Swing & Big Band Guitar Free
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FREE SWING & BIG BAND GUITAR PDF Charlton Johnson | 80 pages | 25 Aug 1998 | Hal Leonard Corporation | 9780793573813 | English | Milwaukee, United States SWING SWING TAB (ver 2) by The All-American Rejects @ The term generally refers to the swing era starting around but there was no one event that kicked off a new form of music in In the s the music of jazz began to evolve to bigger band formats combining elements of ragtime, black spirituals, blues, and European music. Duke Ellington Benny Goodman. During the s, while traveling musicians were playing and spreading big band jazz, hotel dance bands and resident dance hall bands were also playing a role in the evolution of the Big Band era. They made their Swing & Big Band Guitar playing for ballroom dance crowds and radio remote broadcasts into the early s. As the jazz orchestras grew in size, the arrangements had to be formalized to avoid mass confusion. The Swing & Big Band Guitar became the focal point of the band. Improvisation during solos was written into the arrangements but their location and duration were controlled. Cab Calloway. As the new swing style emerged in the mid s it took the country by storm. The Savoy Ballroom in Harlem opened its doors in and for the next 20 years became a hotbed for swing bands. Through the press, recordings, and live radio remote broadcasts the American public was introduced to the new music. The dance craze took off. The Big Band era is generally regarded as having occurred between and It was the only time in American musical history that the popularity of jazz eclipsed all other forms of music. America was still in the grips of a depression. Money was in short supply. There was very little work, especially for non-essential musicians. Record sales dropped to an all time low. Some of the most talented or well-connected players got jobs at radio studios or with some of the few dance orchestras able to stay together. In a strange convergence of politics and technology, radio became a household appliance in the s. Bythe number of homes with radios was Swing & Big Band Guitar at 23 million. That created an audience Swing & Big Band Guitar approximately 91 million. Studio musicians made their money as background instrumentalists for both shows and commercials. Music shows were also successful. Given the economic conditions of the time it may be surprising that during this period advances in recording technology, and in particular the microphone, were changing the way Americans could hear recorded music and radio broadcasts. The advent of radio required advances in many related devices. The quality of broadcast sound depended upon the quality Swing & Big Band Guitar the available microphones. It was remarkably efficient with a natural compression and became one of the most widely used microphones in recording and broadcast. Swing & Big Band Guitar RCA raised the bar again and introduced the model 77A cardioid pattern dual ribbon microphone. Each advancement improved the sound quality and brought increasing subtlety and nuance to the broadcasts. As the microphones improved, the experience of radio Swing & Big Band Guitar ever more intimate. Simultaneously, there were advances in the recording discs as well. By the late s, adding a bit of vinyl resin to shellac made quieter records. Lacquer-coated aluminum discs also came into use in Swing & Big Band Guitar recording process. These had a quieter surface and for the first time allowed immediate playback in the studio for auditioning purposes. This made it possible for engineers and musicians to make immediate microphone and personnel placement adjustments further improving recordings. Live radio broadcasts of music with the new microphones were nearly as good as disc recordings. The price was right — free for the price of a radio set. Wurlitzer used the invention to produce the jukebox. The jukebox changed the face of popular music by making new tunes available to all. Swing was the music of choice. The jukebox simply made it readily available in speakeasies, dance spots, ice cream parlors and even drugstores. The record companies of the time worried that the new device would cut into record sales but the opposite was true. Exposure to the music made it more desirable and record sales increased. Swing was everywhere. By the number of radio stations had grown faster than the availability of live variety acts. The result was a greater need for recorded content. Radio stations responded with music programs based entirely on playing prerecorded discs with introductions and follow-up trivia to support the music and artists of the day. The role of the Disc Jockey was born, though the term Swing & Big Band Guitar not be coined until around During the early Swing & Big Band Guitar radio stations had sternly held to a policy discouraging the use of recordings in network broadcasts. Priorities evolve with the reality of need and the marketplace. The trial was broadcast on network radio and the new format found an eager and appreciative audience. These record jockeys, as they were called, were soon entertaining listeners with discs all over the country. The stations had engineered a way to profit from advertising, but not much, if any, or the revenue was getting back to the musicians. These questions and disagreements would fester and grow over the next 10 years. Swing jazz in the big band format was growing in popularity with college kids. The Casa Loma Orchestra was a favorite at Yale. Kids were searching for an identity and excitement. Swing jazz felt like it belonged to them. His was the final of several music features of each night making it a late broadcast on the East Coast. They were too late for most high school and college students who needed to be up early for school. The U. It was not terribly successful until he hit the West Swing & Big Band Guitar. The 3-hour time difference of his live broadcasts, between New York and Los Angeles, had enabled school-aged kids out West to hear the nightly broadcasts. They were familiar with the music and eager to meet the band bringing them this new music. Although Oakland turnouts were good and the crowds enthusiastic, the band was not expecting what they found at the Palomar. What appeared to Swing & Big Band Guitar the end of the tour for the Benny Goodman Big Band suddenly changed with the kids that night. When the kids heard the band launch into a hot swing number, they surged forward, crowding the bandstand and cheering. Magazines like Down Beat and Metronome printed more articles about their swing music. Jazz in the form of big band swing was now beginning to sweep the Swing & Big Band Guitar. Jukeboxes were Swing & Big Band Guitar, kids were dancing, record jockeys were spinning discs and talking them up and the public appetite seemed inexhaustible. Bythe tension between the radio industry and the musicians union had increased to the breaking point. Swing & Big Band Guitar recording and radio industry were showing signs of extravagant wealth but the Swing & Big Band Guitar were not. The musicians, authors and composers felt that they had created the wealth for the radio and recording industries and deserved a piece of the action. By Mike Levin. Prexy Petrillo has not backed down by his claim that recording was ruining the jobs of 60 percent of the AFM membership and that he meant to do something about it. Petrillo has shifted his position as to the sale of records. He had previously told the companies that they could record for home and Army use, but when it was pointed out to him that the companies would be violating the law if they tried to regulate who bought their records, Petrillo made the edict a complete stoppage. The country was at war and needed the upbeat sounds of the big bands. Times were hard: there was a scarcity of shellac making it difficult to manufacture the discs. Rubber and gasoline rationing made it difficult for bands to travel. Records were more important to a music-loving public than ever. Petrillo and the AFM were unprepared to articulate their rationale for why, especially at this particular point in time, they wanted more money. It was poor political timing. Between rationing and wartime hardships, the average American had tightened their belt and given up a bit of their quality of life to benefit the war effort. Who were the popular musicians, dressed in tuxedos, to reach for more money now? All they seemed to say was it Swing & Big Band Guitar go to the union. The AFM was made up of instrumentalists. Singers were exempt from union membership. In an attempt to bring new product to market during the strike, the record companies began recording a cappella singing groups and individuals. This effort laid the groundwork for some of the harmony groups of the s. Even Frank Sinatra sang a couple of tunes without his usual big-band backup. These records sold reasonably well. Capitol and Decca settled with the union by They held out for nearly two years more. Without the cooperation of the radio stations, however, the musicians stayed out of the recording studios for nearly two years. When the strike was finally settled, the musical landscape had changed. The ballrooms and big dance halls that had closed stayed closed. Basics of Freddie Green Comping So while the horns basked in the limelight, guitarists had to make do strumming chords and comping in the background. But electric amplification changed everything for the role Swing & Big Band Guitar the guitar in jazz.