margora
Jun-28-2004, 11:00am
Last week I attended AMGUSS (the American Mandolin and Guitar Summer School), held at Roger Williams University in Rhode Island, under the direction of Marilyn Mair. Each year AMGUSS features a guest artist. The guest this year was Evan Marshall. Evan performed twice (brilliantly, see below) and also held two workhsops. One of these was on his newly released "Duo Style A to Z: A Comprehensive Method for Solo Mandolin in Duo-Style, from Entry Level to Artist Level".
As the title implies, this is a method for duo style. There are three introductory chapters, followed by lessons #1-13 (there is an "intermezzo" between lessons #10 and #11). The book concludes with a complete version of Evan's "Joyful Variations on a Theme of Beethoven". The theme in question is the main one from the 9th Symphony. There is also a CD that contains all the exercises and the "Joyful Variations".
Although I have the book only for a short while, it is clear that it is extremely well done. The lessons are concise and the progression from lesson to lesson is very logical -- there is no doubt in my mind that, if one proceeds from start to finish as planned and is willing to work hard, a concert-level performance is possible. The method is very much designed to reproduce Marshall's particular version of duo-style, although there is enough flexibility to incorporate other elements if one wishes.
It is also clear that the method fills a MAJOR gap in the market. The Pettine method is, of course, an alternative, but obtaining a copy is difficult at best, and the musical examples in Pettine, as well as the arrangements are, in my opinion, very old fashioned. The other alternative (the way I learned, actually, to play duo style) is to use the exercises in Marga Wilden-Husgen and Gertrude Weyhofen's etude books, but the Marshall exercises are superior and -- more importantly -- there are far more of them. One (interesting) difference between Marshall and the alternatives is that Evan does not use left-hand pizz to play bass notes -- that is, he articulates all bass notes using a pick.
One topic the book does not really go into is devising one's own arrangements in duo style, but perhaps such will be forthcoming -- and one can learn a lot by working through the Beethoven example in any case.
The price at AMGUSS was $25.00. I do not know if this will be the direct mail order price or not, and I do not know if it includes postage. In any case, I believe that anyone who is interested in obtaining a copy can contact Evan directly at evan@emandolin.com.
As mentioned, Marshall gave two performances at AMGUSS. The first was entirely on solo mandolin, and was truly incredible -- indeed, as impressive as the technique is, what is more impressive is the overall musicality and musical intelligence, both at a very high level. I was especially impressed with his five "Caprices", intended to be for the mandolin what the Paganini is for the violin. The second performance was with the AMGUSS mandolin and guitar orchestra, the "Rondo" movement from the Hummell concerto. Great fun, and awe-inspiring cadenzas. Both performances featured his signature piece, the William Tell overture, which must be heard to be believed.
As the title implies, this is a method for duo style. There are three introductory chapters, followed by lessons #1-13 (there is an "intermezzo" between lessons #10 and #11). The book concludes with a complete version of Evan's "Joyful Variations on a Theme of Beethoven". The theme in question is the main one from the 9th Symphony. There is also a CD that contains all the exercises and the "Joyful Variations".
Although I have the book only for a short while, it is clear that it is extremely well done. The lessons are concise and the progression from lesson to lesson is very logical -- there is no doubt in my mind that, if one proceeds from start to finish as planned and is willing to work hard, a concert-level performance is possible. The method is very much designed to reproduce Marshall's particular version of duo-style, although there is enough flexibility to incorporate other elements if one wishes.
It is also clear that the method fills a MAJOR gap in the market. The Pettine method is, of course, an alternative, but obtaining a copy is difficult at best, and the musical examples in Pettine, as well as the arrangements are, in my opinion, very old fashioned. The other alternative (the way I learned, actually, to play duo style) is to use the exercises in Marga Wilden-Husgen and Gertrude Weyhofen's etude books, but the Marshall exercises are superior and -- more importantly -- there are far more of them. One (interesting) difference between Marshall and the alternatives is that Evan does not use left-hand pizz to play bass notes -- that is, he articulates all bass notes using a pick.
One topic the book does not really go into is devising one's own arrangements in duo style, but perhaps such will be forthcoming -- and one can learn a lot by working through the Beethoven example in any case.
The price at AMGUSS was $25.00. I do not know if this will be the direct mail order price or not, and I do not know if it includes postage. In any case, I believe that anyone who is interested in obtaining a copy can contact Evan directly at evan@emandolin.com.
As mentioned, Marshall gave two performances at AMGUSS. The first was entirely on solo mandolin, and was truly incredible -- indeed, as impressive as the technique is, what is more impressive is the overall musicality and musical intelligence, both at a very high level. I was especially impressed with his five "Caprices", intended to be for the mandolin what the Paganini is for the violin. The second performance was with the AMGUSS mandolin and guitar orchestra, the "Rondo" movement from the Hummell concerto. Great fun, and awe-inspiring cadenzas. Both performances featured his signature piece, the William Tell overture, which must be heard to be believed.