DOCSLIB.ORG

{PDF} Bill Evans: How My Heart Sings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{PDF} Bill Evans: How My Heart Sings BILL EVANS: HOW MY HEART SINGS PDF, EPUB, EBOOK Peter Pettinger | 366 pages | 15 Aug 2002 | Yale University Press | 9780300097276 | English | New Haven, United States Bill Evans Trio* - How My Heart Sings | Releases | Discogs Learn how to enable JavaScript on your browser. Add to Wishlist. Sign in to Purchase Instantly. Members save with free shipping everyday! See details. Here, the eight selections have a much more mid- and even up-tempo flair. Israel appears more comfortable in these settings to be sure, as he is the kind of bassist that relegates himself deeply into the rhythm section, sublimating himself to the pianist. In Evans' own words, the band's desire was to "provide a more singing sound" in this material. The set begins with a lyrical waltz in the title track. There are a number of standards here, including "Summertime," which sounds so different with its mid-tempo opening and Israel's flaunting bass vamp in front of the piano. When Evans gets to the melody he is following the swinging skip of Motian's drums, and he digs deep into inverting the melody line with a slew of arpeggios and short, choppy phrases. On Cole Porter 's "Everything I Love," Evans takes the snap in the tune and breaks it, committing it to a driving swing and vaunting lyrical gem that has three seemingly unresolvable harmonic problems in the center that turn out to be a Moebius strip in Evan's chromatic language. Very little surface noise. Good feeling vinyl with thick outer edge. Comes in a mofi-style poly inner sleeve. Reply Notify me 1 Helpful. Add all to Wantlist Remove all from Wantlist. Have: Want: Avg Rating: 4. Spinning-CD by basementrug. Fantasy 45 Series by Analogue Production by Ventrino. LP by Marten How My Heart Sings. I Should Care. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab. Delivery times may vary, especially during peak periods. Start of add to list layer. Add to Watchlist Add to wish list. Sign in for more lists. Sep 26, PDT. Seller's other items. Sell one like this. Similar sponsored items Feedback on our suggestions - Similar sponsored items. Seller assumes all responsibility for this listing. Item specifics Condition: Like New : An item that looks as if it was just taken out of shrink wrap. How My Heart Sings! - Wikipedia There are a number of standards here, including "Summertime," which sounds so different with its mid-tempo opening and Israel's flaunting bass vamp in front of the piano. When Evans gets to the melody he is following the swinging skip of Motian's drums, and he digs deep into inverting the melody line with a slew of arpeggios and short, choppy phrases. On Cole Porter 's "Everything I Love," Evans takes the snap in the tune and breaks it, committing it to a driving swing and vaunting lyrical gem that has three seemingly unresolvable harmonic problems in the center that turn out to be a Moebius strip in Evan's chromatic language. This is a tough recording; it flies in the face of the conventions Evans himself has set, and yet retrains the deep, nearly profound lyricism that was the pianist's trademark. Product Details Tracks Album Credits. Show More. Related Searches. Ben Hur [Hallmark]. View Product. Blue in Green [Milestone]. Pianist Evans, bassist Pianist Evans, bassist Eddie Gomez and drummer Marty Morell had been playing regularly together since Gomez had joined the group back in The set begins with a lyrical waltz in the title track. There are a number of standards here, including "Summertime," which sounds so different with its mid-tempo opening and Israel's flaunting bass vamp in front of the piano. When Evans gets to the melody he is following the swinging skip of Motian 's drums, and he digs deep into inverting the melody line with a slew of arpeggios and short, choppy phrases. On Cole Porter 's "Everything I Love," Evans takes the snap in the tune and breaks it, committing it to a driving swing and vaunting lyrical gem that has three seemingly unresolvable harmonic problems in the center that turn out to be a Moebius strip in Evan 's chromatic language. This is a tough recording; it flies in the face of the conventions Evans himself has set, and yet retrains the deep, nearly profound lyricism that was the pianist's trademark. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Such was the case with Bill Evans. His shining tone and cloudy pastel harmonies transformed such innocuous pop songs as ''Young and Foolish'' and ''The Boy Next Door'' into fleeting visions of infinite grace. Yet the bespectacled, cadaverous ruin who sat hunched over the keyboard like a broken gooseneck lamp seemed at first glance incapable of such Debussyan subtlety; something, one felt sure, must have gone terribly wrong for a man who played like that to have looked like that. Appearances are seldom deceiving to the clear-eyed observer, and Peter Pettinger writes frankly in his fine new biography of what was no secret to Evans's appalled colleagues: The most influential jazz pianist of the past half-century was addicted to drugs -- first heroin, then cocaine -- for much of his adult life. He picked up the habit in as a member of Miles Davis's sextet, and despite occasional interludes of sobriety, it stayed with him, finally leading to his death in Pettinger, who died last month, was an English concert pianist who began listening to Evans as a teen-ager. He is as interested in his playing as his private life; his book is packed with so much shrewd critical commentary that it reads at times more like an annotated discography than a biography. But ''Bill Evans: How My Heart Sings'' is also the first full-length biography of Evans, and most readers will doubtless pay special attention to the grisly particulars of what the writer Gene Lees, who knew him well, tersely called ''the longest suicide in history. The second son of a hard-drinking New Jersey printer, Evans had a conventional and uneventful youth. One of his sidemen would later speculate that ''his involvement with drugs early on, anyway was to get away from the fact that he really was a very American kind of guy. How My Heart Sings! - Bill Evans, Bill Evans Trio | Songs, Reviews, Credits | AllMusic Jan 19, Donald rated it really liked it Shelves: biography. A tribute to this bountiful jazz pianist. This man lived a tortured life that somehow produced a keyboardist's manuscript and genre. His arrangements and compositions will live as long as one listens to jazz. Friends of mine ask why I like his stuff I am not a keyboardist. It's simply that Evans's virtuosity is emotionally descriptive. Jazz is an individualistic and existential experience; It only happens once. Evans spent himself on his own excellence. This is a fine account and a very good A tribute to this bountiful jazz pianist. This is a fine account and a very good look at a great jazz man, although it spares us of the torture he must have actually inflicted on himself. Nov 12, Philly Aesthete Brown rated it it was ok Shelves: music , books-i-reviewed , biography. Evans is one of the most lyrical and sensitive piano players in any genre of music. Wonderful composer, too, but this bio is clunky and rather flat. It's a sad, sorta paint by numbers affair here with respect to storytelling. Sep 23, Stefan Kanev rated it really liked it. I didn't expect that reading a biography of one of my favorite musicians would be so enjoyable. It transformed my experience of listening to his albums. There are a few bits of notated music in the book used to illustrate a point, but they were a bit above my skillset to grok. Mar 13, Bob rated it really liked it. A very good review of this brilliant musician's triumphs and tragedies. Bill Evan's contributions to modern music were profound and intellectual, yet accessible and deeply emotional. I still mourn his passing - after all these years. Mar 22, Addison rated it really liked it. This is the only complete biography of the jazz pianist Bill Evans. It lacks in personality, which is made up for with stories about Bill Evans, who was quite the character himself. I suppose that is the downside to non-fiction. A must-read for ardent fans of Bill Evans. Bill Evans is one of my all-time favorite piano player so I was predisposed to like this book. Pettinger lays out such a great examination of Evans life in four sections. Going through all of evans's highs and lows Mar 18, Al rated it liked it. I guess I wanted more than just the dates and personnel on recording sessions. Mar 28, Sam Chandler rated it it was amazing. Summary: Born in in Plainfield, New Jersey, Bill Evans grew up in a musical household, with his father Harry singing regularly in a barbershop quartet and his mother being a singer and classical pianist. He branched off and studied not only piano, but violin and flute. However, it was clear from a young age that Evans preferred the piano, having sightread and studied a number of works by the classical masters by the age of Evans garnered a taste for improvisation--a key element of jazz m Summary: Born in in Plainfield, New Jersey, Bill Evans grew up in a musical household, with his father Harry singing regularly in a barbershop quartet and his mother being a singer and classical pianist.
Load more

Recommended publications
  • Bobby Watson Kirk Knuffke Guillermo Gregorio Horace Silver Coltrane
    AUGUST 2019—ISSUE 208 YOUR FREE GuiDe TO THE NYC JaZZ SCENE NYCJaZZRECORD.COM RAVICOLTRANE next trane comin’ bobby kirk GuiLLERMo horace watson knuffke GREGorio siLver Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2019—ISSUE 208 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@niGht 4 Laurence Donohue-Greene: interview : bobby watson 6 by ken dryden [email protected] Andrey Henkin: artist feature : kirk knuffke 7 by john sharpe [email protected] General Inquiries: on the cover : ravi coLtrane 8 by russ musto [email protected] Advertising: encore : GuiLLERMo GREGORIO 10 by steven loewy [email protected] Calendar: Lest we forGet : horace siLver 10 by scott yanow [email protected] VOXNews: LabeL spotLiGht : aLeGre recorDs 11 by jim motavalli [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] festivaL report 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, cD reviews 14 Marco Cangiano, Thomas Conrad, Pierre Crépon, Ken Dryden, Donald Elfman, Phil Freeman, Miscellany Kurt Gottschalk, Tom Greenland, 31 George Grella, Tyran Grillo, Alex Henderson, Robert Iannapollo, event caLenDar Mark Keresman, Marilyn Lester, 32 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Anna Steegmann, Scott Yanow Contributing Writers Brian Charette, George Kanzler, Improvisation is the magic of jazz.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Roy Hargrove René Marie Pete Outnow Records Event
    February 2012 | No. 118 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com TIM BERNE Berne-ing the Midnight Snakeoil ROY • RENÉ • PETE • OUTNOW • EVENT HARGROVE MARIE LA ROCA SIMS RECORDS CALENDAR For the last several months, much of the national news has been devoted to the (not-all-that) upcoming presidential election. Now that it is less than ten months away, coverage will only intensify and voting, that great totem of democracy, will (or should) be on everyone’s mind. But you can get a headstart on the process: New York@Night participate in The New York City Jazz Record’s Second Decade poll. As we approach 4 the milestone of our 10th anniversary (May 2012), we‘d like to hear from you, our readers, about the job we’re doing and suggestions you have for improvement. Interview: Roy Hargrove Visit our homepage (nycjazzrecord.com) and click on the “Take Survey” button at 6 by Russ Musto the very top (no lines or newfangled electronic voting machines); a few minutes of your time will give us invaluable information as we at The New York City Jazz Artist Feature: René Marie Record start planning for the next 10 years. 7 by Marcia Hillman As we hunker down for the city’s coldest month (supposedly), don’t get too comfortable wrapped in your afghans and drinking hot chocolate with an excessive On The Cover: Tim Berne amount of marshmallows. There’s still plenty of music to stir you from your winter 9 by Martin Longley torpor. Saxophonist Tim Berne (On The Cover), a New York stalwart has released his debut on ECM Records and celebrates with a concert at the Rubin Museum.
    [Show full text]
  • Main Artist (Group) Album Title Other Artists Date Cannonball Adderley
    Julian Andrews Collection (LPs) at the Pendlebury Library of Music, Cambridge list compiled by Rachel Ambrose Evans, August 2010 Main Artist (Group) Album Title Other Artists Date Cannonball Adderley Coast to Coast Adderley Quintet 1959/62 and Sextet (Nat Adderley, Bobby Timmons, Sam Jones, Louis Hayes, Yusef Lateef, Joe Zawinul) Cannonball Adderley The Cannonball Wes Montgomery, 1960 Adderley Victor Feldman, Collection: Ray Brown, Louis Volume 4 Hayes Nat Adderley Work Songs Wes Montgomery, 1978 Cannonball Adderley, Yusef Lateef Larry Adler Extracts from the film 'Genevieve' Monty Alexander Monty Strikes Ernest Ranglin, 1974 Again. (Live in Eberhard Weber, Germany) Kenny Clare Monty Alexander, Ray Brown, Herb Triple Treat 1982 Ellis The Monty Alexander Quintet Ivory and Steel Monty Alexander, 1980 Othello Molineux, Robert Thomas Jr., Frank Gant, Gerald Wiggins Monty Alexander Ivory and Steel (2) Othello Molineux, 1988 Len Sharpe, Marshall Wood, Bernard Montgomery, Robert Thomas Jr., Marvin Smith Henry Allen Henry “Red” 1929 Allen and his New York Orchestra. Volume 1 (1929) Henry Allen The College Steve Kuhn, 1967 Concert of Pee Charlie Haden, Wee Russell and Marty Morell, Henry Red Allen Whitney Balliett Mose Allison Local Color Mose Allison Trio 1957 (Addison Farmer, Nick Stabulas) Mose Allison The Prestige Various 1957-9 Collection: Greatest Hits Mose Allison Mose Allison Addison Farmer, 1963 Sings Frank Isola, Ronnie Free, Nick Stabulas Mose Allison Middle Class Joe Farrell, Phil 1982 White Boy Upchurch, Putter Smith, John Dentz, Ron Powell Mose Allison Lessons in Living Jack Bruce, Billy 1982 Cobham, Lou Donaldson, Eric Gale Mose Allison Ever Since the Denis Irwin, Tom 1987 World Ended Whaley Laurindo Almeida Laurindo Almeida Bud Shank, Harry quartet featuring Babasin, Roy Bud Shank Harte Bert Ambrose Ambrose and his Various 1983 Orchestra: Swing is in the air Albert Ammons, Pete Johnson Boogie Woogie 1939 Classics Albert Ammons, Pete Johnson, Jimmy Boogie Woogie James F.
    [Show full text]
  • Everything Old Is New Again
    Volume 46 • Issue 1 january 2018 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. “Professor” Adrian Cunningham and his Old School Band made their Suncoast Jazz Classic debut and played sets throughout the weekend, including a CD release party for their latest Arbors album, Swing It Out! Here the leader pays close attention to bassist Jim Robertson’s solo on November 17. Photo by Mitchell Seidel. everything old Is new again By Mitchell Seidel verything we’re playing tonight is prior and ASCAP licensing rights, but it could just “E to 1923,” half-seriously joked trumpeter as easily have meant the repertoire of a good Dave Tatrow of Wally’s Warehouse Waifs, number of repeat performers at the 27th performing in the ballroom for the pre-festival annual event. Indeed, Tatrow and the Waifs sponsors’ dinner for the 2017 Suncoast Jazz have been performing at the event since the Classic in November. His quip referred to BMI turn of the century (21st, not 20th). Despite continued on page 28 New JerseyjazzSociety in this issue: new jersey jazz socIety Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Prez sez Editor’s Pick/Deadlines/NJJS Info . 6 Change of Address/Support NJJS/ By Mike Katz President, NJJS Volunteer/join njjs . 51 Crow’s Nest . 52 New/Renewed Members . 53 his marks my final “Prez Sez” column (it’s hard There were also some disappointments, the main to believe I have written 55 of them), because ones being the discontinuance of Jazzfest due to storIes T Suncoast Jazz Festival .
    [Show full text]
  • Bill Evans Autumn Leaves Mp3, Flac, Wma
    Bill Evans Autumn Leaves mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Autumn Leaves Country: Spain Released: 1992 Style: Contemporary Jazz, Modal, Post Bop MP3 version RAR size: 1262 mb FLAC version RAR size: 1774 mb WMA version RAR size: 1553 mb Rating: 4.7 Votes: 100 Other Formats: DMF VOX MP2 TTA MPC DTS AAC Tracklist Hide Credits Autumn Leaves 1 4:19 Written-By – Mercer*, Kosma*Written-By [Uncredited] – Jacques Prévert Turn Out The Stars 2 4:56 Written-By – Evans* Quiet Now 3 5:26 Written-By – Evans* Nardis 4 5:47 Written-By – Davis* Very Early 5 5:11 Written-By – Evans* A Sleepin' Bee 6 4:49 Written-By – Arlen* What Are You Doing The Rest Of Your Life 7 5:00 Written-By – Legrand*Written-By [Uncredited] – Alan & Marilyn Bergman Twelve Tone Tune 8 7:42 Written-By – Evans* Sugar Plum 9 8:49 Written-By – Evans* Emily 10 6:44 Written-By – Mandel* Some Other Time 11 5:20 Written-By – Green*, Comden*, Bernstein* Companies, etc. Phonographic Copyright (p) – Movieplay S.A. Licensed From – Lafayette Music Group Pressed By – Specialty Records Corporation Credits Bass – Eddie Gomez Cover, Design – Studio Eric Wondergem BNO Drums – Marty Morell Photography By – ABC Press Piano – Bill Evans Notes ℗ 1992 Movieplay S.A. Made in Belgium. Recorded in Concert ca. 1969 Barcode and Other Identifiers Barcode: 8 712177 009275 Rights Society: SPA SPARS Code: ADD Matrix / Runout: 99 JHR 73549-2 SRC+01 Other versions Category Artist Title (Format) Label Category Country Year Autumn Leaves (CD, 302807 Bill Evans Arcade 302807 Netherlands 1992
    [Show full text]
  • MASTERCLASS WORKSHOP the LIFE and MUSIC of BILL EVANS Presented by Jazz Pianist/Composer David Thompson the LIFE of BILL EVANS
    MASTERCLASS WORKSHOP THE LIFE AND MUSIC OF BILL EVANS presented by jazz pianist/composer David Thompson THE LIFE OF BILL EVANS THE EARLY YEARS MILES DAVIS THE FIRST TRIO SCOTT LAFARO ORRIN KEEPNEWS RIVERSIDE RECORDS JIM HALL EARL ZINDARS HELEN KEANE HARRY EVANS VERVE RECORDS CONVERSATIONS WITH MYSELF WITH SYMPHONY ORCHESTRA GARY PEACOCK CHUCK ISRAELS TOWN HALL EDDIE GOMEZ MARTY MORELL MONTREUX NENETTE ZAZZARA EVAN EVANS ALONE MONTREUX II COLUMBIA RECORDS THE BILL EVANS ALBUM FANTASY RECORDS THE TOKYO ALBUM MONTREUX III INTUITION WARNER BROTHERS YOU MUST BELIEVE IN SPRING THE PARIS CONCERT TONY BENNETT ALONE AGAIN MARC JOHNSON JOE LABARBERA TOOTS THIELEMANS LAURIE VERCHOMIN KEYSTONE KORNER TODD BARKAN THE LAST WALTZ TURN OUT THE STARS SEPTEMBER 15, 1980 THE MUSIC OF BILL EVANS IN PERFORMANCE EVOLUTION OF PLAYING: VERY EARLY/ TURN OUT THE STARS/ WALTZ FOR DEBBY RE: PERSON I KNEW/ BLUE IN GREEN/ STELLA BY STARLIGHT/ EMILY/ MY ROMANCE QUIET NOW/ TIME REMEMBERED/ SOMEDAY MY PRINCE WILL COME/ NARDIS REPERTOIRE COMPOSITIONS WALTZ FOR DEBBY VERY EARLY BLUE IN GREEN RE: PERSON I KNEW TURN OUT THE STARS THE TWO LONELY PEOPLE LETTER TO EVAN TIME REMEMBERED STANDARDS DAYS OF WINE AND ROSES TOUCH OF YOUR LIPS IN YOUR OWN SWEET WAY MY ROMANCE MAKE SOMEONE HAPPY IN YOUR OWN SWEET WAY THE TOUCH OF YOUR LIPS SOMEDAY MY PRINCE WILL COME WHAT KIND OF FOOL AM I EMILY NARDIS QUIET NOW REMEMBERING BILL NENETTE ZAZZARA LAURIE VERCHOMIN ORRIN KEEPNEWS ABOUT: BILL EVANS MASTERCLASS WORKSHOPS and JAZZ PIANIST/COMPOSER DAVID THOMPSON The Bill Evans masterclass and workshop provides an in depth look at both Bill's personal life and his music, and, at jazz piano as it was influenced by Bill's playing and his artistry, from Bill's childhood and formative days with brother Harry, to the beginning of his jazz career, and his emergence as a great innovator and genius, as he became a major artistic force in twentieth century music.
    [Show full text]
  • Downbeat.Com June 2010 U.K. £3.50
    .K. £3.50 .K. u downbeat.com June 2010 2010 June DownBeat ChiCk Corea // Bill Evans // wallaCe Roney // Bobby Broom // 33rd Annual StuDent Music AwarDs June 2010 June 2010 Volume 77 – Number 6 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser 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] Classified Advertising Sales Sue Mahal 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, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Marga- sak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Nor- man 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: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Go- logursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer Odell, Dan Ouellette, Ted
    [Show full text]
  • Jazz Vibraphone Pedagogy: a Survey of Existing Method Books and a Proposed Undergraduate Curriculum 
    JAZZ VIBRAPHONE PEDAGOGY: A SURVEY OF EXISTING METHOD BOOKS AND A PROPOSED UNDERGRADUATE CURRICULUM BY BRIAN MCNULTY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University August, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ John Tafoya, Research Director __________________________________ Kevin Bobo, Chair __________________________________ Kyle Adams __________________________________ Steve Houghton Copyright © 2013 Brian McNulty Acknowledgments This research project would not have been possible without the help of many mentors and peers. First of all, thanks to Steve Houghton for being so enthusiastic about this idea and providing a lot of great direction and access to a lot of his jazz pedagogical materials. I am also lucky to have had John Tafoya, Kevin Bobo, and Kyle Adams on my committee, all of whom provide great examples of musicianship and professionalism. Michael Spiro, while not on my committee, was also a great influence on the improvisation exercises in this work. I was fortunate to receive unpublished papers and information relating to this topic from a number of people outside of Indiana University too. Rusty Burge, professor of percussion at the Cincinnati Conservatory Music, and Ed Smith, professor of percussion at the University of North Texas, provided invaluable insight into how they teach jazz vibraphone at their respective institutions. Many thanks also to Nick Volz, professor of trumpet at Loyola University in New Orleans, and Garrett Michaelsen, Ph.D student in Music Theory at Indiana University, for sharing papers that investigated the inclusion of improvisation and jazz into the studies of a classical musician.
    [Show full text]
  • The Blues Scale and Its Use
    THE BLUES SCALE AND ITS USE The blues scale consists of the following: Root, b3rd, 4th, #4th, 5th and b7th. EXAMPLE: F blues Scale = F, Ab, Bb, B, C, Eb, F When playing a twelve bar blues in the key of Bb, use the Bb blues scale: Bb, Db, Eb, E, F, Ab, Bb The blues scale can also be used over minor chords when the minor chord is sounded for 2, 4, 8, or 16 measures or longer. EXAMPLE: If D minor is sounded for eight measures, you may use the D blues scale: D, F, G, Ab, A, C, D When playing in minor tonalities you may choose to alternate between the dorian minor and the blues scale, both having the same root tone. EXAMPLE: If D minor is sounded for eight measures, play D minor (dorian) or play D blues scale or alternate between the two scale sounds. The blues scale is used to convey a "Funky," "Down-Home," "Earthy" or "Bluesy" sound/feel. Rhythm and blues players use this scale extensively. Don't run it into the ground by overuse! Experiment with the blues scales listed below and apply them to recorded tracks on your play-a-long recordings. After you become familiar with the blues scale as I have it listed, you may want to add tones to the scale which give the scale sound more variety. Added tones are underlined. EXAMPLE: F blues scale = F, G, Ab, A, Bb, B, C, D, Eb, F This scale sounds strange when played straight up or down.
    [Show full text]
  • Download the PDF of Eddie Gomez Interviewed in JAZZIZ Magazine!
    Sweet and Low Eddie Gomez remains among the most revered of bassists. By Ted Panken Photo By Richard Condé jazziz july 2012 35 “Eddie has the most surprising flexibility. Thirty-five years after leaving the Bill Evans Trio to pursue Sometimes I wake up in the morning to The Today new opportunities and musical adventures, Eddie Gomez, once Show and see an Israeli folk group playing their averse to public discussion of the 11-year run that made him the most visible — and perhaps most emulated — jazz bassist of that folk music, and there’s a bass player in the back era, is happy to dwell on the subject. playing like he was born in Israel. It’s Eddie. Or he’ll “It’s been a third of a century, there’s a body of work, and I’m get on that very free, expressionistic bag. Eddie is more self-assured and confident in my career and art,” Gomez said marvelous in that he has a very wide scope. As in June at a café a few blocks from his Greenwich Village home. At much as he fits me like a glove, you would almost 68, he looks a decade younger, his barrel chest and muscled fore- think that this is the only way he can play because arms obscured by a loose black sport jacket and black button-down he does it so perfectly, but it’s not true.” shirt. The skin on his fingers, which he spreads in fan-like waves —Bill Evans, Helsinki, 1970. when emphasizing a point, is smooth and barely calloused.
    [Show full text]
  • Essay Examines Bass Lines from the Album Since We Met, Recorded in 1974 by Evans, Gomez and Drummer Marty Morell
    1 A Fragmented Parallel Stream: The Bass Lines of Eddie Gomez in the Bill Evans Trio Gary Holgate A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2009 2 I 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: ………………………………………………………………………………. 3 Abstract Eddie Gomez was the bassist in the Bill Evans Trio for eleven years. His contribution to the group’s sound was considerable, but while there has been some recognition of his virtuoso solos in the trio there has been little academic interest in his bass lines. This essay examines bass lines from the album Since We Met, recorded in 1974 by Evans, Gomez and drummer Marty Morell. Analysis of the bass accompaniments to the piano solos on “Since We Met” and “Time Remembered” reveals that they form a fragmented two-feel. A traditional two-feel employs two notes to emphasise the first and third beats in bar of 4/4 time. In Gomez’s bass lines these two notes are frequently replaced with short rhythmic motifs. These motifs occur in a variety of forms and at different metric displacements that alternately propel and retard the forward motion of the music. Additionally, Gomez uses a wide range of register and varied articulations to create a richly diverse bass line. The resulting effect has often been interpreted as interactive or conversational with the soloist. However there is very little interaction between the bass line and Evans’ solo.
    [Show full text]