Ellington Indigos Download Torrent Ellington Indigos Download Torrent

Total Page:16

File Type:pdf, Size:1020Kb

Ellington Indigos Download Torrent Ellington Indigos Download Torrent ellington indigos download torrent Ellington indigos download torrent. 15 Jul 2014 Impressions: High Definition Tape Transfers' Double DSD Download of Duke Ellington Indigos. Print Friendly, PDF & Email Print Friendly. × Print and download in PDF or MIDI Mood Indigo. Arr. by Wycliffe Gordon Original - https://youtu.be/_JLAeKUpUco. Duke Ellington - Mood Indigo.pdf. Uploaded by: Isaac Sánchez; 0; 0. last month; PDF. Bookmark; Embed; Share; Print. Download. This document was uploaded Discover releases, reviews, track listings, recommendations, and more about Duke Ellington And His Orchestra - Ellington Indigos at Discogs. Complete your Download and Print Mood Indigo sheet music for clarinet solo by Duke Ellington. High Quality and Interactive, Transpose it in any key, change the tempo, easy Download and Print Mood Indigo sheet music for alto saxophone solo by Duke Ellington. High Quality Includes an High Quality PDF file to download instantly. Official sheet music for "Mood Indigo" (Duke Ellington) for piano - PDF download, instant print & online streaming - ♪ audio samples (video) ♫ Key: B-flat Major. I Talcahuano Chile run office 2016 kms activation idm mobile homes. doctrine and covenants 37 du wirst omar aurea lopes clinica dermalogica special cleansing galaxy note iii n9002 root socom uic channel fox 11 news tucson cabudare casas… Title: Duke Ellington Indigos Artist(s): Duke Ellington and His Orchestra Recording Info: Transferred from a No problem in download, very good quality of files. "Ellington Indigos is virtually a dance set. Duke mixes some of his tunes with some standards by other composers and plays then with emphasis on shades of This is an album to get totally lost in. You hear a couple of technical flaws, are about to be distracted, and then appreciate it morealmost like live. My high Digitally remastered and expanded edition of this album from the Jazz legend. This album stands as an outstanding example of the Ellington Orchestra playing Ellington Indigos is a 1958 jazz album by Duke Ellington. The stereo CD reissue released by Print/export. Create a book · Download as PDF · Printable version 15 Jul 2014 Impressions: High Definition Tape Transfers' Double DSD Download of Duke Ellington Indigos. Print Friendly, PDF & Email Print Friendly. × Duke Ellington - Mood Indigo.pdf. Uploaded by: Isaac Sánchez; 0; 0. last month; PDF. Bookmark; Embed; Share; Print. Download. This document was uploaded. Duke Ellington Mood Indigo Piano Chords, Sheet Music Notes. Download Duke Ellington Mood Indigo sheet music notes and chords for Piano. This Jazz composition includes 4 page(s). SKU: 69172. Free preview. Transpose, save as PDF. Mood Indigo (Dreamy Blues) (1930) Arthur Whetsol (tp) Joe ''Tricky Sam'' Nanton (tb) Barney Bigard (cl) Duke Ellington (p) Fred Guy (bj) Wellman Braud (b) 30 Oct 2015 Using 'Mood Indigo' as a case study, this chapter will reconstruct the PDF is not rendering correctly, you can download the PDF file here. 6 Nov 2015 Ellington's music? Authorship and collective creativity in 'Mood Indigo' 111545.pdf - Submitted Version 440kB In this chapter, I will illuminate the creative process of the Duke Ellington Orchestra. Download Statistics. + Get-Tune.cc - Duke Ellington & His Famous Orchestra - Isfahan №155048518 The Life of Duke Ellington - Giant of Jazz torrent download - ExtraTorrent.ag Виниловая пластинка Ellington, Duke / Strayhorn, Billy, Duke Ellington, Billy Strayhorn… 30 Oct 2015 Using 'Mood Indigo' as a case study, this chapter will reconstruct the PDF is not rendering correctly, you can download the PDF file here. 6 Nov 2015 Ellington's music? Authorship and collective creativity in 'Mood Indigo' 111545.pdf - Submitted Version 440kB In this chapter, I will illuminate the creative process of the Duke Ellington Orchestra. Download Statistics. + Take Five (Paul Desmond). Take The a Train (Duke Ellington & Billy Strayhorn) Volume 1 en Eb - pdf (56MB). Volume 1 en Bb - pdf MOOD INDIGO. 301. 6 May 2017 More sheet music and midi jazz solos transcriptions: https://mysheetmusictranscriptions.com ▷ Follow us: I Talcahuano Chile run office 2016 kms activation idm mobile homes. doctrine and covenants 37 du wirst omar aurea lopes clinica dermalogica special cleansing galaxy note iii n9002 root socom uic channel fox 11 news tucson cabudare casas… Monroe County Pennsylvania Get-Tune.cc - Duke Ellington & His Famous Orchestra - Isfahan №155048518 The Life of Duke Ellington - Giant of Jazz torrent download - ExtraTorrent.ag Виниловая пластинка Ellington, Duke / Strayhorn, Billy, Duke Ellington, Billy Strayhorn… "Ellington Indigos is virtually a dance set. Duke mixes some of his tunes with some standards by other composers and plays then with emphasis on shades of. Ellington Indigos. Ellington Indigos is a 1958 jazz album by Duke Ellington. Contents. LP (Columbia CL1085) CD (Columbia COL 4723642) Different versions Listing Personnel Performance Credits References. The stereo CD reissue released by Columbia (CK 4444) in 1987 contains a track listing and cover art that is drastically different from the original mono LP. A change in song order and two "new" songs — "Night and Day" and "All The Things You Are" — were added to the CD while "The Sky Fell Down" was omitted. ,"params": ,"rev1Score": > [ > link]">,"noprose": ,"rev2": ,"rev2Score": ><ref name=RSJRG> ></ref>">,"rev3": ,"rev3score": ><ref name=\"Penguin\"> ></ref>">>,"i":0>>]>" > Professional ratings Review scores Source Rating Allmusic link The Rolling Stone Jazz Record Guide [1] The Penguin Guide to Jazz Recordings [2] LP (Columbia CL1085) "Solitude" — 4:43 (Duke Ellington) Soloist is Duke Ellington on piano. Recorded on October 14, 1957. "Where or When" — 4:02 (Richard Rodgers) Soloist is Paul Gonsalves on tenor saxophone. Recorded on October 10, 1957. "Mood Indigo" — 3:07 (Duke Ellington/Barney Bigard) Soloist is Shorty Baker on trumpet. Recorded on September 9, 1957. "Autumn Leaves" — 7:10 (Music: Joseph Kosma, Lyrics: Jacques Prévert/Johnny Mercer) Vocalist is Ozzie Bailey. Soloist is Ray Nance on violin. Recorded on Oct 1, 1957. "Prelude to a Kiss" — 4:44 (Duke Ellington) Soloist is Johnny Hodges on alto saxophone. Recorded on October 1, 1957. "Willow Weep for Me" — 4:15 (Ann Ronell) Soloist is Shorty Baker on trumpet. Recorded on October 10, 1957. "Tenderly" — 5:23 (Walter Gross) Soloist is Jimmy Hamilton on clarinet. Recorded on September 9, 1957. "Dancing in the Dark" — 4:28 (Arthur Schwartz) Soloist is Harry Carney on baritone saxophone. Recorded on October 1, 1957. CD (Columbia COL 4723642) "Solitude" "Where or When" "Mood Indigo" "Night and Day" — 2:54 (Cole Porter) Soloist is Paul Gonsalves on tenor saxophone. Recorded on October 10, 1957. "Prelude to a Kiss" "All the Things You Are" — 3:50 (Jerome Kern) Soloist is Duke Ellington on piano. Recorded on October 10, 1957. "Willow Weep for Me" "Tenderly" "Dancing in the Dark" "Autumn Leaves" "The Sky Fell Down" Different versions. The original mono (CL 1085) and stereo (CS 8053) LP issues contained some different takes between them on various tracks, "Willow Weep for Me" being one of them. The CD (CBS 463342 2) liner notes say that "All The Things You Are and "Night and Day" were previously unreleased versions and that "Autumn Leaves" was an alternate take. Analyzing the two versions of "Autumn Leaves" shows that they are identical — but the LP has Ozzie Bailey's first vocal chorus (a French one) edited out. (There is indeed an alternate version of "Autumn Leaves" recorded September 9, 1957 available, on Duke Ellington & His Great Vocalists (Columbia CK 66372).) The stereo versions of "Mood Indigo" and "Willow Weep for Me" are different from their mono counterparts. There are a multitude of versions of this album in circulation. For instance, there is another mono take of "Mood Indigo" available on the LP (CBS 88653 side 2, track 6). Listing. LP: Columbia CL 1085 (mono — 9 tracks — original album) LP: Columbia CS 8053 (stereo — 8 tracks — no "The Sky Fell Down") LP: CBS 88653 (stereo — 8 tracks — no "The Sky Fell Down") CD: Columbia CK 4444 (stereo — 10 tracks — no "The Sky Fell Down") CD: CBS 463342 2 (stereo — 10 tracks — no "The Sky Fell Down") CD: Columbia COL 4723642 (stereo — 11 tracks — French) Personnel. Performance. Duke Ellington (piano) Jimmy Woode (bass) Sam Woodyard (drums) Paul Gonsalves (tenor saxophone) Jimmy Hamilton, Russell Procope (clarinet, alto saxophone) Harry Carney (baritone saxophone) Johnny Hodges, Rick Henderson (alto saxophone) John Sanders, (bass trombone) Quentin Jackson, Britt Woodman (trombone) Cat Anderson, Shorty Baker, Willie Cook, Clark Terry (trumpet) Ray Nance (trumpet, violin) Ozzie Bailey (vocal) Credits. Irving Townsend (producer) Stanley Dance (liner notes) Allen Weinberg (artwork, cover design) David Gahr (photography) Michael Brooks (digital producer) Larry Keyes (remixing) Mike Berniker, Amy Herot (production & Jazz masterpieces series coordinators) Related Research Articles. Ellington at Newport is a 1956 live jazz album by Duke Ellington and his band of their 1956 concert at the Newport Jazz Festival, a concert which revitalized Ellington's flagging career. Jazz promoter George Wein describes the 1956 concert as "the greatest performance of [Ellington's] career. It stood for everything that jazz had been and could be." It is included in the book 1001 Albums You Must Hear Before You Die , which ranks it "one of the most famous. in jazz history". The original release was partly recreated in the studio after the Ellington Orchestra's festival appearance. Ella Fitzgerald Sings the Duke Ellington Song Book is a 1957 studio album by the American jazz singer Ella Fitzgerald, accompanied by Duke Ellington and his orchestra, focusing on Ellington's songs. Diminuendo, Crescendo and Blues is an album recorded in 1958 by the C Jam All-Stars led by Paul Gonsalves. Blue Rose is the debut studio album by Rosemary Clooney, accompanied by Duke Ellington and his orchestra, released in mono on Columbia Records, catalogue CL 872. Although she had appeared on albums before, it had been in the context of either a musical theater or multiple artist recording.
Recommended publications
  • Hedenstromspr11.Pdf (1.367Mb)
    Big Band Jazz and 20th C. Art Music: The Historical Relationship Documented Aaron Hedenstrom Music Composition University of Wisconsin-Eau Claire Faculty Mentor: Ethan Wickman, DMA The Premise Data Analysis: Timeline of Events The art music tradition (music stemming from the European Classical tradition) and the jazz tradition have had major impacts on one another throughout the 20th and 21st 1920s 1922: Darius Milhaud composes composes Trois rag caprices centuries. This project was designed to lay out history's events to show the 1923: Darius Milhaud premieres La création du monde 1924: Gershwin premieres "Rhapsody in Blue" 1926: Duke Ellington's 10-piece band records "East St. Louis Toodle-oo" which was their first recording progression of 20th century music as it relates to the big band and art music traditions. 1927: Ellington's 10-piece band records "Black and Tan Fantasy" 1928: Ravel tours North America and composes Sonata for Violin and Piano, which has a slow movement called Blues. American press notes Ravel's love of jazz The importance of this relationship is evident in the immense popularity of jazz-art and blues music hybrids like Rhapsody in Blue and also in the vast range of possibilities to be 1929: Gershwin premieres "An American in Paris" found in future musical creations. 1930s 1930: Duke Ellington's 12-piece band appears in film Check and Double Check and records the famous Mood Indigo. 1930: Gershwin writes "I Got Rhythm" 1932-1942: Ellington band enlarges to become 6 brass, 4 reeds, and rhythm section 1933-1938:
    [Show full text]
  • How Democratic Is Jazz?
    Accepted Manuscript Version Version of Record Published in Finding Democracy in Music, ed. Robert Adlington and Esteban Buch (New York: Routledge, 2021), 58–79 How Democratic Is Jazz? BENJAMIN GIVAN uring his 2016 election campaign and early months in office, U.S. President Donald J. Trump was occasionally compared to a jazz musician. 1 His Dnotorious tendency to act without forethought reminded some press commentators of the celebrated African American art form’s characteristic spontaneity.2 This was more than a little odd. Trump? Could this corrupt, capricious, megalomaniacal racist really be the Coltrane of contemporary American politics?3 True, the leader of the free world, if no jazz lover himself, fully appreciated music’s enormous global appeal,4 and had even been known in his youth to express his musical opinions in a manner redolent of great jazz musicians such as Charles Mingus and Miles Davis—with his fists. 5 But didn’t his reckless administration I owe many thanks to Robert Adlington, Ben Bierman, and Dana Gooley for their advice, and to the staffs of the National Museum of American History’s Smithsonian Archives Center and the New York Public Library’s Schomburg Center for Research in Black Culture. Copyright © 2020 by Benjamin Givan. 1 David Hajdu, “Trump the Improviser? This Candidate Operates in a Jazz-Like Fashion, But All He Makes is Unexpected Noise,” The Nation, January 21, 2016 (https://www.thenation.com/article/tr ump-the-improviser/ [accessed May 14, 2019]). 2 Lawrence Rosenthal, “Trump: The Roots of Improvisation,” Huffington Post, September 9, 2016 (https://www.huffpost.com/entry/trump-the-roots-of-improv_b_11739016 [accessed May 14, 2019]); Michael D.
    [Show full text]
  • Pioneers of the Concept Album
    Fancy Meeting You Here: Pioneers of the Concept Album Todd Decker Abstract: The introduction of the long-playing record in 1948 was the most aesthetically signi½cant tech- nological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a ½rst generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The ½rst brought together performers unlikely to col- laborate in the world of live music making. The second strategy featured well-known singers in song- writer- or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others. After setting the speed dial to 33 1/3, many Amer- icans christened their multiple-speed phonographs with the original cast album of Rodgers and Hammer - stein’s South Paci½c (1949) in the new long-playing record (lp) format. The South Paci½c cast album begins in dramatic fashion with the jagged leaps of the show tune “Bali Hai” arranged for the show’s large pit orchestra: suitable fanfare for the revolu- tion in popular music that followed the wide public adoption of the lp. Reportedly selling more than one million copies, the South Paci½c lp helped launch Columbia Records’ innovative new recorded music format, which, along with its longer playing TODD DECKER is an Associate time, also delivered better sound quality than the Professor of Musicology at Wash- 78s that had been the industry standard for the pre- ington University in St.
    [Show full text]
  • The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
    THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St.
    [Show full text]
  • Ellington! 11 AM 2015 2016 BROADEN the HORIZONS of YOUR CLASSROOM
    LEARNING LINKS JazzReach: WEDNESDAY OCTOBER 21 2015 Ellington! 11 AM 2015 2016 BROADEN THE HORIZONS OF YOUR CLASSROOM. EXPERIENCE THE VIBRANT WORLD OF THE ARTS AT THE McCALLUM! McCALLUM THEATRE INSTITUTE PRESENTS “My men and my race JazzReach: Ellington! are the inspiration of my work. I try to catch the character and mood and feeling of my people.” WEDNESDAY OCTOBER 21 2015 Duke Ellington 11 AM Connecting to Curriculum and Students’ Lives! HISTORY • New York, African-American history ARTS • Jazz, musical instruments Expanding the Concept of Literacy What is a “text”? We invite you to consider the performances on McCallum’s Field Trip Series as non- print texts available for study and investigation by your students. Anyone who has shown a filmed version of a play in their classroom, used a website as companion to a textbook, or asked students to do online research already knows that “texts” don’t begin and end with textbooks, novels, and reading packets. They extend to videos, websites, games, plays, concerts, dances, radio programs, and a number of other non-print texts that students and teachers engage with on a regular basis. We know that when we expand our definition of texts to the variety of media that we use in our everyday lives, we broaden the materials and concepts we have at our disposal in the classroom, increase student engagement, and enrich learning experiences. Please consider how utilizing your McCallum performance as a text might align to standards established for reading, writing, speaking, listening, and language. How do we help students to use these texts as a way of shaping ideas and understanding the world? Please use this material to help you on this journey.
    [Show full text]
  • Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15
    ellington 101 a beginner’s guide Vital Statistics • One of the greatest composers of the 20th century • Composed nearly 2,000 works, including three-minute instrumental pieces, popular songs, large-scale suites, sacred music, film scores, and a nearly finished opera • Developed an extraordinary group of musicians, many of whom stayed with him for over 50 years • Played more than 20,000 performances over the course of his career • Influenced generations of pianists with his distinctive style and beautiful sound • Embraced the range of American music like no one else • Extended the scope and sound of jazz • Spread the language of jazz around the world ellington 101 a beginner’s guide Table of Contents A Brief Biography of Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15 Duke’s artistic development and sustained achievement were among the most spectacular in the history of music. His was a distinctly democratic vision of music in which musicians developed their unique styles by selflessly contributing to the whole band’s sound . Few other artists of the last 100 years have been more successful at capturing humanity’s triumphs and tribulations in their work than this composer, bandleader, and pianist. He codified the sound of America in the 20th century. Wynton Marsalis Artistic Director, Jazz at Lincoln Center Ellington, 1934 I wrote “Black and Tan Fantasy” in a taxi coming down through Central Park on my way to a recording studio. I wrote “Mood Indigo” in 15 minutes. I wrote “Solitude” in 20 minutes in Chicago, standing up against a glass enclosure, waiting for another band to finish recording.
    [Show full text]
  • 2 Duke Ellington
    2 DUKE ELLINGTON Lesson Ideas Younger Students • Discuss Duke Ellington’s childhood and young adulthood with the students. Ask each student to imagine himself or herself as Duke Ellington. Each student creates a comic strip about life as child or teenage Duke Ellington. Comic strips can incorporate factual and imagined storylines. Showcase the finished comic strips in the classroom or compile into a newspaper. Distribute a newspaper photocopy to each student. • Provide students with white card stock and markers so they can construct a one-octave piano keyboard (with eight keys). Make your own to provide an example or allow students to model theirs using the classroom’s piano. Instruct students to write an adjective describing Duke on each piano key, based on what they have learned in class, and to draw a picture to accompany each qualifier. Examples of adjectives include musical, charismatic, noble, graceful, inventive and stylish. Play some of Duke Ellington’s music in the background as students create their piano keyboards. Older Students • Divide students into groups to record a podcast about Duke Ellington. Designate students for specific tasks: • Scriptwriters to write the podcast script • Podcast host to read the main narrative • Recording engineer to tape the podcast • Actors to read pretend commercials or act as interviewees • Sound effects artist You can choose to do a live newscast format instead of a podcast format depending on available resources and number of students. Recording is optional. • Duke Ellington became popular during the Harlem Renaissance of the 1920s and 1930s. Langston Hughes, a prominent poet during the Harlem Renaissance, often wrote his poems while listening to jazz music at the local clubs.
    [Show full text]
  • Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
    1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
    [Show full text]
  • 5. Who Wrote Duke Ellington's Music?
    [fresh page] [recto or verso] [cn][ct]5. Who wrote Duke Ellington’s music? Authorship and collective creativity in ‘Mood Indigo’ [au]Björn Heile ____________________________________________________________________ [txt] Musical copyright law is subtly informed by often tacit aesthetic preferences. For instance, it privileges melody over harmony. As the entry on ‘melody’ of the Music Copyright Infringement Resource (Columbia Law School and USC Gould School of Law 2014) has it: [ext] Melody is overwhelmingly the single most important feature of a musical work in evaluating the merits of copyright infringement claims. The entire corpus of judicial opinions in the area of music copyright infringement dwells on melody as the single most idiosyncratic element of the works in question, and almost entirely the locus of the economic worth of a song.1 [txt] The corresponding entry on harmony only describes the phenomenon in musical terms; its value and relevance in adjudicating copyright infringement claims is not even considered. Indeed, a judgment in a case between the estates of Duke Ellington and Billy Strayhorn (very close to the matters discussed here) argues that ‘[h]armony 1 http://mcir.usc.edu/glossary/M-R/Pages/Melody.html, accessed 14 September 2014. is a derivative creation almost by definition. A composer generally creates a harmony to accompany a particular melody, as opposed to developing harmony in the abstract.’2 Although this confident pronouncement is only true of a very narrow selection of musical styles (whereas in many others melody largely arises from harmony or is inextricably bound up with it), there are fairly sound reasons for privileging melody over harmony in this way: harmony is often relatively anonymous; note, for instance, the importance of stock harmonic progressions such as I–vi–IV–V in popular music (Moore 2004: 334–35), to say nothing of even more ubiquitous progressions such as in the Blues.
    [Show full text]
  • 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.
    [Show full text]
  • Guide to the Felix Grant Collection
    Guide to the Felix Grant Collection NMAH.AC.0410 Ben Nicastro and Scott Schwartz 1996 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical/Historical note.............................................................................................. 1 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Felix Grant Collection, [sound recordings] NMAH.AC.0410 Collection Overview Repository: Archives Center, National Museum of American History Title: Felix Grant Collection, [sound recordings] Identifier: NMAH.AC.0410 Date: 1935-1985 Creator: Grant, Felix, 1918-1993 Ellington, Duke, 1899-1974 Extent: 4.3 Cubic feet (6 boxes) Language: English . Summary: Collection consists of 128 albums featuring
    [Show full text]
  • WORKS for SALE from AMERICAN WIND SYMPHONY EDITIONS * Denotes Recording Available
    WORKS FOR SALE FROM AMERICAN WIND SYMPHONY EDITIONS * Denotes recording available WORKS FOR WIND ORCHESTRA ALDANA, Mario Kuri, b.1932 Mexico Four Bacabs, 1959 16 min. $450 With Spanish narration ------------------------------------------------------------------------------------------------------------------------------- AMAYA, Efrain, b. 1959 Venezuela Angelica, 2015 7 min. $500 4(2pic) 4(2EH) 4(Eb, bscl) 4(Cbsn) 4 4 4 1 T P(6) Hp AMAYA, Efrain Suite of Latin Dances, , 2012 9 min. $500 4(2pic) 3(EH) 4(Eb, bscl) 3(Cbsn) 2 4(2crnt) 4 1 T P(5) hp pf AMAYA, Efrain Wuarairo Repano, 2009 15 min. $500 For solo A clarinet and wind orchestra 2(alt) 2(EH) 1(bscl) 2 4 2 3 1 T P(2) hp pf Note from Robert Boudreau: An outstanding, virtuosic concerto for clarinet - Kudos to Efrain! ------------------------------------------------------------------------------------------------------------------------------- *AMRAM, David, b.1930 USA Concerto for Horn and Wind Orchestra,1967 12 min. $600 Horn solo, 4(picc), 4(EH), 4(Bcl), 4(Cbsn), 4, 4, 4, 1, T, P, Hp, Pf Remark from Robert Boudreau: David Amram was the principal horn with the National Symphony for a number of years. This is an amazing work for horn and wind orchestra, with a great deal of jazz influence. Following the premiere performance in Pittsburgh, Leonard Bernstein programmed this work with the New York Philharmonic. AMRAM, David King Lear Variations, 1966 15 min. $500 4(2picc), 4(EH), 4(2Bcl), 4(Cbsn), 6, 4,4,1, T, P(4), Pf ------------------------------------------------------------------------------------------------------------------------------- *ANGEL, Amparo, b. 1950 Colombia Adagio for English Horn and Wind Orchestra,2007 16min. $500 EH solo, 2(pic) 2 4(Eb)(Bcl) 2 4 2 3 1 T P Gloc Cymb Remark from Robert Boudreau: Beautifully written – an outstanding work for the English horn.
    [Show full text]