New Orleans Jazz and Second Line Drumming Free Download

Total Page:16

File Type:pdf, Size:1020Kb

New Orleans Jazz and Second Line Drumming Free Download NEW ORLEANS JAZZ AND SECOND LINE DRUMMING FREE DOWNLOAD Herlin Riley,Johnny Vidacovich,Dan Thress | 120 pages | 01 Mar 1996 | Warner Bros. Publications Inc.,U.S. | 9780897249218 | English | Miami, United States Riley/Vidacovich-New Orleans Jazz & Second Line Drumming (CD) Dance and disability Dance New Orleans Jazz and Second Line Drumming health Dance costume Dance etiquette Dance notation Dance in film Dance in mythology and religion Dance occupations Dance on television Dance research Dance science Dance technology Dance troupe Dancing mania History of dance Women in dance. Blaine rated it really liked it Feb 06, I think of it as a funky march. New Orleans Jazz and Second Line Drumming, these guys are smooth! Figure 7 illustrates the duration of each eighth note of the two runs I analyzed in measures 15 and Figure 7. By Jordan Newman. Audible evidence suggested that the basic pattern would consist of alternating longer and shorter eighth notes. James added it Jul 12, He New Orleans Jazz and Second Line Drumming known for his crisp, dry, and at times almost muffled, tone on the snare drum, contrasting with the warm, full-bodied timbre of his bass drum and tom. Want to Read Currently Reading Read. Gretna, LA: Pelican. Listening List:. BookDB marked it as to-read Sep 16, Retrieved 27 November I should also note that the transcription of the guitar groove indicates only the accent pattern, though in fact every eighth note is played. By the Editors. View Printable Version. Minneapolis: University of Minnesota Press. Since these features underlie so much American and global popular music, it is clear that a notational system that can better describe them must be devised. He participated in a number of classic recordings during this time. This shift opened up a space for New Orleans musicians to experiment further with the mixed New Orleans Jazz and Second Line Drumming of the second line. Other editions. Moore, Stanton. This book is not yet featured on Listopia. In measure 15, the bass guitar settles into a standard staccato funk pattern that also emphasizes the One. Escape the Present with These 24 Historical Romances. Chicago: Lawrence Hill. More Details Some have long histories; the oldest such organization still holding regular parades is the Young Men Olympian Junior Benevolent Association, founded in Drums is drums — life is a symphony of rhythms. Walnut Creek, CA. Play these grooves with a varying degree of swing in the eighths:. For more information on second-lines and their history, visit the Backstreet Cultural Museum and the House of Dance and Feathers. Additive rhythms are also somewhat awkwardly represented using traditional Western notation, with bar lines and note ties sometimes dividing beat cycles in an unnatural fashion. Benjamin Fasching-Gray added it Jul 18, Often, Mardi Gras Indians were and still are included in the procession. He toured the Midwest and California with the latter group infollowed by a residency with Sidney Bechet. The snare drum, meanwhile, plays variations on a pattern that is effectively an offset clave :. What is a second line? New Orleans Cocktail Tours. Figures 1 and 2 contain illustrations of the bamboula and the clave rhythms, respectively:. Professional New Orleans drummer Terence Higgins features some of the funkier second line grooves in this next video. Wikimedia Commons. Nketia, J. Bloomington: Indiana University Press. You've added your first Trip Builder item! It would not be outrageous to claim that the musical traditions of New Orleans were the wellspring of twentieth-century popular music. Martinez, Maurice. During the "second line season", lasting most of the year with breaks for holidays including Mardi Gras and the hottest part of summer, there are second line parades most Sundays. By Benjamin Doleac. .
Recommended publications
  • NEW ORLEANS 2Nd LINE
    PVDFest 2018 presents Jazz at Lincoln Center NEW ORLEANS 2nd LINE Workshop preparation info for teachers. Join the parade! Saturday, June 9, 3:00 - 4:00 pm, 170 Washington Street stage. 4:00 - 5:00 pm, PVDFest parade winds through Downtown, ending at Providence City Hall! PVDFest 2018: a FirstWorks Arts Learning project Table of Contents with Jazz at Lincoln Center A key component of FirstWorks, is its dedication to providing transformative arts experiences to underserved youth across Rhode Island. The 2017-18 season marks the organization’s fifth year of partnership with Jazz at Lincoln Center. FirstWorks is the only organization in Southern New England participating in this highly innovative program, which has become a cornerstone of our already robust Arts Learning program by incorporating jazz as a teaching method for curricular materials. Table of Contents . 2 New Orleans History: Social Aid Clubs & 2nd Lines . 3 Meet Jazz at Lincoln Center . .. 6 Who’s Who in the Band? . 7 Sheet Music . 8 Local Version: Meet Pronk! . 12 Teacher Survey . .. 14 Student Survey. .15 Word Search . .16 A young parade participant hoists a decorative hand fan and dances as the parade nears the end of the route on St. Claude Avenue in New Orleans. Photo courtesy of Tyrone Turner. PVDFest 2018: a FirstWorks Arts Learning project 3 with Jazz at Lincoln Center NOLA History: Social Aid Clubs and 2nd Lines Discover the history of New Orleans second line parades and social aid clubs, an important part of New Orleans history, past and present. By Edward Branley @nolahistoryguy December 16, 2013 Say “parade” to most visitors to New Orleans, and their thoughts shift immediately to Mardi Gras.
    [Show full text]
  • Rhythm, Dance, and Resistance in the New Orleans Second Line
    UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy.
    [Show full text]
  • Experience Brochure V4
    EXPERIENCE COLLAGE DANCE “REMARKABLE, OUTSTANDING IN MAGNITUDE, WORTHY OF NOTICE.” – Marilyn Cavallari, Southern Vermont Arts Center ABOUT THE COMPANY For nearly 10 years, Collage Dance Collective has worked to inspire the growth of ballet by showcasing a repertoire of relevant choreography and world-class dancers representative of our community. Founded in New York City in 2006, Collage Dance Collective received rave reviews for its 2007 national debut at the Lyric Opera House in Kansas City, Missouri. The company relocated to Memphis in 2007 to take part in the city’s exciting artistic renaissance and to fulfill its mission of extending the reach of outstanding classical ballet training. Since its move, the professional company has presented nine full-length seasons in Memphis plus national and international touring. Collage Dance Collective presents a diverse range of classical and contemporary choreography. In addition to Artistic Director, Kevin Thomas, the company’s repertory includes works by Nicolo Fonte, Dwight Rhoden, Kevin Iega Jeff, Darrell Grand Moultrie, Sir Frederick Ashton, Camille A. Brown, Joshua Manculich and Amy Hall Garner. ABOUT THE DIRECTORS KEVIN THOMAS (Founding Artistic Director) began his dance training at the age of 7 with Studio de La Voliere in Montreal, Canada and owes much of his success to Carmen Renaud who introduced and exposed him to ballet. Mr. Thomas went on to study at Ecole Superieure de Danse du Quebec in Montreal, Canada, and has danced with Les Grands Ballets Canadiens as a soloist, Cleveland/San Jose Ballet as a principal and the Dance Theatre of Harlem (DTH) in New York City as a principal dancer.
    [Show full text]
  • ARTS COUNCIL of NEW ORLEANS 2020 COMMUNITY ARTS GRANTS Grant Activity Period: January 1 – December 31, 2020
    3/10/20 ARTS COUNCIL OF NEW ORLEANS 2020 COMMUNITY ARTS GRANTS Grant Activity Period: January 1 – December 31, 2020 The Community Arts Grants program provides critical support to non-profit arts and cultural organizations domiciled in Orleans Parish whose programs impact its residents and visitors. This grants program is made possible with funding from the City of New Orleans and is administered by the Arts Council New Orleans. CATEGORY: NEW ORLEANS AS CULTURAL CAPITAL 826 New Orleans $5,500 To support 826 New Orleans’ Workshop Program offering New Orleans students who struggle with literacy standards the opportunity to develop their writing skills outside their school classes by putting them into contact with literary professionals who demonstrate that writing can be a career choice and creative outlet. ArtSpot Productions, Inc. $5,500 To support the creation of original theatre to be perform locally and tour throughout the world and workshops as well as partnerships with artists and organizations who are committed to eliminating oppressions and creating a just and equitable nation and world. Ashé Cultural Arts Center (Efforts of Grace, Inc. ) $15,000 To support Ashé Cultural Arts Center and its presentation and promotion of African American art and artists through a multi-disciplinary program that fosters partnerships and collaborations to unite community development, cultural appreciation, and artist support. Birdfoot Chamber Music Festival $3,000 To support an annual international chamber music festival that features innovative and dynamic music programs, concerts, and an intensive music education program for advanced local music students. Clay Center of New Orleans $2,500 To support the Clay Center’s exhibition program showcasing contemporary ceramic artworks of local, national, and international artists, as well as a mini ceramic supply shop that provides a place in New Orleans where artists and the public can purchase clay and pottery plaster.
    [Show full text]
  • Ballet Hispanico
    HOT SEASON FOR YOUNG PEOPLE 2012-2013 TEACHER GUIDEBOOK Ballet Hispanico Photo by © Eduardo Patino, NYC Regions Bank A Note from our Sponsor For over 125 years Regions has been proud to be a part of the Middle Tennessee community, growing and thriving as our area has. From the opening of our doors on September 1, 1883, we have committed to this community and our customers. One area that we are strongly committed to is the education of our students. We are proud to support TPAC’s Humanities Outreach in Tennessee Program. What an important sponsorship this is – reaching over 25,000 students and teachers – some students would never see a performing arts production with- out this program. Regions continues to reinforce its commitment to the communities it serves and in ad- dition to supporting programs such as HOT, we have close to 200 associates teaching financial literacy in classrooms this year. Thank you, teachers, for giving your students this wonderful opportunity. They will certainly enjoy the experience. You are creating memories of a lifetime, and Regions is proud to be able to help make this op- portunity possible. Jim Schmitz Executive Vice President Area Executive Middle Tennessee Area Dear Teachers, Thank you for choosing the acclaimed dance company Ballet Hispanico Guidebook for Teachers as a performance experience for your students. You will join more than by Amanda Cantrell Roche two million audience members throughout the Americas and Europe who have witnessed the Latin American spirit brought to life through the vibrant dance of this distinguished company. Ballet Hispanico fuses Table of Contents the physicality and technical execution of ballet, the flair and spirit of Latin dance and the freedom of contemporary to create a new genre of Latin American dance.
    [Show full text]
  • New Orleans Music As a Circulatory System Author(S): Matt Sakakeeny Reviewed Work(S): Source: Black Music Research Journal, Vol
    New Orleans Music as a Circulatory System Author(s): Matt Sakakeeny Reviewed work(s): Source: Black Music Research Journal, Vol. 31, No. 2 (Fall 2011), pp. 291-325 Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/blacmusiresej.31.2.0291 . Accessed: 21/11/2011 12:34 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press and Center for Black Music Research - Columbia College Chicago are collaborating with JSTOR to digitize, preserve and extend access to Black Music Research Journal. http://www.jstor.org New Orleans Music as a Circulatory System Matt Sakakeeny This essay provides a roughly chronological history of a single musical tra- dition in New Orleans, the brass band parade, as a case study that supports a more expansive proposition. The first half of this proposition is specific to New Orleans: I note that the city has become largely identified with African American musical practices and repertoires and, further, that the associations between music, race, and place can be adequately subsumed under the categorical term New Orleans Music.
    [Show full text]
  • Sutton Movement Shorthand, Book One, the Classical Ballet
    Sutton Movement Shorthand Book I The Classical Ballet Key Copyright © 1973 by Valerie J. Sutton AllRights Reserved Library of Congress Catalog Card Number 73-92325 ISBN 0-914336-01-0 NOTICE This book is copyrighted in the United States of America and in all countries signatory to the Pan American and Universal Copyright Conventions. No part of it may be reproduced in English or in translation unless my written permission has been obtained. Valerie J. Sutton Printed, bound and published in the United States of America. THE LILAC FAIRY Sheet Dance Number One Copyright © 1973 by Valerie J. Sutton AllRights Reserved Valerie Sutton [email protected] DanceWriting Site www.DanceWriting.org csr PASSE OR RETIRE SUR LA POINTE (With Position Symbol) more dance books than I knew existed. It was all a mind and soul enlarging time, and I tried to help every minute of it develop me. Through all these activities, and particularly after I had been added to the Denishawn Dancers for the spring tour, I somehow managed to spend time in the studio at nights or on weekends, writing down the dances I was learning. Basically my notes were stick figures, drawn directly on the sheet music for the dance, and occasionally I had first to copy the music, which had been brought back in manuscript form fromEurope or Asia. During these hours I found inspiration in the life-sized portraits of St. Denis and Shawn hanging above me on the sea-green draped studio walls. The records of those hours are particularly useful at the present day, when happily our present fulfillment from looking backward is engender­ ing new interest and respect for the contributions of many of our great American dance forebears.
    [Show full text]
  • Czech Music in Nebraska
    Czech Music in Nebraska Ceska Hudba v Nebrasce OUR COVER PICTURE The Pavlik Band of Verdigre, Nebraska, was organized in 1878 by the five Pavlik brothers: Matej, John, Albert, Charles and Vaclav. Mr. Vaclav Tomek also played in the band. (Photo courtesy of Edward S. Pavlik, Verdigre, Neraska). Editor Vladimir Kucera Co-editor DeLores Kucera Copyright 1980 by Vladimir Kucera DeLores Kucera Published 1980 Bohemians (Czechs) as a whole are extremely fond of dramatic performances. One of their sayings is “The stage is the school of life.” A very large percentage are good musicians, so that wherever even a small group lives, they are sure to have a very good band. Ruzena Rosicka They love their native music, with its pronounced and unusual rhythm especially when played by their somewhat martial bands. A Guide to the Cornhusker State Czechs—A Nation of Musicians An importantCzechoslovakian folklore is music. Song and music at all times used to accompany man from the cradle to the grave and were a necessary accompaniment of all important family events. The most popular of the musical instruments were bagpipes, usually with violin, clarinet and cembalo accompaniment. Typical for pastoral soloist music were different types of fifes and horns, the latter often monstrous contraptions, several feet long. Traditional folk music has been at present superseded by modern forms, but old rural musical instruments and popular tunes have been revived in amateur groups of folklore music or during folklore festivals. ZLATE CESKE VZPOMINKY GOLDEN CZECH MEMORIES There is an old proverb which says that every Czech is born, not with a silver spoon in his mouth, but with a violin under his pillow.
    [Show full text]
  • The MIT Folk Dance Club Songbook
    The MIT Folk Dance Club Songbook Argentina VivaJujuy(Bailecito) ...................................... 1 Armenia Guhneega............................................. 2 Karun,karun........................................... 2 Darimena............................................. 3 Sirunakhchik(Sweetgirl).................................... 4 Assyrian Ainokchume........................................... 5 Bulgaria Hodih gore, hodih dolu (Cetvornoˇ ˇsopsko horo) . 6 SnoˇstisiRadapristana(Kjustendilskar˘uˇcenica). 7 Sadimoma............................................ 8 HodilamijeBojana(Pravo) .................................. 9 Gjurabelibeloplatno(Pajduˇsko). 9 Tr˘ugnalaRumjana........................................ 10 OkolPleven(Pravo)....................................... 11 Petruno,pileˇsareno ....................................... 12 MajkaRada(Pravo)....................................... 13 Karamfil ............................................. 13 Tr˘ugnal mi Jane Sandanski. 14 Molih ta, majˇco, i molih (Pravo). 14 Suvatarjakaodapriteˇce..................................... 15 Znzngankele(Pravo)...................................... 15 Kucinata.............................................. 16 Mjatalo Lenˇce jab˘ulka (R˘uˇcenica) . 17 Unaˇsetoselo........................................... 18 Trakijskar˘uˇcenica......................................... 19 Canada Labastringue........................................... 20 La Ziguezon (An dro). 21 Croatia Hopˇzicaˇzica........................................... 22 LepamojaMilena........................................
    [Show full text]
  • New Orleans Second Line Parades: Photographs by Pableaux Johnson December 16, 2018–April 28, 2019 Contact: Erin Connors, 310-825-4288, [email protected]
    New Orleans Second Line Parades: Photographs by Pableaux Johnson December 16, 2018–April 28, 2019 Contact: Erin Connors, 310-825-4288, [email protected] Los Angeles, CA—Louisiana native Pableaux Johnson has been photographing Second Lines— or Sunday brass band parades—in New Orleans for more than a decade. This exhibition presents 48 color portraits of participants in jubilant processions organized by African American Social Aid and Pleasure Clubs, known as SAPCs, which are a hallmark of the Crescent City. Driven by upbeat music, the Second Line is a unified whole made up of a first line (SAPC members and the band) and a second line (families, tourists, and neighbors who walk and dance with them). In a broader context, the choreographed dance routines and improvisational steps exemplify a legacy of African-inspired ritual and performance. Originating in the mid-19th century as benevolent associations dedicated to charitable work within the black community, SAPCs have marched on Sundays and special occasions for generations. Collectively, the clubs manage a parade calendar of roughly 40 Sundays per year, and each member has a task to perform: coordinating city permits and marching routes, fundraising, and honoring deceased community members. Elders teach younger participants the how and why of the tradition: basic choreography, how to pace one’s self for up to four hours of dance, where to stop in and pay respects to local businesses, and other facets of second-lining, current and historical. Unmistakable in custom-tailored suits and gowns, matching hats and shoes, and colorful accessories such as parasols, sashes, and feathered fans, Second Lines weave their way through the city accompanied by local musicians playing trombones, trumpets, tubas, and drums.
    [Show full text]
  • Alegrías and Cantiñas – Major Key Cantes John Moore Practically All
    Alegrías and Cantiñas – major key cantes John Moore Practically all flamenco students know what alegrías sounds like. Some dancers have also heard of cantiñas – they may have had a cantiñas choreography. However, there tends to be some mystery surrounding what cantiñas actually is – this will try to clear this up – the basic problem is that the term cantiñas is used in different ways, as we will see. Musical Background Before diving into the details, it will be good to have a little musical background. Alegrías and cantiñas are in the major key. This means that their melodies use a major scale (similar to songs like ‘Happy Birthday’ and ‘Twinkle twinkle little star’). The guitar accompanies these cantes using two or three chords, similar to what is used in familiar American folksongs. There are three basic keys: E major, A major, and C major; here are the basic chords for each: (1) key tonic dominant sub-dominant E major E B7 A A major A E7 D C major C G7 F Because the relationship between these chords is the same for each key, we can generalize by naming the chords ‘tonic’ (the base cord), ‘dominant’ (the chord the tonic alternates with), and the ‘sub-dominant’ (the chord sometimes used in a “turn around” or towards the end a verse). In addition, sometimes the seventh chord of the tonic (e.g. E7, A7, or C7) is used in passing on the way to the sub-dominant. You can listen to what these keys sound like here: (2) E major E B7 E E B7 E A E B7 E basic chords E B7 E E B7 E E7 A B7 E basic chords with 7th tonic (3) A major A E7 A A E7 A D A E7 A basic chords A E7 A A E7 A A7 D E7 A basic chords with 7th tonic (4) C major C G7 C C G7 C F C G7 C basic chords C G7 C C G7 C C7 F G7 C basic chords with 7th tonic You can hear how the three keys are similar, but also sound different – partly this because they have different pitches (E vs.
    [Show full text]
  • The Circle Dance of the Cross in the Acts of John: an Early Christian Ritual
    THE CIRCLE DANCE OF THE CROSS IN THE ACTS OF JOHN: AN EARLY CHRISTIAN RITUAL By C2010 Melody Gabrielle Beard-Shouse Submitted to the graduate degree program in Religious Study and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master‘s of Arts. ________________________________ Chairperson ________________________________ ________________________________ Date Defended________________________________ 2 The Thesis Committee for Melody Gabrielle Beard-Shouse certifies that this is the approved Version of the following thesis: THE CIRCLE DANCE OF THE CROSS IN THE ACTS OF JOHN: AN EARLY CHRISTIAN RITUAL Committee: ________________________________ Chairperson ________________________________ ________________________________ Date Approved________________________________ 3 Abstract This study will discuss the original form, function, and meaning of the circle dance of the cross found in the Acts of John and determine whether it represents an early Christian ritual practice. This study will assess the evidence concerning the circle dance ritual within the Acts of John. Furthermore, a comparative examination of other relevant sources will shed further light on the circle in the Acts of John. This paper will offer a hypothetical reconstruction of the circle dance ritual. Ultimately this study will show that the early Christian ritual recorded in the Acts of John was in fact an actual ritual and is representative of early Christian plurality. Furthermore, it will illustrate that the ritual
    [Show full text]