DOCSLIB.ORG

{PDF} 101 Must-Know Jazz Licks

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{PDF} 101 Must-Know Jazz Licks 101 MUST-KNOW JAZZ LICKS: A QUICK, EASY REFERENCE FOR ALL GUITARISTS PDF, EPUB, EBOOK Wolf Marshall | 48 pages | 01 Jul 2000 | Hal Leonard Publishing Corporation | 9780634013713 | English | none 101 Must-Know Jazz Licks: A Quick, Easy Reference for All Guitarists PDF Book Here are definitive licks, plus a demonstration CD, from every major jazz guitar style, neatly organized into easy-to-use categories. Learn the techniques Clapton used on his best-selling acoustic album. Read our Privacy Policy. Are you a beginner who started playing last month? Goodreads helps you keep track of books you want to read. Click to Enlarge. Related Searches. Now you can add authentic acoustic guitar licks and riffs to your vocabulary. Wolf Marshall. Sorry but your review could not be submitted, please verify the form and try again. Learn how to enable JavaScript on your browser. Do you usually like this style of music? Members save with free shipping everyday! Instrumentalists will love this jam-packed collection of timeless pop songs! This superb collection of jazz fusion tunes has the distinction of being a collaboration of artists across the globe, connected by virtual recording studios and modern technology. Now you can add authentic jazz feel and flavor to your playing with the Must Know Jazz Licks! Books by Wolf Marshall. See details. Jazz Play Along. Location: optional. The interactive, online audio interface includes: tempo control; looping; buttons to turn each instrument on or Paperback , 48 pages. The CD accompanying the book is excellent and plays each lick The essential visual element of shapes and patterns on the fingerboard unlock the secret to successful and creative Instrumental Play-Along. Community Reviews. Accurate, easy-to-read lead sheets and professional, customizable audio tracks accessed online for 10 songs. We cannot post your review if it violates these guidelines. Signature Licks Guitar. 101 Must-Know Jazz Licks: A Quick, Easy Reference for All Guitarists Writer You know the saying: There's no time like the present I am a music teacher. No trivia or quizzes yet. Song List. Sign in to Purchase Instantly. Accept Cookies. Add to Wishlist. About Wolf Marshall. The price of this book includes access to audio tracks online, for download or streaming, using the unique code inside. Drum Instruction. They're all here, swing and pre-bop, bebop, post-bop modern jazz, hard bop and cool jazz, modal jazz, soul jazz and postmodern Now you can add authentic jazz feel and flavor to your playing with the Must Know Jazz Licks! Accurate, easy-to- read lead sheets and This first book launches you straight into a hands-on contemporary approach to learning Email address: optional. Be the first to ask a question about Must-Know Jazz Licks. Includes demonstration tracks for practice purposes. Related Searches. Includes demonstration Related Searches. Anyone needing quick reference to a wide range of drumming styles, rhythms and techniques will find this easy-to-use book and CD Signature Licks Guitar. We'll instantly send an email containing product info and a link to it. Includes an introduction by Wolf Marshall, tips for using the book and CD, and a listing of suggested recordings. Just follow the drum notation, listen to the audio to hear how the drums should sound, then play along using the separate backing tracks. For a better shopping experience, please upgrade now. Product Details. See details. Error rating book. Read our Privacy Policy. They're all here: swing and pre-bop, bebop, post-bop modern jazz, hard bop and cool jazz, modal jazz, soul jazz and postmodern jazz. Enlarge cover. Now you can add authentic jazz feel and flavor to your playing! Signature Licks Guitar. Now you can add authentic jazz feel and flavor to your playing! Henry Letele added it May 22, Close X Saved to Music List. Eric Tremante rated it it was amazing Aug 20, Members save with free shipping everyday! Learn how to enable JavaScript on your browser. This book is not yet featured on Listopia. Eric Clapton from the Album Unplugged. The result is great music, and you can join in 101 Must-Know Jazz Licks: A Quick, Easy Reference for All Guitarists Reviews Includes demonstration tracks for practice purposes. Tom added it Apr 15, The CD accompanying the book is excellent and plays each lick Songs include Escape the Present with These 24 Historical Romances. Overview Guitar Educational. Related Searches. Christoph J marked it as to-read Mar 28, To see what your friends thought of this book, please sign up. Other editions. Be the first to ask a question about Must-Know Jazz Licks. Now you can add authentic jazz feel and flavor to your playing with the Must Know Jazz Licks! To create a music list, please sign in. Accurate, easy-to-read lead sheets and Includes demonstration tracks for practice purposes. This book is not yet featured on Listopia. See details. Play your favorite songs quickly and easily with the Drum Play-Along series. Just follow the drum notation, listen to the CD to hear how the drums should sound, then play along using the separate backing tracks. Thanks to Wolf Marshall.. The essential visual element of shapes and patterns on the fingerboard unlock the secret to successful and creative Review Guidelines Explain exactly why you liked or disliked the product. View Product. Please do not use inappropriate language, including profanity, vulgarity, or obscenity. Includes an introduction by Wolf Marshall, tips for using the book and online audio, and a listing of suggested recordings. Accept Cookies. Read our Privacy Policy. Guitar Method. They're all here: swing and pre-bop, bebop, post-bop modern jazz, hard bop and cool jazz, modal jazz, soul jazz and postmodern jazz. Trivia About Must-Know Jaz Refresh and try again. The interactive, online audio interface includes: tempo control; looping; buttons to turn each instrument on or Example: "Emeryville, CA". Wolf Marshall. You know the saying: There's no time like the present Read more Dominique Cancellier marked it as to-read Sep 28, For a better shopping experience, please upgrade now. Includes an introduction by Wolf Marshall, tips for using the book and CD, and a listing of suggested recordings. They're all here: swing and pre-bop, bebop, post-bop modern jazz, hard bop and cool jazz, modal jazz, soul jazz and postmodern jazz. By signing up you consent with the terms in our Privacy Policy. Mohammad added it Apr 04, This first book launches you straight into a hands-on contemporary approach to learning Guitar Educational. There are no discussion topics on this book yet. Alan rated it really liked it Aug 28, Play your favorite songs quickly and easily with the Drum Play-Along Series. Accurate, easy-to-read lead sheets and professional, customizable audio tracks accessed online for 10 songs. With guitar tablature, standard notation, chord names, instructional text, guitar notation legend and instructional text. Friend Reviews. 101 Must-Know Jazz Licks: A Quick, Easy Reference for All Guitarists Read Online You may also enter a personal message. Want to Read Currently Reading Read. Enabling JavaScript in your browser will allow you to experience all the features of our site. Related Searches. You can also listen to your MP3 at any time in your Digital Library. Close X Learn about Digital Video. Dominique Cancellier marked it as to-read Sep 28, Welcome back. This first book launches you straight into a hands-on contemporary approach to learning the basics of both guitar and music. This site uses cookies to analyze your use of our products, to assist with promotional and marketing efforts, to analyze our traffic and to provide content from third parties. Mohammad added it Apr 04, A keepsake collection of 24 classic jazz tunes, all arranged for easy piano and presented with beautiful full-color illustrations! Just follow the drum notation, listen to the audio to hear how the drums should sound, then play along using the separate backing tracks. John Eldridge marked it as to-read Nov 14, Wyatt Sweet marked it as to-read Nov 28, Close X Saved to Music List. Music Minus One. Consider writing about your experience and musical tastes. Location: optional. Includes an introduction by Wolf Marshall, tips for using the book and online audio, and a listing of suggested recordings. Tell a friend or remind yourself about this product. Drum Instruction. They're all here: swing and pre-bop, bebop, post-bop modern jazz, hard bop and cool jazz, modal jazz, soul jazz and postmodern jazz. Goodreads helps you keep track of books you want to read. EJH rated it it was amazing Jun 18, Learn the techniques Clapton used on his best-selling acoustic album. Published by Hal Leonard HL. Votre livre vous offre un acces gratuit a Essential Elements Interactive, l'ultime ressource en ligne pour l'enseignement musical pour les enseignants, les eleves et les parents. Close X. https://cdn.starwebserver.se/shops/sonjamagnussonym/files/the-archetypal-imagination-212.pdf https://files8.webydo.com/9585440/UploadedFiles/0C75061F-668C-F6E2-8421-274562DC0203.pdf https://files8.webydo.com/9585466/UploadedFiles/A88DEA78-7253-A6F7-C83A-60C886B7EA47.pdf https://files8.webydo.com/9585508/UploadedFiles/5940AB41-41AD-C466-37D3-AE904872D15C.pdf.
Load more

Recommended publications
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
    [Show full text]
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • Top 12 Soul Jazz and Groove Releases of 2006 on the Soul Jazz Spectrum
    Top 12 Soul Jazz and Groove Releases of 2006 on the Soul Jazz Spectrum Here’s a rundown of the Top 12 albums we enjoyed the most on the Soul Jazz Spectrum in 2006 1) Trippin’ – The New Cool Collective (Vine) Imagine a big band that swings, funks, grooves and mixes together R&B, jazz, soul, Afrobeat, Latin and more of the stuff in their kitchen sink into danceable jazz. This double CD set features the Dutch ensemble in their most expansive, challenging effort to date. When you can fill two discs with great stuff and nary a dud, you’re either inspired or Vince Gill. These guys are inspired and it’s impossible to not feel gooder after listening to Trippin.’ Highly recommended. 2) On the Outset – Nick Rossi Set (Hammondbeat) It’s a blast of fresh, rare, old air. You can put Rossi up there on the Hammond B3 pedestal with skilled survivors like Dr. Lonnie Smith and Reuben Wilson. This album is relentlessly grooving, with no ballad down time. If you think back to the glory days of McGriff and McDuff, this “set” compares nicely. 3) The Body & Soul Sessions – Phillip Saisse Trio (Rendezvous) Pianist Saisse throws in a little Fender Rhodes and generally funks up standards and covers some newer tunes soulfully and exuberantly. Great, great version of Steely Dan’s “Do It Again.” Has that feel good aura of the old live Ramsey Lewis and Les McCann sides, even though a studio recording. 4) Step It Up – The Bamboos (Ubiquity) If you’re old enough or retro enough to recall the spirit and heart of old soul groups like Archie Bell and the Drells, these Aussies are channeling that same energy and nasty funk instrumentally.
    [Show full text]
  • The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
    Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H.
    [Show full text]
  • 14 Modal Jazz.Pptx
    4/26/12 Miles Davis Tracing the innovations of Miles in his path to Modal Jazz A Miles Overview • 1949 – 1950: The Birth of the Cool and Cool Jazz • 1954: Walkin’ and Hard Bop • 1957 – 1960: Sessions with Gil Evans • 1959: Kind of Blue and Modal Jazz • 1963 – 1967: The 2nd Quintet and Post-bop (Free Bop) • 1969: Bitches Brew and Jazz Fusion • 1980s: Jazz and Pop Fusion leads to Smooth Jazz 1 4/26/12 Early Miles Miles in the afterglow of Bebop Early history • 1945: Moved to New York • To study Classical music at Julliard • Dropped out to work with Parker and Dizzy • Replaced Dizzy in Parker’s band • 1949 to 1950: The Birth of the Cool sessions • Invented / pioneered Cool Jazz • 1951 to 1954: Semi-retirement • Largely over his drug abuse • Jazz press declared his career dead 2 4/26/12 The 1st Quintet • 1954: Triumphant return • Strong Hard Bop influence (despite Miles’ “Cool” style) • Introduced John Coltrane: tenor sax • Introduced the Harmon Mute • Huge critical success • Leapt to a major label • Repertoire • Tin Pan Alley show tunes Reorganization • 1957: disbanded the quintet • Due to drug use of his sidemen • Gil Evans collaborations • Miles Ahead, Porgy & Bess and Sketches of Spain • Miles soloing with an exotic orchestra • Led to film scores, experiments in simplicity 3 4/26/12 Modal Jazz Jazz meets impressionism Modal Jazz • Around 1957: Miles began working with a new sound • Pioneered by George Russell in the early 50’s • Jazz impressionism • Scales and “colors” more than chords • Slow harmonic rhythm: pace of chords • Personal
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]
  • 1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
    GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement.
    [Show full text]
  • Nayosoul Sista’S Got Soul!!! No Room for Eccentrics
    REVit UP ! 06/07 2015 N2,000 THE RISE AND RISE OF NEO-SOUL MUSIC IN NIGERIA THISNAYOSOUL SISTA’S GOT SOUL!!! NO ROOM FOR ECCENTRICS SADE ADU NNEKA KEZIAH JONES ATTA ‘LENELL’ OTIGBA LINDSEY ABUDEI CEFREV it UP ! 06/07 2015 1 SUBSCRIBE REVit UP ! Enjoy and have access to unlimited music: interviews, news, history and lots more! [email protected] T. (+234) 818 455 3331, 818 515 3111 EDITORIAL REV it UP ! At Revilo, it has been our job for several years to promote the best of PUBLISHER AND EDITOR-IN-CHIEF African culture through our various platforms of music, film, design, and OLIVER ENWONWU publishing. Naturally, as lovers of the visual arts in all its forms, the move [email protected] towards promoting other artistic media has been a long time coming. That being said, we are proud to announce the birth of RevitUp!, the first DEPUTY EDITOR magazine focused on the promotion of alternative, contemporary African LUCIANO UZUEGBU music. [email protected] As the continent’s music industry CONTRIBUTING EDITOR continues to grow, we at Revilo OMOLADUN OGIDAN believe it has never been more [email protected] important to highlight the works of outstanding musicians taking creative risks and producing quality sound. ASSOCIATE EDITOR In an industry where radio play and WILLIAM IFEANYI MOORE television time is reserved for artists [email protected] sticking to set industry standards, we believe as champions of quality work, ART DIRECTOR we have a responsibility to stand up YUSUF ARIYO for the many talented African acts around the globe doing so much DESIGN AND LAYOUT to push the musical envelope.
    [Show full text]
  • Press Quotes for Afro-Fire (2014, Tramp Records)
    Press quotes for Afro-Fire (2014, Tramp Records) Nominated for 5 Danish Grammy Awards (Best Jazz Album, Best Alternative Jazz Album, Best World Music Composers) Winner Danish Grammy Award Best World Music Album Winner Danish Grammy Award Best World Music Track ”Sublime, multi-layered afro release. They don't ”just” play afro beat that leans towards Fela Kuti and Tony Allen, but have a personal profle and their own, captivating sound.” - GAFFA (DK) 5/6 ”I defy you to keep your feet still! So big, bold and bright.” - Soul, jazz and funk.com (UK) “Even Tony Allen couldn’t have arranged it better…impressive.” - Mos Eisley Music blog (DE) ”Explosive new Danish band. Apparently their music is played frequently on German and British radio stations. No wonder!” - Jazz Special (DK) "The Kutimangoes are destined to rule the club and festival scene this summer!" - Djouls, Paris DJ (FR) “Fascinating rhythms drive the three horns to ever new heights…A compelling album from start to fnish” - Wasser-Prawda Kulturmagazin (DE) “Just a sextet, but they make so much of that…excellent album.” - John Warr, Totally Radio (UK) “Compact arrangements with extremely blazing horns…A wonderful eclectical blend of Afro beat, Jazz, Soul and a little Blues.” - Groove Attack Magazine (DE) "Dense arrangements and a lush brass section!…a wonderful album full of eclectic jazz, afrobeat and soul music!" - 1beat.de (DE) “the best merger of deep funk sharpness with Nigerian styles in recent years” - dustygroove.com (JP) www.kutimangoes.com.
    [Show full text]
  • The Jazz Tradition Jeff Rupert Thursday, June 27
    Music for All Summer Symposium presented by Yamaha www.musicforall.org The Jazz Tradition Jeff Rupert Thursday, June 27 Music For All Summer Symposium SURVEY OF JAZZ HISTORY Jeff Rupert I Influences and elements of early jazz A Congo Square, New Orleans. 1 Gathering place for slaves in New Orleans, from the late 1700’s. 2 Catholicism in New Orleans. 3 Slave trade abolished in 1808. 4 Emancipation proclamation in 1862. B Ragtime 1 Scott Joplin,(1867-1917), primary composer and pianist. 2 Piano music, first published in 1896. 3 Syncopated music 4 Complex march-like song forms 5 Simulating the orchestra or marching band C Country Blues 1 Migration from the country into New Orleans. 2 Blues Inflections 3 Vocal Characteristics peculiar to the blues. 4 The first blues published in 1904. “I’ve got the blues”. 5 W.C. Handy publishes “St. Louis Blues” in 1914. D Marching bands in New Orleans 1 Several popular bands, serving numerous functions The Superior, the Onward Brass Bands playing parades, funerals and concerts. 2 Marching bands syncopating, or “ragging” rhythms 3 Playing “head charts” 4 The Big 4 5 Buddy Bolden,(1877-1931), Freddie Keppard, (1890-1933). E Opera and other European influence in New Orleans. 1 Opera and Orchestras in New Orleans 2 Creoles before and after the “black codes” or Jim Crow laws.(1877-1965). Plessy vs Ferguson upheld Jim Crow laws of separate but equal in Louisiana in 1896. 3 Music in New Orleans after the black codes. 4 Instruments incorporated in early jazz. Jazz History Outline. © Jeff Rupert RUPE MUSIC Pub.
    [Show full text]
  • Nomination Form International Memory of the World Register
    Nomination form International Memory of the World Register THE MONTREUX JAZZ FESTIVAL, CLAUDE NOBS’ LEGACY (Switzerland) 2012-15 1.0 Summary (max 200 words) « It’s the most important testimonial to the history of music, covering jazz, blues and rock ». These are the words that Quincy Jones pronounced to present the preservation and restoration project of one of the musical monuments from the 20th century, the Montreux Jazz Festival Archives. From Aretha Franklin or Ray Charles to David Bowie or Prince, more than 5,000 hours of concerts have been recorded both in audio and video, since the creation of the Montreux Jazz Festival in 1967, by the visionary Claude Nobs. This collection contains many of the greatest names in middle and mainstream Jazz, including Errol Garner, Count Basie, Lionel Hampton, Dizzy Gillespie, Oscar Peterson to Herbie Hancock. Most of them composed great number of improvised jam sessions extremely rare. Miles Davis played his last performance, conducted by Quincy Jones in 1991. Many artists, like Marvin Gaye, recorded their first and only performance for television in Montreux. This collection of “live” music recordings, ranging from 1967-2012, with universal significance and intercultural dimensions has no direct equal in the world. This musical library traces a timeline of stylistic influences from the early styles of jazz to the present day. In 2007, Swiss Federal Institute of Technology in Lausanne (EPFL) and the Montreux Jazz Festival have decided to join forces to create a unique and first of a kind, high resolution digital archive of the Festival. 2.0 Nominator 2.1 Name of nominator (person or organization) THIERRY AMSALLEM (MONTREUX JAZZ FESTIVAL FOUNDATION) 2.2 Relationship to the nominated documentary heritage MEMBER OF THE MONTREUX JAZZ FESTIVAL FOUNDATION BOARD & OWNER AND CURATOR OF THE MONTREUX JAZZ FESTIVAL AUDIOVISUAL LIBRARY 2.3 Contact person(s) (to provide information on nomination) M.
    [Show full text]
  • Dynamics of Musical Success: a Bayesian Nonparametric Approach
    Dynamics of Musical Success: A Bayesian Nonparametric Approach Khaled Boughanmi1 Asim Ansari Rajeev Kohli (Preliminary Draft) October 01, 2018 1This paper is based on the first essay of Khaled Boughnami's dissertation. Khaled Boughanmi is a PhD candidate in Marketing, Columbia Business School. Asim Ansari is the William T. Dillard Professor of Marketing, Columbia Business School. Rajeev Kohli is the Ira Leon Rennert Professor of Business, Columbia Business School. We thank Prof. Michael Mauskapf for his insightful suggestions about the music industry. We also thank the Deming Center, Columbia University, for generous funding to support this research. Abstract We model the dynamics of musical success of albums over the last half century with a view towards constructing musically well-balanced playlists. We develop a novel nonparametric Bayesian modeling framework that combines data of different modalities (e.g. metadata, acoustic and textual data) to infer the correlates of album success. We then show how artists, music platforms, and label houses can use the model estimates to compile new albums and playlists. Our empirical investigation uses a unique dataset which we collected using different online sources. The modeling framework integrates different types of nonparametrics. One component uses a supervised hierarchical Dirichlet process to summarize the perceptual information in crowd-sourced textual tags and another time-varying component uses dynamic penalized splines to capture how different acoustical features of music have shaped album success over the years. Our results illuminate the broad patterns in the rise and decline of different musical genres, and in the emergence of new forms of music. They also characterize how various subjective and objective acoustic measures have waxed and waned in importance over the years.
    [Show full text]