Chord Progressions
... specified duration that harmonizes with the melody. Except for styles such as rap and free jazz, chord progressions are an essential building block of contemporary western music establishing the basic framework of a song. If you take a look at a large number of popular songs, you will find that cert ...
... specified duration that harmonizes with the melody. Except for styles such as rap and free jazz, chord progressions are an essential building block of contemporary western music establishing the basic framework of a song. If you take a look at a large number of popular songs, you will find that cert ...
Blues and Other Popular Styles
... with the name of its root (and quality) plus the label 6 or (add6). If you see C6 or Cadd6, write a C major triad plus a M6 (A); if you see Cm6 or Cmin(add6), write a C minor triad plus a M6. Look at Example 12.14 for another type of chord extension: the ninth chord. In measure 22, the F9 chord cons ...
... with the name of its root (and quality) plus the label 6 or (add6). If you see C6 or Cadd6, write a C major triad plus a M6 (A); if you see Cm6 or Cmin(add6), write a C minor triad plus a M6. Look at Example 12.14 for another type of chord extension: the ninth chord. In measure 22, the F9 chord cons ...
Kind of Blue modal jazz SAMUEL BARRETT Abstract
... racial integration cannot be ignored. The presence of a white man, Bill Evans, in the most high profile jazz band at the time was offensive to some African-Americans, and accusations that Evans ‘didn’t play hard enough and fast enough’, as epitomised by his playing on Kind of Blue, soon followed.4 I ...
... racial integration cannot be ignored. The presence of a white man, Bill Evans, in the most high profile jazz band at the time was offensive to some African-Americans, and accusations that Evans ‘didn’t play hard enough and fast enough’, as epitomised by his playing on Kind of Blue, soon followed.4 I ...
The Blues in Wes Montgomery`s Compositional and Improvisational
... The Blues in Wes Montgomery’s Compositional and Improvisational Style ...
... The Blues in Wes Montgomery’s Compositional and Improvisational Style ...
JAY MCSHANN's HOOTIE BLUES
... however that this “feel” does transfer to the right hand at times and can only be fully understood by listening to the recording. Remembering that the below eighth notes are swung as described on ...
... however that this “feel” does transfer to the right hand at times and can only be fully understood by listening to the recording. Remembering that the below eighth notes are swung as described on ...
Ostinato - violinsection
... other songs. Andrae Crouch extended the use of vamps in gospel, introducing chain vamps (one vamp after the other, each successive vamp drawn from the first).[20] 1970s-era funk music often takes a short one or two bar musical figure based on a single chord that would be considered an introduction v ...
... other songs. Andrae Crouch extended the use of vamps in gospel, introducing chain vamps (one vamp after the other, each successive vamp drawn from the first).[20] 1970s-era funk music often takes a short one or two bar musical figure based on a single chord that would be considered an introduction v ...
African Music and the Pre-Jazz Era
... brought to the New World. By the end of the 19th century, these traditional song forms had changed and adapted themselves to their new environment, and in some cases incorporated elements of European music in their performance. This crossfertilization of musical cultures was essential to the birth o ...
... brought to the New World. By the end of the 19th century, these traditional song forms had changed and adapted themselves to their new environment, and in some cases incorporated elements of European music in their performance. This crossfertilization of musical cultures was essential to the birth o ...
THE BLUES SCALE Phillip Pedler This scale is so often overlooked
... The pentatonic (five-note) scale is close to universal, being used by almost all cultures throughout the world. It is generally assumed that the pentatonic scale was the predominant mode for the making of melody in Western Africa. According to Sargeant (1976): ...it is just as difficult to prove tha ...
... The pentatonic (five-note) scale is close to universal, being used by almost all cultures throughout the world. It is generally assumed that the pentatonic scale was the predominant mode for the making of melody in Western Africa. According to Sargeant (1976): ...it is just as difficult to prove tha ...
music
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
Blues theory - Virtual Music School
... Just like major and minor scales, each major pentatonic scale has its relative minor penta, since they are just inversions of each other. C-major penta has the same notes as A-minor penta. In fact, a pentatonic scale is the same as a ‘normal’ diatonic scale, with two omissions: the 4th and 7th note ...
... Just like major and minor scales, each major pentatonic scale has its relative minor penta, since they are just inversions of each other. C-major penta has the same notes as A-minor penta. In fact, a pentatonic scale is the same as a ‘normal’ diatonic scale, with two omissions: the 4th and 7th note ...
Kamavardhini and the Blues scale – just one step and one note
... The 51st melakarta raga, has the following notes (ascend and descend) ārohaṇa: S R1 G3 M2 P D1 N3 S avarohaṇa: S N3 D1 P M2 G3 R1 S ...
... The 51st melakarta raga, has the following notes (ascend and descend) ārohaṇa: S R1 G3 M2 P D1 N3 S avarohaṇa: S N3 D1 P M2 G3 R1 S ...
Impact of the Blues on Other Forms of Popular Music
... performed significant blues recordings. The blues scale is often used in popular songs like Harold Arlen's “Blues in the Night”, blues ballads like “Since I Fell for You” and “Please Send Me Someone to Love”, and even in orchestral works such as George Gershwin’s “Rhapsody in Blue” and “Concerto in ...
... performed significant blues recordings. The blues scale is often used in popular songs like Harold Arlen's “Blues in the Night”, blues ballads like “Since I Fell for You” and “Please Send Me Someone to Love”, and even in orchestral works such as George Gershwin’s “Rhapsody in Blue” and “Concerto in ...
Blues Chords and Scales in E Minor (G Major)
... Blues Chords and Scales in E Minor (G Major) The blues is a very influential style of music. It is the principal inspiration for what eventually became rock music. The basic blues chord progression is based on a repeated 12 bar pattern. This is called the 12-Bar Blues. The diagram below illustrating ...
... Blues Chords and Scales in E Minor (G Major) The blues is a very influential style of music. It is the principal inspiration for what eventually became rock music. The basic blues chord progression is based on a repeated 12 bar pattern. This is called the 12-Bar Blues. The diagram below illustrating ...
File - BRMS Orchestra and Chorus
... instruments, especially the guitar. – Ex. Jimi Hendrix, Eric Clapton, Buddy Guy, John Mayer, etc. -Guitarists, like singers, can ‘bend’ any tone they want sliding from pitch to pitch, creating what we call “blue tonality”. -Blues singers also ‘bend’ or flatten certain notes of the scale as they sing ...
... instruments, especially the guitar. – Ex. Jimi Hendrix, Eric Clapton, Buddy Guy, John Mayer, etc. -Guitarists, like singers, can ‘bend’ any tone they want sliding from pitch to pitch, creating what we call “blue tonality”. -Blues singers also ‘bend’ or flatten certain notes of the scale as they sing ...
12 Bar Blues - Harris Girls` Academy East Dulwich
... Boom’ and ‘One Bourbon, One Scotch, One Beer.’ John Lee Hooker was one of the most inspirational figures that influenced blues musicians such as The Rolling Stones. ...
... Boom’ and ‘One Bourbon, One Scotch, One Beer.’ John Lee Hooker was one of the most inspirational figures that influenced blues musicians such as The Rolling Stones. ...
Everybody`s Got The Blues Musical Elements of
... melody. Most blues melodies are riffs. It probably began in the 19th century, an improvised solo cry or whale used in work songs. 5. Blue Notes: Blue notes are an important part of the blue’s tone color. They are perhaps best described as slightly flatted thirds, fifths, sixths and seventh notes of ...
... melody. Most blues melodies are riffs. It probably began in the 19th century, an improvised solo cry or whale used in work songs. 5. Blue Notes: Blue notes are an important part of the blue’s tone color. They are perhaps best described as slightly flatted thirds, fifths, sixths and seventh notes of ...
“Crazy Blues” T
... his tunes. Bradford backed up Smith with a band, the Jazz Hounds. The result: “Crazy Blues” was a blockbuster hit, demonstrating that the African American listening audience was an untapped market for the recording industry. This inspired OKeh (and other labels) to produce more recordings of African ...
... his tunes. Bradford backed up Smith with a band, the Jazz Hounds. The result: “Crazy Blues” was a blockbuster hit, demonstrating that the African American listening audience was an untapped market for the recording industry. This inspired OKeh (and other labels) to produce more recordings of African ...
The Blues - bYTEBoss
... Evolved from an unaccompanied vocal music and oral tradition from African Americans Evolved from spirituals, work songs, field hollers, shouts and chants as well as rhymed English and Scots-Irish narrative ballads. ...
... Evolved from an unaccompanied vocal music and oral tradition from African Americans Evolved from spirituals, work songs, field hollers, shouts and chants as well as rhymed English and Scots-Irish narrative ballads. ...
Slide 1
... Performance or interaction with the music can be seen as a means of ridding oneself of "the blues." Many jazz players of all schools have held that a musician’s ability to play the blues expressively is a measure of his or her quality. ...
... Performance or interaction with the music can be seen as a means of ridding oneself of "the blues." Many jazz players of all schools have held that a musician’s ability to play the blues expressively is a measure of his or her quality. ...
Hoochie Coochie Man
""Hoochie Coochie Man"" (originally titled ""I'm Your Hoochie Cooche Man"") is a blues standard written by Willie Dixon and first recorded by Muddy Waters in 1954. The song references hoodoo folk magic elements and makes novel use of a stop-time musical arrangement. It became one of Waters' most popular and identifiable songs and helped secure Dixon's role as Chess Records' chief songwriter.The song is a classic of Chicago blues and one of Waters' first recordings with a full backing band. Dixon's lyrics build on Waters' earlier use of braggadocio and themes of fortune and sex appeal. The stop-time riff was ""soon absorbed into the lingua franca of blues, R&B, jazz, and rock and roll"", according to musicologist Robert Palmer, and is used in several popular songs. When Bo Diddley adapted it for ""I'm a Man"", it became one of the most recognizable musical phrases in blues.After the song's initial success in 1954, Waters recorded several live and new studio versions. The original appears on the 1958 The Best of Muddy Waters album and many compilations. Numerous musicians have recorded ""Hoochie Coochie Man"" in a variety of styles, making it one of the most interpreted Waters and Dixon songs. The Blues Foundation and the Grammy Hall of Fame recognize the song for its influence in popular music and the US Library of Congress' National Recording Registry selected it for preservation in 2004.