1.
Miles Davis
–
Miles Dewey Davis III was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz, with his ever-changing directions in music, Davis was at the forefront of a number of major stylistic developments in jazz over his five-decade career. In the early 1950s, Davis recorded some of the earliest hard bop music while on Prestige Records, after a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album Round About Midnight. It was his first work with saxophonist John Coltrane and bassist Paul Chambers and his million-selling 1970 record Bitches Brew helped spark a resurgence in the genres commercial popularity with jazz fusion as the decade progressed. In 2006, Davis was inducted into the Rock and Roll Hall of Fame, Miles Dewey Davis III was born on May 26,1926 into an affluent middle class African-American family in Alton, Illinois,15 miles north of St. Louis. The second of three children, he had a sister, Dorothy Mae, and a younger brother. His father, Miles Dewey Davis II of Arkansas, was a dental surgeon who earned three college degrees, and his mother Cleota Mae Davis, also of Arkansas, was a music teacher. They owned a 200-acre estate near Pine Bluff, Arkansas where Davis and his siblings would ride horses, fish, and hunt. In 1927, the moved to East St. Louis, Illinois. From 1932 to 1934, Davis attended John Robinson Elementary School, an institution, followed by Crispus Attucks School where he performed well in mathematics, music. It was in East St. Louis and Pine Bluff that the young Davis developed his earliest appreciation for music, Davis later suggested that his fathers instrument choice was made largely to irk his wife, who disliked the trumpets sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato, Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, I prefer a round sound with no attitude in it, like a voice with not too much tremolo. If I cant get that sound I cant play anything, in 1939, the family moved to 1701 Kansas Avenue in East St. Louis. For his 13th birthday held that year, Davis father bought his son a new trumpet, around this time, Davis took additional trumpet lessons from Joseph Gustat, first chair of the St. Louis Symphony Orchestra. In 1941, the 15-year-old Davis began at East St. Louis Lincoln High School where he joined the marching band directed by Buchanan. Davis claimed the contests he did not win was largely down to prejudice over his race and it was at Lincoln High where Davis met his first girlfriend, Irene Cawthorn. Davis had formed his own group by this time, performing in local venues such as Huffs Beer Garden with hits such as In the Mood by Glenn Miller
2.
Plaza Hotel
–
With a height of 250 ft and a length of 400 ft, the hotel occupies the west side of Grand Army Plaza, from which it derives its name, and extends along Central Park South in Manhattan. Fifth Avenue extends along the east side of Grand Army Plaza, the Plaza Hotel is recognized as a Historic Hotel of America by the National Trust for Historic Preservation. The hotels main entrance at 768 Fifth Avenue faces the southern portion of Grand Army Plaza, the Grand Ballroom, Terrace Room and meeting spaces are currently managed by CPS Events, a joint venture between Delaware North Companies and the high end caterer Great Performances. The Oak Room, now closed, was another restaurant in the Plaza, the Plaza Hotel is the second hotel of that name on the site. The French Renaissance château-style building was designed by Henry Janeway Hardenbergh, at the time, it cost $12.5 million to construct. When the hotel opened, a room at the Plaza Hotel was only $2.50 per night, the same room costs over 15 times as much today. Alphonse Salamone joined the hotel in 1947, although later left to accept a position in San Juan at the Caribe Hilton and he returned the hotel and helped it out of hardship during the 1960s. The Plaza Hotel was accorded landmark status by the New York City Landmarks Preservation Commission in 1969, the hotel offers tours of its interior to the public. Long the site for famous performers and guests, it has also been the place for important political meetings. Miles Davis recorded an album in the Persian Room in 1958. Unaccompanied ladies were not permitted in the Oak Room bar, women favored the Palm Court for luncheons, in September 1985, ministers of developed countries met at the Plaza Hotel to consult on finance issues and affirmed their agreement by signing the Plaza Accord. It served as an agreement among the ministers of the United States, Japan, West Germany, France. The Beatles stayed at the Plaza Hotel during their first visit to the United States in February 1964, on November 28,1966, in honor of the publisher Katharine Graham, the writer Truman Capote hosted his acclaimed Black and White Ball in the Grand Ballroom. The ballroom was also the site, in 1993, of Donald Trumps wedding to Marla Maples in front of 1,500 guests, conrad Hilton bought the Plaza Hotel for $7.4 million in 1943 and spent $6 million refurbishing it. The Childs Company, a restaurant chain which partnered in the development of the neighboring Savoy-Plaza Hotel. Childs, later named Sonesta International Hotels, sold the Plaza to Western International Hotels in 1975 for $25 million, Donald Trump bought the Plaza Hotel for $407.5 million in 1988. Trump commented on his purchase in an open letter in The New York Times, I havent purchased a building. For the first time in my life, I have knowingly made a deal that was not economic – for I can never justify the price I paid, Trump installed his wife, Ivana Trump as the hotels president
3.
Modal jazz
–
Modal jazz is jazz that uses musical modes rather than chord progressions as a harmonic framework. Originating in the late 1950s and 1960s, modal jazz is epitomized by Miles Daviss 1958 composition Milestones,1959 album Kind of Blue, and John Coltranes classic quartet from 1960–64. Other important performers include Woody Shaw, Bill Evans, Herbie Hancock, Wayne Shorter, McCoy Tyner, Larry Young, Pharoah Sanders, Joe Henderson, Chick Corea, in bebop as well as in hard bop, musicians use chords to provide the background for solos. A song starts out with a theme that introduces the chords for the solos and these chords repeat throughout the whole song, while the soloists play new, improvised themes over the repeated chord progression. By the 1950s, improvising over chords had become such a dominant part of jazz and this inversion technique led to a modal sound throughout Tizols work. Towards the end of the 1950s, spurred by the experiments of composer and bandleader George Russell and they chose not to write their pieces using conventional chord changes, but instead using modal scales. Musicians employing this technique include Miles Davis, Freddie Hubbard, Bill Evans, Herbie Hancock, among the significant compositions of modal jazz were So What by Miles Davis and Impressions by John Coltrane. So What and Impressions follow the same AABA song form and were in D Dorian for the A sections, the Dorian mode is the natural minor scale with a raised sixth. Other compositions include Davis Flamenco Sketches, Bill Evans Peace Piece, Miles Davis recorded one of the best selling jazz albums of all time in this modal framework. Kind of Blue is an exploration of the possibilities of modal jazz, included on these sessions was tenor saxophonist John Coltrane who, throughout the 1960s, would explore the possibilities of modal improvisation more deeply than any other jazz artist. The rest of the musicians on the album were alto saxophonist Cannonball Adderley, pianists Bill Evans and Wynton Kelly, bassist Paul Chambers and this record is considered a kind of test album in many conservatories focusing on jazz improvisation. The compositions So What and All Blues from Kind of Blue are considered jazz standards. Davis has acknowledged the role played by Bill Evans, a former member of George Russells ensembles. Another great innovator in the field of jazz is pianist Herbie Hancock. He is well known for working in Miles Daviss Second Great Quintet, Herbie Hancock recorded a number of solo albums, the pieces haunting repeating vamps in the rhythm section and the searching feeling of the entire piece has made Maiden Voyage one of the most famous modal pieces. Miles Davis was effusive in his praise for Jamals influence on him, his playing, and his music, Adderley, Coltrane, and Davis at the Twilight of Bebop, The Search for Melodic Coherence
4.
Columbia Records
–
Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. the United States division of Sony Corporation. It was founded in 1887, evolving from an enterprise named the American Graphophone Company. Columbia is the oldest surviving brand name in the sound business. Columbia Records went on to release records by an array of singers, instrumentalists. It is one of Sony Musics three flagship record labels alongside RCA Records and Epic Records, rather, as above, it was connected to CBS, a broadcasting media company which had purchased the company in 1938, and had been co-founded in 1927 by Columbia Records itself. Though Arista Records was sold to Bertelsmann Music Group, it would become a sister label of Columbia Records through its mutual connection to Sony Music. The Columbia Phonograph Company was founded in 1887 by stenographer, lawyer and New Jersey native Edward Easton and it derived its name from the District of Columbia, where it was headquartered. At first it had a monopoly on sales and service of Edison phonographs and phonograph cylinders in Washington. As was the custom of some of the regional companies, Columbia produced many commercial cylinder recordings of its own. Columbias ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Companys breakup, thereafter it sold only records and phonographs of its own manufacture. In 1902, Columbia introduced the XP record, a brown wax record. According to Gracyk, the molded brown waxes may have sold to Sears for distribution. Columbia began selling records and phonographs in addition to the cylinder system in 1901, preceded only by their Toy Graphophone of 1899. For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound. In order to add prestige to its catalog of artists. The firm also introduced the internal-horn Grafonola to compete with the extremely popular Victrola sold by the rival Victor Talking Machine Company, during this era, Columbia used the famous Magic Notes logo—a pair of sixteenth notes in a circle—both in the United States and overseas. Columbia was split into two companies, one to make records and one to make players, Columbia Phonograph was moved to Connecticut, and Ed Easton went with it. Eventually it was renamed the Dictaphone Corporation, in late 1923, Columbia went into receivership
5.
Record producer
–
A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
6.
Teo Macero
–
Attilio Joseph Teo Macero was an American jazz saxophonist, composer, and record producer. Macero also produced Davis Bitches Brew, and Dave Brubecks Time Out, Teo Macero was born and raised in Glens Falls, New York. After serving in the United States Navy, he moved to New York City in 1948 to attend the Juilliard School of Music and he studied composition, and graduated from Juilliard in 1953 with Bachelors and Masters degrees. In 1953, Macero co-founded Charles Mingus Jazz Composers Workshop, as a composer, Macero wrote in an atonal style, as well as in third stream, a synthesis of jazz and classical music. He performed live, and recorded albums with Mingus and the other Workshop members over the next three years, including Jazzical Moods and Jazz Composers Workshop. During this time, Macero also recorded Explorations, while he had contributed compositions to other albums, this was the first full album of his own compositions, and Maceros first album as a leader. Macero plays tenor and alto saxophones on the album, and is joined by Orlando DiGirolamo on accordion, Explorations was originally released in 1954 on Mingus Debut Records, and was reissued on CD in 2006 on Fresh Sounds Records, with additional tracks. The 1958 short experimental film Bridges-Go-Round by filmmaker Shirley Clarke featured two alternative soundtracks, one by Louis and Bebe Barron and one by Macero and he composed, conducted, and produced numerous television and film soundtracks and scores. He scored the 1970 Muhammad Ali documentary, a. k. a, cassius Clay, and produced soundtrack music for True Romance, Finding Forrester, and Martin Scorseses The Blues. Macero found greater fame as a producer for Columbia Records and he was also responsible for signing Mingus, Monk, and Byrd to Columbia. Macero produced the seminal Dave Brubeck Quartet album Time Out, and Thelonious Monks first Columbia recording, Monks Dream and he also produced Mingus first Columbia album, Mingus Ah Um. Macero is also acknowledged on the 1973 Mingus album Let My Children Hear Music, beyond jazz, he produced a number of Broadway original cast recordings including A Chorus Line and Bye Bye Birdie. And he produced the soundtrack to The Graduate, by Simon, in another deviation from his standard focus on jazz, Macero produced Irish folk albums with the Clancy Brothers and Tommy Makem in the late 1960s. While Macero produced many albums, he had an especially long. He produced most of Davis Columbia catalog, including the classics Kind of Blue, Porgy and Bess, Sketches of Spain, Maceros role as producer on Kind of Blue has sometimes been disputed, as some of the early Kind of Blue sessions were overseen by Irving Townsend. But numerous sources, including the liner notes, support Maceros involvement in the sessions, and preparation of the final album. In 2001, Miles Davis biographer Paul Tingen likened Maceros role in the music of Davis to that of George Martin with the Beatles. This idea of taking away from its birth, genesis and flowering as a live art and into the studio would soon become standard practice
7.
Jazz at the Plaza Vol. I
–
I is a live album by Miles Davis. It was recorded in 1958 and released in 1973 by Columbia Records, duke Ellington was recorded at the same event and released as the second volume. The album features the famed sextet that recorded Kind of Blue six months later, the concert was recorded in 1958 but not released in full until 1973. The last three songs would reappear in 1974, on 1958 Miles, but on Jazz at the Plaza all the tracks are of better sound quality. The musicians did not know they were being recorded at the time, the event was a party thrown by Columbia to celebrate the healthy state of their jazz division. Indeed, it was not meant to be a record session and we taped it because we wanted to remember it, in case it never happened again. Pianist Bill Evans later stated the musicians who were alive at the time of release were offered payment at the 1958 scale. My Funny Valentine, which had become a staple in the play book, is played by Davis in his new modal style. On Straight, No Chaser, he plays The Theme faster than usual, the original LP misidentified the tune Straight, No Chaser as Jazz At The Plaza, the drummer as Philly Joe Jones, and the location as The Edwardian Room. Allmusics Thom Jurek gave the four out of five stars and felt that, despite Sonys remastering. He recommended it strictly to jazz listeners as a curiosity piece because of its dodgy and dubious sound quality
8.
Big Fun (Miles Davis album)
–
Big Fun is a compilation album by American jazz musician Miles Davis. It was released by Columbia Records on April 19,1974, largely ignored in 1974, it was reissued on August 1,2000, by Columbia and Legacy Records with additional material, which led to a critical reevaluation. Big Fun presents music from three different phases of Miles Daviss early-seventies electric period, sides one and four were recorded three months after the Bitches Brew sessions and incorporate sitar, tambura, tabla, and other Indian instruments. Ife--named after James Mtumes daughter--was recorded after the 1972 On the Corner sessions, and it has a drum and electric bass groove and a plethora of musicians improvising individually and in combinations over variations on the hypnotic bassline. Recorded on March 7,1970, Go Ahead John is an outtake from Daviss Jack Johnson sessions and it was one of the rare occasions in which Davis recorded without a musical keyboard. It was recorded in five sections, ranging from three to 13 minutes, which producer Teo Macero subsequently assembled in four years later for Big Fun. DeJohnette provides a funky, complex groove, Holland plays bass with one constant note repeated, according to one music writer, the tracks bass parts has a trancelike drone that maintains the predominantly Eastern vibe of the album. Daviss trumpet and McLaughlins guitar parts were overdubbed for the recording. The overdubbing effect was created by superimposing part of Daviss trumpet solo onto other parts of it, Macero later said of this production technique, You hear the two parts and its only two parts, but the two parts become four and they become eight parts. This was done over in the room and it just adds something to the music I called in and I said, Come in. Well try it on and if you like it youve got it and he came in and flipped out. He said it was one of the greatest things he ever heard, DeJohnettes drums were also manipulated by Macero, who used an automatic switcher to have them rattle back and forth between the left and right speakers on the recording. Its just disorienting, throwing the ear off balance in a way that forces the listener to pay close attention, the drums cease to perform their traditional function. Jack DeJohnettes beats, funky and propulsive on the tapes, are so chopped up that their timekeeping utility is virtually nil. Macero has diced the rhythm so adroitly that we are not even permitted to hear a drum hit or hi-hat crash. All that remains are clicks and whooshes, barely identifiable as drums and, again, thus, the pace is maintained by Dave Hollands one-note throb and the occasional descending blues progression he plays. The feeling one gets from Go Ahead John becomes one of floating in space, titled as an exhortation by Davis to McLaughlin, Go Ahead John features a basic, blues motif, centered around E and B♭, as well as modulations introduced by Davis into the D♭ scale. The recording begins with McLaughlins funky wah-wah lines, backing Grossmans sharp, restrained playing, approximately six minutes into it, McLaughlins guitar solo succeeds Daviss first solo, as the band vamps
9.
Jazz
–
Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
10.
New York City
–
The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
11.
Jazz Track
–
Jazz Track is a compilation album by Miles Davis, released in 1958 by Columbia Records, catalogue CL1268. It compiles sessions by the most recent edition of the Davis Sextet which were insufficient to comprise an entire LP and this album was made available on CD for the first time as part of Miles Davis The Original Mono Recordings box set. The soundtrack was recorded in Paris, December 4,1957, using local musicians, side two consists of newly released material recorded by his sextet on May 26,1958. These were the musicians who would soon record Kind of Blue. The composition Fran Dance is named for Davis wife, Frances Taylor, the complete Fontana soundtrack was issued on compact disc in the 1980s, using the original title and Fontana artwork, expanded with all studio takes from the session. The sextet material was rereleased in 1974 under the title 1958 Miles. This album, and not Jazz Track, survived into the compact disc era, the sextet material, with additional tracks, appeared again in 2008 as part of the Kind of Blue 40th Anniversary Edition on Legacy Records. All tracks written by Miles Davis except as indicated
12.
Bill Evans
–
William John Bill Evans was an American jazz pianist and composer who mostly worked in a trio setting. In 1955, he moved to New York City, where he worked with bandleader, in 1958, Evans joined Miles Daviss sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, in late 1959, Evans left the Miles Davis band and began his career as a leader with Scott LaFaro and Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days recording the highly acclaimed Sunday at the Village Vanguard and Waltz for Debby. After months of seclusion, Evans re-emerged with a new trio, in 1963, Evans recorded Conversations with Myself, an innovative solo album using the unconventional technique of overdubbing over himself. In 1966, he met bassist Eddie Gómez, with whom he would work for eleven years, several successful albums followed, such as Bill Evans at the Montreux Jazz Festival, Alone and The Bill Evans Album, among others. Many of his compositions, such as Waltz for Debby, have become standards and have played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards, and was inducted into the Down Beat Jazz Hall of Fame, Bill Evans was born in Plainfield, New Jersey, to Harry and Mary Evans. His father was of Welsh descent and ran a course, his mother was of Rusyn ancestry. The marriage was due to his fathers heavy drinking, gambling. He had a brother, Harry, two years his senior, with whom he shared a close relationship. Given Harry Evans Sr. s destructive character, Mary Evans would often leave home with her sons to nearby Somerville, to stay with her sister Justine, there, Harry began piano lessons somewhere between age 5 and 7 with local teacher Helen Leland. Even though Bill was thought to be too young to receive lessons, soon both brothers were taking piano lessons. Evans remembered Leland with affection for not insisting on a technical approach, with scales. He would soon develop a fluid sight-reading ability, though his teacher rated his brother as a better pianist, at age 7, Bill began violin lessons, and soon also flute and piccolo. Even though he soon dropped those instruments, it is believed they later influenced his keyboard style and he later cited Mozart, Beethoven and Schubert as frequently played composers. Around the same time came his first exposure to jazz. At the age of 13, Bill stood in for a sick pianist in Buddy Valentinos rehearsal band, soon, Bill began to perform for dances and weddings throughout New Jersey, playing music like boogie woogie and polkas for $1 per hour
13.
Milestones (Miles Davis album)
–
Milestones is a studio album by American jazz trumpeter and composer Miles Davis, recorded with his first great quintet augmented as a sextet. It was released in 1958 by Columbia Records, Milestones is one of Davis first forays into the developing modal jazz experiments – with his composition Milestones, listed on the original LP issue as Miles. These modal techniques were continued and expanded on the groundbreaking album Kind of Blue and it was also the last time the rhythm section of Philly Joe Jones, Red Garland and Paul Chambers played with Davis on record. Tenor saxophonist John Coltranes return to Davis group in 1958 coincided with the modal phase albums, Milestones, Davis at this point was experimenting with modes – scale patterns other than major and minor. Davis plays both trumpet and piano on Sids Ahead and he plays trumpet in the ensemble passages and solos on trumpet but switches to piano to accompany the saxophonists in Garlands absence. Billy Boy is a feature for Garland and the rhythm section. The Penguin Guide to Jazz selected the album as part of its suggested Core Collection, Milestones was originally released in mono, as well as in electronically re-channeled stereo. The album was remixed and remastered in stereo for The Complete Columbia Recordings of Miles Davis with John Coltrane and, in 2009, reissued in stereo on the Columbia/Legacy label
14.
Bebop
–
As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, Bebop groups used rhythm sections in a way that expanded their role. The term bebop is derived from nonsense syllables used in scat singing and it appears again in a 1936 recording of Ise a Muggin by Jack Teagarden. A variation, rebop, appears in several 1939 recordings, the first, known print appearance also occurred in 1939, but the term was little-used subsequently until applied to the music now associated with it in the mid-1940s. Some researchers speculate that it was a used by Charlie Christian because it sounded like something he hummed along with his playing. Another theory is that it derives from the cry of Arriba, used by Latin American bandleaders of the period to encourage their bands. At times, the bebop and rebop were used interchangeably. By 1945, the use of bebop/rebop as nonsense syllables was widespread in R&B music, ability to play sustained, high energy, and creative solos was highly valued for this newer style and the basis of intense competition. Swing-era jam sessions and cutting contests in Kansas City became legendary, the Kansas City approach to swing was epitomized by the Count Basie Orchestra, which came to national prominence in 1937. One young admirer of the Basie orchestra in Kansas City was an alto saxophone player named Charlie Parker. Young was equally daring with his rhythm and phrasing as with his approach to harmonic structures in his solos and he would frequently repeat simple two or three note figures, with shifting rhythmic accents expressed by volume, articulation, or tone. His phrasing was far removed from the two or four bar phrases that players had used until then. They would often be extended to an odd number of measures and he would take a breath in the middle of a phrase, using the pause, or free space, as a creative device. The overall effect was that his solos were something floating above the rest of the music, Parker played along with the new Basie recordings on a Victrola until he could play Youngs solos note for note. That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new language of bebop. That solo showed a sophisticated harmonic exploration of the tune, with implied passing chords, Hawkins would eventually go on to lead the first formal recording of the bebop style in early 1944. As the 1930s turned to the 1940s, Parker went to New York as a player in the Jay McShann Orchestra. Guitarist Charlie Christian, who had arrived in New York with the Benny Goodman Orchestra in 1939 was, like Parker, christians major influence was in the realm of rhythmic phrasing
15.
Kind of Blue
–
Kind of Blue is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis. It was released on August 17,1959 by Columbia Records and recorded earlier that year on March 2 and April 22 at Columbias 30th Street Studio in New York City. Though precise figures have been disputed, Kind of Blue has been described by music writers not only as Daviss best-selling album. On October 7,2008 it was certified platinum in sales by the Recording Industry Association of America. Kind of Blue has been regarded by critics as jazzs greatest record, Daviss masterpiece. Its influence on music, including jazz, rock, and classical genres, has led writers to also deem it one of the most influential albums ever recorded, by late 1958, Davis employed one of the most acclaimed and profitable working bands pursuing the hard bop style. His personnel had become stable, alto saxophonist Cannonball Adderley, tenor saxophonist John Coltrane, pianist Bill Evans, long-serving bassist Paul Chambers and his band played a mixture of pop standards and bebop originals by Charlie Parker, Thelonious Monk, Dizzy Gillespie, and Tadd Dameron. As with all bebop-based jazz, Daviss groups improvised on the changes of a given song. Davis was one of jazz musicians growing dissatisfied with bebop. In 1953, the pianist George Russell published his Lydian Chromatic Concept of Tonal Organization and this approach led the way to modal in jazz. Influenced by Russells ideas, Davis implemented his first modal composition with the track of his studio album Milestones. Satisfied with the results, Davis prepared an entire album based on modality, Kind of Blue was recorded on three-track tape in two sessions at Columbia Records 30th Street Studio in New York City. Production was handled by Teo Macero, who had produced Daviss previous two LPs, and Irving Townsend, as was Daviss penchant, he called for almost no rehearsal and the musicians had little idea what they were to record. As described in the liner notes by pianist Bill Evans, Davis had only given the band sketches of scales. Once the musicians were assembled, Davis gave brief instructions for each piece, while the results were impressive with so little preparation, the persistent legend that the entire album was recorded in one pass is untrue. Only Flamenco Sketches yielded a complete take on the first try and that take, not the master, was issued in 1997 as a bonus alternate take. Pianist Wynton Kelly may not have been happy to see the man he replaced, Bill Evans, perhaps to assuage the pianists feelings, Davis had Kelly play instead of Evans on the albums most blues-oriented number, Freddie Freeloader. The live album Miles Davis at Newport 1958 documents this band, Kind of Blue is based entirely on modality in contrast to Daviss earlier work with the hard bop style of jazz and its complex chord progression and improvisation
16.
Audio engineer
–
An audio engineer works on the recording, manipulating the record using equalization and electronic effects, mixing, reproduction, and reinforcement of sound. Audio engineers work on the. technical aspect of recording—the placing of microphones, pre-amp knobs, the physical recording of any project is done by an engineer. Many audio engineers creatively use technologies to produce sound for film, radio, television, music, electronic products and computer games. Audio engineers also set up, sound check and do live sound mixing using an audio console, research and development audio engineers invent new technologies, equipment and techniques, to enhance the process and art of audio engineering. They might also be referred to as acoustic engineers, audio engineers in research and development usually possess a bachelors degree, masters degree or higher qualification in acoustics, physics, computer science or another engineering discipline. They might work in consultancy, specializing in architectural acoustics. Alternatively they might work in companies, or other industries that need audio expertise. Some positions, such as faculty require a Doctor of Philosophy, in Germany a Toningenieur is an audio engineer who designs, builds and repairs audio systems. The listed subdisciplines are based on PACS coding used by the Acoustical Society of America with some revision, audio engineers develop algorithms to allow the electronic manipulation of audio signals. These can be processed at the heart of audio production such as reverberation. Alternatively, the algorithms might carry out echo cancellation on Skype, or identify, architectural acoustics is the science and engineering of achieving a good sound within a room. For audio engineers, architectural acoustics can be about achieving good speech intelligibility in a stadium or enhancing the quality of music in a theatre, architectural Acoustic design is usually done by acoustic consultants. Electroacoustics is concerned with the design of headphones, microphones, loudspeakers, sound reproduction systems, examples of electroacoustic design include portable electronic devices, sound systems in architectural acoustics, surround sound in movie theater and vehicle audio. Musical acoustics is concerned with researching and describing the science of music, in audio engineering, this includes the design of electronic instruments such as synthesizers, the human voice, computer analysis of audio, music therapy, and the perception and cognition of music. Psychoacoustics is the study of how humans respond to what they hear. At the heart of audio engineering are listeners who are the final arbitrator as to whether a design is successful. The production, computer processing and perception of speech is an important part of audio engineering, ensuring speech is transmitted intelligibly, efficiently and with high quality, in rooms, through public address systems and through mobile telephone systems are important areas of study. Producer, engineer, and mixer Phil Ek has described audio engineering as the aspect of recording—the placing of microphones, the turning of pre-amp knobs
17.
Chord (music)
–
A chord, in music, is any harmonic set of pitches consisting of two or more notes that are heard as if sounding simultaneously. In everyday use by musical ensembles such as bands and orchestras, however, the notes of a chord do not have to be played together at the same time, arpeggios and broken chords may, for many practical and theoretical purposes, also constitute chords. Other chords with more than three notes include added tone chords, extended chords and tone clusters, which are used in classical music, jazz. Triads commonly found in the Western classical tradition are major and minor chords, the descriptions major, minor, augmented, and diminished are referred to collectively as chordal quality. Chords are also classified by their root note—for instance, a C major triad consists of the pitch classes C, E. While most chords have at least three notes, power chords, which are used in rock music, particularly in hard rock. An ordered series of chords is called a chord progression, one example of a widely used chord progression in Western traditional music and blues is the 12 bar blues progression, the simplest versions of which include tonic, subdominant and dominant chords. To describe this, Western music theory has developed the practice of numbering chords using Roman numerals which represent the number of steps up from the tonic note of the scale. Common ways of notating or representing chords in Western music include Roman numerals, figured bass, macro symbols, the chords in a song or piece are also given names which refer to their function. The chord built on the first note of a scale is called the tonic chord. The chord built on the note of a major scale is called the subdominant chord. The chord built on the degree of the major scale is called the dominant chord. There are names for the built on every note of the major scale. Chords can be played on instruments, including piano, pipe organ, guitar. Chords can also be performed when multiple musicians play together in an ensemble or when multiple singers sing in a choir. The English word chord derives from Middle English cord, a shortening of accord in the sense of agreement and later. A sequence of chords is known as a progression or harmonic progression. These are frequently used in Western music, a chord progression aims for a definite goal of establishing a tonality founded on a key, root or tonic chord
18.
Lydian Chromatic Concept of Tonal Organization
–
The Lydian Chromatic Concept of Tonal Organization is a 1953 jazz music theory book written by George Russell. The book is the text of the Lydian Chromatic Concept. Russells work postulates that all music is based on the gravity of the Lydian mode. Russell believed that dominant function was the force behind all harmonic motion. Russell focuses on the Lydian mode because it can be built with fifths, for instance, to construct a C lydian scale one could list the first seven tones on the circle of fifths starting with C, the desired Lydian Tonic. This process would yield C, G, D, A, E, B, if these tones are voiced in the space of an octave, they form the Lydian mode. Additionally, Russell observed, when tones are voiced in thirds they form the preferred form of a major 13th chord. Russell builds a prototype chromatic scale starting on the Lydian Tonic by stacking fifths, skipping the interval between the seventh and eighth tones. Using C as the Lydian Tonic yields the following 12-note scale with enharmonic respellings, C, G, D, A, E, B, F♯, C♯, G♯, D♯, A♯, E♯, B♯. Thus the Lydian Chromatic Scale and all its derivatives contain only Pythagorean intervals, Russell posited that tonal gravity emanates from the first seven tones of the Lydian mode. As the player ventures further from the Lydian tonic however, the gravity shifts. For example, if notes further up the circle of fifths are used, Russells theory has had far reaching effect especially in the realm of modal jazz. Bill Evans and Miles Davis utilized the theory and used it to record modal jazz, john Coltranes modal jazz is usually analyzed using Russells method. In arguably his most famous piece, Giant Steps, Coltrane can be traveling through a succession of three parent Lydian Chromatic scales, C Lydian, A♭ Lydian, and E Lydian. Additionally, many conservatories teach Russells theory to varying degrees, chapter 1 The Lydian scale, The seminal source of the principal of tonal gravity. George Russells Lydian chromatic concept of tonal organization, volume One, The art and science of tonal gravity. George Russells Lydian Chromatic Concept of Tonal Organization, in-depth fan website
19.
Musical improvisation
–
Sometimes musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music, and many other kinds of music. One definition is a performance given extempore without planning or preparation, another definition is to play or sing extemporaneously, by inventing variations on a melody or creating new melodies, rhythms and harmonies. Improvisation is often done within a harmonic framework or chord progression. Improvisation is a part of some types of 20th-century music, such as blues, jazz. Throughout the eras of the Western art music tradition, including the Medieval, Renaissance, Baroque, Classical, Bach, Handel, Mozart, Beethoven, Chopin, Liszt, and many other famous composers and musicians were known especially for their improvisational skills. Improvisation might have played an important role in the monophonic period, the earliest treatises on polyphony, such as the Musica enchiriadis, indicate that added parts were improvised for centuries before the first notated examples. However, it was only in the century that theorists began making a hard distinction between improvised and written music. Handel, Scarlatti, and Bach all belonged to a tradition of solo keyboard improvisation, in the Baroque era, performers improvised ornaments and basso continuo keyboard players improvised chord voicings based on figured bass notation. At the same time, some contemporary composers from the 20th, in Indian classical music, improvisation is a core component and an essential criterion of performances. In Indian, Afghani, Pakistani, and Bangladeshi classical music, the Encyclopædia Britannica defines a raga as a melodic framework for improvisation and composition. Keyboard players likewise performed extempore, freely formed pieces, the pattern of chords in many baroque preludes, for example, can be played on keyboard and guitar over a pedal tone or repeated bass notes. Such progressions can be used in other structures and contexts, and are still found in Mozart. Bach, for example, was fond of the sound produced by the dominant seventh harmony played over, i. e. suspended against. This shift of roles between treble and bass is another definitive characteristic, finally, in keeping with this polarity, the kind of question and answer which appears in baroque music has the appearance of fugue or canon. This method was a favorite in compositions by Scarlatti and Handel especially at the beginning of a piece, improvised accompaniment over a figured bass was a common practice during the Baroque era, and to some extent the following periods. Improvisation remains a feature of playing in some church services and are regularly also performed at concerts. Dietrich Buxtehude and Johann Sebastian Bach were regarded in the Baroque period as highly skilled organ improvisers, maurice Duruflé, a great improviser himself, transcribed improvisations by Louis Vierne and Charles Tournemire. Olivier Latry later wrote his improvisations as a compositions, for example Salve Regina, Classical music departs from baroque style in that sometimes several voices may move together as chords involving both hands, to form brief phrases without any passing tones
20.
Key (music)
–
In music theory, the key of a piece is a group of pitches, or scale upon which a music composition is created in classical, Western art, and Western pop music. Notes and chords other than the tonic in a piece create varying degrees of tension, the key may be in the major or minor mode, although major is assumed in a phrase like this piece is in C. Popular songs are usually in a key, and so is classical music during the common practice period, longer pieces in the classical repertoire may have sections in contrasting keys. Methods that establish the key for a piece can be complicated to explain. The key signature is not always a reliable guide to the key of a written piece, occasionally, a piece in a mode such as Mixolydian or Dorian is written with a major or minor key signature appropriate to the tonic, and accidentals throughout the piece. Pieces in modes not corresponding to major or minor keys may sometimes be referred to as being in the key of the tonic. A piece using some type of harmony, resolving e. g. to A. An instrument may be said to be in a key, an unrelated usage referring to the pitches considered natural for that instrument. For example, modern trumpets are usually in the key of B♭, a key relationship is the relationship between keys, measured by common tones and nearness on the circle of fifths. The key usually identifies the tonic note and/or chord, the note and/or major or minor triad that represents the point of rest for a piece. For example, the key of G includes the following pitches, G, A, B, C, D, E, and F♯, and its corresponding tonic chord is G—B—D. Most often at the beginning and end of traditional pieces during the common practice period, a key may be major or minor. Music can be described as being in the Dorian mode, or Phrygian, languages other than English may use other key naming systems. Although many musicians confuse key with scale, a scale is a set of notes typically used in a key, while the key is the center of gravity. All of these notes and chords, however, are used in patterns that serve to establish the primacy of the tonic note. Cadences are particularly important in the establishment of key, even cadences that do not include the tonic note or triad, such as half cadences and deceptive cadences, serve to establish key because those chord sequences imply a unique diatonic context. Short pieces may stay in a single key throughout, more elaborate pieces may establish the main key, then modulate to another key, or a series of keys, then back to the original key. In the Baroque it was common to repeat a phrase of music, called a ritornello
21.
Classical music
–
Classical music is art music produced or rooted in the traditions of Western music, including both liturgical and secular music. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period, Western staff notation is used by composers to indicate to the performer the pitches, tempo, meter and rhythms for a piece of music. This can leave less room for such as improvisation and ad libitum ornamentation. The term classical music did not appear until the early 19th century, the earliest reference to classical music recorded by the Oxford English Dictionary is from about 1836. This score typically determines details of rhythm, pitch, and, the written quality of the music has enabled a high level of complexity within them, J. S. The use of written notation also preserves a record of the works, Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced. That said, the score does not provide complete and exact instructions on how to perform a historical work, even if the tempo is written with an Italian instruction, we do not know exactly how fast the piece should be played. Bach was particularly noted for his complex improvisations, during the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto, during the Romantic era, Beethoven would improvise at the piano. The instruments currently used in most classical music were largely invented before the mid-19th century and they consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments. The symphony orchestra is the most widely known medium for music and includes members of the string, woodwind, brass. The concert band consists of members of the woodwind, brass and it generally has a larger variety and number of woodwind and brass instruments than the orchestra but does not have a string section. However, many bands use a double bass. Many of the used to perform medieval music still exist. Medieval instruments included the flute, the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle, Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut, during the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the medieval era, becoming prevalent by the later 13th
22.
Scale (music)
–
In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is a scale. Some scales contain different pitches when ascending than when descending, for example, the Melodic minor scale. Due to the principle of equivalence, scales are generally considered to span a single octave. A musical scale represents a division of the space into a certain number of scale steps. A measure of the width of each scale step provides a method to classify scales, based on their interval patterns, scales are put into categories including diatonic, chromatic, major, minor, and others. A specific scale is defined by its interval pattern and by a special note. The tonic of a scale is the selected as the beginning of the octave. Typically, the name of the scale specifies both its tonic and its interval pattern, for example, C major indicates a major scale with a C tonic. Scales are typically listed from low to high, most scales are octave-repeating, meaning their pattern of notes is the same in every octave. An octave-repeating scale can be represented as an arrangement of pitch classes. The distance between two notes in a scale is called a scale step. The notes of a scale are numbered by their steps from the root of the scale, for example, in a C major scale the first note is C, the second D, the third E and so on. Two notes can also be numbered in relation to other, C and E create an interval of a third. A single scale can be manifested at many different pitch levels, for example, a C major scale can be started at C4 and ascending an octave to C5, or it could be started at C6, ascending an octave to C7. As long as all the notes can be played, the octave they take on can be altered, the pitch distances or intervals among the notes of a scale tell us more about the sound of the music than does the mere number of tones. The notes of a scale form intervals with each of the notes of the chord in combination. A 5-note scale has 10 of these intervals, a 6-note scale has 15, a 7-note scale has 21
23.
Musical composition
–
People who create new compositions are called composers in classical music. In popular music and traditional music, the creators of new songs are usually called songwriters, with songs, Composition is the act or practice of creating a song or other piece of music. In popular music and traditional music, songwriting may involve the creation of an outline of the song, called the lead sheet. In classical music, orchestration is typically done by the composer, in some cases, a pop or traditional songwriter may not use written notation at all, and instead compose the song in her mind and then play, sing and/or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written or printed scores play in classical music. Although a musical composition often uses musical notation and has a single author, a piece of music can also be composed with words, images, or, since the 20th century, with computer programs that explain or notate how the singer or musician should create musical sounds. A more commonly known example of chance-based music is the sound of wind chimes jingling in a breeze, although in the 2000s, composition is considered to consist of the manipulation of each aspect of music, according to Jean-Benjamin de Laborde, Composition consists in two things only. The first is the ordering and disposing of several sounds. in such a manner that their succession pleases the ear and this is what the Ancients called melody. The second is the rendering audible of two or more simultaneous sounds in such a manner that their combination is pleasant and this is what we call harmony, and it alone merits the name of composition. In classical music, a piece of music exists in the form of a composition in musical notation or as a live acoustic event. Since the invention of recording, a classical piece or popular song may also exist as a recording. If music is composed before being performed, music can be performed from memory, by reading written musical notation, compositions comprise a huge variety of musical elements, which vary widely from between genres and cultures. Popular music genres after about 1960 make extensive use of electric and electronic instruments, such as electric guitar, electric and electronic instruments are used in contemporary classical music compositions and concerts, albeit to a lesser degree than in popular music. Music from the Baroque music era, for example, used only acoustic and mechanical such as strings, brass, woodwinds, timpani and keyboard instruments such as harpsichord. A 2000s-era pop band may use electric guitar played with electronic effects through a guitar amplifier, different musical styles permit singers or performers to use various amounts of musical improvisation during the performance of a composed song or piece. In free jazz, the performers may play without any sheet music, improvisation is the act of composing musical elements spontaneously during the performance, as opposed to having a composer write down the music beforehand. Improvisation was an important skill during the Baroque music era, instrumentalists and singers were expected to be able to improvise ornaments, during the classical period, solo instrumentalists were expected to be able to improvise virtuostic cadenzas during a concerto. During the Romantic music era, composers began writing out ornaments and cadenzas, in contemporary classical music, some composers began writing pieces which indicate that the performer should improvise during certain sections
24.
Parameter
–
A parameter, generally, is any characteristic that can help in defining or classifying a particular system. That is, a parameter is an element of a system that is useful, or critical, parameter has more specific meanings within various disciplines, including mathematics, computing and computer programming, engineering, statistics, logic and linguistics. Mathematical functions have one or more arguments that are designated in the definition by variables, a function definition can also contain parameters, but unlike variables, parameters are not listed among the arguments that the function takes. When parameters are present, the definition actually defines a family of functions. A parameter could be incorporated into the name to indicate its dependence on the parameter. For instance, one may define the base b of a logarithm by log b = log log where b is a parameter that indicates which logarithmic function is being used. It is not an argument of the function, and will, for instance, in some informal situations it is a matter of convention whether some or all of the symbols in a function definition are called parameters. However, changing the status of symbols between parameter and variable changes the function as a mathematical object, for instance, the notation for the falling factorial power n k _ = n ⋯, defines a polynomial function of n, but is not a polynomial function of k. Indeed, in the case, it is only defined for non-negative integer arguments. Sometimes it is useful to all functions with certain parameters as parametric family. Examples from probability theory are given further below, a variable is one of the many things a parameter is not. The dependent variable, the speed of the car, depends on the independent variable, change the lever arms of the linkage. Will still depend on the pedal position and you have changed a parameter A parametric equaliser is an audio filter that allows the frequency of maximum cut or boost to be set by one control, and the size of the cut or boost by another. These settings, the level of the peak or trough, are two of the parameters of a frequency response curve, and in a two-control equaliser they completely describe the curve. More elaborate parametric equalisers may allow other parameters to be varied and these parameters each describe some aspect of the response curve seen as a whole, over all frequencies. A graphic equaliser provides individual level controls for various frequency bands, if asked to imagine the graph of the relationship y = ax2, one typically visualizes a range of values of x, but only one value of a. Of course a different value of a can be used, generating a different relation between x and y, thus a is a parameter, it is less variable than the variable x or y, but it is not an explicit constant like the exponent 2. More precisely, changing the parameter a gives a different problem, in calculating income based on wage and hours worked, it is typically assumed that the number of hours worked is easily changed, but the wage is more static
25.
Mode (music)
–
In the theory of Western music, mode generally refers to a type of scale, coupled with a set of characteristic melodic behaviours. This use, still the most common in recent years, reflects a tradition dating to the Middle Ages, regarding the concept of mode as applied to pitch relationships generally, Harold S. being in the domain of mode. This synthesis between tonus as a tone and the older meaning associated with an octave species was done by medieval theorists for the Western monodic plainchant tradition. Since the end of the century, the term mode has also applied to pitch structures in non-European musical cultures, sometimes with doubtful compatibility. The word encompasses several additional meanings, however, authors from the ninth century until the early eighteenth century sometimes employed the Latin modus for interval. A scale is a series of pitches that, with the key or tonic as a reference point, defines that scales intervals. The concept of mode in Western music theory has three stages, in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, mode incorporates the idea of the scale, but differs from it by also involving an element of melody type. By the early 19th century, the mode had taken on an additional meaning. At the same time, composers were beginning to conceive of modality as something outside of the system that could be used to evoke religious feelings or to suggest folk-music idioms. Early Greek treatises describe three interrelated concepts that are related to the later, medieval idea of mode, scales, tonoi—, and harmonia —pl. harmoniai—this third term subsuming the corresponding tonoi but not necessarily the converse. The association of ethnic names with the octave species appears to precede Aristoxenus. Depending on the positioning of the tones in the tetrachords. The diatonic genus, the genus, and the enharmonic genus. The framing interval of the fourth is fixed, while the two internal pitches are movable. Within the basic forms, the intervals of the chromatic and diatonic genera were varied further by three and two shades, respectively, the term tonos was used in four senses, as note, interval, region of the voice, and pitch. We use it of the region of the voice whenever we speak of Dorian, or Phrygian, or Lydian, in Ptolemys system, therefore there are only seven tonoi. Pythagoras also construed the intervals arithmetically, in their diatonic genus, these tonoi and corresponding harmoniai correspond with the intervals of the familiar modern major and minor scales
26.
Jazz band
–
A jazz band is a musical ensemble that plays jazz music. Jazz bands vary in the quantity of its members and the style of jazz that they play but it is common to find a band made up of a rhythm section. The size of a band is closely related to the style of jazz they play as well as the type of venues in which they play. Jazz bands can vary in size from a big band, to a trio or quartet. The term jazz trio can refer to a three piece band with a pianist, double bass player and a drummer, some bands use vocalists, while others are purely instrumental groups. Jazz bands usually have a bandleader, in a big band setting, there is usually more than one player for a type of instrument. Small jazz bands of three to four musicians are referred to as combos and can be found in small night club venues. In modern jazz, a bass player is almost always present in a small band. Its common for musicians in a combo to perform their music from memory, the improvisational nature of these performances make every show unique. In jazz, there are types of trios. One type of trio is formed with a piano player, a bass player. Another type of jazz trio that became popular in the 1950s and 1960s is the trio, which is composed of a Hammond organ player, a drummer. In organ trios, the Hammond organ player performs the line on the organ bass pedals while simultaneously playing chords or lead lines on the keyboard manuals. In the latter type of trio, the lack of a chordal instrument means that the horn player, Jazz quartets typically add a horn to one of the jazz trios described above. The Modern Jazz Quartet was a jazz combo established in 1952 that played a style of jazz influenced by classical music, the lineup of larger jazz ensembles can vary considerably, depending on the style of jazz being performed. In a 1920s-style Dixieland jazz band, a larger ensemble would be formed by adding a player, woodwind instruments, as with the clarinet. Also by the addition of soloing instruments, the standard rhythm section is piano, bass, and drums, augmented by guitar at times in small combos and regularly in large ones. Some large swing era orchestras also employed an additional piano, accordion, the horn section consists of a woodwind section and a brass section, which play the melody and main accompaniment
27.
Cannonball Adderley
–
Julian Edwin Cannonball Adderley was a jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Adderley is remembered for his 1966 single Mercy, Mercy, Mercy, a hit on the pop charts. He was the brother of jazz cornetist Nat Adderley, a member of his band. Originally from Tampa, Florida, Adderley moved to New York in 1955 and his nickname derived from cannibal, a title imposed on him by high school colleagues as a tribute to his voracious appetite. Cannonball moved to Tallahassee, when his parents obtained teaching positions at Florida A&M University, both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s. Cannonball was a legend in Southeast Florida until he moved to New York City in 1955. One of his known addresses in New York was in the neighborhood of Corona and he left Florida originally to seek graduate studies at New York conservatories, but one night in 1955 he brought his saxophone with him to the Café Bohemia. Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1957 and he was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group. He joined the Davis band in October 1957, three months prior to the return of John Coltrane to the group, some of Daviss finest trumpet work can be found on Adderleys first solo album Somethin Else, which was recorded shortly after the two giants met. Adderley then played on the seminal Davis records Milestones and Kind of Blue and this period also overlapped with pianist Bill Evans time with the sextet, an association that led to recording Portrait of Cannonball and Know What I Mean. His interest as an educator carried over to his recordings, in 1961, Cannonball narrated The Childs Introduction to Jazz, released on Riverside Records. The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet, Cannonballs first quintet was not very successful, however, after leaving Davis group, he formed another, again with his brother, which enjoyed more success. By the end of the 1960s, Adderleys playing began to reflect the influence of the jazz, avant-garde. On his albums from this period, such as Accent on Africa and The Price You Got to Pay to Be Free, he began doubling on soprano saxophone, showing the influence of Coltrane and Wayne Shorter. In 1975 he also appeared in a role alongside José Feliciano. Songs made famous by Adderley and his bands include This Here, The Jive Samba, Work Song, Mercy, Mercy, Mercy, a cover version of Pops Staples Why. also entered the charts. His instrumental Sack o Woe was covered by Manfred Mann on their debut album and he had a cerebral hemorrhage and four weeks later, on August 8,1975, he died at St. Mary Methodist Hospital in Gary, Indiana. He was buried in the Southside Cemetery, Tallahassee, later that year he was inducted into the Down Beat Jazz Hall of Fame
28.
John Coltrane
–
John William Coltrane, also known as Trane, was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career and he led at least fifty recording sessions during his career, and appeared as a sideman on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk. As his career progressed, Coltrane and his music took on a spiritual dimension. Coltrane influenced innumerable musicians, and remains one of the most significant saxophonists in music history and he received many posthumous awards and recognitions, including canonization by the African Orthodox Church as Saint John William Coltrane and a special Pulitzer Prize in 2007. His second wife was pianist Alice Coltrane and their son Ravi Coltrane is also a saxophonist, Coltrane was born in his parents apartment at 200 Hamlet Avenue, Hamlet, North Carolina on September 23,1926. His father was John R. Coltrane and his mother was Alice Blair and he grew up in High Point, North Carolina, attending William Penn High School. Beginning in December 1938 Coltranes aunt, grandparents, and father all died within a few months of one another, leaving John to be raised by his mother, in June 1943 he moved to Philadelphia. In September of that year his mother bought him his first saxophone, Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. He had his first professional gigs in early to mid-1945 – a cocktail lounge trio, with piano and guitar. To avoid being drafted by the Army, Coltrane enlisted in the Navy on August 6,1945, by the time he got to Hawaii, in late 1945, the Navy was already rapidly downsizing. As the Melody Masters was a band, however, Coltrane was treated merely as a guest performer to avoid alerting superior officers of his participation in the band. He continued to other duties when not playing with the band, including kitchen. By the end of his service, he had assumed a role in the band. His first recordings, a session in Hawaii with Navy musicians. Coltrane played alto saxophone on a selection of standards and bebop tunes. In Philadelphia after the war, he studied theory with guitarist and composer Dennis Sandole. Originally an altoist, in 1947 Coltrane also began playing saxophone with the Eddie Vinson Band. Coltrane later referred to point in his life as a time when a wider area of listening opened up for me
29.
Red Garland
–
William Red Garland was an American modern jazz pianist. Known for his work as a bandleader and during the 1950s with Miles Davis, william Red Garland was born in Dallas, Texas, in 1923. He began his studies on the clarinet and alto saxophone but, in 1940. Garland spent copious amounts of practicing and rapidly developed into a proficient player. A short early career as a boxer did not seem to hurt his playing hands. He fought a young Sugar Ray Robinson before becoming a full-time musician, after the Second World War, Garland performed with Billy Eckstine, Roy Eldridge, Coleman Hawkins, Charlie Parker, and Lester Young. He found steady work in the cities of Boston, New York City, in the late 1940s, he toured with Eddie Vinson at the same time that John Coltrane was in Vinsons band. His creativity and playing ability continued to improve, though he was somewhat obscure. By the time he became a pianist for Miles Davis, he was influenced by Ahmad Jamal, Garland became famous in 1954 when he joined the Miles Davis Quintet, featuring John Coltrane, Philly Joe Jones, and Paul Chambers. Davis was a fan of boxing and was impressed that Garland had boxed earlier in his life, together, the group recorded their famous Prestige albums, Miles, The New Miles Davis Quintet, Workin, Steamin, Cookin, and Relaxin. Garlands style is prominent in these seminal recordings—evident in his distinctive chord voicings, his sophisticated accompaniment, and his musical references to Ahmad Jamals style. Some observers dismissed Garland as a cocktail pianist, but Miles was pleased with his style, having urged Garland to absorb some of Jamals lightness of touch, Garland played on the first of Daviss many Columbia recordings, Round About Midnight. Though he would continue playing with Miles, their relationship was beginning to deteriorate, by 1958, Garland and Jones had started to become more erratic in turning up for recordings and shows. He was eventually fired by Miles, but later returned to play on another jazz classic, Davis was displeased when Garland quoted Daviss much earlier, and by then famous, solo from Nows The Time in block chords during the slower take of Straight, No Chaser. Garland walked out of one of the sessions for Milestones, so that on the track Sids Ahead, in 1958, Garland formed his own trio. The trio also recorded as a quintet with John Coltrane and Donald Byrd, altogether, Garland led 19 recording sessions while at Prestige Records and 25 sessions for Fantasy Records. He stopped playing professionally for a number of years in the 1960s when the popularity of rock music coincided with a drop in the popularity of jazz. Garland eventually returned to his native Texas in the 1970s to care for his aged mother and he led a recording in 1977, named Crossings, which reunited him with Philly Joe Jones, and he teamed up with world-class bassist Ron Carter
30.
Philly Joe Jones
–
Joseph Rudolph Philly Joe Jones was a Philadelphia-born American jazz drummer, known as the drummer for the first Great Miles Davis Quintet. He is sometimes confused with another influential jazz drummer, Papa Jo Jones, the two died only a few days apart. As a child, Jones appeared as a tap dancer on The Kiddie Show on the Philadelphia radio Station WIP. He was in the army during World War II, in 1947 he became the house drummer at Café Society in New York City, where he played with the leading bebop players of the day. Among them, the most important influence on Jones was Tadd Dameron, Jones toured and recorded with Miles Davis Quintet from 1955 to 1958—a band that became known as The Quintet. Davis acknowledged that Jones was his drummer, and stated in his autobiography that he would always listen for Jones in other drummers. From 1958 Jones worked as a leader, but continued to work as a sideman with musicians, including Bill Evans. Evans, like Davis, also stated that Jones was his all-time favorite drummer. Between late 1967 and 1972 Jones lived in London and Paris, performing and recording musicians including Archie Shepp, Mal Wadron. For two years Jones taught at an organized school in Hampstead, London, but was prevented from otherwise working in the UK by the Musicians Union. His 1968 album Mo Joe was recorded in London with local musicians, after returning to Philadelphia, Jones led a fusion group called Le Grand Prix, toured with Bill Evans in 1976, recorded for Galaxy in 1977–79, and worked with Red Garland. From 1981 he helped to found the group Dameronia, dedicated to the music of the composer Tadd Dameron and he also played in two movies. Jones died in 1985 of an attack at home in Philadelphia, Pennsylvania. He was survived by his wife and son, Jones combination of deep-toned tom-tom and bass drums with subtle swirls of cross-rhythm on cymbals was widely imitated. 1958, Blues for Dracula 1959, Drums Around the World 1959, Showcase 1960, Philly Joes Beat 1961, – with Elvin Jones 1968, Mo Joe 1977, Mean What You Say 1977, Philly Mignon 1978, Drum Songs 1979, Advance. With Benny Golson The Other Side of Benny Golson Benny Golson, sounds from Rikers Island The Final Sessions With Freddie Hubbard Goin Up Hub Cap Here to Stay With Milt Jackson and Wes Montgomery Bags Meets Wes. R. Monterose J. R. Monterose With Phineas Newborn, Jr. Phineas Rainbow A World of Piano
31.
Gil Evans
–
Ian Ernest Gilmore Gil Evans was a Canadian jazz pianist, arranger, composer and bandleader. He is widely recognized as one of the greatest orchestrators in jazz, playing an important role in the development of jazz, modal jazz. He is best known for his collaborations with Miles Davis. Born in Toronto, Ontario, Canada, his name was changed early on from Green to Evans and his family moved to Stockton, California where he spent most of his youth. After 1946, he lived and worked primarily in New York City, living for many years at Westbeth Artists Community. Between 1941 and 1948, Evans worked as an arranger for the Claude Thornhill Orchestra. ”Evans modest basement apartment behind a New York City Chinese laundry soon became a place for musicians looking to develop new musical styles outside of the dominant bebop style of the day. Those present included the leading performer, Charlie Parker, as well as Gerry Mulligan. In 1948, Evans, with Miles Davis, Mulligan, and others, the Miles Davis-led group was booked for a week at the Royal Roost as an intermission group on the bill with the Count Basie Orchestra. Capitol Records recorded 12 numbers by the nonet at three sessions in 1949 and 1950 and these recordings were reissued on a 1957 Miles Davis LP titled Birth of the Cool. Later, while Davis was under contract with Columbia Records, producer George Avakian suggested that Davis could work with any of several arrangers, the three albums that resulted from the collaboration are Miles Ahead, Porgy and Bess, and Sketches of Spain. Another collaboration from this period, Quiet Nights was issued later, against the wishes of Davis, although these four records were marketed primarily under Daviss name, Evanss contribution was as important as Daviss. Their work coupled Evanss classic big band jazz stylings and arrangements with Daviss solo playing, Evans also contributed behind the scenes to Davis classic quintet albums of the 1960s. The demands of the score for Porgy and Bess were legendary, the limited time allotted for rehearsals revealed that the ability to read such a challenging score was not consistent among jazz musicians, and there are many audible errors. Evans was an influence on Daviss interest in non-jazz music. Davis died before the release of the album, from 1957 onwards Evans recorded albums under his own name. Tubist Bill Barber and trumpeter Louis Mucci from Thornhills band were both stalwarts in Evanss early ensembles, with Mucci finding a spot on nearly every pre1980s Evans recording. Among the featured soloists on these records were Lee Konitz, Jimmy Cleveland, Steve Lacy, Johnny Coles, in 1965 he arranged the big band tracks on Kenny Burrells Guitar Forms album. Evans was explicitly influenced by Spanish composers Manuel de Falla and Joaquín Rodrigo and his arrangements of pieces already well known to some listeners from their original cabaret, concert hall or Broadway stage arrangements, revealed aspects of the music in a wholly original way
32.
Porgy and Bess (Miles Davis album)
–
Porgy and Bess is a studio album by jazz musician Miles Davis, released in March 1959 on Columbia Records. The album features arrangements by Davis and collaborator Gil Evans from George Gershwins 1934 opera of the same name, the album was recorded in four sessions on July 22, July 29, August 4, and August 18,1958 at Columbias 30th Street Studio in New York City. It is the collaboration between Davis and Evans and has garnered much critical acclaim since its release, being acknowledged by music critics as the best of their collaborations. Jazz critics have regarded the album as historic, in 1958, Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly complex chord changes as hindering creativity. Five years earlier, in 1953, pianist George Russell published his Lydian Chromatic Concept of Tonal Organization, abandoning the traditional major and minor key relationships of classical music, Russell developed a new formulation using scales or a series of scales for improvisations. His approach to improvisation came to be known as modal in jazz, Davis saw Russells methods of composition as a means of getting away from the dense chord-laden compositions of his time, which Davis had labeled thick. Modal composition, with its reliance on scales and modes, represented, as Davis put it, a return to melody. In a 1958 interview with Nat Hentoff of The Jazz Review, Davis remarked on the approach, When Gil wrote the arrangement of I Loves You, Porgy. Gives you a lot more freedom and space to hear things, there will be fewer chords but infinite possibilities as to what to do with them. Classical composers have been writing this way for years, but jazz musicians seldom have, in early 1958, Davis began using this approach with his sextet. Influenced by Russells ideas, Davis implemented his first modal composition with the track of his 1958 album Milestones. Instead of soloing in the straight, conventional, melodic way, Davis’s new style of improvisation featured rapid mode, at that period, the Samuel Goldwyn film adaptation of the George Gershwin/DuBose Heyward/Ira Gershwin opera Porgy and Bess was in production, set for release in June 1959. The advance publicity for the film was considerable, and with the vogue for recorded jazz versions of. A number of Porgy and Bess jazz interpretations were released and these ranged from an all-star big band version arranged and conducted by Bill Potts to one by Bob Crosby and the Bobcats. Nevertheless, Davis enlisted members of his sextet, including Cannonball Adderley, the second in a series of Davis/Evans collaborations, Porgy and Bess was well received upon its release by music critics and publications, including The New York Times and Los Angeles Times. As one of Davis best-selling albums, Porgy and Bess has earned recognition as an album in orchestral jazz. Davis biographer Jack Chambers described the album as a new score, with its own integrity, order, the albums appeal was more widespread among critics following its reissue in 1997. Robert Gilbert of All About Jazz praised Porgy and Bess, describing it as one of great albums that Miles Davis recorded over his lifetime
33.
Thelonious Monk
–
Thelonious Sphere Monk was an American jazz pianist and composer. Monk is the second most-recorded jazz composer after Duke Ellington, which is remarkable as Ellington composed more than a thousand pieces. He was renowned for his style in suits, hats. Monk is one of five musicians to have been featured on the cover of Time, after Louis Armstrong, Dave Brubeck. Thelonious Sphere Monk was born two years after his sister Marion on October 10,1917, in Rocky Mount, North Carolina and his badly written birth certificate misspelled his first name as Thelious or Thelius. It also did not list his name, taken from his maternal grandfather. A brother, Thomas, was born in January 1920, in 1922, the family moved to 243 West 63rd Street, in Manhattan, New York City. Monk started playing the piano at the age of six, and was largely self-taught and he attended Stuyvesant High School but did not graduate. He toured with an evangelist in his teens, playing the church organ, in the early to mid-1940s, Monk was the house pianist at Mintons Playhouse, a Manhattan nightclub. Much of Monks style was developed during his time at Mintons, Monk is believed to be the pianist featured on recordings Jerry Newman made around 1941 at the club. Monks style at this time was described as hard-swinging, with the addition of runs in the style of Art Tatum. Monks stated influences included Duke Ellington, James P. Johnson, in the documentary Thelonious Monk, Straight, No Chaser, it is stated that Monk lived in the same neighborhood in New York City as Johnson and knew him as a teenager. So, the worked out a music that was hard to steal. Ill say this for the leeches, though, they tried, ive seen them in Mintons busily writing on their shirt cuffs or scribbling on the tablecloth. And even our own guys, Im afraid, did not give Monk the credit he had coming, why, they even stole his idea of the beret and bop glasses. In 1944 Monk made his first studio recordings with the Coleman Hawkins Quartet, Hawkins was one of the earliest established jazz musicians to promote Monk, and the pianist later returned the favor by inviting Hawkins to join him on a 1957 session with John Coltrane. Monk made his first recordings as leader for Blue Note in 1947, Monk married Nellie Smith the same year, and in 1949 the couple had a son, T. S. Monk, who became a jazz drummer. A daughter, Barbara, was born in 1953 and died in 1984 from cancer, in August 1951, New York City police searched a parked car occupied by Monk and friend Bud Powell
34.
Jimmy Cobb
–
Wilbur James Cobb is an American jazz drummer. Probably Cobbs most famous work is on Miles Davis Kind of Blue, Cobb is the last surviving player from the session. As of 2011, Cobb leads the Jimmy Cobb So What Band, a tribute to 50 years of Kind of Blue, in June 2008, Jimmy Cobb was the recipient of the Don Redman Heritage award. On October 17,2008, Cobb was one of six artists to receive the 2009 National Endowment for the Arts NEA Jazz Masters award. Encounter Only for the Pure of Heart So Nobody Else Can Hear Four Generations of Miles, turning Point With Paul Gonsalves Gettin Together With Joe Henderson Four Straight, No Chaser With John Hendricks Freddie Freeloader With Wynton Kelly Kelly Blue Wynton Kelly. Someday My Prince Will Come Comin in the Back Door Its All Right, I. Williams When Alto Was King Jimmy Cobb - Legendary Jazz Drummer – includes full discography Drummerworld. com Page Jazz Icon Jimmy Cobb Jimmy Cobb interview at allaboutjazz. com
35.
DownBeat
–
Down Beat is an American magazine devoted to jazz, blues and beyond, the last word indicating its expansion beyond the jazz realm which it covered exclusively in previous years. The publication was established in 1934 in Chicago, Illinois and it is named after the downbeat in music also called beat one or the first beat of a musical measure. Down Beat publishes results of surveys of both its readers and critics in a variety of categories. The Down Beat Jazz Hall of Fame includes winners from both the readers and critics poll, the results of the readers poll are published in the December issue, those of the critics poll in the August issue. In April 1979, Down Beat went to a schedule for the first time since 1939. The DownBeat Jazz Hall of Fame is maintained at Universal Studios City Jazz club in Orlando, current membership, by year, is listed in the following table. The critics poll was not initiated until 1961, so winners before then were all chosen by readers polls, in 2010, the Veterans Committee Hall of Fame began electing deserving, deceased musicians of bygone eras
36.
Syncopation
–
In music, syncopation involves a variety of rhythms which are in some way unexpected which make part or all of a tune or piece of music off-beat. More simply, syncopation is a term for a disturbance or interruption of the regular flow of rhythm. The correlation of at least two sets of time intervals, also known as an Uneven movement from bar to bar. Syncopation is used in musical styles, especially dance music--All dance music makes use of syncopation. In the form of a beat, syncopation is used in virtually all contemporary popular music. The latter frequently occurs in tonal cadences in 18th and early 19th century music and is the conclusion of any section. A hemiola can also be seen as one measure in 3 with one long chord and one short chord. Usually, the last chord in a hemiola is a dominant, technically, syncopation occurs when a temporary displacement of the regular metrical accent occurs, causing the emphasis to shift from a strong accent to a weak accent. Syncopation is, however, very simply, a disruption of the two- or three-beat stress pattern, most often by stressing an off-beat. In the following example, there are two points of syncopation where the beats are carried over from the second beats rather than missed. In the same way, the first beat of the bar is carried over from the fourth beat of the first bar. Play Though syncopation may be complex, dense or complex looking rhythms often contain no syncopation. For example, in meters with even numbers of beats, the stress falls on the odd-numbered beats. If the even-numbered beats are stressed instead, the rhythm is syncopated, accordingly, the former implies duple meter while the latter implies quadruple meter. In general emphasizing the and would be considered the off-beat, anticipated bass is a bass tone that comes syncopated shortly before the downbeat, which is used in Son montuno Cuban dance music. Timing can vary, but it falls on the 2+ as well as the 4 of the 44 time, thus anticipating the third. This pattern is known as the Afro-Cuban bass tumbao. Richard Middleton suggests adding the concept of transformation to Narmours prosodic rules which create rhythmic successions in order to explain or generate syncopations, the syncopated pattern is heard with reference to, in light of, as a remapping of, its partner
[1]
[21]
