Barton Cove
Michael Nix
Banjar
Nix Bio
Michael Nix has performed on guitar, lute, banjo and mandolin, throughout the United States and Asia. He has composed solo music, songs, chamber music, symphonic works, electronic music, and opera. His work uses traditional classical techniques, with influences from electronic music, folk, jazz and world music. His music has been heard on NPR's "Weekend Edition", and on WGBH's "Morning Pro Musica".
The Banjar
One of the great goals of the creative musician is to develop a unique, recognizable timbre. I set out to design an acoustic instrument that would satisfy my seemingly divergent interests in finger style guitar, and banjo styles, and to satisfy the quest for a particular timbre that existed in my imagination. I heard a deep round sound from the vibrating membrane that could produce the same sort of wide range of timbre of which the classical guitar is capable. I also wanted the instrument to be able to maintain two, three, or four voices simultaneously, and to render the wide range of musical style in which I work.
The Banjar combines elements of the classic five string banjo and the classical guitar. The seven high tension nylon strings sound somewhat like a cross between the banjo and a lute or harpsichord. I took the name Banjar from the early usage (according to Dena Epstein and Robert Webb) in both Barbados and and Virginia at the time of Thomas Jefferson in the late 1700's.
Michael Nix
Banjar designed by Michael Nix, made by Mike Ramsey
All compositions and arrangements by Michael Nix
All pitches are given in scientific pitch notation where middle C = C4 (261.6 Hz)
1. Canarios Gaspar Sanz 1:37
Composed for the 5 string baroque guitar, this dance allows for contrast
between the delicate transparency of the two part texture and the ecstatic strumming section.
Guitar Tuning: G4 E2 A2 D3 G3 B3 E4
2. Barton Cove Michael Nix 3:04
Barton Cove is a stretch of the Connecticut River in Western Massachusetts rich in natural and human history. I combine the idea of the classical guitar arpeggio piece with banjo textures for this evocative work. In the A section the seventh string drone provides an additional option for melody and arpeggio. The B section uses strumming textures from the older claw-hammer and minstrel styles.
Guitar Tuning: G4 E2 A2 D3 G3 B3 E4
3. Summertime George Gershwin 2:46
The banjo has a long association with jazz. I keep a two or three part texture going throughout by building variations over the bass line.
Guitar Tuning: G4 E2 A2 D3 G3 B3 E4
4. Dallas Rag trad. Dallas String Band 2:27
A precursor to jazz, ragtime was a favored style with late 19th century, and early 20th century finger style and classical banjo players. The extended range of the Banjar allows me to maintain a consistent alternating bass that approximates the left hand of the piano rag.
Guitar Tuning: G4 E2 A2 D3 G3 B3 E4
5. Spanish Fandango Variations trad. theme, Variations by Michael Nix 7:18
"Spanish Fandango" neither Spanish nor a fandango, was a favorite theme for composing banjo or guitar variations. After playing through many of these pieces I decided to write my own to exploit the range and textures of the banjar. I use a G banjo tuning, doubling the pitches on the lower strings.
G Banjo Tuning: G4 D2 G2 D3 G3 B3 D4
6. International Jig trad. arr. Herbert Ellis (1865-1903)/ Nix 1:28
This is a work from Ellis' Thorough School for the Six or Seven String Banjo, by Herbert J. Ellis published in London in the late 1800's. Ellis used the lower strings for a second Banjo accompaniment. Ellis tuned his banjo: G4 G2 C3 D3 G3 B3 D4. I have modified the tuning somewhat to make use of the very low C2 for a solo version.
Modified C tuning: G4 C2 G2 D3 G3 B3 D4
7. Españoleta Gaspar Sanz 1:05
8. Rujero/Paradetas Gaspar Sanz 1:04
These two dances and the Canarios, taken from the baroque guitar tablature, were used as thematic material for Joaquín Rodrigo’s Fantasia para un Gentillhombre for classical guitar and orchestra. The works are the embodiment of Spanish baroque guitar, and work well for the Banjar.
Guitar Tuning: G4 E2 A2 D3 G3 B3 E4
9. Prelude, Cello Suite No. 1 J.S. Bach 3:09
Alternating sections of arpeggios and scales make this prelude fairly easy to transcribe on any instrument. It seemed well suited to the banjar because the range is similar to that of the the cello, and the lack of sustained notes lends itself to the texture of the plucked string.
Dropped D Guitar Tuning: G4 D2 A2 D3 G3 B3 E4
10. Bourree, Suite in E minor J.S. Bach 1:43
A favorite of classical guitarists, a two part texture is maintained throughout. I transferred this to the banjar as if it were a classical guitar in standard tuning.
Guitar Tuning: G4 E2 A2 D3 G3 B3 E4
11. Something George Harrison 2:25
From the Abby Road album, this song was released as a single in 1969. I have always been drawn to Harrison's lyricism. The ballad translates quite successfully as a finger-style arrangement in guitar tuning.
Guitar Tuning: G4 E2 A2 D3 G3 B3 E4
12. Lord Inchequin Turlough O'Carolan 2:09
13. Carolan's Concerto Turlough O'Carolan 2:07
O'Carolan was a blind Irish itinerant harpist who probably heard the best of European baroque players and composers come through the country. While retaining the Irish dance tune style, O'carolan shows a melodic inventiveness, and quirky harmonic sense that distinguishes his music. I set this pair as if I were working from the perspective of a baroque lutenist. I use Lord Inchequin as a slow prelude, and Carolan's Concerto as the faster contrasting dance. There is a consistent two voice texture. The lute divisions and trills I first improvised, then wrote out, refining compositionally.
Dropped D Guitar Tuning: G4 D2 A2 D3 G3 B3 E4
14. Gentle Annie Stephen Foster 2:10
15. Beautiful Dreamer Stephen Foster 3:24
16. Hard Times Come Again No More Stephen Foster 2:26
Stephen Foster's music is imbued with the music and imagery of the banjo. Many of Foster's works were issued for guitar and voice at nearly the same time as the piano arrangements. I used the original Firth, Pond & Co. guitar and voice music to set Hard Times (1855), and Gentle Annie (1856/1857) as solos. Beautiful Dreamer (1862/64) is based on the Commins piano arrangement in the Random House Treasury of Stephen Foster from 1946. I wanted a "two hand" piano texture with the very wide ranging arpeggios in the bass.
Dropped D Guitar Tuning: G4 D2 A2 D3 G3 B3 E4
Images:
Satellite Photo and Topographical Map: U.S. Geological Survey , Department of the Interior/USGS
The USGS home page is http://www.usgs.gov.
Cartographic Assistance:
John Eaton, Cartographer/Data Manager
US Fish & Wildlife Service
Frank J. Kenney, Cartographer
USGS Geospatial Liaison for New York
Michael Nix Photo: Linda Hickman
Banjar Photo: Michael Nix
Recorded at Riverview Productions, Gill, MA
Greg Snedeker, Recording Engineer
http://www.riverviewpro.com/
Graphics: LaPierre Advertising, Shelburne, MA
http://www.lapierre.com/
Thank You:
Tracey Physioc Brockett, Tony Creamer, Chris Devine, Linda Hickman, Amy Shapiro, Greg Snedeker, Lorre Wyatt
Barton Cove
1. Canarios Gaspar Sanz 1:37
2. Barton Cove Michael Nix 3:04
3. Summertime George Gershwin 2:46
4. Dallas Rag Dallas String Band 2:27
5. Spanish Fandango Variations Michael Nix 7:18
6. International Jig Trad. 1:28
7. Españoleta Gaspar Sanz 1:05
8. Rujero/Paradetas Gaspar Sanz 1:04
9. Prelude, Cello Suite No. 1 J.S. Bach 3:09
10. Bourree, Suite in E minor J.S. Bach 1:43
11. Something George Harrison 2:25
12. Lord Inchequin Turlough O'Carolan 2:09
13. Carolan's Concerto Turlough O'Carolan 2:07
14. Gentle Annie Stephen Foster 2:10
15. Beautiful Dreamer Stephen Foster 3:24
16. Hard Times Come Again No More Stephen Foster 2:26
NixWorks
P.O. Box 400
Greenfield, MA 01302
www.NixWorks.com
info@NixWorks.com
copyright 2007, all rights reserved, Michael Nix, NixWorks
CD texts:
Barton Cove
Michael Nix
Banjar
NixWorks
P.O. Box 400
Greenfield, MA 01302
www.NixWorks.com
info@NixWorks.com
copyright 2007, all rights reserved, Michael Nix, NixWorks
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