Download Music Dey Play By Dj Cora

I probably first heard this tune a few years ago when Spring Fed Records did their initial re-issues of some Davis Unlimited LPs from the 70s. Two of the re-issued LPs were from the Indian Creek Delta Boys, a group of old time musicians from Charleston, IL, who spent a lot of time looking up and recording older fiddlers in the state of Illinois. Most of the tunes (and there are a lot of great ones!) that the Delta Boys played were learned from these fiddlers. Cora Dye was recorded for their second album, and you can listen to a sample of it here. (I highly recommend both albums by the way).

Garry Harrison, the fiddler of the Delta Boys, compiled a tune/song book in the early 2000s called Dear Old Illinois that featured tunes and songs from Illinois. A 3 CD set of the field recordings they had made back in the 70s was also available. Sadly, both the CD and book have been out of print for a while, but is supposedly due for a repress in the near future. Cora Dye is one of the tunes in the book, and was originally played by Jim Reed of Benton, IL. The notes in the book state that it was "learned by Mr. Reed from its namesake, a Benton area musician who was said to have played it on the guitar." You can listen to an mp3 of Mr. Reed playing Cora Dye here.

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I recently revisited the tune after hearing (and listening repeatedly to) Dan Gellert's masterful banjo version on his latest release, the DVD and CD he made for the Old-Time Tiki Parlour. (I also highly recommend this one). From the liner notes that were written by Christopher Berry: "Musically the tune sounds like one of the many offshoots of the "Shoot the Turkey Buzzard" family; this setting shares its melody with "Old Sage Friend" recorded for the Library of Congress by legendary black string band Gribble, Lusk and York. Dan here plays in F position out of "sawmill" tuning with the fifth string tuned down a step, which works well for playing tunes originally in G on the fiddle."

Here's an mp3 of Old Sage Friend as played by Gribble, Lusk and York. It can also be found on a compilation of African-American string band music entitled "Altamont - Black Stringband Music from the Library of Congress."

I first heard Cora Dye from a posting by the long-absent bassman in 2007. The next year I got the Indian Creek Delta Boys album, and then recorded my version, included below. I don't play the tune anywhere near as much as I wish I did.

I learned it as a fiddle tune back in Illinois--it seems like it was a standard in Chicago--and so when I started experimenting with it, I tuned in G. It wasn't until a couple of weeks ago that I realized Dan plays it in fDGCD and as soon as I tried it that way, it was like, "Yes! Of course."

Adam, I tuned my open G banjo way down to C in order to play along with you and learn the tune and now I find myself lowering the pitch

for lots of tunes. I really like that thumpy sound. Thanks again.

Cora Cooper teaches violin, viola, chamber music and string pedagogy at K-State. She studied violin with Peter Salaff, Charles Castleman, Karen Clarke and Eliot Chapo, and short-term with Linda Cerone and Simon Fischer. Cooper recorded for NAXOS American Classics and has professional symphony experience playing with the Vermont, Austin and Tallahassee Symphonies, and the Atlanta Baroque Orchestra. Research on music by women composers led to multiple performances at the Festival of Women Composers at Indiana University of Pennsylvania, and lectures in the United States and England. Cooper publishes violin and viola music by women composers and assorted chamber music editions. Her latest project is a new chamber music series, Developing Contemporary Techniques, with two volumes published in 2018.

On February 17, 2021, Cellist Cora Swenson Lee and pianist Claire-Chung Lim were the performers in this program made up of music by female composers. Viewers praised their deft interpretation, exclaiming that it was "the perfect to get away from the noise of news and listen/watch in a wintry wonderland."

The kora (Manding languages: kra[1]) is a stringed instrument used extensively in West Africa.[2] A kora typically has 21 strings, which are played by plucking with the fingers. It combines features of the lute and harp.

The kora is built from gourd, cut in half and covered with cow skin to make a resonator with a long hardwood neck. The skin is supported by two handles that run underneath it. It has 21 strings, each of which plays a different note. These strings are supported by a notched, double free-standing bridge.[3] The kora doesn't fit into any one category of musical instrument, but rather several, and must be classified as a "double-bridge-harp-lute." The strings run in two divided ranks, characteristic of a double harp. They do not end in a soundboard but are instead held in notches on a bridge, classifying it as a bridge harp. The strings originate from a string arm or neck and cross a bridge directly supported by a resonating chamber, also making it a lute.

The sound of a kora resembles that of a harp, though when played in the traditional style it bears resemblance to a guitar played using the flamenco or Delta blues technique of plucking polyrhythmic patterns with both hands (using the remaining fingers to secure the instrument by holding the hand posts on either side of the strings). Ostinato riffs ("kumbengo") and improvised solo runs ("birimintingo") are played at the same time by skilled players.

Kora players have traditionally come from jali families (also from the Mandinka tribes) who are traditional historians, genealogists and storytellers who pass their skills on to their descendants. Though played in Guinea, Guinea-Bissau, Mali and Senegal, the instrument was first discovered in the Gambia. While those from neighbouring Guinea were known to carry the lute, Senegalese Griots were known as carriers of a hand drum known as the 'sabar'. Most West African musicians prefer the term "jali" to "griot," which is the French word. "Jali" means something similar to a "bard" or oral historian.

Traditional koras feature strings, eleven played by the left hand and ten by the right. Modern koras made in the Casamance region of southern Senegal sometimes feature additional bass strings, adding up to four strings to the traditional 21.[4] Strings were traditionally made from thin strips of hide, such as cow or antelope skin. Today, most strings are made from harp strings or nylon fishing line,[5] sometimes plaited together to create thicker strings.

By moving the konso (a system of leather tuning rings) up and down the neck, a kora player can retune the instrument into one of four seven-note scales. These scales are close in tuning to western major, minor and Lydian modes.[8][9]

Nowadays, koras are increasingly made with guitar machine heads instead of the traditional konso (leather rings). The advantage is that they are much easier to tune. The disadvantage is that this design limits the tuning range of the instrument because string lengths are more fixed and lighter strings are needed to lift it much more than a tone. Learning to tune a traditional kora is arguably as difficult as learning to play it, and many tourists who are entranced by the sound while in West Africa buy koras and then find themselves unable to keep it in tune once they are home, relegating it to the status of ornament.[citation needed] Koras can be converted to replace the leather rings with machine heads. Wooden pegs and harp pegs are also used, but both can still cause tuning problems in damper climates unless made with great skill.

In the late 20th century, a 25-string model of the kora was developed, though it has been adopted by only a few players, primarily in the region of Casamance, in southern Senegal. Some kora players such as Seckou Keita have double necked koras, allowing them to switch from one tuning to another within seconds, giving them increased flexibility.

An electric instrument modeled on the kora (but made primarily of metal) called the gravikord was invented in the late 20th century by instrument builder and musician Robert Grawi. It has 24 strings and is tuned and played differently than the kora. Another instrument, the gravi-kora, a 21-stringed electro-acoustic instrument, was later developed by Robert Grawi especially for kora players who wanted a modern instrument. Its playing and tuning are the same as the traditional kora.[12] The gravi-kora has been adopted by kora players such as Daniel Berkman,[13] Jacques Burtin,[14] and Foday Musa Suso, who featured it in recordings with jazz innovator Herbie Hancock,[15] with his band Mandingo, and on Suso's New World Power album.[16]

As part of the oral tradition of West Africa, music for the kora was not written until the 20th century. Ethnomusicologists were the only ones to record some traditional airs in the normal grand staff method, using the G clef and the F clef.

While jali still compose in the traditional way (without writing scores), some Western musicians began to write partitures for the kora and adopted the Keur Moussa notation system at the beginning of the 1980s. More than 200 scores have already been written for kora solo or kora and Western instruments. Two notable Western composers for the kora are Brother Dominique Catta[17] and Jacques Burtin[18] (France), who wrote most of these scores, though composers like Carole Ouellet[19] (Canada), Brother Grgoire Philippe[20] (Monastre de Keur Moussa) and Sister Claire Marie Ledoux[21] (France) have also contributed with their own original works.

Yet music is in my blood, and will always connect me to the feeling of who I truly am. I love listening deeply to the peaceful music of nature, I love the special moments of giving birth to new songs, and I love playing live, which can be totally soul-gasmic and fantastically satisfying!

The beauty of this time with the internet and the expansion of consciousness is that I realize I have to power to create my own musical path. My creative power expands through my music, my website, my videos, and my entire life. 2351a5e196