E.F. Rhythm Section & Ensemble Setup[2]
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JAMU 20160316-1 – DUKE ELLINGTON 2 (Výběr Z Nahrávek)
JAMU 20160316-1 – DUKE ELLINGTON 2 (výběr z nahrávek) C D 2 – 1 9 4 0 – 1 9 6 9 12. Take the ‘A’ Train (Billy Strayhorn) 2:55 Duke Ellington and his Orchestra: Wallace Jones-tp; Ray Nance-tp, vio; Rex Stewart-co; Joe Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Barney Bigard-cl; Johnny Hodges-cl, ss, as; Otto Hardwick-as, bsx; Harry Carney-cl, as, bs; Ben Webster-ts; Billy Strayhorn-p; Fred Guy-g; Jimmy Blanton-b; Sonny Greer-dr. Hollywood, February 15, 1941. Victor 27380/055283-1. CD Giants of Jazz 53046. 11. Pitter Panther Patter (Duke Ellington) 3:01 Duke Ellington-p; Jimmy Blanton-b. Chicago, October 1, 1940. Victor 27221/053504-2. CD Giants of Jazz 53048. 13. I Got It Bad (And That Ain’t Good) (Duke Ellington-Paul Francis Webster) 3:21 Duke Ellington and his Orchestra (same personnel); Ivie Anderson-voc. Hollywood, June 26, 1941. Victor 17531 /061319-1. CD Giants of Jazz 53046. 14. The Star Spangled Banner (Francis Scott Key) 1:16 15. Black [from Black, Brown and Beige] (Duke Ellington) 3:57 Duke Ellington and his Orchestra: Rex Stewart, Harold Baker, Wallace Jones-tp; Ray Nance-tp, vio; Tricky Sam Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Johnny Hodges, Ben Webster, Harry Carney, Otto Hardwicke, Chauncey Haughton-reeds; Duke Ellington-p; Fred Guy-g; Junior Raglin-b; Sonny Greer-dr. Carnegie Hall, NY, January 23, 1943. LP Prestige P 34004/CD Prestige 2PCD-34004-2. Black, Brown and Beige [four selections] (Duke Ellington) 16. Work Song 4:35 17. -
Duke Ellington Kyle Etges Signature Recordings Cottontail
Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke Ellington, states that Cottontail “opened a window on the future, predicting elements to come in jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more grandiose pieces with more extended forms. -
Ellington-Lambert-Richards) 3
1. The Stevedore’s Serenade (Edelstein-Gordon-Ellington) 2. La Dee Doody Doo (Ellington-Lambert-Richards) 3. A Blues Serenade (Parish-Signorelli-Grande-Lytell) 4. Love In Swingtime (Lambert-Richards-Mills) 5. Please Forgive Me (Ellington-Gordon-Mills) 6. Lambeth Walk (Furber-Gay) 7. Prelude To A Kiss (Mills-Gordon-Ellington) 8. Hip Chic (Ellington) 9. Buffet Flat (Ellington) 10. Prelude To A Kiss (Mills-Gordon-Ellington) 11. There’s Something About An Old Love (Mills-Fien-Hudson) 12. The Jeep Is Jumpin’ (Ellington-Hodges) 13. Krum Elbow Blues (Ellington-Hodges) 14. Twits And Twerps (Ellington-Stewart) 15. Mighty Like The Blues (Feather) 16. Jazz Potpourri (Ellington) 17. T. T. On Toast lEllington-Mills) 18. Battle Of Swing (Ellington) 19. Portrait Of The Lion (Ellington) 20. (I Want) Something To Live For (Ellington-Strayhorn) 21. Solid Old Man (Ellington) 22. Cotton Club Stomp (Carney-Hodges-Ellington) 23. Doin’The Voom Voom (Miley-Ellington) 24. Way Low (Ellington) 25. Serenade To Sweden (Ellington) 26. In A Mizz (Johnson-Barnet) 27. I’m Checkin’ Out, Goo’m Bye (Ellington) 28. A Lonely Co-Ed (Ellington) 29. You Can Count On Me (Maxwell-Myrow) 30. Bouncing Buoyancy (Ellington) 31. The Sergeant Was Shy (Ellington) 32. Grievin’ (Strayhorn-Ellington) 33. Little Posey (Ellington) 34. I Never Felt This Way Before (Ellington) 35. Grievin’ (Strayhorn-Ellington) 36. Tootin Through The Roof (Ellington) 37. Weely (A Portrait Of Billy Strayhorn) (Ellington) 38. Killin’ Myself (Ellington) 39. Your Love Has Faded (Ellington) 40. Country Gal (Ellington) 41. Solitude (Ellington-De Lange-Mills) 42. Stormy Weather (Arlen-Köhler) 43. -
Baltimore Symphony Open Rehearsals
Baltimore Symphony Open Rehearsals Thank you for your interest to attend the Baltimore Symphony Orchestra (BSO) Open Rehearsal series for students at the Joseph Meyerhoff Symphony Hall. The BSO Open Rehearsal series is an incredible opportunity to listen in to a working rehearsal of a professional symphony orchestra. This is a fantastic experience for young musicians (HS, MS, & college) to hear the process of the orchestra and conductor as they prepare for a performance. It can provide valuable insight for students who are already classical music lovers and performers. Each rehearsal is 2.5 hours, with a 20-minute break, about half-way through the rehearsal. The conductor may opt to stop and start the music. Some pieces may not be played in their entirety, and some pieces may be skipped altogether. Oftentimes, when the conductor stops, there will be dialogue between the conductor and the musicians, or between the musicians. Unfortunately, this dialogue is often difficult to hear in the audience. We suggest reviewing rehearsal/concert etiquette with your students before arriving at the hall. Any distractions are very disruptive to the musicians on stage and jeopardize our ability to offer this exclusive opportunity to students in the future. While an incredibly meaningful experience for some, it may not be the ideal listening experience for everyone. It is first and foremost a working rehearsal for the orchestra and offers observers a window into that experience with professionals. Younger students or students without a music background are strongly encouraged to attend the BSO’s Midweek series. The Midweek Concerts are curated performances specifically designed for students, and provide a welcoming, inviting, and encouraging way to experience a symphony orchestra. -
Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, -
ELLINGTON '2000 - by Roger Boyes
TH THE INTERNATIONAL BULLETIN22 year of publication OEMSDUKE ELLINGTON MUSIC SOCIETY | FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL As a DEMS member you'll get access from time to time to / jj£*V:Y WL uni < jue Duke material. Please bear in mind that such _ 2000_ 2 material is to be \ handled with care and common sense.lt " AUQUSl ^^ jj# nust: under no circumstances be used for commercial JUriG w «• ; j y i j p u r p o s e s . As a DEMS member please help see to that this Editor : Sjef Hoefsmit ; simple rule is we \&! : T NSSESgf followed. Thus will be able to continue Assisted by: Roger Boyes ^ fueur special offers lil^ W * - DEMS is a non-profit organization, depending on ' J voluntary offered assistance in time and material. ALL FOR THE L O V E D U K E !* O F Sponsors are welcomed. Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected] LOS ANGELES ELLINGTON '2000 - By Roger Boyes The eighteenth international conference of the Kenny struck something of a sombre note, observing that Duke Ellington Study Group took place in the we’re all getting older, and urging on us the need for active effort Roosevelt Hotel, 7000 Hollywood Boulevard, Los to attract the younger recruits who will come after us. Angeles, from Wednesday to Sunday, 24-28 May This report isn't the place for pondering the future of either 2000. The Duke Ellington Society of Southern conferences or the wider activities of the Ellington Study Groups California were our hosts, and congratulations are due around the world. -
Rhythm Section Roles (In Standard Swing)
Rhythm Section Roles (in standard swing) ● Bass: Provide a solid metric and harmonic foundation by creating a quarter-note based melody with the roots and/or fifths of each chord occurring on downbeats and chord changes. ○ Ideal sound is plucked upright bass. Proper attack of note in right hand, clarity of center and sustain in left hand are key. ○ Create walking bassline by starting on root of chord and approaching subsequent roots or fifths by V-I resolution, half-step, or logical diatonic/chromatic motion or sequence. ● Drums: Assist bass in providing solid metric foundation, provide subdivision and stylistic emphasis, and drive dynamics and phrasing. ○ Right Hand: Primary responsibility is ride cymbal playing ride pattern. ■ Fundamental of ride pattern is quarter-notes with eighth-note subdivision added as desired, needed, and appropriate for dictation of swing. ■ Think of playing approximately ½” through cymbal to provide clarity and emphasis. ○ Left Foot: Play hi-hat on beats 2 and 4 for emphasis of fundamental syncopation. ■ Keep heel off the ground. ■ Cymbals should be approx. 1” apart. ○ Left Hand: Free to provide stylistic emphasis. ■ Cross-stick hits on beat 4 with bead of stick on drum head and shaft of stick striking rim of snare. ■ Musically logical “fills” on snare, toms, etc. to emphasize or set-up written figures or improvised solo moments. ○ Right Foot: Play bass drum. ■ Optionally “feather” bass drum as quarter notes to emphasize bassline by lightly hitting bass drum. Felt not heard, should not be louder than bass. ■ Use to emphasize ends of fills and set-up syncopation by playing downbeat before a syncopated entrance. -
The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. -
Compound AABA Form and Style Distinction in Heavy Metal *
Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay . -
Unpacking the Rehearsal Practices of Theatre Professionals and the Significance for the Teaching of Reading and Writing
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Fall 2001 It's not as thick as it looks: Unpacking the rehearsal practices of theatre professionals and the significance for the teaching of reading and writing Dale Lorraine Wright University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Wright, Dale Lorraine, "It's not as thick as it looks: Unpacking the rehearsal practices of theatre professionals and the significance for the teaching of eadingr and writing" (2001). Doctoral Dissertations. 45. https://scholars.unh.edu/dissertation/45 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
Jazz It Up, with Music Technology!
Jazz It Up, with Music Technology! 10 Tom Atkinson Central Missouri State University As the song goes , “Don’t know much about His -to-ry, don’t know much about Tech-no-lo-gy!” But what we do know is that music technology now plays a crucial role in most schools. Fully integrating this technology requires much greater awareness. From Mozart to Madonna, technology has forever changed the field of music. Although accessing music through the Web and through digital storage devices has been remarkably significant, perhaps to an even greater extent, music synthesizers and editing software have dramatically changed the very nature of music. Technology provides powerful aids to composing, notating, editing, and performing music that even elementary school students can learn to use. Cakewalk Sonar (Image 1) represents affordable state-of-the-art digital recording software that compares to expensive studio facilities. There's a lot of flexibility built into Sonar to achieve a variety of musical forms including recording audio, creating MIDI files, looping and sequencing, and adding effects. Any style of music can be created using Sonar's MIDI and audio systems and there are also DX instruments and automated effects. Band-in-a-Box (Image 2), described as an intelligent accompaniment software, is a powerful and creative music composition tool for exploring and developing musical ideas with near-instantaneous feedback. It contains features to display notation, enter lyrics, create melodies, add harmonization, and program a variety of musical styles. The Soloist generates professional quality solos over any chord progression. The Melodist creates songs from scratch with chords, melodies, intros, solos, and even a title. -
2022 WMEA All-State Audition Materials Jazz Saxophones and Brass
2022 WMEA All-State Audition Materials Jazz Saxophones and Brass All examples are to be played alone (without accompaniment) except where indicated. Basic Audition Specialty Add-Ons The following three tracks are required Optional of all wind applicants ALTO SAXOPHONE (pages 3-4) LEAD TRUMPET TENOR SAXOPHONE (pages 5-6) If you would like to be considered for lead trumpet or BARITONE SAXOPHONE (pages 7-8) demonstrate your lead trumpet ability, record tracks 1-3 TRUMPET (pages 9-10) from the Basic Audition and add these tracks. Track 4 You may either demonstrate your improvisational skills by TROMBONE (pages 11-12) following that option’s instructions, or you may leave this track blank. Track 1 Play “Swing Excerpt - #1” as indicated on separate page. Track 5 Play “Lead Trumpet Excerpt - LT #1” as indicated on separate Track 2 Play “Ballad Excerpt - #2” as indicated on separate page. page. Track 3 Play “Latin/Straight 8th Excerpt- #3” as indicated on separate Track 6 Play a chromatic scale from your lowest comfortable note to page. highest comfortable note BOTH ascending and descending. Use legato tonguing, taking breaths as needed. Additional optional improvisation tracks follow, as well as tracks for lead (Quarter note = 132) trumpet and bass trombone candidates. BASS TROMBONE Improvisation Add-On If you would like to be considered for bass trombone or demonstrate your bass trombone ability, record tracks 1-3 Optional from the Basic Audition and add these tracks. Please note--if you need to take all or portions of tracks 1-3 down an octave, you are welcome to do so.