Rhythm Riffs Ebook, Epub
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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. -
The Meshuggah Quartet
The Meshuggah Quartet Applying Meshuggah's composition techniques to a quartet. Charley Rose jazz saxophone, MA Conservatorium van Amsterdam, 2013 Advisor: Derek Johnson Research coordinator: Walter van de Leur NON-PLAGIARISM STATEMENT I declare 1. that I understand that plagiarism refers to representing somebody else’s words or ideas as one’s own; 2. that apart from properly referenced quotations, the enclosed text and transcriptions are fully my own work and contain no plagiarism; 3. that I have used no other sources or resources than those clearly referenced in my text; 4. that I have not submitted my text previously for any other degree or course. Name: Rose Charley Place: Amsterdam Date: 25/02/2013 Signature: Acknowledgment I would like to thank Derek Johnson for his enriching lessons and all the incredibly precise material he provided to help this project forward. I would like to thank Matis Cudars, Pat Cleaver and Andris Buikis for their talent, their patience and enthusiasm throughout the elaboration of the quartet. Of course I would like to thank the family and particularly my mother and the group of the “Four” for their support. And last but not least, Iwould like to thank Walter van de Leur and the Conservatorium van Amsterdam for accepting this project as a master research and Open Office, open source productivity software suite available on line at http://www.openoffice.org/, with which has been conceived this research. Introduction . 1 1 Objectives and methodology . .2 2 Analysis of the transcriptions . .3 2.1 Complete analysis of Stengah . .3 2.1.1 Riffs . -
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. -
Hooks and Riffs A
SECONDARY/KEY STAGE 3 M U S I C – H O O K S A N D R I F F S K NOWLEDGE ORGANISER Exploring Repeated Musical Patterns Hooks and Riffs A. Key Words B. Famous Hooks, Riffs and Ostinatos C. Music Theory HOOK – A ‘musical hook’ is usually the ‘catchy bit’ of REPEAT SYMBOL – A musical symbol the song that you will remember. It is often short and Bass Line Riff from “Sweet Dreams” – The Eurythmics used in staff notation used and repeated in different places throughout the consisting of two piece. HOOKS can either be a: vertical dots followed by MELODIC HOOK – a HOOK based on the instruments Riff from “Word Up” – Cameo double bar lines and the singers showing the performer RHYTHMIC HOOK – a HOOK based on the patterns in should go back to either the start of the drums and bass parts or a the piece or to the corresponding VERBAL/LYRICAL HOOK – a HOOK based on the Rhythmic Riff from “We Will Rock You” – Queen sign facing the other way and repeat rhyming and/or repeated words of the chorus. that section of music. RIFF – A repeated musical pattern often used in the TREBLE CLEF – A musical introduction and instrumental breaks in a song or piece Vocal and Melodic Hook from “We Will Rock You” – Queen symbol showing that of music. RIFFS can be rhythmic, melodic or lyrical, notes are to be short and repeated. performed at a higher OSTINATO – A repeated musical pattern. The same pitch. Also called the G Rhythmic Ostinato from “Bolero” - Ravel meaning as the word RIFF but used when describing clef since it indicates repeated musical patterns in “classical” and some that the second line up is the note G. -
Compound AABA Form and Style Distinction in Heavy Metal *
Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay . -
The Basic Outline of Rock N Roll, by the Velvet Underground (See Tab at End for Detail) Intro 1X: C Bb F (G) F C Verse 4X: C Bb F (G) F C
The basic outline of Rock n Roll, by the Velvet Underground (see tab at end for detail) intro 1x: C Bb F (G) F C verse 4x: C Bb F (G) F C Jenny said when she was just five years old There was nothin' happenin' at all Every time she puts on a radio There was nothin' goin' down at all, Not at all Then one fine mornin' she puts on a New York station You know, she don't believe what she heard at all She started shakin' to that fine fine music You know her life was saved by rock 'n' roll prechorus 1x: Dm F Gsus2 F Despite all the amputations you know you could just go out And dance to the rock 'n' roll station chorus 2x: C F C F It was alright It was allright Hey baby You know it was allright It was allright intro with droning guitar solo thing 1x: C Bb F (G) F C verse 4x: C Bb F (G) F C Jenny said when she was just bout five years old You know my parents are gonna be the death of us all Two TV sets and two Cadillac cars - Well you know it ain't gonna help me at all Not just a little tiny bit Then one fine mornin' she turns on a New York station She doesn't believe what she hears at all Ooh, She started dancin' to that fine fine music You know her life is saved by rock 'n' roll, Yeah, rock n' roll prechorus 1x: Dm F Gsus2 F Despite all the computations You could just dance to that rock 'n' roll station chorus 2x: C F C F And baby -- it was allright And it was alright Hey it was allright It was allright Hey here she comes now! instrumental chorus with guitar stuff 4x: C F C F solo on intro progression 1x: C Bb F (G) F C verse 4x: C Bb F (G) -
Scheme of Work: Riffs, Ostinati and Loops
Scheme of work: Focus - Riffs, Ostinati and Loops This resource is a scheme of work to help you teach our GCSE Music specification (8271). The subject content of the four areas of study focuses strongly on the musical elements. We recommend that the three components (understanding music, performing and composing) are taught holistically. This scheme of work is designed to strengthen the connection between listening, performing and composing. It highlights how many of the musical elements are universal and can be applied across different genres and styles of music. You can adapt this scheme of work to suit a variety of circumstances. It covers: all four areas of study how to integrate listening, performing and composing to support progression through the activities the relationship between the area of study and the musical elements to demonstrate universality musical elements taken from the area of study musical elements tables in the specification. Focus: Riffs, Ostinati and Loops Area of study one: Musical language/elements Melody: conjunct, scalic, arpeggio, passing notes, diatonic, ostinato Harmony: diatonic, perfect, imperfect Tonality: major, minor, modulation Structure: theme and variations Sonority: string timbre, arco Texture: homophonic, contrapuntal, imitation , canon Tempo, Metre, Rhythm: simple, triplet Dynamics/Articulation: pp, p, mp, mf, f, ff, crescendo, diminuendo Phrasing: legato, staccato Area of study two: Musical language/elements Melody: riff, pitch bend, vibrato, improvisation, blue notes Harmony: power chords, -
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. -
Melody and Accompaniment Articles for EPMOW (Encyclopedia of Popular Music of the World) by Philip Tagg
P Tagg: 1 Melody and Accompaniment articles for EPMOW (Encyclopedia of Popular Music of the World) by Philip Tagg Contents melody 2 Defining parameters 2 General characteristics of popular melody 2 Metaphorical nomenclature 3 Typologies of melody 4 Structural typologies 4 Pitch contour 4 Tonal vocabulary 7 Dynamics and mode of articulation 8 Rhythmic profile 8 Body and melodic rhythm 9 Language and melodic rhythm 9 Culturally specific melodic formulae 10 Patterns of recurrence 12 Connotative typologies 15 accompaniment 17 Bibliography 20 Musical references 22 P Tagg: melody Defining parameters 2 melody From the two Ancient Greek words mélos (m°low = a song, or the music to which a song is set) and ode (”dÆ = ode, song, poem), the English word melody seems to have three main meanings: [1] a monodic tonal sequence, accompanied or unaccom- panied, perceived as a musical statement with distinct rhythmic profile and pitch contour; [2] the monodic musical foreground to which ACCOMPANIMENT (see p.17 ff.) and HARMONY (see Tagg’s Harmony Handout) are, at least within most popular music traditions of Europe and the Americas, understood as providing the back- ground; [3] all such monodic tonal sequences and/or aspects of musical foreground within one complete song (e.g. ‘Auld Lang Syne is a popular Scottish melody’). It should be noted in the latter case that mélodie, Melodie, melodia, melodi (French, German, Latin and Scandinavian languages respectively) can in popular parlance sometimes denote the entirety of any TUNE or SONG (including lyrics and accompa- niment) in which melody, defined according to [1] and [2] above, is a prominent fea- ture. -
Guitar Riffs and Solos
Group 1: Guitar Riffs and Solos Source 1 Video: Opening Guitar Riffs of Four Chuck Berry Songs Discuss: • What words would you use to describe these passages? How do they make you feel? What tone do they set for the song? • Are there similarities among the four different intros? Why might Chuck Berry have used this formula to begin so many different songs? • What do these passages suggest about the importance of guitar as a Rock and Roll instrument? Source 2 Excerpt of Lyrics from “Johnny B. Goode” Deep down in Louisiana close to New Orleans Way back up in the woods among the evergreens There stood a log cabin made of earth and wood Where lived a country boy named Johnny B. Goode Who never ever learned to read or write so well But he could play a guitar just like ringing a bell…. People passing by they would stop and say Oh my, but that little country boy can play Discuss: • Who is Johnny B. Goode? What can he do, and what can’t he do? • What is the songwriter’s attitude toward Johnny? Why is he writing a song about Johnny B. Goode? • What does the song suggest about the importance of playing the guitar to Rock and Roll? Source 3 Excerpt from Rolling Stone magazine, 2008 In 2008, Rolling Stone selected “Johnny B. Goode” as No. 1 on its list of “The 100 Greatest Guitar Songs of All Time.” Below is a short excerpt from the magazine. WWW.TEACHROCK.ORG “’Johnny B. Goode’ was the first great record about the joys and rewards of playing rock & roll guitar.