Jackson is a musical architect, bridge builder, and dreamer. He’s a one of a kind man; a humble networker who enriches others’ lives. Jackson’s mantra is, “With each dream that becomes a reality, a new dream lies ahead.” Many of his dreams have come true. He’s not just a gifted musical producer, but a most influential guy who perhaps is singularly responsible for the creation of one of the major bridges between bluegrass and country from the 1960s to the present. His feet are firmly planted in both genres. Jackson’s humility would cause him to disagree with such homage. Make no mistake, bluegrass and country go together other like ham and eggs. Jackson’s body of work in bluegrass and country is unrivaled for its time period. Just as Glen Campbell and Jim and Jesse took a young banjo playing Jackson under their wings, he in turn takes on talented young artists, nurtures them and teaches them to fly on their own. As a good song must have a great title, so must dreams be built on bridges providing artists connections between episodes of their dreams. While he’s fulfilled many of his own dreams, Jackson is called to make others’ dreams come true. Our country’s greatest artists want to be affiliated with Jackson’s projects, and to a person, they clearly love and admire him. This is a man who has reached the epitome of musical production in our genres. The Man Jackson was born in 1953 in a small clinic above the Strand Theatre in Louisville, MS. -
Artists and Yamaha
Artists and Yamaha CONTENTS Turning The Artist’s Imagination INTRO CONTENTS 1 ELECTRIC BASSES OTHERS YAMAHA GUITAR DEVELOPMENT 3 RBX4A2/4A2M/5A2 22 GIGMAKER 39 YASH (YAMAHA ARTIST SERVICES HOLLYWOOD) 3 BB INTRO 23 ACCESSORIES/AMP 40 YMC (YAMAHA MUSIC CRAFT) 4 Into Tomorrow’s Music. BB2024/2024X/2025/2025X 25 YAMAHA ARTISTS 41 ELECTRIC GUITARS BB1024/1024X/1025/1025X 27 For over 60 years, we’ve been committed to improving the quality, sound, playability, durability, and design of our instruments. Feedback SG INTRO 5 BB424/424X/425/425X 29 from our valued customers and the professional musicians that use our instruments has always played an instrumental role in our passion SG FEATURES 7 ATTITUDE LTD3 31 for constant improvement. Because we believe that instruments are the tools musicians use to create music, our strive to create the ideal SG1820 9 BB714BS 32 instrument for the player is never ending. SG1820A/1802 11 BBNE2 33 Professional musicians are the most critical when it comes to requests and requirements, and we focus a great deal of time and effort bringing CV820WB 13 TRBJPII 34 their ideas to life. Our purpose is to turn what exists only in their imagination, into something they can hold and use in their hands—fi nding PAC1511MS 14 TRB1006J/1005L/1004J 35 the right type of tone, the perfect attack, or a neck that fi ts better in the hand. PAC212VFM/VQM/112V 15 RBX374/375/270J/170 37 The evolution of Yamaha guitars has always been closely related to our long-standing relationships with the musicians that use them. -
Antoine De LHOYER (1768-1852) Complete Works for Guitar Trio and Quartet Trio Concertant • Trio No
Antoine de LHOYER (1768-1852) Complete Works for Guitar Trio and Quartet Trio concertant • Trio No. 2 • Air varié et dialogue Jørgen Skogmo, Jens Franke, Oskar Werninge, Tim Pells, Guitars Antoine de Lhoyer (1768-1852) by the Russian treasury. He was a favourite of the whim and fashion, he no longer composed. And hadn’t for Complete Works for Guitar Trio and Quartet Tsaritsa, Elizabeth Alexeievna (Princess Louise of twenty-five years. Not since the publication in Paris of the Baden), who, when he left Russia in 1812, gave him a Grand Duo for Violin and Guitar, Op. 45, in 1826. Beethoven’s French contemporary Antoine de Lhoyer, des Princes (1791-92, 1799-1800). From 1794 to 1797 he 5,500 roubles ‘handshake’ (exceeding Boïeldieu’s annual ‘What instrument so completely allows us to live, for a royalist and professional soldier, was born in Clermont- aligned himself with Franz II, last of the Holy Roman salary as court composer). The popularity of the guitar time, in a world of our own imagination?’ (The Giulianiad, Ferrand in the Auvergne. He died in Paris at the age of Emperors, fighting unsuccessful Habsburg campaigns around the royal houses and boudoirs of Europe, often in 1833). Sets of variations, romances and dances feature 83, two and a half years after Chopin, during the last days against the French (Napoleon entering the arena in preference to keyboard or harp, is well attested. Lhoyer inevitably in Lhoyer’s catalogue. But, more unexpectedly of the short-lived Second Republic. Not much is known 1796). We may presume his trusted guitar went with him, published a number of works in St Petersburg (1803-12), for his day, and supporting Micheli’s view that ‘we can about him, his bourgeois origins, nor with whom he as with other soldier-players – Fernando Sor, François de several inscribed to members of the nobility, among them suppose for him a serious and in-depth musical training’, studied – surprisingly, Fétis’s Biographie universelle from Fossa and Leonhard von Call most famously. -
First Steps with the Drum Set a Play Along Approach to Learning the Drums
First Steps With The Drum Set a play along approach to learning the drums JOHN SAYRE www.JohnSayreMusic.com 1 CONTENTS Page 5: Part 1, FIRST STEPS Money Beat, Four on the Floor, Four Rudiments Page 13: Part 2, 8th NOTES WITH ACCENTS Page 18: Part 3, ROCK GROOVES 8th notes, Queen, R.E.M., Stevie Wonder, Nirvana, etc. Page 22: Part 4, 16th NOTES WITH ACCENTS Page 27: Part 5, 16th NOTES ON DRUM SET Page 34: Part 6, PLAYING IN BETWEEN THE HI-HAT David Bowie, Bob Marley, James Brown, Led Zeppelin etc. Page 40: Part 7, RUDIMENTS ON THE DRUM SET Page 46: Part 8, 16th NOTE GROOVES Michael Jackson, Erykah Badu, Imagine Dragons etc. Page 57: Part 9, TRIPLETS Rudiments, Accents Page 66: Part 10, TRIPLET-BASED GROOVES Journey, Taj Mahal, Toto etc. Page 72: Part 11, UNIQUE GROOVES Grateful Dead, Phish, The Beatles etc. Page 76: Part 12, DRUMMERS TO KNOW 2 INTRODUCTION This book focuses on helping you get started playing music that has a backbeat; rock, pop, country, soul, funk, etc. If you are new to the drums I recommend working with a teacher who has a healthy amount of real world professional experience. To get the most out of this book you will need: -Drumsticks -Access to the internet -Device to play music -Good set of headphones—I like the isolation headphones made by Vic Firth -Metronome you can plug headphones into -Music stand -Basic understanding of reading rhythms—quarter, eighth, triplets, and sixteenth notes -Drum set: bass drum, snare drum, hi-hat is a great start -Other musicians to play with Look up any names, bands, and words you do not know. -
Classical Guitar Music by Irish Composers: Performing Editions and Critical Commentary
L , - 0 * 3 7 * 7 w NUI MAYNOOTH OII» c d I »■ f£ir*«nn WA Huad Classical Guitar Music by Irish Composers: Performing Editions and Critical Commentary John J. Feeley Thesis submitted to the National University of Ireland, Maynooth as fulfillment for the degree of Doctor of Philosophy in Music (Performance) 3 Volumes Volume 1: Text Department of Music NUI Maynooth Head of Department: Professor Gerard Gillen Supervisor: Dr. Barra Boydell May 2007 VOLUME 1 CONTENTS ABSTRACT i ACKNOWLEDGEMENTS ii INTRODUCTION 1 CHAPTER 1 13 APPROACHES TO GUITAR COMPOSITION BY IRISH COMPOSERS Historical overview of the guitar repertoire 13 Approaches to guitar composition by Irish composers ! 6 CHAPTER 2 31 DETAILED DISCUSSION OF SEVEN SELECTED WORKS Brent Parker, Concertino No. I for Guitar, Strings and Percussion 31 Editorial Commentary 43 Jane O'Leary, Duo for Alto Flute and Guitar 52 Editorial Commentary 69 Jerome de Bromhead, Gemini 70 Editorial Commentary 77 John Buckley, Guitar Sonata No. 2 80 Editorial Commentary 97 Mary Kelly, Shard 98 Editorial Commentary 104 CONTENTS CONT’D John McLachlan, Four pieces for Guitar 107 Editorial Commentary 121 David Fennessy, ...sting like a bee 123 Editorial Commentary 134 CHAPTER 3 135 CONCERTOS Brent Parker Concertino No. 2 for Guitar and Strings 135 Editorial Commentary 142 Jerome de Bromhead, Concerto for Guitar and Strings 148 Editorial Commentary 152 Eric Sweeney, Concerto for Guitar and Strings 154 Editorial Commentary 161 CHAPTER 4 164 DUOS Seoirse Bodley Zeiten des Jahres for soprano and guitar 164 Editorial -
8Th RESIDENTIAL SUMMER MUSIC ACADEMY
13th – 20th July 2013 CANDILI, EUBOEA, GREECE 8th RESIDENTIAL SUMMER MUSIC ACADEMY Applications are invited to Singers and Lute Players, to attend a week of Masterclasses, Lessons, Concerts, and related activities, with the Counter-Tenor, Michael Chance, in the historic and stunning setting of Candili, on the Island of Euboea (Εύβοια), Greece. As in the past, there will be a range of musical activity, with ample opportunity to attend classes, have private tuition, work with accompanists, perform daily, and enjoy leisure time on the famed estate. The landscape around Candili is idyllic, with natural forest, mountains, and beaches all close by. Michael Chance We are delighted to welcome our distinguished friends, Lyric Soprano Lynne Dawson, Head of the School of Vocal Studies at RNCM, Manchester, UK, Lutenist Paul Beier, with whom Michael regularly performs, and the experienced Alexander Technique teacher Fiona Tree, of the Royal Conservatorium in The Hague, Holland. There will be harpsichord and piano accompaniment available for singers in lessons and classes. The cost will be 700 Euros for the full week or 350 Euros for the final days (Thursday morning, 18th July – Saturday evening, 20th July), during which the final concert will take place. This covers Lynne Dawson accommodation, three daily meals, and all tuition. Single rooms may be possible by arrangement. The cost for non-participating partners, or friends, will be 65 Euros per day, on a room-sharing basis. You are invited to send your application, using the form at http://www.michaelchancecountertenor.co.uk/masterclasses/ Please include a short biography, and singing experience. Successful applicants will then receive more details about the content of the course, and the request to pay a registration fee of 50 Euros, by bank transfer. -
Rippling Notes” to the Federal Way Performing Arts & Event Center Sunday, September 17 at 3:00 Pm
FOR IMMEDIATE RELEASE MEDIA CONTACT August 23, 2017 Scott Abts Marketing Coordinator [email protected] DOWNLOAD IMAGES & VIDEO HERE 253-835-7022 MASTSER TIMPLE MUSICIAN GERMÁN LÓPEZ BRINGS “RIPPLING NOTES” TO THE FEDERAL WAY PERFORMING ARTS & EVENT CENTER SUNDAY, SEPTEMBER 17 AT 3:00 PM The Performing Arts & Event Center of Federal Way welcomes Germán (Pronounced: Herman) López, Sunday, September 17 at 3:00 PM. On stage with guitarist Antonio Toledo, Germán harnesses the grit of Spanish flamenco, the structure of West African rhythms, the flourishing spirit of jazz, and an innovative 21st century approach to performing “island music.” His principal instrument is one of the grandfathers of the ‘ukelele’, and part of the same instrumental family that includes the cavaquinho, the cuatro and the charango. Germán López’s music has been praised for “entrancing” performances of “delicately rippling notes” (Huffington Post), notes that flow from musical traditions uniting Spain, Africa, and the New World. The “timple” is a diminutive 5 stringed instrument intrinsic to music of the Canary Islands. Of all the hypotheses that exist about the origin of the “timple”, the most widely accepted is that it descends from the European baroque guitar, smaller than the classical guitar, and with five strings. Tickets for Germán López are on sale now at www.fwpaec.org or by calling 2535-835-7010. The Performing Arts and Event Center is located at 31510 Pete von Reichbauer Way South, Federal Way, WA 98003. We’ll see you at the show! About the PAEC The Performing Arts & Event Center opened August of 2017 as the South King County premier center for entertainment in the region. -
Classical Guitar at Sundin Hall in St. Paul!
A Publication of the Minnesota Guitar Society • P.O. Box 14986 • Minneapolis, MN 55414 NOVEMBER/DECEMBER 2008 VOL. 24 NO. 6 Classical Guitar at Sundin Hall in St. Paul! Saturday, Nov 15th, 8 pm Classical guitarist Pable Sainz Villegas from Spain Saturday, Dec 6th, 8 pm The acclaimed Minneapolis Guitar Quartet Local Artists Series concert at Banfill-Locke Center for the Arts Sunday, Nov 9th, 2 pm Classical guitarist Steve Newbrough Also In This Issue Jay Fillmore on Guitar Harmonics review of Sharon Isbin masterclass more News and Notes Minnesota Guitar Society Board of Directors Newsletter EDITOR OFFICERS: BOARD MEMBERS: Paul Hintz PRESIDENT Joe Haus Christopher Becknell PRODUCTION Mark Bussey VICE-PRESIDENT Joanne Backer i draw the line, inc. Steve Kakos ARTISTIC DIRECTOR Joe Hagedorn David’s Print Shop Steven Newbrough DISTRIBUTION TREASURER Jim Campbell Christopher Olson Todd Tipton Mark Bussey MANAGING DIRECTOR Paul Hintz Todd Tipton Web Site Production SECRETARY Alan Norton Brent Weaver Amy Lytton <http://www.mnguitar.org> Minnesota Guitar Society The Minnesota Guitar Society concert season is co-sponsored by Mission Statement Sundin Hall. This activity is made To promote the guitar, in all its stylistic and cultural diversity, possible in part by a grant from the through our newsletter and through our sponsorship of Minnesota State Arts Board, through an appropriation by the Minnesota public forums, concerts, and workshops. State Legislature and a grant from To commission new music and to aid in its the National Endowment for the promotion, publication, and recording. Arts. Matching funds have been To serve as an educational and social link between amateur provided by General Mills, AT&T, and Ameriprise Financial. -
El Torbellino En La Iniciación Musical De Ensambles De Cuerdas (Frotadas-Pulsadas)
EL TORBELLINO EN LA INICIACIÓN MUSICAL DE ENSAMBLES DE CUERDAS (FROTADAS-PULSADAS) LIEDER ESTEBAN CÁRDENAS RIAÑO ASESORA MARIA LUISA OTERO DÍAZ TRABAJO MONOGRÁFICO PRESENTADO COMO REQUISITO PARA OPTAR POR EL TÍTULO DE LICENCIADO EN MÚSICA UNIVERSIDAD PEDAGÓGICA NACIONAL FACULTAD DE BELLAS ARTES DEPARTAMENTO DE EDUCACIÓN MUSICAL LICENCIATURA EN MÚSICA BOGOTÁ OCTUBRE 2018 Dedicatoria Esta monografía va dedicada, a mi padre Victor Hugo Cárdenas, mi madre Ingrid Janette Riaño, mis hermanas Kamala y Karla, mi adorado sobrino Neythan, a mi amada Karen Campos, también a todos los estudiantes que hicieron parte de este proceso, en la escuela de formación de cuerdas frotadas y pulsadas del municipio de Sesquilé, a mi amada familia Cárdenas Melo y mi amada familia Riaño Contreras, mis abuelos Rafa y Memo, mi abuelita Aurita que me acompañan en mi corazón, a mi abuelita Julia quien siempre ha estado muy pendiente de todo mi proceso académico y a todos los que siempre me acompañaron en este largo pero enriquecedor proceso universitario. Agradecimientos Agradezco principalmente a Dios, quien ha permitido que las cosas se den a su debido tiempo, a mi padre y madre, quienes siempre me apoyaron y guiaron para cumplir con todos los objetivos, agradezco también a mi amada Karen, quien en los momentos difíciles me dio su mano, para no desfallecer y siempre luchar por seguir adelante, a mi maestro Oscar Orlando Santafé quien me acompañó en todo mi proceso académico, aportando en lo musical, en lo personal y lo profesional, también, a mi maestra Maria Luisa Otero, quien en las dificultades me guio para salir de estas, también agradezco al alcalde de Sesquilé Nelson Uriel Robayo y al secretario de desarrollo social Alexander Bermúdez, quienes por su confianza y apoyo en la escuela de formación ayudaron a que este proyecto se lograra. -
Jazz Standards Arranged for Classical Guitar in the Style of Art Tatum
JAZZ STANDARDS ARRANGED FOR CLASSICAL GUITAR IN THE STYLE OF ART TATUM by Stephen S. Brew Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Luke Gillespie, Research Director ______________________________________ Ernesto Bitetti, Chair ______________________________________ Andrew Mead ______________________________________ Elzbieta Szmyt February 20, 2018 ii Copyright © 2018 Stephen S. Brew iii To my wife, Rachel And my parents, Steve and Marge iv Acknowledgements This document would not have been possible without the guidance and mentorship of many creative, intelligent, and thoughtful musicians. Maestro Bitetti, your wisdom has given me the confidence and understanding to embrace this ambitious project. It would not have been possible without you. Dr. Strand, you are an incredible mentor who has made me a better teacher, performer, and person; thank you! Thank you to Luke Gillespie, Elzbieta Szmyt, and Andrew Mead for your support throughout my coursework at IU, and for serving on my research committee. Your insight has been invaluable. Thank you to Heather Perry and the staff at Stonehill College’s MacPhaidin Library for doggedly tracking down resources. Thank you James Piorkowski for your mentorship and encouragement, and Ken Meyer for challenging me to reach new heights. Your teaching and artistry inspire me daily. To my parents, Steve and Marge, I cannot express enough thanks for your love and support. And to my sisters, Lisa, Karen, Steph, and Amanda, thank you. -
572178Bk Johnson US 17/8/10 13:15 Page 4
572178bk Johnson US 17/8/10 13:15 Page 4 Nigel North Born in London, Nigel North has been Professor of Lute at the Early Music Institute, Indiana University, Bloomington since 1999. Initially inspired into music, at the age of seven, by the early 1960s instrumental pop group The Shadows, he studied classical music through the Robert violin and guitar, eventually discovering his real path in life, the lute, when he was fifteen. Basically self taught on the lute, he has since JOHNSON 1976 developed a unique musical life which embraces activities as a teacher, accompanist, soloist, director and writer. His principal music passions apart from teaching are accompanying singers, the solo lute repertoires of Elizabethan England and late German Baroque music of Bach and Weiss. Recordings include a 4 CD box set Bach on the Lute (Linn Records) and 4 CDs of the Lute Music of John Dowland (Naxos The Prince’s 8.557586, 8.557862, 8.570449 and 8.570284). Photograph: Sophie North Almain and other Dances for Lute Nigel North, Lute 8.572178 4 572178bk Johnson US 17/8/10 13:15 Page 2 Robert Johnson (c. 1583–1633) contemporaries such as Ferrabosco, with its tightly same hall in 1611, had an antimasque which contained Lute Music woven counterpoint. Sadly Johnson left us only one. He The Fairies’ Dance and The Satyre’s Dance. The lute was most prolific in the Almain, leaving us ten version of the latter has not survived so the recorded The illustrious dedicatee of The Prince’s Almain is (also known as Lord Hunsdon) who oversaw his examples. -
Pasodoble PSDB
Documentación técnica Pasodoble PSDB l Pasodoble, o Paso Doble, es un baile que se originó en España entre 1533 y E1538. Podría ser considerado, en esen- cia, como el estandarte sonoro que le distingue en todas partes del mundo. Se trata de un ritmo alegre, pleno de brío, castizo, flamenco unas veces, pero siempre reflejo del garbo y más ge- nuino sabor español. Se trata de una variedad musical dentro de la forma «marcha» en com- pás binario de 2/4 o 6/8 y tiempo «allegro mo- derato», frecuentemente compuesto en tono menor, utilizada indistintamente para desfiles militares y para espectáculos taurinos. Aunque no está del todo claro, parece ser que el pasodoble tiene sus orígenes en la tonadilla escénica, –creada por el flautista es- pañol Luis de Misón en 1727– que era una Este tipo de macha ligera fue adoptada composición que en la primera mitad del siglo como paso reglamentario para la infantería es- XVII servía como conclusión de los entreme- pañola, en la que su marcha está regulada en ses y los bailes escénicos y que después, 120 pasos por minuto, con la característica es- desde mediados del mismo siglo, se utilizaba pecial que hace que la tropa pueda llevar el como intermedio musical entre los actos de las paso ordinario. Tras la etapa puramente militar comedias. –siglo XVIII– vendría la fase de incorporación de elementos populares –siglo XIX–, con la El pasodoble siempre ha estado aso- adición de elementos armónicos de la seguidi- ciado a España y podemos decir que es el baile lla, jota, bolero, flamenco..