61 Results for : frets
-
-
-
-
The Impossible Years
Psychiatrist Jonathan Kingsley is an expert on the problems of the adolescent - unless that adolescent is his own daughter. In his best I-only-think-I'm-in-control fashion, David Niven plays the exasperated doc and Cristina Ferrare is his rebellious offspring in this '60s generation-gap comedy - complete with long hair, peace symbols and campus protests - based the stage hit by Bob Fisher and Arthur Marx. Dr. Kingsley frets over his daughter's interest in the opposite sex, especially when she suddenly and inexplicably changes from wild to womanly. Has she or hasn't she? Director Michael Gordon uses the naughty-but-nice touch he brought to Pillow Talk to keep the comic shenanigans grooving along.- Shop: odax
- Price: 20.67 EUR excl. shipping
-
-
Felt Hammer Improvisations, Vol. 1
Liner Notes: Felt Hammer Improvisations, Vol. 1 Music by Paul Astin (piano) and Peyman Hedarian (santur) Today I flew in from Greece to London. As we taxied to a standstill the musics on the inflight stereo were well-known songs by the famous Rebetiko composer Vassilis Tsitsanis. Delightfully attractive music, enough to lift the heart after a tiring journey. But problematic. It was played on a piano. The piano plays on tempered scales. On a piano you cannot play the microtonal intervals that originally sat at the heart of Tsitsanis' music. Myself, I play the diminutive Greek baglama, and my instrument (with tempered-scale frets) has exactly the same problem. This tension between the microtonal intervals of Anatolian music and the do-re-mi of the Western scales is the salt and pepper of Rebetiko. It happens that Peyman Heydarian and Paul Astin are good friends of mine. We share a fascination with modal music, and it is the research and practice of Greek Rebetiko that originally brought us together. So when I arrived home in the early hours with a head full of microtonal questions (I was reading al-Farabi and Safi al-Din al-Urmawi and their reworkings of the Pythagorean scale en route) it was a shock both delirious and delicious to find the 18 files of this improvisatory adventure sitting in my in-box. Not Rebetiko, not Anatolian, not Western, rather something new. Recorded in Los Angeles. Two musicians - an American and an Iranian. That in itself symbolic in our troubled times. But doubly symbolic in the meeting of their two musical cultures. Actually, no, it is more than that. The musical cultures of these two men extend through time and across spaces to a diversity of inspiration. My idea of heaven includes two special corners - Astin pumping out the angular rhythms of black bebop when he played Thelonious Monk tunes on a grand piano that I procured for him when we met in Greece... and Heydarian when we sit in a corner of a London venue on a dark November evening and rattle through the pulsing rhythms of Irish reels and jigs on both fiddle and santur. There is a sympathetic rapport between the musicians, both dynamically and rhythmically. Heydarian plays the 9-bridge (salari) and 11-bridge (baziar) santur, tuned closely to the Western keys of F and D respectively, while Astin plays a Yamaha C7 acoustic grand piano. Many of the tracks stay within the parameters of the santurs' tunings, though a few move beyond these confines, resulting in a mix of tonal and atonal improvisations. Astin, having a jazz background, uses bass tones such as the fa, creating a harmonic framework with a raised 11th (the Lydian scale). Heydarian is not generally put out by such explorations, which differ sharply from traditional Persian or maqam (modal) music. In addition to performing, Heydarian develops computer algorithms to identify musical modes in recorded music. Not surprisingly, many of his melodic ideas blend phrases from Persian, Kurdish, Greek, and Celtic songs. To preserve the integrity of this session, the pieces are presented in the order in which they were recorded. No tracks have been deleted and there were no second takes. This is the complete session. Towards the end of the recording, Astin reaches inside the piano, using his hands to strum, dampen, and strike the strings, while Heydarian uses the tail of his hammer and also plays sequences in the untuned fourth region of the Santur. In addition, Heydarian introduces novel tunings on his instrument. This collaboration is a daring step. The music made by our two musicians is not pre-notated. It is improvised. It is dangerous. It is a conversation between musical languages in which commonalities and differences are explored - sometimes tentatively, sometimes boldly - and a discourse is produced in which you and I can share. While the musicians possess a deep understanding of their unique genres, together they create something quite unlike what one usually hears from the santur or piano. Pythagoras and Euclid theorised their scales on the single string of a monochord. The ratios that they established were conceived as a harmony of the spheres, the elements, the humours and all things divine and mundane. The simple monochord then took a notion to elaborate itself. One string became two, and then four, and eventually multiplied to the point that gave us the santur in the East and the piano in the West. An astonishing world of art music was created through hitting these strings with small felt hammers. And that is the world that is explored in this collection of tunes. Ed Emery Institute of Rebetology London, England.- Shop: odax
- Price: 26.32 EUR excl. shipping
-
Music with Passion
Short Biography: Desmond Ivey I am a native of beautiful Caribbean Island Jamaica W.I. I am self taught to play the Guitar, after experimenting and made my first Guitar, because I couldn't afford to purchase one from a music store. The Guitar body was made from plywood, the guitar neck from cedar wood. The keys were also made from cedar wood (pegs) The guitar would not stay tuned because the pegs kept unwinding, therefore, I had to keep a bottle of water to keep the keys wet. When cedar wood is wet it expands, and keep the pegs from unwinding. I use regular wire for strings therefore (you know) the sound was unpleasant but Hey, that's my Guitar. While banging on it, I learn to play Rhythms and keep good timing. I would take it with me every where I go, to make a long story short, after about a year or two I found A shop where I could buy the guitar keys, strings, and the Fret wire and guitar picks (I usually made my picks from plastic bottles, of different thickness) The frets were placed at equal distance and the Guitar action was very hard. (but it strengthen my fingers) After seeing a real guitar up close, I examine it carefully and build my first real Guitar. I suddenly became known, not only as a Guitar player, but a guitar builder as well. After drawing a diagram of the Guitar keyboard, and naming all the notes, a few years later when I bought my first Mel Bay Guitar Book, and saw the same diagram exactly like I drew it years earlier, I was in a state of shock, I felt like my head was expanding. I thought I had some Psychic ability, abviously I was just on the right track...long story. I study Music Rudiments and Theory and accomplished the Graded test examination, which was offered by The Royal School In England. I also accomplished the Jamaica School Certificate Examination (J.S.C.E.), which Include English Language, Mathematics, Health Science, General Science A., General Science B, Civics, History, Biology and Bible knowledge. I taught these academics subjects in the Public All age School For two years before I was accepted at the Jamaica School Of Music, where I study music and 'School Music Teaching'. Lastly, I taught music at the 'Holy Childhood High School' in Kingston, and the 'Oberlin High School', In St. Andrew where I was born. I played Guitar Duets with my classmates and also with the School's music ensemble. It was really a lot of fun for me, I was also featured on the cover of the School's first, 'School Magazine'. Then I was discovered by Professor Rex Nettleford (who was the Minister of culture Affairs in Jamaica at that time, 1979) he was also the director of the company called the NDTC (National Dance Theater Company) He needed someone who knew the 'Spanish Romance' for Guitar and was able to play it live at the theater, instead of using the recorded version. The piece was choreographed beautifully for a very talented dancing couple, which I enjoyed playing for. The performance was seasonal, and was held at the 'Little Theater' in New Kingston Jamaica. I travel with the NDTC company, to New York City, in November 1980. We Performed at the Brooklyn Academy Of Music (BAM) and the John Jay School Of Criminal Justice in Manhattan. I reside in NYC since then working outside the music business trying to make ends meet. No one knew in NYC that I know how to play an instrument, but music is always my first love, I enjoy playing the guitar for everyone, even on the Air Jamaican Airline during my 3 & 1/2hr. Flight to NYC. USA I wanted to learn more about the Guitar, so I answered an Add, offering Guitar Lessons for All Levels. I was told to bring a note book and my Guitar. I scheduled my first lesson, when I arrived the teacher asked me to play so he would know my level of playing. I played the same selection,'Spanish Romance' for the guitar that I mentioned above, The teacher stared at me as if he saw a ghost, and said I'm sorry I can't help you, your playing is too advanced, Everybody I told this Story to, had to laugh, it's funny, and they said I should have gone to The Juilliard School. Of Music, and I took their advice. I enrolled in the evening division because I had to work. The School. Is Great and I also had a great teacher! 'Dante Rosati' who show me the real playing principles, and the tremolo techniques which you will hear in my CD recordings. I could tell you about my 30yrs+ experience with concerts, TV. Radio and family in Jamaica W.I., but time and space won't allow this. I played all the instruments on all my recordings, and I hope you'll enjoy it. Bye for now. I hope we'll meet one day, somewhere, in the music world. Love, Desmond Ivey.- Shop: odax
- Price: 25.42 EUR excl. shipping
-
-
-
Strings and Frets
Featuring John Fahay, Jorma Kaukonen, John Renbourn, Stefan Grossman, Pierre Bensusan, Martin Simpson and Bob Brozman. The seven fingerstyle guitarists you are about to watch have all put their own, highly personal stamp on the instrument, not only by the way they play, but also by the music they write and interpret and the emotions and images their music invokes. No other instrument has found such a vast, global audience in the last 40 years, and as you'll see and hear, no other instrument is capable of such a diverse range of sounds and styles. As divergent as these performances are, the personal backgrounds of these highly creative and influential musicians are interwoven by the mentors who inspired and guided them, their influence on each other, and by the events which have become a part of modern musical history.- Shop: odax
- Price: 23.18 EUR excl. shipping
