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Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
EW Hollywood Orchestra Opus Edition User Manual
USER MANUAL 1.0.6 < CONTENTS HOLLYWOOD ORCHESTRA OPUS EDITION INFORMATION The information in this document is subject to change without notice and does not represent a commitment on the part of East West Sounds, Inc. The software and sounds described in this document are subject to License Agreements and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by East West Sounds, Inc. All product and company names are ™ or ® trademarks of their respective owners. Solid State Logic (SSL) Channel Strip, Transient Shaper, and Stereo Compressor licensed from Solid State Logic. SSL and Solid State Logic are registered trademarks of Red Lion 49 Ltd. © East West Sounds, Inc., 2021. All rights reserved. East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA 1-323-957-6969 voice 1-323-957-6966 fax For questions about licensing of products: [email protected] For more general information about products: [email protected] For technical support for products: http://www.soundsonline.com/Support < CONTENTS HOLLYWOOD ORCHESTRA OPUS EDITION CREDITS PRODUCERS Doug Rogers, Nick Phoenix, Thomas Bergersen SOUND ENGINEER Shawn Murphy ENGINEERING ASSISTANCE Jeremy Miller, Ken Sluiter, Bo Bodnar PRODUCTION COORDINATORS Doug Rogers, Blake Rogers, Rhys Moody PROGRAMMING / SOUND DESIGN Justin Harris, Jason Coffman, Doug Rogers, Nick Phoenix SCRIPTING Wolfgang Schneider, Thomas Bergersen, Klaus Voltmer, Patrick Stinson -
Fact Sheet 2009
Wynton Marsalis FACT SHEET 2009 Wynton Marsalis, is the Artistic Director of Jazz at Lincoln Center since its inception in 1987, in addition to performing as Music Director of the Jazz at Lincoln Center Orchestra since it began in 1988, has: Early Life . Born on October 18, 1961, in New Orleans, Louisiana, the second of six sons to Ellis and Dolores Marsalis . At age 8, performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker . At age 12, began studying the trumpet seriously and gained experience as a young musician in local marching, jazz and funk bands and classical youth orchestras . At age 14, was invited to perform the Haydn Trumpet Concerto with the New Orleans Philharmonic . At age 17 became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center and was awarded the school’s prestigious Harvey Shapiro Award for outstanding brass student . 1979 Entered The Juilliard School in New York City to study classical trumpet . 1979 Sat in with Art Blakey and the Jazz Messengers to pursue his true love, jazz music. 1980 Joined the band led by acclaimed master drummer Art Blakey . In the years to follow, performed with Sarah Vaughan, Dizzy Gillespie, Gerry Mulligan, John Lewis, Sweets Edison, Clark Terry, Sonny Rollins and countless other jazz legends Acclaimed Musician, Composer, Bandleader . 1982 Recording debut as a leader . 1983 Became the first and only artist to win both classical and jazz GRAMMY® Awards in one year . 1984 Won classical and jazz GRAMMY® Awards for a second year . -
Vut 20140303 – Big Bands
JAMU 20140305 – BIG BANDS (2) 10. Chicago Serenade (Eddie Harris) 3:55 Lalo Schifrin Orchestra: Ernie Royal, Bernie Glow, Jimmy Maxwell, Marky Markowitz, Snooky Young, Thad Jones-tp; Billy Byers, Jimmy Cleveland, Urbie Green-tb; Tony Studd-btb; Ray Alonge, Jim Buffington, Earl Chapin, Bill Correa-h; Don Butterfield-tu; Jimmy Smith-org; Kenny Burrell-g; George Duvivier-b; Grady Tate-dr; Phil Kraus-perc; Lalo Schifrin-arr,cond. Englewood Cliffs, NJ, April 27/29, 1964. Verve V6-8587. 11. A Genuine Tong Funeral – The Opening (Carla Bley) 2:14 Gary Burton Quartet with Orchestra: Gary Burton-vib; Larry Coryell-g; Steve Swallow-b; Bobby Moses-dr; Mike Mantler-tp; Jimmy Knepper-tb,btb; Howard Johnson-tu,bs; Leandro “Gato” Barbieri-ts; Steve Lacy-ss; Carla Bley-p,org,cond. New York, July 1967. RCA Victor LSP 3901. 12. Escalator Over the Hill (Carla Bley) 4:57 Michael Mantler-tp; Sam Burtis, Jimmy Knepper, Roswell Rudd-tb; Jack Jeffers-btb; Bob Carlisle, Sharon Freeman-h; John Buckingham-tu; Jimmy Lyons-as; Gato Barbieri-ts; Chris Woods-bs; Perry Robinson-cl; Nancy Newton-vla; Charlie Haden-b; Paul Motian-dr; Tod Papageorge, Bob Stewart, Rosalind Hupp, Karen Mantler, Jack Jeffers, Howard Johnson, Timothy Marquand, Jane Blackstone, Sheila Jordan, Phyllis Schneider, Pat Stewart-voc; Bill Leonard, Don Preston, Viva, Carla Bley- narrators. November 1968-June 1971, various places. JCOA 839310-2. 13. Adventures in Time – 3x3x2x2x2=72 (Johnny Richards) 4:29 Stan Kenton Orchestra: Dalton Smith, Bob Behrendt, Marvin Stamm, Keith Lamotte, Gary Slavo- tp; Bob Fitzpatrick, Bud Parker, Tom Ringo-tb; Jim Amlotte-btb; Ray Starlihg, Dwight Carver, Lou Gasca, Joe Burnett-mell; Dave Wheeler-tu,btb; Gabe Baltazar-as, Don Menza, Ray Florian-ts; Allan Beutler-bs; Joel Kaye-bass,bs; Stan Kenton-p; Bucky Calabrese-b; Dee Barton-dr; Steve Dweck- tympani,perc. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE the Gypsy Violin A
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Gypsy Violin A thesis submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Performance By Eun Ah Choi December 2019 The thesis of Eun Ah Choi is approved: ___________________________________ ___________________ Dr. Liviu Marinesqu Date ___________________________________ ___________________ Dr. Ming Tsu Date ___________________________________ ___________________ Dr. Lorenz Gamma, Chair Date California State University, Northridge ii Table of Contents Signature Page…………………………………………………………………………………….ii List of Examples……………………………………………………………………………...…..iv Abstract…………………………………………………………………………………………....v Chapter 1: Introduction.……………..……………………………………………………….……1 Chapter 2: The Establishment of the Gypsy Violin.……………………….……………………...3 Chapter 3: Bela Bartók’s Romanian Folk Dances [1915].………….…….……………………….8 Chapter 4: Vittorio Monti’s Csádás [1904]….…………………………………..………………18 Chapter 5: Conclusion …………..……………...……………………………………………….24 Works Cited.…………….……………………………………………………………………….26 California State University, Northridge iii List of Examples 1 Bartók’s Romanian Dances, Movement I: mm. 1-13……………………………………..9 2 Bartók’s Romanian Dances, Movement II: mm. 1-16…………………………...………10 3 Bartók’s Romanian Dances, Movement III …………………………………..…………12 4 Bartók’s Romanian Dances, Movement IV …………………………………..…………14 5 Bartók’s Romanian Dances, Movement V: mm. 5-16…………………………………...16 6 Monti’s Csárdás, m. 5………………………………………………..………………......19 7 Monti’s Csardas, mm. 6-9…………………………………………..…………………...19 8 Monti’s Csárdás, mm. 14-16.…………………………………….……………………...20 9 Monti’s Csárdás, mm. 20-21.………………………………….……………………..….20 10 Monti’s Csárdás, mm. 22-37………………….…………………………………………21 11 Monti’s Csárdás, mm. 38-53…………………….………………………………………22 12 Monti’s Csárdás, mm. 70-85…………………….………………………………………23 iv Abstract The Gypsy violin By Eun Ah Choi Master of Music in Music, Performance The origins of the Gypsies are not exactly known, and they lived a nomadic lifestyle for centuries, embracing many cultures, including music. -
Spinning Wheel (1969) Blood, Sweat & Tears
MUSC-21600: The Art of Rock Music Prof. Freeze Spinning Wheel (1969) Blood, Sweat & Tears LISTEN FOR • Fusion of musical styles • Prominent horn section (like in big band) • Sophisticated jazz harmonies, improvisation • Syncopated R&B bass riffs • Heavy rock backbeat CREATION Songwriters David Clayton-Thomas Album Blood, Sweat & Tears Label Columbia 44871 Musicians David Clayton-Thoma (vocals), Steve Katz (guitar), Bobby Colomby (drums), Jim Fielder (Bass), Fred Lipsius (alto saxophone), Lew Soloff (trumpet), Alan Rubin (trumpet), Jerry Hyman (trombone), Dick Halligan (piano) Producer James William Guercio Engineer Roy Halee, Fred Catero Recording October 1968; stereo Charts Pop 2, Easy 1, R&B 45 MUSIC Genre Jazz rock Form Simple verse with contrasting middle section, improvised solos, complex outro Key G major Meter 4/4 (alternates with 3/8 in Coda) MUSC-21600 Listening Guide Freeze “Spinning Wheel” (Blood, Sweat & Tears, 1969) LISTENING GUIDE Time Form Lyric Cue Listen For 0:00 Intro • Short intro for horns, with crescendo on sustained note and then riff punctuated by snare. 0:07 A1 “What goes up” • Vocals enter, accompanying texture gradually accumulates, starting with R&B bass/piano riff, then cowbell, drums, tambourine, horns. 0:21 • Refrain begins with stop time. 0:26 A2 “You got no money” • As before, with big-band-inspired horn section punctuating the texture, sometimes with jazzy, swung filler. 0:41 • Refrain. 0:46 B “Did you find” • Extensive contrasting section. • More four-square rhythmic structure with slower harmonic rhythm. • Ends with digital distortion of last vocal note. 1:16 Intro • Overlaps with previous section. 1:30 A3 “Someone is waiting” • As in A2, but with stop time for new stop time for trombone glissando (slide). -
November/December 2005 Issue 277 Free Now in Our 31St Year
jazz &blues report november/december 2005 issue 277 free now in our 31st year www.jazz-blues.com Sam Cooke American Music Masters Series Rock & Roll Hall of Fame & Museum 31st Annual Holiday Gift Guide November/December 2005 • Issue 277 Rock and Roll Hall of Fame and Museum’s 10th Annual American Music Masters Series “A Change Is Gonna Come: Published by Martin Wahl The Life and Music of Sam Cooke” Communications Rock and Roll Hall of Fame Inductees Aretha Franklin Editor & Founder Bill Wahl and Elvis Costello Headline Main Tribute Concert Layout & Design Bill Wahl The Rock and Roll Hall of Fame and sic for a socially conscientious cause. He recognized both the growing popularity of Operations Jim Martin Museum and Case Western Reserve University will celebrate the legacy of the early folk-rock balladeers and the Pilar Martin Sam Cooke during the Tenth Annual changing political climate in America, us- Contributors American Music Masters Series this ing his own popularity and marketing Michael Braxton, Mark Cole, November. Sam Cooke, considered by savvy to raise the conscience of his lis- Chris Hovan, Nancy Ann Lee, many to be the definitive soul singer and teners with such classics as “Chain Gang” Peanuts, Mark Smith, Duane crossover artist, a model for African- and “A Change is Gonna Come.” In point Verh and Ron Weinstock. American entrepreneurship and one of of fact, the use of “A Change is Gonna Distribution Jason Devine the first performers to use music as a Come” was granted to the Southern Chris- tian Leadership Conference for ICON Distribution tool for social change, was inducted into the Rock and Roll Hall of Fame in the fundraising by Cooke and his manager, Check out our new, updated web inaugural class of 1986. -
The Romantic Trumpet Part Two
110 HISTORIC BRASS SOCIETY JOURNAL THE ROMANTIC TRUMPET PART TWO Edward H. Tarr Continued from Historic Brass Society Journal, volume 5 (1993), pages 213-61. The two-part series is an expansion of an article written for Performance Practice Encyclopedia. We thank Roland Jackson, editor of this forthcoming reference work, for permission to we this material in HBSJ. For a Conclusion to Part One, containinga list oferrata, please see followingthe endnotes for the current installment. Summary of Part One In Part One, the author first attempted to show the various types of trumpets, cornets, and flugelhorns, both natural and chromaticized, that existed before the advent of valves, together with their literature. Before there were valved trumpets, for example, natural trumpets, etc., were made chromatic by the technique of hand-stopping or by being fitted with slides or keys. He then showed how the first valved brass instruments—in particular trumpets, and to a lesser extent, comets—were accepted into musical circles. Introduction to Part Two In Part Two, it is the author's aim to raise the flag on a forgotten figure in brass history— one who was reponsible not only for the development ofboth the Vienna valve and the rotary valve, but also for the creation of the first solo compositions for the newly invented valved trumpet: Josef Kail (1795-1871), the first professor of valved trumpet at the Prague Conservatory (served 1826-1867). For this reason, the central part of this study will be devoted to works hitherto unknown, written for the trumpet (and to a lesser extent the cornet, flugelhom, horn, and trombone) during his time. -
Band Director's Catalog
BAND DIRECTor’s CATALOG We make legends. A division of Steinway Musical Instruments, Inc. P.O. Box 310, Elkhart, IN 46515 www.conn-selmer.com AV4230 1 TABLE OF CONTENTS Eb Soprano, Harmony & Eb Alto Clarinets ....... 10 Bb Bass, EEb Bass & BBb Bass Clarinets ........... 11 308 Student Instruments Step-Up & Pro Saxophones .............................. 12-13 Step-Up & Pro Bb Trumpets .............................. 14 Piccolos & Flutes ...................................................... 1 Step-Up & Pro Cornets ..................................... 14 Oboes & Clarinets .................................................... 2 C Trumpets, Harmony Trumpets, Flugelhorns .... 15 Saxophones .............................................................. 3 Step-Up & Pro Trombones ................................ 16-17 204 Trumpets & Cornets .................................................. 4 Alto, Valve & Bass Trombones .......................... 18 Trombones ............................................................... 5 Double Horns .................................................. 19 PICCOLOS Single Horns ............................................................ 5 Baritones & Euphoniums .................................. 20 Educational Drum, Bell and Combo Kits .................. 6 BBb Tubas - Three Valve .................................... 21 ARMSTRONG Mallet Instruments .................................................... 6 BBb & CC Tubas - Four Valve ............................ 21 204 “USA” – Silver-plated headjoint and body, silver-plated -
A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones. -
Juilliard Jazz Orchestra Wynton Marsalis , Conductor
Tuesday Evening, April 3, 2018, at 7:30 The Juilliard School presents Juilliard Jazz Orchestra Wynton Marsalis , Conductor A Tribute to Blue Note Records JACKIE MCLEAN , arr. Wynton Marsalis Appointment in Ghana MCCOY TYNER , arr. Chris Crenshaw Search for Peace WOODY SHAW , arr. Victor Goines The Moontrane HORACE SILVER , arr. Carlos Henriquez Señor Blues Intermission JOE HENDERSON , arr. Ted Nash Inner Urge HORACE SILVER , arr. David Berger Peace WAYNE SHORTER , arr. Ted Nash Fee-Fi-Fo-Fum DEXTER GORDON , arr. Sherman Irby Ernie’s Tune WAYNER SHORTER , arr. Wynton Marsalis Free for All Performance time: approximately 1 hour and 30 minutes, including one intermission Juilliard gratefully acknowledges the Talented Students in the Arts Initiative, a collaboration for the Doris Duke Charitable Foundation and the Surdna Foundation, for their generous support of Juilliard Jazz. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Meet the Artist more than 25 of America’s top academic institutions including Columbia, Harvard, Howard, Princeton, and Yale. His creativity has been celebrated the world over. In 1997 he became the first jazz artist to be awarded the Pulitzer Prize in Music for his Z E N I oratorio Blood on the Fields . In 2001 he T R A was appointed Messenger of Peace by M E O Kofi Annan, secretary-general of the J Wynton Marsalis United Nations, and in 2005 Mr. -
ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right.