The vamped sections of "Pithecanthropus" would in a number of ways , forshadow the developing flexibilty later sought out by the "free jazz" movement and the modal excursions soon to be recorded by Miles Davis (Homzy More 109). Mingus had composed the structure as a significant element of the tune itself, and it was intended that each soloist improvise over one complete chorus (ABAC) so that they can retell the story of the ascent of man in their own way (Mingus, Passions 88). This tune introduced metric modulation into Mingus' compisitional arsenal. Both the B and C sections consist of a vamp between the tonic(f minor) and a Bb dominant, with collective improvisation taking place during the short C section which occurs over a meter shift …show more content…
The whole work is based on two earlier Mingus' ballads: "Nouroog" and "Duke's Choice" (Priestly 19). Harmonic ideas for the more up tempo solo section is borrowed from "Nouroog" with the addition of a few extra measures of Bb major. The ballad section begins with the piece "Dukes choice", but the harmony from the orginal work is obscured by the employment of other melodies, and is followed with the first 8 measures of "Nouroog" in unison by the saxophones. Concluding the final 8 measures of "Nouroog" are presented very up tempo with a latin section repeated three times. The ideas of reshaping and reconfiguring his own music often mingled with his love for expressively deconstructing and re constructing popular American standards. For example, Mingus had set two Tin Pan Alley pieces, "September in the Rain" and "Tenderly" into "Septemberly," or using Rachmanioff's "Prelude in C# minor" as a significant counter theme in "All the Things you Are" (Gitler 34). He also had a very intense deconstruction of the piece on his album Charles Mingus Presents Charles Mingus (Hentoff 4). Mingus had titled the piece "All the Things You Could Be By Now If Sigmund Freud's Wife Were Your Mother," which Mingus uses as a vehicle for his compositional techniques, many of which are shifting meters, rubato sections, stop time, and double …show more content…
There are rubato sections, along with rehearsed cues it seems, but it is unclear by just listening where one of those cues begins and where one may signify an ending. Andrew Homzy states, "What Love...may be seen as one melisma with internal development" (More 153). Further analysis by Homzy presents the composition as: AA=6 rubato phrases, and B=3 rubato phrases, then followed by a return to a short and modifed A. The recording of "What Love" did not include a chordal instrument, which allowed Mingus to contract or expand the form and harmonic development however he saw fit (Passions
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
The five section structure, numerous types of repetition and rhyme create a clear event in the ballad which flows easily till the very end. Most of the medieval ballads use basic language that will be comprehensible for beginners readers and less educated, but also to focus one’s attention to a scene its emotion or anything significant in that language. Through the use all these techniques and previously mentioned they make this medieval ballad typical of its orally-transmitted
3. Davis, Nathan T. Writings in Jazz. Kendall/Hunt Publishing Company. Dubuque, IA. 1996. p. 152-153, 163, 166.
The jazz band I observed played a series of six different songs. Although all the songs were categorized as jazz, each song had its own special style and sound to it. The band consisted of three different players. Paul Meyers, the guitarist and composer, Andy Eulau, the bassist, and Dave Rataczak, on drums. The songs performed were entitled “Love for Sale” by Cole Porter, “Once I Loved” by Antonio Carlos Jobim, “Stars” by Paul Meyers, “Blues for Mel” also by Paul Meyers, “Last Night When We Were Young” by Harold Arlen, and “Samba Novo” by Luis Eca.
Vladimir Bogdanov. All Music Guide to Jazz. Forth edition. Ann Arbor, MI: All Media Group, 2002
Volondat, Pierre-Alain, perf. Variations OP 20. By Clara Schumann. Rec. 15 May 2010. Saphir Productions, 2008. Florida College's Classical Music Library. Web. 17 Nov. 2013.
Miles Davis was a key player in the evolution of modern jazz. In the 1940’s he participated in the bebop craze, then initiated the cool jazz era in the 1950’s. Bebop involved a higher register and note fueled playing while Miles favored the middle register, with longer and less frequency of notes, and a
actually not so different from the sounds of a big band. Mingus had also taken to the
The process of establishing Miles Davis in the field of the jazz music has many different aspects. The story of his professional development is very interesting and unstable as it has its breakthroughs and setbacks, and indeed, all turning points in his life has made a significant impact on the evolution of the jazz music sound. In this essay, I am going to discuss how Miles Davis affected every stream of jazz and how jazz affected him during his all life.
Jazz is referred as “America’s classical music,” and is one of North America’s and most celebrated genres. The history of Jazz can be traced back to the early era of the 20th century of the U.S. “A History of Jazz” presents From Ragtime and Blues to Big Band and Bebop, jazz has been a part of a proud African American tradition for over 100 years. A strong rhythmic under-structure, blue notes, solos, “call-and response” patterns, and
Here, Beethoven takes melodic expression to a new level: The appoggiatura in bars, 14 and 16 create a harmonic tension over a diminished 7th chord that creates “the highly expressive progression used by nineteenth-...
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
Jazz is the best-known artistic creation of the Harlem Renaissance. “Jazz is the only pure American creation, which shortly after its birth, became America’s most important cultural export”(Ostendorf, 165). It evolved from the blues. In the formally standardized, instrumentally accompanied form of “city blues”(as opposed to the formally unstandardized and earlier “country blues”), the blues was to become one of the two major foundations of 1920s jazz (the other being rags). City blues tended to be strophic songs with a text typically based on two-line strophes (but with the first line of each strophe’s text repeated, AAB) and a standard succession of harmonies underlying each strophe’s melody.... ...
Each piece was unique choreographed to commemorate different eras. All tied into the major theme in observation of the occasion to hone Mrs. Miller. The inaugurate piece Strict Love caught me by surprise. Before the performance music is played in the background.
Romance in F major contains several technical passages for the saxophonist that include lengthy passages with difficult articulation. This piece also contains several altissimo notes that are above the standard range of the saxophone and are troublesome to even the most advanced saxophonist. The goal of the saxophonist in this piece is to imitate the sound of the violin as closely as possible because the saxophone was not yet invented in Beethoven's time.