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Harmony Crib Sheets
Jazz Harmony Primer General stuff There are two main types of harmony found in modern Western music: 1) Modal 2) Functional Modal harmony generally involves a static drone, riff or chord over which you have melodies with notes chosen from various scales. It’s common in rock, modern jazz and electronic dance music. It predates functional harmony, too. In some types of modal music – for example in jazz - you get different modes/chord scale sounds over the course of a piece. Chords and melodies can be drawn from these scales. This kind of harmony is suited to the guitar due to its open strings and retuning possibilities. We see the guitar take over as a songwriting instrument at about the same time as the modes become popular in pop music. Loop based music also encourages this kind of harmony. It has become very common in all areas of music since the late 20th century under the influence of rock and folk music, composers like Steve Reich, modal jazz pioneered by Miles Davis and John Coltrane, and influences from India, the Middle East and pre-classical Western music. Functional harmony is a development of the kind of harmony used by Bach and Mozart. Jazz up to around 1960 was primarily based on this kind of harmony, and jazz improvisation was concerned with the improvising over songs written by the classically trained songwriters and film composers of the era. These composers all played the piano, so in a sense functional harmony is piano harmony. It’s not really guitar shaped. When I talk about functional harmony I’ll mostly be talking about ways we can improvise and compose on pre-existing jazz standards rather than making up new progressions. -
Sonny Rollins Louis Sclavis Monika Roscher Eric Stach Patricia Kaas Gunter Hampel Jimmy Amadie
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC Sonny Rollins Louis Sclavis Monika Roscher Eric Stach Patricia Kaas Gunter Hampel Jimmy Amadie Sylvia Cuenca M Top Ten CDs and Concerts of 2013 JazzFest Berlin Int. jazz news jazz stories CD Reviews BooK REVIEWS in memory Volume 40 Number 1 Jan Feb Mar 2014 A HISTORICAL EDITION! Join us for 4 days of concerts sound art installations and visual arts Full program at www.fimav.qc.ca 15 to 18 May 2014 2 | CADENCE MAGAZINE | JAN FEB MAR 2014 4 | CADENCE MAGAZINE | JAN FEB MAR 2014 ___ IC 1001 Doodlin’ - Archie Shepp ___ IC 1070 City Dreams - David Pritchard ___ IC 1002 European Rhythm Machine - ___ IC 1071 Tommy Flanagan/Harold Arlen Phil Woods ___ IC 1072 Roland Hanna - Alec Wilder Songs ___ IC 1004 Billie Remembered - S. Nakasian ___ IC 1073 Music Of Jerome Kern - Al Haig ___ IC 1006 S. Nakasian - If I Ruled the World ___ IC 1075 Whale City - Dry Jack ___ IC 1012 Charles Sullivan - Genesis ___ IC 1078 The Judy Roberts Band ___ IC 1014 Boots Randolph - Favorite Songs ___ IC 1079 Cam Newton - Welcome Aliens ___ IC 1016 The Jazz Singer - Eddie Jefferson ___ IC 1082 Monica Zetterlund, Thad Jones/ ___ IC 1017 Jubilant Power - Ted Curson Mel Lewis Big Band ___ IC 1018 Last Sessions - Elmo Hope ___ IC 1083 The Glory Strut - Ernie Krivda ___ IC 1019 Star Dance - David Friesen ___ IC 1086 Other Mansions - Friesen/Stowell ___ IC 1020 Cosmos - Sun Ra ___ IC 1088 The Other World - Judy Roberts ___ IC 1025 Listen featuring Mel Martin ___ IC 1090 And In This Corner… - Tom Lellis ___ IC 1027 Waterfall -
Jerry Garcia Song Book – Ver
JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106. -
A Collection of Stories and Memories by Members of the United States Naval Academy Class of 1963
A Collection of Stories and Memories by Members of the United States Naval Academy Class of 1963 Compiled and Edited by Stephen Coester '63 Dedicated to the Twenty-Eight Classmates Who Died in the Line of Duty ............ 3 Vietnam Stories ...................................................................................................... 4 SHOT DOWN OVER NORTH VIETNAM by Jon Harris ......................................... 4 THE VOLUNTEER by Ray Heins ......................................................................... 5 Air Raid in the Tonkin Gulf by Ray Heins ......................................................... 16 Lost over Vietnam by Dick Jones ......................................................................... 23 Through the Looking Glass by Dave Moore ........................................................ 27 Service In The Field Artillery by Steve Jacoby ..................................................... 32 A Vietnam story from Peter Quinton .................................................................... 64 Mike Cronin, Exemplary Graduate by Dick Nelson '64 ........................................ 66 SUNK by Ray Heins ............................................................................................. 72 TRIDENTS in the Vietnam War by A. Scott Wilson ............................................. 76 Tale of Cubi Point and Olongapo City by Dick Jones ........................................ 102 Ken Sanger's Rescue by Ken Sanger ................................................................ 106 -
Grad Jazz Theory Entrance Exam Review
REVIEW GUIDE GRADUATE JAZZ THEORY ENTRANCE EXAMINATION WRITTEN PORTION • Voicings – (Students who have completed the jazz piano requirement are exempt from this portion of the exam) All voicings required for the purpose of this exam will be rootless close-position voicings, and will fall under one of two categories: • Guide Tone voicings, which contain only the 3rd and 7th of each chord. • Four-Note Rootless voicings, which contain two guide tones and two color tones. The color tones should adhere to the following guidelines: • For Major and Minor chords, the 5th and 9th should be used. • For Dominant chords, the 6th (13th) and 9th should be used. • For Altered Dominant chords, the color tones will be specified by the chord symbol. • All voicings must be built up from a guide tone rather than a color tone. • All voiced chord progressions must use proper voice leading within the guidelines specified by the previous requirements. • Scales You will be asked to construct and/or identify the following scales in any key in either bass or treble clef: • Minor (Dorian, Aeolian,Phrygian, Harmonic, Melodic), • Major • Dominant • Lydian • Lydian Dominant • Diminished • Diminished Whole-Tone (a.k.a. "Altered) • Locrian • Locrian #2 • Whole Tone You may be asked to build any of these scales from the information contained in a chord symbol, or to name any scale based on a notated version. GRADUATE JAZZ THEORY ENTRANCE EXAMINATION, page 2 • Analysis • Key Center Analysis: You will be asked to provide a Key Center Analysis including Roman Numerals for a specified progression. Similar to the type of analysis common in traditional theory when analyzing modulations. -
Blues in the Blood a M U E S L B M L E O O R D
March 2011 | No. 107 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com J blues in the blood a m u e s l b m l e o o r d Johnny Mandel • Elliott Sharp • CAP Records • Event Calendar In his play Romeo and Juliet, William Shakespeare wrote, “A rose by any other name would smell as sweet.” It is a lovely sentiment but one with which we agree only partially. So with that introduction, we are pleased to announce that as of this issue, the gazette formerly known as AllAboutJazz-New York will now be called The New York City Jazz Record. It is a change that comes on the heels of our separation New York@Night last summer from the AllAboutJazz.com website. To emphasize that split, we felt 4 it was time to come out, as it were, with our own unique identity. So in that sense, a name is very important. But, echoing Shakespeare’s idea, the change in name Interview: Johnny Mandel will have no impact whatsoever on our continuing mission to explore new worlds 6 by Marcia Hillman and new civilizations...oh wait, wrong mission...to support the New York City and international jazz communities. If anything, the new name will afford us new Artist Feature: Elliott Sharp opportunities to accomplish that goal, whether it be in print or in a soon-to-be- 7 by Martin Longley expanded online presence. We are very excited for our next chapter and appreciate your continued interest and support. On The Cover: James Blood Ulmer But back to the business of jazz. -
Workshop Descriptions Friday February 5 & 6, 2021
Workshop Descriptions Friday February 5 & 6, 2021 Organized Alphebetically by Instructor Abbreviations: HD=Hammered Dulcimer, MD=Mountain Dulcimer, BP=Bowed Psaltery, AH=Autoharp, PW=Penny Whistle, UK=Ukulele, MA=Mandolin, G= Guitar, CB+Clawhammer Banjo, FI=Fiddle Time is shown: Day (F=Friday, S=Saturday)-Session Number ex: Saturday Session 4 = S-4 Levels:1 = Absolute Beginner 2 = Novice 3 = Intermediate 4 = Upper Intermediate 5 = Advanced All = Non-Level Specific Title Inst. Lvl. Time Description Karen Alley As hammered dulcimer players, we often get wrapped up in notes and chords and tunes, and How to Hold Your forget about our hammers! The easiest time to start learning solid hammer technique is when you’re Hammers (and Use HD 1 F-3 first beginning. We’ll talk about different types of hammers, holding your hammers, and getting a Them, Too!) good sound out of your instrument. You’ll leave with exercises and concepts to help you build a solid foundation for your hammer technique. Someday soon we will be playing together again, and everyone will want to join in! Jam sessions Surviving a Jam can be intimidating if you’re new to the dulcimer (and even if you’re not!), but they don’t need to HD 2 F-4 Session be. We’ll talk about how jam sessions work, and work on simple melody and chord techniques you can use to join in even if you don’t know the tune. This class will help you move beyond playing single melody lines to building full solo arrangements on your dulcimer. -
May 2008AAJ-NY.Qxd
NEW YORK May 2008 | No. 73 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com AHMAD JAMAL IT'S MAGIC Vince Giordano • George Garzone • Les Disques Victo • Dizzy’s Club • Event Calendar NEW YORK May is significant in the history of Miles Davis. Not only is the 26th the late trumpeter’s birthday but many of his most enduring works were New York@Night recorded during this month, including the Charlie Parker All-Stars (1948); the 4 Miles Davis-Tadd Dameron Quintet’s run in Paris (1949), most of the Workin’, Steamin’ and Relaxin’ triumvirate by the quintet with John Coltrane (1956), Miles Interview: Vince Giordano Ahead and At Carnegie Hall, both with the Gil Evans Orchestra (1957 and 1961 6 by Michael Hittman respectively); and the bulk of Miles in the Sky (1968). Now in May 2008, another chapter to the Miles Legacy will be written with an ambitious concert at Town Artist Feature: George Garzone Hall May 9th, “Miles From India”. A companion concert to a just-released album 7 by Matthew Miller of the same name, the concert brings together musicians who played with the legend throughout his career as well as a number of classical Indian musicians for Label Spotlight: Les Disques Victo what is billed as a “cross-cultural summit meeting”. Our Encore this month, 8 by Kurt Gottschalk guitarist Pete Cosey, is participating in what is sure to be a monumental event. But, as is typical for New York, the happenings don’t stop happening there. Club Profile: Dizzy’s Club Pianist Ahmad Jamal (Cover) brings his trio to Blue Note in a pre-release by Laurel Gross celebration of his first new album in three years, It’s Magic (Birdology-Dreyfus), due out in June. -
Copyrighted Material
Index Am barré chord, 109 Numbers Am chord, 105 1-6-2-5 (I/VI7/II7/V7) progression, 253–254 Am scales, 147–149 2/2 time, 358 American folk style backing 2/4 time, 357 tracks, 302 2-5-1 (ii7/V7/I) progression, 261 A-model mandolin straps, 34 3/2 time, 357 anatomy of mandolins 3/4 time, 49 body, 17–18 4/4 time, 43 neck, 18–20 5/8 time, 357 overview, 15–16 6/8 time, 72 string vibrations, 20 8-bar blues, 178–179 andante, 358 12 scales, 249 anticipations, 258 12-bar blues, 177–178, 254–257 Aonzo, Carlo, 340 Apollon, Dave, 338 A armrest, 304 arpeggios, 140, 234–238 A barré chord, 109 articulations A chord, 55–56 ornamenting with, 197 A major scale, 139–141 types of, 97–102, 365–366 A5 mandolin, 285–286 ArtistWorks, 345 A7 barré chord, 109 A-style mandolins, 285–286 A7 chord, 108 audio tracks accents, 276–280, 365–366 accessing, 3–4 accessibility, 330–331 list of, 365–372 accessories kit, 297–303 listening to, 2 accidentals, 361 augmented chords, 127 acoustic concerts, 341–344 acoustic instrument shops, 294 action, 296 B adjusting, 321–322 B flat chord, 103 measurement for, 323 COPYRIGHTEDbackbeat, MATERIAL 176 adagio, 358 backing tracks, 302–303 Aeolian mode, 147, 219 bags, 319 allegro, 358 Bandolim, Jacob do, 338 alterations, defined, 135 bandolims, 239, 288 altered dominant chords, 251 barré chords, 106–109 alternate picking bars, 45 exercises, 84–86 bass clef, 356 general discussion, 69–71 Index 373 Index.indd 373 Trim size: 7.375 in × 9.25 in September 16, 2020 1:26 PM beats broken chords, 140 counting four, 43 bronze-wound strings, 309 -
Lucas Stephen M 2014 Masters
TRIPLE SYNTHESIS by Stephen Lucas A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO APRIL 2014 © STEPHEN LUCAS 2014 ii Acknowledgements I would like to thank my thesis supervisors and committee members Professor Michael Coghlan and Professor Alan Henderson, for their guidance and support in the development of this thesis. I must also thank committee member Professor Holly Small for her generous input and support. In addition, I wish to thank my graduate studies Professors Dorothy de Val, Pat Bradley and David Mott for their advice and expert instruction in my coursework at York University. iii Abstract This thesis investigates the result of merging three musical approaches (jazz fusion, breakbeat/IDM and Electronic Dance Music) and their respective methodologies as applied to music composition. It is presented in a progressive manner. Chapters two to four identify and discuss each of the three styles separately in terms of the research undertaken in the preparation of this thesis. Chapter 2 discusses, through a close examination of selected compositions and recordings, both Weather Report and Herbie Hancock as representing source material for research and compositional study in terms of melody, harmony and orchestration from the 1970s jazz-fusion genre. Chapter 3 examines breakbeat and Intelligent Dance Music (IDM) drum rhythm programming through both technique and musical application. Chapter 4 presents an examination of selected contemporary Electronic Dance Music (EDM) techniques and discusses their importance in current electronic music styles. Chapters 5, 6 and 7 each present an original composition based on the application and synthesis of the styles and techniques explored in the previous three chapters, with each composition defined by proportions of influence from each of the three styles as in the Venn diagram shown in the introduction. -
“O Holy Night”
“O Holy Night” From the CD “A Christmas Guitar Celebration” Guitar Lesson & Tabs http://adamrafferty.com © Copyright 2012 Crescent Ridge Publishing “O Holy Night” Guitar Lesson and Tabs Introduction December 21, 2012 Greetings! I hope this finds you well. I can’t believe Christmas is just a few days away. I’ve not had much time lately for lessons & tabs because of a heavy touring schedule...but gosh darn it...I was determined to get YOU a FREE tab just in time for the Holidays... About the Song I never really sang this hymn much as a young boy in Episcopal school, but in coming up with songs for the Christmas CD, this was suggested by many fans & listeners. When I came to know that many people sing this song in worship on Christmas Eve, I figured it would evoke a lot of emotion. That’s why I have tabbed it out for you... You can listen to the song online via SOUNDCLOUD...as well, feel free to download & share it! https://soundcloud.com/adamrafferty/o-holy-night-solo-fingerstyle Tricky Spots in the Arrangement The trickiest thing, in general about this arrangement is that it is a 3 part piece - meaning, a melody, a bass and some inner parts of chords. Playing cleanly, holding notes for their full value - and making it smooth are the goals. Particularly tricky is what you’ll encounter in measures 37, 38 39 - where the left hand pinky has to do a lot of sliding. If you have trouble with the LOW G in measure 38, just leave it out & use your open G string. -
Vitamin E Blues
Vitamin E Blues Version 2.0 (NEW - Updated With all the Blues Riffs and Licks...) Composed & Arranged by Adam Rafferty Copyright © 2015 Crescent Ridge Publishing and Adam Rafferty Table of Contents Intro to Version 2.0 Page 1 Your Plan of Attack Page 1 Changes Made Since the Original Video and Tab Page 3 Here’s The Original Lesson from 2008 Page 3 Updated 2015 - Practice Tips Page 9 Vitamin E Blues - Tabs & Notation Page 13 by Adam Rafferty © 2015 Adam Rafferty and Crescent Ridge Publishing, LLC All rights Reserved. (No part of this PDF , images, and concepts may be duplicated, or redistributed by any means and is punishable by law.) [email protected] http://studywithadam.com http://adamrafferty.com 1 Vitamin E Blues Intro to Version 2.0 (Updated With all the Blues Riffs and Licks...) Greets Gang! I can’t believe it’s been 7 years since the first “Vitamin E Blues” tab I offered on my main website http://adamrafferty.com. I am still on tour, riding the trains, pumping out concerts and TABS for you! The original “Vitamin E Blues” PDF was just blues chorus #1 (the theme) because I didn’t want to scare the pants off students. When you actually see ALL the black dots written out (musical notes - but in NY we call it fly poop) on the page - it can be VERY intimidating. Don’t be scared though, the ideas are simple once you see and understand what’s happening - so I will break it down for you, step by step. I have now launched http://studywithadam.com where I have a full video walkthrough of Vitamin E Blues (be sure to check out the FREE 14 day trial if you are not a yet member...) Since I offer these videos to students online, it was high time to create tabs for the full version.