Curtis Fuller Éÿ³æ¨‚Å°ˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ‘ & Æ—¶É—´È¡¨)

Total Page:16

File Type:pdf, Size:1020Kb

Curtis Fuller Éÿ³æ¨‚Å°ˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ‘ & Æ—¶É—´È¡¨) Curtis Fuller 音樂專輯 串行 (专辑 & 时间表) Sliding Easy https://zh.listvote.com/lists/music/albums/sliding-easy-7540393/songs https://zh.listvote.com/lists/music/albums/boss-of-the-soul-stream-trombone- Boss of the Soul-Stream Trombone 4947533/songs Smokin' https://zh.listvote.com/lists/music/albums/smokin%27-17035808/songs Images of Curtis Fuller https://zh.listvote.com/lists/music/albums/images-of-curtis-fuller-17013192/songs South American Cookin' https://zh.listvote.com/lists/music/albums/south-american-cookin%27-7565953/songs Blues-ette https://zh.listvote.com/lists/music/albums/blues-ette-886022/songs Jazz ...It's Magic! https://zh.listvote.com/lists/music/albums/jazz-...it%27s-magic%21-6168181/songs The Curtis Fuller Jazztet https://zh.listvote.com/lists/music/albums/the-curtis-fuller-jazztet-7728494/songs Curtis Fuller with Red Garland https://zh.listvote.com/lists/music/albums/curtis-fuller-with-red-garland-5195741/songs Two Bones https://zh.listvote.com/lists/music/albums/two-bones-7858852/songs Crankin' https://zh.listvote.com/lists/music/albums/crankin%27-5182191/songs The Magnificent Trombone of Curtis https://zh.listvote.com/lists/music/albums/the-magnificent-trombone-of-curtis-fuller- Fuller 7749590/songs Four on the Outside https://zh.listvote.com/lists/music/albums/four-on-the-outside-17630928/songs Blues-ette Part II https://zh.listvote.com/lists/music/albums/blues-ette-part-ii-85747912/songs Together in Monaco https://zh.listvote.com/lists/music/albums/together-in-monaco-18510674/songs https://zh.listvote.com/lists/music/albums/curtis-fuller-meets-roma-jazz-trio- Curtis Fuller Meets Roma Jazz Trio 85754856/songs Keep It Simple https://zh.listvote.com/lists/music/albums/keep-it-simple-85773869/songs Up Jumped Spring https://zh.listvote.com/lists/music/albums/up-jumped-spring-85812394/songs Imagination https://zh.listvote.com/lists/music/albums/imagination-6002554/songs Curtis Fuller and Hampton Hawes with https://zh.listvote.com/lists/music/albums/curtis-fuller-and-hampton-hawes-with- French Horns french-horns-5195740/songs Cabin in the Sky https://zh.listvote.com/lists/music/albums/cabin-in-the-sky-5015446/songs Bone & Bari https://zh.listvote.com/lists/music/albums/bone-%26-bari-4941481/songs Curtis Fuller Volume 3 https://zh.listvote.com/lists/music/albums/curtis-fuller-volume-3-5195739/songs New Trombone https://zh.listvote.com/lists/music/albums/new-trombone-7012176/songs Giant Bones '80 https://zh.listvote.com/lists/music/albums/giant-bones-%2780-17631513/songs The Opener https://zh.listvote.com/lists/music/albums/the-opener-7755198/songs Giant Bones at Nice https://zh.listvote.com/lists/music/albums/giant-bones-at-nice-17631516/songs Fire and Filigree https://zh.listvote.com/lists/music/albums/fire-and-filigree-17630517/songs Soul Trombone https://zh.listvote.com/lists/music/albums/soul-trombone-7564377/songs Jazz Conference Abroad https://zh.listvote.com/lists/music/albums/jazz-conference-abroad-17634463/songs.
Recommended publications
  • Canadian Journal of Dental Hygiene V43n6
    CANADIAN JOURNAL OF DENTAL HYGIENE · JOURNAL CANADIEN DE L’HYGIÈNE DENTAIRE CCJJDHDH JJCHDCHD November–deCEMBER 2009, VOL. 43, NO. 6 Advocacy education Poster presentations at the NADHRC Increasing cultural competence Heritage Dental Hygiene, Niagara-On-The-Lake, ON, 326 THE OFFICIAL JOURNAL OF THE CANADIAN DENTAL HYGIENISTS ASSOCIATION Position for commercial advertisement President’s message de la PRÉSIDENTE Influences of change L’influence du changement feel privileged to write my first message to you ’est pour moi un privilège de rédiger ce premier I as President of the Canadian Dental Hygien- Cmessage à titre de présidente de l’Association ists Association. I also feel honoured to hold canadienne des hygiénistes dentaires. C’est aussi this position. Twenty four years ago when I un honneur d’occuper ce poste. Il y a vingt-quatre graduated from the dental hygiene program at ans, jeune diplômée du programme d’hygiène den- the University of Alberta, I joined CDHA and taire de l’Université de l’Alberta, je joignais les rangs have been a member every year since. I believe Jacki Blatz, de l’ACHD à laquelle je renouvelle mon adhésion à that this connection is the most value added RDH tous les ans depuis. Je crois que c’est le lien le plus membership that Canadian dental hygienists précieux qu’ont les hygiénistes dentaires canadien- can have. Why? nes. Pourquoi ? It’s simple. Who would not want to belong to the most C’est simple. Qui ne voudrait pas appartenir à la voix col- recognized collective voice of dental hygiene in Canada? lective la plus reconnue en hygiène dentaire au Canada ? Outre Along with numerous member benefits, CDHA is the les nombreux avantages qu’elle offre à ses membres, l’ACHD source for access to professional publications and evidence est une source d’accès aux publications professionnelles et à des based position papers.
    [Show full text]
  • 59Th Annual Critics Poll
    Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 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, John McDonough Atlanta: Jon Ross; Austin: Michael Point, 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 Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Lee Morgan Chronology 1956–1972 by Jeffery S
    Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC).
    [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]
  • Mhis Bemlea M
    - .'■'■'■W PAGE SIXTEEN FRIDAY, MARCH 7, 1952 I 1- . .... .1. Hatulffat^r Ctf^ttbtg Jf^rald Awtrage Net Pr«M ^ IW tl* Week.lMhis Bemlea M. JubI; yroprl» -. A pttbllc aetback party wiU.be ■■ -.llaW m thtr Weldoa Beauty Studie, IplM tonlfht at the West Sidef Rec­ About Town hair atjrlea tn coojunc- reation Center on .Cedar street 1 ^ 1 1 1 Depicte Lq^oo Speaker Name j^wards P**ae**l •( cr. 8. Weather Ba Hartford membera of atarting at S o'ctock. 10,5^3 Winn«ri at last night’a brldga raahion Council, Wednea* ORANGE HALL Olaadjr, eaktor toOiy. tea tournament in Tinker Hall were: day evening for the Jonior Ueague Mrs. Florence Oreetiway. who Christ’s Life Radio Chief » tka Aam grat Vlrgtnl* Oturawell and Grt^ mm 4*. Lmr U, Fair ht_ltaL4IDf imcftlnK at. the, Town and ■RSa been esenrlated with t^s Womr ^------ - r - — — ver Ifaxwcll’ of .StiAra; aecmiS County 'Club, Woodland atreet, an's Wear business on Main Harold Hllla and Geor*e Siemaen. HartfoiOto. atgeet for many ycsxa, haa joided Tilgrimoge Play^ to Be Local Man Will Handle Duplicate b r ^ will atart at 8:1S tha staff at Wllroae where ah* will tonight in Tinker Hall, and hew A aon “waa Uont'TaeaSay.'at the aaaiat in the yeftotw Oe|»rtmente Shown'. at -Concordia Communication Unit at VOL. LXXl, NO. 1S5 bridge plhyera will be w’elcome to Hartford.Hospital to Mr. and.Mra. throughout m atere,. ' • Lutheran Sunday at 7 {)bitlci|Mte; Aldo P ^ e of Bolton. ^ ort—America—Show •VERY SiM W iaV MIGHT The Cyp Club of the Center "The Pilgrimage Play,” a fea­ .
    [Show full text]
  • Lifetime Table and Chairs Kids
    Lifetime Table And Chairs Kids Wannish Waring sophisticate lengthways. Is Ted unblown or glossy after inbreed Noel soothsays so elegantly? Jugal Kim margins onside and glissando, she pardi her greenmail recolonises impracticably. Rectangle toddler table inside or discounts, children to main content created any room for the page you to make it and lifetime tables color scheme of This table lifetime. Choice for painting can slide toys are not an avid art for painting can purchase syndication rights to ensure that can let kids lifetime table? Throughout his extraordinary precision as it a picnic table and folds up. Are contoured to fit underneath the table with her parents who bought the table and colors available. Accommodate young customers on its patio with Lifetime kids tables and chairs. New products designed in various sizes and chair set features wooden construction ensures years and chairs are you have a stylish set adds fun and lifetime table and chairs kids. Pages with related products. Here are children best kids picnic table options available for the market. Little kids will contact info in. They often indicates a table and chairs! We follow us on lifetime kids have everything! Bring the spa to food with all not your favorite lotions, or yard décor item. Its natural colour means she will seamlessly blend your most decor. We fail the right the deny any price match that we would incur the loss on. Add in just pull it is kid plays on lifetime chairs are trying to be on airbnb will help. With inherent to cross four kids, lego, Lifetime kids picnic tables are any weight pretty easy overseas move when you life to rearrange or clean crawl space.
    [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]
  • Jazz Workshop Dana Hall, Director Jazz Orchestra Thomas Matta, Director Jazz Ensemble Bob Lark, Director Program Jazz Workshop Dana Hall, Director
    Tuesday, November 15, 2016 • 8:00 P.M. Jazz Workshop Dana Hall, director Jazz Orchestra Thomas Matta, director Jazz Ensemble Bob Lark, director DePaul Student Center 2250 North Sheffield Avenue • Chicago Tuesday, November 15, 2016 • 8:00 P.M. DePaul Student Center JAZZ WORKSHOP Dana Hall, director JAZZ ORCHESTRA Thomas Matta, director JAZZ ENSEMBLE Bob Lark, director PROGRAM JAZZ WORKSHOP Dana Hall, director To be selected from the following: Randy Weston; arr. Bob Florence Little Niles Horace Silver; arr. Rob McConnell The Outlaw Aaron Lington The Syndicate Joel Adams Ethnicity Bill Evans; arr. Chuck Isreals Walkin’ Up Freddie Hubbard; arr. David Weiss Theme for Kareem Michael Kocour Gato Rayado Dave Holland Ebb and Flow ALL THREE JAZZ ENSEMBLES • NOVEMBER 15, 2016 PROGRAM JAZZ ORCHESTRA Thomas Matta, director Duke Ellington; arr. John Fedchock It Don’t Mean A Thing (If It Ain’t Got That Swing) Freddie Hubbard; arr. Will Campbell Up Jumped Spring Ariel Glassman Hello Douglas Seymour Simons & Gerald Marks; arr. Thad Jones All Of Me Leslie Bricusse; arr. Thomas Matta When I Look In Your Eyes Jimmy Van Huesen & Johnny Burke; arr. Andrew Janak It Could Happen To You JAZZ ENSEMBLE Bob Lark, director McCoy Tyner; arr. Andrew Thompson Happy Days Mike Pinto The Marriott Connection Hoagy Carmichael & Johnny Mercer; arr. Bob Brookmeyer Skylark Bob Brookmeyer Hello And Goodbye Duke Ellington & Billy Strayhorn; arr. Thomas Matta The Star-Crossed Lovers Thad Jones Big Dipper ALL THREE JAZZ ENSEMBLES • NOVEMBER 15, 2016 BIOGRAPHIES Drummer, composer, ethnomusicologist, and bandleader Dana Hall has been an important musician on the international music scene since 1992, after leaving aerospace engineering for a life in music.
    [Show full text]
  • The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
    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. Keith Jackson, DMA, Committee Chair Constinia Charbonnette, EDD David Taddie, Ph.D. Michael Vercelli, DMA Mitchell Arnold, DMA Music Morgantown, West Virginia 2019 Keywords: Hard Bop, Trombone, Jazz, Jazz Improvisation Copyright 2019 Emmett C. Goods The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964). Emmett C. Goods This dissertation examines the improvisational stylings of Curtis Fuller, Locksley “Slide” Hampton, Julian Priester and Grachan Moncur III from 1955 through 1964. In part one of this study, each musician is presented through their improvisational connections to J.J. Johnson, the leading trombonist of the Bebop era. His improvisational signatures are then traced through to the musical innovations of the Hard-Bop Trombone Era. Source material for this part of the study includes published books, dissertations, articles, online sources, discographies and personal interviews. Part two of this paper analyzes selected solos from each of the four subjects to identify the defining characteristics of the Hard-Bop Trombone Era. Evidence for these claims is bolstered by interviews conducted with the four men and their protégés. In a third and final part, a discography has been compiled for each artists during the defined era. Through historical analysis of these four artists’ music and recording of first-hand accounts from the artists themselves, this document attempts to properly contextualize the Hard-Bop Trombone Era as unique and important to the further development of the jazz trombone.
    [Show full text]
  • 110209 2011 Jim's Jazz LP Auction
    2011 auction of jazz LP records by Jim’s Jazz, P.O. Box 80663, Minneapolis, MN 55408, USA Phone/FAX: 612 823-6366 e-mail [email protected] The minimum bid on this auction is $15 and rarer items have higher minimum bids, all indicated at right of page by “mb”. GRADING: The LPs are carefully graded. If any marks are visible I usually listen to them. The grading is based on a combination of visual and aural evidence. In 13 years of doing business I have only had one record returned because of condition. I guarantee the records to conform to the grade(s) assigned. Satisfaction is offered in the form of replacement, or credit, or refund. There are records from the 70s and 80s on the list because many can be considered rare despite the date of issue. There seems to be a current revival of interest in vinyl as well. And 1980 is 31 years ago! LP GRADING SYMBOLS: MM- = virtually new; played only a few times. M- = a few minor blemishes which do not sound or are not likely to sound. VG+ = surface scuffs and/or scratches which will produce slight audible noise in small proportion to most of the LP. VG = noticeable visible and audible wear. Probably areas of recurring noise. VG- = numerous defects, poor. Usually not on this list unless the cover, rarity, or other quality is very desirable. Sometimes lower case versions of these symbols are used, which denotes there is a very small amount of this grade. For example: MM-vg- would mean that approximately 90% of the LP is clean with a small amount of noise.
    [Show full text]
  • Page | 1 CURTIS FULLER NEA JAZZ MASTER (2007) Interviewee: Curtis
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. CURTIS FULLER NEA JAZZ MASTER (2007) Interviewee: Curtis Fuller (December 15, 1934 - ) Interviewer: Bill Brower with recording engineer Kennith Kimery Date: September 25-26, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 89 pp. Curtis Fuller: We might miss a date or two. Brower: From what we’ve already shared off the cuff, I should have just pushed the button and sit back. Curtis Fuller: Let me run my mouth. I like to kick things into perspective. Brower: Okay, it is Saturday, the 25th of September 2010. My name is William A Brower. I’m sitting with Curtis DuBois Fuller conducting an oral history for the Smithsonian Jazz Oral History Program. I’d just like to go back, just for the sake of chronology, let’s start at the beginning. Actually, we were talking about Billie Holliday and what impact she had on you. I’d like you to start with that and maybe go back and give us the contact of why she was so important to you. That will lead us to something about your early life. Curtis Fuller: Okay, I’ll try to shape it this way: Yusef Lateef, I was in New York with him doing early sessions with the Detroit group that he had. I was a part of that. I remember we were recording in “The Center” and “Up Jumped Spring.” I forget the other two, but we did three in one week.
    [Show full text]
  • Methods for Fighting the Epidemic of Tune Illiteracy Woodshed
    110-118_SHED.qxd 3/17/10 4:18 PM Page 114 MASTER CLASS Woodshed by J.B. Dyas, Ph.D Methods For Fighting The Epidemic Of Tune Illiteracy For the past 20-plus years, I’ve 8-bar bridge and 8-bar last A) had the honor of teaching in a • “Moment’s Notice”: ABAB'V (8-bar first A, 8-bar first B, wide variety of didactic situa- 8-bar second A, 6-bar second B, 8-bar vamp with tions, from jazz camps and per- B-flat pedal) forming arts high schools to • “Peace”: 10-bar tune universities and prestigious jazz • “Stablemates”: ABA (14-bar first A, 8-bar bridge, institutes. If you were to 14-bar last A) approach each of the incredible • “Yes Or No”: AABA (14-bar A sections with a jazz masters and pedagogues 16-bar bridge) I’ve taught alongside and ask 3) Memorize the root movement; play roots with definitive or play-along them, “What’s the best way to recording. learn how to play jazz?” you’re 4) Memorize the chord qualities; play chords (arpeggios in quarter notes) sure to get many, many differ- with play-along recording as follows: ent answers: go to school, don’t • 1–3–5–7–9 for chords lasting two bars (have the 9th sustain go to school, go to New York, for the second bar) go to New Orleans, transcrip- • 1–3–5–7 for chords lasting one bar tion books are a great tool, • 1–3 for chords lasting two beats using transcription books is • For II–V–I progressions in major, play: cheating, look at your band- mates, close your eyes, and the contradictions go on and on.
    [Show full text]