MUNI 2017-2 – Piano 2 (Women, Electric Piano Etc) 01 Tea for Two
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Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler. -
Tyrone Jackson, Jazz Piano
KENNESAW STATE UNIVERSITY SCHOOL OF MUSIC Tyrone Jackson Faculty Recital "Tribute to The Fender Rhodes in Jazz" Tyrone Jackson, fender rhodes Karla Harris, vocals Patrick Arthur, electric guitar Brandon Boone, upright and electric bass Chris Burroughs, drums Frankie Quinones, percussion Wednesday, October 18, 2017 at 8 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Twenty-eighth Concert of the 2017-18 Concert Season program This concert is a tribute to the iconic instrument, the Fender Rhodes. The Rhodes piano (also known as the Fender Rhodes piano or simply Fender Rhodes or Rhodes) is an electric piano invented by Harold Rhodes, which became particularly popular throughout the 1970s. CBS oversaw mass production of the Rhodes piano in the 1970s, and it was used extensively through the decade, particularly in jazz, pop, and soul music. The Rhodes became a staple in recordings and live performances for renown keyboard artists Herbie Hancock and Chick Corea. A resurgence of the instrument recently has been realized through jazz musicians Nicholas Payton and Christian Scott. "Tribute to The Fender Rhodes in Jazz" The Backwards Step / Nicholas Payton Scenario / Tyrone Jackson Come Together / Lennon-McCartney Cry Me A River / Arthur Hamilton Benin / Tyrone Jackson By Chance / Tyrone Jackson Take 5 / Desmond-Brubeck Sound of Music / Rodgers-Hammerstein Butterfly / Herbie Hancock Song for Bilbao / Pat Methany Lecturer in Jazz Studies and Jazz Piano yrone Jackson – the name is quickly becoming synonymous with the quintessential jazz piano player. His boundless creativity coupled with subtle accompaniments has Tyrone poised for national recognition. TBorn in the New Orleans cradle of jazz, Jackson embodies the spirit of the Crescent City. -
Real-Time Physical Model of a Wurlitzer and Rhodes Electric Piano
Proceedings of the 20th International Conference on Digital Audio Effects (DAFx-17), Edinburgh, UK, September 5–9, 2017 REAL-TIME PHYSICAL MODEL OF A WURLITZER AND RHODES ELECTRIC PIANO Florian Pfeifle Systematic Musicology, University of Hamburg Hamburg, DE [email protected] ABSTRACT tation methodology as is published in [21]. This work aims at extending the existing physical models of mentioned publications Two well known examples of electro-acoustical keyboards played in two regards by (1) implementing them on a FPGA for real-time since the 60s to the present day are the Wurlitzer electric piano synthesis and (2) making the physical model more accurate when and the Rhodes piano. They are used in such diverse musical gen- compared to physical measurements as is discussed in more detail res as Jazz, Funk, Fusion or Pop as well as in modern Electronic in section 4 and 5. and Dance music. Due to the popularity of their unique sound and timbre, there exist various hardware and software emulations which are either based on a physical model or consist of a sample 2. RELATED WORK based method for sound generation. In this paper, a real-time phys- ical model implementation of both instruments using field pro- Scientific research regarding acoustic and electro-mechanic prop- grammable gate array (FPGA) hardware is presented. The work erties of both instruments is comparably sparse. Freely available presented herein is an extension of simplified models published user manuals as well as patents surrounding the tone production before. Both implementations consist of a physical model of the of the instruments give an overview of basic physical properties of main acoustic sound production parts as well as a model for the both instrument [5]; [7]; [8]; [13]; [4]. -
37 Key Digital Keyboard INSTRUCTION MANUAL
ages: 3+ BATTERY COMPARTMENT Battery Compartment Door 37 Key Digital Keyboard INSTRUCTION MANUAL Phillips head screw Insert 4X AA Size Batteries 5 6 7 10 14 13 1 2 4 8 9 11 12 100 SOUNDS 100 RHYTHMS T00 Acoustic Grand Piano T50 Synth Strings 2 R00 Fusion R50 Disco T01 Bright Acoustic Piano T51 Choir Aahs R01 Clup Pop R51 Electro Pop T02 Electric Grand Piano T52 Voice Oohs R02 16 Beat Pop R52 Hip Hop T03 Honky-Tonk Piano T53 Synth Voice R03 8 Beat Pop R53 Rap Pop T04 Rhodes Piano T54 Orchestra Hit R04 8 Beat Soul R54 Techno T05 Chorused Piano T55 Trumpet R05 Pop Rock R55 Trance T06 Harpsichord T56 Trombone R06 60's Soul R56 Funky Disco T07 Clavi T57 Tuba R07 8 Beat Rock R57 Disco Party T08 Celesta T58 Muted Trumpet R08 Funk R58 Disco Samba T09 Glockenspiel T59 French Horn R09 Twist R59 Club Latin T10 Music Box T60 Brass Section R10 British Pop R60 Club Dance T11 Vibraphone T61 Synth Brass 1 R11 Rock Ballad R61 Disco Funk T12 Marimba T62 Synth Brass 2 R12 Limbo Rock R62 Disco Hands T13 Xylophone T63 Soprano Sax R13 Hard Rock R63 Disco Alt T14 Tubular Bells T64 Alto Sax R14 Rock & Roll R64 Saturday Night T15 Dulcimer T65 Tenor Sax R15 Straight Rock R65 Hip Shuffle T16 Drawbar Organ T66 Baritone Sax R16 Jazz Rock R66 Garage T17 Percussive Organ T67 Oboe R17 Schlager Rock R67 UK Pop T18 Rock Organ T68 English Horn R18 Waltz R68 Slow & Easy T19 Church Organ T69 Bassoon R19 Samba R69 Modern Country Pop T20 Reed Organ T70 Clarinet R20 Tango R70 Country Ballad T21 Accordion T71 Piccolo R21 Cha Cha R71 Schlager T22 Harmonica T72 Flute R22 Paso -
Passive Simulation of the Nonlinear Port-Hamiltonian Modeling of a Rhodes Piano Antoine Falaize, Thomas Hélie
Passive simulation of the nonlinear port-Hamiltonian modeling of a Rhodes Piano Antoine Falaize, Thomas Hélie To cite this version: Antoine Falaize, Thomas Hélie. Passive simulation of the nonlinear port-Hamiltonian modeling of a Rhodes Piano. 2016. hal-01390534 HAL Id: hal-01390534 https://hal.archives-ouvertes.fr/hal-01390534 Preprint submitted on 2 Nov 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Passive simulation of the nonlinear port-Hamiltonian modeling of a Rhodes Piano Antoine Falaize1,∗, Thomas H´elie1,∗ Project-Team S3 (Sound Signals and Systems) and Analysis/Synthesis team, Laboratory of Sciences and Technologies of Music and Sound (UMR 9912), IRCAM-CNRS-UPMC, 1 place Igor Stravinsky, F-75004 Paris Abstract This paper deals with the time-domain simulation of an electro-mechanical pi- ano: the Fender Rhodes. A simplified description of this multi-physical system is considered. It is composed of a hammer (nonlinear mechanical component), a cantilever beam (linear damped vibrating component) and a pickup (nonlinear magneto-electronic transducer). The approach is to propose a power-balanced formulation of the complete system, from which a guaranteed-passive simulation is derived to generate physically-based realistic sound synthesis. -
Publicacion7135.Pdf
BIBLIOTECA PÚBLICA DE ALICANTE BIOGRAFÍA Roy Haynes nació el 13 de marzo de 1925 en Boston, Massachusetts. A finales de los años cuarenta y principios de los cincuenta, Roy Haynes tuvo la clase de aprendizaje que constituiría el sueño de cualquier músico actual: sentarse en el puesto de baterista y acompañar al gran Charlie Parker. Ahora, cincuenta años después, y tras haber tocado con todos los grandes del jazz: Thelonius Monk, Miles Davis, o Bud Powell, todavía coloca sus grabaciones en la cima de las listas de las revistas especializadas en jazz. Este veterano baterista, comenzó su andadura profesional en las bigbands de Frankie Newton y Louis Russell (1945-1947) y el siguiente paso fue tocar entre 1947 y 1949 con el maestro el saxo tenor, Lester Young. Entre 1949 y 1952, formo parte del quinteto de Charlie Parker y desde ese privilegiado taburete vio pasar a las grandes figuras del bebop y aprender de ellas. Acompañó a la cantante Sarah Vaughan, por los circuitos del jazz en los Estados Unidos entre 1953 y 1958 y cuando finalizó su trabajo grabo con Thelonious Monk, George Shearing y Lennie Tristano entre otros y ocasionalmente sustituía a Elvin Jones en el cuarteto de John Coltrane. Participó en la dirección de la Banda Sonora Original de la película "Bird" dirigida por Clint Eastwood en 1988 y todavía hoy en activo, Roy Haynes, es una autentica bomba dentro de un escenario como pudimos personalmente comprobar en uno de sus últimos conciertos celebrados en España y mas concretamente en Sevilla en el año 2000. En 1994, Roy Haynes recibió el premio Danish Jazzpar, que se concede en Dinamarca. -
0Hthl\L ,'A' L F:,1;Jjj:,',,1
DEEP BLUh E}OBEIY BFIOOM GREG ROCKINGHAM CHRIS FOFIEMAN 0HtHl\l ,'a' L f:,1;jjJ:,',,1 The music of Stevie Wonder left an indelible imprint on the minds of Bobby Broom, Chris Foreman, and Greg Rockingham while they were growing in the 1960s and '70s. Although all three musicians would come to focus on jazz as adults, ratherthan on pop and R&8, Wonder's songs were simply too sophisticated, melodically and harmonically, to forget. With Wondertul!, the Chicago-based Deep Blue Organ Trio's fourth CD and second for Origin Records, guitarist Broom, organist Foreman, and drummer Rockingham pay homage to Wonder with nine of his compositions rendered anew in the jazz organ trio tradition of which they have become among the world's most prominent purveyors. "Stevie was a huge influence on all of us," Broom states. "Most of my close friends were really into music long before I became a musician. I just remember anticipating his next release and everybody running and grabbing them up. Every Stevie release was an event, from Talking Book to Innervisions to Fullfíllingness' First Finale. That period in the early Seventies was monumental in terms of what he gave to us in that generation." Five of the selections on Wonderfull are drawn from the three aforementioned albums: "You've Got It Bad Girl" from L972's Talking Book, "Jesus Children of America" and "Golden Lady" from 1973's Innervisions, and "You Havent Done Nothin"'and "Ain't No Use" from L974's Fullfillingness' First Finale. "As" first appeared on the 1976 album Songs in the Key of Life. -
A Brief History of Piano Action Mechanisms*
Advances in Historical Studies, 2020, 9, 312-329 https://www.scirp.org/journal/ahs ISSN Online: 2327-0446 ISSN Print: 2327-0438 A Brief History of Piano Action Mechanisms* Matteo Russo, Jose A. Robles-Linares Faculty of Engineering, University of Nottingham, Nottingham, UK How to cite this paper: Russo, M., & Ro- Abstract bles-Linares, J. A. (2020). A Brief History of Piano Action Mechanisms. Advances in His- The action mechanism of keyboard musical instruments with strings, such as torical Studies, 9, 312-329. pianos, transforms the motion of a depressed key into hammer swing or jack https://doi.org/10.4236/ahs.2020.95024 lift, which generates sound by striking the string of the instrument. The me- Received: October 30, 2020 chanical design of the key action influences many characteristics of the musi- Accepted: December 5, 2020 cal instrument, such as keyboard responsiveness, heaviness, or lightness, which Published: December 8, 2020 are critical playability parameters that can “make or break” an instrument for a pianist. Furthermore, the color of the sound, as well as its volume, given by Copyright © 2020 by author(s) and Scientific Research Publishing Inc. the shape and amplitude of the sound wave respectively, are both influenced This work is licensed under the Creative by the key action. The importance of these mechanisms is highlighted by Commons Attribution International centuries of studies and efforts to improve them, from the simple rigid lever License (CC BY 4.0). mechanism of 14th-century clavichords to the modern key action that can be http://creativecommons.org/licenses/by/4.0/ found in concert grand pianos, with dozens of bodies and compliant elements. -
Carla Bley Wurde Im Kalifornischen Oakland Geboren Und Lebt Heute in Den Catskill Mountains Im US-Bundes- Staat New York
Bley, Carla Carla Bley wurde im kalifornischen Oakland geboren und lebt heute in den Catskill Mountains im US-Bundes- staat New York. Mit verschiedenen Bands, kammermusi- kalischen Ensembles und Orchestern hat sie die ganze Welt bereist, vor allem Europa und Südostasien. Als „composer-in-residence“ war sie unter anderem beim Glasgow Festival und wurde in die Essener Philharmo- nie eingeladen. Biografie Carla Bley wurde am 11. Mai 1936 als Lovella May Borg in Oakland, Kalifornien, als Tochter zweier Musiker gebo- ren. Bei ihrem Vater Emil Borg erhielt sie ersten Klavier- und Orgelunterricht und begleitete bereits im Alter von vier Jahren Hochzeiten und Begräbnisse. Mit acht Jah- ren verweigerte sie jeden weiteren Unterricht (Carla Bley betrachtet sich selbst als Autodidaktin). Im selben Jahr starb ihre Mutter Arline Borg. Fünfzehnjährig brach sie die Schule ab und jobbte in einem Plattenladen. Zusätzli- ches Geld verdiente sie mit Auftritten in örtlichen Piano- Bars. Insbesondere die Musik Erik Saties, die sie zufällig Carla Bley im Radio gehört hatte, beschäftigte ihre Fantasie. Carla Bley 1957 verließ sie Kalifornien und ging nach New York, wo Geburtsname: Carla Lovella Borg sie sich Carla Borg nannte. In den einschlägigen Jazz- clubs der Stadt nahm sie diverse Jobs von der Zigaretten- * 11. Mai 1936 in Oakland, Kalifornien, USA verkäuferin bis zur Tischfotografin an, um so die großen Musiker live hören zu können: „That is where I learned Komponistin, Pianistin, Organistin, Bandleaderin, everything“, sagte sie über diese intensive Zeit, in der sie Improvisateurin, Arrangeurin, Musik-Verlegerin, alles wie einen Schwamm aufgesogen habe (Frank Oteri, Herausgeberin On Her Own. New York, 2003, S. -
EVP88 User Manual
User Manual EVP88 Emagic Vintage Piano 88 March 2001 Software Instruments >> Version 1.0, April 2001 User Manual English >> English Edition E Soft- und Hardware GmbH License Agreement Important! Please read this licence agreement carefully before opening the disk seal! Opening of the disk seal and use of this package indicates your agreement to the following terms and conditions. Emagic grants you a non-exclusive, non-transferable license to use the software in this package. You may: 1. use the software on a single machine. 2. make one copy of the software solely for back-up purposes. You may not: 1. make copies of the user manual or the software except as expressly provided for in this agreement. 2. make alterations or modifications to the software or any copy, or otherwise attempt to discover the source code of the software. 3. sub-license, lease, lend, rent or grant other rights in all or any copy to others. Except to the extent prohibited by applicable law, all implied warranties made by Emagic in connection with this manual and software are limited in duration to the minimum statutory guarantee period in your state or country from the date of original purchase, and no warranties, whether express or implied, shall apply to this product after said period. This warranty is not transferable-it applies only to the original purchaser of the software. Emagic makes no warranty, either express or implied, with respect to this software, its quality, performance, merchantability or fitness for a particular purpose. As a result, this software is sold “as is”, and you, the purchaser, are assuming the entire risk as to quality and performance. -
Carla Bley Trio
Bûhem sedmé dekády minulého století absolvovala evropská turné Nadaãní fond PJF • AB Studio Praha • za finanãní podpory Carla Bley Trio s kapelou, kterou vedl Jack Bruce, ale po jejím rozpadu se zaãala vûno- Olomouckého kraje a Statutárního mûsta Pfierova vat vlastním projektÛm s ansámblem, ve kterém hráli mj. Gary Valen- Je to neuvûfiitelné, ale teprve po zhruba ãtyfiech desetiletích umû- XXIX. âESKOSLOVENSK¯ JAZZOV¯ FESTIVAL lecké kariéry vstoupí poprvé na ãeské pódium jedna z nejoriginálnûj- te, Tony Dagradi, Michael Mantler, Bob Stewart, Steve Slagle, D. Shar- ‰ích dam svûtové jazzové scény. Na Matûjské jazzové pouti 2012 pfied- pe a Steve Swallow. V následujících ‰esti letech koncertovala v Evropû, staví své trio pianistka, varhanice, skladatelka a umûlecká vedoucí Japonsku i ve Spojen˘ch státech a obohatila svou diskografii o nová komorních i velk˘ch kapel Carla Bley. alba (napfi. Dinner Music, European Tour 1977, Musique Mecanique, Social Studies). V osmdesát˘ch letech zaznamenala její rostoucí umûleckou prestiÏ pfiedev‰ím Evropa, ale její skladby zaznû- ly také na festivalu New Music America nebo na koncertech Spoleã- nosti pro komorní hudbu pfii Lincolnovû centru. V tomto období vyda- la dal‰í desky, jako napfi. Heavy Heart, I Hate To Sing, Night-Glo, Carla Carla, Sextet, Fleur Carnivore ad. Poté, co se na zaãátku devadesát˘ch let roze‰la s Michaelem Mant- lerem, pfierostlo její dosavadní partnerství se Stevem Swallowem rámec Matûjská jazzová pouÈ ryze hudebních sympatií. Ve svazku se skvûl˘m basistou a skladate- Bley lem proud její neutuchající kompoziãní invence je‰tû zmohutnûl, o ãemÏ – festivalov˘ prolog svûdãí jak big bandové nahrávky (The Very Big Carla Bley Band, Mûstsk˘ dÛm Pfierov – velk˘ sál Big Band Theory, The Carla Bley Big Band Goes to Church, Looking For America, Appearing Nightly, Carla’s Christmas NEDùLE 19.30 Carols), tak alba rÛzn˘ch komorních seskupení (napfi. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H.