Homage To Professor Longhair

Transcription

1 Hmage T Prfessr Lnghair Henry Reland Bryd, better knw as Prfessr Lnghair, is a legendary blues pianist and singer wh played a big part in the histry f New Orleans music. His icnic cmbinatin f the rumba with blues, bgie-wgie, and "secnd line" parade rhythms influenced New Orleans' greatest pian players including Fats Dmin, Eddie B, James Bker, and Dr. Jhn. This lessn will intrduce students t the basics f "secnd line" rhythmic patterns frm New Orleans and their ties t Afr-Cuban traditins. Review the basics f the rhythmic pattern called clave, named after the traditinal tw-stick percussin instrument with ur earlier featured lessn. Overall Objectives: As needed, students will listen t varius recrdings f "secnd line" cmpsitins and discuss style, instrumentatin, temp, and frm. Students will learn abut the life and musical significance f Henry Reland Bryd, better knw as Prfessr Lnghair. Students will explre and perfrm basic "secnd line", habanera, and bambula rhythmic patterns. Materials and Resurces: Cmputer with a brwser such as Chrme, Safari r Firefx, t access the Berklee PULSE website (Request a PULSE dem accunt) Prjectr, PA system "Hmage T Prfessr Lnghair" sheet music fr ensemble Suggested nline resurces Suggested nline resurces: Review Reading: The Cuban Sn Clave La Clave Reading: Prfessr Lnghair Bigraphy Prfessr Lnghair Rck and Rll Hall f Fame Secnd Line (parade) Drumming Habanera Histry f Mardi Gras Listening: "Hmage t Prfessr Lnghair" Tmmy Igr Secnd Line Grve Bernard Purdie Secnd Line Rhythm New Orleans Secnd Lines 1

2 PULSE Cnnectins: (request a dem here) "Hmage T Prfessr Lnghair" "Hmage T Prfessr Lnghair" sheet music fr ensemble Quimbara Mamb N. 5 Rhythm Level 1, 2, and 3 Assessment: Infrmal assessment thrugh class discussin and participatin Frmal assessment thrugh practice and perfrmance f all rhythmic patterns presented in the lessn Instructinal Activity Ideas: The available time in yur curriculum will determine hw much yu incrprate frm the fllwing suggested activities. This is meant as a cumulative experience based n musicianship cncepts and training presented inside the Berklee PULSE Music Methd site. 1. Review rumba and sn clave patterns frm Berklee PULSE's "The Clave" lessn. 2. Using the suggested nline readings (r ther materials selected by the teacher) present the rigins and evlutin f "secnd line" parade drumming. a. The term "secnd line" refers t the literal secnd line f musicians that wuld ften cngregate behind a marching band playing at a funeral march r Mardi Gras celebratin. There were usually tw main drummers in the secnd line: bass drum and snare drum players. The rhythms f the secnd line parade are a cmpsite f native and imprted musical traditins that include features f standard marches, African-American church music and slave dances, and Caribbean rhythms like the sn and the rumba. These drumming patterns are traditinally swung with the interactin between snare accents and the traditinal bass drum variatins at the cre f the "secnd line" rhythmic style. b. Listen t varius recrdings f "secnd line" drumming cmpsitins and discuss style, instrumentatin, temp, frm. 3. Analyze the "secnd line" rhythms. a. This can be dne using bdy percussin, varius classrm percussin instruments, r instruments students have made. b. Alne, in pairs, r small grups, students can practice the rhythmic patterns alng with a recrding selected by the teacher, an audi file f the rhythmic patterns (prvided belw), r sme ther click, such as a metrnme. "Secnd Line" Rhythmic Patterns Intrduce each pattern separately and have students learn and perfrm each ne separately. View "The Clave" lessn fr a deeper dive int the different rhumba and sn clave patterns. 2

3 3-2 Sn Clave 3-2 sn clave with "secnd line" snare accents Habanera In Cuba, the habanera is the first written music t be rhythmically based n an African rhythmic pattern and is the first Cuban dance t gain internatinal ppularity. These rhythms are prminently heard in New Orleans and "secnd line" music. 3

4 Prfessr Lnghair used the habanera as the rhythmic fundatin fr his blues entitled "Big Chief". Listen t the habanera pattern in the fllwing pian and bass excerpts frm ur grve entitled "Hmage T Prfessr Lnghair". "Hmage T Prfessr Lnghair (Pian) 4

5 "Hmage T Prfessr Lnghair" (Bass) 5

6 Bambula The Bambula dance has an accmpanying rhythm analgus t the Afr-Cuban clave. Listen t the bambula pattern in the bass drum part in the fllwing drum excerpt. "Hmage T Prfessr Lnghair" (Drums) 4. Nw listen t the "Hmage T Prfessr Lnghair" grve t hear hw the habanera and bambula patterns are incrprated int a full arrangement! 5. Have students experiment with the fllwing: a. Play the "secnd line" patterns at varius temps b. Play the "secnd line" patterns n different percussin instruments c. Imprvise ther rhythmic patterns ver the "secnd line" patterns d. Add a meldy ver the "secnd line" patterns e. If students have access t a DAW, have them create a cmpsitin with ne f the "secnd line" rhythms 6

7 6. Challenge the students t identify the "secnd line" patterns in the "Hmage T Prfessr Lnghair" grve. After listening, analyze and discuss the fllwing: a. Can yu identify the "secnd line" pattern the sng is based n? b. Can yu identify what instruments are playing the rhythmic examples abve? d. Describe the meldy and frm. e. Clap, tap, r play the "secnd line" patterns alng with the sng. Fllw-up Activities: 1. Play the grve at different temps. 2. Play the grve n pitched instruments. 3. Have each student in the ensemble imprvise ver the grve. 4. Review the traditinal harmny f "secnd line" parade music, which utlines a 12-bar blues frm. 7