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The Care and Feeding of the WHOLE MUSICAL YOU! Created by the Students and Instructors of the New Trier Jazz Ensembles Program
The Care and Feeding of the WHOLE MUSICAL YOU! Created by the students and instructors of the New Trier Jazz Ensembles Program The many domains of the whole musical you… TECHNICIAN LITERATE JAZZ MUSICIAN COMPOSER/ARRANGER IMPROVISER LISTENER CRITIC HISTORIAN PERFORMER Tools/resources needed to develop the whole musical you… desire goals time space guidance enjoyment DEVELOPING AS A TECHNICIAN Practice with a metronome Track your progress – make your assessment quantitative (numbers) Take small, measured steps Record yourself, and be critical (also be positive) Use SmartMusic as a scale-practicing companion Go bonkers with scales Be creative with scales (play scales in intervals, play scales through the entire range of your instrument, play scales starting on notes other than the tonic, remember that every scale also represents a chord for each note in that scale, find new patterns in your scales Challenge yourself – push your boundaries Use etudes and solo transcriptions to push yourself Use a metronome!!! DEVELOPING AS A LITERATE JAZZ MUSICIAN Practice sight-reading during every session Learn tunes (from the definitive recorded version when possible) Learn vocabulary Learn chords on the piano DEVELOPING AS A COMPOSER/ARRANGER Compose a melody Compose a chord progression Compose a melody on an established chord progression (called a contrafact) Re-harmonize an established melody Write an arrangement of an established melody DEVELOPING AS AN IMPROVISER Transcribe a solo Compose a solo for a tune you’re -
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. -
Chapter 12 Answer Key.Indd
Chapter 12 Answer Key Applications Exercises 1. Spell and resolve dominant seventh chords in root position. Chord voic- ings should be either complete (C) or incomplete (IN), as indicated below the Roman numerals. © 2019 Taylor & Francis 2 Chapter 12 Answer Key 2. Spell and resolve inverted dominant seventh chords. All chords should be complete. Add any necessary inversion symbol to the tonic chord. 3. Spell and resolve leading-tone seventh chords in root position and inversion. Add any necessary inversion symbol to the tonic chord. © 2019 Taylor & Francis Chapter 12 Answer Key 3 4. Complete the following chord progression in four voices. Provide a syntactic analysis below the Roman numerals. The syntactic analysis is shown below the Roman numerals. The voicing of chords and voice leading between chords is variable. Brain Teaser What triad is shared by V7 and viiØ7? How do these two seventh chords differ in terms of their scale-degree contents? Answer: V7 and viiØ7 share the leading-tone triad (viiO). The two chords differ by 5ˆ (the root of V7) and 6ˆ (the seventh of viiØ7). 5ˆ and 6ˆ are a whole step apart (a half step in minor, where 6ˆ is the seventh of viiO7). Thinking Critically An incomplete triad or seventh chord is missing its fifth. Compared with other chord members (root, third, and seventh), why is it possible to omit the fifth (i.e., why is this particular chord member nonessential)? Discussion The root of a chord is necessary to identify the chord and its function, the third determines the quality of the chord (major or minor), and the seventh must be present for a chord to be an actual seventh chord (rather than a triad). -
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ............................................... -
Many of Us Are Familiar with Popular Major Chord Progressions Like I–IV–V–I
Many of us are familiar with popular major chord progressions like I–IV–V–I. Now it’s time to delve into the exciting world of minor chords. Minor scales give flavor and emotion to a song, adding a level of musical depth that can make a mediocre song moving and distinct from others. Because so many of our favorite songs are in major keys, those that are in minor keys1 can stand out, and some musical styles like rock or jazz thrive on complex minor scales and harmonic wizardry. Minor chord progressions generally contain richer harmonic possibilities than the typical major progressions. Minor key songs frequently modulate to major and back to minor. Sometimes the same chord can appear as major and minor in the very same song! But this heady harmonic mix is nothing to be afraid of. By the end of this article, you’ll not only understand how minor chords are made, but you’ll know some common minor chord progressions, how to write them, and how to use them in your own music. With enough listening practice, you’ll be able to recognize minor chord progressions in songs almost instantly! Table of Contents: 1. A Tale of Two Tonalities 2. Major or Minor? 3. Chords in Minor Scales 4. The Top 3 Chords in Minor Progressions 5. Exercises in Minor 6. Writing Your Own Minor Chord Progressions 7. Your Minor Journey 1 https://www.musical-u.com/learn/the-ultimate-guide-to-minor-keys A Tale of Two Tonalities Western music is dominated by two tonalities: major and minor. -
JAZZ FUNDAMENTALS Jazz Piano, Theory, and More
JAZZ FUNDAMENTALS Jazz Piano, Theory, and More Dr. JB Dyas 310-206-9501 • [email protected] 2 JB Dyas, PhD Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Executive Director of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum Development for the Thelonious Monk Institute of Jazz at UCLA in Los Angeles. He oversees the Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum (www.jazzinamerica.org), one of the most significant and wide-reaching jazz education programs in the world. Throughout his career, he has performed across the country, taught students at every level, directed large and small ensembles, developed and implemented new jazz curricula, and written for national music publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" around the globe with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby Watson, among others. He received his Master’s degree in Jazz Pedagogy from the University of Miami and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat Achievement Award for Jazz Education. 3 Jazz Fundamentals Text: Aebersold Play-Along Volume 54 (Maiden Voyage) Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes I. Chromatic Scale (all half steps) C C# D D# E F F# G G# A A# B C C Db D Eb E F Gb G Ab A Bb B C Whole Tone Scale (all whole steps) C D E F# G# A# C Db Eb F G A B Db ___________________________________________________________________________________________________________ II. -
Cadence in Music Version 1.9: Oct 4, 2007 12:24 Pm GMT-5
Connexions module: m12402 1 Cadence in Music Version 1.9: Oct 4, 2007 12:24 pm GMT-5 Catherine Schmidt-Jones This work is produced by The Connexions Project and licensed under the Creative Commons Attribution License ∗ Abstract A cadence is a place in a piece of music that feels like a stopping or resting point. In tonal music, cadences are classied by their chord progressions. Cadence in Music A cadence is any place in a piece of music that has the feel of an ending point. This can be either a strong, denite stopping point - the end of the piece, for example, or the end of a movement or a verse - but it also refers to the "temporary-resting-place" pauses that round o the ends of musical ideas within each larger section. A musical phrase1, like a sentence, usually contains an understandable idea, and then pauses before the next idea starts. Some of these musical pauses are simply take-a-breath- type pauses, and don't really give an "ending" feeling. In fact, like questions that need answers, many phrases leave the listener with a strong expectation of hearing the next, "answering", phrase. Other phrases, though, end with a more denite "we've arrived where we were going" feeling. The composer's expert control over such feelings of expectation and arrival are one of the main sources of the listener's enjoyment of the music. Like a story, a piece of music can come to an end by simply stopping, but most listeners will react to such abruptness with dissatisfaction: the story or music simply "stopped" instead of "ending" properly. -
Part One G Cadd9 Chord Fingerings
The Four Chord Secret to Playing Lots of Songs www.guitarlessonsforbeginnersonline.net Chord Fingerings: Part One G Cadd9 Chord Fingerings: Part Two D Em (E minor) © Guitar Mastery Solutions, Inc. Playing Chord Progressions A chord progression is a series of chords played one after the other. Most songs consist of several different chord progressions. Learning to play the chord progressions in this lesson will help you learn to play many different songs. Mastering the chord fingerings and chord progressions in this lesson will help you quickly learn to play many different songs in different styles of music. These fundamental chords are crucial to your development and improvement as a guitar player—learn them well and learn to change between them. You will use them for the rest of your guitar playing career! Chord Progression One Chords Used: D Cadd9 G Play four strums on each chord and change to the next: |D / / / |Cadd9 / / / |G / / / | (repeat) This chord progression is similar to the one used in the song “Can’t You See?” by the Marshall Tucker Band. Chord Progression Two Chords Used: D Cadd9 G This progression uses the same chords as the first one. The difference is that we will pick some of the notes in the first two chords and end with a strum on the final G chord. Key point to remember: Even though the pick hand is playing some single notes, your fret hand only needs to play the chord shapes, just like in Progression One. D Cadd9 G This chord progression and picking pattern is similar to the one used in the song “Sweet Home Alabama” by Lynyrd Skynyrd. -
French Stewardship of Jazz: the Case of France Musique and France Culture
ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs. -
Trent 91; First Steps Towards a Stylistic Classification (Revised 2019 Version of My 2003 Paper, Originally Circulated to Just a Dozen Specialists)
Trent 91; first steps towards a stylistic classification (revised 2019 version of my 2003 paper, originally circulated to just a dozen specialists). Probably unreadable in a single sitting but useful as a reference guide, the original has been modified in some wording, by mention of three new-ish concordances and by correction of quite a few errors. There is also now a Trent 91 edition index on pp. 69-72. [Type the company name] Musical examples have been imported from the older version. These have been left as they are apart from the Appendix I and II examples, which have been corrected. [Type the document Additional information (and also errata) found since publication date: 1. The Pange lingua setting no. 1330 (cited on p. 29) has a concordance in Wr2016 f. 108r, whereti it is tle]textless. (This manuscript is sometimes referred to by its new shelf number Warsaw 5892). The concordance - I believe – was first noted by Tom Ward (see The Polyphonic Office Hymn[T 1y4p0e0 t-h15e2 d0o, cpu. m21e6n,t se suttbtinigt lneo] . 466). 2. Page 43 footnote 77: the fragmentary concordance for the Urbs beata setting no. 1343 in the Weitra fragment has now been described and illustrated fully in Zapke, S. & Wright, P. ‘The Weitra Fragment: A Central Source of Late Medieval Polyphony’ in Music & Letters 96 no. 3 (2015), pp. 232-343. 3. The Introit group subgroup ‘I’ discussed on p. 34 and the Sequences discussed on pp. 7-12 were originally published in the Ex Codicis pilot booklet of 2003, and this has now been replaced with nos 148-159 of the Trent 91 edition. -
Of Audiotape
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAVID N. BAKER NEA Jazz Master (2000) Interviewee: David Baker (December 21, 1931 – March 26, 2016) Interviewer: Lida Baker with recording engineer Ken Kimery Date: June 19, 20, and 21, 2000 Repository: Archives Center, National Museum of American History Description: Transcript, 163 pp. Lida: This is Monday morning, June 19th, 2000. This is tape number one of the Smithsonian Jazz Oral History Project interview with David Baker. The interview is being conducted in Bloomington, Indiana, [in] Mr. Baker’s home. Let’s start with when and where you were born. David: [I was] born in Indianapolis, December 21st, 1931, on the east side, where I spent almost all my – when I lived in Indianapolis, most of my childhood life on the east side. I was born in 24th and Arsenal, which is near Douglas Park and near where many of the jazz musicians lived. The Montgomerys lived on that side of town. Freddie Hubbard, much later, on that side of town. And Russell Webster, who would be a local celebrity and wonderful player. [He] used to be a babysitter for us, even though he was not that much older. Gene Fowlkes also lived in that same block on 24th and Arsenal. Then we moved to various other places on the east side of Indianapolis, almost always never more than a block or two blocks away from where we had just moved, simply because families pretty much stayed on the same side of town; and if they moved, it was maybe to a larger place, or because the rent was more exorbitant, or something.