The two chromatic notes [notes not in the original key] of a sharpened 4th and a flattened 7th appear in both keys, and the vocal melody ends on the flattened 7th of D major [C natural]. The augmented 4th interval [forming a tritone] is used frequently in West side Story. The flattened 7th is a blue note [the influence from jazz]. The harmony is tonal, but the chords contain added 6th,7ths, 9ths and 11ths. There is a dramatic neopolitan chord [the flattened supertonic- Eb major 1st inversion] in bar 95.
When it was first published, it was considered significantly more difficult than the early ragtime music at the time. In the 1930s, Sidney Bechet adapted the song but maintained the original quality of the composition. The song was also recorded on phonograph records six times within three decades of its publication. In 1930, it was utilized in the gangster movie classic, The Public Enemy. This song is still a favorite of ragtime pianists, and is still in print and popular.
The second section, B (measures 65-164), contain themes three, four, and five. Theme three transitions in to A minor and presents a Hungarian rhythm, which greatly contrasts with the rest of the movement. Theme four is also in a minor key, then it transitions to F major by the fifth theme. These themes used in this section repeatedly, giving the section a developmental feel. Measures 165 to 308 make up the third episode of the movement.
Dizzy Gillespie started adding the solos to the music. Dizzy Gillespie might meant to make he first three choruses to be introduction to this music. The pitch of each chorus is high to low. But if you listen to the music numerous times, you can find out that the whole music’s pitch it low to high. “Manteca” by Dizzy Gillespie is not really that exiting music.
This section is based upon the repeated quaver motif taken from bar 45 with the motif played only in the string section (bars 138-140). A descending Eb major scale is played in bar 143 to end the 2nd section and take us into the 3rd section of the development. The 3rd section (bar 144-160) features another
The organizational structure of paragraphs two, three, and four could be described as a. definition b. chronological order c. listing d. example _____ 6. Which of the following statements best expresses the main idea of the selection? a. Despite many hardships Louis Armstrong became a great success. b. Louis Armstrong was the first ambassador of jazz.
Appearing in the theatrical revue Hot Chocolates, he sang "Fats" Waller's (1904–1943) "Ain't Misbehavin'," Armstrong's first popular song hit. From this period Armstrong performed mainly popular song material, which presented a new challenge. Some notable performances resulted. His trumpet playing reached a peak around 1933. His style then became simpler, replacing the experimentation of his earlier years with a more mature approach that used every note to its greatest advantage.
The Twelve Modes of Jazz The twelve modes of Jazz are some of the oldest written pieces of music that we still have and use today. They consist of the modes Lydian, Dorian, Locrian, Myxolydian, Phrygian, Ionian, and Aeolian. They are the basis of all music that we listen to and love today. The history of the 7 modes dates back the Greek Pythagoras who defined the notes A-B-C-D-E-F-G as the notes used in the Greek musical system. The seven modes that the Greeks developed each used their own tonic note which is a note that is flattened or sharpened in order to make the mode sound Minor or Major.
By 16, he made the successful choice to switch to the baritone saxophone and was then involved in the Lucky Thompson’s band in 1947. His music has been described as being “very long, tumbling, double-time melodic lines. And that raw, piercing, bark-like timbre”. He had an amazing ability to play the difficult baritone at very fast paces of hard bop music like no other player had before. Some of his most famous songs include; Binary, Alone Together, and Now in Our lives.
When a couple of white composers introduced "ragtime" music, many black performers took it and adapted it to their out style After beginning in New York City , progressive, or cool, jazz developed primarily on the West Coast in the late 1940s and early 50s. Intense yet ironically relaxed tonal sonorities are the major characteristic of this jazz form, while the melodic line is less convoluted than in bop. Lester Young's style was fundamental to the music of the cool saxophonists Lee Konitz, Warne Marsh, and Stan Getz. Miles Davis played an important part in the early stages, and the influence of virtuoso pianist Lennie Tristano was all-pervasive. The music was accepted more gracefully by the public and critics than bop, and