The Music-Culture as a World of Music
... • Voice paralleled by string section • Flute and Middle Eastern percussion • Fades in on first verse • Informal call and response between singer and audience ...
... • Voice paralleled by string section • Flute and Middle Eastern percussion • Fades in on first verse • Informal call and response between singer and audience ...
Lewis excerpts
... that subject in New York City (Revill 1992, 108-110). That this view of music would have social implications was fully recognized by Cage himself. Indeed, Cage's social and philosophical views form a prominent part of the literature about him. In the Kostelanetz interviews from 1987, Cage explicitly ...
... that subject in New York City (Revill 1992, 108-110). That this view of music would have social implications was fully recognized by Cage himself. Indeed, Cage's social and philosophical views form a prominent part of the literature about him. In the Kostelanetz interviews from 1987, Cage explicitly ...
Improvisation: Performer as co-composer
... de art contrapuncti (published 1477). What was written down was called res facta and what counterpoint was conceived aurally during the performance was called absolute counterpoint or singing super librum.1 Singers would improvise lines to fit over the chant that the tenor part would sing. Tinctoris ...
... de art contrapuncti (published 1477). What was written down was called res facta and what counterpoint was conceived aurally during the performance was called absolute counterpoint or singing super librum.1 Singers would improvise lines to fit over the chant that the tenor part would sing. Tinctoris ...
Improvisation: Performer as Co-composer
... de art contrapuncti (published 1477). What was written down was called res facta and what counterpoint was conceived aurally during the performance was called absolute counterpoint or singing super librum.1 Singers would improvise lines to fit over the chant that the tenor part would sing. Tinctoris ...
... de art contrapuncti (published 1477). What was written down was called res facta and what counterpoint was conceived aurally during the performance was called absolute counterpoint or singing super librum.1 Singers would improvise lines to fit over the chant that the tenor part would sing. Tinctoris ...
Improvisation: Performer as Co
... de art contrapuncti (published 1477). What was written down was called res facta and what counterpoint was conceived aurally during the performance was called absolute counterpoint or singing super librum.1 Singers would improvise lines to fit over the chant that the tenor part would sing. Tinctoris ...
... de art contrapuncti (published 1477). What was written down was called res facta and what counterpoint was conceived aurally during the performance was called absolute counterpoint or singing super librum.1 Singers would improvise lines to fit over the chant that the tenor part would sing. Tinctoris ...
Indian Music - Ms Jones` GCSE Class
... • Improvisation takes place according to strict rules of each particular Rag being performed. • Musicians learn Paltas (scalic melodic patterns) to help improve a players technique, these are used as the basis for tans (improvised breaks). • Tihai is often used to punctuate or end sections of improv ...
... • Improvisation takes place according to strict rules of each particular Rag being performed. • Musicians learn Paltas (scalic melodic patterns) to help improve a players technique, these are used as the basis for tans (improvised breaks). • Tihai is often used to punctuate or end sections of improv ...
VIEW THIS PAGE
... An approach to improvisation begun in the 1950s in an attempt to let solos off the leash imposed by a repeated theme or chord pattern — and to let groups improvise collectively, with the players listening and reacting instantly to each other’s ideas. Check out Ornette Coleman: Free Jazz. ...
... An approach to improvisation begun in the 1950s in an attempt to let solos off the leash imposed by a repeated theme or chord pattern — and to let groups improvise collectively, with the players listening and reacting instantly to each other’s ideas. Check out Ornette Coleman: Free Jazz. ...
Improvisation in Iranian and Indian music
... performance” might be more appropriate than “improvisation”. By “compositional”, we mean to imply a certain quality of considered crafting usually associated with written notation. Indeed, looking at the work of Western scholars writing in the early to mid-20th century, it can be seen that the use o ...
... performance” might be more appropriate than “improvisation”. By “compositional”, we mean to imply a certain quality of considered crafting usually associated with written notation. Indeed, looking at the work of Western scholars writing in the early to mid-20th century, it can be seen that the use o ...
Chapter 9
... From poor Russian-Jewish family Founded a big band orchestra and was featured on national radio show “Let’s Dance” Performed as both a jazz and classical artist on the clarinet ► Clarinet ...
... From poor Russian-Jewish family Founded a big band orchestra and was featured on national radio show “Let’s Dance” Performed as both a jazz and classical artist on the clarinet ► Clarinet ...
Wells Cathedral School Jazz Saxophone Programme Personnel
... Jazz Ensemble: the junior or training big band. This too is well established. Edward Leaker is the director of this group and meets weekly. Jazz Combo:This is a small band of piano, bass, drums and a front line of one or two saxophonists and brass players. It is directed by Andy Tweed and works on j ...
... Jazz Ensemble: the junior or training big band. This too is well established. Edward Leaker is the director of this group and meets weekly. Jazz Combo:This is a small band of piano, bass, drums and a front line of one or two saxophonists and brass players. It is directed by Andy Tweed and works on j ...
Language of Jazz pdf
... using lead sheets, their own transcriptions from albums and eventually their own compositions. ...
... using lead sheets, their own transcriptions from albums and eventually their own compositions. ...
Pedagogical strategies for free improvisation - Stoa
... of the Fugue, Beethoven’s Symphonies, Schoenberg’s pieces etc. Moreover, there are a lot of great jazz musicians like Charlie Parker, John Coltrane, Ornete Coleman and many others, who create their performances by using this kind of approach: picking up motifs and developing it through the chord cha ...
... of the Fugue, Beethoven’s Symphonies, Schoenberg’s pieces etc. Moreover, there are a lot of great jazz musicians like Charlie Parker, John Coltrane, Ornete Coleman and many others, who create their performances by using this kind of approach: picking up motifs and developing it through the chord cha ...
Melodic Techniques in Jazz Improvisation
... improvising?" - lead me to begin the discussion with a definition of melody and of melodic playing, and then to present an overview of the topics that I'll address in subsequent columns - the compositional techniques of melody writing, those aspects of a solo which lead us to think of it as melodic, ...
... improvising?" - lead me to begin the discussion with a definition of melody and of melodic playing, and then to present an overview of the topics that I'll address in subsequent columns - the compositional techniques of melody writing, those aspects of a solo which lead us to think of it as melodic, ...
Blues and the Pentatonic Scale
... responsibility of the improvising artist. Whether shredding up a Stratocaster solo, blowing changes on the bandstand, or spontaneously changing keys, tempo and meter, the improvising musician must master all elements of musical construction and form. ...
... responsibility of the improvising artist. Whether shredding up a Stratocaster solo, blowing changes on the bandstand, or spontaneously changing keys, tempo and meter, the improvising musician must master all elements of musical construction and form. ...
version pdf
... in which a musical text is written. For beginners the objective of this subsidiary subject is not, therefore, to train competent accompanists but rather to give the player or singer the wherewithal to base his or her interpretation on a well-founded analysis of the piece. For students who already ha ...
... in which a musical text is written. For beginners the objective of this subsidiary subject is not, therefore, to train competent accompanists but rather to give the player or singer the wherewithal to base his or her interpretation on a well-founded analysis of the piece. For students who already ha ...
Comparative (Ethno)Musicology. - Institut 13: Ethnomusikologie
... early scholars such as Hornbostel did not always construct grand comparative schemes in the way that for example Mieczyslaw Kolinski (1961; 1965) and Alan Lomax (1968) did later; but there is a comparative approach in Hornbostel’s general outline of small studies, which are all organized along the s ...
... early scholars such as Hornbostel did not always construct grand comparative schemes in the way that for example Mieczyslaw Kolinski (1961; 1965) and Alan Lomax (1968) did later; but there is a comparative approach in Hornbostel’s general outline of small studies, which are all organized along the s ...
spring17jazz_IV_1
... Coleman has said that one of the basic ideas of his music is to encorage the improvisor to be freer, and not to obey preconceived chord-pattern according to set ideas of „proper“ harmony and tonality: „ Let‘s play the music and not the background.“ „The most important thing was for us to play togeth ...
... Coleman has said that one of the basic ideas of his music is to encorage the improvisor to be freer, and not to obey preconceived chord-pattern according to set ideas of „proper“ harmony and tonality: „ Let‘s play the music and not the background.“ „The most important thing was for us to play togeth ...
01_front - Massey Research Online
... This thesis examines the unique musical and cultural elements particular to jazz improvisation. The topics of scales, melody, voicings, harmony and rhythm are examined in separate chapters with over two hundred notated musical examples used to demonstrate the materials in their context. This thesis ...
... This thesis examines the unique musical and cultural elements particular to jazz improvisation. The topics of scales, melody, voicings, harmony and rhythm are examined in separate chapters with over two hundred notated musical examples used to demonstrate the materials in their context. This thesis ...
John Cage and Improvisation – An Unresolved
... Bernstein chose to present Atlas Eclipticalis together with works by Morton Feldman (…Out of “Last Pieces”) and Earle Brown (Available Forms II) at the New York Philharmonic’s concerts on 6-9 February 1964. Perhaps because of Bernstein’s perception of a certain “improvisatory” quality of the chosen ...
... Bernstein chose to present Atlas Eclipticalis together with works by Morton Feldman (…Out of “Last Pieces”) and Earle Brown (Available Forms II) at the New York Philharmonic’s concerts on 6-9 February 1964. Perhaps because of Bernstein’s perception of a certain “improvisatory” quality of the chosen ...
Antecedent-Consequent Phrases», Part 1
... The Jazz Language It is not uncommon to speak of jazz as a language. Many books have been written on the subject, expounding on the uniqueness of this indigenous American art form. If jazz is a language, then it must have its own musical vocabulary, its own distinctive words and phrases that must be ...
... The Jazz Language It is not uncommon to speak of jazz as a language. Many books have been written on the subject, expounding on the uniqueness of this indigenous American art form. If jazz is a language, then it must have its own musical vocabulary, its own distinctive words and phrases that must be ...
Improvisation in Early Music Author(s): Ben Bechtel Source: Music
... Baroque music needs to have a solid grounding in those styles' most essential improvisatory features so that he or she can make spontaneous and musically appropriate choices when performing music written prior to 1750. However, performers still must rely on a basic musical sense that in many respect ...
... Baroque music needs to have a solid grounding in those styles' most essential improvisatory features so that he or she can make spontaneous and musically appropriate choices when performing music written prior to 1750. However, performers still must rely on a basic musical sense that in many respect ...
bebop
... improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes improvisation included references to the original melody or to other well-known melodic lines ("allusions," or "riffs"). Sometimes they were entirely original, spontaneous ...
... improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes improvisation included references to the original melody or to other well-known melodic lines ("allusions," or "riffs"). Sometimes they were entirely original, spontaneous ...
From Voice to Keyboard - Pavia University Press
... Peter Schubert is a professor at McGill University's Schulich School of Music. He has published two textbooks on counterpoint and numerous articles on Renaissance music. He conducts VivaVoce, an ensemble that has recently released several CDs. He has posted videos onYouTube illustrating the use of i ...
... Peter Schubert is a professor at McGill University's Schulich School of Music. He has published two textbooks on counterpoint and numerous articles on Renaissance music. He conducts VivaVoce, an ensemble that has recently released several CDs. He has posted videos onYouTube illustrating the use of i ...
Creative Practice as Research
... soloist by appropriate musical responses. The improvisation is given melodic, harmonic and formal structure as it is required to develop the thematic material, pass through given chord progressions and only last for the prescribed number of bars. ...
... soloist by appropriate musical responses. The improvisation is given melodic, harmonic and formal structure as it is required to develop the thematic material, pass through given chord progressions and only last for the prescribed number of bars. ...
