The Irish Bouzouki by Niall Ocallanain Ebook
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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. -
WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers. -
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. -
Music, Image, and Identity: Rebetiko and Greek National Identity
Universiteit van Amsterdam Graduate School for Humanities Music, Image, and Identity: Rebetiko and Greek National Identity Alexia Kallergi Panopoulou Student number: 11655631 MA Thesis in European Studies, Identity and Integration track Name of supervisor: Dr. Krisztina Lajosi-Moore Name of second reader: Prof. dr. Joep Leerssen September 2018 2 Table of Contents Introduction ......................................................................................................................... 4 Chapter 1 .............................................................................................................................. 6 1.1 Theory and Methodology ........................................................................................................ 6 Chapter 2. ........................................................................................................................... 11 2.1 The history of Rebetiko ......................................................................................................... 11 2.1.1 Kleftiko songs: Klephts and Armatoloi ............................................................................... 11 2.1.2 The Period of the Klephts Song .......................................................................................... 15 2.2 Rebetiko Songs...................................................................................................................... 18 2.3 Rebetiko periods .................................................................................................................. -
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. -
Greek Cultures, Traditions and People
GREEK CULTURES, TRADITIONS AND PEOPLE Paschalis Nikolaou – Fulbright Fellow Greece ◦ What is ‘culture’? “Culture is the characteristics and knowledge of a particular group of people, encompassing language, religion, cuisine, social habits, music and arts […] The word "culture" derives from a French term, which in turn derives from the Latin "colere," which means to tend to the earth and Some grow, or cultivation and nurture. […] The term "Western culture" has come to define the culture of European countries as well as those that definitions have been heavily influenced by European immigration, such as the United States […] Western culture has its roots in the Classical Period of …when, to define, is to the Greco-Roman era and the rise of Christianity in the 14th century.” realise connections and significant overlap ◦ What do we mean by ‘tradition’? ◦ 1a: an inherited, established, or customary pattern of thought, action, or behavior (such as a religious practice or a social custom) ◦ b: a belief or story or a body of beliefs or stories relating to the past that are commonly accepted as historical though not verifiable … ◦ 2: the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction ◦ 3: cultural continuity in social attitudes, customs, and institutions ◦ 4: characteristic manner, method, or style in the best liberal tradition GREECE: ANCIENT AND MODERN What we consider ancient Greece was one of the main classical The Modern Greek State was founded in 1830, following the civilizations, making important contributions to philosophy, mathematics, revolutionary war against the Ottoman Turks, which started in astronomy, and medicine. -
Evdokia's Zeibekiko
European Scientific Journal December 2017 edition Vol.13, No.35 ISSN: 1857 – 7881 (Print) e - ISSN 1857- 7431 The Bouzouki’s Signifiers and Significance Through the Zeibekiko Dance Song: "Evdokia’s Zeibekiko" Evangelos Saragatsis Musician, Secondary Education Teacher, Holder Of Postgraduate Diploma Ifigeneia Vamvakidou Professor at the University of Western Macedonia, Greece Doi: 10.19044/esj.2017.v13n35p125 URL:http://dx.doi.org/10.19044/esj.2017.v13n35p125 Abstract The objective of this study is to identify the signifiers and significance of the Zeibekiko dance, and those of the bouzouki itself, to a further extent, as they emerge through research conducted in the relevant literature, and which is anchored to those signifiers, as they are highlighted through their presence in material that is obtained from movies. The semiotic analysis of the film “Evdokia”, by A. Damianos (1971), is the research method that is followed. In this context, the main focus is placed on the episode/scene, where Evdokia’s Zeibekiko is displayed on stage. This ‘polytropic’ (polymodal) material that consists of listening to, viewing, playing music, and dancing encompasses a large variety of musicological and gender signifiers that refer to the specific era. The model followed is that of Greimas (1996), as it was used by Lagopoulos & Boklund-Lagopoulou (2016), and Christodoulou (2012), in order to point out those characteristic features that are expressed by the bouzouki, as a musical instrument, through a representative sample of the zeibekiko dance, as it is illustrated in the homonymous film. The analysis of images, as well as of the language message, lead to the emergence of codes, such as the one referring to the gender, and also the symbolic, value, and social codes, and it is found that all these codes agree with the introductory literature research conducted on the zeibekiko dance and the bouzouki. -
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. -
Karpouzi Trio Margaret Loomis Len Newman Spyros Koliavasilis
The American Folklife Center of the Library of Congress presents Traditional Ethnic and Regional Music and Dance that’s “Homegrown” in Communities across the U.S. HOMEGROWN IN WHITTALL PAVILION KARPOUZI TRIO MARGARET LOOMIS LEN NEWMAN SPYROS KOLIAVASILIS MUSIC from GREECE and ASIA MINOR Wednesday May 7, 2014 REE AND OPEN 12 NOON – 1 PM F Whittall Pavilion TO THE PUBLIC Ground Floor, Thomas Jefferson Building Metro Stop: Library of Congress Capitol South, one 10 First Street, SE, block south of the Washington, DC Jefferson Building Cosponsored with the Library of Congress Music Division and Maryland Traditions Request ADA accommodations five days in advance at (202) 707-6362 or [email protected] For more information contact Thea Austen 202-707-1743 KARPOUZI TRIO MUSIC from GREECE and ASIA MINOR Karpouzi plays music on traditional instruments Greek world. Spyros also been awarded an honorary from the Greek mainland and islands.The band loves degree from the University of Tulsa for his musical to play for dance parties and community celebrations, scholarship. His next research project will focus on and always, even in concerts, invites the audience out the clarinet traditions in and around Mesogeia in of their seats and onto the dance floor. Karpouzi’s Attica, near his birthplace in Markopoulo. members are Spyros Koliavasilis (vocals, oud, laouto, Spyros also composes music. His CD, kemane), Margaret Loomis (santouri) and Len Mediterranean Thoughts, contains his compositions as Newman (laouto). well as original arrangements and improvisations on Dr. Spyros Koliavasilis is a gifted vocalist and traditional music. multi-instrumentalist, playing and teaching oud, Dr. -
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. -
A Way of Life
The Passenger: Greece — May 2020 ISBN: 9781787702189 A Way of Life Matteo Nucci Translated by Alan Thawley Rebetiko is rebel music by definition (challenging power, war and conformism), part of the cultural baggage of those displaced from Asia Minor. In recent years it has been reborn and is once again releasing its revolutionary potential. I was initiated into rebetiko by a Russian. His name is Yanni, a skinny guy with a glassy look in his eyes softened by a glint of non-conformity. He carries himself with respect and delicacy, and sooner or later you will come across him if you have fallen in love with this unique music and start frequenting the right places in Athens, the old-time venues that cannot be named because they have to stay on the margins of the law. You will see him bent over his tsipouro, the Greek version of grappa, and his cigarettes rolled from the best tobacco. A blond dandy, a peaceful rebel. Yanni Litovchenko smokes like a rebetis, a rebetiko musician, but he does not play and does not sing. He sits on the margins of these rooms full of music and ashtrays. And he listens. He dreams. Sometimes he will let out a yell or sing a verse under his breath. He has a passion for this music, and if you fall under its spell, succumb to the tales that he tells and his amazing night-time pilgrimages, perhaps you might have the same experience as me. At the beginning I thought he was just an unusual character. -
Day 23 BASSOON FIFE MARIMBAS SHOFAR BONGOS FLUGELHORN
Day 23 Musical Instruments 2 Find and circle all of the musical instruments that are hidden in the grid. The remaining letters spell a secret message - a G. K. Chesterton quotation. BASSOON FIFE MARIMBAS SHOFAR BONGOS FLUGELHORN MELODEON SLIDE WHISTLE BOUZOUKI GONG MOCENO STRUMSTICK BUGLE HARMONICA NEFER TAMBOURINE CASTANETS HARMONIUM OCARINA TAMBURA CONCERTINA HUNTING HORN PIANO TIN WHISTLE CONCH HORN JEWS' HARP REBEC TRUMPET CUMBUS KEYBOARD RECORDER TUBA CYMBAL LUTE SAROD VIOLA DULCIMER MANDOLIN SAXOPHONE XYLOPHONE Musical Instruments 2 This is the solution to the puzzle located here. दिन 23 Musical Instruments 2 Find and circle all of the musical instruments that are hidden in the grid. The remaining letters spell a secret message - a G. K. Chesterton quotation. BASSOON FIFE MARIMBAS SHOFAR BONGOS FLUGELHORN MELODEON SLIDE WHISTLE BOUZOUKI GONG MOCENO STRUMSTICK BUGLE HARMONICA NEFER TAMBOURINE CASTANETS HARMONIUM OCARINA TAMBURA CONCERTINA HUNTING HORN PIANO TIN WHISTLE CONCH HORN JEWS' HARP REBEC TRUMPET CUMBUS KEYBOARD RECORDER TUBA CYMBAL LUTE SAROD VIOLA DULCIMER MANDOLIN SAXOPHONE XYLOPHONE Musical Instruments 2 This is the solution to the puzzle located here. દિવસ 23. Musical Instruments 2 Find and circle all of the musical instruments that are hidden in the grid. The remaining letters spell a secret message - a G. K. Chesterton quotation. BASSOON FIFE MARIMBAS SHOFAR BONGOS FLUGELHORN MELODEON SLIDE WHISTLE BOUZOUKI GONG MOCENO STRUMSTICK BUGLE HARMONICA NEFER TAMBOURINE CASTANETS HARMONIUM OCARINA TAMBURA CONCERTINA HUNTING HORN PIANO TIN WHISTLE CONCH HORN JEWS' HARP REBEC TRUMPET CUMBUS KEYBOARD RECORDER TUBA CYMBAL LUTE SAROD VIOLA DULCIMER MANDOLIN SAXOPHONE XYLOPHONE Musical Instruments 2 This is the solution to the puzzle located here..