Tempo Fluctuation in Two Versions of Body and Soul by John Coltrane and Dexter Gordon
|
|
- Cody Stewart
- 6 years ago
- Views:
Transcription
1 Tempo Fluctuation in Two Versions of Body and Soul by John Coltrane and Dexter Gordon Cynthia Folio (Temple University) Soon after returning to the US from Europe in 1976, Dexter Gordon formed a band with George Cables (piano), Rufus Reid (bass), and Eddie Gladdon (drums) a group he considered to be his best. His last version of Body and Soul was recorded with this band live at Keystone Korner in San Francisco on September 16, 1978 (Nights at the Keystone Korner, vol. 3, B ). This recording borrows features from an earlier recording of the same tune by John Coltrane (Coltrane s Sound), recorded in 1960 but released in This landmark recording features some of the best work by his renowned quartet McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums). Gordon s arrangement borrowed several important features from Coltrane, including the opening two-measure vamp, and the third-related chord progressions (after Giant Steps ) in the bridge. As we ll see, Gordon s version is much slower and more rhythmically complex; it therefore involves greater tempo fluctuations than Coltrane s. My paper first introduces Coltrane s version as the model for Gordon, but will then focus mainly on Gordon s version, because of the more extreme tempo fluctuations. The main goal of the paper is to study the fluctuations in tempi in the two recordings of Body and Soul, both within each section, and from section to section, using a program called LARA (Lucerne Audio Recording Analyzer: The four pages of diagrams that accompany this proposal demonstrate tempo fluctuations in (1) the introduction and the first A section of Coltrane s recording; (2) the two-bar introduction and the first A section of Gordon s recording ( Dexter1 ); (3) The first A section in Gordon s final chorus, where his solo is at its highest intensity ( Dexter9A ); and (4) the bridge from Gordon s final chorus ( Dexter11Bridge ). The final paper will present diagrams of all sections of both recordings (except for the cadenzas, which are in a free tempo), but these four examples should be enough to demonstrate a few points. The diagrams at the top of each page represent two-measure segments in milliseconds; the higher the number, the slower the tempo. The graph on the bottom of each page is a sonogram of the passage analyzed in the diagram, which not only helps orient the
2 listener as to where we are in the sound file, but also shows some of the activity in the various instruments; the lowest stratum is primarily the bass and drums. Coltrane s Body and Soul The overall plan for the Coltrane version is an introduction, one chorus by Coltrane, one chorus by Tyner, and then two A sections by Coltrane, with a ritard and short cadenza at the end of the second A section. The following table demonstrates the consistency in tempo from section to section the timings (number of seconds at which the beginning of each section occurs) are all 27 seconds apart. A1 A2 B A3 Coltrane 0:14 0:41 1:08 1:35 Tyner 2:02 2:29 2:56 3:23 Coltrane 3:50 4:17 * *The A2 section segues into the cadenza, slightly before it comes to an end. Graphs of the timings measure-by-measure within each section reveal minor fluctuations (see Example 1: intro+first A section). Most notable is the tendency to accelerate slightly toward the ends of four-bar phrases, especially at the end of a section, as if to anticipate the beginning of the next section or phrase. We will see the same tendency in Gordon s interpretation, but magnified. Gordon s Body and Soul The overall plan for the Gordon version is an introduction (similar to Coltrane s), the head and two choruses by Gordon, two choruses by Cables, and a return to the last half of the head (from the bridge) and extended three-minute cadenza by Gordon. Each solo begins with the vamp in the bass and piano, prolonging the supertonic harmony (Eb min9 ). Both solos build in intensity, leading to a final chorus with an extended dominant (Ab) pedal and complex polyrhythms. The following table demonstrates some fluctuation in tempo in Gordon s head and two choruses (again, noting the timings in seconds of the beginnings of each section, up to the beginning of the piano solo). A1 A2 B A3 Head 0:19 0:56 (+37) 1:34 (+38) 2:10 (+36) First chorus 2:47 (+37) 3:22 (+35) 3:58 (+36) 4:32 (+34) Second chorus 5:06/7 (+34/5) 5:40 (+33/34) 6:14 (+34) 6:48 (+34)
3 Piano solo 7:22 (+34) When comparing the opening tempo (average of 4691 ms per half-measure, or 4688 ms without the intro) to the other two passages much later in the piece (average of 4214 ms in 9A and 4260 ms in 11Bridge), we see an obvious shift to a faster tempo to reflect the increase in intensity. The rhythmic activity at Dexter 9A (e.g. the first A section in the second chorus) is the most active, with Rufus Reid playing eighth-note triplets, grouped polyrhythmically against the prevailing 4/4 in the drums and sax (see transcribed musical example note that the tempo is so slow, the transcription converts each 4/4 measure from the lead sheet into two measures of 4/4). Other melodic/harmonic factors contribute to the increase in tension, including the Ab pedal tone in the bass. The differences in the fluctuation of tempo within each section are subtle. But a few trends can be seen. First, if we compare the openings of each section relative to the average number for that section, all three begin with a higher than average number (or in the case of 9A, a close to average number) and all begin with a dip in number for the second two-bar segment. If we compare the closings, we see that all three end with a lower than average number (or in the case of 9A, a close to average number) and all end with a dip in the number for the final two-bar segment compared to the segment before, as if the performers are in a hurry to link into the next section. Similar trends can be seen in the other sections. This paper is presented in memory of Steve Larson, who was a jazz pianist and one of the pioneers in the fields of music cognition and jazz analysis. While he is best known for his application of Schenkerian analysis to jazz, he also did some analysis of rhythm, including rhythmic displacement in Bill Evans (2006). Other authors have analyzed rhythm and timing, such as Charles Keil (1987) Participatory Discrepancies ; J.A. Prögler (1995) Searching for Swing ; Fernando Benadon (2006) Slicing the Beat ; Collier and Collier (2007) Studies of Tempo Using a Double Timing Paradigm ; Honing and de Has (2008) Swing Once More ; and Matthew Butterfield (2006) The Power of Anacrusis and (2011) Why do Jazz Musicians Swing Their Eighth Notes? This study will build on these and other articles and will provide insight into tempo fluctuation and the conditions that bring about these fluctuations. It will also provide some insight into the relationship between Coltrane s model and Gordon s later tribute.
4 Dexter Gordon Examples: Dexter1 = Intro and 1st A section; Dexter 9A = 2 nd chorus, 1st A section; Dexter 11Bridge = 2 nd chorus, bridge; Transcription = 2 nd chorus, 1 st A section (sax and bass)
5 Dexter Gordon Examples: Dexter1 = Intro and 1st A section; Dexter 9A = 2 nd chorus, 1st A section; Dexter 11Bridge = 2 nd chorus, bridge; Transcription = 2 nd chorus, 1 st A section (sax and bass)
6 Dexter Gordon Examples: Dexter1 = Intro and 1st A section; Dexter 9A = 2 nd chorus, 1st A section; Dexter 11Bridge = 2 nd chorus, bridge; Transcription = 2 nd chorus, 1 st A section (sax and bass)
7 Dexter Gordon Examples: Dexter1 = Intro and 1st A section; Dexter 9A = 2 nd chorus, 1st A section; Dexter 11Bridge = 2 nd chorus, bridge; Transcription = 2 nd chorus, 1 st A section (sax and bass)
8 Coltrane Graph: Intro and A1 section
John Coltrane. Music 331 Jazz History and Analysis July 3, 2012 J.B. Morford Guest Lecturer
John Coltrane Music 331 Jazz History and Analysis July 3, 2012 J.B. Morford Guest Lecturer Early Days Born September 23, 1926 in Hamlet, NC Grew up in High Point, NC His aunt, two uncles, grandfather,
More informationConcise Guide to Jazz
Test Item File For Concise Guide to Jazz Seventh Edition By Mark Gridley Created by Judith Porter Gaston College 2014 by PEARSON EDUCATION, INC. Upper Saddle River, New Jersey 07458 All rights reserved
More informationMiles Davis 4. So What (1959)
Quartile harmony: Chords constructed using consecutive 4ths Miles Davis 4 So What (1959) Key Features of Cool Jazz/Modal Jazz: Slower tempos, use of modes, quartile harmony, increased emphasis on melody,
More informationArranging in a Nutshell
Arranging in a Nutshell Writing portable arrangements for 2 or 3 horns and rhythm section Jim Repa JEN Conference, New Orleans January 7, 2011 Web: http://www.jimrepa.com Email: jimrepa@hotmail.com 1 Portable
More informationAll Blues Miles Davis. Year 10
All Blues Miles Davis Year 10 Section INTRO HEAD 1 Bars and timings 1-8 0:00-0:21 9-20 0:21-0:52 Musical Features. Begins with drums (playing with brushes), bass riff and piano (playing trills (A-G and
More informationREHEARSAL STRATEGIES HARLEM CONGO BY LOREN SCHOENBERG,
REHEARSAL STRATEGIES HARLEM CONGO BY LOREN SCHOENBERG, Like most big band leaders, drummer Chick Webb relied heavily on composers and arrangers to write material that would give his band a distinctive
More informationThe Art of Jazz Singing: Working With The Band
Working With The Band 1. Introduction Listening and responding are the responsibilities of every jazz musician, and some of our brightest musical moments are collective reactions to the unexpected. But
More informationWEST END BLUES / MARK SCHEME
3. You will hear two extracts of music, both performed by jazz ensembles. You may wish to place a tick in the box each time you hear the extract. 5 1 1 2 2 MINS 1 2 Answer questions (a-f) in relation to
More informationBOPLICITY / MARK SCHEME
1. You will hear two extracts of music, both performed by jazz ensembles. You may wish to place a tick in the box each time you hear the extract. 5 1 1 2 2 MINS 1 2 Answer questions (a-e) in relation to
More informationPreview Only. Legal Use Requires Purchase. Moondance JAZZ. Words and Music by VAN MORRISON Arranged by VICTOR LÓPEZ INSTRUMENTATION
a division of Alfred JAZZ Moondance Words and Music by VAN MORRISON Arranged by VICTOR LÓPEZ INSTRUMENTATION Conductor 1st Eb Alto Saxophone 2nd Eb Alto Saxophone 1st Bb Tenor Saxophone 2nd Bb Tenor Saxophone
More informationMatthew W. Butterfield
1 of 7 Volume 13, Number 3, September 2007 Copyright 2007 Society for Music Theory Matthew W. Butterfield REFERENCE:../mto.07.13.1/mto.07.13.1.benadon.php Received July 2007 [1] What a pleasure it is to
More informationAbout Importance of Truth
About Importance of Truth The PSP game Crisis Core: Final Fantasy VII introduces a new musical theme/melody to the Final Fantasy VII series. This theme is expressed by many instruments in many song arrangements
More informationPreview Only. Legal Use Requires Purchase. Poultry In Motion JAZZ KRIS BERG INSTRUMENTATION
a division of Alfred JAZZ Poultry In Motion Conductor 1st Eb Alto Saxophone 2nd Eb Alto Saxophone 1st Bb Tenor Saxophone 2nd Bb Tenor Saxophone Eb Baritone Saxophone 1st Bb Trumpet 2nd Bb Trumpet 3rd Bb
More information10 Lessons In Jazz Improvisation By Mike Steinel University of North Texas
10 Lessons In Jazz Improvisation By Mike Steinel University of North Texas Michael.steinel@unt.edu Sponsored by Hal Leonard Corporation And Yamaha Musical Instruments 10 Basic Lessons #1 - You Gotta Love
More informationVariant Timekeeping Patterns and Their Effects in Jazz Drumming
1 of 6 Volume 16, Number 4, December 2010 Copyright 2010 Society for Music Theory Variant Timekeeping Patterns and Their Effects in Jazz Drumming Matthew W. Butterfield NOTE: The examples for the (text-only)
More informationCourtney Pine: Back in the Day Lady Day and (John Coltrane), Inner State (of Mind) and Love and Affection (for component 3: Appraising)
Courtney Pine: Back in the Day Lady Day and (John Coltrane), Inner State (of Mind) and Love and Affection (for component 3: Appraising) Background information and performance circumstances Courtney Pine
More informationContents 2 SITTING IN: JAZZ PIANO. Songs by Category BLUES. About the Authors Acknowledgments How to Use This Book...
SITTING IN: AZZ PIANO Contents About the Authors Acknowledgments How to Use This Book Working with the DVD-ROM Bu s Blues (Blues) 6 The Phinest Blues (Blues) 0 Mr Dee Gee (Blues) Boppin with -Mac (Bebop)
More informationMessiah 2016 Orchestra Notes (Mostly Strings)
Overture Double Dot the Rhythms first time forte 2x piano dynamics trills 2 nd time only Trill review: VIOLIN I /Oboes M2 B2 M4 B1 M5 B3 M7 B3 M9 B3 Bass Line to confirm trills, please play them: M 22
More informationTonality Tonality is how the piece sounds. The most common types of tonality are major & minor these are tonal and have a the sense of a fixed key.
Name: Class: Ostinato An ostinato is a repeated pattern of notes or phrased used within classical music. It can be a repeated melodic phrase or rhythmic pattern. Look below at the musical example below
More informationCMEA High School Audition Repertoire Jazz 4-Year Rotation (revised June 14, 2017)
CMEA High School Audition Repertoire Jazz 4-Year Rotation (revised June 14, 2017) In order to insure consistent and fair adjudication, all students must use the same edition of a given solo. Students must
More informationAdvanced Lesson Plan for Young Performers Initiative: Rockin In Rhythm BEFORE THE VIDEO
Advanced Lesson Plan for Young Performers Initiative: Rockin In Rhythm NOTE TO TEACHER: This lesson plan is designed to encourage focused listening as well as individual and group recognition of the contrast
More informationMarshal Royal: The Art of Lead Alto. An Analysis by Seth Carper. Marshal Royal is arguably the most important lead alto player in the history
Marshal Royal: The Art of Lead Alto An Analysis by Seth Carper Marshal Royal is arguably the most important lead alto player in the history of big band. Royal nearly single handedly changed the role of
More informationKevin Holm-Hudson Music Theory Remixed, Web Feature The 1950s saw an interesting convergence between jazz
Kevin Holm-Hudson Music Theory Remixed, Web Feature 29.1 1 Web Feature 29.1 Examples of twelve-tone music in jazz Milton Babbitt, All Set The 1950s saw an interesting convergence between jazz and certain
More informationRobert Schuman "Novellette in F Major", Opus. 21 no. 1 (Part 1)
Cleveland State University From the SelectedWorks of Dan Rager 2016 Robert Schuman "Novellette in F Major", Opus. 21 no. 1 (Part 1) Dan Rager Available at: https://works.bepress.com/daniel_rager/35/ Composition
More informationTexas Bandmasters Association 2013 Convention/Clinic
Technology in the Practice oom CINICIAN: John Best SPONSOS: TBA Texas Bandmasters Association 201 Convention/Clinic 201 Patron Sponsor JUY 21 24, 201 HENY B. GONZAEZ CONVENTION CENTE SAN ANTONIO, TEXAS
More informationJazz at Lincoln Center Radio McCoy Tyner and Ravi Coltrane Season 17 Program 1; Airdate: 10/1/09
The following is a working script for the Jazz at Lincoln Center radio program. Because of improvisations or corrections it may differ slightly from the final program as produced. The script is provided
More informationJerry Bergonzi Solos, Setting Standards
Jerry Bergonzi Solos, Setting Standards 1 Jerry Bergonzi Solos Setting Standards Transcription And Analysis By Miles Osland Dorn Publications, Inc. P.O. Box 206 Medfield, Massachusetts 02052 Copyright
More informationNCEA Level 2 Music (91275) 2012 page 1 of 6. Assessment Schedule 2012 Music: Demonstrate aural understanding through written representation (91275)
NCEA Level 2 Music (91275) 2012 page 1 of 6 Assessment Schedule 2012 Music: Demonstrate aural understanding through written representation (91275) Evidence Statement Question with Merit with Excellence
More informationGCSE MUSIC REVISION GUIDE
GCSE MUSIC REVISION GUIDE J Williams: Main title/rebel blockade runner (from the soundtrack to Star Wars: Episode IV: A New Hope) (for component 3: Appraising) Background information and performance circumstances
More informationPerdido Rehearsal Strategies
Listen, Dance, Sing & Play! Though these words may seem like a mantra for a happy life, they actually represent an approach to engaging students in the jazz language. Duke Ellington s Perdido arrangement
More informationCMEA High School Audition Repertoire Jazz 4-Year Rotation (May, 2018)
CMEA High School Audition Repertoire Jazz 4-Year Rotation (May, 2018) In order to ensure consistent and fair adjudication, all students must use the same edition of a given solo. Students must use the
More informationUniversity of Miami Frost School of Music Doctor of Musical Arts Jazz Performance (Instrumental and Vocal)
1 University of Miami Frost School of Music Doctor of Musical Arts Jazz Performance (Instrumental and Vocal) Qualifying Examinations and Doctoral Candidacy Procedures Introduction In order to be accepted
More informationRhythmic Dissonance: Introduction
The Concept Rhythmic Dissonance: Introduction One of the more difficult things for a singer to do is to maintain dissonance when singing. Because the ear is searching for consonance, singing a B natural
More informationfirst year charts Preview Only Legal Use Requires Purchase Pacific Attitude for jazz ensemble JAZZ VINCE GASSI INSTRUMENTATION
first year charts for jazz ensemble a division of Alfred JAZZ Pacific Attitude VINCE GASSI INSTRUMENTATION Conductor 1st Eb Alto Saxophone 2nd Eb Alto Saxophone 1st Bb Tenor Saxophone 2nd Bb Tenor Saxophone
More informationLevel 2 Music, Demonstrate knowledge of conventions in a range of music scores pm Wednesday 28 November 2012 Credits: Four
91276 912760 2SUPERVISOR S Level 2 Music, 2012 91276 Demonstrate knowledge of conventions in a range of music scores 2.00 pm Wednesday 28 November 2012 Credits: Four Achievement Achievement with Merit
More informationDesigned & Compiled By: Jesse Nolan
Designed & Compiled By: Jesse Nolan The topic(s) of this unit are: Jazz History For High School Students Topics 1. The history of Jazz music from approximately 1890 to the present 2. The evolution of Jazz
More informationSONG ANALYSIS CHECKLIST Name: Andrew Kennedy
SONG ANALYSIS CHECKLIST Name: Andrew Kennedy PLEASE NOTE: the numbers #1 and #2 have been used in list form to differentiate the two versions of the song in this analysis. CONTEXT What is the name of the
More informationImprovisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition. Let s Cool One. John J. Anthony
Improvisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition Let s Cool One by John J. Anthony Submitted in Partial Fulfillment of the Requirements for the Degree of Master
More informationAudition Information Cello
2019-2020 Audition Information Cello 1. Solo piece. Prepare a polished, recital-ready, unaccompanied solo piece that demonstrates your technical ability. A slow, non-technical solo must be contrasted with
More informationComputer Coordination With Popular Music: A New Research Agenda 1
Computer Coordination With Popular Music: A New Research Agenda 1 Roger B. Dannenberg roger.dannenberg@cs.cmu.edu http://www.cs.cmu.edu/~rbd School of Computer Science Carnegie Mellon University Pittsburgh,
More informationCHAPTER 14: MODERN JAZZ TECHNIQUES IN THE PRELUDES. music bears the unmistakable influence of contemporary American jazz and rock.
1 CHAPTER 14: MODERN JAZZ TECHNIQUES IN THE PRELUDES Though Kapustin was born in 1937 and has lived his entire life in Russia, his music bears the unmistakable influence of contemporary American jazz and
More informationMMEA Jazz Guitar, Bass, Piano, Vibe Solo/Comp All-
MMEA Jazz Guitar, Bass, Piano, Vibe Solo/Comp All- A. COMPING - Circle ONE number in each ROW. 2 1 0 an outline of the appropriate chord functions and qualities. 2 1 0 an understanding of harmonic sequence.
More information(Why) Does Talib Kweli Rhyme Off-Beat?
(Why) Does Talib Kweli Rhyme Off-Beat? Annual Meeting of the Society for Music Theory November 2 nd, 2017 Mitchell Ohriner University of Denver mohriner@gmail.com The Diaz-Kweli Dispute Drake Future What
More informationTOWARD A PERCEPTUAL-COGNITIVE ACCOUNT OF DOUBLE-TIME FEEL IN JAZZ
TOWARD A PERCEPTUAL-COGNITIVE ACCOUNT OF DOUBLE-TIME FEEL IN JAZZ by MATTHEW J. VOGLEWEDE A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial
More information2019 NAfME All-Northwest Jazz Audition Materials Saxophones and Brass
2019 NAfME All-Northwest Jazz Audition Materials Saxophones and Brass Track 1 Track 2 Track 3 Basic Audition The following three tracks are required of all wind applicants ALTO SAXOPHONE (pages 5-6) TENOR
More informationThe Practice Room. Learn to Sight Sing. Level 3. Rhythmic Reading Sight Singing Two Part Reading. 60 Examples
1 The Practice Room Learn to Sight Sing. Level 3 Rhythmic Reading Sight Singing Two Part Reading 60 Examples Copyright 2009-2012 The Practice Room http://thepracticeroom.net 2 Rhythmic Reading Three 20
More informationSwing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern
Music Perception Spring 2002, Vol. 19, No. 3, 333 349 2002 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA ALL RIGHTS RESERVED. Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common
More informationMPATC-GE 2042: Psychology of Music. Citation and Reference Style Rhythm and Meter
MPATC-GE 2042: Psychology of Music Citation and Reference Style Rhythm and Meter APA citation style APA Publication Manual (6 th Edition) will be used for the class. More on APA format can be found in
More informationIntermediate Midpoint Level 3
Intermediate Midpoint Level 3 Questions 1-3: You will hear the rhythm 3 times. Identify which rhythm is clapped. 1. 2. 3. a. b. c. a. b. c. a. b. c. Questions 4-5: Your teacher will play a melody 3 times.
More informationDavis Senior High School Symphonic Band Audition Information
EVERYONE WHO IS INTERESTED SHOULD AUDITION FOR THIS ENSEMBLE! RETURNING MEMBERS YOU DO NOT NEED TO AUDITION. ALL AUDITIONS ARE DUE NO LATER THAN MARCH 5 TH AT 4:00PM Complete the attached audition application
More informationKey Signatures. Meters. Tempo. Clefs and Transpositions. Position Work for Strings. Divisi. Repeats
The composition criteria for MSHSAA sight reading selections were revised in 2013-14. As a result, the committee determined that it would be beneficial to music directors throughout the state to have this
More informationHOCKINSON HIGH SCHOOL JAZZ BAND AUDITIONS 18-19
HOCKINSON HIGH SCHOOL JAZZ BAND AUDITIONS 18-19 March 30 th, 2018 Dear Students and Parents, Beginning today, Hockinson High School Band will be conducting auditions for next year s Jazz Band. All interested
More informationDELAWARE MUSIC EDUCATORS ASSOCIATION ALL-STATE ENSEMBLES GENERAL GUIDELINES
DELAWARE MUSIC EDUCATORS ASSOCIATION ALL-STATE ENSEMBLES GENERAL GUIDELINES DELAWARE ALL-STATE SENIOR BAND Flute, Piccolo, Soprano Clarinet, Saxophones (Alto, Tenor, Baritone), Bass Clarinet, Oboe, Bassoon,
More informationy POWER USER MUSIC PRODUCTION and PERFORMANCE With the MOTIF ES Mastering the Sample SLICE function
y POWER USER MUSIC PRODUCTION and PERFORMANCE With the MOTIF ES Mastering the Sample SLICE function Phil Clendeninn Senior Product Specialist Technology Products Yamaha Corporation of America Working with
More informationPreview Only. Legal Use Requires Purchase. The Wayfaring Stranger. TRADITIONAL Arranged by MIKE COLLINS-DOWDEN INSTRUMENTATION
The Wayfaring Stranger TRADITIONAL Arranged by MIKE COLLINS-DOWDEN INSTRUMENTATION Conductor 1st Eb Alto Saxophone 2nd Eb Alto Saxophone 1st Bb Tenor Saxophone 2nd Bb Tenor Saxophone (Optional) Eb Baritone
More informationThe KING S Medium Term Plan - Music. Y10 LC1 Programme. Module Area of Study 3
The KING S Medium Term Plan - Music Y10 LC1 Programme Module Area of Study 3 Introduction to analysing techniques. Learners will listen to the 3 set works for this Area of Study aurally first without the
More informationUnit Outcome Assessment Standards 1.1 & 1.3
Understanding Music Unit Outcome Assessment Standards 1.1 & 1.3 By the end of this unit you will be able to recognise and identify musical concepts and styles from The Classical Era. Learning Intention
More informationLa Salle University. I. Listening Answer the following questions about the various works we have listened to in the course so far.
La Salle University MUS 150-A Art of Listening Midterm Exam Name I. Listening Answer the following questions about the various works we have listened to in the course so far. 1. Regarding the element of
More informationAcknowledgements. Thank you to Dr. Jonathan Maisonpierre for being my faculty mentor and for guiding me through the process.
2 Asia Passmore Acknowledgements Thank you to Dr. Jonathan Maisonpierre for being my faculty mentor and for guiding me through the process. Thank you to Dr. Tegan Decker for allowing me to pursue this
More informationThe Jazz Combo: From Lead Sheet to Performance Dr. Daniel Brame Deerfield High School Jazz Band Illinois Music Education Conference January 26, 2018
What does a lead sheet convey? Melody, often in basic rhythms Chord progression, often in simplified form What doesn t a lead sheet convey? Specific rhythm hits or bass lines Counterlines or background
More informationMeasuring a Measure: Absolute Time as a Factor in Meter Classification for Pop/Rock Music
Introduction Measuring a Measure: Absolute Time as a Factor in Meter Classification for Pop/Rock Music Hello. If you would like to download the slides for my talk, you can do so at my web site, shown here
More informationCourse Overview. Assessments What are the essential elements and. aptitude and aural acuity? meaning and expression in music?
BEGINNING PIANO / KEYBOARD CLASS This class is open to all students in grades 9-12 who wish to acquire basic piano skills. It is appropriate for students in band, orchestra, and chorus as well as the non-performing
More information1. Generally, rhythm refers to the way music moves in time. It is the aspect of music having to
I. Rhythm 1. Generally, rhythm refers to the way music moves in time. It is the aspect of music having to do with the duration of notes in time. 2. More specifically, rhythm refers to the specific duration
More informationTonal Polarity: Tonal Harmonies in Twelve-Tone Music. Luigi Dallapiccola s Quaderno Musicale Di Annalibera, no. 1 Simbolo is a twelve-tone
Davis 1 Michael Davis Prof. Bard-Schwarz 26 June 2018 MUTH 5370 Tonal Polarity: Tonal Harmonies in Twelve-Tone Music Luigi Dallapiccola s Quaderno Musicale Di Annalibera, no. 1 Simbolo is a twelve-tone
More informationSummary of the Transcription Process
Summary of the Transcription Process Anyone ho has studied ith me privately or in a master class situation, hether advanced or not are aare of my feelings about transcribing solos. My DVD on the subject,
More information5-Note Phrases and Rhythmic Tension 2017, Marc Dicciani (written for Modern Drummer Magazine)
5-Note Phrases and Rhythmic Tension 2017, Marc Dicciani mdicciani@uarts.edu http://dicciani.com/ (written for Modern Drummer Magazine) One of the fundamental concepts in any style of music is tension and
More informationTHE BEATLES SHEET MUSIC FILE
12 January, 2018 THE BEATLES SHEET MUSIC FILE Document Filetype: PDF 501.38 KB 0 THE BEATLES SHEET MUSIC FILE Beatles USA sheet music Beatles USA songbooks Solo USA sheet music & books Beatles Australia
More informationUnit 1. π π π π π π. 0 π π π π π π π π π. . 0 ð Š ² ² / Melody 1A. Melodic Dictation: Scalewise (Conjunct Diatonic) Melodies
ben36754_un01.qxd 4/8/04 22:33 Page 1 { NAME DATE SECTION Unit 1 Melody 1A Melodic Dictation: Scalewise (Conjunct Diatonic) Melodies Before beginning the exercises in this section, sing the following sample
More informationHandel. And the glory of the lord
Handel And the glory of the lord Schoenberg Peripetie Reich Electric Counterpoint Bernstein Something s Coming Moby Why Does My heart Feel So Bad? Davis All Blues Buckley Grace Capercaillie Skye Waulking
More informationJazz Port Townsend 2018 Drum Application Guidelines for New or Returning Applicants
Drum app.1 Jazz Port Townsend 2018 Drum Application Guidelines for New or Returning Applicants After you have chosen whether you would like to audition for the BEGINNER/INTERMEDIATE, ADVANCED or SEMI-PRO
More informationJazz Solo Transcription Excerpts
Jazz Solo Transcription Excerpts CBW Jazz Ensemble Audition 2017-2018 Perform the following excerpts from classic azz solos and include them in your recording. In most cases, there are no tempos and few
More information7. Components to Establish Time
7. Components to Establish Time a. Step 1 - Bass Notes Walking Bass This is the most common way solo jazz pianists use to establish time. Most people actual think, it s the only way which is a shame because
More informationSample assessment task. Task details. Content description. Task preparation. Year level 9
Sample assessment task Year level 9 Learning area Subject Title of task Task details Description of task Type of assessment Purpose of assessment Assessment strategy Evidence to be collected Suggested
More informationThe Classical Period
The Classical Period How to use this presentation Read through all the information on each page. When you see the loudspeaker icon click on it to hear a musical example of the concept described in the
More informationGROSSE POINTE SOUTH HIGH SCHOOL BAND AUDITIONS
GROSSE POINTE SOUTH HIGH SCHOOL BAND AUDITIONS GENERAL INFORMATION: Auditions will take place the week of April 23-27. Please see the sign-up sheets in the Band Room (room 25). There will be audition times
More information\it J 11 ;JJ' JJJ J J J J J i JJJ JIH JITTTB^
Snare Play from Beginning to end. Errata: Note: The accel. written in m. 25 should continue all the way to m. 29. The tempo marking at m. 27 is merely a reference point serving as the midway tempo of the
More informationSyllabus List. Beaming. Cadences. Chords. Report selections. ( Syllabus: AP* Music Theory ) Acoustic Grand Piano. Acoustic Snare. Metronome beat sound
Report selections Syllabus List Syllabus: AP* Music Theory SYLLABUS AP* Music Theory AP is a registered trademark of the College Board, which was not involved in the production of, and does not endorse,
More informationJAZZ, INSTRUMENT AND VOICE PERFORMANCE
Unofficial translation from the original Finnish document JAZZ, INSTRUMENT AND VOICE PERFORMANCE Bachelor s degree. 4 Instrument performance and expression... 4 Ensemble skills... 4 Structural awareness
More informationREVIEW III MUSIC 331: History of Jazz, Summer 2012
REVIEW III MUSIC 331: History of Jazz, Summer 2012 Short Answer Questions Characteristics of Free Jazz Highly dissonant Lack of formal harmonic or rhythmic structure Use of polytonal approach Emphasis
More informationPreview Only. Legal Use Requires Purchase. My Ship JAZZ. Lyrics by IRA GERSHWIN Music by KURT WEILL Arranged by DAVE RIVELLO INSTRUMENTATION
a division of Alfred JAZZ Conductor 1st Eb Alto Saxophone 2nd Eb Alto Saxophone 1st Bb Tenor Saxophone 2nd Bb Tenor Saxophone Eb Baritone Saxophone 1st Bb Trumpet 2nd Bb Trumpet 3rd Bb Trumpet 4th Bb Trumpet
More informationbattered cornet which dates back to the time of the Civil War. ARCHIE SHEPP (born May 24, 1937 in Philadelphia) worked with Cecil Taylor in 1960 and
F U S I O N O n this record is heard a new American jazz group, certainly one of the most important in recent years and yet one with which the American jazz public has had almost no opportunity of getting
More informationDEVELOPMENTS IN INSTRUMENTAL JAZZ; 1910 TO THE PRESENT DAY: AOS3
DEVELOPMENTS IN INSTRUMENTAL JAZZ; 1910 TO THE PRESENT DAY: AOS3 195 Duke Ellington Edward Kennedy Duke Ellington (1899 1974) was from Washington D.C. and was introduced to classical piano by music-loving
More informationTHE ELEMENTS OF MUSIC
THE ELEMENTS OF MUSIC WORKBOOK Page 1 of 23 INTRODUCTION The different kinds of music played and sung around the world are incredibly varied, and it is very difficult to define features that all music
More information5. The JPS Solo Piano Arranging System
5. The JPS Solo Piano Arranging System a. Step 1 - Intro The combination of your LH and RH components is what is going to create the solo piano sound you ve been looking for. The great thing is that these
More informationDOWNLOAD PDF LESS COMMON METERS : C CLEFS AND HARMONIC PROGRESSION
Chapter 1 : Developing Musicianship Through Aural Skills : Mary Dobrea-Grindahl : Simple meter, rests and phrases: the major mode, major triads and tonic function --Compound meters, ties and dots: the
More informationDrum Set. For the School Jazz Ensemble. Jim Catalano
Drum Set For the School Jazz Ensemble Jim Catalano Objective This is not to teach you how to play drum set. Goal is to give you tips on how to guide drum set players. Understand the equipment of drummers.
More information2016 HSC Music 1 Aural Skills Marking Guidelines Written Examination
2016 HSC Music 1 Aural Skills Marking Guidelines Written Examination Question 1 Describes the structure of the excerpt with reference to the use of sound sources 6 Demonstrates a developed aural understanding
More informationRomantic is a term used to describe the music and art that was created from about 1810 to 1900.
1810-1900 Romantic is a term used to describe the music and art that was created from about 1810 to 1900. Romantic composers aimed to express more emotion in their music and looked for a greater freedom
More informationImprovised Tenor Saxophone Solos
Improvised Tenor Saxophone Solos 1 / 6 2 / 6 3 / 6 Improvised Tenor Saxophone Solos Perspectives: Resources for Jazz Education. Medium Swing medium swing in the style of the Count Basie Band. The top trumpet
More informationPractice. A new look at CAMBRIDGE SAXOPHONE
A new look at CAMBRIDGE SAXOPHONE repetition of an activity in order to improve skill We would all like to practice better. Time is short and there are always hundreds of things we could be doing, and
More informationJon Snydal InfoSys 247 Professor Marti Hearst May 15, ImproViz: Visualizing Jazz Improvisations. Snydal 1
Snydal 1 Jon Snydal InfoSys 247 Professor Marti Hearst May 15, 2004 ImproViz: Visualizing Jazz Improvisations ImproViz is available at: http://www.offhanddesigns.com/jon/docs/improviz.pdf This paper is
More informationTexas Bandmasters Association 2015 Convention/Clinic
How to Teach Improvisation and Integrate Into a Jazz Band Rehearsal CLINICIAN: Jim Snidero SPONSOR: Conn-Selmer, Inc. Texas Bandmasters Association 2015 Convention/Clinic JULY 23-26, 2015 HENRY B. GONZALEZ
More informationBrass Scales, Major (to be played in tongued quarter notes at a minimum speed of 110 bpm)
INSTRUMENTAL MUSIC AUDITIONS The mission of the instrumental music department is to present the finest degree of musical training available to high school students, emphasizing the development of the whole
More informationJazzing up Jazz Band
JB Dyas (left) works with the big band at Houston s High School for the Performing and Visual Arts. Jazzing up Jazz Band By JB Dyas, Ph.D. Presenting jazz workshops across the country on behalf of the
More informationWHAT IS BARBERSHOP. Life Changing Music By Denise Fly and Jane Schlinke
WHAT IS BARBERSHOP Life Changing Music By Denise Fly and Jane Schlinke DEFINITION Dictionary.com the singing of four-part harmony in barbershop style or the music sung in this style. specializing in the
More informationFlorida Performing Fine Arts Assessment Item Specifications _Intermediate_Elementary_1_Responding
Florida Performing Fine Arts Assessment Item Specifications 5013090_Intermediate_Elementary_1_Responding FRONT MATTER - ELEMENTARY Stimulus Attributes Response Attributes Written questions should be at
More informationI Can t Believe That You re in Love With Me Words and Music by CLARENCE GASKILL and JIMMY McHUGH Arranged by DARMON MEADER.
I Can t Believe That You re in Love With Me Words and Music by CLARENCE GASKILL and JIMMY McHUGH Arranged by DARMON MEADER Conductor Vocal Quartet (SATB) Vocal Solo (Female key of Eb) 1st Eb Alto Saxophone
More informationMUJS 5780 Project 4. Group Interaction Project. The term Jazz is often applied to many different nuances in music.
MUJS 5780 Project 4 Group Interaction Project The term Jazz is often applied to many different nuances in music. In a very general review the idea of improvisation and interaction seem paramount to a constant
More informationMastering the Language of Jazz
B b instruments Mastering the Language of Jazz Caleb Chapman Jeff Coffin 2013 Alfred Music Publishing Co., Inc. All Rights Reserved including Public Performance. Any duplication, adaptation or arrangement
More informationDixieland = Collective Improvisation. Bass Lines. More Information. Dr. Jazz (Bough) Audio. Tradition 1/8/2013. Dixieland Tuba 101:
Dixieland Tuba 101: Getting Started with Traditional Jazz, presented by Dr. Thomas Bough, Northern Illinois University, Dixieland = Collective Improvisation Everyone has a role.understand yours! Yamaha
More information