6y Mary Ann Har6arWouCdyou fike to know how to move your audience to tears, or compeCthem to h a p to theirfeet in thriChdappCause? For centuries these clbseCy guarded secrets of Gypsy viofininsts have been handeddownfrom one generation to the next. Now, you too can commandyour instrument's epressive powers with Gyspy Violin. 0 1997 BY MEL BAY PUBLICATIONS. INC.. PACIFIC. MO 83088. ALL RIGHTS RESERVED. INTERNATIONALCOPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A. Ylslt ue on me Web at mnv.mslbay.com -Emell us st emell~msIbay.com .................................................................. H o w to Use this B o o k As you read this book you'll encounter terms, including those boldand italicized in the text, both new and familiar. Many denote the numerous articulations and other devices that give this music its appealing passion, variety, and contrast in texture, timbre, dynamics, and tempo. Look them up in the Glossary to learn how you can transform your playing into sheer enchantment! 1 1 2 3 4 5 6 7 8 9 0 Ta6h of Contents 1 How to Use this Book ...................................................................................................................... Table of Contents ............................................................................................................................. 2 The Gypsy Touch .............................................................................................................................4 Practice Tips .................................................................................................................................... 4 The Violin ........................................................................................................................................ 5 About the Recordings ...................................................................................................................... 5 Acknowledgments ........................................................................................................................... 6 Dedication ........................................................................................................................................ 7 The h e s A Minor-Universal Gypsy W e s 8 ....................................................................................... The B w o Kinokio A Minor-Russian h e s ......................................................................................................12 ......................................................................................................16 Turquoise Bracelets (Beryuzoviye Kalyechke) My Gypsy Girl (Moye Tziganochki) Kalinka D Mior-Russian l h e s Dark Eyes (Otchi Tchornyin) Two Guitars (Dve Guitari) G MinorIG Major-Romanian h e s .................................................................................20 Hora from Bucovina (Hora Bucovinei) G Mqjor Hora D Minorm Major-Romanian and Bessarabian W e s ....................................................24 I L i e Dances from $omleean (Drag Mi Jocul $omlean) D Major Hora Bessarabian Girl (Bessarabyanka) E Mior-Romanian Medley #1 Kamnes Whistling Hora (Fiittyhora) ..........................................................................................34 E Minor-Romanian Medley #2 Moldavian Hora Romanlan Train Song ..........................................................................................39 44 B Mior-Romanian h e s .................................................................................................. B Minor Hora Cigarettes (Papirossen) ............................................................................................................50 Doda F#Minor-Romanian h e .................................................................................................. 51 7BRomanian lhne March Hora (Hora Maworillui) ..............................................................................................................................................................................................................I22 ...............................................................................83 Your Red Polka Dot Dress (Piros Pettyes Ruhiskadhan) The Wheat and Barley are Scarce (Ritka Btiaa.............................. Ritka ~ r ~ a ) Casino (Kaszin6) Csardas D MinorlD Major-Hungarian Tunes ....................... 108 Gloomy Sunday (Somoru Vasharnop) The Horse's Head Can Handle My Sorrow (Nagy a Feje......... ........................................................................................ ha FBnak vagy Viriiga) No More Grey-Haired Ladies for Me (Nem Kell a Szoke) Sziireti Dance (Sziireti Tinc) A Minor-Hungarian Medley #3 ................................................................ Bogar!) Beautiful Rose (SzCp a R6zsim) C MajorIC MinorIA Minor-Hungarian Medley .... 98 If You Love Me.................................................................................................. 119 The Forest is Even Prettier in the Fall (Sz15p az Erdo ijszel is SzCp) Your Blue Eyes are Stunning (Jaj de KCt Szhp Szeme van Maganak) Heavenly (Istenes) Csardis ............................................................. Never Leave (Fa Leszek.......... 64 The Loveliest Girl in the World (Csak egy Kisleny van a VilAgon) The Cottage with the Green Window Frames (Zoldablakos Kicsi Hiz) Go Ahead Bug........................................................................................... 112 G Minor-Hungarian Medley ............................................... I3 I and ............................................................... 73 Beautiful Blue Eyes (Am SzCp) Hey Delade Dobra Dobra MezosCgi Hora (Mezosfgi TBnc) C Major Friss D-Hungarian Medley ................................... )uick Rcfcrence Key .... 56 The Old Gypsy (A VCn Cighny) Swallows Flying (Repiil a Szan) Hungarian Gypsy Practice Tune ....lossary .............................................................................................................................................................. 61 The Rajko School Song A Minor-Hungarian Medley #1 ............................... Sting Me! (Csipd Meg........................................ Busculon a L6) Invitation to Dance (Most Kezdodik a Tinc) Hungarian Kesergo Bihari Kesergo .................... 124 I o~hliography About the Author .........................................E Minor-Hungarian Medley ........................................................ Abandoned (Elhagyatva) Clarinet (Klarinht) Cserdas 91 A Minor-Hungarian Medley #2 . accented or loud notes of the weight at the frog. particularly trouble spots. See konlra and buss in the Glossary for their bowing styles. . Practice holding long notes 30 counts to a bow for control in passages. designed for agility or expression. The fleshy portion of the finger is employed in Gypsy Violin to execute all manner of slides. Almost stop the bow between the notes. Feel the bow hair against the string through your right-hand fingers. In addition to the companion CD for this book. Use your imagination to customize the music to your taste. Combine th<detuchfporle' with the semi-stuccato to produce rhythmic articulation. particularly on the slow numbers. The cobra-like left-hand finger action in fast passages emphasizes the reflexive release more than the strike. classical detach6 or the fiddle sawstroke. Try twisting your wrist counterclockwiseto minimize the participation of all but the index (and second) finger(s). to establish it firmly in your mind. a tempo. and grace notes. Fast notes can take advantage of the facility of the upper half of the bow.or create yourown with these attributes inrnind. It has many unusual qualities. you can hold the bow close to the fingertips for dexterity. Bowings and articulations are listed at the beginning of the Glossary. vibrato. typically uncalloused fingers and alight touch with both hands. by following the given bowings or basing your own on the same principle. J Practice T@s Listen to the music before you play it.The Gypsy Touch Gypsies have swift. trills. and play on the edge of the hair. in sections. Practicefriss passages in dotted rhythms for clarity. Control your bow distribution. Practice the songs. Use the fingerings herein. ) has more separation between the notes than the singing. Additionally. The defaultprirds a n d h n n o n y bowstroke (. Practice with others as often as possible. The fingers of the bow hand are flexible and the bow hair loose. Feel the sensation of the strings with your left fingerpads. Intersperse your practicing with other activities throughout the day to alternately exercise and relax new muscles. and long notes with crescendo often use an upbow to take advantage of increased power approaching the frog. Sometimes eighth and quarter notes have a dotted feel as well. placing unintentionally "swallowed" notes on the long stroke of the dotted pair. Gypsy CDs from Europe are now available in America. This music was created by violinists to lie naturally under the fingers and bow. The bridge is re-notched to place strings wider apart to accommodate large hands. They loop a piece of string around the soundpost to move it around. Repeats were sometimes omitted so we could include all the songs on the CD. You will hear codas that aren't in the book on many tunes. and shape the bridge with sandpaper. they often do their own instrument maintenance and repair. which is also used to polish the instrument and bow stick. Alternately. Without a violin shop handy. These can be improvised. A mild lanolin-free liquid detergent is used on dirty bow hair. Oils from the skin (and from food!) can lubricate the fingerboard and facilitate shifts and slides. bout the Recorings We recorded these tunes in a variety of ways to give you an idea of the endless possibilities for playing them. Low action is generally preferred to facilitate fast fingerings. (See "coda" in the Glossary.) . you can use a dab of vegetable oil.Gypsy violinists often prefer an instrument with a dark sound. His instructional video J a u Guitar is available through Me1 Bay Publications. Kelly Laneaster. and the U. self-taught musician. currently tours with the Russian group RedElvis. D. and shows. David Klingensmith. B. in Music from Rice University. electric bass. and bass balalaika. in Music. plays upright bass. Barry Roberts. strolling and dance band The Gypsies. from Moscow with a background in Russian theatre and folk as well as rock music. He illustrated this volume and plays guitar on the Russian tunes.I am indebted to my fellow musicians whose unique and outstanding talents you hear on the available CD. clinician. new acoustic and jazz ensemble in Japan. plays accordion. from Nacogdoches. and former Commercial Music Department Head at Houston Community College as well a instructor. He also helped edit the chords in this volume. Greg ~ a r b a rof Byelorussian descent and leader for 20 years of our Houston-based ethnic . theonly three-time national champion.A. and very active teacher and heshal and rock music. Texas and winner o f guitar and mandolin contests nationwide (aswell a working with WillieNelson and numerous other bands). He also helped edit the chords in this volume. and performer in jazz. plays mandolin. s . plays guitar. DavePeters. Alexis Valk.. bass s balalaika.A. plays guitar. Switzerland. and songwriter. He also helped write and edit the music in this volume. who works withhis bluegrass. plays upright bass. who tours Europe regularly playing German music.S. vocalist. and mandobass. Zhenya Kolykhanov. whose enthusiasm inspired this book. musician and ethnomusicologist. provided the material for this publication. . vast sheet music and recording library. His personal wealth of knowledge and experience. Monitor Records Steve Wolownick Instruments and equipment: Gold Violin Shop Suretone Products Violin Gallery Recording and mixdown: Karl Caillouet Dave Peters Artwork: Zhenya Kolykhanov Photography: Rick Gardner Photography Translation: Zoya Griffrn Olga Nitescu Miklos Olah . and network of ~.Dedication To my husband Greg Harbar. I am grateful for his selfless dedication and contribution to <. To name a few: I~thnomusilogical consultation and instruction: Iiungarian Gypsy violinists Istvan ("Pista" "Sisik") Farkas & Greg Ballog Icomanian violinists George Caba & Miamon Miller Greg Harbar .olleagues.~hnic music.Michael Stillman.Special tlranks to the many others who generously contributed to this project. At the numerous MaEvaja.Minor-IhiversaC ~ y p s y Tunes 'The Basso" is actually composed by Gypsies and features the basic Gypsy chord progression Wm-Im-VIm. Fast kl . this has been the dance tune of choice. We had the pleasure of recording this number with Singing Sam. KalderaS. and~Boyashslavrrs we've participated in. an American Gypsy singer who was popular among Gypsies in this country before his untimely death a few a years ago. Section B features his alternate major changes. . . This authentic Gypsy gcrn co~ild Hungarian o~.Rornani:~n. slow and gradually accelerate throughout be Start 'Iic song and all rcpctitions. Medium tempo . . D DIC I I Em n a I I Em/D I 1 A 7/C# aI D I I I DIC 1 / p I l ) r I , v / 7 B~ v B - 1 ~ # - f I I ! I I A Minor-Russian Tunes Start this Russian Gypsy song " 6 ~ ~ h 3 3 0 ~ h I eonew K " ~'BeryuzoviyeKalyechkee') slowly andgradu- ally accelerate over several verses. Slow F E I Fast Russian Gypsies have popularized this song "MOM U ~ I ~ ~ H O("Moye Tziganochki"), with vocals and YKU ,-ven-string guitar. Start the tune slowly, picking up speed to the fifth bar. Play dclibcrately the final four bars of 11ecoda with pickup. " Deliberate I T uccrl, . . .- ...- . . . ....- . - . .. .- . . - .... Fast Dm A 9 I #a I f I I I C 2 I I , I IT I Yc==. o a e I I I --. I I A7 1 ~ 1 # a I I I I a J I I Play B twice at medium tempo.The internationally popular " is about a small winter-blooming tree with bright orange berries. . The song can go on and on this way. then play A1 the same way as A. ~ ' " m V a Deliberate (1st time only) E~ rit. Start slowly and play A with its first ending as many times as you like. accelerating each time and taking the second ending when you go to B. Play the final second ending deliberately with a definite cutoff. the idea being to get everybody clapping and having a good time. n Slow rit. I Deliberate Am E7 A E7 0 FI0 2 A 3 #f k n ~~ .Deliberate (1st time only) - Fast I I. expounds rhapsodically about a girl's deep black./ a . waltz tempo A' a I r r. use your imagination! We recorded it with the guitar taking the melody rubato ad lib once through before the violin enters at waltz tempo.D Ninor-Kussian Tunes This Russian Gypsy waltz. " O w 9epnbre" ("Otchi Tchornyia"). and even in 414. This is a great tune for improvising at various tempi. He also played a G minor-D minor arpeggiated cadenza for a coda. glistening eyes. Medium tempo i v broader . Probably 111c most widely recognized Russian Gypsy tune. along with 'Dark Eyes." a Russian favorite with Gypsies. "Two Guitars" has been popularized worldwide. reminisces about the good times of youth in a nightclub where two guitars serenaded the customers. Here we present a typical arrangement. " D e rrnal3b1 " ("Dve Guitar?).This old Russian Gypsy song. f f f I I Dm I I A7 3 Dm m I I I I f I + f + I I I I I + c . I m I I I I I I 238: . i + I I m .- Slow Fast s Y Gm n A I f I . . 1. j : f-f.3e 1'...q Dm Gm n +?++Ef . * . . .?? P 8. . . (Dm) F Fast 1b...yIy .... . i + (4 1 3 A 3 ~ 1)111 8 8 *-f-*-~-*. I . . ---n - c I HZ- I r -- .. . The Fraigish scale.G Minor$ Major-Romanian Tunes "Hora Bucovinei" is ajoc from this Romanian-influencedsection of the Ukraine. The extensive use of second position in the harmony part facilitatesthe trills to match those in the melody. replete with leading tones gives it a klezmer sound. . likewise the corresponding F and F# in the harmony part. Also. Rhythm section. is found in the 14-bar B section. note the B section stops. An odd number of measures (7 x 2 characteristic of many Romanian horns. Note the ~b in section B .versus the Ah in tt repeat at bar nine. bar three. .Play the eighth note pickups almost likegrace notes. the harmony plays Bb in tt following bar four and Bh in bar 10. . @ Minor/@ Major-Romanian and Bessaratiian Tunes Compare the Hungarian Gypsy changes in this ~rans~lvani& tune "Drag Mi Jocul $omlecan". .The triplet near the end of each section is another Gypsy embellishment. to t h t folk originals (written above each chord). . Play the quarter notes in this lively "chaser"with a dofted feel. . . suloonticello over a . s u l G and D Dassages. slowing down to around 132 in the middle section and resuming original tempo at bar five of D. The exotic doina section features the Romanian minor scale.In this number "Bessarabyanka" the first two lines of A and B respectively. A'creates a variation usingpedaltones. and plenty of long notes where you can use'the Gypsy cre'scendo. Sit on the starting note of the opening slide of this section. A second instrument can play the opening melody under this or the other variation starting at bar 17 of A andtor A'. Variations were added and a doina section sandwiched between the verses. constitute a hora from Bessarbial Moldavia (formerly Romanian and Russian regions). We start off at a half note = m m 190 or so.. then take your time progressing to the target note. the cimbalom embellishing with fills. G minor walking bass line. . We've packaged it into a straightforward version that your bass and rhythm section can count. A ~ ~ ~ s ~ ~ holds m c r i ~ those notes as long as he wishes and the rest of the ensemble follows him. . l Y n Vamp 1 rall. t 1 I I tttt t I " I I 4 * > ' " ' ' I I t t tttt I 1- I I .Dm a) r . Slower . I I 8 ! n tttt t I I t t tttt I I t I . .. $7 8: i. . .. .Dm sul ponticello ii.. ? g . < ". 31 . Dm n r ad lib.~ .. Slow and deliberate . . which soes into 4N time (twice as slow us A). I I 7F 2 U * -r 9 i. n D Bass and rhylhm Medium tempo .sliditrg up to the high E h. The high h E string "whistle" is the song's signature.~r in B. hreakiris te~llpo r the stately section B.~rn~onic then h. like a "chirp.After therlrbato intro.sk and do~vn from it on the reverse bow. Note the variation on this. this number kicks into a hriskclip. fcB Y A " I . Revert to cut tinle where indicated and for the repeilt of A."Bass andrlrytl~nr play one downheat and one oftbrut to the h. . - An abbreviated doina section would often be inserted into the middle of a Romanian hora such as this "Fiittyhora." In this Hungarian Gypsy version, however, the added middle section increases tempo, while featuring the flashy pedal tone we've dubbed the "Kalisky riff." Play the idiomatic Hungarian dotted rhythm first appearing in bar two with a short, accented eighth note. The hannony C in bar 12 of section B may be hilled with the lower finger. B. Faster Fastest E 0 , E . Improvise Em 1~~14 HEm g : Vamp .This is a joc from Moldavia. . . Fast Em Vamp Ir W Em n Tacet . dc a left-handpizzicato on the open E while bowing on the D string. over the second and fourth bars. A second melody instrument can echo the first and third bars of B (plus their following downbeats). In section A.We dubbed this the "Romanian 'Orange Blossom Special"' after its American counterpart. . Bb. 'l'l~e doirra section (C and C') nlainlains the same lenlpo as the preceding verse.B Minor-Komanian Tunes The bass can do a chromatic rundown from B (0. Spccd up at D if you darc! Em F 7 # Brn ! . G#) Ibur tin~es during [he introducto~y vamp. A. . We play this with the format: AABBCCDDCAB. I 2. Note the harmonization of the C and D sections. 1 1st time only V . Fast m Yl vamp I Brn 8 I I I &I Brn BOB@ F#7 . 11. the walking bass line over the long E' in sections A and B.Hungarian Gypsies created this fast hora from the Russian Jewish street song "Papirossen. and the rhythm stops in section C." about a cold and lonely orphan selling cigarettes on the street comer. . . . 8. . (i. A d 15. trilling with the half step above. The G in bars four and 12 can also lean to the sharp side. Use theportato bowing in bars 7.Count this Romanian 718 tune "Dear Aunt" 1 .2 4 1-2 1-2 You can play the trilled F's slightly sharp. i). Bass players. Another melody instrument can play thc little answers at the end of each phrase. use your fourth finger or open string as indicated. Note the expressive slides in bars 12. and Ieadirlgtorzes including the rniscd f o ~ ~ r t h ~[lj scction C. and a good accent on that downbow will help nail this syncopation. pick up the reprise even faster! . respectively. Play that note shol-t and use sufficient bow on the following quarter note to return you to your optimumsautille'spot in the bow. bar three. bar two. and 22. Section C .7. In scction B. its melody punctuated by the D tritone. Stay there until bar 10. BX withit raised second fingcr. l Usc ihe sautille' bowing throughout. shifting as indicated between first.es thc F# Rornaniarz rninor scale. and I I of this section. Chcck the tritonc drops in section D! ill The song goes through four scalar permutations. to place your string crossings conveniently on the bent. In scction C. syncopated stops in B. note the walkirzg bass Iirzes in sections A and C. Note the leadirzgtorzes to the third ( ~ to c#) fifth (D# E). 18. Section D is in A major. then fifthposition. I n bar four shift backonly a half Pay particular attention to the trills in bars 3.bar . Unusual rhythms andcharzges give this tune an ccccntricquality. Watch for tricky leading tones throughout. third. i t moves along at a brisk tempo. the open Epedaltones facilitate the followingskifts to third. Slow practice with a metronome. second. The section D melody is played entirely s u l G. In section A. Not for the I'ainl of heart. Be sure to land on these positions with a raised second fingcr. and fifth positions. except on the D section melody. note the accented. Sections B and D contain 5. Rhythmplayers. After the transitional C#7 trill.limses.F#Minor-Romanian a n e This showy fast number is named "Hora Martigorlilui" aflcr little brightly colored ribbon lapcl decorations omanians exchange during their spring festival in March. beginning with the predominantly harrrzonic rninor form ! f ~ # Section B switches to A major. resulting in raised fingerings where you might not expect them. iiau thcm in your head before playing.and 10. land on third position :xtep to second position. bar three. and the tricky progression hercand # I section C. 4 and to 1t:. Fast F m # or: F#m or: Bm . . . Tacet . whereas the first one in bar 15 slides into the target note.E Ninor-Hungarian Nedhy The contrruy motion in the walking bass line in sections C and C'. Bar three's Am6 is replaced with F#'on its repeat in bar seven. Am" n 1 . upbow staccato chromatic glissando near the end and several varieties of expressive slides throughout. n a tempo n . t . The second one in bar 15 (in the reverse direction) combines both types. Theportamenlo in bar three ascends from the starting note of theshif. give this Hungarian standard "A V6n Cighy". polish and enduring appeal. Am A d A b Am% A l) D7m + I f I f I . # I I I I e- G I I I e. I 4 3 I Tacet Solo Cadenza ad lib. 7 rit. . .... .... The accompaniment begins with a lyric tdragatb or clarinet line. changing to harmony and finally konfm rhythm......... Medium tempo accel ...- Fast m-. ...- - Each section of this selection "Repiil a Szh" accelerates from a deliberate beginning (with walking buss lines) t o w s tempo by bar eight of that section... . .- Medium tempo ~7 B~/A B~/G B7m # Em l I-.--U ..~............. -2 u 7 Fast Em n - 1 - I - - Am n - I n ~~ ~ - r 1 I i n .-L " - - - I I n ~ I .~ . . . &--- czz+ 1 - Mediuin tempo accel. throughout j 1 . * or: . "gained fame as the interludein Sarasate's "Zigeunerweisen. This opener. El Rubato Am n E~ SU~A s Am ( A ~ ) Dm l7 - ." Gypsy embellishments include the^#' at the end of bar eight. "Csak egy Kislhy van aVilAgon.This simplecsdrdds medley begins with a folk song rather than a hallgat6. and the 8va variation in the last four bars. "Zoldablakos Kicsi Hiz. March tempo - .% ~ k ~ t t t a g s this ( j % ~ n k withi uWiin~lb~g~ !Fra~nisc. Play this verbunk." with a little give-and-take to the melodic rhythm. B.In thisjiiss "Csipd Meg. Bass and rhythm hold one long note per two bars on all the A sections. Bass players can walk the bass lines up or down on the E7 chords. Bogar!. LIFast i ! j . The trill on the third finger high C in bar six of the B section can be executed with the second finger." "sting" the accented notes. . . . Fast n 1 1 (2nd rime pizz. and the melody's accented D#tritone over the A" in the 10th bars of those sections. If you play it twice." as a duet.) I 1 I 1 . Note the contrary motion in bars two and five of the B and B' parts. both violins can play section A pizzicato the second time around.We arranged this friss "SzCp a R6zsBm. (arco) . . starting with this verbunk "Aza Sztp". this set of Hungarian Gypsy renditions kicks off with two popular Hungarian drinking songs. .- - Dispensing with thehallgatd. . . - c cfi CIA .Pick up the tempo and switch tofrks bass and rhythm patterns. ." 3 CK. The bass plays whole notes on the first four bars of A and A'. . Note the bass and rhythm section stops at the beginning of sections B and B'. CIA CK. . The A melody can be played under B by another instrument. .This finalfiks is an instrumental dance from the Hungarian-speaking MezosLg region of Transylvania. The second violin switches from harmony to kontra for this last tune. . - Fast M c 7 . The bass can walk up or down from G7 to C on the first and second endings.- Another instrument can improvise eighth note lines over this melody. beginning with this hallgat6 "Piros Pettyes Ruhiskadban. - ." Rubato ad lib.This medley shows examples of kontra. . Ritka Arpa" uses bothdolled rhythms typical of Hungarian music.G e wfieat a d ~ a r are ~carce b This verbunk "Ritka B6za. . Fast . contrast is created by thead lib. and thebass andrhythm held notes. syncopated.Thisfriss "Kaszin6 Cshdis" displays three different kontra strokes: plain offieat. and fourto-a-bow.In section D. The bass plays whole notes in bars one through four of that section. question and answer phrases. . . Medium tempo . .A Solo cadenza ad lib. Use the slide with a shake liberally. You can ritard the upbow staccato at the end of A'.0 Minor/@ Major-Nungarian Tunes Section B's tonally rich descending double-stop progression in this quintessential Hungarian lament "Elhagyatva"can elicit tears. changing it into aflying staccato and then aflying spiccato. . for added emphasis. ..M Rubato A ad lib... d Tacet n fen........ r E~ -3I d 0 4 Eaug O 0 / Q 2 A - I 7 '.. A aug 1 I t u 3 I a*..... staccato/spiccato .-0.. 3 .1 D I 2 +' n ~m (b5) G ++ + u 1 P I 2 + 1 f 1 I I L .. ..a a e 9 0 & ...... .... -3- -3- .... ...... . F'O . Tacet I II " I - e P- i I n 3 Dm Tacet E 4 i 2 2 7 2 3 2 3 1 2 1 ten. . s I v 3 I n 1 -- - s j f I Y 1 . I I ~ 3 I s l FH-F a 2 l 9 =@a" Tacet ..n . v 2 A ...Dm Gm & --- g I I EF-FfiFk L t J k . ..ten.. > 2 3 2 Tacet 3 I . the "Klarinet Csirdis" has countless variations. Slow m n . The rlrytlrrrr sectiorr stops in the reprise add variety.One of the most popular selections in the Hungarian Gypsy repertoire. Start slow and gradually pick up speed. Variation 1 - n Alternate Variation 1 . Variation 2 D Variation 3 D . Variation 4 n Reprise Tacet . Artificial harmonics embellish section C.-A Minor-Hungarian Mehey #2 The poignant hallgatd "Fa Leszek. Slow A" n . ha Finak vagy Viriga" is arranged here as a duet. a tempo a tempo ~ r n ~ . The graceful opening of this tune "Nem Kell a Szoke" embellishes the actual theme (stated in bars 9-10 + one beat). . You can start deliberately and increase speed to a little faster than medium tempo by bar nine. The lead or rhythmcan show off byarpeggiuting the A'chordneartheend of sections B and B'. followed by a pregnant pause while the violin plays the ensuing three pickup notes. a tempo - . .Tacer ICtI. The first eight bars of A2 in this f h s are similar to those of B2 in "Invitation to Dance" (A Minor-Hungarian Medley #3).Here are three choruses of "Sziireti TBnc" so you can get a feel for repeating a tune several times. . I4 .. I accel. Deliberate . Play bars one through two and five through six of section B4 using theporfuto bowstroke. Bass plays the first eight bars of all the B sections with that same stroke. throughout section Am - Fast CI . Em Am) . . . . " "Somoru Vasharnop" to American audiences before the Second World War. We favor this version for its walking bass line. in fingered harmonics or in double stops. Gypsies vary the tune by playing it in the E string stratosphere. Be creative! m Slow rit. . 9' 7 E aug Am .A Minor-Hungarian Medley #3 - Billie Holiday introduced this Hungarian "suicide song. and its plunge to a chilling Bb trirone over thedominant chord before the final resolution. Medium tempo A" n . seems much more capable of carrying his troubles than his own.i - 1 The title "Nagy a Feje. whose large head. already hanging down. B6sc61on a M" refers to the composer's horse. The first eight bars of section B2 are similar to those of A2 in "Sziireti Tbnc" (A Minor-Hungarian Medley #2). B. The swooping. The ghost note open E's in A and A' facilitate shifh'ng. soaring variation covers a wide range.We present a full three-chorus version of this showyfriss "Most Kezdodik a TBnc" as an exampleof varying a piece over several repetitions. The trilled C's in section B can be executed with the lower neighbor. . contrasting melodic register and direction. . It's a good representation of the various techniques and textures you'll find throughout the Gypsy violin repertoire. The timing in the richdoublestopadlib introduction isextremely flexible. Rubato ad lib. which hecalled "CsermAk"(pronounced "Chef-mak"). as you can hear on thecompanion recording. One Gypsy violinist I knew used this showpiece. contrasting upbowflying staccato/spiccato and harmonic. Ricochet the pickup to the f k s (section D). in the finalfriss. after the Gypsy composer Antal Csermak (1774?-1822). to the sul G leap opening the hallgat6. drop the bow on the string from the air. after the verbunk's varied open Epedal tone display. This legato solo section segues with a long. Solo cadenza Tacet 3 88 s . for his daily warm-up.Hungarian Kesergo The Gypsy composer J h o s Bihari travelled and played in Hungary in the early 1800's. The contrast of the A major/F# minor keys in the hallgat6 (A and B sections) is echoed. broader 7 3 7 -3- . Tacet v A Tacet . Tacet . . I c 18 I1 r ~ . I ..7 broader Tacet A A n r I I I I I c rit I 2. broader n A a tempo 1 2 - PO . " -Franz List 5. Most f admired o all is one who lavishly enriches his own subject with runs. replete with expressiveslides. tremolos. appoggiaturas. asapoeticmemorial. diatonic and chromatic scales.. fingerings. Minor-Hungarian Medhy Forest i Even m e t t h r in tfie Faa$ s We thank Monitor Records for permission to use Hungarian Gypsy Bela Babai's version of this cscirdas format set. o which he never loses sight. chord f stopping. Rubato ad l i b ."The Gypsy artist is one who takes the theme ofa song ordance. and bowings. This first number "Szep az Erdo Oszel is Szep" uses the old Hungarian song form where the second phrase repeats the first a fourth or fifth higher. in the course ofhis improvisation.. just like the text ofa discussion. leaps. and who moves andflutters round this notion. Medium tempo Gm rit. except as noted. a tempo Gm u a tempo Gm " A I _ J I _ I . to the bar.rit.T u B u E e a eS u n n o r le ys r t n i g - Play this middle tune ':Jajde K i t SzCp Szeme van M6ganak with a littlerubato. * I I _ I a tempo Gm . Bass and rhythm play one do\vnbeat and one offbeat respectively. ) Slow Fast ( ~ m )6 Cm 11. to a frenzy at B.accelerating to a moderatef h s tempo by bar 15 of A." Start this tune slowly. deliberately and accelerate to its fifth bar. 11 2.You may recognize the theme of this"1stenes Csirdds" popularized by Brahms in his "Hungarian Dance#] . Gm Gm n 1 Fine . (You can also then break tempo and start B. with its openingportato bowing. From there you can continue speeding up. 2) Brush stroke (can also be slurred).J.inmediumto fast tempo tunes. or bouncing the bow.. Staccato.t J . . Spiccato or sautilld d. .t Portato. J J (I l J ' 11 Ricochet 1 Small notes with stems reversed indicate a line played by another instrument. (b) (b) (#) 1 1 Play the note somewhat flat or sharp. Used as a flourish in cadenzas. 122 . Sometimes used for compensatory bowing. d . can be played . Grace notes Ghost note Courtesy accidental j9.) Standard konfra offbeat bowing. Extended beam. . +7 . orflying spiccato. Combine thedetache'porte'with thesemistaccato for the basicpn'mcis bowstroke.JI .flying staccato. particularly in a fks.Quick Rjrne Ky geec e o is often played (seecrescendo). to reverse direction. % 1 staccato 1 Semi-staccato 1 1) Detachdportd. Slurred notes with a break between themcreated by stopping. (spiccato or sautille'). Diamond head notes above the staff indicate rhythm variants to be played by the rhythm section. J m l JJJJ . . . and bass where appropriate.J are generally played . Keep repeating the included notes a d lib. (Standard bowings for bass and konfra. // cutoff Fermata Rehearsal Iefferindicating a main section.Decrescendo 7 Used here to indicate lift the bow (and usually retake it in the same direction). Rehearsal letter indicating a variation of the designated section. [All $ Rehearsal lefter indicating one of multiple variations of a section. Coda . \ .f Slide with a shake Accent Crescendo -====== I====..Leff-handpizzicato I \ ./ > ~ r & e nchord Slide in the direction indicated. An arpeggio can span from several notes to several octaves. Follow the lead. Chromatic glissando. In theGypsy ensemble it is typically a bowed upright string bass. (See 'The Wheat and Barley are Scarce" for an example. Chords in the progression played by the rhythm section. Augmented (aug). Coda ($ ). either legato or fremolo. Two or more notes played simultaneously. Changes. Ad libitum "at pleasure. . Steadily accelerate the tempo. If you see the two coda symbols. On march tempo (verbunk) pieces it bows on the beat with the kontm two or four half notes to the bow. everyone playing on the beat. detache'porte'. On slow and rubato numbers it holds sustained tones with the konfra. stopping intermittently to articulate each pitch as you open the forearm to move down the fingerboard (or viceversa). it usually plays quarter notes on the beat. A succession of chromatic notes played in glissando. one note at a time. (See "Casino Cshdis" for an example. 8vb. it plays both lead and accompaniment in the Gypsy ensemble.8va. Ad lib. then cross to the upper ones. Use bow speed and a forefinger "bite" to achieve this effect.) Chromatic." You are free to interpret this passage as you please. jump from the first to the second the last time through. Players generally use the German bow hold. Resume previous tempo.or four-to-a-bowportato bowing. A number after a chord indicates the inclusion of that scale degree. an octave lower. Accelerando. A flashy show-off section for the violin.) On medium tempo andfast pieces. A tag after the end of a song. Accel. especially on walking bass lines. The standard coda at the end of a csdrdds medley is the chords IV-V-I. (reversing direction if desired).) Broken chord ( ). Accent ( > ). Colla parte. An example is written out in "Bessarabian Girl." You can end any fast song with a similar coda. broken chord. By half steps. A tempo. Often combined with the upbow or downbow staccato. (See changes. Chord. Like a large hammered dulcimer. This can be varied with the quarter note two. an octave higher. to end the song. alternating with the konfra's offieat. Play the notes of achordin sequence. particularly with regard to tempo nuances. using the detachiporte' orporfato bowing. Bass. Arpeggiate. Start the chord on the lower strings. A dominant chord with a raised fifth. Cadenza. Cimbalom (pronounced "cheem'-ba-lohm"). Play it with the pad of single finger. Changes are indicated in this book above the melody line. .) -' ).Contrary motion An alternative to parallel harmony. (See alsoflying staccato. E7). ). The latter rhythms Double. Da capo "from the head. Most of the Hungarian medleys in this volume follow the CsArdis format. )or ) J. Two or more notes played simultaneously. then release. Crescendo ( ). Medium tempo or less. skipping the bow slightly between them and attacking each with a slight forefinger pinch. Detach6 port6 ( ). A group of notes playedstaccato.A natural. on one downbow. Stress the beginning of each note with increased speed and a slight forefinger nudge. Dominant (e. TheGypsy crescendo isespecially effectiveon along noteof ahallgatd or thedoina section of a Romanian hora. (See alsoportato. Scale-wise. bouncing the bow between them and attacking Flying spiccato ( each with a slight forefinger pinch. Diminished ( ' ). A series of notes taken on one bow. flat. Use an upbow if possible." Stop abruptly.) ). and quadruple stops. A series of notes taken on one bow. It resolves to the root. Fine. Courtesy accidental (h). The end." Take it again from the top. Fermata ( A ). or I chord. a n d J J sometimes as J. and can be improvised using your harmonic ear and knowledge. D. Here refers to f h s tempo (half note = 120-200) and style. The bass and kontra often employ this stroke. keep going and end at this point when the song repeats. Its three sections. If you see this in the middle of a song.) Diatonic. or to create arhythm part (see kontra). Doina. (See alsoflyingstaccato... This can also apply to bass and rhythm. functionally similar to the Hungarian hallgatd. n Downbow staccato ( J J flying spiccato. or sharp placed in parenthesis as a reminder to resume playing that pitch as indicated by the key signature. or (#). Cutoff (1 "Train tracks. ricochet. n n or m . with emphasis. Fast. "Bird's eye. This is sometimes accompanied by a broadening of the tempo. progress from slow. a n d m s . derive from the Hungarian language.) 1 Deliberate. Decrescendo ( ). 2) AfXss. is sometimes interpreted as Dotted. conserving the bow at the beginning of the stroke.C. Decrease volume. comprised of four intervals of a minor third. A chord (or portion thereof). A wailing Romanian lament stressing repeated notes. We've included it in its popular accelerated and abbreviated form as an interlude in fast numbers. hallgatd. medium to fast respectively. (See also crescendo. named after the roadside inns hosting Hungary's famous couple dance by the same name. verbunk. The V7 chord. the harmony moves in the opposite direction from the melody. (b).(See alsoflying spiccato. then speed up the bow to maximize dynamic power as you approach the frog. Flying staccato ( ). ricochet.g. They can be used to fatten the sound in the melody. C s h r d h (pronounced "char'-dahsh").) m ' u mm . triple. 1) The Hungarian popular song group and Gypsy medley form." Hold the note. Major current and recent artists play on recordings and in restaurants of large cities. The general rule of thumb is to play the f k s as fast as you can. (See alsomelodic minor. especially to maintain a consistent interval between the two voices. as classical composers usually took great pains to avoid this type of voice-leading. by widening the vibrato andlor throwing theentire hand forward from the (somewhat collapsed) wrist. A Gypsy who plays the above-mentioned style. A very quick note (often found in pairs or groups) preceding and usually connected to the main note. 1 d). is a favorite Gypsy variation. The first harmony typically follows the lead in generally parallel motion a third or sixth below. often the first in a csa'raiis medley. Playing a melody. The standard f h s bassL4ontra rhythm is 7 $ 7 $ (See "Casino Csftrdiis" for an example. Gypsy violinists. to produce a pitch two octaves or an octave and a fifth respectively. You can play grace notes in Gypsy music liketrilk. conforming harmonically to chord and passing tones. and simultaneously lightly touching the note a fourth or fifth above. Gypsy violin. A second harmony would follow suit below the first. 1) Natural harmonic: a fractional node on a string which. spiccato or sautillk. Chord alterations are sometimes used. and Nemeth families. higher. it is most acclaimed in its urban Hungarian form. which hes evolved from entertainment at slavas to commercial performances and recordings sold worldwide. Natural minor scale with a raised seventh degree. The resultant occurrences of parallel fourth or fifths may sound new to you. or as ornaments. Play the note so rapidly and lightly as to be barely audible. which can be produced for any note by putting the first or second finger on that note. Horvath. i J i J Ghost note (J). Probably the most popular Klezmer scale. 2) Artificial harmonic: a fingered harmonic. it is idiomatic to this folk style. A slide spanning a large interval.) In generalfkses end with acoda (see). Harmony. For our purposes here. A soulful. They are contrasted with swift connecting passages of short notes played with tiny strokes. In acodaand insectionspunctuatedby rhythmicstops. (See also chromatic glksando. Charaeterid by its adaptation of the surrounding culture's repertoire to its exprerrive style. Ghost notes are sometimes used to reverse the bowing or facilitate shifts. It can continue to accelerate from there to the end. (See "Your Red Polka Dot Dress" for an example. rubato slow number. . "Fresh. or portion thereof. Hallgat6. The accompanying instruments hold long chordr.everyone plays his part of thechord on the beat. produces an upper partial of its fundamental pitch.) Grace note ( J ). when touched lightly./ )." A Hungarian fast number in cut time (half note = mm 120-200):The final section of a c s a ' f i medley. Long notes are stretched. accelerating deliberately tof k s tempo in the first eight-sixteen bars. with a concurrent crescendo and intensification of vibrato. Friss. Harmonic minor. It often starts out slow.) Harmonic ( . you can execute a grace note with any finger above the main note.Fraigish. the kontra sometimes preceding the changes with a string of quick chromatic or diatonic passing tones. in harmonics. Mirando. Glissando ( \ . For example: a note played by the first finger is often ornamented by tapping the third or even the fourth finger. however. and a half step from the seventh to the tonic. They include members of Balogh. The playing style of Gypsy violinists. creating an interval of minor third between the sixth and seventh degrees. Lakatos.) These intervals give Gypsy music much of its harmonic flavor. It's the harmonic minor in the key of the song. starting on its fifth scale degree and played over the dominant chord. (See "The Wheat and Barley are Scarce" for an example. An example is written out in "Your Red Polka Dot Dress.A major chord in which the seventh degree is included. 2) playing the hannony above the melody. Left-hand pizzicato ( ). the bass and rhythm section play only on beats one and three. e. A broad term encompassing many Eastern European dance types. Gypsy music is created for the violin by violinists. Kesergo. (Exceptions includecodas. Varying a selection by substituting one's own notes. itjoins the bass. The dotted half note equals about mm 40. it usually playsoffleaf quarternotes. expressive devices or mangements. . A half step below a chord tone. Harmony parts can require advanced technique (to fit the melody intervallically) and an experienced ear." It sometimes precedes the changes with a string of quick chromatic or diatohic passing tones.) Onmedium tempo andfasf pieces.. Refers here to a slow hora in three. 127 . The harmony player sometimes switches intervals (e.) This can be varied (particularly when simulating a walking bass line) with the quarter note four-to-a-bowporlofo bowing.. often have an odd number of measures in one or more phrases. Play the fast hora as you would afriss. and invite you to create your own. originating in Romania and popularized by Klezmer musicians. mostly on the two lower strings of the violin. Pluck the string with the left hand. connecting two or four half notes to a bow on the beat using theporfafo bowing. Here means half note = mm 70-1 10 or so in cut time. Legato. Joc. See verbunk. progressing from slow to fast. sustained bowing. supporting its neck on the inside of the left wrist and resting his chin on its side. Key." for an example. March tempo.Other options include: I) confrarymofion. or on the viola. while more seasoned players handle the backup. chords. Romanian tunes. JewishlYiddish music of Eastern Europe. Not to confuse it with the waltz. or. A F # ~E). Novices are often showcased on the melody. including this type. from a third to asixth) between his part and the adjacentone for more consonance. D/Bm. On slow and rubafo pieces the kontra holds sustained chords. (See "Casino CsArdk. and their relative minors (GtEm.) The konfra pinch hits for the bass if none is available. Part or all of the rhythm section of the Gypsy ensemble. Klezmer. using the same bowing and playing the bass notes within its usual double-stop progression. the seventh degree of a major scale. Improvisation. which resolves to the tonic. to lie naturally under the fingers and bow.The tonality of a piece. Tunes are typically rendered in those keys corresponding to the open strings.g. Hora. Major 7th (M7). either legato or fremolo. We've included a few examples of harmony (among them the CIC MinodA Minor Hungarian Medley) as well as konfra.g. Medium tempo. The Gypsy style is highly improvisatory and the material herein represents examples and suggestions only. governed by the major or minor scale upon which it is based. Formarch (verbunk) tempo pieces. A concert piece in csdrdrfs format. Kontra. These musicians play double stops. Smooth. and sections punctuated by rhythmic stops where it plays on the beat with the bass. The player turns his instrument sideways as much as 90' to facilitate this. Leading tone. 3) sustained notes. Here it refers to either a joc or a fasf Romantic circle dance. An expressive slide during a shift. (See "Whistling Hora" and "Bihari KesergB". Release.) Prim& (pronounced "pree'-mahsh"). Used predominantly in the hallgatd. allowing the notes to resonate.) Portamento. Positions. This gives the note an Reprise. alternating with the bass notes played on Move the bow back and forth. as a shifCing device. Ritardando. (See also shifts. Ricochet ( ). Pizz. The konpa (See for a discussion of what to play) andlor any other rhythm instruments in the ensemble such as guitar.) Rit. These expedite navigating the instrument. except that two or more notes are taken in one bow. Primarily a konpa and bass bowing. Minor scale with the sixth and seventh degrees raised on the ascent and lowered on the descent. 2) into the target note. Rallentando. I I Replacement fingerings ( J expressive articulation. or. 3) both.Melodic minor. J $ J ).") Portato (& J! ). particularly forfast passages. A kontra rhythm. Pizzicato. Hannonic minor with araised fourth (alrilone from the root). Bounce the stick. who migrated from northern India. but with less punctuation. Romani. Rall. Like thedetache'porte'. stressing it with increased speed. or Gypsy people. Rhythm section. "Carrying" the sound from one note to the next. keeping the hair in contact with the string.) Gypsy violinists often use open strings as pedal tones. accordion. 'Throw" the bow. -! 128 .) SautilM ( ISS]). then release. Semi-staccato ( ). spreading throughout Europe and Eastern Europe. Pedal tone. Resume playing without the preceding special effect(s). Rubato. so it bounces for two or more successive notes taken in one stroke. (Seeflying staccalo. or cimbalom. Rom. Stretch the long notes and quicken the short ones. J ).) Naturale. piano. Slow down gradually. The lead violinist and spokesman of a Gypsy ensemble. alternating with other notes. Rehearsal letters ( ). barely leaving the string. Romanian minor. A repeated tone. Gypsy violinists use half position and the even numbered positions as well as the more familiar odd numbered ones. Can be done: 1) from the starting note. by swiftly bending and flexing your fingers. Springing bow. (See also harmonic minor. (See 'The Old Gypsy. after every stroke. In such a series of connected notes. Slow down. (See "Your Red Polka Dot Dress" for an example. nudge the beginning of each with the forefinger. Use different fingers for adjacent repetition(s) of a note. Recapitulation of the opening section of a number. m . Offbeat ( $ the beat. Pluck the string (See also lef-handpiuicalo. Romanians use many variants of this scale in their music. flying spiccalo. Separate the notes. The bow hair may turn outward. creating a total of two minor thirds and four half steps in the scale. These divide the piece into sections to facilitate finding your place. in the same manner as slaccalo. Keep your right wrist and fingers loose. between only the first two to six inches from the frog. Bounce the bow anywhere from the balance point (six to eight inches from the frog) to the upper half of the bow. A. beforecommencing upordown the string. Half step shifts are sometimes used.) Sul G./). wave the hand to widen the vibrato. or E. Stress and elongate the note. Rhythm and bass silent. Slides between two notes can be done with the starting note finger. The Gypsy trill differs from the standard classical trill in the following regards: Standard trill: "Main note" finger anchors to the string while the trilling finger rapidly lifts and strikes independently. gradually accelerating and widening into the Gypsy trill. and downbow staccato. Range from barely perceptible to very drawn out. A. With a somewhat collapsed wrist. Ten. the target note finger. and slide wifh a shake. (See also: glissando. often found in Hungarian Gypsy ensembles. A hybrid of the clarinet and oboe. Shake the bow back and forth on the string(s) as fast as possible. Slava. (See alsoflyingspiccato. exudes life and love. (Occasionally other fingers execute an inverted trill. D. Spiccato ( . Shifts can be accomplished in several ways in addition to the standard shift: by portamento." Play near the bridge for a whistling sound. Gypsy trill: Trilling finger anchors to the "main note" finger.) 129 nn . or E] string. A trill can range in length anywhere from two oscillations to the entire duration of a long note. In the latter case. (See alsopositions. A Gypsy feast for a saint's day wedding or other festivity. I) Unaccompanied or with minimal accompaniment. upbow skizccati. . chromatic glissando. bringing the trilling finger into rapid periodic contact with the string. Tremolo ( B ). by replacement fingerings.") Solo. . The latter can begin slowly and deliberately with the standard trill. D.Sempre. Slides ( \ / ). trill with the third. intensity of vibrato and bow speed for acrescendo as you approach the target note. . Trill ( k). essential to these gatherings. and by interspersing an open string as a ghost note orpedaltone while shifting. . Shake your whole hand to create a wide vibrato while sliding. particularly when leading to certain long notes." Keep doing [the previous instruction]. or both. Rom travel across entire countries to congregate at such events. This rocks both fingers back and forth together. gradually increasing the speed of the slide. Separate the notes by stopping the bow on the string between them.) Slide with a shake ( \ . depending on speed and volume. or for ease of fingering Sul ponticello. No chord.) Staccato ( J ). youcan "sit on" the startingnoteof theslide withno inflection. On the [G. Tacet. A note followed by a rest can sometimes end with a downward slide. The interval of an augmented fourth (diminished fifth). 2) Without harmony part. "At the bridge. When trilling a note falling on the fourth finger. Tenuto. TBragat6. portamento. celebrating or grieving with abandon. Used for richer timbre. ). Continue playing in the same manner. Funerals are also important social functions. Tritone. (See also: semi-staccato. You can often slide into a note preceded by a rest." "still. simultaneously producing vibrato and trill for a liquid sound. (See "Abandoned.) Simile. Their music. "Always. and narrow to wide or the reverse.The basic Hungarian Gypsy vibratois fast and wide. The nervous reflex action of the Gypsy vibrato also forms the basis forgrace notes and hills." A military-style tune in march time (half note = mm 100 or so ) patterned after historic army recruiting songs. "Lassu.Y Upbow staccato ( 4 .) m -. Your thumb can even leave the neck. on the beat. "Swallows t Flying. These work particularly well o v e r d o m i ~ nchords lasting two or more bars. using theportdo bowing.g. vibrato being used otherwise sparingly in this style.) Verbunk. a.. Walking bass line. this technique creates a smooth progression betweenchords. The default bass and konfra bowing pattern is two or four half notes to a bow.k. It is often the middle section of acscfrdcfs medley.) This is a typical Romanian ornament. It can also walk in half or whole notes over asustained chord.a. And it can walk repeated quarter notes in pairs or groups of four notes to the bow. . spiccato.flying Vamp. Remember to vibrato on harmonics. on one upbow. Favorthe backswing onto the padof your finger. The progression of vertical intervals from one chord into the next. (See also/lyingstaccnlo. Widespread throughout Eastern European music. Use this particularly effective vibrato technique on long notes: begin with none at all and then increase intensity by progressing from slow to fast. This technique can make lesser quality instruments sound more resonant. Voice-leading. (See "Besserabian Girl. (See also crescendo. . Progresses diatonically andlor chromatically. (See 'The Wheat and Barley are Scarce" for an example. using theportato bowing. .) Vibrato.") and invite your bass player to create more." for examples. ) A group of notes playedstaccato. . It can walk in half notes in a mediumor fasttempo number. . We've written out some examples (e. Bass (oil beat) and rhythm section (off beat) alone lay down a preparatory rhythm for a lead entrance. Harbar. Prentice-Hall. The Gypsies. Betty. Doubleday & Company. Marre. The New College Encyclopedia of Music. 1961 Casey. The Romany Trail (Video). with their Houston. Harcourt Films.A.W. Garden City. New York. International Folk Dancing U. Inc. Bblint. M. Hungary. Principles of Violin Playing and Teaching. Producer/Director. Ltd. 1978. Westrup & Harrison. Orpheus Publications..A. Eric. Galamian.. Bblint. Martin's Press. Gypsy Music. Franklin Printing House. St. TX band. 1976. Newton. 1981. May 1993. New Jersey. Mary Ann Harbar apprenticed with native Gypsy violinists after earning her Bachelor's degree and teaching credential in music from the University of Calfornia. England. and stars. Hungary. Budapest. For two decades she and her husband Greg Harbar have entertained sophisticated international audiences studded with royalty. A Dark Flame Still Burning. New York.S. N. Franklin Printing House. Ivan. Sbosi. Englewood Cliffs. Grove's Dictionary ofMusic and Musicians. Sbosi. Shanachie Records.Blom.. Strad Magazine. 1986. New York. W. Jerry. heads of state. 1985. 131 . Budapest. Norton & Company. 1992. London. New York. New York.J. Folk Music-Hungarian Musical Idiom.