Ella’s version is a complete jazz retooling, with a backing piano taking center stage along with a slow drum beat keeping time with her crooning voice. There is a quieter, less booming quality to the backing music, filled with lots of variation and scattering in Fitzgerald’s vocal interpretation of the lyrics. An upright bass fills in the cracks with a consistent chord progression that creates a more upbeat feeling in the song’s structure. Ella’s version is definitely meant for the audience to be dancing along to the groove, rather than quietly sitting in their chairs listening. Tony Bennett’s gentle swing version recorded with his jazz group in 1964 follows this pattern as well; the tone in this version is triumphantly cheerful, as this band plays the song courageously and carefully creates a relaxed, danceable feeling.
Introduction “For there 's Basie, Miller, Satchmo and the king of all Sir Duke.” Stevie Wonder. There is no bigger name in the history of American music, especially in Jazz, than Duke Ellington. But many don’t know the man behind many of Sir Duke’s timeless classics, that man is Billy Strayhorn. It is said these two had a symbiotic relationship where neither would have been as good without the other. Strayhorn, the genius composer and arranger, to Ellington the charismatic performer and band leader the world knew and loved.
His music had this easy to listen to presence. It was smooth without being complicated by drastic changes. “Still’s music incorporates styles derived from blues and jazz, and his songs, operas, ballets, and symphonic works return again and again to African American subjects and stories.” (Kerman and Tomlinson) Still was able to create a distinct sound and style by taking a mixture of different music. “He 's already amazingly assured in handling orchestral sounds and adept at mingling the idioms of the blues with the unwieldy forces of a full orchestra.” (Morin) The fairly difficult piece of music I chose is “Music for Strings, Percussion, and Celesta” by Bela Bartok. This piece of music is fairly difficult because of everything that you hear.
• In the Mood: by Glen Miller Several of Glenn Miller’s hits were simple but are full riffs tunes; in which the riff is altered and with each recurrence suitable the primary harmony. When most people hear the song In the mood; they think of the legendary Glenn Miller. Miller’s In the Mood is one of my favored dance arrangements. • Beyond the Sea: by Jack Lawrence Beyond the Sea, recorded by many artists, but it was Bobby Darin 's version that is the best known. • You Make Me Feel so Young: by Josef Myrow, and lyrics written by Mack Gordon • Time after Time: by Sammy Cahn (lyrics) and Jule Styne (music) Time after Time, in ABAC form, is a moderately slow song, sung by many artists.
I do think racial origins did affect the way these pieces were performed. African music is highly syncopated and rhythmic, often utilizing accents and outgoing behavior to draw attention to the piece. In contrast, the European influences for jazz were more introverted and subdued, resulting in soothing pieces that, while rhythmic, don 't always give extra syncopation. I liked both pieces a lot and the trouble with picking a favorite depends a lot on my mood. Today, I would have to say that I would prefer Singin’ the Blues.
So instead of chords, which are vertical, it requires scales, which are horizontal, to make it sound appealing. This method also makes the artist rely on things such as melody, rhythm, and emotion which give the song an entirely different sound. Miles Davis also was at the forefront of this style of jazz in the late 1950’s to early 1960’s. His song Milestones and even more so his album called Kind of Blue are excellent examples of the use of modal jazz and this work heavily influenced other jazz musicians of the era. In the 1960’s John Coltrane explored this style in his work with the pianist McCoy Tyner.
When watching Oistrakh you can see that he makes precise, but quick strokes on the strings of the violin with his fingers that in turn gives off a certain note. To me as a listener the piece sounds real suspenseful and gives off a chilling sensation to the audience. The second artist that I listened to was Issac Stern. This concerto took place in Paris during 1967. The piece that was performed started off as a long somber melody that gives off calming sensation.
Reinforcing his credentials as a bandleader, Nasheet Waits, an impressive drummer from New York, releases a stimulating album on the French label Laborie Jazz. The percussionist has a flair for straight-ahead jazz and avant-garde categories but moves with equal confidence in post and neo-bop styles. His father, Freddie Waits, was also a respected percussionist who played with jazz giants such as McCoy Tyner, Pharoah Sanders, Lee Morgan, Kenny Barron, and Andrew Hill. However, he never officially recorded as a leader. Nasheet, commonly called “Heavy” Waits, collaborated with Antonio Hart, Mark Turner, Andrew Hill, Fred Hersch, David Murray, Jason Moran, and Steve Lehman, while more recently, his groundbreaking drumming techniques were put at the service of Logan Richardson, Miroslav Vitous, Avishai Cohen, Tony Malaby, and Ralph Alessi.
In stark contrast, the B and C sections were much darker and developmental. These sections were also played forte, as compared to the A section being played at piano. The tempo varied between each section, but not by much; all sections were played at Moderato. However, Graff also used tempo rubato frequently throughout this piece, and most others as well. The melody was consistently on the treble clef, with arpeggios and chords in the bass.
Charles Joseph “Buddy” Bolden is considered the father of jazz music. His specialty is the cornet which he played in his band that was discovered as the first group to play jazz music. The rhythm from his talent inspired the perfect sound to dance to. Though his music entertained crowds of people, a recording of Bolden’s ability was never created. It is only up to the imagination of what he really sounded like.
Sometimes I fall to a deep slumber to this music. Beethoven also makes happy and fast music such as Für Elise. This piece is fast and enjoyable piece which gets me into a nice piece. The first piece of music I every played on piano was Ode to Joy which Beethoven composed. Ludwig Van Beethoven was an enjoyable composer which impacted myself and many others.
Jazz also consists of syncopation. This is when two rhythms are played against each other and that’s how jazz gets its swing and like Duke Ellington says in his song "It don 't mean a thing if it ain 't got that swing." Also in jazz blue notes take place when a musician plays through a scale and exaggerates some of the notes. While I’ve been listening to both albums it seems that her first one is more jazz while her second has more guitar in it. I personally believe this could be because Amy wanted to experiment with other styles such as soul, pop and reggae.
The last song “A Fiddler” began with a joyful and funny vibe, but then it switched to a tense state. It was played in mezzo forte with short and long rhythms. The next conductor, Steven D. Davis, of the Conservatory Wind Symphony started off with “In Paradisum” by Rob Deemer. I realized that the star of this performance was the saxophone. The saxophone had a smooth and light feeling.