Just a reminder that our Second Midwest HG workshop in Bloomington, Indiana will take place again on Oct 2-6, 2013. Save the dates for a great GH adventure. We will post more details later, but for the moment, Robert Green, Juan Wijngaard and Michael Opps will be the instructors.
I wish you all a great time during the Holydays and a 2013 full of fabulous cranking. For more info and questions you can contact me: tlozanoramos@yahoo.com or you can check at: www.earlymusicinmotion.org
Best,Tom Lozano
selected photos from Hurdy Gurdy Weekly • Indiana Hurdy-Gurdy Workshop
Apr 20-22, 2012
Bloomington, INDIANA USA
Photographer: Mel Dorries
The first Hurdy-Gurdy workshop in the Midwest took place on April 20-22, 2012 in scenic Brown County, Indiana, attracting both amateurs and professionals. Learn and play alongside other enthusiasts in a relaxed atmosphere with renowned teachers and performers.
The first Hurdy-Gurdy workshop in the Midwest took place on April 20-22, 2012 in scenic Brown County, Indiana, attracting both amateurs and professionals. Learn and play alongside other enthusiasts in a relaxed atmosphere with renowned teachers and performers.
"This is just half of a super tune by English Hurdy-Gurdy player Cliff Stapleton, I had to re-record this as my pick-up fell off during the performance at Halsway Manor." - Nigel Eaton
update 31 May: video deleted but Nigel says maybe a new one this weekend with the entire tune :)
Hungarian hurdy gurdy virtuoso Robert Mándel, at Concordia University (Chicago) on February 8th, 1982. Robert talks about the hurdy gurdy, plays some tunes and then there are some closeups of the gurdy.
Quoted from one of his recordings:
'The hurdy-gurdy came to Eastern Europe at the beginning of the nineteenth century and was brought in by Western European travelling musicians, and by the middle of the 20th century it was no longer part of living folk music anywhere. The instrument had no repertoire of its own and bagpipe music, of a similar sound, was usually played on it. These days in Hungary one can bare by meet a hurdy-gurdy player or two of the older generation in the rural farmstead regions of Szentes, Csongrád, Kecskemeét."
Like many folk events, there wasn't enough light to make my early 1980s vintage camera very happy, hence the blurred / smeared video. You should see the un-processed original ;)
A more recent video of Robert Mandel and the Mandel Quartet performing a number of French renaissance dances by Claude Gervaise (c.1550) on the hurdy-gurdy and other period instruments.
ROBERT MANDEL and the Mandel Quartet
French renaissance dances composed by the editor and arranger Claude Gervaise. Gervaise was an assistant to Pierre Attaingnant too, and also the editor on the title pages for several of Attaingnant's books of instrumental dances.
We are a "session," which is not the same thing as a performing band. We don't know in advance what tunes we will play, and we don't rehearse together. Instead, we rely on our musicianship and knowledge of the genre to choose and play tunes on the fly. It's spontaneous, relaxed and participatory...
Hurdy-Gurdy Playing Satyr with a Sleeping Nymph Master of 1515 (Italian [?], active ca. 1515) Engraving with drypoint burr plate: 6 1/4 x 7 in. (16 x 17.8 cm), sheet: 6 3/8 x 7 1/8 in. (16.3 x 18.1 cm) Gift of Henry Walters, by exchange, 1931 (31.31.19)
Zanfona Sen Palabras (Hurdy Gurdy Without Words) / 1
Exercicios para Zanfona sen usar unha soa palabra, so a mmica e a demostracin.
Technique exercices for hurdy gurdy without words. Only mimic, example and demonstration.
Zanfona Sen Palabras (Hurdy Gurdy Without Words) / 2 (7/8)
Exercicios para Zanfona sen usar unha soa palabra, so a mmica e a demostracin.
Technique exercices for hurdy gurdy without words. Only mimic, example and demonstration.
Encontro Zanfona Contemporánea (1/2) - YouTube: Reportaxe feita sobre os Encontros de Zanfona Contemporánea de Narón que organiza o Patronato de Cultura do Concello de Narón e aCentral Folque anualmente en marzo con concertos, curso intensivo, actividades paralelas, convivencia,...
"I have just finished Drawing up the Henri 111 Renaissance Hurdy Gurdy. I have modelled it on an existing instrument from Paris circa 1750. The main deviation from the original is that it can play over 2 octaves and has adjustable bridges and string lifting mechanisms. I have also changed the internal frame to use smaller wood stock. The original has solid end blocks that needed large wood stock to cut them from. There are 9 x A1 size sheets to this plan. I will add more written information as I make this gurdy." - Henri 111 hurdy gurdy AntiQuated Strings - Graeme McCormack
Monday, February 20, 2012
new top view, 2/20/12
- an idea that i've been working on for awhile
- there is now a page on it at whats more
"it uses a hand-cranked wheel to bow playing strings and drones like a hurdy gurdy, but is played with a slide like a Vichitra Veena (as in video) - no gurdy keybox..."
"This has been gnawing away at me for decades and I finally got round to doing it. The pun on gourd was too much to resist. One thing it's not is a novelty toy. It's got a lot going for it."
A clip featuring a hurdy-gurdy built using a large African gourd as a body. The tune played is "Child Grove," found in Michael Raven's "1000 English Country Dance Tunes" (Tunes published before 1730)
the new gourdy has a great deep and full sound - i really like it, Neil!
- he says "The results are seriously asymmetrical and quirky but I kind of like that after decades of striving for perfect symmetry. The latest one is ridiculously off centre but the small trompette area and the large drone area should make for good bass and treble as required. The overall effect is a gurdy built in a hut in Kenya!"
Here in the north west of England, players of French dance music hard to find. There is much more chance of playing in a session if some of the Irish session tunes can be played. There are many book of such tunes available and all are great sources but they are not compiled with the hurdy-gurdy in mind. I have listed below a selection of good tunes which I find fall reasonably easily out of the gurdy. There are no special techniques involved but a degree of competence up at the dusty end of the keybox is useful. It will quickly expose any poor intonation in the top octave and the correct cotton application is essential...
"it uses a hand-cranked wheel to bow playing strings and drones like a hurdy gurdy, but is played with a slide like a Vichitra Veena (as in video below) - no gurdy keybox."
the instrument that i am thinking about building is a combination of a hurdy gurdy and no-frets vina as in the video above. the basic idea is to slice a barrel along one side (which becomes then the top of the instrument), intstall a soundboard on top, and have a large cranked wheel to drive a couple of playing strings and some drones (no hurdy-gurdy keybox) ...maybe i will post a photo of my sketch of a "barrel gurdy," or the new idea of using a conga drum rather than a barrel.
Dr. Lalmani Mishra
my "vocal teacher's" teacher *
Lalmani Misra (August 11, 1924 - July 17, 1979), M.A., Ph.D., D. Mus. (Veena), M.Mus. (Vocal), B.Mus. (Sitar, Tabla), (Sahitya Ratna) Dean & Head, Faculty of Music and Fine Arts, Banaras Hindu University, Varanasi, was an eminent Indian classical musician known as much for his art as for his scholarship.
Lalmani learnt Dhruvapada (Dhrupad) Dhamar in the tradition of Pt. Shankar Bhatt and Munshi Bhrigunath Lal. He learnt Khayal singing with Ustad Mehndi Hussain Khan, a disciple of Ustad Vazir Khan of Rampur Seni Gharana. He received training in Dhruvpad, Bhajan and Tabla from Swami Pramodanand; in sitar from Shri Shukdev Roy. Under the tutelage of Ustad Amir Ali Khan he perfected several other musical instruments.
Lalmani was appointed on the post of assistant music director in Shehanshahi Recording Company, Calcutta at the age of twelve. He worked in several films for the next two years...
Performing in Berlin, with a troupe, April 1932
...Carrying out research in the music of Vedic age, he unraveled the mystery of Samic scale. To re-establish the lost notes of that period he created a Raga Sameshwari. Dr. Misra also first made it possible in history of mankind, the twenty two Shruti-s (not to be confused with śruti, the genre of Vedic literature) to be distinctly heard on a single Veena. The invention and key to its function has been explained in “Shruti Veena” published on 11-02-1964 by Vikram Singh, Narendra Printing Works, Varanasi.
He had created several other Raga-s like Shyam Bihag, Jog Todi, Madhukali, Madhu-Bhairav, Baleshwari etc., all in strict adherence with rigid classical norms for creation of new Raga-s. Unesco released a compact disc of his Vichitra Veena entitled The Music of Pandit Lalmani Misra in 1996.
* i studied with Dr. Laxmi Tewari, a student of Dr. Misra's, at SSU for a couple of years around 1978 to 1981. Tewari-ji still teaches at SSU, and is an ethnomusicologist as was Misra. (the link for Tewari goes to an article from 1996 by Jan Haag). more on Dr. Tewari later :)
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