DOCSLIB.ORG

Samba Magic Basement Jaxx from "Basement Jaxx Vs Metropole Orkest" Transcribed & Adapted by MU1 Brian Sadler

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Samba Magic Basement Jaxx from SCORE Samba Magic Basement Jaxx from "Basement Jaxx vs Metropole Orkest" Transcribed & Adapted by MU1 Brian Sadler Samba = 120 h œ. œ. œ - . > > >. >œ œ nœ œ œ œ nœ bœ œ œ œ bœ nœ. œ. œ . bœ nœ œ w w Flute 1 b ˙ #>œ. œ œ œ bœ nœ œ œ #œ ˙ nœ J œ œ œ #œ œ J J J nœ J J nœ bœ nœ & b b C Ó J ‰ ‰ Œ J ƒ Í œ. œ. œ > >. >œ œ nœ œ œ œ nœ bœ œ œ œ- œ. œ nœ Flute 2 b >˙ #>œ. œ œ œ œ œ #œ ˙ nœ œ œ œ #œ œ œ #œ. œ œ #œ. œ nœ œ w Aw & b b C Ó J ‰ bœ nœ J ‰ J J Œ J J J J ƒ Í > œ- œ. œ nœ Oboe b >˙ >œ. n>œ œ œ bœ nœ œ œ #œ ˙ #>œ. œ œ œ nœ œ. bœ œ. œ œ œ J œ #œ œ œ #œ œ nœ œ w w & b b C Ó J ‰ J ‰ œ œ œ #œ œ œ nœ œ J J Œ J J J ƒ Í >˙ >œ. n>œ > œ œ nœ œ. bœ œ. œ œ œ bœ- . Bassoon ? J œ œ #œ ˙ n>œ. œ œ œ œ #œ œ œ nœ œ J J J nœ nœ. œ. œ. œ . j bbb C Ó ‰ œ bœ nœ œ J ‰ Œ J J œ bœ nœ nœ w w . > ƒ Í œ- . > > > ˙ n>œ. >œ bœ #œ. nœ. œ. œ nœ. bœ nœ nœ #œ œ w w Clarinet in B 1 ˙ #œ. œ œ œ bœ nœ œ œ #œ œ œ #œ œ. nœ œ. œ œ œ b & b C Ó J ‰ J ‰ œ œ œ #œ œ œ #œ œ J J Œ J J J J ƒ Í > œ- œ. œ #œ Clarinet in B 2-3 > >. > œ œ #œ ˙ #>œ. œ œ. œ. œ œ #œ. œ œ #œ. œ nœ œ w Aw b ˙ œ #œ œ bœ nœ œ œ œ œ #œ nœ œ œ J J J J & b C Ó J ‰ J ‰ œ œ œ #œ œ œ #œ J J Œ ƒ Í Bass Clarinet j j bœ- . j j & b C Ó œ #œ ∑ ˙ #œ. œ ∑ ‰ œ. n˙ ˙ #˙ J #œ nœ œ œ œ œ j ˙ . > > > . bœ. #œ nœ w > > > . > w ƒ Í - > > œ œ œ #œ œ. nœ œ. œ œ œ œ bœ. œ w w Alto Sax 1 >˙ #>œ. >œ œ œ #œ ˙ #œ. œ œ œ œ #œ œ œ #œ J J J #œ #œ œ œ #œ nœ #œ nœ #œ & C Ó J ‰ œ bœ nœ œ J ‰ Œ J J J ƒ Í œ #œ œ. nœ œ. œ œ œ - Alto Sax 2 > > > ˙ #>œ. >œ œ œ œ #œ œ œ œ œ. œ. œ. œ . #>œ w Nw Ó ˙ œ. #œ ‰ œ œ bœ nœ œ œ #œ J ‰ œ œ #œ J J Œ J #œ #œ #œ. œ. & C J J J J ƒ Í œ- . Tenor Sax > > > > > œ #œ œ. nœ œ. œ œ œ œ #œ. #œ. œ. œ #œ. n>œ w w b Ó ˙ bœ. nœ ‰ ˙ nœ. œ ‰ œ œ œ #œ œ œ Œ J J J œ œ J & C J œ œ bœ nœ œ œ #œ J œ œ #œ J J ƒ Í bœ- . Baritone Sax > > > >˙ #>œ. >œ œ. #˙ ˙ #˙ J #œ #œ œ. œ. œ . j & C Ó ˙ œ. #œ ∑ J ∑ ‰ J J œ bœ #œ #œ w J . > w Í ƒ - . > > > >œ #œ. ˙ b˙ n˙ œ bœ #œ. œ. œ . >œ w w Trumpet in B 1 >˙ #>œ. œ ˙ nœ. nœ nœ œ œ. b & b C Ó J ∑ J ∑ ‰ J J J J ƒ Í > ˙ #˙ œ- . Trumpet in B 2 > >. > >˙ #>œ. œ œ. n˙ œ #œ. œ. œ . n>œ w w b ˙ œ #œ J #œ #œ œ œ. & b C Ó J ∑ J ∑ ‰ J J J ƒ Í - Trumpet in B 3 > > > >. >œ #œ. ˙ ˙ n˙ œ œ. b >˙ bœ. nœ ˙ #œ œ bœ œ œ bœ . >œ w w & b C Ó J ∑ J ∑ ‰ J J J #œ nœ J ƒ Í Trumpet in B 4 > > > > b>œ n>œ œ. #˙ ˙ #˙ œ- bœ. > b b Ó n˙ œ. #œ ∑ ˙ . ∑ ‰ J #œ. nœ. œ. œ nœ. œ œ w w & C J J J J . œ. J ƒ Í French Horn 1-2 > > > b˙ n˙ - . b #>˙ >œ. >œ n˙ œ. #œ #œ. ˙ œ œ œ #œ. œ œ #œ. n>œ w Aw & b C Ó J ∑ J ∑ ‰ J J J nœ œ. J ƒ Í > > > œ. n˙ ˙ n˙ œ- œ. >˙ >œ. n>œ ˙ #œ. œ #œ nœ œ œ nœ œ. œ. >œ w w Trombone 1 ? b J J J J J J b b C Ó ∑ ∑ ‰ ƒ Í > > ˙ n˙ - . >˙ b>œ. n>œ ˙ n>œ. œ #œ. ˙ œ œ œ bœ. œ œ bœ. >œ w w Trombone 2 ? b J J J J J nœ nœ J b b C Ó ∑ ∑ ‰ ƒ Í > > > œ. n˙ ˙ #˙ œ- . Trombone 3 > >œ n>œ ˙ bœ. nœ bœ nœ. œ. œ . > ? b n˙ . J J nœ nœ œ œ. œ w #w b b C Ó J ∑ ∑ ‰ J J J ƒ Í - Bass Trombone ˙ n˙ bœ nœ. ? b > >œ n>œ >˙ #>œ. >œ œ. n˙ J nœ œ œ. œ œ. j b b C Ó ˙ . ∑ J ∑ ‰ J J bœ nœ nœ w J . > Nw ƒ Í > > > œ. n˙ ˙ #˙ œ- . Euphonium > >œ n>œ ˙ bœ. nœ bœ nœ. œ. œ . ? b n˙ . J J nœ nœ œ œ. >œ w #w b b C Ó J ∑ ∑ ‰ J J J ƒ Í Tuba - ? bb Ó j ∑ j ∑ ‰ ˙ n˙ bœ nœ j j j b C œ. nœ ˙ #œ. œ œ. n˙ J . nœ. œ œ œ œ ˙ > > > > > . bœ. nœ nœ w Nw ƒ> . > bœ- . Í Bass Guitar ? > > > >˙ #>œ. >œ œ. n˙ ˙ n˙ J nœ nœ. œ. œ. œ . j bbb C Ó ˙ œ. nœ ∑ J ∑ ‰ J J œ bœ nœ nœ w w J . > ƒ Piano b & b b C Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fill ˙ S S ˙ S S S ˙ ˙ ˙ S S S S S S S S S S x x x x . Drum Set J J J J J J ã C ’ ’ ’ ’ ’ ‰ Œ Œ Œ Œ Percussion Congos, Shaker, Etc. ã C Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ USNFE Band 2018 2 Samba Magic 11 Fl. 1 b b b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . 11& Fl. 2 b & b b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . Ob. b & b b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . 2nd Time Only Bsn. ? b œ. œ œ ‰ œ. >œ œ œ. œ. œ. œ œ ‰ œ. >œ œ œ. œ. œ. œ œ ‰ œ. >œ œ œ. œ. œ. œ œ ‰ œ. >œ œ œ. œ. b b . J ‰ ‰ J J ‰ ‰ J J ‰ ‰ J J ‰ ‰ J . F 2nd Time Only B Cl. 1 b j j j j & b . ‰ ‰ ‰ j ‰ ‰ ‰ j ‰ ‰ ‰ j ‰ ‰ ‰ j . œ. œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ œ œ. œ. F 2nd Time Only > > > > B Cl. 2-3 b b . j ‰ ‰ j j ‰ ‰ j j ‰ ‰ j j ‰ ‰ j . & œ. œ œ ‰ œ œ œ œ œ œ. œ œ ‰ œ œ œ œ œ œ. œ œ ‰ œ œ œ œ œ œ. œ œ ‰ œ œ œ œ œ œ. œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ œ œ. œ. F > > > > B. Cl. & b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . 2nd Time Only A. Sx. 1 > > > > . œ. œ. ‰ œ. ‰ œ. ‰ œ œ œ. œ. œ. œ. ‰ œ. ‰ œ. ‰ œ œ œ. œ. œ. œ. ‰ œ. ‰ œ. ‰ œ œ œ. œ. œ. œ. ‰ œ. ‰ œ. ‰ œ œ œ. œ. & . J J J J J J J J . F 2nd Time Only A. Sx. 2 j j j j j j j j & . œ. œ ‰ œ ‰ œ ‰ œ œ œ œ œ. œ ‰ œ ‰ œ ‰ œ œ œ œ œ. œ ‰ œ ‰ œ ‰ œ œ œ œ œ. œ ‰ œ ‰ œ ‰ œ œ œ œ . > . > . > . > . F 2nd Time Only T. Sx. j j j j j j j j & b . œ. œ ‰ œ ‰ œ ‰ œ œ œ œ œ. œ ‰ œ ‰ œ ‰ œ œ œ œ œ. œ ‰ œ ‰ œ ‰ œ œ œ œ œ. œ ‰ œ ‰ œ ‰ œ œ œ œ . > . > . > . > . F B. Sx. & . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . B Tpt. 1 b b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . 11& B Tpt. 2 b & b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . B Tpt. 3 b & b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . B Tpt. 4 b & b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . F. Hn. 1-2 b & b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . Tbn. 1 ? bbb . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . Tbn. 2 ? b b b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . Tbn. 3 ? b b b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . B. Tbn. ? b b b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . Euph. ? b b b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . Tuba ? b b b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . Bass ? b . ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ . 11 b b Pno. b & b b . j ‰ ‰ ‰ j j ‰ ‰ ‰ j j ‰ ‰ ‰ j j ‰ ‰ ‰ j . 11 œœ. œœ œœ œ œ œ œ œ œœ. œœ œœ œ œ œ œ œ œœ. œœ œœ œ œ œ œ œ œœ. œœ œœ œ œ œ œ œ œ2nd. Time Onlyœ œ œœ œœ œœ œœ œœ œ . œ œ œœ œœ œœ œœ œœ œ . œ œ œœ œœ œœ œœ œœ œ . œ œ œœ œœ œœ œœ œœ Latin Groove. D. S. 11ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Lay Out 1st Time Latin Groove Perc. ã . ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ . 11 2 Time W/ Drum Set Samba Magic 3 19 w w w w Fl. 1 b w w w w b b 19& Cresc. F Fl. 2 w w w w w w w w bb & b Cresc.
Load more

Recommended publications
  • Making Musical Magic Live
    Making Musical Magic Live Inventing modern production technology for human-centric music performance Benjamin Arthur Philips Bloomberg Bachelor of Science in Computer Science and Engineering Massachusetts Institute of Technology, 2012 Master of Sciences in Media Arts and Sciences Massachusetts Institute of Technology, 2014 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Media Arts and Sciences at the Massachusetts Institute of Technology February 2020 © 2020 Massachusetts Institute of Technology. All Rights Reserved. Signature of Author: Benjamin Arthur Philips Bloomberg Program in Media Arts and Sciences 17 January 2020 Certified by: Tod Machover Muriel R. Cooper Professor of Music and Media Thesis Supervisor, Program in Media Arts and Sciences Accepted by: Tod Machover Muriel R. Cooper Professor of Music and Media Academic Head, Program in Media Arts and Sciences Making Musical Magic Live Inventing modern production technology for human-centric music performance Benjamin Arthur Philips Bloomberg Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on January 17 2020, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Media Arts and Sciences at the Massachusetts Institute of Technology Abstract Fifty-two years ago, Sergeant Pepper’s Lonely Hearts Club Band redefined what it meant to make a record album. The Beatles revolution- ized the recording process using technology to achieve completely unprecedented sounds and arrangements. Until then, popular music recordings were simply faithful reproductions of a live performance. Over the past fifty years, recording and production techniques have advanced so far that another challenge has arisen: it is now very difficult for performing artists to give a live performance that has the same impact, complexity and nuance as a produced studio recording.
    [Show full text]
  • San Francisco Symphony 2019–2020 Season Concert Calendar
    Contact: Public Relations San Francisco Symphony (415) 503-5474 [email protected] www.sfsymphony.org/press FOR IMMEDIATE RELEASE / MARCH 12, 2019 SAN FRANCISCO SYMPHONY 2019–2020 SEASON CONCERT CALENDAR PLEASE NOTE: Subscription packages for the San Francisco Symphony’s 2019–20 season go on sale TUESDAY, March 12 at 10 am at www.sfsymphony.org/MTT25, (415) 864-6000, and at the Davies Symphony Hall Box Office, located on Grove Street between Franklin and Van Ness. Discover how to receive free concerts with your subscription package. For additional details and questions visit www.sfsymphony.org/MTT25. All concerts are at Davies Symphony Hall, 201 Van Ness Avenue, San Francisco, unless otherwise noted. OPENING NIGHT GALA Wednesday, September 4, 2019 at 8:00 pm Michael Tilson Thomas conductor and piano San Francisco Symphony ALL SAN FRANCISCO CONCERT with MICHAEL TILSON THOMAS Thursday, September 5, 2019 at 8 pm Saturday, September 7, 2019 at 8 pm Michael Tilson Thomas conductor Alina Ming Kobialka violin Hannah Tarley violin San Francisco Symphony BERLIOZ Overture to Benvenuto Cellini, Opus 23 SAINT-SAËNS Introduction and Rondo capriccioso, Opus 28 RAVEL Tzigane GERSHWIN Second Rhapsody for Orchestra with Piano BRITTEN Variations and Fugue on a Theme by Purcell San Francisco Symphony 2019-20 Season Calendar – Page 2 of 22 SAN FRANCISCO SYMPHONY, MICHAEL TILSON THOMAS CONDUCTING Thursday, September 12, 2019 at 8 pm Friday, September 13, 2019 at 8 pm Saturday, September 14, 2019 at 8 pm Sunday, September 15, 2019 at 2 pm Michael Tilson Thomas conductor San Francisco Symphony MAHLER Symphony No. 6 in A minor SAN FRANCISCO SYMPHONY, MICHAEL TILSON THOMAS CONDUCTING Thursday, September 19, 2019 at 2 pm Friday, September 20, 2019 at 8 pm Saturday, September 21, 2019 at 8 pm Sunday, September 22, 2019 at 2 pm Michael Tilson Thomas conductor Daniil Trifonov piano San Francisco Symphony John ADAMS New Work [SFS Co-commission, World Premiere] RACHMANINOFF Piano Concerto No.
    [Show full text]
  • Cool Trombone Lover
    NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J.
    [Show full text]
  • Raul Midón If You Really Want with the Metropole Orkest Conducted by Vince Mendoza
    Raul Midón If You Really Want with The Metropole Orkest conducted by Vince Mendoza The New York Times has called Raul Midón “a one-man band who turns a guitar into an orchestra and his voice into a chorus.” Now, with his exciting new album – If You Really Want, to be released via Artistry Music/Mack Avenue on September 14 – Midón’s voice and guitar ride the waves of an actual orchestra: the acclaimed Metropole Orkest, the GRAMMY® Award-winning Dutch ensemble that has collaborated with artists from Al Jarreau and Elvis Costello to Laura Mvula and Snarky Puppy. Midón – who earned his first GRAMMY nomination for Bad Ass and Blind, his Artistry Music/Mack Avenue album of 2017 – worked hand in glove on If You Really Want with another renowned GRAMMY winner and frequent Metropole Orkest collaborator: conductor-composer-arranger Vince Mendoza. He created beautifully dynamic arrangements, inspired not only by the singer-guitarist’s melodies, harmonies and rhythms but by his lyrics, too. Alongside fresh versions of six favorites from past Midón albums, If You Really Want features four previously unrecorded songs: “If You Really Want,” “Ride On A Rainbow,” “Ocean Dreamer” and “All Love Is Blind.” This past spring, Midón performed in National Public Radio’s popular “Tiny Desk Concert” feature, with NPR prefacing the broadcast by saying: “Raul Midón lives in a world of sound – blind since birth, Midón’s interpretation of his surroundings is borderless. He sings with the passion of the best classic soul singers, and his instrumental chops stand alongside the most accomplished jazz musicians.” About creating If You Really Want, Midón says: “So many of the songs go to places on the new album that I’d never imagined before, like with ‘Sunshine (I Can Fly).’ I had recorded that song on both studio and live albums before, but the new arrangement feels so different, so exciting, so epic – the ultimate version of the song, I think.
    [Show full text]
  • The Harmony of Debussy in Contemporary Jazz Brigham
    THE HARMONY OF DEBUSSY IN CONTEMPORARY JAZZ BRIGHAM PHILLIPS 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 JANUARY, 2018 © BRIGHAM PHILLIPS, 2018 ABSTRACT Claude Debussy and other late 19th-century composers (especially Maurice Ravel) introduced several new harmonic innovations that have since become standard tools of the jazz composer/arranger/improviser, among them the rich harmonies of chromatically altered chords as well as the use of the whole tone, pentatonic and octatonic scales. This thesis presents an original composition The Stanley Bridge Suite that demonstrates ​ ​ how these harmonic concepts are used in modern orchestral jazz. A brief history of impressionism is included, followed by a chapter showing the increasing prevalence of impressionist harmony in jazz over the years. Because The Stanley Bridge Suite was arranged for ​ ​ an orchestral jazz ensemble the makeup of the modern jazz orchestra is also discussed. The final chapter analyzes the thesis composition in detail, showing where and how the various Debussy techniques were incorporated in the work. ii ACKNOWLEDGEMENTS I would like to thank Professors Al Henderson and Dr. Mark Chambers for their guidance and assistance. I would also like to acknowledge and thank my parents for giving me the gift of music and encouraging my choice to make a living as a professional musician. My father, recently deceased, always hoped I would pursue a Masters Degree in Music one day. Finally, I would like to thank my wife, daughter and son for encouraging me to go on this Masters journey and for putting up with my frequent absence from their lives while doing so.
    [Show full text]
  • COMMENCEMENT CONCERT 2018 COMMENCEMENT CONCERT FRIDAY, June 8, 2018 • 8 P.M
    COMMENCEMENT CONCERT 2018 COMMENCEMENT CONCERT FRIDAY, june 8, 2018 • 8 P.m. Lawrence Memorial chapel Allison Brooks-Conrad ’18 Koby Brown ’18 Anthony Cardella ’18 Mayan Essak ’20 Jamil Fuller ’18 Sean Goldman ’18 Martha Hellermann ’18 Emmett Jackson ’18 Eleanor Legault ’18 Madeleine Leonowitz ’18 Xi (Zoey) Lin ’18 Mikaela Marget ’18 Annie Mercado ’18 Amanda Milne ’18 Gawain Usher ’18 Jake Victor ’18 Evangeline Werger ’20 Daniel Whitworth ’18 1 PROGRAM s INTERMISSION s Prélude, Récitatif et Variations Maurice Duruflé Baal Shem: Three Pictures of Chassidic Life Ernest Bloch III. Thème et Variations (1902-1986) II. Nigun (1880-1959) Eleanor Legault ’18, violin Madeleine Leonowitz ’18, flute Anthony Cardella ’18, piano Gawain Usher ’18, viola Susan Wenckus, piano From Giulio Cesare George Frideric Handel “E pur così in un giorno... Piangerò la sorte mia” (1685-1759) Mariel Osvaldo Golijov (b. 1960) Martha Hellermann ’18, soprano Allison Brooks-Conrad ’18, cello Michael Rivers, piano Sean Goldman ’18, marimba Gaspard de la nuit Maurice Ravel I. Ondine (1875-1937) Three Dickinson Songs André Previn Xi (Zoey) Lin ’18, piano As Imperceptibly as Grief (b. 1929) Will There Really Be a Morning? Good Morning Midnight Sonata for Alto Saxophone and Piano David Maslanka I. Moderate (1943-2017) Annie Mercado ’18, soprano Daniel Whitworth ’18, alto saxophone Mayan Essak ’20, piano Evangeline Werger ’20, piano Amulet Paul Simon Nurture and Devour Mikaela Marget ’18 (b. 1941) (b. 1996) arr. Nancy Zeltsman Jamil Fuller ’18, vocals (b. 1958) Mikaela Marget ’18, cello Koby Brown ’18, marimba Sean Goldman ’18, percussion Paris Skies Nicholas Walker (b.
    [Show full text]
  • Vince Mendoza Nights on Earth
    VINCE MENDOZA RELEASE: 14.10.2011 CD CAT.NO.: MIG 80122 CD FORMAT: CD DIGI GENRE: JAZZ NIGHTS ON EARTH BARCODE: 885513801227 01. OTOÑO 02. POEM OF THE MOON 03. AO MAR 04. CONCHITA 05. THE STARS YOU SAW 06. ADDIO 07. SHEKERE 08. BEAUTY AND SADNESS 09. THE NIGHT WE MET 10. GRACIAS 11. EVERYTHING IS YOU 12. LUL LABY ALL MUSIC COMPOSED, ARRANGED AND CONDUCTED BY VINCE MENDOZA WWW.VINCEMENDOZA.NET WWW.HORIZONTALJAZZ.COM WWW.ARTOFGROOVE.DE PRODUCED BY VINCE MENDOZA Vince Mendoza - Nights on Earth Acclaimed composer-arranger-conductor to release his most personal and compelling project to date. After a remarkably productive decade which saw him writing stellar orchestral arrangements for recordings by such popular singers as Bjork, Melody Gardot, Sting and Joni Mitchell (he won Grammy Awards for his contributions to her Both Sides Now in 2000 and Travelogue in 2003), Vince Mendoza has shifted focus back to his own compositions for the first time in 13 years. His most personal and compelling project to date, Nights on Earth is yet another crowning achievement in the career of the acclaimed composer-arranger-conductor. On this eagerly-awaited follow up to Epiphany (which he recorded in 1997 with the London Symphony Orchestra), Mendoza recruited an all-star cast of long time collaborators like guitarists John Abercrombie, John Scofield and Nguyen Le, drummer Peter Erskine, percussionist Luis Conte, organist Larry Goldings, steel drummer Andy Narell, pianists Kenny Werner and Alan Pasqua, saxophonists Bob Mintzer and Joe Lovano. He is also joined by such new friends as Brazilian vocalist Luciana Souza, Malian kora player and singer Tom Diakite, Argentinian bandoneon master Hector del Curto, Algerian drummer Karim Ziad, French saxophonist Stéphane Guillaume and young American jazz stars in bassist Christian McBride, drummer Greg Hutchinson and trumpeter Ambrose Akinmusire, a winner of the 2007 The lonious Monk International Jazz Competition.
    [Show full text]
  • Jacob Collier with Metropole Orkest Djesse, Vol. 1
    siasm and power during an uptempo version of “Exactly Like You.” Joined by organist Dan Chase, guitarist Kyle Asche and drummer Greg Artry, she’s very much in her element, featuring an impressive range while vocalizing in a con- versational style that’s sometimes way behind the beat. Allgood stretches her repertoire a bit here with the inclusion of two originals, a Michael Jackson hit (“Rock With You”) turned into soul jazz, and a tune by Stevie Wonder. But most rewarding are her renditions of jazz standards. Allgood sings her lyrics to Morgan’s “Hocus Pocus” (a song based on “Mean To Me”) that fnds her essaying the occasionally wide inter- vals efortlessly and scatting creatively for two Alyssa Allgood choruses. She interprets Telonious Monk’s “Ask Jacob Collier with Exactly Like You Me Now” with quiet emotion, sounds joyful on Metropole Orkest CELLAR MUSIC 050418 “Te More I See You,” interacts with drummer Artry on “Alone Together” and gives “Darn Tat Djesse, Vol. 1 HHH½ HAJANGA/DECCA/GEFFEN Dream” a medium-tempo treatment. An impressive bop-oriented singer based in While Allgood mostly sounds at her best on HHH½ Chicago, Alyssa Allgood won a 2014 Down Beat hotter material, her surprising version of Tough Jacob Collier describes Djesse—a mul- Student Music Award in the Undergraduate “Yardbird Suite,” here rendered as a medi- tidisc project—as a single album, but four indi- Vocal Jazz Soloist category. Two years later, she um-slow ballad, is convincing and ofers the vidual records, any sense of fragmentation at recorded her debut, Out Of Te Blue, which prospect of an interesting future.
    [Show full text]
  • April 2016: John Clayton
    AFM LOCAL 47 Vol. 2 No. 4 April 2016 online John Clayton Playing it Cool NEXT GENERAL MEMBERSHIP MEETING Avoid Being Suspended Over Delinquent Monday, April 25, 7:30pm @ Serena Kay & Earl Williams Auditorium Work Dues! Review the Executive Board policy ISSN: 2379-1322 Publisher Editor AFM Local 47 Gary Lasley 817 Vine Street Managing Editor / Advertising Manager Hollywood, CA 90038-3779 Linda A. Rapka p 323.462.2161 f 323.993.3195 Graphic Designer / Asst. Layout Editor www.afm47.org Candace Evans AFM LOCAL 47 EXECUTIVE BOARD Hearing Board & COMMITTEES Allen Savedoff, chair Overture Online is the official monthly elec- Alan Estes, Chuck Flores, tronic magazine of the American Federa- Titled Officers Jon Kurnick, Jeff Lass, tion of Musicians Local 47, a labor union for President John Acosta Norman Ludwin, Marc Sazer Vice President Rick Baptist professional musicians located in Holly- Secretary/Treasurer Gary Lasley Hearing Representative wood. Vivian Wolf Trustees Judy Chilnick, Dylan Hart, Salary Review Board Formed by and for Los Angeles musicians Bonnie Janofsky Stephen Green, chair Norman Ludwin, Marie Matson, over a century ago, Local 47 promotes and Directors Paul Sternhagen protects the concerns of musicians in all Pam Gates, John Lofton, areas of the music business. Our jurisdic- Andy Malloy, Phil O’Connor, Fair Employment Practices Bill Reichenbach, Vivian Wolf Committee tion includes all counties of Los Angeles Ray Brown, Beverly Dahlke-Smith (except the Long Beach area). With more Delegates to AFM Convention John Acosta, Rick Baptist, Grievance Committee than 7,000 members, Local 47 negotiates Pam Gates, Bonnie Janofsky, Ray Brown, Lesa Terry with employers to establish fair wages Gary Lasley, Norman Ludwin and working conditions for our members.
    [Show full text]
  • Jazz Para El Autismo”
    “JAZZ PARA EL AUTISMO” Reflective Paper by Felipe Saalfeld Project Supervisor: Graham Ball Global Entertainment & Music Business Berklee College of Music July 26th 2015 1. Summary of the Project “Jazz Para El Autismo” was a collaborative Project between the Contemporary Performance (CP) and the Global Entertainment and Music Business (GEMB) Master Programs at Berklee Valencia. Jacopo Mezzanotti (Artistic Director, CP Program) and Felipe Saalfeld (myself, as head manager, producer and promoter, GEMB Program) joined forces together to create a uniQue an innovative show, in the form of a Symphonic Jazz concert, to be presented to the local Valencian community and raising funds for a local NGO. Artistic perspective: Symphonic Jazz Concert From an artistic perspective, the concert featured mostly Jacopo’s original Jazz compositions, all arranged by himself in a very innovative way for performing live for his Netherlands based Jazz band “Joe Midnights Space Trio”1 together with a Classic Symphony orchestra and a Jazz Big Band on stage. Today, the “Metropole Orkest”2 founded in 1945 in Netherlands, is one of the unique examples of a project that arranges contemporary music in this way for all kinds of artists, such as: Pat Metheny, Snarky Puppy, Ella Fitzgerald, Dizzy Gillespie, Al Jarreau, Bono, Elvis Costello, Within Temptation, John Scofield, Steve Vai, etc. 1 Jacopo Mezzanotti, http://www.jacopomezzanotti.com/ 2 Metropole Orkest, http://www.mo.nl/en/ 2 Social perspective: MUA Organization The concert was with non-profit purposes. All profit generated from the concert was donated for an emerging NGO from Valencia called MUA organization3,“Música para el Autismo” (Music for the Autism), which works doing alternative music therapies for kids with autism.
    [Show full text]
  • Downbeat.Com February 2016 U.K. £3.50
    FEBRUARY 2016 U.K. £3.50 DOWNBEAT.COM FEBRUARY 2016 VOLUME 83 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ŽanetaÎuntová Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Baxter Barrowcliff 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 Sam Horn 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, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson,
    [Show full text]
  • Arranging by Examples ∑ C Œ# Œ Œ Œ Œ
    œ. nœ œ œ œ œ. ∑ c œ œ œ œ œ. ∑ c œnœ œ œ œ œ. œ œ œ œ ˙ œ œ œ#œ œ œ œ c ˙ œ# œ œ œ œ. ∑ c f œ. ∑ c œ œ œ œ af 2 Arranging by Examples ∑ c œ# œ œ œ œ. Œ c The Practical Guide to ˙n ˙ Œ ˙b˙ c ˙ Jazz and Pop Orchestra Arranging f Œ ˙ c ˙ f Third Edition Œ c INCOMPLETE DEMO VERSION f ˙ œ œ ˙n ˙ Order the full version E-book from the webstore. œ œ c œ œ ˙ c ˙ œ œ œ# œ n˙. c ˙ œ ˙ ˙ . Frans Absil œ œ œ œ œ# ˙. c ˙ ˙b . ˙ ˙. ˙ c ˙b˙. c ˙ ∑ c ∑ c c . ˙b 13/ 11 œ 13/ 11 œ E 7 # E 7 # œ b b œ œ œ# œ ˙. c | œ œ nœ œ nœ œ œ. œ œ œ œ œ œ œn œ œ c n œ œ œ œ œ œ œ œb ∑ c Œ ˙b c Œ œb y y y y y y y Y c æ Œ ˙ c œ œ æ Suspendedæ˙ cymbalæ f c ∑ f æ n˙ œ. œ n˙ c œn œ œ œ 14 Colophon This e-book is a practical guide to arranging for jazz and popular music orches- tra. This document has been created with the public domain LATEX computer type- setting program. Diagrams were created using the LATEX picture environ- ment and the PSTricks package. Musical examples were created using the MakeMusic Finale music notation software. Score examples were imported into the document as Encapsulated Postscript (EPS) files, using the graphicx package.
    [Show full text]