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  4. Early Jazz. Cakewalks. Arranged for three-stringed domra (guitar) and piano. Piano score and guitar

Early Jazz. Cakewalks. Arranged for three-stringed domra (guitar) and piano. Piano score and guitar

У истоков джаза. Кекуоки. Переложение для трехструнной домры (гитары) и фортепиано. Клавир и партия
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Early Jazz. Cakewalks. Arranged for three-stringed domra (guitar) and piano. Piano score and guitar
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The early jazz history is inseparably connected with the music culture of Afro-American inhabitants of the Northern America. Undergoing slavery Afro-Americans managed to preserve their original tradition endowing it with the culture European immigrants. Thus the quadrille, waltz, polka, mazurka, were interpreted by African immigrants and absolutely new dances appeared, distinct for special plasticity and rhythmic fluctuations.
Cakewalk was the oldest one. The meaning of the word is quite clear. It was really the tradition of the South, when landlady’s cake was given to the best performer — singer or dancer — among her slaves. Was cakewalk some possible caricature, imitating European quadrille? It’s rather hard to define exactly. However, its structural elements resemble quadrille.
The end of the 19th century was marked by the great popularity of this dance. The great number of cakewalks were edited in 1899. The same gave birth to one more dance — ragtime, the rhythmical and melodic aspects of which are most close to cakewalk. Therefore the composers precised genres in subtitles, whether it could be cakewalk, ragtime and even two-step and polka.
The way cakewalks were used depended on performers and dancers. Sliding intonations, replaced accents, syncopated rhythms together with steady marching base — all these features reveal Afro-American origin in them. Early jazz is inseparably connected with this dancing music exactly.
The collection you are offered embraces cakewalks — from early traditional patterns up to the ones, composed by the authors of the 20th century’s beginning.

Contents:

L. Shkolina. Preface
ECHOES OF THE CAKEWALK. Based on authentic traditional themes
CAKEWALKIN’ SHOES. Based on authentic traditional themes
CAKEWALKING JAMBOREE. Based on authentic traditional themes
THE BOSTON CAKEWALK. Based on Fred Stone’s music
Kerry Mills. KERRY CAKEWALK
Kerry Mills. WHISTLING RUFUS. Characteristic cakewalk
Jens Bodewalt Lampe. MY CREOLE BELLE
Scott Joplin, Arthur Marshall. SWIPESY. Cakewalk
Abe Holzmann. SMOKY MOKES. Cakewalk and two-step
Samuel Lapin. THE DARKEY’S DELIGHT. Two-step and cakewalk
Chaz B. Brown. MOBILE PRANCE. Characteristic march, cakewalk and polka
The early jazz history is inseparably connected with the music culture of Afro-American inhabitants of the Northern America. Undergoing slavery Afro-Americans managed to preserve their original tradition endowing it with the culture European immigrants. Thus the quadrille, waltz, polka, mazurka, were interpreted by African immigrants and absolutely new dances appeared, distinct for special plasticity and rhythmic fluctuations.
Cakewalk was the oldest one. The meaning of the word is quite clear. It was really the tradition of the South, when landlady’s cake was given to the best performer — singer or dancer — among her slaves. Was cakewalk some possible caricature, imitating European quadrille? It’s rather hard to define exactly. However, its structural elements resemble quadrille.
The end of the 19th century was marked by the great popularity of this dance. The great number of cakewalks were edited in 1899. The same gave birth to one more dance — ragtime, the rhythmical and melodic aspects of which are most close to cakewalk. Therefore the composers precised genres in subtitles, whether it could be cakewalk, ragtime and even two-step and polka.
The way cakewalks were used depended on performers and dancers. Sliding intonations, replaced accents, syncopated rhythms together with steady marching base — all these features reveal Afro-American origin in them. Early jazz is inseparably connected with this dancing music exactly.
The collection you are offered embraces cakewalks — from early traditional patterns up to the ones, composed by the authors of the 20th century’s beginning.

Contents:

L. Shkolina. Preface
ECHOES OF THE CAKEWALK. Based on authentic traditional themes
CAKEWALKIN’ SHOES. Based on authentic traditional themes
CAKEWALKING JAMBOREE. Based on authentic traditional themes
THE BOSTON CAKEWALK. Based on Fred Stone’s music
Kerry Mills. KERRY CAKEWALK
Kerry Mills. WHISTLING RUFUS. Characteristic cakewalk
Jens Bodewalt Lampe. MY CREOLE BELLE
Scott Joplin, Arthur Marshall. SWIPESY. Cakewalk
Abe Holzmann. SMOKY MOKES. Cakewalk and two-step
Samuel Lapin. THE DARKEY’S DELIGHT. Two-step and cakewalk
Chaz B. Brown. MOBILE PRANCE. Characteristic march, cakewalk and polka
Автор переложений Лидия Николаевна Школина
История возникновения джаза неотделима от истории темнокожего населения США с его песенной и танцевальной культурой. Модифицируя мелодии и основные движения европейских танцев (кадрили, польки, мазурки, вальса), выходцы из Африки и их потомки создали свои оригинальные, приправленные особой пластикой движений и интонационно-ритмическим рисунком танцы. Первым таким танцем, дошедшим до нас, стал кекуок. Предлагаемый сборник дает возможность познакомиться с музыкой кекуоков — от ранних образцов жанра до авторских сочинений начала XX века. В нотах даются буквенно-цифровые обозначения гитарных аккордов.
Издание "У истоков джаза. Кекуоки" поможет профессиональным домристам сделать свои выступления привлекательнее для слушателей за счет пополнения репертуара нешаблонным, но безусловно интереснейшим зарубежным музыкальным материалом. Гитаристам, в том числе любителям, предлагается опробовать на представленных мелодиях гитару еще не как участницу джазового ансамбля, но как полноценный солирующий инструмент, нарушающий традицию чисто фортепианного исполнения ранних джазовых танцев. И конечно, произведения из этого сборника будут полезны учащимся старших классов ДМШ и ДШИ, народных отделов музыкальных училищ и факультетов народных инструментов в музыкальных вузах — и в культурологическом, и в сугубо техническом аспекте.

Содержание:

Л. Школина. Предисловие
ОТГОЛОСКИ КЕКУОКА. На основе подлинных народных тем
КЕКУОК ДЛЯ БАШМАКОВ. На основе подлинных народных тем
КЕКУОК ДЖАМБОРИ. На основе подлинных народных тем
БОСТОНСКИЙ КЕКУОК. На основе сочинений Фреда Стоуна
Керри Миллз. КЕКУОК КЕРРИ
Керри Миллз. РУФУС НАСВИСТЫВАЕТ. Кекуок-портрет
Дженс Бодуолт Лэмп. МОЯ КРАСОТКА-КРЕОЛКА
Скотт Джоплин, Артур Маршалл. СУАЙПСИ. Кекуок
Эйб Хольцман. ДЫМЧАТЫЕ ОСЛИКИ. Кекуок и тустеп
Сэмюэл Лапин. АФРИКАНСКИЙ ВОСТОРГ. Тустеп и кекуок
Чэз Б. Браун. ГОРДЕЛИВАЯ ПОХОДКА. Марш-портрет, кекуок и полька
Avtor perelozhenij Lidija Nikolaevna Shkolina
Istorija vozniknovenija dzhaza neotdelima ot istorii temnokozhego naselenija SSHA s ego pesennoj i tantsevalnoj kulturoj. Modifitsiruja melodii i osnovnye dvizhenija evropejskikh tantsev (kadrili, polki, mazurki, valsa), vykhodtsy iz Afriki i ikh potomki sozdali svoi originalnye, pripravlennye osoboj plastikoj dvizhenij i intonatsionno-ritmicheskim risunkom tantsy. Pervym takim tantsem, doshedshim do nas, stal kekuok. Predlagaemyj sbornik daet vozmozhnost poznakomitsja s muzykoj kekuokov — ot rannikh obraztsov zhanra do avtorskikh sochinenij nachala XX veka. V notakh dajutsja bukvenno-tsifrovye oboznachenija gitarnykh akkordov.
Izdanie "U istokov dzhaza. Kekuoki" pomozhet professionalnym domristam sdelat svoi vystuplenija privlekatelnee dlja slushatelej za schet popolnenija repertuara neshablonnym, no bezuslovno interesnejshim zarubezhnym muzykalnym materialom. Gitaristam, v tom chisle ljubiteljam, predlagaetsja oprobovat na predstavlennykh melodijakh gitaru esche ne kak uchastnitsu dzhazovogo ansamblja, no kak polnotsennyj solirujuschij instrument, narushajuschij traditsiju chisto fortepiannogo ispolnenija rannikh dzhazovykh tantsev. I konechno, proizvedenija iz etogo sbornika budut polezny uchaschimsja starshikh klassov DMSh i DSHI, narodnykh otdelov muzykalnykh uchilisch i fakultetov narodnykh instrumentov v muzykalnykh vuzakh — i v kulturologicheskom, i v sugubo tekhnicheskom aspekte.

Soderzhanie:

L. Shkolina. Predislovie
OTGOLOSKI KEKUOKA. Na osnove podlinnykh narodnykh tem
KEKUOK DLJa BASHMAKOV. Na osnove podlinnykh narodnykh tem
KEKUOK DZHAMBORI. Na osnove podlinnykh narodnykh tem
BOSTONSKIJ KEKUOK. Na osnove sochinenij Freda Stouna
Kerri Millz. KEKUOK KERRI
Kerri Millz. RUFUS NASVISTYVAET. Kekuok-portret
Dzhens Boduolt Lemp. MOJa KRASOTKA-KREOLKA
Skott Dzhoplin, Artur Marshall. SUAJPSI. Kekuok
Ejb Kholtsman. DYMCHATYE OSLIKI. Kekuok i tustep
Semjuel Lapin. AFRIKANSKIJ VOSTORG. Tustep i kekuok
Chez B. Braun. GORDELIVAJa POKHODKA. Marsh-portret, kekuok i polka
EAN
9790352208360
Clasificación de la biblioteca BIC:
AVRL
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