Jedd Greenhalgh

Jedd Greenhalgh

Jedd Greenhalgh (also known to some simply as ‘Jedd the Fiddler’) is a sound engineer, emcee, producer, award-winning pop/folk/EDM/hoedown musician, and a decorated scholar of western classical music. Jedd has worked across Idaho, Arizona, Kentucky, and Washington as a musician.

During that time, he partnered with several radio stations as a host/producer and served as an instructor of undergraduate music theory and aural skills with several colleges, all the while exploring the various intersections of music and cross-disciplinary artistic content creation. As a classical musician, Jedd has performed on the violin for 15 years for full orchestras, string orchestras, chamber ensembles, solo shows, theatre pit orchestras and string quartets. He has also performed as a percussionist for marching bands, orchestras, philharmonias, wind ensembles and chamber choirs, he has served as a guest conductor for both large and chamber ensembles, and he has acted as an audio/visual “computersound” specialist for several orchestras working with computer-based music. In his genre-crossing performance-based musical work, Jedd has had the privilege of briefly crossing professional paths with notable performers such as Bela Fleck (banjo), Patrick Sheridan (tuba), Jenny Oaks Baker (violin), Lionel Richie, and Katy Perry (pop stars), and has appeared on national television as a quirky fiddler for a total of seventeen seconds.

Jedd holds a bachelor’s degree in music science and a master’s degree in music composition. When left to his own devices, Jedd can usually be found taking care of their outdoor spaces, pondering the deeper agonies of existentialism, writing music with their fiddle, or playing unreasonably challenging video games.

Jedd Greenhalgh

CLASSICAL MUSIC
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Classical Music Posts

Classical Music

Spring Music Moment: Vivaldi

Vivaldi’s “Spring” is one of the most recognizable, best loved works in the world and one of the best ways to celebrate the season. Vivaldi penned his famous quartet of concertos, The Four Seasons or Le quattro stagioni, between the late 1710s and early 1720s. Each concerto includes an accompanying sonnet of unknown origin (a classic case of “which came first – the sonnets of the concertos?”). The first lines of “Spring” perfectly encapsulate what’s ahead, musically speaking: “Springtime is upon us. The birds celebrate her return with festive song, and murmuring streams are softly caressed by the breezes.” The first of Vivaldi’s Four Seasons concertos not only invites us to imagine birds singing in a crisp, clear morning, but depicts a rolling spring thunderstorm and a festive dance in the country.

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