DOCSLIB.ORG

James Ga Ardo • String Bass

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
James Ga Ardo • String Bass California Polytechnic State University San Luis Obispo James Ga�ardo • string bass • A Senior Recital in Partial Fulfillment of the Requirements for a Bachelor of Arts in Music Paul Woodring, accompanist May 26, 2017 Friday at 7 p.m. Davidson Music Center Room 218 Sponsored by Cal Poly’s Music Department and College of Liberal Arts Program Senior Recital James Gallardo, string bass and five-string bass Paul Woodring, piano Romance and Rondo . Franz Anton Leopold Joseph Keyper (c . 1756-1815) Adagio Allegretto Ode d’Espagne . François Rabbath (b . 1931) Violin Sonata in E minor, Op . 5, No . 8 . Arcangelo Corelli (1653-1713) Preludio arr . by Fred Zimmermann Allemanda Sarabanda Giga — Intermission — Day After Thanksgiving . Sean Collins (b . 1992) and Josh Collins (b . 1994) arr . by James Gallardo (Rise) Miley the Cyrus . James Gallardo (b . 1990) James Gallardo, electric bass, fretless bass, and five-string bass Ron McCarley, tenor saxophone and effects Matthew Seno, electric and acoustic piano Darrell Voss, drums Cantaloupe Island . Herbie Hancock (b . 1940) . arr . by Gallardo Talia Ortega, vocals and flute Trent Braswell, alto saxophone Text Cantaloupe Island by Herbie Hancock Lyrics by James Gallardo Verse island this lovely place secluded with you lady angelic grace i think of you (Chorus) secret shores of heaven bear our fruit of passion Verse island this perfect space alone with you lady luscious face i see in you Program Notes “Knowledge will set you free” —John Coltrane (1926-1967) Romance and Rondo Although little is known about the Danish double bassist and composer Franz Anton Leopold Joseph Keyper, we do know he was born in Silesia and was a father of two sons . Keyper would eventually become the first contrabassist at the Danish Royal Chapel from 1788 right up until his death in 1815 . TheRomance and Rondo, written two years before Keyper’s acceptance into the Danish Royal Chapel (1786), is a compilation of the second movement of Keyper’s Double Bass Concerto No . 1 in G major and the last movement of his Double Bass Concerto No . 2 in G major . However, the Romance and Rondo was manipulated for different solo instruments such as cello or viola, as well as for double bass with orchestra . This flexibility was possible because the work showcases two technically challenging performance aspects . Similar to real human romances, Keyper’s first movement undergoes contrasting moods . TheRomance has a sensual legato bass melody in the first section with an expressive dolce or “sweetly” somber introduction . However, the second section has a boisterous and confident quality expressed in the bass melody accompanied by a responsive chordal piano . The first section then returns, making the firstRomance movement an “ABA” or ternary form . TheRondo conveys a distinct lighthearted and whimsical emotion with flashy precision . The art of harmonics—a specialized technique requiring the performer to touch the string lightly above the finger-board while playing closer to the bridge with the bow—makes the bass sound like a flute . The tempo of this piece is faster in comparison to the Romance . However, this movement is distinguished by its heavy or more rhythmic melody and accompaniment parts . The bass melody contains quick, solemn inflections that also contrast with theRomance . Moreover, there are certain measures in which the piano and bass create a call-and-response alternation . Ode d’ Espagne After François Rabbath received his first double bass at age thirteen, to thwart his brother’s temptation to touch or steal the instrument, Rabbath slept with his bass . He was born into a musical family of six boys and three girls in Aleppo, Syria . In 1945, the family moved to Beirut, Lebanon, where Rabbath later found an old copy of Edouard Nanny’s contrabass method in a local tailor shop . Through persistence and dedication, Rabbath, since he read neither music nor French, began to teach himself . His American debut was in Carnegie Hall in 1975, and Rabbath is now known for his virtuosity as a double bassist as well as being a gifted teacher . Rabbath acknowledges he is primarily “self-taught” and “proud of it ”. He plays a variety of styles, including classical, folk, and jazz . In the Art of the Bow DVD, Rabbath claims, “Music that sounds good is a miracle and should be celebrated ”. In performance, Rabbath “throws his ego away” and “plays from his heart ”. Despite his early virtuosity, Rabbath didn’t record and release his first album The Sound of Bass until 1963, at age thirty-two . His Ode d’ Espagne, for solo bass, has an expressive-flamenco tone and is marked “quasi ad lib,” which means to play freely at the performer’s discretion . As indicated by the title, Rabbath wrote this unaccompanied piece for Spain . Percussive techniques plus passionate and bold sounds help connect this piece to that country . The performer should accentuate different articulations commonly used for finger-style guitar performance practice . This piece is broken up into two contrasting sections that explore the colorful tones and techniques of the bass guitar . Violin Sonata in E minor, Op. 5, No. 8 While there is little evidence about Arcangelo Corelli’s upbringing, he was one of Rome’s foremost violin virtuosos who composed solo sonatas for his own use . John Hawkins, who wrote A General History of Science and Practice of Music, describes Corelli as “remarkable for the mildness of his temper and the modesty of his deportment ”. A contemporary portrait by the Irishman Hugh Howard, who visited Italy during 1697-1700, emphasizes the composer’s archangel-like serenity . Corelli’s influence and reputation spread as much through the publication of his works as through his teaching . He is often credited with the clearest exposition of the difference between the “church” and “chamber” varieties of sonata, and the establishment of four movements as the norm in both . Corelli’s sonatas would eventually be valued throughout the eighteenth century and into the nineteenth as the supreme study material for the violinist . Corelli’s Op . 5, “The Solo Sonatas,” was written and dedicated in 1700 to the Electress Sophie Charlotte of Brandenburg and privately published the same year by Corelli . Corelli intended the Sonata in E minor, No . 8, to consist of a duo: violin and violone (similar to a double bass) . Number 8 is a sonata da camera, or “chamber sonata,” consisting of a suite (or collection) of seventeenth-century Baroque dances . The Preludio, or prelude, starts Largo (slowly) and introduces the suite in a bold and satisfying mood . The second section has similar melodic material to that found in the first section but it is in a lighter character, building tension as it moves towards the end of the piece . Corelli indicates that the performer should add musical ornaments such as trills, which consist of a rapid alternation between two adjacent notes . Trills are found in all four movements, including the Preludio . However, a Baroque-style trill requires the performer to play a whole or half step above the given pitch when the trill is indicated . Allegro, meaning to play briskly, starts this Allemanda dance . However, because of this increased tempo, this two-section movement drastically changes moods . The first section has a bouncy rhythmic structure, with emphasis on strong beats and pick-up notes . The second section has a cheerful tone and an eloquent attitude . There are a few repeated melodic devices played in the main bass melody; when this happens, the piano accompaniment plays beautiful supportive chords that sometimes enter as a response to the main melody . Though this third movement is rhythmically changed, the main theme from the Prelude returns and is played by the soloist . In contrast to the previous movement, this dance movement is felt in triple meter (three beats in every measure) . Furthermore, a stronger pulse or feeling should be heard on beat two of every beat . The Sarabanda dance also contains two sections . To help keep the sense of time, the left hand of the piano plays a continuous walking bass pattern . The right hand of the piano also plays two-note voicings, particularly on beats two and three, to help sustain the pulse . The Giga movement is somewhat distinctive from the earlier movements, as this dance is found usually at the end of a large suite or piece, and its emphasis is always on strong beats . The main pulse is felt on beat one of every first group of three short notes . The Allegro tempo makes this the fastest movement of the sonata . The Giga dance, split up into two sections, is also distinguished by wide leaps in the melody . However, the second section is slightly different because the main melody repeats itself in an ascending pattern and then descends towards the end of the section . For variety, the piano’s left and right hands switch their roles during each section . Day After Thanksgiving Despite Sean and Josh Collins having separate reasons for playing music, they each hold true to both clarity and honesty . Sean told Will Jones in Journal Plus: People of the Central Coast, “I didn’t really start taking music serious until I graduated high school ”. In contrast, Josh wanted to express himself through music and started practicing many hours every day . Josh credits fellow San Luis Obispo high school student and dear friend Caleb Hensinger, stating, “He introduced me to jazz and practiced all the time for the right reasons, because it was fun and he wanted to improve . I had to learn how to build a good relationship with practicing ”. Josh received his first guitar when he was eight and starting taking lessons from jazz guitarist Gary Drysdale . In 2017, he recorded a bebop album with renowned jazz vibraphonist Charlie Shoemake and bassist Keegan Harshman .
Load more

Recommended publications
  • UT Jazz Jury Repertoire – 5/2/06 Afternoon in Paris 43 a Foggy Day
    UT Jazz Jury Repertoire – 5/2/06 Level 1 Tunes JA Level 2 Tunes JA Level 3 Tunes JA Level 4 Tunes JA Afternoon in Paris 43 A Foggy Day 25 Alone Together 41 Airegin 8 All Blues 50 A Night in Tunisia 43 Anthropology (Thrivin’ from a Riff) 6 Along Came Betty 14 A Time for Love 40 Afro Blue 64 Blue in Green 50 Beyond All Limits 9 Autumn Leaves 54 All the Things You Are 43 Body and Soul 41 Blood Count 66 Blue Bossa 54 Angel Eyes 23 Ceora 106 Bolivia 35 But Beautiful 23 Bird Blues (Blues 4 Alice) 2 Chelsea Bridge 66 Brite Piece 19 C Jam Blues 48 Bluesette 43 Children of the Night 33 Cherokee 15 Cantaloupe Island (96) 54 But Not for Me 65 Come Rain or Come Shine 25 Clockwise 35 Cantaloupe Island (132) 11 Cottontail 48 Confirmation 6 Countdown 28 Days of Wine and Roses 40 Don’t Get Around Much Anymore48 Corcovado-Quiet Nights 98 Dolphin Dance 11 Doxy (134) 54 Easy Living 52 Desafinado (184) 74 E.S.P. 33 Doxy (92) 8 Everything Happens to Me 23 Desafinado (136) 98 Giant Steps 28 Freddie the Freeloader 50 Footprints 33 Donna Lee 6 I'll Remember April 43 For Heaven’s Sake 89 Four 7 Embraceable You 51 Infant Eyes 33 Georgia 49 Groovin’ High 43 Estate 94 Inner Urge 108 Honeysuckle Rose 71 Have You Met Miss Jones 25 Fee Fi Fo Fum 33 It’s You or No One 61 I Got It Bad 48 Here’s That Rainy Day 23 Goodbye 94 Joshua 50 Impressions (112) 54 How Insensitive 98 I Can’t Get Started 25 Katrina Ballerina 9 Impressions (224) 28 I Didn’t Know About You 48 I Mean You 56 Lament for Booker 60 Killer Joe 70 I Hear a Rhapsody 80 In Case You Haven’t Heard 9 Love for
    [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]
  • Days and Nights Waiting Keith Jarrett on the Trail Ferde Grofe/Oscar
    Days and Nights Waiting Keith Jarrett On The Trail Ferde Grofe/Oscar Peterson Good Morning Heartache Fisher/Higgenbotham/Drake Bebop Dizzy Gillespie They Say It's Wonderful Irving Berlin Desafinado Antonio Carlos Jobim Ornithology Charlie Parker Matrix Chick Corea Long Ago and Far Away Jerome Kern Yours is My Heart Alone Franz Lehar Remember Irving Berlin You Must Believe in Spring Michel Legrand (Bill Evans) On a Clear Day (You Can See Forever) Lane & Lerner Melancholy Baby Ernie Burnett Out of Nowhere Johnny Green & Edward Heyman Sweet Georgia Brown Bernie, Finkard & Casey Daahoud Clifford Brown Mayreh Horace Silver The Song is You Jerome Kern & Oscar Hammerstein Autumn in New York Vernon Duke Nemesis Aaron Parks Satin Doll Duke Ellington & Billy Strayhorn End of a Love Affair Edward Redding Senor Blues Horace Silver Memories of Tomorrow Keith Jarrett My Ship Kurt Weill Mack the Knife Kurt Weill Almost Like Being in Love Lerner & Loewe What's New Robert Sherwood Haggart Night Train Duke Ellington Come Rain or Come Shine Harold Arlen/Johnny Mercer I Can't Give you Anything but Love Jimmy McHugh/Dorothy Fields Pfrancing (No Blues) Miles Davis Dance of the Infidels Bud Powell Laura David Raksin Manteca Dizzy Gillespie If I Didn't Care Jack Lawrence Blue in Green Bill Evans/Miles Davis Some Day my Prince will Come Frank Churchill One for my Baby (And One More for the Road) Harold Arlen Coral Keith Jarrett Solar Miles Davis Tangerine Victor Schertzinger/Johnny Mercer Sidewinder Lee Morgan Dexterity Charlie Parker Cantaloupe Island Herbie
    [Show full text]
  • Viktoria Tolstoy
    Viktoria Tolstoy Letters to Herbie ACT 9519-2 Special Guests: Nils Landgren and Magnus Lindgren German Release Date : August 26, 2011 Herbie Hancock is without doubt one of the few remaining greats of jazz as a pianist and composer. Of late he has been playing jazz, rock and pop standards with a number of prominent guests - on “Possibilities” (2005) and most recently on “The Imagine Project” he joined up with global stars like Santana, Sting, Christina Aguilera and Pink to perform a range of popular classics. Now the tables have turned, and rather than Herbie covering the music of other artists, a fan of the 71-year-old has written a series of musical “Letters to Herbie” – ACT’s star Viktoria Tolstoy has recorded 12 songs for (and in most cases by) Herbie Hancock. Viktoria Tolstoy has been a great admirer of Hancock since her early youth and the idea to do a tribute project has been with her for a while. “I think it was in 2004,” says Tolstoy, “at the Jazz Baltica Festival in Salzau, when I had the privilege to share the stage with Herbie and his band, including the amazing Wayne Shorter. As usual, after that there was a big late night jam session going on. I was sitting behind the drums and had just started to play, when someone called ‘Viktoria, Herbie is expecting you – he wants to have dinner with you!’ I immediately dropped the drumsticks and went downstairs, where Herbie and his entire band were already waiting for me. I was seated directly opposite my idol and next to Wayne Shorter.
    [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]
  • Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
    [Show full text]
  • NYJO Ambassadors Resource Pack
    St Pauls Way Trust School/Drapers Academy KS3 Resource Pack National Youth Jazz Orchestra (NYJO) The National Youth Jazz Orchestra (NYJO) is the longest running organisation for young people playing big band jazz, running for just over 50 years. Before NYJO existed, there wasn’t much around for young people wanting to play jazz. You couldn’t study jazz in school or university and there certainly weren’t any workshops happening like the one you’re in now! Now, with NYJO, young musicians can gain experience performing live at some of the most famous jazz venues across the UK and around the world. We select some of the best young musicians in the country to be part of the band and these members go on to have a pretty good track record. Some of the most famous musicians of our time have come through NYJO: Amy Winehouse started off as a vocalist in NYJO and almost all of the band on the BBC show ‘Strictly come Dancing’ have been NYJO members! Today you’ll be hearing the NYJO Ambassadors play. They’re a small group of members in the main band who enjoy working with young people and helping them develop their musical skills. As young musicians themselves, they have a very clear idea of everything it takes to continue developing on their instrument and become established professional musicians. However, we’ve made sure you’re not missing out hearing the full main band and we’ve put a few videos of them in action on the playlist. You can find them on page 16.
    [Show full text]
  • Legal Use Requires Purchase NOTES to the CONDUCTOR
    Cantaloupe Island HERBIE HANCOCK Arranged by MIKE KAMUF INSTRUMENTATION Conductor 1st Trombone 1st E Alto Saxophone 2nd Trombone b 2nd E Alto Saxophone 3rd Trombone (Optional) b 1st B Tenor Saxophone 4th Trombone (Optional) b 2nd B Tenor Saxophone Guitar Chords b E Baritone Saxophone (Optional) Guitar (Optional) b 1st B Trumpet Piano b 2nd B Trumpet Bass b 3rd B Trumpet Drums b 4th B Trumpet (Optional) b Optional/Alternate Parts C Flute Tuba Horn in F (Doubles 1st Trombone) 1st Baritone T.C./B Tenor Saxophone (Doubles 1st Trombone) b 2nd Baritone T.C./B Tenor Saxophone (Doubles 2nd Trombone) b JPreviewAZZ Only a division of Alfred Legal Use Requires Purchase NOTES TO THE CONDUCTOR Herbie Hancock’s composition “Cantaloupe Island” was originally recorded on his 1964 recording Empyrean Isles (Blue Note). Since this initial recording, the tune has become a standard for jazz musicians because of its soulful melody, infectious groove and simple harmonic structure. I set out to capture these elements in this arrangement. In this chart, the opening two-measure intro passes around a three-note motif that should be played with balance and some attitude, or confidence. The marcato or capped accents ( ) at the end of measure 2 and similar accents throughout the chart should be played Mike with a “daht” articulation. ^ Kamuf The groove for this tune begins in measure 3. Listening to and capturing this feel is of the utmost importance. I highly recommend Mike Kamuf holds Bachelor of Music taking five minutes out of your rehearsal and playing the original recording of this tune for your students.
    [Show full text]
  • 2014 Concert Programs
    2014 Cazadero Music Camp 2014 Cazadero Music Camp Young Musicians Session Concert Young Musicians Session Concert Saturday June 21, 2014 Saturday June 21, 2014 CAZADERO ALL-CAMP CHOIR CAZADERO JAZZ WORKSHOP Stafford Hebert, Conductor Zack Pitt-Smith, Conductor Sheldon High School, Sacramento Edna Brewer Middle School, Oakland Canoe Song Native North American Melody Sonnymoon for Two Sonny Rollins arr. Ruth Morris Gray Song for My Father Horace Silver Laudamus Te, from Gloria Antonio Vivaldi, arr. Becki Slagle Mayo Cantaloupe Island Herbie Hancock The Bird’s Courting Song Appalachian Folk Song, arr. Cristi Cary Miller CAZADERO STRING ORCHESTRA CAZADERO PIANO PROGRAM Tom Douglass, Conductor Danielle DiDonato, Director Spring View Middle School, Rocklin Fullerton College Enter the Heroes Elliott Del Borgo Jig Henry Purcell Canyon Sunset John Caponegro John Conant, trumpet Ryan Yang, piano Nocturne Frédéric Chopin Hey Fiddle Fiddle Brian Balmages Kai Charp Deep Sea Fandango Deborah Baker Monday Wiegenlied Johannes Brahms Dragon Dances Soon Hee Newbold Charlie Herberich, clarinet Alex Heiser, piano Youth Album Maarten Smit I. Prelude Lucy Morris CAZADERO CONCERT BAND II. Serenade Katie Quigley Julie Stephens, Conductor III. Ballade Ruby Jordan Phoenix Ranch School, Simi Valley IV. Dance of the Elves Natalie Sandoval VI. Old Times Matteo Brownlow Swahili Folk Song (Bwana Awabariki) arr. Kevin Mixon IX. Swing March Monique Jonath The Lasses of Lore arr. David A. Myers X. Dance Thomas Hewitt XIX. Swing Sasha Ryu Song Without Words Gustav Holst from Second Suite in F for Military Band arr. Michael Story Das Fohlen Gerd Büntzly Natalie Sandoval, Primo Danielle DiDonato, Secondo Korobushka, Traditional Russian Folk Song arr.
    [Show full text]
  • Jazz Library (Song Listings)
    Music 932 songs, 3.7 days, 10.39 GB Name Time Album Artist Afrodisia 5:06 Afro-Cuban Kenny Dorham Lotus Flower 4:17 Afro-Cuban Kenny Dorham Minor's Holiday 4:28 Afro-Cuban Kenny Dorham Basheer's Dream 5:03 Afro-Cuban Kenny Dorham K.D.'s Motion 5:29 Afro-Cuban Kenny Dorham The Villa 5:24 Afro-Cuban Kenny Dorham Venita's Dance 5:22 Afro-Cuban Kenny Dorham Echo Of Spring (a.k.a. K.D.'s Cab Ride) 6:12 Afro-Cuban Kenny Dorham Minor's Holiday [Alternate Take] 4:24 Afro-Cuban Kenny Dorham Bouncing With Bud 3:05 The Amazing Bud Powell, Vol. 1 Bud Powell Wail 3:06 The Amazing Bud Powell, Vol. 1 Bud Powell Dance Of The Infidels 2:54 The Amazing Bud Powell, Vol. 1 Bud Powell 52nd Street Theme 2:50 The Amazing Bud Powell, Vol. 1 Bud Powell You Go To My Head 3:15 The Amazing Bud Powell, Vol. 1 Bud Powell Ornithology 2:23 The Amazing Bud Powell, Vol. 1 Bud Powell Bouncing With Bud [Alternate Take 1] 3:06 The Amazing Bud Powell, Vol. 1 Bud Powell Bouncing With Bud [Alternate Take 2] 3:16 The Amazing Bud Powell, Vol. 1 Bud Powell Wail [Alternate Take] 2:42 The Amazing Bud Powell, Vol. 1 Bud Powell Dance Of The Infidels [Alternate Take] 2:51 The Amazing Bud Powell, Vol. 1 Bud Powell Ornithology [Alternate Take] 3:12 The Amazing Bud Powell, Vol. 1 Bud Powell Un Poco Loco 4:46 The Amazing Bud Powell, Vol.
    [Show full text]
  • Comparing Traditional and Modern Trends in Jazz Improvisation
    Stephen F. Austin State University SFA ScholarWorks Electronic Theses and Dissertations Spring 2020 COMPARING TRADITIONAL AND MODERN TRENDS IN JAZZ IMPROVISATION Ryan M. Johnson Stephen F Austin State University, [email protected] Follow this and additional works at: https://scholarworks.sfasu.edu/etds Part of the Music Theory Commons Tell us how this article helped you. Repository Citation Johnson, Ryan M., "COMPARING TRADITIONAL AND MODERN TRENDS IN JAZZ IMPROVISATION" (2020). Electronic Theses and Dissertations. 312. https://scholarworks.sfasu.edu/etds/312 This Thesis is brought to you for free and open access by SFA ScholarWorks. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of SFA ScholarWorks. For more information, please contact [email protected]. COMPARING TRADITIONAL AND MODERN TRENDS IN JAZZ IMPROVISATION Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This thesis is available at SFA ScholarWorks: https://scholarworks.sfasu.edu/etds/312 COMPARING TRADITIONAL AND MODERN TRENDS IN JAZZ IMPROVISATION By RYAN JOHNSON Bachelor of Music Master’s Thesis Presented to the Faculty of the Graduate School of Stephen F. Austin State University In Partial Fulfillment Of the Requirements For the Degree of Master of Music in Music Theory STEPHEN F. AUSTIN STATE UNIVERSITY March, 2020 COMPARING TRADITIONAL AND MODERN TRENDS IN JAZZ IMPROVISATION By RYAN JOHNSON (Bachelor of Music) APPROVED: ________________________________________ Dr. Samantha Inman, Thesis Director ________________________________________ Dr. Stephen Lias, Committee Member ________________________________________ Dr. Deb Scott, Committee Member ________________________________________ Dr. Mario Morera, Committee Member _________________________________________ Pauline M. Sampson, Ph.
    [Show full text]
  • Methods for Fighting the Epidemic of Tune Illiteracy Woodshed
    110-118_SHED.qxd 3/17/10 4:18 PM Page 114 MASTER CLASS Woodshed by J.B. Dyas, Ph.D Methods For Fighting The Epidemic Of Tune Illiteracy For the past 20-plus years, I’ve 8-bar bridge and 8-bar last A) had the honor of teaching in a • “Moment’s Notice”: ABAB'V (8-bar first A, 8-bar first B, wide variety of didactic situa- 8-bar second A, 6-bar second B, 8-bar vamp with tions, from jazz camps and per- B-flat pedal) forming arts high schools to • “Peace”: 10-bar tune universities and prestigious jazz • “Stablemates”: ABA (14-bar first A, 8-bar bridge, institutes. If you were to 14-bar last A) approach each of the incredible • “Yes Or No”: AABA (14-bar A sections with a jazz masters and pedagogues 16-bar bridge) I’ve taught alongside and ask 3) Memorize the root movement; play roots with definitive or play-along them, “What’s the best way to recording. learn how to play jazz?” you’re 4) Memorize the chord qualities; play chords (arpeggios in quarter notes) sure to get many, many differ- with play-along recording as follows: ent answers: go to school, don’t • 1–3–5–7–9 for chords lasting two bars (have the 9th sustain go to school, go to New York, for the second bar) go to New Orleans, transcrip- • 1–3–5–7 for chords lasting one bar tion books are a great tool, • 1–3 for chords lasting two beats using transcription books is • For II–V–I progressions in major, play: cheating, look at your band- mates, close your eyes, and the contradictions go on and on.
    [Show full text]