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This is a collection of 62 original waltzes and airs by Jay Ungar & Molly Mason including their classics: "Ashokan Farewell," "The Lovers' Waltz," "The Snowstorm," "Love of My Life" and many more. Jay & Molly live in New York's Catskill Mountains where they run the legendary Ashokan Music & Dance Camps. Highly influenced by music taught at Ashokan, their infectiously playable original tunes reflect a wide variety of styles and moods from Western waltzes, to French Musettes, to Celtic airs, to Scandinavian and Eastern European sounding melodies. Each tune is complete with chord symbols, a descriptive paragraph, and several include illustrative photos.
Composed and arranged by Jay Ungar and Molly Mason, this beautiful, romantic waltz is the title cut of their critically acclaimed CD on Angel Records. This melody has become one of their most requested tunes in concert. Perfect for weddings, this carefully prepared violin solo or duet arrangement with piano accompaniment presents the theme 3 times through, beginning in G and modulating D. the piano/violin score also includes suggested guitar chords. the arrangement accurately captures the rhythms, harmonies and chord voicings of Jay and Molly's concert and recorded performances. Convenient pull-out parts are provided for the violinists. Jay Ungar is nationally recognized for having composed and performed Ashokan Farewell, the theme of the PBS series the Civil War. the Lover's Waltz is also available in a solo piano edition be Molly Mason.
(Fiddle). This comprehensive collection of fabulous fiddle tunes includes reels, hornpipes, strathspeys, jigs, waltzes and slow airs.
A collection of 32 easy Christmas pieces for violin, with words to sing along and chords for guitar or keyboard. There are a mixture of solo and duet arrangements which span the level of difficulty of the Fiddle Time Joggers and Fiddle Time Runners books. Many tunes are compatible with Viola Time Christmas and Cello Time Christmas.
"The Victorian cup on my shelf--a present from my mother--reads 'Love the Giver.' Is it because the very word patronage implies the authority of the father that we have treated American women patrons and activists so unlovingly in the writing of our own history? This pioneering collection of superb scholarship redresses that imbalance. At the same time it brilliantly documents the interrelationship between various aspects of gender and the creation of our own culture."--Judith Tick, author of Ruth Crawford Seeger: A Composer's Search for American Music "Together with the fine-grained and energetic research, I like the spirit of this book, which is ambitious, bold, and generous minded. Cultivating Music in America corrects long-standing prejudices, omissions, and misunderstandings about the role of women in setting up the structures of America's musical life, and, even more far-reaching, it sheds light on the character of American musical life itself. To read this book is to be brought to a fresh understanding of what is at stake when we discuss notions such as 'elitism, ' 'democratic taste, ' and the political and economic implications of art."--Richard Crawford, author of The American Musical Landscape "We all know we are indebted to royal patronage for the music of Mozart. But who launched American talent? The answer is women, this book teaches us. Music lovers will be grateful for these ten essays, sound in scholarship, that make a strong case for the women philanthropists who ought to join Carnegie and Rockefeller as household words as sponsors of music."--Karen J. Blair, author of The Torchbearers: Women and Their Amateur Arts Associations in America
The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.