John Cage and Improvisation – An Unresolved
... to the note-to-note procedure, and form is the “morphological line of the soundcontinuity” (Kostelanetz 1968:78-79). The element of improvisation within these categories is not completely excluded. During the time period of the late 1930s and 1940s, when Cage created his all-percussion works and com ...
... to the note-to-note procedure, and form is the “morphological line of the soundcontinuity” (Kostelanetz 1968:78-79). The element of improvisation within these categories is not completely excluded. During the time period of the late 1930s and 1940s, when Cage created his all-percussion works and com ...
Reverse Engineering the Sound of Jazz
... A range of approximately one octave can be played on the alto saxophone mouthpiece alone, from C5 (523.3 Hz) to C6 (1047 Hz). Classical saxophone pedagogue Rousseau teaches that a characteristic alto saxophone tone quality will be produced if the player produces a tone of A5 (880 Hz) when playing th ...
... A range of approximately one octave can be played on the alto saxophone mouthpiece alone, from C5 (523.3 Hz) to C6 (1047 Hz). Classical saxophone pedagogue Rousseau teaches that a characteristic alto saxophone tone quality will be produced if the player produces a tone of A5 (880 Hz) when playing th ...
A GUIDE TO PEDAGOGICAL RESOURCES FOR IMPROVISATION
... to the above-mentioned jazz violinists and other artists such as Miles Davis, John Coltrane, and Charlie Parker, he decided to dedicate his musicianship to jazz.7 He has also been a major innovator in the use of the electric violin and amplification. The evolution of this tradition has led to violin ...
... to the above-mentioned jazz violinists and other artists such as Miles Davis, John Coltrane, and Charlie Parker, he decided to dedicate his musicianship to jazz.7 He has also been a major innovator in the use of the electric violin and amplification. The evolution of this tradition has led to violin ...
Highlife Jazz: A Stylistic Analysis of the Music of Felá Anikulapo Kuti
... Highlife songs are in English, pidgin and occasionally local languages. The band comprises horns, guitars, drums and percussion. Highlife can be divided into two types; one is based on the 4/4 metre while the other is on the 12/8 metre. They are both distinguished by their metres. Its idiomatic con ...
... Highlife songs are in English, pidgin and occasionally local languages. The band comprises horns, guitars, drums and percussion. Highlife can be divided into two types; one is based on the 4/4 metre while the other is on the 12/8 metre. They are both distinguished by their metres. Its idiomatic con ...
York: Oxford University Press, 1995. xvi, 323 pp.
... the term, implies something more than a historical style period, for bebop also refers to a general approach to the basic materials of jazz that has not been substantially altered since Charlie Parker. The word "bebop" has become synonymous with the jazz musician's concept of playing "straightahead. ...
... the term, implies something more than a historical style period, for bebop also refers to a general approach to the basic materials of jazz that has not been substantially altered since Charlie Parker. The word "bebop" has become synonymous with the jazz musician's concept of playing "straightahead. ...
Approaching Jazz-Influenced Wind Music
... heading for convenience, they are in fact very disparate, as they represent both American and European responses to jazz in the 1920s, when jazz was a relatively new style, and the 1940s, when it was far more developed. Thus, the nature of the jazz influence on the composers and the way this manifes ...
... heading for convenience, they are in fact very disparate, as they represent both American and European responses to jazz in the 1920s, when jazz was a relatively new style, and the 1940s, when it was far more developed. Thus, the nature of the jazz influence on the composers and the way this manifes ...
Creative Practice as Research
... consisting of shorter note values. The relatively slow rhythmic movement in the minuet is also contained by a dotted minim ground bass featured in the contrabass. A syncopated weak/strong effect in section B adds variety to this line. These effects, which make the contrasting section busier, also pr ...
... consisting of shorter note values. The relatively slow rhythmic movement in the minuet is also contained by a dotted minim ground bass featured in the contrabass. A syncopated weak/strong effect in section B adds variety to this line. These effects, which make the contrasting section busier, also pr ...
bebop
... the cornerstones of the new music; Charlie Parker did the same with bassist Gene Ramey while with McShann's group. These forerunners of the new music (which would later be termed "bebop", or "bop"-although Parker himself never used that term, feeling it demeaned the music) began exploring advanced h ...
... the cornerstones of the new music; Charlie Parker did the same with bassist Gene Ramey while with McShann's group. These forerunners of the new music (which would later be termed "bebop", or "bop"-although Parker himself never used that term, feeling it demeaned the music) began exploring advanced h ...
Comparative (Ethno)Musicology. - Institut 13: Ethnomusikologie
... that can be compiled in a glossary, we still need to find a way to explicate these terms and the musical concepts they imply. Thus, we will have to translate notions and conceptualizations from one musical and language system to another one. Today this will not only be the currently dominant languag ...
... that can be compiled in a glossary, we still need to find a way to explicate these terms and the musical concepts they imply. Thus, we will have to translate notions and conceptualizations from one musical and language system to another one. Today this will not only be the currently dominant languag ...
Lewis excerpts
... spontaneity and uniqueness was informed by his studies of Zen and in particular by his attendance at Daisetz Suzuki's early 1950s lectures on 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, Cag ...
... spontaneity and uniqueness was informed by his studies of Zen and in particular by his attendance at Daisetz Suzuki's early 1950s lectures on 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, Cag ...
Melodic Techniques in Jazz Improvisation
... In this new column about utilizing the art of melody in jazz improvisation I would like to present my ideas and examples as a series. Two questions that come up immediately - "what is a melody?", and "what is melodic improvising?" - lead me to begin the discussion with a definition of melody and of ...
... In this new column about utilizing the art of melody in jazz improvisation I would like to present my ideas and examples as a series. Two questions that come up immediately - "what is a melody?", and "what is melodic improvising?" - lead me to begin the discussion with a definition of melody and of ...
01_front - Massey Research Online
... 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 also seeks to explain the relationships between these elements and presents the material in a fonn a ...
... 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 also seeks to explain the relationships between these elements and presents the material in a fonn a ...
Glossary of Jazz Terminology
... by the chronological date in which they were first pioneered, so as to show the evolution of jazz music over time. Dixie, Dixieland, New Orleans: a type of jazz originating in New Orleans in the late 1910s and early 1920s with strong 2/4 or 4/4 rhythms (see time signature) and several horns, each pl ...
... by the chronological date in which they were first pioneered, so as to show the evolution of jazz music over time. Dixie, Dixieland, New Orleans: a type of jazz originating in New Orleans in the late 1910s and early 1920s with strong 2/4 or 4/4 rhythms (see time signature) and several horns, each pl ...
Mirage: Avant-Garde and Third-Stream Jazz
... Challis, but was rather an additional distinctive musical resource which they exploited eagerly and ingeniously. No other instrument then available in jazz could equal the sustaining ability of the violin, its ease and brilliance in the upper register, and finally’ its unique timbre. When Charlie P ...
... Challis, but was rather an additional distinctive musical resource which they exploited eagerly and ingeniously. No other instrument then available in jazz could equal the sustaining ability of the violin, its ease and brilliance in the upper register, and finally’ its unique timbre. When Charlie P ...
Antecedent-Consequent Phrases», Part 1
... b7 to 3 resolution Jazz players understand the importance of being able to improvise on the «changes». That is, the ability to effectively delineate chords during a solo improvisation. Chord arpeggiation or change running, as it is sometimes called, is a fundamental technique required from every jaz ...
... b7 to 3 resolution Jazz players understand the importance of being able to improvise on the «changes». That is, the ability to effectively delineate chords during a solo improvisation. Chord arpeggiation or change running, as it is sometimes called, is a fundamental technique required from every jaz ...
Blues and the Pentatonic Scale
... 2. Classic Jazz (New Orleans Jazz): At the beginning of the 20 century, the “New Orleans,” or "Classic Jazz" style arose with brass bands that were performing for parties and dances in the late 1800's and early 1900's. Many of the musical instruments had been salvaged from the Confederate War; the c ...
... 2. Classic Jazz (New Orleans Jazz): At the beginning of the 20 century, the “New Orleans,” or "Classic Jazz" style arose with brass bands that were performing for parties and dances in the late 1800's and early 1900's. Many of the musical instruments had been salvaged from the Confederate War; the c ...
MUH 2116 Evolution of Jazz Study Guide for MIDTERM EXAM
... colorful sounds than on simplicity and swing feeling? What is “Sweet” swing and what is “Hot” swing; differences? How did they call a big band that emphasized pretty arrangements and vocals more than improvised jazz solos? Is it true that all big bands had a great deal of freedom for soloists? What ...
... colorful sounds than on simplicity and swing feeling? What is “Sweet” swing and what is “Hot” swing; differences? How did they call a big band that emphasized pretty arrangements and vocals more than improvised jazz solos? Is it true that all big bands had a great deal of freedom for soloists? What ...
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 ...
Language of Jazz pdf
... and move as little as possible when they must change. Pianists usually voice chords within the two octaves surrounding middle C. As with any rules of or theories about music, these suggestions can be and often are ignored. Nevertheless, these remain good guidelines for beginning players. ...
... and move as little as possible when they must change. Pianists usually voice chords within the two octaves surrounding middle C. As with any rules of or theories about music, these suggestions can be and often are ignored. Nevertheless, these remain good guidelines for beginning players. ...
Wells Cathedral School Jazz Saxophone Programme Personnel
... There are three entry levels to the course. Elementary, Intermediate and Advanced. What level the student is working at will depend on their first study teacher but as a guide we anticipate that Elementary will be for children from Years 7 - 9. Intermediate - Years 10 & 11, Advanced - Years 12 & 13. ...
... There are three entry levels to the course. Elementary, Intermediate and Advanced. What level the student is working at will depend on their first study teacher but as a guide we anticipate that Elementary will be for children from Years 7 - 9. Intermediate - Years 10 & 11, Advanced - Years 12 & 13. ...
JAZZ - Sites
... • Another important influence in the development of Jazz. • Style supposedly grew out of the field hollers that African laborers sung as they worked before and after the Civil War. • In the early 1900s, bluesmen began to play these songs for entertainment at dances and juke joints in the Mississippi ...
... • Another important influence in the development of Jazz. • Style supposedly grew out of the field hollers that African laborers sung as they worked before and after the Civil War. • In the early 1900s, bluesmen began to play these songs for entertainment at dances and juke joints in the Mississippi ...
Chapter 9
... swing; created bebop style Different from swing in that it was for listening, not dancing and was a return to small ensembles (as opposed to large swing orchestras) Trumpeter John Birks “Dizzy” Gillespie and Saxophonist Charlie “Yardbird” Parker regarded as pioneers of bebop Chromatic melodies ...
... swing; created bebop style Different from swing in that it was for listening, not dancing and was a return to small ensembles (as opposed to large swing orchestras) Trumpeter John Birks “Dizzy” Gillespie and Saxophonist Charlie “Yardbird” Parker regarded as pioneers of bebop Chromatic melodies ...
7 The Future of Chan..
... blended Renaissance music with jazz. (Garbarek. 1993) The first was called Officium and was a best seller, this work was followed by a sequel called Mnemosyne in 1999. "What is this music?" Fundamentally, it's an exploration of what happens when an improvisatory instrumental voice (saxophone) is pl ...
... blended Renaissance music with jazz. (Garbarek. 1993) The first was called Officium and was a best seller, this work was followed by a sequel called Mnemosyne in 1999. "What is this music?" Fundamentally, it's an exploration of what happens when an improvisatory instrumental voice (saxophone) is pl ...
Music Theory IV Dr. Feezell Midterm Review Sheet
... 2. Bebop jazz scale-chords: Because performance practice of the boppers varied, I will not include bebop scale ID/notation on the test. Instead, know the following: Why did the bebop jazz artists add extra chromatic notes so often? 3. Define “avoid note” (or more accurately, “handle with care note”) ...
... 2. Bebop jazz scale-chords: Because performance practice of the boppers varied, I will not include bebop scale ID/notation on the test. Instead, know the following: Why did the bebop jazz artists add extra chromatic notes so often? 3. Define “avoid note” (or more accurately, “handle with care note”) ...
Free jazz
For the Ornette Coleman album see Free Jazz: A Collective Improvisation.Free jazz is an approach to jazz music that was first developed in the 1950s and 1960s. Though the music of free jazz composers varied widely, a common feature was dissatisfaction with the limitations of bebop, hard bop, and modal jazz that had developed in the 1940s and 1950s. Free jazz musicians attempted to alter, extend, or break down jazz convention, often by discarding fixed chord changes or tempos. While usually considered avant-garde, free jazz has also been described as an attempt to return jazz to its primitive, often religious, roots and emphasis on collective improvisation.As its name implies, free jazz cannot be defined more than loosely, as many musicians draw on free jazz concepts and idioms, and it was never completely distinct as a genre. Many free jazz musicians, notably Pharoah Sanders and John Coltrane, used harsh overblowing or other techniques to elicit unconventional sounds from their instruments, or played unusual instruments. Free jazz musicians created a progressive musical language which drew on earlier styles of jazz such as Dixieland jazz and African music. Typically this kind of music is played by small groups of musicians. The music often swings but without regular meter, and there are frequent accelerandi and ritardandi.Free jazz is strongly associated with the 1950s innovations of Ornette Coleman and Cecil Taylor and the later works of saxophonist John Coltrane. Other important pioneers include Charles Mingus, Eric Dolphy, Albert Ayler, Archie Shepp, Joe Maneri and Sun Ra. Coleman pioneered many techniques typical of free jazz, most notably his rejection of pre-written chord changes, believing instead that freely improvised melodic lines should serve as the basis for harmonic progression in his compositions. Some of bassist Charles Mingus's work was also important in establishing free jazz. Of particular note are his early Atlantic albums, such as The Clown, Tijuana Moods, and most notably Pithecanthropus Erectus, the title song of which contained one section that was freely improvised in a style unrelated to the song's melody or chordal structure. Although today ""free jazz"" is the generally used term, many other terms were used to describe the loosely defined movement, including ""avant-garde"", ""energy music"" and ""The New Thing"". During its early and mid-60s heyday, much free jazz was released by established labels such as Prestige, Blue Note, and Impulse, as well as independents such as ESP Disk and BYG Actuel.Keith Johnson of AllMusic describes a ""Modern Creative"" genre, in which ""musicians may incorporate free playing into structured modes -- or play just about anything."" Johnson includes John Zorn, Henry Kaiser, Eugene Chadbourne, Tim Berne, Bill Frisell, Steve Lacy, Cecil Taylor, Ornette Coleman, and Ray Anderson in this genre, which continues ""the tradition of the '50s to '60s free-jazz mode"".