Practice KA# 2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Country Music Special 1979
COUNTRY MUSIC SPECIAL 1979 Songwriters: Unsung Heroes The Future Looks Bright For Are Enjoying New Popularity Country Music Labels, Artists (continued from nage C-22) (continued from page C-20) very little monetary reward for some time," Songwriters Hall of Fame. Founded in 1970, "Television seems to be the primary that area slowing down either. Cavender noted. "It takes tenacity, dedica- the list of Hall of Famers now boasts some market in any country in getting the big "I've always contended that if country tion, hard work and total concentration for a 74 names. Four more songwriters will be word out," Walker said. "Getting the music could be heard more, it would long, thankless period. But the writer does immortalized this week (Oct. 7) when the awards show on would allow us to expose become more popular," said Walker. "That receive something very important - self association announces this year's new country music to a large group of people was the theory behind trying to get more fulfillment. I don't think you can ask for members. who 'may have never heard country music radio stations to program country music. much more of a reward than fulfillment of A nomination list is comprised yearly by before." That was our first goal when the CMA was self." the NSAI board of directors, the past presi- Of the countries the CMA is hoping to organized. I think the figures speak for The NSAI was formed in 1967 to aid the dent of the association and a selected elec- develop, Walker said that Germany would themselves. -
ASLEEP at the WHEEL MERRY TEXAS CHRISTMAS Y’ALL! Friday, December 9, 2016, 7:30 Pm
ASLEEP AT THE WHEEL MERRY TEXAS CHRISTMAS Y’ALL! Friday, December 9, 2016, 7:30 pm Photo: Mike Shore OPENING SEASON 2016/2017 Great Artists. Great Audiences. Hancher Performances. Ray Benson lead guitar and vocals Dave Sanger drums Dave Miller bass and vocals Eddie Rivers steel and sax Katie Shore fiddle and vocals Connor Forsyth piano and vocals Jay Reynolds sax and clarinet Dennis Ludiker fiddle and mandolin Program will be announced from the stage Photo: Mike Shore 3 EVENT SPONSORS DEBORAH K. AND IAN E. BULLION DARYL K. AND NANCY J. GRANNER LAMONT D. AND VICKI J. OLSON SEASON SPONSOR WEST MUSIC 4 Photo: Bill Adams Give the gift of music this holiday season! westmusic.com Cedar Falls • Cedar Rapids • Coralville Decorah • Des Moines • Dubuque • Quad Cities ABOUT THE ARTISTS Ray Benson founded Asleep at the Wheel in Paw Paw, West Virginia 46 years ago. Now based in Austin, the band holds 10 Grammy awards, 20 studio albums and 20 singles on the Billboard country charts. The Grammy Award- winning Still The King: Celebrating the Music of Bob Wills and His Texas Playboys is the band’s most recent release (2015) and marks their third full- length Bob Wills tribute album. Featuring 22 acclaimed collaborations, the all-star line up includes legends such as Willie Nelson, Merle Haggard, and George Strait and newcomers like The Avett Brothers, Amos Lee, Old Crow Medicine Show, and many other fine talents. RAY BENSON At a towering 6’7”, the Philadelphia- born Ray Benson is considered a giant in the industry. However, it’s his contributions to music history, not his height, that have made him a dominant figure on the music scene since 1970. -
The Blues Scale
Blues Ukulele Workshop Four part workshop with songbook 1. Structure and feel of blues songs 2. Turnarounds and dominant 7ths 3. The blues scale 4. Putting it all together A web-based listening guide is also provided Accompanying songs for parts: 1. How Long Blues, Baby What You Want Me to Do 2. Red River Blues in G & E, 3. You Got to Move, Sitting On Top Of The World 4. See See Rider Trouble in Mind Review quizzes for, Big parts Boss 1 -3Man, Backwater Blues Recommended from ukeeducation.org Fingerpicking for uke Scales and Chords Fretboard learning tool Material compiled and arranged by Spencer Gay 2018 The Copyrighted songs provided free herein are for education and thus fall under FAIR USE This book is not for sale Blues The blues is a feelin’… a good man feelin’ bad – a woman waitin’ for her man – losin’ your lover. Singing the blues is a good way to lose them Also, it is the name of a common song format – whether 12 or 8 bar blues Lyrics often are in an AAB format; the first line is then repeated - the third explains or ties the thought together. Try creating some new lyrics of your own to see how this works. A If I feel tomorrow the way I feel to day From St. Louis Blues - W.C. Handy A If I feel tomorrow the way I feel today B ‘Gonna pack my grip and make my getaway Relative Chord Naming - Roman Numerals Chords can be identified relative to the root (the key in which the song is composed.) This is the one chord, shown in roman numerals, I. -
With Over Fteen Years of Touring to Date, the Quebe Sisters Have Delivered Their My Tracks When I Heard Them the Rst Time
“The Quebe Sisters simply stopped me in With over fteen years of touring to date, The Quebe Sisters have delivered their my tracks when I heard them the rst time. authentic triple ddle and three-part harmony sound to the concert halls and festivals Their blend of swing with a dash of of North America and Europe. contemporary color is unique in today’s music world. They project a cannonball of Grace, Sophia, and Hulda Quebe front an innovative Progressive Western Swing band stage presence and man can they play.” of archtop guitar, upright bass, ddles and sibling harmony. The Dallas-based ve-piece JIMMY BUFFETT presents a unique Americana blend of Western Swing, Jazz-in uenced Swing, Country, Texas-Style Fiddling, and Western music. “The Quebe Sisters are some of the most talented people I’ve ever met. They do “We differentiate our music as ‘Progressive Western Swing’ from simply ‘Western Swing’ Texas proud. They live in Texas, sound because we aren’t trying to sound just like Bob Wills,” Grace Quebe explains. like Texas and they’re prettier than Texas “Instead, we continue his vision, playing the style he pioneered in an authentic way by Bluebonnets, and sweeter than sugar cane. I love the Quebe Sisters”. incorporating new genres and songs, interpreting them using our own unique voice RICKY SKAGGS through Country instrumentation.” The band’s stripped-down acoustic instrumentation breathes new life into seasoned sounds “I rst heard the Quebe Sisters at the Philly Folk Festival, and was pretty blown away. I begged once found in Texas dance halls and honky-tonks. -
Indexv2 Full Editable Chart List.Qxd
COUNTRY MIX act naturally buck owens no expectations rolling stones angel from montgomery john prine/bonnie raitt anybody goin to san antone doug sahm oh lonesome me don gibson okie from muskogee merle haggard behind closed doors charlie rich old blue (traditional) big river johnny cash blue bayou roy orbison / rondstadt on and on bill monroe blue moon of kentucky bill monroe/patsy cline on the road again willie nelson cotton fields leadbelly poor pitiful me warren zevon/rondstadt crazy arms ray price/patsy cline crazy willie nelson/patsy cline rose of san antone bob wills/patsy cline route 66 nat king cole dark hollow bill browning dead flowers rolling stones settin the woods on fire hanks williams deep river blues doc watson seven lonley days patsy cline detroit city bobby bare she thinks I still care george jones dont it make my brown eyes blue crystal gayle dont let your deal go down doc watson silver threads and golden needles wanda jackson/rondstadt silver wings merle haggard end of the road jerry lee lewis sin city gram parsons everything is broken bob dylan sing me back home merle haggard singing the blues guy mitchell far away eyes rolling stones sittin on top of the world (traditional) folsom prison johnny cash six days on the road dave dudley four walls jim reeves stand by your man tammy wynette streets of baltimore gram parsons give it up bonnie raitt glendale train new riders take me back to tulsa bob wills goin down the road feeling bad (traditional) good hearted woman waylon jennings thats all right mama arthur cruddup -
9 X 60 Or 7 X 120 + 1 X
9 x 60 or 7 x 120 + 1 x 150 Step back in time and journey through the compelling history of a musical art form with Country Music, a new eight-part film directed by Ken Burns, and produced by Burns and his long-time collaborators Dayton Duncan and Julie Dunfey. The series chronicles country music’s early days, from southern Appalachia’s songs of struggle, heartbreak and faith to the rollicking Western swing of Texas, California’s honky-tonks and Nashville’s “Grand Ole Opry.” The film follows the evolution of country music over the course of the 20th century. Country Music explores crucial questions—“What is country music?” 9 x 60 or 7 x 120 + 1 x 150 and “Where did it come from?”—while focusing on the biographies of the fascinating trailblazers who created and shaped it—from the Carter Family, contact Jimmie Rodgers, Bill Monroe and Bob Wills to Hank Williams, Patsy Cline, Tom Koch, Vice President Johnny Cash, Merle Haggard, Loretta Lynn, Charley Pride, Willie Nelson, Dolly PBS International Parton, Emmylou Harris, Garth Brooks and many more—as well as the times in 10 Guest Street which they lived. Much like the music itself, the film tells unforgettable stories Boston, MA 02135 USA of hardships and joys shared by everyday people. TEL: +1.617.208.0735 “At the heart of every great country music song is a story,” said Ken [email protected] pbsinternational.org Burns. “As the songwriter Harlan Howard said, ‘It’s three chords and the truth.’ The common experiences and human emotions speak to each of us about love and loss, about hard times and the chance of redemption. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Guitar Blues Book
Guitar Blues Book Ur-Vogel Jeholopterus spielt den Ur-Blues 13. November 2019 Vorwort Dies ist das persönliche Guitar Blues Buch von Hans Ulrich Stalder, CH 5425 Schneisingen. Die zur Webseite www.quantophon.com verlinkten Videos und Musikdateien sind persönliche Arbeitskopien. Ausser wenn speziell erwähnt sind alles MP3- oder MP4-Files. Hier vorkommende Blues-Musiker sind: Big Bill Broonzy geboren als Lee Conley Bradley am 26. Juni 1903 in Jefferson County (Arkansas), †15. August 1958 in Chicago, Illinois, war ein US-amerikanischer Blues-Musiker und Blues-Komponist. Lightnin’ Hopkins geboren als Sam Hopkinsan am 15. März 1912 in Centerville, Texas, † 30. Januar 1982 in Houston, Texas, war ein US- amerikanischer Blues-Sänger und Blues-Gitarrist. Er gilt als einflussreicher Vertreter des Texas Blues. Hans Ulrich Stalder © Seite 2 / 67 Champion Jack Dupree William Thomas "Champion Jack" Dupree, geboren am 23. Oktober 1909 in New Orleans, † 21. Januar 1992 in Hannover, war ein amerikanischer Blues-Sänger und Blues-Pianist. Sam Chatmon geboren am 10. Januar 1897 in Bolton, Mississippi, † 2. Februar 1983 in Hollandale, Mississippi, war ein US-amerikanischer Blues- Musiker. Er stammte aus der musikalischen Chatmon-Familie und begann – wie auch seine Brüder Bo und Lonnie – bereits als Kind, Musik zu machen. Leroy Carr geboren am 27. März 1905 in Nashville, Tennessee, † 29. April 1935 in Indianapolis, war ein US-amerikanischer Blues-Pianist und Sänger. Bekannt war er vor allem zusammen mit seinem langjährigen Partner, dem Gitarristen Francis "Scrapper" Blackwell, mit dem er als Duo auftrat und Aufnahmen machte. Elmore James geboren am 27. Januar 1918 in Mississippi, † 24. Mai 1963 in Chicago, Illinois, war ein US-amerikanischer Bluesmusiker. -
“Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe. -
Bob Wills Greatest Hits Download Torrent the Great Bob Wills/Remembering
bob wills greatest hits download torrent The Great Bob Wills/Remembering. The Greatest Hits of Bob Wills. This two-fer from Collectables unites two Bob Wills records that were originally issued as compilations in the first place: The Great Bob Wills was issued in 1965 on the Harmony HL label and Remembering. The Greatest Hits of Bob Wills was issued three years after Wills' death in 1975 as a greatest-hits set by Columbia. What the two have in common are the earliest years and maturing years of the Texas Playboys' recordings; the Harmony HL collection dates almost exclusively from the 1940s, when the band was kicking between 1945-1947. The last cut is an instrumental by Wills called "Bob Wills Special" from 1940, and "Fat Boy Rag" dates from 1938. The Columbia album dates from Wills' first recording session in 1935 through a recording of Fred Rose's "Roly Poly" in 1945. The sound quality is more than acceptable, if not fantastic, and the performances on both albums included are nothing less than stellar. As is typical with Collectables' material, there are no musician credits, though certain tracks cite vocal credits. There is a neat little essay by Don Law -- the man who signed Wills to his first contract with Columbia -- in the booklet which details the 1935 session. For beginners, this is a pretty good place to start at a decent price; for collectors, there probably isn't anything here you haven't heard before. Greatest Hits. This is yet another of the hundred or so el-cheapo Bob Wills compilations. -
Edited and Transcribed by STEFAN GROSSMAN
AUTHENTIC GUITAR TAB EDITION EDITED AND TRANSCRIBED BY STEFAN GROSSMAN Contents Page Audio Track Introduction ...................................................................2 Explanation of the TAB/Music System ...........................4 Scrapper Blackwell .......................................................6 Blue Day Blues...................................................................... 7 ................ 1 Kokomo Blues .........................................................................12 ...............2 Blind Blake ................................................................... 18 Georgia Bound ........................................................................19 ............... 3 Big Bill Broonzy .......................................................... 25 Big Bill Blues ...................................................................... 26 ...............4 Mississippi River Blues .........................................................30 ............... 5 Mr. Conductor Man ................................................................32 ............... 6 Saturday Night Rub ...............................................................36 ............... 7 Stove Pipe Stomp ....................................................................39 ............... 8 Worryiní You Off My Mind .................................................... 42 ............... 9 Rev. Gary Davis ............................................................. 45 Cincinnati Flow Rag ............................................................ -
Muddy Waters in London- Part II
TONY STANDISH MUDDY WATERS IN LONDON (PART II CONCLUSION) One afternoon I carted a tape recorder southern states, y'know. and we only of Chess Records. At that time I was still up to Muddy’s hotel room. I wanted his would work Friday nights. Sat'day nights, playin’ acoustic. noooo. I guess story to be told but I didn't want it com- "bout two nights out of the week. I before I started recording I had an mited to unreliable memory and scribbled wouldn’t call that professional. Alan electric guitar. The one you’ve heard on elusive scraps of paper. Lomax, that was the man that put it on without electric is the one by Alan Muddy poured drinks. Otis and I lit my mind to turn professional, he opened Lomax. Yeah, that electric got a whole cigarettes, and I started the recorder. my eyes, an' I still think he’s a wonderful lotta sharp stuff. those controls. “Start talkin'? " asked Muddy. guy. I was so sorry I missed him over My style? Well I call it country style. I nodded and. with the murmur of the here. For gettin' into the professional I think that’s the correct name for it. tape as his only accompaniment. Muddy world I would think Alan Lomax was Big Bill was the daddy of country style began. responsible for me—he came down an’ blues singers, don't you think? An’ there’s recorded me the first time and suggested John Lee Hooker, you’d like him. He’s I was born in Rollin’ Fork.