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How to Play in a Band with 2 Chordal Instruments
FEBRUARY 2020 VOLUME 87 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
THE EQUINOX No
THE EQUINOX No. IV. will contain in its 400 pages VARIOUS OFFICIAL INSTRUCTIONS of the A\ A\ THE ELEMENTAL CALLS OR KEYS, WITH THE GREAT WATCH TOWERS OF THE UNI- VERSE and their explanation. A complete treatise, fully illustrated, upon the Spirits of the Elements, their names and offices, with the method of calling them forth and controlling them. With an account of the Heptarchicall Mystery. The Thirty Aethyrs or Aires with “The Vision and the Voice,” being the Cries of the Angels of the Aethyrs, a revalation of the highest truths pertaining to the grade of Magister Templi, and many other matters. Fully illustrated. THE CONTINUATION OF THE HERB DAN- GEROUS. Selection from H. G. Ludlow, “The Hashish- Eater.” MR. TODD: A Morality, by the author of “Rosa Mundi.” THE DAUGHTER OF THE HORSELEECH, by ETHEL RAMSAY. THE TEMPLE OF SOLOMON THE KING. [Continuation. FRATER P.’S EXPERIENCES IN THE EAST. A complete account of the various kinds of Yoga. DIANA OF THE INLET. By KATHERINE S. PRITCHARD. Fully Illustrated. ACROSS THE GULF: An adept’s memory of his incarnation in Egypt under the 26th dynasty; with an account of the Passing of the Equinox of Isis. &c. &c. &c Crown 8vo, Scarlet Buckram, pp. 64. This Edition strictly limited to 500 Copies. PRICE 10s A\ A\ PUBLICATION IN CLASS B. ========== BOOK 777 HIS book contains in concise tabulated form a comparative view of all the symbols of the great Treligions of the world; the perfect attributions of the Taro, so long kept secret by the Rosicrucians, are now for the first time published; also the complete secret magical correspondences of the G\ D\ and R. -
Cycles and Symmetric Division of the Octave in the Works of John Coltrane
!1 Cycles And Symmetric Division Of The Octave In The Works Of John Coltrane By Jeff Pifher Musically adventurous and always evolving, John Coltrane’s breadth of contributions to the jazz community as well as the world of music is astounding. Coltrane's infatuation with the symmetric division of the octave is one of the most commonly identified elements of his compositional and improvisational style. Perhaps one of Coltrane's most influential musical explorations was his compositional and improvisational work involving sequences of major thirds. This technique was the subject of two of his most influential compositions, "Giant Steps" and "Countdown." Background Coltrane was drawn to the angular and rapid moving chord progressions characteristic of the bebop style. He spent countless hours in his early years familiarizing himself with the required repertoire and practicing to master the bebop language at ever- increasing tempos. Coltrane's earlier compositions, such as “Moments Notice” (1957) and "Lazy Bird" (1957), were typical of the bebop idiom of the period, featuring whole and half step II V sequences, modulations to the subdominant, as well as occasional third modulations to the key of III or bVI. Pieces such as Tadd Dameron's "Lady Bird" (1947) and "If You Could See Me Now" (1946), as well as Dizzy Gillespie's "Woody'n You" (1943) and "Con Alma" (1956) were no doubt influential in this regard. !2 Coltrane soon progressed to pieces containing larger intervallic leaps utilizing sequential major and minor thirds, highlighted in original -
Junior Recital: Robert Nicholas Dixon, Trombone
Kennesaw State University College of the Arts School of Music presents Junior Recital Robert Nicholas Dixon, trombone Saturday, April 13, 2013 2:00 p.m. Music Building Recital Hall Ninety-eighth Concert of the 2012-2013 Season Kennesaw State University School of Music Music Building Recital Hall April 13, 2013 Nick Dixon, trombone Jeff Crompton, piano Andrew Lastrapes, electric bass Noah Kess, drums Have You Met Miss Jones (Hart) Richard Rodgers (1902-1979) Blue Monk Thelonious Monk (1917-1982) All The Things You Are (Hammerstein II) Jerome Kern (1885-1945) Equinox John Coltrane (1926-1967) Oleo Sonny Rollins (b. 1930) This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Mr. Dixon studies trombone with Wes Funderburk. Richard Rodgers - Have You Met Miss Jones Richard Rodgers was an American composer. He wrote music for more than 900 songs. He composed for 43 Broadway musicals, films and television. He is well known for his partnerships with the lyricists Lorenz Hart and Oscar Hammerstein II. “Have You Met Miss Jones?” was written in 1937 for the musical comedy, I’d Rather Be Right. The song is performed by characters Peggy Jones and Phil Barker. The key motion of the bridge is major thirds which may have contrib- uted to John Coltrane’s development of Coltrane changes. Thelonious Monk - Blue Monk Thelonious Monk was an American jazz pianist and composer. He is one of the most influential musicians of American music. He had a unique angular approach to improvisation and contributed many compositions to the jazz standard repertoire. -
The Equinox Vol. I No. 9
This page is reserved for Official Pronouncements by the Chancellor of the A\A\] Persons wishing for information, assistance, further interpretation, etc., are requested to communicate with THE CHANCELLOR OF THE A\A\ c/o THE EQUINOX, 33 Avenue Studios, 76 Fulham Road South Kensingston, S.W. Telephone: 2632, KENSINGTON or to call at that address by appointment. A representative will be there to meet them. THE Chancellor of the A\ A\ wishes to warn readers of THE EQUINOX against accepting instructions in his name from an ex-Probationer, Captain J.F.C. Fuller, whose motto was “Per Ardua.” This person never advanced beyond the Degree of Probationer, never sent in a record, and has presumably neither performed practices nor obtained results. He has not, and never has had, authority to give instructions in the name of the A\ A\. THE Chancellor of the A\ A\ considers it desirable to make a brief statement of the financial position, as the time has now arrived to make an effort to spread the knowledge to the ends of the earth. The expenses of the propaganda are roughly estimated as follows— Maintenance of Temple, and service . £200 p.a. Publications . £200 p.a. Advertising, electrical expenses, etc. £200 p.a. Maintenance of an Hermitage where poor Brethren may make retirements . £200 p.a. £800 p.a. ii As in the past, the persons responsible for the movement will give the whole of their time and energy, as well as their worldy wealth, to the service of the A\ A\ Unfortunately, the sums at their disposal do not at present suffice for the contemplated advance, and the Chan- cellor consequently appeals for assistance to those who have found in the instructions of the A\ A\ a sure means to the end they sought. -
Undergraduate Jazz Repertoire List
Up Tempo Tunes in Minor How High The Moon Undergraduate Keys (3 Total) I Could Write A Book Jazz Repertoire *Impressions In a Mellow Tone Softly as in a Morning Killer Joe List Sunrise *Ladybird Solar Lazy Bird Minor Blues (4 Total) You and the Night and the **Moment’s Notice Bag’s Groove Music My Romance Birk’s Works What Is This Thing Called Once I Loved Blue Trane Love Out of Nowhere Equinox St. Thomas *Footprints Ballads (4 Total) Satin Doll The Jody Grind Body and Soul Speak Low *Mr. P.C. Darn That Dream **Stella By Starlight One For Daddy-O Georgia Sweet Georgia Brown I Can’t Get Started Take the “A” Train Major Blues (4 Total) In a Sentimental Mood There Is No Greater Love All Blues Lover Man There Will Never Be Bessie’s Blues Misty/I Want to Talk About Another You *Billie’s Bounce You Tune Up Blue Monk The Nearness of You Yardbird Suite Blues for Alice ‘Round Midnight Freddie the Freeloader What’s New Standards/JazZ Standards Now’s The Time When I Fall In Love in Minor Keys (6 Total) Sonnymoon for Two *Autumn Leaves Straight No Chaser WaltZ (2 Total) Alone Together *Tenor Madness Alice In Wonderland Beautiful Love Walkin’ Bluesette *Black Orpheus Watermelon Man Some Day My Prince Will Blue Bossa Come Caravan Rhythm Changes (2 Total) How Deep is the Ocean Anthropology Latin/Straight 8th How Insensitive Cottontail Freedom JazZ Dance **Invitation The Eternal Triangle *Maiden Voyage A Night in Tunisia Good Bait (A section only) Recordame I’ve Got Rhythm Standards/JazZ Standards Softly as in a Morning Lester Leaps In in Major Keys -
Jamming in the Classroom Masters Project – Spring 2015
Jamming in the Classroom Masters Project – Spring 2015 Parker Smith Table of Contents Introduction v Jamming Defined...................................................................................................2 v A Brief History of Jazz Education.........................................................................5 Review of Literature v Challenges in Teaching Improvisation...................................................................9 v Gender Dynamics..................................................................................................11 v Music Performance Anxiety……….....................................................................12 v Repertoire Choices for Classrooms and Strategies for Instruction........................13 Repertoire v Repertoire Choices in Jam Sessions......................................................................20 v Sample of Jam Session Repertoire………………................................................20 v Instructional Repertoire.........................................................................................22 v Random Sample of Jazz Tunes Present in Sources……………………….......…22 Additional Considerations v Jam Etiquette........................................................................................................23 v Elitism – Communication Breakdown.................................................................23 v “Listening” Music or “Dancing” Music?.............................................................25 v Jamming in the 21st Century.................................................................................26 -
John Coltrane Transcriptions Collection
http://oac.cdlib.org/findaid/ark:/13030/ft7290066p No online items Finding Aid for the John Coltrane Transcriptions Collection Collection processed and machine-readable finding aid created by UCLA Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 2002 The Regents of the University of California. All rights reserved. Note Arts and Humanities--Music Finding Aid for the John Coltrane 181 1 Transcriptions Collection Finding Aid of the John Coltrane Transcriptions Collection Collection number: 181 UCLA Library, Performing Arts Special Collections University of California, Los Angeles Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: UCLA Performing Arts Special Collections staff Date Completed: 2001 Encoded by: Bryan Griest © 2002 The Regents of the University of California. All rights reserved. Descriptive Summary Title: John Coltrane Transcriptions Collection Collection number: 181 Creator: Coltrane, John, 1926-1967 Extent: 6 boxes(3 linear ft.) Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Abstract: This collection consists of transcriptions by Andrew White of sound recordings Physical location: Stored off-site at SRLF. -
Inside the Jazzomat
Martin Pfleiderer, Klaus Frieler, Jakob Abeßer, Wolf-Georg Zaddach, Benjamin Burkhart (Eds.) Inside the Jazzomat New Perspectives for Jazz Research Veröffentlicht unter der Creative-Commons-Lizenz CC BY-NC-ND 4.0 The book was funded by the German Research Foundation (research project „Melodisch-rhythmische Gestaltung von Jazzimprovisationen. Rechnerbasierte Musikanalyse einstimmiger Jazzsoli“) 978-3-95983-124-6 (Paperback) 978-3-95983-125-3 (Hardcover) © 2017 Schott Music GmbH & Co. KG, Mainz www.schott-campus.com Cover: Portrait of Fats Navarro, Charlie Rouse, Ernie Henry and Tadd Dameron, New York, N.Y., between 1946 and 1948 (detail) © William P. Gottlieb (Library of Congress) Veröffentlicht unter der Creative-Commons-Lizenz CC BY-NC-ND 4.0 Martin Pfleiderer, Klaus Frieler, Jakob Abeßer, Wolf-Georg Zaddach, Benjamin Burkhart (Eds.) Inside the Jazzomat New Perspectives for Jazz Research Contents Acknowledgements 1 Intro Introduction 5 Martin Pfleiderer Head: Data and concepts The Weimar Jazz Database 19 Martin Pfleiderer Computational melody analysis 41 Klaus Frieler Statistical feature selection: searching for musical style 85 Martin Pfleiderer and Jakob Abeßer Score-informed audio analysis of jazz improvisation 97 Jakob Abeßer and Klaus Frieler Solos: Case studies Don Byas’s “Body and Soul” 133 Martin Pfleiderer Mellow Miles? On the dramaturgy of Miles Davis’s “Airegin” 151 Benjamin Burkhart ii West Coast lyricists: Paul Desmond and Chet Baker 175 Benjamin Burkhart Trumpet giants: Freddie Hubbard and Woody Shaw 197 Benjamin Burkhart Michael -
How to Use This Songfinder
as of 3.14.2014 How To Use This Songfinder: We’ve indexed all the songs from 23 volumes of Real Books. Simply find the song title you’d like to play, then cross-reference the numbers in parentheses with the Key. For instance, the song “Ac-cent-tchu-ate the Positive” can be found in both The Real Book Volume III and The Real Vocal Book Volume II. KEY Unless otherwise marked, books are for C instruments. For more product details, please visit www.halleonard.com/realbook. 01. The Real Book – Volume I 08. The Real Blues Book/00240264 C Instruments/00240221 09. Miles Davis Real Book/00240137 B Instruments/00240224 Eb Instruments/00240225 10. The Charlie Parker Real Book/00240358 BCb Instruments/00240226 11. The Duke Ellington Real Book/00240235 Mini C Instruments/00240292 12. The Bud Powell Real Book/00240331 Mini B Instruments/00240339 CD-ROMb C Instruments/00451087 13. The Real Christmas Book C Instruments with Play-Along Tracks C Instruments/00240306 Flash Drive/00110604 B Instruments/00240345 Eb Instruments/00240346 02. The Real Book – Volume II BCb Instruments/00240347 C Instruments/00240222 B Instruments/00240227 14. The Real Rock Book/00240313 Eb Instruments/00240228 15. The Real Rock Book – Volume II/00240323 BCb Instruments/00240229 16. The Real Tab Book – Volume I/00240359 Mini C Instruments/00240293 CD-ROM C Instruments/00451088 17. The Real Bluegrass Book/00310910 03. The Real Book – Volume III 18. The Real Dixieland Book/00240355 C Instruments/00240233 19. The Real Latin Book/00240348 B Instruments/00240284 20. The Real Worship Book/00240317 Eb Instruments/00240285 BCb Instruments/00240286 21. -
Beyond Modern Jazz
BEYOND MODERN JAZZ THE EVOLUTION OF POSTMODERN JAZZ PERFORMANCE AND COMPOSITION FROM 1969 TO THE PRESENT DAVID OWEN RESTIVO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO OCTOBER, 2017 © David Owen Restivo, 2017 ABSTRACT In the following paper, I will address what I perceive to be a gap in scholarship regarding the evolution of African-American classical music (popularly referred to as ‘jazz’) following the end of its primary phase of development, which I would refer to as the pre- modern and modern periods, and which I define as stretching roughly from the turn of the last century until the end of the 1960s. To this end, I will borrow from concepts of postmodernism as expressed by Jean-François Lyotard, James Morley, and Kenneth Gloag, in order to attempt to define what I feel it means within the context of the jazz lineage. In the process of examining this ‘post-history’, I will bring particular focus to the contributions of two key figures, Keith Jarrett and Wynton Marsalis. I will also look at a series of my own compositions and consider where they fit into the ‘postmodern’ paradigm. ii ACKNOWLEDGEMENTS Many thanks to the following people, without whom this project would not have been possible: Dr. Sundar Viswanathan; Prof. Barry Elmes; Prof. Michael Coghlan; Prof. Ron Westray; Prof. David Mott; Prof. Paul Sych; Tere Tilban-Ross; Peggy Jane Hope; Mary Margaret Hope-Restivo; Dr. Valerie Alia; Dr. Sal Restivo; Dan Restivo; Alan Henderson; Terry Promane; Fawn Fritzen; Mark Chambers. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAVE LIEBMAN NEA Jazz Master (2011) Interviewee: Dave Liebman (September 4, 1946 - ) Interviewer: Bill Kirchner with recording engineer Ken Kimery Date: January 4-5, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 166 pp. Levy: Today is January 4th, 2011. I’m Bill Kirchner. We’re here in my home in South Orange, New Jersey, and we’re going to be talking with NEA Jazz Master Dave Liebman. Let’s start out with the most obvious thing. What’s your full name, Dave? Liebman: No middle name. In fact, when I was about 13 or something, I said, “How come I don’t have a middle name?” to my mother, and she said, “Choose one.” In those days I was enamored by all the tough guys in the neighborhood, who were Vinny, Vito, Tony, Tito. I said, “Can I do Tito or Vinny?” She said, “No, I don’t think so.” So that was the end of any middle name. Nobody in our family has middle names. This is a rarity, I guess. Kirchner: And just so we get the formal stuff out of the way, you were born what day? Liebman: September 4th, 1946, Brooklyn, New York. Kirchner: In a hospital? At home? Liebman: Brooklyn Jewish Hospital. Kirchner: What were your parents’ names? Liebman: Francis. Her maiden name was Gatina – Hungarian, Alsace, a little German, and my father was a Liebman. They were from Belarus, White Russian Minsk, around For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 that area.