Danny Boy (a.k.a. Londonderry Air)

30 11 2006

A St. Patricks Day Favorite!

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** listen to a sample of  Dan Sindel’s “Symphonic Guitars” Danny Boy/Londonderry Air

 St. Patricks Day - Danny Boy 

“Oh Danny boy, the pipes, the pipes are calling From glen to glen, and down the mountain side”
Another name for this tune is the Londonderry Air. This title has a certain political bias, since the name “Londonderry” is used to emphasize the ties between Northern Ireland and Britain (referring to the colonization of the area by English settlers in the early 17th century). Irish nationalists usually prefer to use “Derry”, the original name of the Northern city and county. It appears that the title Air from County Derry was also used.

About the project::
This project was alot of fun not only in the recording aspect but also in the realm of learning of the history of this tune.
The piece came from a Book of Piano Duets and was recorded uner the pretense of “Londonderry Air”, only after doing research had I truly discovered the origin of the song and how it become the traditional Irish melody of “Danny Boy”.

The parts were divided into “Primo” and “Secondo” arrangements.
The recording aspect was fairly straight forward as the piece was in 4 part harmony and by seperating the Bass, Tenor, Alto and Soprano lines I had roughly 15 indivdual lines to track per “Primo” and “Secondo” parts.
After tracking each line 3 times I had about 45 tracks per part.
In the second and third sections you will be hearing a culmination of at least 90 tracks of guitar..!
Reverbs and Leslie Cabinet Plug-ins were used to create an atmospheric ambience on the into and ending sections.

Gear::
On this selection I used my ’68 Gibson SG and the Line6 Flextone3 XL amp…

About DannyBoy::
Where did the song come from? Is it Irish at all?
To begin with, Danny Boy is one of over 100 songs composed to the same tune. The author was an English lawyer, Frederic Edward Weatherly (1848-1929), who was also a songwriter and radio entertainer. In 1910 he wrote the words and music for an unsuccessful song he called Danny Boy. In 1912 his sister-in-law in America sent him a tune called the Londonderry Air (or possibly something else), which he had never heard before. He immediately noticed that the melody was perfectly fitted to his Danny Boy lyrics, and published a revised version of the song in 1913. As far as is known, Weatherly never set foot in Ireland

The first appearance of the tune in print occurred in 1855, in Ancient Music of Ireland, published by the early collector George Petrie (1789-1866). The untitled melody, was supplied to Petrie by Miss Jane Ross of Limavady, County Londonderry, who claimed to have taken it down from the playing of an itinerant piper. This is the origin of the Londonderry Air name. Petrie states:
[Name unknown]
For the following beautiful air I have to express my very grateful acknowledgement to Miss J. Ross, of N.-T. – Limavady, in the county of Londonderry – a lady who has made a large collection of the popular unpublished melodies of that county, which she has very kindly placed at my disposal, and which has added very considerably to the stock of tunes which I had previously acquired from that still very Irish county. I say still very Irish; for though it has been planted for more than two centuries by English and Scottish settlers, the old Irish race still forms the great majority of its peasant inhabitants; and there are few, if any, counties in which, with less foreign admixture, the ancient melodies of the country have been so extensively preserved. The name of the tune unfortunately was not ascertained by Miss Ross, who sent it to me with the simple remark that it was “very old,” in the correctness of which statement I have no hesitation in expressing my perfect concurrence.

Lyrics for Danny Boy
Lyrics: Frederic Edward Weatherly
Music: Traditional

Oh Danny boy, the pipes, the pipes are calling
From glen to glen, and down the mountain side
The summer’s gone, and all the flowers are dying
‘Tis you, ’tis you must go and I must bide.
But come ye back when summer’s in the meadow
Or when the valley’s hushed and white with snow
‘Tis I’ll be here in sunshine or in shadow
Oh Danny boy, oh Danny boy, I love you so.

And if you come, when all the flowers are dying
And I am dead, as dead I well may be
You’ll come and find the place where I am lying
And kneel and say an “Ave” there for me.

And I shall hear, tho’ soft you tread above me
And all my dreams will warm and sweeter be
If you’ll not fail to tell me that you love me
I’ll simply sleep in peace until you come to me.

I’ll simply sleep in peace until you come to me.

Lyrics for Londonderry Air
Lyrics: Unknown
Music: Traditional

Would God I were the tender apple blossom
That floats and falls from off the twisted bough,
To lie and faint within your silken bosom,
Within your silken bosom as that does now!
Or would I were a little burnish’d apple
For you to pluck me, gliding by so cold,
While sun and shade your robe of lawn will dapple,
Your robe of lawn, and your hair’s spun gold.

Yea, would to God I were among the roses
That lean to kiss you as you float between,
While on the lowest branch a bud uncloses,
A bud uncloses, to touch you, queen.
Nay, since you will not love, would I were growing,
A happy daisy, in the garden path;
That so your silver foot might press me going,
Might press me going even unto death.

I’ll simply sleep in peace until you come to me.

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* A special thanks to Michael Robinson & Vicki Parrishfor the use of their information on Danny Boy.

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Dan Sindel – Podcast #2 – Airplay In Australia is now available

29 11 2006

*****WORLD PREMIER*****
Dan Sindel – Podcast #2 – Airplay In Australia is now available for download!

Dan Sindel_Airplay In Auutralia

 

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Welcome to “Symphonic Guitars” podcast#2.

Today we take a trip to the “Land Down under where it was an exciting day as tracks from my collection of “Guitar Driven Classics” were played live on BayFM 99.9 Byron Bay, Australia – www.bayfm.org

For your listening pleasure I pulled these 3 “spotlight segments” from the archives as this show dates back to September 28th, 2005

The featured tracks are
* Edvard Grieg – Anitra’s Dance
* Antonio Vivaldi – The Four Seasons – The Spring
* Ludwig Van Beethoven’s – Moonlight Sonata

On Air personalities Peter & Karena Wynn-Moylan host the popular show “Arts Canvass” every Thursday at 9am -11am. Keeping you up to date with all regional (Byron Bay, NSW, AU) arts news and info.

Thank you for listening and be sure to visit www.dansindel.us for Guitar Driven Classics – Mp3’s, Videos and More…

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Johann Pachelbel – Canon in D Major (this is not “Canon Rock”! LOL)

26 11 2006

Johann Pachelbel – Canon in D Major (this is not “canon rock”! LOL)

** Buy Dan Sindel’s “Symphonic Guitars” version of Johann Pachelbel’s “Canon in D Major”

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Listen to a sample of Dan’s take on Pachelbel’s Canon in D Major where he has interpreted the string quartet instrumentation with more than 50 multi-track overdubs utilizing just the electric guitar. (No, this is not “canon rock”! LOL)

**** Pachelbel – Canon in D Major – Download score – PDF

Johann Pachelbel (1653 - 1706) Truth be told I am completely fascinated how Jerry C’s version of Pachelbel’s Canon in D Major called “Canon Rock” has turned the guitar playing world upside down and inspired countless numbers of hopefuls to pick up the guitar (or give a shot in the arm to tenured players) and explore the unique qualities of expression that only the guitar can provide! Every so often someone comes along and gives that source of inspiration to encourage the masses..! With that said, I must state on record that my treatment of Johann Pachelbel’s “Canon in D Major” has nothing to do with the hyper rock interpretation that is taking the world by storm (not that I am against that, on the contrary I love what Jerry C. has done; truly awesome!!!). I have interpreted the “string quartet instrumentation” with more than 50 multi-track overdubs utilizing just the electric guitar, I am positive you will enjoy this performance.Pertaining to my interpretation (usually with a divided opinion), I have read certain comments or mixed reviews shall we say ranging from “Absolutely Beautiful” to “Slow and Boring”… (“Can’t win them all” – LOL)“My personal view on approaching a classical piece is to try and stay as reverent to the original composition as possible without taking too many musical liberties. Which in some part will not stimulate the hormones of the masses but out of respect to the composer it is my desire to stay closer to the path of the way the composition was penned..!”

About the Project::
Once again I have ventured into the land of “extreme overdubs”… After much experimentation it appears that in order to get a real thick sound a minimum of 3 overdubs per instrument does the trick! What would have been a very long time laying down tracks was condensed by the goodness of the “cut and paste” method within the pro tools software due to the nature of this piece being a canon where the melodies chase each other in succession.

After finishing the first violin’s part it seemed logical enough to me to at least give the method a try with the 2nd and 3rd chair violin parts. Much to my amazement all lines in the melodies interlocked with precision and grace just as Johann Pachelbel intended. Of course in true fashion, the piece ends with all instruments coming to agreement on the very last note as the 2nd and 3rd violin parts are truncated and by taking a close listen on my interpretation the last 4 bars overlap and finish in sequence.

Gear::
On this excursion I had favored my trusty Agile AS-820 Semi-Hollow (Gibson ES-335 clone that I was fortunate enough to acquire through Rondo Music just before Gibson made them stop production and change the body style, just like the highly collectable Ibanez “Les Paul” and “Flying V” clones of the late seventies that were extremely close to Gibson’s blueprints and patents as they were ordered to stop production by international law) and the Line6 Flextone3 XL amp…

About Johann Pachelbel::
Johann Pachelbel was a German Baroque composer and organist. Johann Pachelbel lived between 1653-1706. In 1671 at the age of 18, he moved to Vienna (Austria) where he became a student. In 1692 he moved to Nuremburg where he lived until his death in 1706.

Pachelbel was organist at Erfurt, in the Thuringian region of Germany and his harmonizations of church chorales seem to have been inspirational to the young Johann Sebastian Bach, whose older brother, Johann Christoph Bach, had been Pachelbel’s organ student. Indeed, Pachelbel seems to have enjoyed close friendships with many members of the Bach family of musicians. Pachelbel served in the capelle in Eisenach, the home city of Ambrosius Bach and birthplace of his many children including Johann Sebastian and Johann Christoph, for a year in the 1670s. Pachelbel also stood as godfather for Ambrosius Bach’s daughter (Johann Sebastian’s sister) Johanna Judith Bach.

In addition to the well-known Canon in D and numerous church hymn settings, Pachelbel wrote a considerable number of cantatas for the Lutheran church and chamber sonatas for various instruments, especially the violin.

**Canon (or Kanon) is when a piece of music is imitated and repeated. First one instrument or vocal starts with a piece of the melody. Then after a number of tones, a second instrument or vocal starts to repeat, or imitate, the first one, playing the exact same tones, but with a time delay. More instruments or vocals may fill in depending on the composer’s wishes.

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**listen to the new “Symphonic Guitars” remix of Johann Pachelbel’s “Canon in D Major
“Symphonic Guitars” Podcast #8 – “Better Living Through Chemistry” << read more

***Here is the link to download my origianl treatment of Johann Pachelbel’s “Canon in D Major

http://www.dansindel.com/musicvault/demo/Canon_in_D_Major.mp3

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A New Baby (Taylor that is..!) – “The Video” pt.1

25 11 2006

Well I hope each and everyone of you had a great Thanksgiving (That is of course if you celebrate the holiday!)… I certainly did as after I waited patiently for months my “Brand New” Baby Mahogany Taylor arrived from the Taylor Factory and needless to say I am enjoying this little guitar to its fullest..!
So here is a little video messing around with my new Baby Taylor – Thanksgiving weekend 2006! I posted the video on both Google Video and YouTube but went ahead and embedded the Google video on this blog!

Here are a couple links for feed readers that do not embed video:
* Google Video
* YouTube

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A New Baby!!!! (Taylor that is!)

23 11 2006

BabyTaylor
Baby Taylor

Today I have a new family member….
A “Baby Mahogany”..!
*3/4 Size Dreadnought
*Fretboard – Ebony
*Neck – 19 Frets
*Body Length – 15 3/4 Inches
*Body Depth – 3 3/8 Inches
*Body Width – 12 1/2 Inches
*Top & Neck – Tropical American Mahogany
*Back & Sides – Sapele Laminate

taylorLogo I have always wanted a Taylor in my collection and for some odd reason I am more fascinated by the ‘Baby’ than any other instrument in the entire Taylor catalogue… LOL

In the near future I am planning on recording a selection of songs focusing on just using the “Baby Taylor” by itself and no other instruments shall be used!

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The Star Spangled Banner

21 11 2006

Yet another ultra-low budget jamming Guitar web cam video recorded with my Marshall Lead 12 amp and a real cheesy 50 cent PC microphone. …
Here we have a little bit of fun on guitar with the United States National Anthem “Star Spangled Banner” Enjoy!
This video is a few years old (and one of these days I will make some new ones) and has been the subject of some controversy (world politics and all that jazz..!)

Here is the link for feed readers that do not embed video

*** *** *** *** *** *** *** *** *** *** *** ***

“The Star Spangled Banner”

And while we are here I thought it might be good to include the link to download the mp3 of “The Star Spangled Banner” featuring Rick Schlosser on the drums..!

This arrangement is taken from the original John Philip Sousa score of “The Star Spangled Banner” circa 1892 provided by the Library of Congress website written and performed at the Chicago Worlds Fair…. With many modern guitar tones taking the brass and string lines, I truly hope you enjoy listening to this!

Without making ‘too much’ of a political statement the ending portrays the afterburners of an f-18 fighter jet soaring into the heavens..! )

About the project::
This recording project was very interesting as I had to analyze the orchestral score and harmonic structure of the piece and logically break-up the score into smaller sub-sections and then decide on what type of guitar tones would best bring out the lines.
In most instances, I had tracked the parts a minimum of 3 times to get a thick orchestrated sound.
The piece was divided into 3 main sections composed of Horns, Strings and Woodwinds..
At any given point in the track you will be hearing a culmination of at least 70 tracks of guitar..!

Gear::
On this selection I fittingly used my Fender Stratocaster refinished by Jim Tyler and the Line6 Flextone3 XL amp…

About “The Star Spangled Banner” ::
There is little basis for the legend that the tune of our national anthem was an old English drinking song. On the other hand, there is strong evidence that the members of the club for which the music was originally composed, the Anacreontic Society, frequently lifted not only their voices but also their cups in song.

In the mid-1760s, a London society of amateur musicians, the Anacreontic Society, commissioned a young church musician, John Stafford Smith, to compose music for material written by its president, Ralph Tomlinson. Smith’s tune, entitled “Anacreon in Heav’n,” was a vehicle not only for the Society’s accomplished amateurs, but for its best baritone singer to display virtuosity through an astounding vocal range. Its musical complexity has been compared to that of the famous “Toreador Song” in Bizet’s opera Carmen.

First published in England, the tune appeared in North America before the end of the eighteenth century where, as often happened, new lyrics — including “Adams and Liberty” and “Jefferson and Liberty” — were written. The song’s appeal may have been due at least in part to its unique metrical structure. Not found in any other song of the period, its striking meter may have been what attracted Francis Scott Key. By all accounts tone deaf, Key had already composed one other poem using the meter of the “Anacreontic Song” when he wrote “The Star Spangled Banner.”

On September 14, 1814, while detained aboard a British ship during the bombardment of Ft. McHenry, Francis Scott Key witnessed at dawn the failure of the British attempt to take Baltimore. Based on this experience, he wrote a poem that poses the question “Oh, say does that Star-Spangled Banner yet wave?” Almost immediately Key’s poem was published and wedded to the tune of the “Anacreontic Song.” Long before the Civil War “The Star Spangled Banner” became the musical and lyrical embodiment of the American flag. During the latter war, songs such as “Farewell to the Star Spangled Banner” and “Adieu to the Star Spangled Banner Forever,” clearly referencing Key’s song, were published within the Confederacy.

On July 26, 1889, the Secretary of the Navy designated “The Star Spangled Banner” as the official tune to be played at the raising of the flag. And during Woodrow Wilson’s presidency, it was chosen by the White House to be played wherever a national anthem was appropriate. Still the song was variously criticized as too violent in tone, too difficult to sing, and, by prohibitionists, as basically a drinking song. But on its side “The Star Spangled Banner” had a strong supporter in John Philip Sousa who, in 1931, opined that besides Key’s “soul-stirring” words, “it is the spirit of the music that inspires.” That same year, on March 3, President Herbert C. Hoover signed the Act establishing Key’s poem and Smith’s music as the official anthem of the United States.

The new law, however, did not specify an official text or musical arrangement, but left room for creative arrangements and interpretations of “The Star Spangled Banner.” The standard instrumental version was unofficially established as the arrangement used by the U.S. service bands. However, other versions include: Igor Stravinsky’s 1941 version for orchestra and male chorus, Duke Ellington’s 1948 Cornell University arrangement, Jimi Hendrix’s 1969 electric guitar version, José Feliciano’s 1968 rendition, and the 1991 version by the St. Louis Symphony under Leonard Slatkin

Lyrics for “The Star Spangled Banner”
Lyrics: Francis Scott Key
(The Defense of Fort McHenry) September 20, 1814

Oh, say can you see, by the dawn’s early light, What so proudly we hailed at the twilight’s last gleaming? Whose broad stripes and bright stars, through the perilous fight, O’er the ramparts we watched, were so gallantly streaming? And the rockets’ red glare, the bombs bursting in air, Gave proof through the night that our flag was still there. O say, does that star-spangled banner yet wave O’er the land of the free and the home of the brave?

On the shore, dimly seen through the mists of the deep, Where the foe’s haughty host in dread silence reposes, What is that which the breeze, o’er the towering steep, As it fitfully blows, now conceals, now discloses? Now it catches the gleam of the morning’s first beam, In full glory reflected now shines on the stream: ‘Tis the star-spangled banner! O long may it wave O’er the land of the free and the home of the brave.

And where is that band who so vauntingly swore That the havoc of war and the battle’s confusion A home and a country should leave us no more? Their blood has wiped out their foul footstep’s pollution. No refuge could save the hireling and slave From the terror of flight, or the gloom of the grave: And the star-spangled banner in triumph doth wave O’er the land of the free and the home of the brave.

Oh! thus be it ever, when freemen shall stand Between their loved homes and the war’s desolation! Blest with victory and peace, may the heaven-rescued land Praise the Power that hath made and preserved us a nation. Then conquer we must, for our cause it is just, And this be our motto: “In God is our trust.” And the star-spangled banner forever shall wave O’er the land of the free and the home of the brave!

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“Excerpts From Handel’s Messiah” added to Classical Net Resources

20 11 2006

George Frideric Handel (1685 - 1759) 

11.20.06
We are pleased to announce that Dan Sindel’s “Excerpts From Handel’s Messiah” has been added to Classical Net Resources along side many well respected classical artists honoring the immortalized works of George Frideric Handel (1685 – 1759)

Click here to visit the Classical Net Resources
(Classical Net features more than 4000 CD/SACD/DVD/Book reviews, as well as 6000 files and over 5300 links to other classical music web sites.)

Excerpts From Handel’s Messiah” by Dan Sindel – Download * Streaming * Podcast

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