Twilight Waltz, by Johnny Gimble
September 6, 2007 at 6:30 AMCheck out track #4
My favorite part was the little mandolin strum right in the pause. Great little fiddle tune. Oh, and the Black and White Rag on this cd is just great, too.
Thanks, mom and dad, for finding this for me. I knew you'd remember it!
That recording I fussed about is now happily in the original blog entry, if anyone still wants to hear my own rendition. It's pretty close.
From Jim W. MillerLearn the fiddle solo to this, and we can work it up.
Posted on September 6, 2007 at 10:15 AM
From Jim W. MillerDoes Twilight Waltz remind you a little of Bartok concerto #2 on thorazine? The mandolin strum you mentioned would be the harp.
Posted on September 6, 2007 at 2:53 PM
From Albert JusticeVery nice... Well balanced and pleasing without being too dry.
Posted on September 6, 2007 at 5:17 PM
From Jim W. MillerLight-bodied with aroma of berries and a finish of prunes, listen now through 2008?
Posted on September 7, 2007 at 4:10 AM
From Emily GrossmanPlummy veneer with a velvety nose!
Posted on September 7, 2007 at 6:03 AM
From Emily GrossmanJim, I haven't heard Bartok #2 yet. I'll have to check and see.
Posted on September 7, 2007 at 6:04 AM
From Jim W. MillerI just now discovered this CD with old time fiddling.
Posted on September 8, 2007 at 12:20 AM
I might have to buy it if only to find out what the rest of #6 sounds like.
From Gabriel KastelleI kind of like the earlier entry solo violin better-- soulful violin, I should say, perhaps. Good sound-- deep fiddle. :-)
Posted on September 8, 2007 at 5:54 PM
From Gabriel KastelleJim, saw the Old Hat reference, and must blurt. They've got some great stuff out. I never tire of Old Hat CD-1002: "Violin, Sing the Blues for Me", a collection of recordings by African-American fiddlers, 1926-1949, in everything from duos with guitar to large jug bands, with jugs for real. Great fun.
Posted on September 8, 2007 at 5:56 PM
From Jim W. MillerYou know, appreciating the beauty of this stuff requires that you go much deeper than the superficial. The sample of #6 is one of the most captivating things I've heard in a while. The wierd rhythm or tempo thing at the start, and wondering whatever made that guy think he could sing, and if he likes it. Did he love this, or was it some kind of practical best option for him. Just makes for me, say some student's Brahms sonata, seem so superficial. Even a pro version maybe, if there's no real story to it.
Posted on September 8, 2007 at 6:29 PM
From Jim W. MillerIn other words, what was his entire concept? You know pretty much what someone's concept of Brahms is, after you've experienced a few violins lessons. This is deep stuff, and not always as pretty as a cheerleader.
Posted on September 8, 2007 at 6:41 PM
This entry has been archived and is no longer accepting comments.
Galamian's Principles of the Violin
Long one of the standards for violin teachers and students, Ivan Galamian's Principles of Violin Playing and Teaching offers both principles and practice exercises to help develop violinists of all ages and abilities. This new edition includes a foreword by Sally Thomas.
Emily Grossman is from Soldotna, Alaska. Biography
Please consider supporting Violinist.com by becoming a sponsor, and reaching our dedicated community of violin professionals, students and fans!