Liked on YouTube: Flop Eared Mule - Fiddle - Andy Reiner

Flop Eared Mule - Fiddle - Andy Reiner
Andyreiner.com patreon.com/andyreiner

Liked on YouTube: Deep Sounds – Mixed Bill | Concert | NottNOISE

Deep Sounds – Mixed Bill | Concert | NottNOISE
To feed back, please fill in our survey: https://bit.ly/3ogIHuj Part of NottNOISE New Music Marathon, 29 November 2020.For full programme see https://bit.ly/3mhRJX5 #NottNOISE #NottFAR ___ Simon Paterson (bass): Elizabeth Kelly Hard Knocks Amanda Johnson Beneath the Surface (acousmatic work with film) Jason Alder (contrabass clarinet) Oǧuz Büyükberber (contrabass clarinet, moduler synth, art & video): Oǧuz Büyükberber Sketchbook, 2020 Niels Christian Rasmussen Gestalten, 2018 Aled Smith vus Elizabeth Kelly, Hard Knocks https://bit.ly/2JhgHYk Simon Paterson bass https://bit.ly/3fLdAUk In ‘Hard Knocks’, the double bassist utilises electronic effects pedals to extend the acoustic instrument’s sound palette. These effects amplify the instrument’s percussive potential and enable the usually single-line instrument to realise complex harmonies. The work is a result of an intense collaboration between composer Elizabeth Kelly and bassist/sound engineer Simon Paterson who are colleagues in the University of Nottingham Department of Music. Amanda Johnson, Beneath the Surface (acousmatic work with film) Music by Amanda Johnson, images by Richard Johnson. Created in collaboration with Dr. Natalie Braber of Nottingham Trent University and funded by The National Lottery Heritage Fund. Beneath the Surface is a digital sound, music and artwork inspired by the changing mining landscape of the East Midlands. It contrasts the freedom experienced above ground with the cramped and dangerous conditions of miners below. Created using sounds recorded at Pleasley Pit Trust, Bestwood Colliery and Bilsthorpe heritage Museum. The images are drawn using coal. https://bit.ly/2HOYhgV Oguz Büyükberber, Sketchbook (2020) Niels Christian Rasmussen Gestalten (2018) Aled Smith yus Jason Alder contrabass clarinet https://bit.ly/3mq52Fe Oğuz Büyükberber contrabass clarinet, modular synth, art & video https://bit.ly/2VcNlgj This programme features three collaborative works for contrabass clarinet and electronics. I worked with each composer to develop different aspects of the musical content. Each piece uses the electronic element in different ways. With Oguz, we used a back and forth collaboration of material which resulted in the electronic track; Niels Christian uses the electronics in a more traditional ‘tape’ or fixed media form; and the effects pedals in Aled’s piece are an instrument unto themselves, with specific instructions in the score of how the pedals should be ‘played’.

Liked on YouTube: Tête-à-Tête – New Music for Toy Piano | Concert | NottNOISE

Tête-à-Tête – New Music for Toy Piano | Concert | NottNOISE
To feed back, please fill in our survey: https://bit.ly/3ogIHuj Part of NottNOISE New Music Marathon, 29 November 2020. For full programme see https://bit.ly/3mhRJX5 #NottNOISE #NottFAR ___ Pascal Meyer and Xenia Pestova Bennett, toy pianos. Helen Papaioannou Glow Sticks John Cage Music for Amplified Toy Pianos Duncan MacLeod By the Light of The Moon Nina C. Young Tête-à-Tête Duncan MacLeod Cut, Strike, Throw, Grip Helen Papaioannou Glow Sticks For Glow Sticks, I combined the two toy piano parts with sounds created using a Microbrute synthesizer. I imagined the performers triggering a phantom glow every time they touched the keys, layering winding synth sounds with the shimmering and clacking of the toy pianos. I composed this piece in June 2020. It was wonderful to work (remotely!) with Xenia and Pascal and to connect with them during a difficult lockdown period. Website - https://bit.ly/2HOt913 John Cage Music for Amplified Toy Pianos This is a composition indeterminate of its performance. Cage’s score is made from 7 sheets of transparent plastic: 2 sheets with points (referring to the keys of rods of the piano[s]); 2 with circles (piano amplification); 2 with points within circles (noise); and 1 with a graph and a straight line. The transparent sheets are superimposed to create a single reading, and any number of readings may be made. In any performance, the toy piano(s) is (are) amplified via contact microphones. Loudspeakers should also be distributed around the performance space. Duncan MacLeod By the light of the moon By the light of the moon is the first in a series of short works for acoustic instrument and electronics that draws upon the writings of Edward Lear. In this work I start with Lear’s famed poem The Owl and the Pussy-Cat, more specifically the third verse in which our protagonists dance ‘By the light of the moon’. Throughout the work, electronics are used to create an imaginary nocturnal soundscape in which Owl and Pussy-Cat dance to the tune of the toy piano, with piano providing moonlight. Website - https://bit.ly/3miLItb Nina C. Young Tête-à-Tête Tête-a-tête: a private conversation between two people. Two musicians seated at toy pianos engage in vacuous, loving, playful, and sometimes immensely serious face-to-face conversation. They vigorously type coded messages upon their keyboards and send them off to one another with the chime of a desk bell. Sometimes typing, texting, and gestures of symbolism come easier than spoken words. Website - https://bit.ly/3o6h2Mf Instagram - @composernina Twitter - @composernina Duncan MacLeod Cut, Strike, Throw, Grip Cut, Strike, Throw, Grip draws upon the ornamentation used in the ancient Highland Bagpipe and Clarsach music known as Pibroch or Ceol Mor. Comprised of a theme and variations Pibroch utilises elaborate ornamentation as a means to mark and decorate each variation. To the naked ear the detail of these ornaments can be easily missed, due in part to the lightning speed at which they are played. On closer listening however they are in fact distinct and highly expressive melodies in and of themselves. As such, Cut Strike Throw Grip is an ode and response to these ornaments, the names which give this work its title. Website - https://bit.ly/3miLItb

Liked on YouTube: Lady be good (easy jazz violin solo)

Lady be good (easy jazz violin solo)
In this jazz violin lesson I show how to use "internal melodies" from the chord sequence to form a skeleton for creating a solo on Lady Be Good. Most adjacent sets of three or four chords have some simple ascending or descending line, and these can be used to base a solo around. _____________________________________________ Want to help support my channel? https://bit.ly/36FeePh _______________________________________________ To learn more about jazz violin, see my books "Exploring jazz violin" and "Beginning jazz violin" published by Schott To look at or buy these and my other books, go to bit.ly/31ZWmgm ______________________________ Exploring Jazz Violin USA https://amzn.to/3i3qPPM UK https://amzn.to/2HjUpnt Beginning Jazz Violin USA https://amzn.to/3cr5Cy2 UK https://amzn.to/3crqEwy Exploring Folk Fiddle USA https://amzn.to/32YFUhc UK https://amzn.to/33ZpxR1 Discovering Rock Violin USA https://amzn.to/3kONQHV UK https://amzn.to/2RY88Tb Exploring Klezmer Fiddle USA https://amzn.to/32ZgYXd UK https://amzn.to/3mRKdCX French Fiddle Tunes USA https://amzn.to/330NeJa UK https://amzn.to/363850D Hungarian Fiddle Tunes USA https://amzn.to/32Xu7ji UK https://amzn.to/33YnsEO _________________________________________________ I have two sets of professional subscription online videos Exploring Jazz Violin, produced by MusicGurus https://bit.ly/3iVwt7p The Academy of Folk, which includes a fiddle foundation course, and an Irish Fiddle course. Many more courses will be added month by month. A single subscription gets you everything on the site! https://bit.ly/37seqDC __________________________________________________ Band in a Box The backing tracks on this video, and indeed all my Fiddle Channel videos, are produced using software called Band in a Box. I have been using this for at least 20 years and have found it an invaluable tool. Recently they have greatly expanded the "Real Instruments", which enables me to reproduce, for example, the authentic Honky Tonk band sound here, or others such as Gypsy Jazz quintet, bluegrass band, Western Swing, Delta blues, and hundreds of other niche styles. It comes for Mac or PC, and in lots of different sizes and versions.Check it out with the links below! BAND IN A BOX US; https://amzn.to/365FVlK UK https://amzn.to/3kKNWAC More about my jazz violin course on Musicgurus: It comes in two parts, each including 26 short lessons. Course 1 covers swing bowing, scales and finger patterns, playing and developing a melody, using riffs, pentatonic and blues scales, and the playing styles of Grappelli and Venuti. Part 2 covers chords, 251’s, the cycle of fifths, chord substitution, and the playing styles of Stuff Smith and Jean luc Ponty. Parts 1 and 2 are both just $30 each! Please use the following link if you're interested; https://bit.ly/3iVwt7p There are a couple of free lessons you can try out before buying. Also check out my website https://bit.ly/3jrBLb7 to find out more about myself, the bands I work with, my online session recording service, and more than you ever wanted to know about every fiddle style you can think of! For a free pdf of the chords and lines used in Lady be Good, subscribe, then email me at; haighchris@hotmail.com

Liked on YouTube: BAADSVIK DALHALLA FIREWORKS KONCERT MED DIVINE

BAADSVIK DALHALLA FIREWORKS KONCERT MED DIVINE

Liked on YouTube: How to Play the Carnyx. Performer Talks with John Kenny | Interview | NottNOISE

How to Play the Carnyx. Performer Talks with John Kenny | Interview | NottNOISE
To feed back, please fill in our survey: https://bit.ly/3ogIHuj Part of NottNOISE New Music Marathon, 29 November 2020. For full programme see https://bit.ly/3mhRJX5 #NottNOISE #NottFAR ___ In 1993 Scottish trombonist John Kenny became the first person for 2000 years to play the great iron age Celtic war horn known as the carnyx. He has since gone on to compose and perform on the instrument touring internationally, in the concert hall, on radio, television, and film. In this part 2, John Kenny discusses how he plays the instrument. __ The first question everyone asks about the carnyx is "how did they play it?" - and the short answer is, we just don't know. We know they were played in time of war from Roman accounts - terrified invaders described not a mere musical sound but the very landscape coming to life! These instruments were used in multiples, obviously to great effect - but they were almost certainly used in time of peace for other functions in society, perhaps rites of passage, funerals, festivals. The instruments were magnificent in their stylized embodiment of a wild-boar's head, highly tooled and crafted, out of exceedingly valuable materials (indeed, analysis of the bronze alloy shows that the Picts hi-jacked some of the constituents from the Roman invaders!). It is certain that the players of such an instrument occupied an important place in society, and likely that the craft of playing would be passed down from father to son, becoming a guarded mystery. These were a highly sophisticated people, with a mighty oral poetic tradition - most unlikely, then, that the playing technique of the carnyx should not be fully explored. As a modern brass player it is fairly easy to get a sound out of the carnyx in the conventional manner - however, because the tube and "mouthpiece" aperture are so wide the breath disappears very quickly. One blast and it's all over! I found I could achieve a range of nearly five octaves, with a most unusual overtone series and some overtones much stronger than others. In addition, the wooden tongue becomes a percussion instrument as it moves inside the head; the head itself has a bronze "soft-palette", and so the sound emerges through a divided resonating gourd. The full range of brass players tonguing effects can readily be employed - but to find a distinctive voice for the carnyx, I believe one must look closely at the instrument itself, and what it represents: a wild boar. This beast, once common throughout northern Europe, was a terrifying adversary, fast, powerful and vicious - and totemic to the Celts. The scream of this animal is shrill and almost human - and so I have combined my voice frequently with the instrumental sound, to try to animate it. Finally, to overcome the problem of lack of sustaining power, I have incorporated the technique of circular breathing, further bending the sound by changing the shape of the oral cavity in exactly the same manner in which we produce the varied vowel sounds of speech. Given the ancient Celtic predilection for drones in music, I think it is not too far-fetched to imagine that these people learned how to circular breath - many other ancient cultures have done so, most notably Australia's Aboriginal folk, who's Didgeridoo is the world's most ancient lip-reed instrument. The accompanying track to The Voice of The Carnyx was recorded in the splendid glassvaulted atrium of the National Museum of Scotland, Edinburgh, on May 24 1993. John Whiting recorded the individual tracks and then played them back in the space, with me playing "sound-on -sound in "real time". The final section, an amalgam of ideas from the rest of the piece, was then subject to live digital sound transformation. This is the first ever notated piece for the carnyx, and the first composition for the instrument for at least 1,800 years - since then many composers have written for it, in a huge variety of combinations. The carnyx has sprung back to life, and I hope that other players will now help to enrich its voice.

Liked on YouTube: O Little Town of Bethlehem- Acapella With Abi

O Little Town of Bethlehem- Acapella With Abi
https://bit.ly/37azoVN https://bit.ly/3dXMDuX Abi sings her easy, three- part acapella arrangement of the classic carol. Order yours now (as a score or recorded learning tracks) from the above sites.