All Blues Coltrane Solo Transcription
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LITERACY : Proofreading
LITERACY : Proofreading Circle the missing commas. Write corrections on the lines below. One example is done for you. Find and correct 5 more errors. Blues is a music genre and musical form originated in the Deep South of the United States around the 1870s. The genre developed from roots and spirituals.Blues incorporated spirituals work songs field hollers shouts chants and rhymed simple narrative ballads.The blues form ubiquitous in jazz rhythm and blues and rock and roll is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. Example : spirituals, work 1. …………………………………………………………… 2. ………………………………………………………….. 3. ………………………………………………………….. 4. ………………………………………………………….. 5. …………………………………………………………... LITERACY: LITERACY : Proofreading 8.WG7c Circle the missing commas. Write corrections on the lines below. One example is done for you. Find and correct 5 more errors. Blue notes usually thirds or fifths flattened in pitch are also an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove. Blues as a genre is also characterized by its lyrics bass lines and instrumentation. Early traditional blues verses consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the AAB pattern, consisting of a line sung over the four first bars its repetition over the next four, and then a longer concluding line over the last bars. Early blues frequently took the form of a loose narrative often relating the racial discrimination and other challenges experienced by African-Americans. -
January 2021 BLUESLETTER Washington Blues Society in This Issue
Bluesletter J W B S . Nick Vigarino Still Rocks the House! Live at the US Embassy: Blues Happy Hour Remembering Jimmy Holden LETTER FROM THE PRESIDENT WASHINGTON BLUES SOCIETY Hi Blues Fans, Proud Recipient of a 2009 I’m opening my letter with Keeping the Blues Alive Award another remembrance of another friend lost in our 2021 OFFICERS blues community. I have had to President, Tony Frederickson [email protected]@wablues.org do this a few too many times Vice President, Rick Bowen [email protected]@wablues.org lately and it is a reminder of Secretary, Marisue Thomas [email protected]@wablues.org how fragile life is and how Treasurer, Ray Kurth [email protected]@wablues.org important it is to live every day Editor, Eric Steiner [email protected]@wablues.org and make as many memories as you can. 2021 DIRECTORS Jimmy Holden passed away recently. I know there are many music Music Director, Open [email protected]@wablues.org fans who have great memories of Jimmy and his many performances Membership, Chad Creamer [email protected]@wablues.org and he touched many hearts with warmth, humor and melody. I will Education, Open [email protected]@wablues.org miss Jimmy for all of his wonderful stories about his travels. He Volunteers, Rhea Rolfe [email protected]@wablues.org traveled far and wide and we shared experiences we had both had Merchandise, Tony Frederickson [email protected]@wablues.org in multiple different localities around the world. Our conversations Advertising, Open [email protected]@wablues.org often lead to stories about adventures in Hong Kong, Thailand and other exotic places. -
Basie, Ballads, Bebop & Blues
BASIE, BALLADS, BEBOP & BLUES RECOMMENDED CLASSIC & NEWER WORKS FOR THE JAZZ ENSEMBLE, GRADES 2 – 4+ Compiled by Dr. Michael Parkinson Chair, Department of Music Webster University, St. Louis, Missouri © 2006 Educational Specialist – Benge Trumpets, Conn-Selmer, Inc. With the assistance of Robert Waggoner, Jim Cochran, and Ron Allen AND Tom Whaley, CMEA Jazz Representative (2005-2007) Works selected from the following publishing sources: Advance, Alfred, Barnhouse, Doug Beach (Kendor), CPP-Belwin, DPZ, FJH, Hal Leonard Heritage, Increase Music, JPM, Jazz at Lincoln Center (Alfred-JLC), Kendor, Kjos, Little Bear, Ludwig, Matrix, Really Good Music, Second Floor (Leonard), Sierra, Smart Chart, Stitzel, Three-Two, UNC & Walrus Bold face = recommended works; CAPITALIZED = outstanding choices, * Playable by a smaller ensemble BALLADS: TITLE: COMP/ARR: SOURCE and/or RECORDING: FEATURES: PUB: GR: A Child is Born Thad Jones Trumpet/Flugel Kendoe 3 AFTER YOU’VE GONE Layton/M. Taylor 1920s standard, Publisher’s disc Swing 8th, ensemble, piano Leonard 4 All The Things You Are J. Kern/S. Kenton 1950s Stan Kenton Orchestra Trombones, piano, sax soli Sierra 4 ALWAYS & FOREVER P. Metheny/B. Curnow 1990s Pat Metheny Group & Bob Curnow Big Band Alto sax, flugel horn, or guitar Sierra 4 At First Light Ellen Rowe Original , publisher’s disc Alto sax, light rock ballad Sierra 3 AUTUMN Bob Florence 1980s Bob Florence Orchestra (opt. doubles) Tenor sax feature Walrus 4 Beauty and the Beast G. Goodwin Band/Tenor Leonard 5 Black, Brown & Beautiful Oliver Nelson 1970s Oliver Nelson Orchestra Alto Sax (Johnny Hodges) Sierra 3 BLUE B. Shew/G. Brisker 1970s Louie Bellson Orchestra Trumpet (Bobby Shew) Beach/Kendor 4 Blue & Sentimental C. -
Pure Acoustic
A TAYLOR GUITARS QUARTERLY PUBLICATION • VOLUME 47 • WINTER 2006 pure acoustic THE GS SERIES TAKES SHAPE I’m a 30-year-old mother and wife who Jorma Kaukonen, Bert Jansch, Leo Kottke, 1959 Harmony Sovereign to a collector, loves to play guitar. I currently own two Reverend Gary Davis, and others, and my I will buy that Taylor 110, or even a 200 Letters Fenders. But after seeing you recognize listeners tell me I am better than before series model, which are priced right. my kind of player, my next guitar will be the “incident”. That’s a long story about John-Hans Melcher a Taylor (keeping my fingers crossed for a great guitar saving my hand, my music, (former percussionist for Christmas). Thanks for thinking of me. and my job. Thanks for building your Elvis Presley and Ann-Margret) Via e-mail Bonnie Manning product like I build mine — with pride Via e-mail and quality materials. By the way, I saw Artie Traum conduct After many years of searching and try- Aloha, Mahalo Nui a workshop here in Wakefield and it was ing all manner of quality instruments in Loa, A Hui Hou a very good time. Artie is a fine musician order to improve on the sound and feel Aloha from Maui! I met David Hosler, and a real down-to-earth guy — my kind of, would you believe, a 1966 Harmony Rob Magargal, and David Kaye at Bounty of people. Sovereign, I’ve done it! It’s called a Taylor Music on Maui last August, and I hope Bob “Slice” Crawford 710ce-L9. -
Gene Ammons Éÿ³æ¨‚Űˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ‘ & Æ—¶É—´È¡¨)
Gene Ammons 音樂專輯 串行 (专辑 & 时间表) Velvet Soul https://zh.listvote.com/lists/music/albums/velvet-soul-7919419/songs Funky https://zh.listvote.com/lists/music/albums/funky-5509284/songs All Star Sessions https://zh.listvote.com/lists/music/albums/all-star-sessions-4729674/songs Soul Summit Vol. 2 https://zh.listvote.com/lists/music/albums/soul-summit-vol.-2-15818440/songs Sock! https://zh.listvote.com/lists/music/albums/sock%21-15814227/songs Big Bad Jug https://zh.listvote.com/lists/music/albums/big-bad-jug-4904975/songs Got My Own https://zh.listvote.com/lists/music/albums/got-my-own-5587667/songs You Talk That Talk! https://zh.listvote.com/lists/music/albums/you-talk-that-talk%21-8057541/songs Soul Summit https://zh.listvote.com/lists/music/albums/soul-summit-7564331/songs Free Again https://zh.listvote.com/lists/music/albums/free-again-5499729/songs Twisting the Jug https://zh.listvote.com/lists/music/albums/twisting-the-jug-7858586/songs The Boss Is Back! https://zh.listvote.com/lists/music/albums/the-boss-is-back%21-7719440/songs My Way https://zh.listvote.com/lists/music/albums/my-way-6946594/songs https://zh.listvote.com/lists/music/albums/the-soulful-moods-of-gene-ammons- The Soulful Moods of Gene Ammons 7765379/songs Brasswind https://zh.listvote.com/lists/music/albums/brasswind-4957970/songs The Black Cat! https://zh.listvote.com/lists/music/albums/the-black-cat%21-7718275/songs Brother Jug! https://zh.listvote.com/lists/music/albums/brother-jug%21-4975523/songs Boss Soul! https://zh.listvote.com/lists/music/albums/boss-soul%21-4947520/songs -
Flamenco Sketches”
Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory. -
Final Copy 2019 01 31 Charl
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Charles, Christopher Title: Psyculture in Bristol Careers, Projects and Strategies in Digital Music-Making General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Psyculture in Bristol: Careers, Projects, and Strategies in Digital Music-Making Christopher Charles A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Ph. D. -
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. -
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement. -
Keith Stirling: an Introduction to His Life and Examination of His Music
KEITH STIRLING: AN INTRODUCTION TO HIS LIFE AND EXAMINATION OF HIS MUSIC Brook Ayrton A thesis submitted in partial fulfilment of requirements for the degree of M.Mus. (Performance) Sydney Conservatorium of Music University of Sydney 2011 1 I Brook Ayrton declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed:…………………………………………………………………………… Date:………………………………………………………………………………. 2 Abstract This study introduces the life and examines the music of Australian jazz trumpeter Keith Stirling (1938-2003). The paper discusses the importance and position of Stirling in the jazz culture of Australian music, introducing key concepts that were influential not only to the development of Australian jazz but also in his life. Subsequently, a discussion of Stirling’s metaphoric tendencies provides an understanding of his philosophical perspectives toward improvisation as an art form. Thereafter, a discourse of the research methodology that was used and the resources that were collected throughout the study introduce a control group of transcriptions. These transcriptions provide an origin of phrases with which to discuss aspects of Stirling’s improvisational style. Instrumental approaches and harmonic concepts are then discussed and exemplified through the analysis of the transcribed phrases. Stirling’s instrumental techniques and harmonic concepts are examined by means of his own and student’s hand written notes and quotes from lesson recordings that took place in the early 1980s. 3 Acknowledgements Many thanks go to the following individuals for their thoughts and reflections on matters in the study and their remembrance of a time when Australian jazz music was prolific in the popular culture of this country. -
All Blues: a Study of African-American Resistance Poetry. Anthony Jerome Bolden Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 All Blues: A Study of African-American Resistance Poetry. Anthony Jerome Bolden Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Bolden, Anthony Jerome, "All Blues: A Study of African-American Resistance Poetry." (1998). LSU Historical Dissertations and Theses. 6720. https://digitalcommons.lsu.edu/gradschool_disstheses/6720 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Ed Wilson's Music 2017
Ed Wilson’s Music 2017 Please email your order Please email a request for any information We no longer have a fax line We prefer email enquiries: [email protected] Many titles are now available as PDF - SENT TO YOU VIA EMAIL Titles available as PDF are marked as such EMAIL: [email protected] SEE MORE DETAILED DESCRIPTIONS OF THE TITLES @ www.wilsonpub.com.au Listen to MP3 samples online INDEX MIX & MATCH COMBO’ SERIES CONCERT BAND SERIES FEMALE Vocals ..................................................... pages 2,3 BEGINNER BAND BASH for Concert Band ............ page 20 MALE Vocals ............................................................. pages 4 INSTRUMENTALS ...................................................... page 3 Concert Band Level 2 ........................................ pages 18, 19 Concert Band Level 2½ plus 2½ - 3 ........................ page 19 Concert Band Level 3½ - 4 plus 4½ - 5 ................... page 19 BIG BAND SERIES OZ PACK SERIES for Concert Band ........................ page 19 BIG BAND FEMALE Vocals ................................ pages 5,6 BIG BAND MALE Vocals .................................... pages 6,7 CONCERT BAND MEDLEYS ................................... page 19 Big Band Level 1½ ................................................. page 14 ANZAC HYMNS-SONGS Big Band Level 2 ........................................................ page 8 ANZAC CONCERT BAND PDF ............................... page 18 Big Band Instrumentals - from Level 3 up to 5 ......... page 8 ANZAC BIG BAND PDF ...........................................