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    Gypsy Music

    Uploaded by

    Anita Petrovic
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    © All Rights Reserved
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    of 74
    O SOB POR OR OK OF ORO O INTRODUCTION Dear Gypsy music players, “elcome to the rich world of Kastern European and Balkan muste here in my “Gypsy Music Collection”. I have created (his book to share my favourite Gupsy tunes with you. I have organized them into the different regions from where I believe they have originated. I didn’t make a big effort to classify what is Gypsy and what is folk because often it is very difficult to trace a tune back lo its roots - is it Gypsies playing folk tunes or folk musicians playing Gypsy tunes? 1 did make a big effort, though, to notate the music as close to the interpretation as possible but I find it impossible to communicate the real feeling and phrasing with classical notation. The tradition is to pass on the knowledge from generation to generation by ear. Also, Roma don't trust books, because, as they say, ‘how do you know it ts true what is written in there’??? I certainly don't. To give you the opportunity to follow tradition combined with modern learning this book is accompanied by a CD - you can learn the notes quickly by reading, and then spend time listening to pick up the mood of the piece, and not just the mood, but the precise phrasing, the timing and accentuation of the ornamentation. Especially in the rubato pieces, it would make it very hard to learn the piece, if I attempted to write down all notes as I play them. Mostly you will find a skeleton melody line and the recording és at hand to give you the inspiration to use your own creativity. See the notes about the CD on page 72. You will find a short paragraph about the music of each country. This és as much based on my own experience of learning the music from mostly traditional sources and performing it, as it is on facts. J hope you have as much fun as I do learning, exploring and performing these pieces! Gundula D Rose PORCH HL FOB © ACKNOWLEDGMENTS ‘There are a few people I would like to acknowledge here: First of all the great artist and my lovely friend Rima who created this amazing cover image and was in other ways very supportive... ‘Then there are various Roma musician friends and acquaintances who taught me various tunes: Caliu from Taraf de Haidouks, Teha Limberger and Stano to mention but a few. Another very good friend is Melissa who has spent time with Gypsies in Czech Republic and Slovakia and passed on some of their tunes to me. More thoughts go to Zivorad who proof-read all the music and made a lot of effort to record all those tunes with me, to Jo for her lovel flute playing on the CD, to Pavlina who also did a lot of proof-reading and was a big help in getting this project published, and to Egemen, who is a big fan of Balkan music and was a great support in finishing the project. Abig Thank You io all of you! Collection, notation, arrangement and layout by Gundula Gruen gundula@magieviolin.co.uk wwwmagicviolin.co.uk Cover painting by Rima Staines wwwithe-hermitage.org.uk © copyright 2007 — Spartan Press Music Publishers Limited www:SpartanPress.co.uk Spartan Press Music Publishers Limited Strathmashie House, Laggan Bridge, Scottish Highlands, PH20 1BU, UK Tel: (01528) 544770 Fax: (01528) 544771 E-mail: mai]@SpartanPress.couk Web-site: www.SpartanPress.co.uk O Boo HP CROKROL+ OF OF © CONTENTS Russia 4 1.) Petyorshka. 2. Korobuehka.. 3. Silent Fields .... 4, Heissa Troika ... Ee 5. Ochi Chornye 7/4... 8 6. Ochi Chornye 4/4 .. 8 7. Moscova aimee ies rome 8 Deep Sorrow 10 9. Kikko ... ut 10, Riabinushka ................. 12 11, Cossack’s Farewell............-18 12) Katfuhanicssyssanaes Md Hungary eeeneatieey Bt 13. Halljétok Cigényok.... 16 14. Csak Egy Kislén Van a Vilégon... .17 15. Maros wee eye bee 16, Haragszom a'Tokidre . .. 17. Bihari Nota .. oe 18. Holla, Repiil a Szan .... 19. Jaj de Szép Kék Szeme 20. Hungarian Romance. 21. Egy Cica, Két Ciea . 2 Romania .... 24, 25. 26. 27, 28, 29. 30, Former-Yugoslavia. 31 32. 33. 3d. 35. Suga a Filébe . : Minek a Szoke Ennékem .. Promoroaca....... Hora Nungi......... Bringing in the Sheep. Ze DOE... ee ecveveeeeeeee Hora de la Risipiti. . Arestelle. Geamparale....... ‘Tama Daleko . Taljanska Ajde Jano.... Opa Cupa. .. Buba Maro....... Serbian Rumba... 37. 38, 39, Ederlezi eee a Kolo Resavka. tease Makedonsko Devojce cone AB. Jovano, Jovanke ..........-... 44 Poland, Czech Republic & Slovakia .45 At. 42. 43. 44. 45, 46. Romany Tunes. Song of the Kujaviaey...........46 Nane Cocha, Nane Gat 47 Lakre Bala 47 Jai Mamo.... . 4B Sedlak. #43 aonwesce lle Cait’ occ cece eee AD Rachenitsa....... Djunjuritsa. Gankino . Jai Souvent Pléuré Fuli Tschai..... Nane Love ...... Dui Dui Desu Dui, Me Hum Mato 0 Poatari Zavel . Ara More Katama.. Romany Czardas... .. Préi, Préi Zigano Virtuoso Gypsy Pieces: 60. Whistle Hora .. 64 61. Rumunska Igra.. 65 62. Serbian Kolo .. - 66 63. Humorosso. ... 68 64. Hora Matishore. 69 Glossary... Seer) Index of Tunes 71 D Bose AP OHOR OK © OF OKO © RuSSIA ‘Show me a people with more songs’ (quote by N,V. Gogol, little Russia music page). Russian folk and Gypsy music is very passionate, colourful and outgoing in its expressions. It accompanies all situations in life that might confront you. The lyrics tell of love, weddings and harvests, of vodka and horse carriage trips and parties. Russia is famous for Casachok and Cossack dancing and for its powerful male voice choirs. Russian instrumental music is rich in colourful sounds, virtuoso runs and expressive articulation; ‘the violin eries, laughs, moans, argues angrily or dances like the devil...” ‘Apart from trills, slides and runs there's not so much ornamentation, the tune itself contains it all. ‘The notated ornamentation in this culture ean be quite similarly interpreted as in classical music. It is very common to link phrases by adding runs, slides, arpeggios, or play “around” even notes. For example: is performed Fast tunes sometimes speed up at the end and mostly finish with powerful chords, Much of Russian Gypsy musie is in minor keys, generally harmonic minor, giving it a slightly exotic feel. ‘The oldest and most soulful instruments in Russia are the ‘alalaika’ and the ‘domra’, Both are stringed instruments that are plucked with the fingers, the first one with a triangular body and the latter with a round body. ‘The most famous instrument is probably the ‘bayan’ - the button accordion; there are many virtuoso players. The lead instrument in contemporary performances is the violin, offen accompanied by bayan, guitar and double bass O GO Go HP OR OK OK © OTM © 1. Petyorshka ‘Petyorshka’ = ‘a fiver’. This is an old Russian song about a man who hires a carriage and three horses with his last five rubles. Quickly he rushes to reach his beloved girl. But she refuses him and so he decides to go to the Gypsies instead where he finds pretty girls, music and vodka. «= 160 ET ~ Am D.C. al Fine IN ABAD - MBA @IA wi mn 4 aan on n D Boge HP OROKR OK OSOBO © 2. Korobuchka g about a merchant who sells a basket full of rare A famous Russian son; is tune, listen out for the and beautiful goods. To pick up the suppleness of thi phrasing in the recording ... 2=120 E Am BE Am 3. Silent Fields melody originates from a song about a shepherd, who Thave indicated some basic ornamentation, “lamenting” in the fermatas and throughout ‘This beautiful slow sings a sad song for his loved one. but you can make it much richer by the whole song. 69 BP Dm a tn D Boge GHRORCOH OK OF OTS © 4. Heissa Troika Fast Russian waltz inspired by a happy horse-carriage ride in the snow. Be creative with changing octaves... Gi Ce da capo al coda DO Boge HPROHKOHOC > OF OF O 5. Ochi Chornye — 2/4 “Black Eyes’, also known as ‘Dark Eyes’, is a Gypsy song from southern Russia. Its lyrics are about the love felt for a black-eyed fiery Gypsy girl. There are two versions, the first one in 2/4 is fast, play it ‘fiery’ and be resourceful with ornaments and variations. The same tune could also be performed in swing phrasing. . Ochi Chornye — 3/4 A slow variation with a more romantic feel = 150 ep Am SS Am E Am DO Boge PK OHR OK OFOBO O 7. Mosecova This slow Russian melody is also known as a jazz standard with the title “Moscow at Midnight’ 2=120 a cm Fm a cm PR PBA De « BRB BAIA BE eR GF es eA wm 5 QD BOBo —PCOKOHOL © OF OBO O 8. Deep Sorrow Russian Gypsy waltz. Put all your available pain and “Schmalz” into your bow and enjoy “lamenting” tastefully into the notes... Am Dm Ev Am [a a c Am fe 12 Dm EB Am ET Am D CB O-Bo oF SHOR OK OF OF OO 9. Kikko This Gypsy song tells about the ideal of sharing everything with someone you love, and the sadness if there's nobody in your life to share it with. 80 EI A Dm Am Gu ay Dm E D.C. al Fine i INFOA D2 2. BD AAILNRAVA F aA a D Boge HPOHROH OK OF OBO C 10. Riabinushka Slow Russian waltz - to be played with your biggest emotions. Be inventive with rhythmical variations and fills between the phrases, and play with expressive dynamics. 2= 138 Dm Gm A’ Dm 12 a ie ee 8 = D Boge -P OKROKR CK © COR ¢ 11. Cossack’s Farewell ‘The firm marching of Cossacks, proud in their gear, wearing ‘Cossack boots’ comes through in this song. #92 Gm cm pt Gm cm _ Gm cm Gm Eb = last time only =] oo Gm Cm pt Da Capo 13 NR AQAA. DW AeINRe1 NR DF A KAONRDAS DO Gogo HRORCOHR OK © OF OF ¢ 12. Katjusha ‘This is the song of a soldier who misses his beloved Katjusha and longs for the apple tree blossom and the birds back home. As with all other pieces here, use the score creatively, allowing your own rhythmic and melodie variations. J= 168 Dm a’ aoc Em ay D AT Dm D.C. al Fine 14 D Boge PF OROR K-99 OF OB“ < HuNGARY Hungarian folk and Gypsy music reflects the passion associated with Eastern European music but with a soft and romantic touch. In more recent times Hungarian Gypsy music has become internationally famous as Coffee house musie, with a Gypsy violinist as ‘primés' of the band playing virtuoso fast and slow pieces and serenading from table to table. Hungarian love songs have been called some of the most romantic in Europe. They sound ‘schmaltzy’ and yet utterly beautiful. Rubato introductions occur frequently, where the soloist improvises over a slow tune and chord changes in free timing, using runs, arpeggios and slides, expressing deep melancholy. Hungarian folk music uses all the diatonic scales, including major and modal ‘ones. Hungarian Gypsy music prefers the harmonic minor scale or one referred to as -ypsy minor’ which has as well as a raised 7 tone, a raised 4® tone which gives it an eastern inflection and inspires expressive improvisation. imilar to Russian music, the classical signs for notation represent the interpretation quite well, but listen carefully to the recording: some ornaments are played at the end rather than the beginning of a note, linking it to the next one. ‘The tunes are coloured in by connecting phrases and motives with slides, runs and improvised phrases, It is the musician's call to make the tune special by putting in his/her own extras. ‘There is a very distinct, syncopated rhythm, which is typical of Hungarian music. Itis played accentuated, giving the tune a dramatic expression. Phrases with even time values can be rhythmically ‘ornamented’ by adapting one of these rhythms to two or more notes. ‘The most famous dance form is the Czardas, a dance that starts slowly and increases in speed over various repetitions. There are a few unusual traditional instruments: the ‘arogato’ is like a straight wooden saxophone but has died out in recent years. Still played are the duda, which isa kind of bagpipe, and the famous cymbalom. A Hungarian coffee house band would traditionally consist of a first violin and cither a second violin or viola, joined by a cymbalom, an accordion and a double bass. ES PPO) aah ea OED ee a ee fo jo w n oO 13. Halljatok Ciganyok ‘Hear it, Gypsies’ is a more recent Gypsy tune by Burka Sandor. Start off slowly and very expressively/dramatically and then speed each repeat up into a bouney rhythm. J= 108 Dm Gm Al Dm O B<-Fo BER OR SK -0 O83 © 14. Csak Egy Kislan Van a Vilagon “There's only one girl for me in this world’. This melody is used by Sarasate in his virtuoso piece ‘Gypsy Airs’. Play with your sweetest tone and variate ornaments and rhythms playfully. Fill all the fermatas with runs or arpeggios to your taste, «=52 Dm (FF) Gm EA? Dm BP Gm c F x mec, 15. Maros Vize Folyik Csendesen “The Maros river is flowing peacefully’. Here you find literally just the skeleton of the tune. It is impossible to notate all ornamental figures and rhythmie interpretation, partly for the reason that you should play it individually each time. Play with a deeply rubato feel, improvise around the melodie guideline given using the recording, and follow the title for inspiration and style. Rubato Am Br Em Em a a a ET Am p 17 IN Z7OEN DK DY HEIN BD HRD 2 AAR AKRN > 16. Haragszom a Tékédre Play lively and punehy. Because of its very rude meaning I can’t offer a translation of the title her d-144 Am yg Am gE Am Em BI Em Am 18 OD BOF oP OHROHROK 1 OF O22 © OD SOF o PER OR OK OF OBO 17. Bihari Néta Janos Bihari was a famous Gypsy ‘primas’ at the end of the 18" century. He composed this ‘nota’, a folk-style instrumental tune. The notation in the rubato section is again only a guide melody to improvise with. In the fast section speed up gradually within the first 4 bars. Be creative with ornaments, rhythm and phrasing. Rubato Gm BboCm = = Gms Cm A’ Dt Gm a A x br Gm BhA D Gm_ 57 Do A DT Gm a A A aA 19 IN 7OEA OD. 2 VY HAeYNHR OSH F nn “a DO Boge PORCH K-06 OF ORK 18. Holla, Repil a Szan “Holla, the sledge is flying!” Play like a fun sledge run down the hill, increasing specd... Am B Rubato >— Dm —— (BN a ~~ — Am atempo J=<136 J=< 152 a a | Dm EB re alcoda Variation &¢ © a Dm aie « ¢ fF : et 7 , —- 5. ote ° = 0 Coda Dm E Am 20 INFE ADA 2 VY’ AHOSNHOS>~ DF AN AOENDE O Bos PRoROR Oe SEOZO ¢ 19. Jaj de Szép Kék Szeme ‘What beautiful blue eyes you have’. From the title you can guess this is a love song. Strong feelings and plenty of ‘Schmalz’ allowed, even demanded, from your playing... J=72 Am Dm D Am ¥ 21 fs FOF ag Se OR ERR EN Pe Re Ae Oogo8 FOR CH OK OROZCO O 20. Hungarian Romance A medley of Hungarian folk and Gypsy tunes. The song used for the first two sections is called ‘Fa leszek, ha fanak vagy virdga’ ~ ‘Tl be the tree if you are its flower". It is followed by a dance tune that Bralms used for his Hungarian Dances In the rwbato beginning treat the written notes as a guideline only and add your own “romantic and playtu! bits”, in the last section create a bouney vibe that encourages people to dance... Rubato 7 ‘ : ‘Am EF Am Dm G c # e aan Dm Fr Ge AmB? Am ~ s om Dm Am Br Bene a . Din Gna? Dm NR A224 0 Moa Asn Gs 4. 2 ae : OS OFe PSH OHR OL FORO O 21. Egy Ciea, Két Ciea “One little cat, two little cats’. Play bouncily and very cheekily... J=116 D G A OD BOF FH SHOOK OF OF O< 22. Suga a Filébe “Whisper in his ear’ ~ a dramatic love song. = 120 Dm Gm Dm/F Gm AT Dm Am Dm Am Dm Ey Am BP a Gm e Ea? Dm Gm DoF Gm 7 Dm 23. Minek a Széke Ennékem ‘What shall I do with a blonde’ 168 re (an E «Gt © Am 1 ET 2. Db GP Fq@ ic F ‘Ow Am Ey Lam D 2am 25 WN ceSan Qe «BAe nerenZn ~2er2" ROMANIA In Romanian music the Balkan touch is much more prominent than in Hungarian. music. However, the style changes gradually from ‘Transylvania, which has many more Hungarian influences, to Walachia with a stronger Balkan feel to it. Still present is the virtuoso violin, cymbalom and the accordion but the style loses its sweetness and becomes coarser, the music is filled with sharp trills and ornaments and the sounds become slightly more abrasive. Some Romanian folk and Gypsy music, specially from Hungarian-influenced regions, is based on the various modes of minor and major scales, But for others a different tonality is introduced, where the warmth of the harmonie minor scale is replaced by more unusual sounding harmonies, particularly to the western ear. As in many other Eastern European countries, the Gypsy musicians adopted the local folk tunes, adding their own charm and character. It has mainly been Gypsies who play the local folk music and work as musicians at weddings and other traditional events. The repertoire and style is closely tied to local traditions and customs. ‘The ornamentation gets sharper as the geography moves south east. The trills are mostly with the semitone above the main note and take on a more elaborate role within a tune. You will find many more trills in the score; they are traditionally linked to the tune and have a partly rhythmic, partly expressive function. It is very common to add a harmony in thirds or sixths either above or below the main melody. Romanian music is most well known for its ‘doina’ (a slow rubato introduction) and ‘hora’ (the most common eirele dance). Perhaps the most unusual instrument in Romanian music is the ‘stroh violin’. It uses a gramophone head connected {o « trumpet horn instead of a violin body to amplify the sound. The ‘fluier’ is similar to a tin whistle but made from wood. The ‘eimpoi' is a type of bagpipe and the ‘tampal’ is the Romanian version of the cymbalom. Violins and accordions also play an important role in Romanian music. O Sse ee otOSO © OD BOF PF ORORSK 9 oF OPO « 24. Promoroaca Promoroaca is not actually the name of this tune but of a Romanian circle dance genre. You may come across many ‘Promoroaca’, all sharing the same rhythm and a similar feel. Play very bouneily with a strong emphasis on each even-numbered bar. J=92 E Am Dm G D.C, al Fine 27 WN FOEADR 2. VY ~OOnO>OnF + O SOB APE OHOR OK oFOBOO 25. Hora Nunzi A wedding dance, taught to me by Taraf Du Haidouks’ fiddle player ‘Caliu’ It’s impossible to express the authentic phrasing in classical notation. In general play bouneily with sharp trills and listen to the recording carefully to pick up the phrasing and the feel, 2 = 168 A OSLO R POR OHRCOK 4 SOOBO © 26. Bringing in the Sheep In rural Balkan villages every morning all the sheep are assembled and brought out to the fields for grazing. In the evening they are all counted and brought in again. This tune describes this event. As in the previous tune, the phrasing is quite distinguished; listen to pick it up by ear. You could start this piece quite slowly and come to the full speed within the 1* repeat. += 120 > 200 Gm GmyF Gm GmyF GayE — GmyD Dv Gm repeat 4x, Gm Gm/F Gm/E Dp Gm 29 Nee@nBa ~dAB Aen Bn AONRIAANYN O EOS FP OROHS <0 CECB O 27. Ze Dode ‘Transyivanian tune with a slightly eerie feel; the accompaniment runs along in the following rhythmical pattern: Am F Am F Bb E Am ie Eh E DO Boo PORCH OK OF OF O 28. Hora de la Risipiti Ahora is a Romanian circle dance. Usually the musicians start with a slower hora tune and change into progressively faster tunes throughout the dance. 2= 232 Dm E Dm E Ay Dm E Dm E Ay Dm E Dm ay Dm Bt WN 7@rn Qn ~~ Bo RO RF KO NRODAYA O PES Fe FP SHROKR OL oF OBO. 29. Arestelle One more traditional tune taught to me by Taraf Du Haidouks’ fiddle player ‘Caliu’. The whole tune is accompanied by an A major chord. Be creative with the bass line... = 200 A 32 YD Bo®e Bers ssn aswran- D BOGo —-F- GROHRHS K-00 OF OFO O 30. Geamparale Romanian circle dance. The 7/8 rhythm is grouped into 2-2-3. Gm av Gm a’ 33 IN ABA DK ~ RQ HexNHe.nN BF =~ Ae On LX DSB ROR OR OR OS ORO FORMER- YUGOSLAVIA everybody in Serbia is born with a passion for their folk music. It naturally accompanies life on all occasions, whether happy or sad. This is just the way we live, You can’t imagine any celebration without music ereating the most amazing atmosphere...” (Zivorad Nikolié, accordionist from Serbia). ‘The former Yugoslav countries are most famous for their Gypsy brass orchestras. Virtuoso trumpet solos together with wild dance rhythms, played by low brass and percussion instruments, create an energetic and tight sound. Another favourite instrument, especially in the region of Central Serbia, is the accordion. ‘Music from these regions is known for its unusual rhythms and finger-breaking ornaments. The sharp trills giggle, the fast runs electrify, and tonality and style reflect a desperate positivity against hopelessness. In this region music is played with a soulfulness and passion you will not find in many other places. Former-Yugoslav countries have a rich repertoire of rhythm. The ‘dvojka’ is a 2/4 rhythm accompaniment, but the way the musicians phrase the melodies could not be written in western notation; it contains highly complicated rhythmical patterns, as demonstrated in dances like the ‘kolo’ or ‘todek". As you approach Macedonia the 7/8 and 9/8 rhythms begin to appear. ‘The tonality in this music is similar to that of Romania using the modes of various major and harmonic minor scales but with warmer shades. A classical ending of ‘Yugoslav folk tunes is a succession of long, chorale-like chords moving harmonically from the double dominant to the dominant chord. ‘The ‘tamburitsa’ is a unique Serbo-Croatian stringed instrument similar to a mandolin. There is also a bagpipe called the ‘gajde’ and the ‘frula’, a flute. Another wind instrument is the ‘zourna’, an ancient oboe-like double-reeded wind instrument. Percussion instruments are the darbuka, a metal framed hand drum and the ‘daoul’, a double-headed drum. Bowed string instruments are quite rare in this kind of music. 34 } Bose HF OROROK-9 O88 OS OFS HEGHOR OK BOR O 31. Tama Daleko ‘Far away from home’, is one of the most well-known and loved Serbian folk tunes, an unofficial anthem to the Serbian people. Here again you can be creative with rhythmic and melodic matters and playful with your ornamentation... /=216 35 SO ea Creat oC D BoBe AP CKROHOK oF OFM © 32. Talijanska ‘Italian’. It’s a traditional Gypsy tune, made famous by the Emir Kusturica movie ‘Time of the Gypsies’. It describes a Yugoslav Gypsy going to Italy and trying to make his fortune there... J=192 @ cm Fm 36 i rig tg Aaya DR HReEe»xnroer.nr F * A®PNOALYN O ICROR 144 > 184... Dm 39 WS ofA Qo oS Be Zn SARS BOS D Bose oF GROKRHK © SFOS O 36. Serbian Rumba Instrumental folk tune by Boban Prodanovic. J=116 Aw AG RO} ~~ BR GIGI ZN ABnNDA FCHRORKSK-© OF OFS 37. Ederlezi Gypsy name for the Serbian Feast of Saint George. In the first harmonized section the lower voice is the main tune, everywhere else it is in the top part. You could start the song in a rubato mood and set a continuous beat from the metronome mark onwards... > Qo eto aah OGOseo TOROS EK OfOZ< © 38. Kolo Resavka ‘Kolo’ is a typical Serbian circle dance. Keep the 2/4 accompaniment steady against the triplets in the tune... += 160 Cm a > fer pee eey > =» 42 Dn AQ nA@. ~ DR ~Karen FB nA AQanRa~ A OS ™ Am Dm Ey Am += 96> 112 36 Nena. SX ~~ Ae NN A ROKR ORAM Am Dm Am Dm Am ET [LAm 2. Am Dm Am Dm Am BE Am Em Am Em Am) Br Em Am Dm OSBOB POR OR COOK OS OZO © 51. Fuli Tschai This is an old Roma song I was taught by a German Gypsy musician. ‘Fuli ‘Tschai’ means apparently ‘Ugly Girl’. I was told that the story is about a Gypsy girl that falls in love with a ‘gadjo’ (non-Gypsy). This being against their lore and tradition, on being found out by her clan she was punished severely by having her nose cut off - then she was an ugly girl... But recently another Gypsy musician enlightened me that I had been the vietim of a typical Sinti joke: the song is just a love song, without cut-off noses... Play the tune with energy and bounce, be creative by varying the rhythm and linking the phrases. += 126 Am Dm G D.C.al Fine 58 WN ARADO ASSES ites a ie es trae A O SOBo oJ CH OK 0 EOS O 52. Nane Love ‘Ihave no money’, a traditional Roma song. This song tells the story about 4 poor child on the street that is feeling desperate. “I'm poor, I have no money, Thave nothing to sell. What shall I do?” The note values are a rough indication and melodic guideline only. Fill with little runs, links and ornaments - make your violin lament and cry in desperation and hopelessness. Rubato. Am Dm Am Dm G 53. Dui Dui Desu Dui “Two - two ~ twelve’. This sweet little Roma song has quite sinister lyrics about people falling ill and dying. 4= 152 cm G Cm BP Eb cm Fm cm D a cm 59 Sohn Qe DR eo re2en~ ZA RONDA N D CBO-Bo FP OHRORCEL © oF O8< © 54. Me Hum Mato ‘Me Hum Mato’ means ‘I'm drunk’. Phrase as a swing: adapt the rhythm of every pair of quavers into a triplet feel as shown below. Improvise with the tune (imagining the slurring walk of someone drunk) and over the chord changes as. jazz musicians do... es SSS ye SSS 2 = 138 Am Dm FE? Am * ‘This tune includes a 4 bar accordion introduction on the CD. 60 O BOo-Go e FP OROH OK OF OBO O 55. O PoSstari Zavel “The postman is coming, he is bringing a telegram’. This piece is often slightly altered in a humorous way: ‘"He is bringing another bill”... Use the rhythmical antieipations and syncopations as ornamentation and feel free to find your own variations. 4210 7 Cm ee mi C 56, Ara More Katama ~~4n-this Gypsy song a woman tells a man to get away from her and leave her alone! Cm a [reece rere Cm_G Cm_¢? 8 DOR CE SOK OBOZO C 63. Humorosso “Gypsy Waltz’ by Gundula Gruen. Play in quite a dramatic style. The last two sections mimic first a erying then a lamenting person - try to create ‘crying’ and ‘lamenting’ sounds on your instrument... /=240 = on E’ Am Dm ET Am Em. Br Da capo al Fine OO a I Soup ei ae igi e tuA O Soo PROB Oo SOB O 64. Hora Matishore Virtuoso piece from Roma: increasing the speed over the 1: time through the first section. 1 nia. You could start this repeat to arrive at the final he first section is often re piece slowly, rapidly speed for the second peated 4 times, += <160 Fem OS

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