I’m sure if I had more experience with music and more particularly jazz music, I would be able to identify differences much easier. This band played “It Don’t Mean A Thing,” “Cherokee,” “In A Mellow Tone,” and “Recordame.” Like the first band, this band also introduced their next songs and also included when they modified the original versions. My favorite performance of the night was the last song “Recordame.” The band noted that they modified this song, and right away I had a good idea of one of the biggest modifications when the drummer got up and grabbed an electric drum pad and set it next to his drum set.
In an almost entirely minor section, Dvorak throws in a major chord, showcasing a Picardi third. Old themes are brought back and then trombones are given a chance to bask in the spotlight as they take over once the band had crescendoed to a forte. The movement dwindles down in numbers, leaving just three string players to create a slow melody as it moves towards the end. The ballad then concludes with the strings playing an ascending line, leaving just the low strings. The third movement soon follows, outlining a ternary form as it progresses.
Sousa Percy Grainger is one of the most well prominent figured heads of classic wind band literature. He, among with many of other composers, helped revive British folk music through his experimental compositions. Trained originally as a concert pianist, he used the untapped potential of wind ensembles as model for innovative composition. Country Gardens is one of Grainger’s most well known pieces. After playing this folk setting several times as a piano encore, he eventually had the score published.
You could listen to his music, for a lifetime, and learn just about everything there is to know about music, and feel as you in the culture of the 20th Century. This first version of the song; got my intention, it’s from 1943, and it is one of the most famous versions. The song sound had played the piano, drum set, a trumpet, and the bases, interplay between the sections is just genius arranging. It was an amazing old style, singing with the band.
Miles Davis arrived on the New York jazz scene in 1944 around the same time that a jazz revolution was beginning. The style bop or bebop was a direct attack against big bands, racial in equality, and restrictive sound of the current style of jazz of the time. Davis contributed a major role in the revolution not as a founding father but as a large portion of the change itself working with people such as Charlie Parker and Cannon Ball Coleman. He learned the intricate language of bebop by imitation, by playing with others who had experience in the style and learned from them. His work with Parker quintet augmented his skills that consisted of melodic lines and rhythms which he played at immense speeds.
The E.V.I., from the Big Band, was an unique instrument with a strangely pleasant sound for Jazz much like the Vibraphone, from the Jazz Combo, and this brought a different feel yet was able to keep the authentic tone to the genre by adding a
Coleman Hawkins, an influential tenor saxophonist, was one of the many people who helped aid the beginning of bebop. Ultimately, Bebop was inspired by two fathers: Charlie Parker and Dizzy Gillespie. During the years 1940– 45 the first modern jazz style, shaped by Charlie Parker and Dizzy Gillespie came into being. Charlie Parker composed, painted; he loved machines, cars; he was a loving father. “Charlie’s early death came as no surprise to those who knew him well.
I think that there are two musical ideas in this piece with the pattern AABBAAB. Idea A starts at the beginning and ends at 0:16, then repeats itself until 1:21. Idea B occurs during 1:22-2:17 with a saxophone carrying the melody of the piece. Idea B is started again during 2:18-3:17 but this time, a piano takes the melody. Idea A begins again at 3:18-3:45 and repeats again at 3:46-4:15.
Have you ever heard a song on the radio and wondered how this person is famous or how they are even relevant. I wondered this when I heard a Louis Armstrong song. Louis Armstrong is an extraordinary person. His life is truly remarkable. I had a desire to learn more about his life.
This period of time was had famous musicians such as Joe “King” Oliver, Edward “Kid” Ory, and Louis Armstrong. These were very strong musicians who loved to entertain the people. The jazz age showed that African Americans had attractive fashion that always caught the attention of other people. The birth of jazz music came from African Americans. This led to the rise of radio broadcasting and recording technology, also the phonograph was invented.
In 1987 he founded Jazz at Lincoln Center. He developed a series that focus on broadenings people’s exposure to jazz music. He also to a interest in Music composition. He would write short and extended pieces that reflected his interest in early jazz He made his mark as a classical composer with his first major work. It was a string quartet entitles.”
Ken Schaphorst, a composer, trumpeter, and educator with more than a decade of experience leading big bands, counts on a great lineup of musicians and friends, including a few former students from the New England Conservatory in Boston. Schaphorst’s modern big bands are typically packed with trendy and inventive jazz instrumentalists, and for this new album, entitled How To Say Goodbye, he maintains this feature. Donny McCaslin, Ralph Alessi, Chris Cheek, Uri Caine, Jay Anderson, and Matt Wilson are incredible performers that don’t need any introduction. Shifty and animated, the title track immediately lets us know about the leader’s art of orchestration. The tune was written for the trumpeter John Carlson who envinces absolute confidence and takes the lead through thoughtful moves.
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.
Since technology is advancing, jazz is as well. With the development of electronics in music, jazz music can contain sounds digitally compressed by a DJs beat. Jazz musicians still use techniques created by the early jazz composers, but they can also intertwined their own style in their piece. Some people believe that jazz should only consist of what it was invented with but most people agree that it is up to the musician if they want to include their own spin with their jazz music. The art of jazz is adaptable to any new advances in technology or influences.