Kates Playground Zip Rar

Juan Manuel Rivero "Al-Tarab"

Hello, I am Juan Manuel Rivero and Al-Tarab is my nickname and I take very gala from that one day I put a Moroccan with whom I met in the Alcaicería darbouka testing of Granada. I loved that name for their pronunciation and meaning of the Arabic "The art of listening, the art of trovar, troubadour" and from that moment I wanted to do mine.

was born in 1962 in Linares (Jaén) and very young, just 15 years, I started having contact with music my father gave me an acoustic guitar!.

start my musical career back in 1978 and to date I have owned and / or worked as a singer and instrumentalist with:

- Wineskins, dedicated group at its first stage to the traditional music and later medieval and Renaissance music. With several national awards and recordings published. Http://www.grupoodres.com/

- English Radio and Television , collaboration in the recording of songs from the English Civil War.
- Polyphonic Choir of Alcorcón dedicated to choral music of different periods and the Popular Tradition in the direction of master and organist Javier Gaston.
- Miguel Chamber Group of Fuenllana devoted to English Renaissance led by Javier Gaston.
- Judith Cohen Dized at work, alas, troubadours, medieval monophony. Http://www.yorku.ca/judithc/

- UT, Recovery Project medieval music. Http://www.proyecto-ut.blogspot.com/

- Mantenutto Celtic music group.
- Neguá , storytelling group.
- Audit Coro de Segovia led by Marciano Cuesta Polo.

http://personales.com/espana/segovia/audite/
- Llorenç Barber in concert of bells, brass instruments and percussion in Segovia. Http://www.experimentaclub.com/data/barber/index.htm
- CIRMA Choir, Centre Recherches Itinerant Musiques Anciennes de Moissac (France) directed by Marcel Pérès. Http://www.organum-cirma.fr/
- Ensemble Organum, directed by Marcel Pérès. Http://www.organum-cirma.fr/
- Schola Sainte-Cécile Liturgique de Paris, directed by Henri Adam de Villiers. Http://www.schola-sainte-cecile.com/

- Kaléndula medieval music group.
- Dies Venerable Ensemble medieval music group. Http://www.fernandomosquera.com/
- Shadowing Fortune CIRMA various components together to represent the Messe de Nostre Dame by Guillaume de Machaut, street entertainment in medieval and Renaissance music and singing corso.
http://www.leremededefortune.wordpress.com/

- on Crest Folk Group Salamanca folk music.
http://www.mescal.es/grupos/ver/34/

Courses and study music

From 1998 I have trained with degrees:

- Javier Gaston theory with

- Classical Violin in the White Academy.

- Mandolin with Carlos Beceiro.
- Miguel Cadavieco Rabel.
- Zanfona with Rafael Martin, Gilles Chabenat, Stephane Durand, Pascal Lefeuvre and Germain Diaz.
- Percussion Eliseo Parra traditional.
- fiddle (self) "Today is my main instrument."

- Gregorian Chant (Gregorian chant Iniziación in the Monastery of El Parral - Segovia).
- Byzantine Chant (Liturgy Romanian, Arabic "Aleppo-Syria" and Greek) with Frédéric Tavarnier Candles.
- Medieval music: Codex Calixtinus s. XII, Guillaume de Machaut s. Marcel Pérès XIV. Corso Canto

-

: Sacred as "Manuscrits Franciscains" s. XVII - XVIII, "In Festis Sancti Martini", etc, and as Paghjellas traditional song, madrigals, etc. Oral Tradition of the island of Corsica-Stefanu Ghuvan Langianni.

- Construction medieval instruments with Jesus Reolid.

Take Shower Before Lip Wax

As happened all

From 1978 until last year a large pile of "26 I" I have been working and enjoying the traditional music with the group "Wineskins "with free memories indeed collecting traditional songs, traveling back and forth, singing ballads, jacks and seguidillas, playing guitar, lute, mandolin and the last stage, the dulcimer, mandolin, fiddle, violin , etc. meanwhile also part of other groups as are "The Polyphonic Choir of Alcorcón" and "Chamber Ensemble Miguel de Fuenllana" where first contact with early music.
He was there with the teacher Javier Gastón "director and organist" with whom on Saturday morning in a parlor with its pipe organ I heard the first notes of the Cantigas de Santa Maria and Upsala Cancionero de Palacio, and where I received my first voice lessons. Then with the Chamber Group of Fuenllana Miguel, also directed by Javier Gaston, learning works by Mateo Flecha the Elder, Juan del Encina, Miguel de Fuenllana, among others .... for that, that was where I shot my crush on early music.
Something happened inside me, when I heard these English Renaissance polyphony put to me the creeps. I was
"and remain" ignorant of the music, never until then had followed yet, and wanted those sounds and polyphony is added to my life group "WINESKINS" ... Little by little they were introduced with a more than acceptable.
Every time I liked and began to learn songs Pili Manu taught us and my well ... to have fun and enjoy, then we were going through the medieval fairs in towns and cities where canturreábamos in the first place that we put a shot, never forget the sounds of:

(The Morell Cala Covas and Lithic quarries in Menorca, the Alhambra in Granada, the Crypt of the Church of Santa Maria de Tabara, San Martín de Frómista, the Sigüenza cathedral of Segovia, Teruel, Castello del Monte in Puglia, the Sainte Chapelle in Paris .....) and so many places where we agree and enjoyed.

At that time and we got together almost every Saturday at home to study, Las Cantigas de Santa Maria, I have to admit that at first it was music that made me very hard to hear, I could not enter or melodies so strange and new to me or the song structures, but now and why not by dint of great interest and determination, is the music I like to work, the music of the twelfth and fourteenth centuries.

On the other hand think that someday we would have to represent this music to clothing and instruments, Pili and Manu got down to work and drew up three suits based on English clothing around the twelfth century, based on miniatures, paintings, sculptures, museums ... two years of study have cost them and make clear, a thousand sketches purchased books, photographs, fabric stores visited, etc ... until I finally decided and went to buy fabrics and throw scissors, thread, needle and thimble until it had three coolest dresses.

Meanwhile I wanted to achieve a particular dream and went completely to him, was to play that music with instruments appropriate to the time and built it myself so I contacted with which today is for me the best luthier Jesus Reolid medieval instruments and started to build a fiddle under his direction Oval.

In between

all this "monkey business" I pointed to all possible courses of music and instruments, to go to every concert I could, until one day what happened had to happen ... after an introductory course to Gregorian chant in the Monastery of El Parral in Segovia, we went to our mutual friend John, component and choir director at Segovia Audit and gave us a CD of a certain Marcel Pérès Ensemble Organum his group, to hear those sounds, Manu was speechless (normal & Announcements), "Pili said queeeeee? and I honestly was more aware of what he was talking with my friends and Rachel Mané to audition, but what if I noticed is that something had spent there. Pili started to investigate to see who it was that Marcel Pérès and why early music singing that way, until one day he heard singing coming to Toledo and took us to listen.

We arrived at the Monastery of San Juan de los Reyes (Toledo) y. .. Mother! I could not believe what I was seeing and hearing, the most impressive he had seen and heard ever, how to interpret and represent early music something I can not even describe ... were monks, angels, that was what I heard. That could not be just hear them singing and not without great cut and Pili Manu convinced that we should talk to them and it was. We wanted to know how we could learn to sing that way we heard and we were lucky because Marcel gave us a booklet of your school in France where he taught courses regularly.

Well since that day I have been training with courses in Moissac (France) where their school is named CIRMA (Itinérant Centre de Recherche sur les Musiques Anciennes) studying music of the twelfth century "Codex Calixtinus" Guillaume de XIV century Machaut, Byzantine Chant Liturgy of the Syrian and Romanian and Corso Canto also on the island of Corsica.

Time passed and in May of 2004 my long period in Wineskins ends "not without penalty.

My place great internal conflicts arose with myself, I always wondered what he was doing, which is what I wanted, to my point, finally a lot of questions within the group could not answer . After much conjecture decided to move away and start thinking of me, I think for the first time in my life.

The march was traumatic, not in vain for what I was saying goodbye was to my music group life, but it is also true that inside there was something else, within the group there was a great friendship with the people who formed and hence the hardness of my decision, but when the friendship is sincere there is nothing to fear and finally, over time I realized that my decision was correct.
never forget the wonderful moments I have spent over 26 years you will always be my group "wineskins" from here I send all my support and love.

's been a while and what if I have clear is that I do not want to part with this world I just met and I want to keep connected to old music I like forever. So I'm embarking on projects and related groups in the art and thus will not stop to enjoy.

And all this plus my moments of violin with Jesus Reolid where thanks to his wisdom and my will were born and four instruments: fiddle
An oval (play based on a stone images of the Portico de la Gloria of the Cathedral of Santiago de Compostela s.XII). A rebec
rebab or Andalusian (play based on the iconography of the Codex of the Cantigas of Alfonso X "El Sabio" s.XIII CSM # 170).
A hurdy gurdy (based reproduction of the painting "The Garden of Earthly Delights" by Hieronymus Bosch "s.XV).
A rebec (play based on a stone images of the tympanum of the Abbey of San Pedro de Moissac, France (twelfth century). And in a project
Simphonie based on the iconography of The Cantigas de Santa Maria.

could ask for more!!

How Early Should I Apply For Job

"The fiddle Oval

was not right for that music that was played on the instruments that were not appropriate.
Well, one of my passions is precisely the violin, I had made my first steps in self plan with my friend Alberto, but I wanted someone professional contact thus to have more options when more accurate at the time of playing an instrument. So, I jumped and knocked on the door of the master luthier Reolid Jesus, no doubt to me one of the best builders of medieval instruments there, he heard me and opened wide his studio to study and work with him a fiddle bow or Viola.

After many dalliances between a fiddle in eight based on the Portico of the Majesty of The Collegiate Toro (Zamora), or one based on the iconography de Las Cantigas del Rey Alfonso X, decided to play the fiddle that accompanies one of 24 elderly musicians who lived within the stone and that Master Matthew asked her out when he carved in the twelfth century and that we contemplated r in El Portico de la Gloria of Santiago Cathedral de Compostela.

Every Saturday I approached the shop of Jesus to study and work the instrument. First watching photos and prints to get the planes, then choose the appropriate timber and then start taking the same, as if by magic it were, an instrument as closely as possible.

Well, once designed on paper, took a piece of wood of sycamore and said Jesus, "is your fiddle in there, make it out, " well ... were not exactly those words but the message, and based on a board that weighed a ton draw the profile and started to cut the shape and hollowed out.

Funny ... as I was already taking shape, I thought that the instrument was seen to sentence, but was not curro anda!.

silhouetted

Once enough as it was to carve the sides, bottom and headstock are not flat, having a recess, a swelling that had to be cut by hand with a tiny brush, which looked more like a pencil sharpener of the college, to gradually remove Wood surplus. It took me horrors with that tool of the devil, but finally got it. Then we Liam with the cover that it was his own, according to the box, has a convex shape on the outside and concave inside and that too was carved by hand. Then we continue with the handle, the tailpiece, pegs and the bridge, until finally after nine months, saw the birth of "Qamar min Khashab" Arabic name with which we baptize the fiddle, which means "Moon Wood" in memory of my cat.

difficult it is to describe the feeling I had ... that magic sound to hear it for the first time, just say that I was excited as time and went through my head a thousand images, phrases and situations in my life that is irrelevant but I have scored highly.

School Building Inspection Checklist

" The chamois or Rabel "

so great was the feeling I had built the fiddle he did not want to stop to make tools and I decided to play my second instrument, a Moorish or rebec rebec based in thumbnail displayed in the Codex of the Cantigas de Santa Maria de Alfonso X El Sabio "and in particular the Cantiga # 170 entitled" Loar devemos to face toujours. "
I talked to Jesus and said he had already built one that is exhibited in the Museum of Music-Stock Luis Delgado Urueña-Valladolid (the photo at right) and without problems to other .

followed the same protocol as the fiddle and started out from the proportions miniature and made the appropriate level to put it into the wood which in this case we decided to do a piece of birch (box, mango and socket), and pegs the cover we did of pear, maple bridge, the nut of bone, inlaid walnut and the button that makes the role of boxwood tailpiece.
started from the plane to the wooden silhouettes and hollow it later, once recessed handle and carve the headstock.

This time the cover was more complicated because is half wood and half of the skin, put the skin in water for loosen and then presented it in the box was left open, look with some spikes and some glue and when dry the skin was ready to place the bridge and strings on it.

After and completion of the headstock, inlaid walnut pieces on the pitch and turned the pegs.

Once that process and after "237" hands of sandpaper and some linseed oil handyman did talk. The sound is sharp and a half old has a very special timbre as very old, it was beautiful " in order to can I say."



rebec's family and / or rebec is very wide, is an instrument that is issued by virtually everyone, this one I show below is a reproduction of one of those represented on the tympanum of the abbey church of San Pedro de Moissac, a jewel of Romanesque architecture.

Morton's Neuroma Recovery

" The Hurdy-gurdy "or" hurdy gurdy "

I was not going to make a hurdy by an expert like Jesus !

Yes, but my idea was to venture to a symphony decided to play first one zanfona that although it was more complicated, was better at learning to play, as the symphony is more uncomfortable for cojerla and adapt to the keys to the hurdy gurdy.
Well, as I say, Jesus convinced me to make a hurdy-gurdy "and what do we do? I said to myself, because I liked was that this represented in the triptych "The Garden of Earthly Delights" by Flemish painter Hieronymus Bosch, appealed as "El Bosco".

already had contact with that model zanfona in a course I've done thanks to Jack Martinez left me yours and I loved the size and the sound of it.

Nothing, we got down to work and as Jack had made his Jesus also used the same plans and the mold (two jobs that we save).

first start with the wheel and glued while we were working on the mold sides and contraaros taming the heat to catch the shape and the back cover. Then go bars where the axle of the wheel, the top cover, headstock and the drawer where the keys go with their sculls.

fast

That says it all "2 years to hear it first" is also true that I have not spent much time as he wanted.

finally finished it and I'm as mad with joy, what a pileup more impressive, which is grateful, having no idea always sounds good touch.