Performances of new piano music in February and April - see dates for details
Dave Liebman - saxophones Mike Nielsen - guitar Ronan Guilfoyle - bass Conor Guilfoyle - drums
A three-set a night recreation of a typical 1060s New York jazz club gig, featuring the legendary Dave Liebman on saxophone with his long time Irish collaborators the Guilfoyle/Nielsen Trio
Hugh Lane Gallery, Parnell Square, Dublin, Dublin
Svetlana Rudenko - piano Michael Buckley - saxophone Ronan Guilfoyle - bass A programme of composed and improvised pieces in the lovely surroundings of the Hugh Lane Gallery. The concert will feature the premiere performance of my new piano composition, 'Short (&) Suite for Piano', by the great Ukrainian classical pianist Svetlana Rudenko, and I'll also be joined by my long standing colleague Micheal Buckley on saxophones.
Ronan Guilfoyle presents Tudo Bem! - a celebration of the music of Brazil Aleka Potings - vocals Chris Guilfoyle - guitar Leopoldo Osio - piano Ronan Guilfoyle - bass Andre Antunes - drums
The music of Brazil is rich, melodic and above all one of the most groove-laden musics on the planet. Blessed with a long tradition of great composers and songwriters, and a vast range of regional styles, the music has been hugely influential, moving far beyond its own borders to find a place in so many other musical traditions, including jazz and popular music.
Brazilian music has been a passion of bassist and composer Ronan Guilfoyle for many years, and in this group he has assembled some of the finest players in the jazz and Brazilian idioms to play classic Brazilian pieces, known and loved the world over. Outside Brazil, people often think of Brazilian music as being confined to Bossa Nova, but this is only one small part of the huge tradition of Brazilian music and Tudo Bem! explores many of these styles as well as many of Brazil’s greatest composers. Expect Baions, Forros, Partido Altos, Sambas, Xaxados and more, and music by Toninho Horta, Caetano Veloso, Joao Bosco, Chico Pinheiro, Egberto Gismonti, Hermeto Pascoal, Maria Rita and Joyce. Above all expect the joyous, infectious rhythms and grooves of Brazil played with an authentic feel ,and a celebration of one of the world’s great music traditions.
“Creative Rhythmic Concepts for Jazz Improvisation Sample Lesson: Lesson 5, Metric Modulation A sample lesson and audio clip from the book Creative Rhythmic Concepts for Jazz Improvisation by Ronan Guilfoyle (© 2000 Newpark Music). What is Metric modulation? Metric modulation is the modulation of the original metre, either upwards to a faster tempo or downwards to a slower tempo, using a subdivision of the original pulse to decide the speed of the modulation. The mechanics of the process are as follows: 1) Subdivide the original pulse into smaller or larger pulses. 2) Reorganise these pulses into regular groupings, so that the impression of a new tempo or metre is created. However it should be stressed that at no time during Examples 9 -17 does a real new tempo come into existence, only the impression of a new tempo is created. This "new" tempo maintains a strict relationship to the original pulse at all times. This type of metric modulation is a very common one, and is probably one that you have done yourself at times. A simple example of metric modulation is the technique of "double time" and "half time". When we go to double or half time we maintain a strict relationship to the original pulse and the changes go by at the original speed. This is metric modulation. In double time the modulation speeds up, and in half time the modulation slows down. The technique of metric modulation can be used extremely effectively to create tension and release, and to provide variety and contrast within a piece. In the written part of the examples, everything is written out rhythmically only. On the two stave system, the bottom stave represents the original pulse and the top stave represents the modulation. On the top stave, the dotted line represents the bar line of the new suggested pulse. All of these subdivisions are of 4 or 8 bar lengths. The reason for this is that as jazz musicians we are used to dealing with tunes constructed from these numbers of bars and when dealing with an unfamiliar concept like metric modulation it is good to have something to relate to. However I must stress that modulations can last for any length of time and, like substitute chord changes, are completely at the discretion of the improviser. In all of these examples, when the bass and drums modulate to the new tempo, both instruments accentuate beats 2 and 4 of the bar in the normal jazz manner. All of these examples are of swinging time but there are of course other ways of modulating with different feels. The basic process of these modulations is as follows. Take the original pulse and subdivide it, (such as into quarter note triplets as in example 9), and then, treating each single unit of the subdivision as a quarter note, regroup these subdivisions into 4, thus creating the impression of a new tempo but in reality being part of the original tempo. Example 9: 6 bars modulated pulse = 4 bars original pulse. Modulation: 3 over 2 Click here to listen to Example 9 in MP3 format. 2CheckOut.com Inc. (Ohio, USA) is an authorized retailer for goods and services provided by Ronan Music.”