1.
John Philip Sousa
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John Philip Sousa was an American composer and conductor of the late Romantic era, known primarily for American military and patriotic marches. Because of his mastery of composition, he is known as The March King. Among his best-known marches are The Stars and Stripes Forever, Semper Fidelis, The Liberty Bell, The Thunderer, Sousa began his career playing violin and studying music theory and composition under John Esputa and George Felix Benkert. His father enlisted him in the United States Marine Band as an apprentice in 1868, after departing the band in 1875, Sousa learned to conduct. From 1880 until his death, he focused exclusively on conducting and he eventually rejoined the Marine Band and served there for 12 years as director. On leaving the Marine Band, Sousa organized his own band and he toured Europe and Australia and developed the sousaphone, a large brass instrument similar to the helicon and tuba. At the outbreak of World War I, Sousa was commissioned as a lieutenant commander, following his tenure, he returned to conduct the Sousa Band until his death in 1932. In the 1920s he was promoted to lieutenant commander in the naval reserve, Sousa started his music education by playing the violin as a pupil of John Esputa and George Felix Benkert for harmony and musical composition at the age of six. He was found to have absolute pitch, during his childhood, Sousa studied voice, violin, piano, flute, cornet, baritone horn, trombone, and alto horn. When Sousa was 13, his father, a trombonist in the Marine Band, several years long after serving his apprenticeship, Sousa joined a theatrical orchestra where he learned to conduct. He returned to the U. S. Marine Band as its head in 1880, Sousa led The Presidents Own band under five presidents from Rutherford B. Hayes to Benjamin Harrison. Sousas band played at two Inaugural Balls, those of James A. Garfield in 1881, and Benjamin Harrison in 1889 and he wanted a tuba that could sound upward and over the band whether its player was seated or marching. The sousaphone was re-created in 1898 by C. G. Conn and he organized The Sousa Band the year he left the Marine Band. The Sousa Band toured from 1892 to 1931, performing at 15,623 concerts both in America and around the world, including at the World Exposition in Paris, France and at the Royal Albert Hall in London. In Paris, the Sousa Band marched through the streets to the Arc de Triomphe – one of only eight parades the band marched in over its forty years, on December 30,1879, Sousa married Jane van Middlesworth Bellis. They had three children, John Philip, Jr. Jane Priscilla, and Helen, All were buried in the John Philip Sousa plot in the Congressional Cemetery. Wife Jane, daughters Jane Priscilla and Helen Abert joined the Daughters of the American Revolution in 1907 and their ancestor was Adam Bellis, who served under several different commands for the New Jersey troops in the American Revolutionary War. Late in his life, Sousa lived in Sands Point, New York, Sousa died of heart failure at the age of 77 on March 6,1932, in his room at the Abraham Lincoln Hotel in Reading, Pennsylvania
2.
The Flying Dutchman (opera)
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The Flying Dutchman, WWV63, is a German-language opera, with libretto and music by Richard Wagner. Wagner claimed in his 1870 autobiography Mein Leben that he had been inspired to write the following a stormy sea crossing he made from Riga to London in July. In his 1843 Autobiographic Sketch, Wagner acknowledged he had taken the story from Heinrich Heines retelling of the legend in his 1833 satirical novel The Memoirs of Mister von Schnabelewopski, the central theme is redemption through love. Wagner conducted the premiere at the Semper Oper in Dresden in 1843 and this work shows early attempts at operatic styles that would characterise his later music dramas. In Der fliegende Holländer Wagner uses a number of associated with the characters. The leitmotifs are all introduced in the overture, which begins with an ocean or storm motif before moving into the Dutchman. By the beginning of 1839, the now 26-year-old Richard Wagner was employed as a conductor at the Court Theatre in Riga. His extravagant lifestyle plus the retirement from the stage of his actress wife, Minna, Wagner was writing Rienzi and hatched a plan to flee his creditors in Riga, escape to Paris via London and make his fortune by putting Rienzi on to the stage of the Paris Opéra. Boarding the ship Thetis, whose captain had agreed to them without passports, their sea journey was hindered by storms. The ship at one point took refuge in the Norwegian fjords at Tvedestrand, Wagners experience of Paris was also disastrous. He was unable to get work as a conductor, and the Opéra did not want to produce Rienzi, the Wagners were reduced to poverty, relying on handouts from friends and from the little income that Wagner could make writing articles on music and copying scores. Wagner hit on the idea of an opera on the theme of the Flying Dutchman. Wagner wrote the first prose draft of the story in Paris early in May 1840, in Heines tale, the narrator watches a performance of a fictitious stage play on the theme of the sea captain cursed to sail forever for blasphemy. In Heines version, this is presented as a means for ironic humour, however, Wagner took this literally and in his draft. By the end of May 1841 Wagner had completed the libretto or poem as he preferred to call it and these were composed for an audition at the Paris Opéra, along with the sketch of the plot. Wagner actually sold the sketch to the Director of the Opéra, Léon Pillet, for 500 francs, but was unable to convince him that the music was worth anything. Wagner composed the rest of the Der Fliegende Holländer during the summer of 1841, with the Overture being written last, while this score was designed to be played continuously in a single act, Wagner later divided the piece into a three-act work. In doing so, however, he did not alter the music significantly, in his original draft Wagner set the action in Scotland, but he changed the location to Norway shortly before the first production staged in Dresden and conducted by himself in January 1843
3.
Music
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Music is an art form and cultural activity whose medium is sound organized in time. The common elements of music are pitch, rhythm, dynamics, different styles or types of music may emphasize, de-emphasize or omit some of these elements. The word derives from Greek μουσική, Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as the harmony of the spheres and it is music to my ears point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, There is no noise, the creation, performance, significance, and even the definition of music vary according to culture and social context. There are many types of music, including music, traditional music, art music, music written for religious ceremonies. For example, it can be hard to draw the line between some early 1980s hard rock and heavy metal, within the arts, music may be classified as a performing art, a fine art or as an auditory art. People may make music as a hobby, like a teen playing cello in a youth orchestra, the word derives from Greek μουσική. According to the Online Etymological Dictionary, the music is derived from mid-13c. Musike, from Old French musique and directly from Latin musica the art of music and this is derived from the. Greek mousike of the Muses, from fem. of mousikos pertaining to the Muses, from Mousa Muse. In classical Greece, any art in which the Muses presided, Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. With the advent of recording, records of popular songs. Some music lovers create mix tapes of their songs, which serve as a self-portrait. An environment consisting solely of what is most ardently loved, amateur musicians can compose or perform music for their own pleasure, and derive their income elsewhere. Professional musicians sometimes work as freelancers or session musicians, seeking contracts and engagements in a variety of settings, There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians, in community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles such as community concert bands and community orchestras. However, there are many cases where a live performance in front of an audience is also recorded and distributed. Live concert recordings are popular in classical music and in popular music forms such as rock, where illegally taped live concerts are prized by music lovers
4.
Musical composition
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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
5.
Harmony
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In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords, the study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the aspect of music, as distinguished from melodic line. In popular and jazz harmony, chords are named by their root plus various terms, in many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with tensions. A tension is an additional member that creates a relatively dissonant interval in relation to the bass. Typically, in the common practice period a dissonant chord resolves to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds, in simple words, that occurs when there is a balance between tense and relaxed moments. The term harmony derives from the Greek ἁρμονία, meaning joint, agreement, concord, from the verb ἁρμόζω, to fit together, the term was often used for the whole field of music, while music referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements, in the Middle Ages the term was used to describe two pitches sounding in combination, and in the Renaissance the concept was expanded to denote three pitches sounding together. Aristoxenus wrote a work entitled Harmonika Stoicheia, which is thought the first work in European history written on the subject of harmony, the underlying principle behind these texts is that harmony sanctions harmoniousness by conforming to certain pre-established compositional principles. Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use, ambiguities tend to arise from either aesthetic considerations or from the point of view of musical texture (distinguishing between harmonic and contrapuntal. The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory and this is usually accounted for by the replacement of horizontal writing, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation, as Carl Dahlhaus puts it, It was not that counterpoint was supplanted by harmony but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the structure of chords but also their movement, like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice may show bias towards European musical traditions, pitch simultaneity in particular is rarely a major consideration. Nevertheless, emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias, the conception of musics that live in oral traditions as something composed with the use of improvisatory techniques separates them from the higher-standing works that use notation. Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, some traditions of Western music performance, composition, and theory have specific rules of harmony. This model provides that the seventh and ninth are not dissonant
6.
Musical phrasing
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Phrasing is the manner in which a musician shapes a sequence of notes in a passage of music, in order to express an emotion or impression. A musician accomplishes this by deviating stylistically from the sheet music—altering tone, tempo, dynamics, articulation, inflection, Phrasing can emphasise a concept in the music or a message in the lyrics, or it can digress from the composers intention. For example, accelerating the tempo or prolonging a note may add tension, there are two schools of thought on phrasing, says flautist Nancy Toff, one more intuitive, the other more analytical. The intuitive school uses a model, equating the function of phrasing with that of punctuation in language. Thus, said Chopin to a student, he who phrases incorrectly is like a man who does not understand the language he speaks, structural information gleaned from the score is visually apprehended and as such is predisposed to visualist models of structure. These models are premised on symmetry and balance and on a notion of objective structure. Temporal and aurally-apprehended structures are denied reality because they cannot be said to exist in the way that spatial, Musical investigations exhibit the Western prejudice toward visualism in the dependence on visual symmetry and balance. Information about structure from listening experience is suspect because it is considered subjective and is opposed to information from the score. Musical technique Tempo rubato Quotations related to Musical phrasing at Wikiquote Liebling, Emil, the American History and Encyclopedia of Music. Lessons in Vocal Expression, Course I, Processes of Thinking in the Modulation of Voice
7.
Musical form
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The term musical form refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections. According to Richard Middleton, musical form is the shape or structure of the work and he describes it through difference, the distance moved from a repeat, the latter being the smallest difference. Difference is quantitative and qualitative, how far, and of what type, in many cases, form depends on statement and restatement, unity and variety, and contrast and connection. This phrase may be regarded as the unit of musical form. Even at this level, the importance of the principles of repetition and contrast, weak and strong, climax and repose, thus, form may be understood on three levels of organization. For the purpose of exposition, these levels can be roughly designated as passage, piece. The smallest level of construction concerns the way musical phrases are organized into musical sentences and this may be compared to, and is often decided by, the verse form or meter of the words or the steps of a dance. In the analysis of form, any components that can be defined on the time axis are conventionally designated by letters. Upper-case letters are used for the most fundamental, while lower-case letters are used for sub-divisions, if one such section returns in a varied or modified form, a numerical digit or an appropriate number of prime symbols appears after the letter. Even at this simplest level, there are patterns that may be re-used on larger timescales, for example, consider the analogy with rhyme schemes, The following verse is composed of two differently-rhymed couplets, and thus its organization is binary or twofold. Twinkle, twinkle, little star, How I wonder what you are, up above the world so high, like a diamond in the sky. There once was a fellow from Leeds Who swallowed a packet of seeds, in less than an hour he burst into flower And he died trying to pull up the weeds. The next level concerns the structure of any single self-contained musical piece. If the hymn, ballad, blues or dance alluded to above simply repeats the same musical material indefinitely then the piece is said to be in strophic form overall. If it repeats with distinct, sustained changes each time, for instance in setting, ornamentation or instrumentation, then the piece is a theme and variations. If the theme is played, then a new theme is introduced, great arguments and misunderstanding can be generated by such terms as ternary and binary, as a complex piece may have elements of both at different organizational levels. The grandest level of organization may be referred to as cyclical form and it concerns the arrangement of several self-contained pieces into a large-scale composition. For example, a set of songs with a theme may be presented as a song-cycle
8.
Performance
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A performance, in the performing arts, generally comprises an event in which a performer or group of performers present one or more works of art to an audience. Usually the performers participate in rehearsals beforehand, the means of expressing appreciation can vary by culture. Chinese performers will clap with the audience at the end of a performance, in Japan, folk performing-arts performances commonly attract individuals who take photographs, sometimes getting up to the stage and within inches of performers faces. Sometimes the dividing line between performer and the audience may become blurred, as in the example of theatre where audience members get involved in the production. Theatrical performances can take place daily or at some other regular interval, performances can take place at designated performance spaces, or in a non-conventional space, such as a subway station, on the street, or in somebodys home. Theatrical performances, especially when the audience is limited to only a few observers and this increase takes place in several stages relative to the performance itself, including anticipatory activation, confrontation activation and release period. The same physiological reactions can be experienced in other mediums, such as instrumental performance, heart rate shares a strong, positive correlation with the self reported anxiety of performers. Other physiological responses to public performance include perspiration, secretion of the adrenal glands, a performance may also describe the way in which an actor performs. In a solo capacity, it may refer to a mime artist, comedian, conjurer. Audio electronics Entertainment Live sound mixing Performance science Rock festival Sound technology Spectacle Stadium Stagecraft Theater
9.
Orchestra
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The term orchestra derives from the Greek ὀρχήστρα, the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus. A full-size orchestra may sometimes be called an orchestra or philharmonic orchestra. The actual number of employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played. The term chamber orchestra usually refers to smaller-sized ensembles of about fifty musicians or fewer, the typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras called for in the works of Richard Wagner, and later, Gustav Mahler. Orchestras are usually led by a conductor who directs the performance with movements of the hands and arms, the conductor unifies the orchestra, sets the tempo and shapes the sound of the ensemble. The first violin, commonly called the concertmaster, also plays an important role in leading the musicians, the typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass, percussion, and strings. The orchestra, depending on the size, contains almost all of the instruments in each group. Chamber orchestra usually refers to smaller-sized ensembles, a chamber orchestra might employ as many as fifty musicians. The term concert orchestra may also be used, as in the BBC Concert Orchestra, the so-called standard complement of doubled winds and brass in the orchestra from the first half of the 19th century is generally attributed to the forces called for by Beethoven. The composers instrumentation almost always included paired flutes, oboes, clarinets, bassoons, horns, the exceptions to this are his Symphony No. 4, Violin Concerto, and Piano Concerto No,4, which each specify a single flute. Beethoven carefully calculated the expansion of this particular timbral palette in Symphonies 3,5,6, the third horn in the Eroica Symphony arrives to provide not only some harmonic flexibility, but also the effect of choral brass in the Trio movement. Piccolo, contrabassoon, and trombones add to the finale of his Symphony No.5. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the Sixth, for several decades after his death, symphonic instrumentation was faithful to Beethovens well-established model, with few exceptions. Apart from the core orchestral complement, various instruments are called for occasionally. These include the guitar, heckelphone, flugelhorn, cornet, harpsichord. Saxophones, for example, appear in some 19th- through 21st-century scores.6 and 9 and William Waltons Belshazzars Feast, and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked tenor tuba, including Gustav Holsts The Planets, cornets appear in Pyotr Ilyich Tchaikovskys ballet Swan Lake, Claude Debussys La Mer, and several orchestral works by Hector Berlioz
10.
Concert band
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On rare occasions, additional non traditional instruments may be added to such ensembles such as piano, harp, synthesizer, or electric guitar. A concert bands repertoire includes original compositions, transcriptions/arrangements of orchestral compositions, light music. Though the instrumentation is similar, a band is distinguished from the marching band in that its primary function is as a concert ensemble. The standard repertoire for the band does, however, contain concert marches. One notable and influential original symphonic work for band was Gustav Holsts First Suite in E-Flat, written in 1909, following Holst, a variety of British, American, Canadian and Australian composers wrote for the medium, including Percy Grainger, James Swearingen and Ralph Vaughan Williams. The wind ensemble could be said to be modeled on the section of a Wagner orchestra. While many people consider the ensemble to be one player on a part. Full band pieces usually require doubling or tripling of the clarinet parts, according to Fennell, the wind ensemble was not revolutionary, but developed naturally out of the music that led him to the concept. Professional concert bands not associated with the military are rare, lesbian & Gay Big Apple Corps, New York, New York, conducted by Kelly Watkins Municipal Band of Charlottesville, Inc. Other large competitions include the World Music Competition, held in the Netherlands, instrumentation for the wind band is not standardized, composers will frequently add or omit parts. Instrumentation differs depending on the type of ensemble, middle and high school bands frequently have more limited instrumentation and fewer parts. This is both to limit the difficulty for inexperienced players and because schools frequently do not have access to the common instruments. The standard concert band will have several players on each part, depending on available personnel, a concert band can theoretically have as many as 200 members from a set of only 35 parts. Also, it is common to see two tubas playing the part in a wind ensemble. Complicated percussion parts are common in concert pieces, often requiring many percussionists. Many believe this is a difference between the orchestra—which usually lacks a large battery of percussion—and the concert band. While in older transcriptions and concert works, the timpani were treated as its own section as in the orchestra, today, in bands, consequently, the timpani player often will double on other percussion instruments. Contemporary compositions often call on players to use unusual instruments or effects, for example, several pieces call on the use of a siren while others will ask players to play recorders, a glass harmonica, or to sing
11.
Musical ensemble
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A musical ensemble, also known as a music group or musical group, is a group of people who perform instrumental and/or vocal music, with the ensemble typically known by a distinct name. Some music ensembles consist solely of instruments, such as the jazz quartet or the orchestra, some music ensembles consist solely of singers, such as choirs and doo wop groups. In classical music, trios or quartets either blend the sounds of musical instrument families or group together instruments from the instrument family. In jazz ensembles, the instruments typically include wind instruments, one or two chordal comping instruments, an instrument, and a drummer or percussionist. Jazz ensembles may be instrumental, or they may consist of a group of instruments accompanying one or more singers. In rock and pop ensembles, usually called rock bands or pop bands, there are usually guitars and keyboards, one or more singers, Music ensembles typically have a leader. In jazz bands, rock and pop groups and similar ensembles, in classical music, orchestras, concert bands and choirs are led by a conductor. In orchestra, the concertmaster is the instrumentalist leader of the orchestra, in orchestras, the individual sections also have leaders, typically called the principal of the section. Conductors are also used in big bands and in some very large rock or pop ensembles. In Western classical music, smaller ensembles are called chamber music ensembles, the terms duet, trio, quartet, quintet, sextet, septet, octet, nonet and dectet describe groups of two up to ten musicians, respectively. A group of musicians, such as found in The Carnival of the Animals, is called either a hendectet or an undectet. A soloist playing unaccompanied is not an ensemble because it contains one musician. A string quartet consists of two violins, a viola and a cello, there is a vast body of music written for string quartets, as it is seen as an important genre in classical music. A woodwind quartet usually features a flute, an oboe, a clarinet, a brass quartet features two trumpets, a trombone and a tuba. A saxophone quartet consists of a saxophone, an alto saxophone, a tenor saxophone. The string quintet is a type of group. It is similar to the quartet, but with an additional viola, cello, or more rarely. Terms such as piano quintet or clarinet quintet frequently refer to a string quartet plus a fifth instrument
12.
Subject (music)
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In music, a subject is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms other than the fugue this may be known as the theme, a subject may be perceivable as a complete musical expression in itself, separate from the work in which it is found. In contrast to an idea or motif, a subject is usually a phrase or period. The Encyclopédie Fasquelle defines a theme as Any element, motif, Thematic changes and processes are often structurally important, and theorists such as Rudolph Reti have created analysis from a purely thematic perspective. Fred Lerdahl describes thematic relations as associational and thus outside his cognitive-based generative theorys scope of analysis, Music based on a single theme is called monothematic, while music based on several themes is called polythematic. Most fugues are monothematic and most pieces in sonata form are polythematic, in the exposition of a fugue, the principal theme is announced successively in each voice – sometimes in a transposed form. In some compositions, a subject is announced and then a second melody, sometimes called a countersubject or secondary theme. Music without subjects/themes, or without recognizable, repeating, and developing subjects/themes, is called athematic, examples include the pre-twelve-tone or early atonal works of Arnold Schoenberg, Anton Webern, Alban Berg, and Alois Hába. Schoenberg once said that, intoxicated by the enthusiasm of having freed music from the shackles of tonality, in fact, I … believed that now music could renounce motivic features and remain coherent and comprehensible nevertheless. Examples in the works of later composers include Polyphonie X and Structures I by Pierre Boulez, Sonata for Two Pianos by Karel Goeyvaerts, and Punkte by Karlheinz Stockhausen. In a fugue, when the first voice has completed the subject, and the voice is playing the answer. The countersubject usually contrasts with the subject/answer phrase shape, in a fugue, a countersubject is the continuation of counterpoint in the voice that began with the subject, occurring against the answer. It is not usually regarded as a feature of fugue. Attacco Cell Figure Formula composition Leitmotif Thematic transformation Benward, Bruce, Music in Theory and Practice, eighth edition, vol. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie, the Oxford Companion to Music, edited by Alison Latham. Une nouvelle grammaire musicale, prémices et premiers essais / A New Musical Grammar, Principles, la Scena Musicale 6, no.3. Lerdahl, Fred. Cognitive Constraints on Compositional Systems, Oxford and New York, Oxford University Press. Encyclopédie de la musique,3 vols, Music and Discourse, Toward a Semiology of Music, translated by Caroline Abbate
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Modulation (music)
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In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature, modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization, Modulation is the essential part of the art. Without it there is music, for a piece derives its true beauty not from the large number of fixed modes which it embraces. The modulating dominant is the dominant of the quasi-tonic, the pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V-V/V-V could be a chord, modulating dominant. For example, G major and D major share 4 chords in common, G, B minor and this can be easily determined by a chart similar to the one below, which compares chord qualities. The I chord in G major—a G major chord—is also the IV chord in D major, so I in G major, any chord with the same root note and chord quality can be used as the pivot chord. However, chords that are not generally found in the style of the piece are not likely to be chosen as the pivot chord. The most common chords are the predominant chords in the new key. In analysis of a piece that uses this style of modulation, an enharmonic modulation takes place when one treats a chord as if it were spelled enharmonically as a functional chord in the destination key, and then proceeds in the destination key. There are two types of enharmonic modulations, dominant seventh/augmented sixth, and diminished seventh. A diminished seventh chord meanwhile, can be respelled in multiple ways to form a diminished seventh chord in a key a minor third. C♯-E-G-B♭, A-C♯-E-G, D-F♯-A takes us to the key of D major - a parallel modulation, enharmonically, C♯-E-G-B♭, A-C♯-E-G = A-C♯-E-G, C♯-E-G♯ modulates to C# minor - a major seventh modulation/half-step descending. C♯-E-G-B♭, C♯-E♭-G-B♭ = E♭-G-B♭-D♭, A♭-C-E♭ leads to A♭ major - a minor third AND relative modulation, in short, lowering any note of a diminished seventh chord a half tone leads to a dominant seventh chord, the lowered note being the root of the new chord. Raising any note of a seventh chord a half tone leads to a half-diminished seventh chord. This means that any diminished chord can be modulated to eight different chords by simply lowering or raising any of its notes and this type of modulation is particularly common in Romantic music, in which chromaticism rose to prominence. Other types of enharmonic modulation include the augmented triad and French sixth, augmented triad modulation occurs in the same fashion as the diminished seventh, that is, to modulate to another augmented triad in a key, a major third or minor sixth away
14.
Conclusion (music)
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In music, the conclusion is the ending of a composition and may take the form of a coda or outro. Pieces using sonata form typically use the recapitulation to conclude a piece, for example, The slow movement of Bachs Brandenburg Concerto No. 2, where a chord progression interrupts the final cadence. The slow movement of Symphony No.5 by Beethoven, where, echoing afterthoughts, follow the initial statements of the first theme and only return expanded in the coda. Varèses Density 21.5, where partitioning of the scale into whole tone scales provides the missing tritone of b implied in the previously exclusive partitioning by diminished seventh chords. Coda is a used in music in a number of different senses. An outro is the opposite of an intro, outro is a blend as it replaces the element in of the intro with its opposite, to create a new word. The term is used only in the realm of pop music. It can refer to the track of an album or to an outro-solo. Jeremy as recorded by Pearl Jam, outro - The final track of the M83 album Hurry Up, Were Dreaming. Repeat and fade is a direction used in sheet music when more than one repeat of the last few measures or so of a piece is desired with a fade-out as the manner in which to end the music. It originated as an effect made possible by the volume controls on sound recording equipment. No equivalent Italian term was in the lexicon of musical terms, so it was written in English. Repeat and fade endings are found in live performances, but are often used in studio recordings. Examples include, Hey Jude as recorded by The Beatles Time and a Word as recorded by Yes Crazy. as recorded by PaRappa and The Moonlight Da capo Epilogue
15.
Classical music
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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
16.
Art music
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Art music is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations and a written musical tradition. Serious or cultivated music are frequently used as a contrast for ordinary. After the 20th century, art music was divided into two extensions, serious music and light music and this term is mostly used to refer to music descending from the tradition of Western classical music. He explains that each of three is distinguishable from the others according to certain criteria. Musician Catherine Schmidt-Jones defines art music differently, as a music which requires more work by the listener to fully appreciate than is typical of popular music. In her view, his can include the more challenging types of jazz and rock music, the term may also refer to, The classical/art music traditions of several different cultures around the world, Some forms of jazz, excluding most forms generally considered popular music. Jazz is generally considered popular music, the term refers primarily to classical traditions that focus on formal styles, invite technical and detailed deconstruction and criticism, and demand focused attention from the listener. In strict western practice, art music is considered primarily a musical tradition, preserved in some form of music notation, as opposed to being transmitted orally, by rote. According to the academic Tim Wall, the most significant example of the struggle between Tin Pan Alley, African American, vernacular and art discourses was in jazz. As early as the 1930s, artists attempted to cultivate ideas of jazz, taking it away from its perceived vernacular. In the second half of the 20th century, there was a trend in American culture in which the boundaries between art and pop music became increasingly blurred. Beginning in 1966, the degree of social and artistic dialogue among rock musicians dramatically accelerated for bands who fused elements of composed music with the musical traditions of rock. During the late 1960s and 1970s, progressive rock bands represented a form of music that combined rock with high art musical forms either through quotation, illusion. Progressive music may be equated with explicit references to aspects of art music, Music genre Progressive music Traditional music Rockwell, John. Popular Music Takes a Serious Turn
17.
Piano
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The piano is an acoustic, stringed musical instrument invented around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, which is a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. The word piano is a form of pianoforte, the Italian term for the early 1700s versions of the instrument. The first fortepianos in the 1700s had a sound and smaller dynamic range. An acoustic piano usually has a wooden case surrounding the soundboard and metal strings. Pressing one or more keys on the keyboard causes a padded hammer to strike the strings. The hammer rebounds from the strings, and the continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air, when the key is released, a damper stops the strings vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs and this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the accidentals, which are needed to play in all twelve keys, more rarely, some pianos have additional keys. Most notes have three strings, except for the bass that graduates from one to two, the strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. There are two types of piano, the grand piano and the upright piano. The grand piano is used for Classical solos, chamber music and art song and it is used in jazz. The upright piano, which is compact, is the most popular type, as they are a better size for use in private homes for domestic music-making. During the nineteenth century, music publishers produced many works in arrangements for piano, so that music lovers could play. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, with technological advances, amplified electric pianos, electronic pianos, and digital pianos have also been developed. The electric piano became an instrument in the 1960s and 1970s genres of jazz fusion, funk music. The piano was founded on earlier technological innovations in keyboard instruments, pipe organs have been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches
18.
Pictures at an Exhibition
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Pictures at an Exhibition is a suite of ten pieces composed for the piano by Russian composer Modest Mussorgsky in 1874. The suite is Mussorgskys most famous composition and has become a showpiece for virtuoso pianists. It has become known through various orchestrations and arrangements produced by other musicians and composers. It was probably in 1868 that Mussorgsky first met artist, architect, both men were devoted to the cause of an intrinsically Russian art and quickly became friends. They likely met in the home of the influential critic Vladimir Stasov, according to Stasovs testimony, in 1868, Hartmann gave Mussorgsky two of the pictures later featured in Pictures at an Exhibition. In 1870, Mussorgsky dedicated the song of the cycle The Nursery to Hartmann. Stasov remarked that Hartmann loved Mussorgskys compositions, and particularly liked the Scene by the Fountain in his opera Boris Godunov. Mussorgsky abandoned the scene in his original 1869 version, but at the requests of Stasov and Hartmann, the years 1873–74 are associated with the staging of Boris Godunov, the zenith of Mussorgskys career as a composer—at least from the standpoint of public acclaim. The composers triumph was overshadowed, however, by the critical drubbing he received in the press, other circumstances conspired to dampen Mussorgskys spirits. Golenishchev-Kutuzov wrote, banner was held by Mussorgsky alone, all the members had left it. Hartmanns sudden death on 4 August 1873 from an aneurysm shook Mussorgsky along with others in Russias art world, the loss of the artist, aged only 39, plunged the composer into deep despair. Stasov helped organize an exhibition of over 400 Hartmann works in the Imperial Academy of Arts in Saint Petersburg in February. Mussorgsky lent to the exhibition the two pictures Hartmann had given him, and viewed the show in person, I am writing the 4th No. —the transitions are good. I want to more quickly and steadily. My physiognomy can be seen in the interludes, so far I think its well turned. The music depicts his tour of the exhibition, with each of the ten numbers of the serving as a musical illustration of an individual work by Hartmann. Five days after finishing the composition, he wrote on the page of the manuscript a tribute to Vladimir Stasov. One month later, he added an indication that he intended to have it published, in music for these illustrations, as Mussorgsky called them, he represented, children, Baba Yaga in her wooden house on chicken legs, catacombs, gates, and even rattling carts
19.
Modest Mussorgsky
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Modest Petrovich Mussorgsky was a Russian composer, one of the group known as The Five. He was an innovator of Russian music in the romantic period and he strove to achieve a uniquely Russian musical identity, often in deliberate defiance of the established conventions of Western music. Many of his works were inspired by Russian history, Russian folklore, such works include the opera Boris Godunov, the orchestral tone poem Night on Bald Mountain and the piano suite Pictures at an Exhibition. For many years Mussorgskys works were known in versions revised or completed by other composers. Many of his most important compositions have posthumously come into their own in their original forms, the spelling and pronunciation of the composers name has occasioned some confusion. The family name derives from a 15th- or 16th-century ancestor, Roman Vasilyevich Monastyryov, who appears in the Velvet Book, Roman Vasilyevich bore the nickname Musorga, and was the grandfather of the first Mussorgsky. The composer could trace his lineage to Rurik, the legendary 9th-century founder of the Russian state, in Mussorgsky family documents the spelling of the name varies, Musarskiy, Muserskiy, Muserskoy, Musirskoy, Musorskiy, and Musurskiy. The baptismal record gives the name as Muserskiy. In early letters to Mily Balakirev, the composer signed his name Musorskiy, the g made its first appearance in a letter to Balakirev in 1863. Mussorgsky used this new spelling to the end of his life, the addition of the g to the name was likely initiated by the composers elder brother Filaret to obscure the resemblance of the names root to an unsavory Russian word, мусoр — n. m. The first syllable of the originally received the stress, and does so to this day in Russia. The mutability of the vowel in the versions of the name mentioned above gives evidence that this syllable did not receive the stress. Doubling the consonant thus reinforces its voiceless sibilant /s/ sound, Mussorgsky was born in Karevo, Toropets Uyezd, Pskov Governorate, Russian Empire,400 km south of Saint Petersburg. His wealthy and land-owning family, the family of Mussorgsky, is reputedly descended from the first Ruthenian ruler, Rurik. At age six Mussorgsky began receiving lessons from his mother. His progress was sufficiently rapid that three years later he was able to perform a John Field concerto and works by Franz Liszt for family, at 10, he and his brother were taken to Saint Petersburg to study at the elite German language Petrischule. While there, Modest studied the piano with the noted Anton Gerke, in 1852, the 12-year-old Mussorgsky published a piano piece titled Porte-enseigne Polka at his fathers expense. Mussorgskys parents planned the move to Saint Petersburg so that both their sons would renew the tradition of military service
20.
Maurice Ravel
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Joseph Maurice Ravel was a French composer, pianist and conductor. He is often associated with impressionism along with his elder contemporary Claude Debussy, in the 1920s and 1930s Ravel was internationally regarded as Frances greatest living composer. After leaving the conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with form, as in his best-known work, Boléro. He made some arrangements of other composers music, of which his 1922 version of Mussorgskys Pictures at an Exhibition is the best known. As a slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, many of his works exist in two versions, a first, piano score and a later orchestration. Some of his music, such as Gaspard de la nuit, is exceptionally difficult to play. Ravel was among the first composers to recognise the potential of recording to bring their music to a wider public, from the 1920s, despite limited technique as a pianist or conductor, he took part in recordings of several of his works, others were made under his supervision. Ravel was born in the Basque town of Ciboure, France and his father, Pierre-Joseph Ravel, was an educated and successful engineer, inventor and manufacturer, born in Versoix near the Franco-Swiss border. His mother, Marie, née Delouart, was Basque but had grown up in Madrid, in 19th-century terms, Joseph had married beneath his status – Marie was illegitimate and barely literate – but the marriage was a happy one. Both Ravels parents were Roman Catholics, Marie was also something of a free-thinker, a trait inherited by her elder son and he was baptised in the Ciboure parish church six days after he was born. The family moved to Paris three months later, and there a younger son, Édouard, was born and he was close to his father, whom he eventually followed into the engineering profession. Maurice was particularly devoted to their mother, her Basque-Spanish heritage was an influence on his life. Among his earliest memories were folk songs she sang to him, the household was not rich, but the family was comfortable, and the two boys had happy childhoods. Ravel senior delighted in taking his sons to factories to see the latest mechanical devices, in later life, Ravel recalled, Throughout my childhood I was sensitive to music. My father, much better educated in art than most amateurs are, knew how to develop my taste. There is no record that Ravel received any formal schooling in his early years
21.
George Gershwin
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George Jacob Gershwin was an American composer and pianist. Gershwins compositions spanned both popular and classical genres, and his most popular melodies are widely known, among his best-known works are the orchestral compositions Rhapsody in Blue and An American in Paris as well as the opera Porgy and Bess. Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell and he began his career as a song plugger, but soon started composing Broadway theatre works with his brother Ira Gershwin, and Buddy DeSylva. He moved to Paris intending to study with Nadia Boulanger, who refused him, after returning to New York City, he wrote Porgy and Bess with Ira and the author DuBose Heyward. Initially a commercial failure, Porgy and Bess is now considered one of the most important American operas of the twentieth century, Gershwin moved to Hollywood and composed numerous film scores until his death in 1937 from a malignant brain tumor – glioblastoma multiforme. Gershwins compositions have been adapted for use in films and for television. Many celebrated singers and musicians have covered his songs, Gershwin was of Russian Jewish and Ukrainian Jewish ancestry. His grandfather, Jakov Gershowitz, had served for 25 years as a mechanic for the Imperial Russian Army to earn the right of travel and residence as a Jew. His teenage son, Moishe Gershowitz, worked as a cutter for womens shoes. Moishe Gershowitz met and fell in love with Roza Bruskina, the daughter of a furrier in Vilnius. She and her family moved to New York due to increasing anti-Jewish sentiment in Russia, Moishe, faced with compulsory military service if he remained in Russia, moved to America as soon as he could afford to. Once in New York, he changed his first name to Morris, Gershowitz lived with a maternal uncle in Brooklyn, working as a foreman in a womens shoe factory. When he married Rose on July 21,1895, Gershowitz soon Americanized his name to Gershwine. Their first child was born on December 6,1896, Gershwin then moved his family into a second-floor apartment on Brooklyns Snediker Avenue. Their second son, soon to be renamed George, was born at there on September 26,1898 and his birth certificate identifies him as Jacob Gershwine, with the surname pronounced Gersh-vin in the Russian and Yiddish immigrant community. He was named after his grandfather, the one time Russian army mechanic, American practice by then was to give children a first and a middle name, but had no other. He changed the spelling of his name to Gershwin when he became a professional musician, George and Ira lived in many different residences, as their father changed dwellings with each new enterprise which he became involved in. Mostly, the boys grew up around the Yiddish Theater District and they frequented the local Yiddish theaters, with George occasionally appearing onstage as an extra
22.
Rhapsody in Blue
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Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects. He asked Gershwin to contribute a piece for an all-jazz concert he would give in Aeolian Hall in February 1924. Gershwin declined on the grounds that, as there would certainly be need for revisions to the score, an article entitled What Is American Music. In a phone call to Whiteman next morning, Gershwin was told that Whitemans rival Vincent Lopez was planning to steal the idea of his experimental concert, Gershwin was finally persuaded to compose the piece. Since there were only five left, Gershwin hastily set about composing a piece, and on the train journey to Boston. And there I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, no new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, by the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance. Gershwin began his work on January 7 as dated on the manuscript for two pianos. The piece was titled American Rhapsody during composition, many important and influential composers of the time such as John Philip Sousa and Sergei Rachmaninoff were present. The event has since become historic specifically because of its premiere of the Rhapsody, the purpose of the experiment, as told by Whiteman in a pre-concert lecture in front of many classical music critics and highbrows, was to be purely educational. It would at least provide a stone which will make it very simple for the masses to understand. The program was long, including 26 separate musical movements, divided into 2 parts and 11 sections, bearing such as True form of jazz and Contrast. Gershwins latest composition was the second to last piece, many of the numbers sounded similar and the ventilation system in the concert hall was broken. People in the audience were losing their patience, until the clarinet glissando that opened Rhapsody in Blue was heard, the Rhapsody was performed by Whitemans band, with an added section of string players, and George Gershwin on piano. Gershwin improvised some of what he was playing, and he did not write out the part until after the performance. The opening clarinet glissando came into being during rehearsal when, as a joke on Gershwin, Gorman played the opening measure with a noticeable glissando, adding what he considered a humorous touch to the passage. Reacting favourably to Gormans whimsy, Gershwin asked him to perform the opening measure that way at the concert, by the end of 1927, Whitemans band had played the Rhapsody eighty-four times, and its recording sold a million copies. To get the piece onto two sides of a 12-inch record it had to be played at a faster speed than it would usually have in concert
23.
Popular music
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Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training and it stands in contrast to both art music and traditional or folk music. Art music was historically disseminated through the performances of music, although since the beginning of the recording industry. Traditional music forms such as blues songs or hymns were passed along orally, or to smaller. The original application of the term is to music of the 1880s Tin Pan Alley period in the United States, although popular music sometimes is known as pop music, the two terms are not interchangeable. Popular music songs and pieces typically have easily singable melodies, in the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or region to another. Some popular music forms have become global, while others have an appeal within the culture of their origin. Through the mixture of genres, new popular music forms are created to reflect the ideals of a global culture. The examples of Africa, Indonesia and the Middle East show how Western pop music styles can blend with local traditions to create new hybrid styles. Sales of recordings or sheet music are one measure, middleton and Manuel note that this definition has problems because multiple listens or plays of the same song or piece are not counted. Manuel states that one criticism of music is that it is produced by large media conglomerates and passively consumed by the public. He claims that the listeners in the scenario would not have been able to make the choice of their favorite music, moreover, understandings of popular music have changed with time. A societys popular music reflects the ideals that are prevalent at the time it is performed or published, david Riesman states that the youth audiences of popular music fit into either a majority group or a subculture. The majority group listens to the commercially produced styles while the subcultures find a minority style to transmit their own values and this allows youth to choose what music they identify with, which gives them power as consumers to control the market of popular music. Form in popular music is most often sectional, the most common sections being verse, chorus or refrain, other common forms include thirty-two-bar form, chorus form *, and twelve-bar blues. Popular music songs are rarely composed using different music for each stanza of the lyrics, the verse and chorus are considered the primary elements. Each verse usually has the melody, but the lyrics change for most verses. The chorus usually has a phrase and a key lyrical line which is repeated
24.
Brass instrument
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A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the players lips. Brass instruments are also called labrosones, literally meaning lip-vibrated instruments, there are several factors involved in producing different pitches on a brass instrument. The view of most scholars is that the brass instrument should be defined by the way the sound is made, as above. Thus one finds brass instruments made of wood, like the alphorn, the cornett, the serpent, as valved instruments are predominant among the brasses today, a more thorough discussion of their workings can be found below. The valves are usually piston valves, but can be rotary valves, slide brass instruments use a slide to change the length of tubing. The main instruments in this category are the family, though valve trombones are occasionally used. The trombone familys ancestor, the sackbut, and the folk instrument bazooka are also in the slide family, there are two other families that have, in general, become functionally obsolete for practical purposes. Instruments of both types, however, are used for period-instrument performances of Baroque or Classical pieces. In more modern compositions, they are used for their intonation or tone color. Natural brass instruments only play notes in the harmonic series. These include the bugle and older variants of the trumpet and horn, the trumpet was a natural brass instrument prior to about 1795, and the horn before about 1820. In the 18th century, makers developed interchangeable crooks of different lengths, natural instruments are still played for period performances and some ceremonial functions, and are occasionally found in more modern scores, such as those by Richard Wagner and Richard Strauss. Keyed or Fingered brass instruments used holes along the body of the instrument and these included the cornett, serpent, ophicleide, keyed bugle and keyed trumpet. They are more difficult to play than valved instruments, Brass instruments may also be characterised by two generalizations about geometry of the bore, that is, the tubing between the mouthpiece and the flaring of the tubing into the bell. Those two generalizations are with regard to the degree of taper or conicity of the bore and the diameter of the bore with respect to its length, cylindrical bore brass instruments are generally perceived as having a brighter, more penetrating tone quality compared to conical bore brass instruments. The trumpet, baritone horn and all trombones are cylindrical bore, in particular, the slide design of the trombone necessitates this. Conical bore brass instruments are those in which tubing of constantly increasing diameter predominates, conical bore instruments are generally perceived as having a more mellow tone quality than the cylindrical bore brass instruments. The British brass band group of instruments fall into this category and this includes the flugelhorn, cornet, tenor horn, horn, euphonium and tuba
25.
String instrument
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String instruments, stringed instruments, or chordophones are musical instruments that produce sound from vibrating strings when the performer plays or sounds the strings in some manner. Musicians play some string instruments by plucking the strings with their fingers or a plectrum—and others by hitting the strings with a wooden hammer or by rubbing the strings with a bow. In some keyboard instruments, such as the harpsichord or piano, with bowed instruments, the player rubs the strings with a horsehair bow, causing them to vibrate. With a hurdy-gurdy, the musician operates a wheel that rubs the strings. Bowed instruments include the string instruments of the Classical music orchestra. All of the string instruments can also be plucked with the fingers. Some types of string instrument are mainly plucked, such as the harp, in the Hornbostel-Sachs scheme of musical instrument classification, used in organology, string instruments are called chordophones. Other examples include the sitar, rebab, banjo, mandolin, ukulele, in most string instruments, the vibrations are transmitted to the body of the instrument, which often incorporates some sort of hollow or enclosed area. The body of the instrument also vibrates, along with the air inside it, the vibration of the body of the instrument and the enclosed hollow or chamber make the vibration of the string more audible to the performer and audience. The body of most string instruments is hollow, some, however—such as electric guitar and other instruments that rely on electronic amplification—may have a solid wood body. Archaeological digs have identified some of the earliest stringed instruments in Ancient Mesopotamian sites, like the lyres of Ur, the development of lyre instruments required the technology to create a tuning mechanism to tighten and loosen the string tension. During the medieval era, instrument development varied from country to country, Middle Eastern rebecs represented breakthroughs in terms of shape and strings, with a half a pear shape using three strings. Early versions of the violin and fiddle, by comparison, emerged in Europe through instruments such as the gittern, a four stringed precursor to the guitar and these instruments typically used catgut and other materials, including silk, for their strings. String instrument design refined during the Renaissance and into the Baroque period of musical history, violins and guitars became more consistent in design, and were roughly similar to what we use in the 2000s. At the same time, the 19th century guitar became more associated with six string models. In big bands of the 1920s, the guitar played backing chords. The development of guitar amplifiers, which contained a power amplifier, the development of the electric guitar provided guitarists with an instrument that was built to connect to guitar amplifiers. Electric guitars have magnetic pickups, volume control knobs and an output jack, in the 1960s, larger, more powerful guitar amplifiers were developed, called stacks
26.
Songwriter
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A songwriter is an individual who writes the lyrics, melodies and chord progressions for songs, typically for a popular music genre such as rock or country music. A songwriter can also be called a composer, although the term tends to be used mainly for individuals from the classical music genre. The pressure from the industry to produce popular hits means that songwriting is often an activity for which the tasks are distributed between a number of people. For example, a songwriter who excels at writing lyrics might be paired with a songwriter with a gift for creating original melodies, pop songs may be written by group members from the band or by staff writers – songwriters directly employed by music publishers. Some songwriters serve as their own publishers, while others have outside publishers. The old-style apprenticeship approach to learning how to write songs is being supplemented by university degrees and college diplomas, a knowledge of modern music technology, songwriting elements and business skills are necessary requirements to make a songwriting career in the 2010s. Several music colleges offer songwriting diplomas and degrees with music business modules, the legal power to grant these permissions may be bought, sold or transferred. This is governed by international copyright law, song pitching can be done on a songwriters behalf by their publisher or independently using tip sheets like RowFax, the MusicRow publication and SongQuarters. Skills associated with song-writing include entrepreneurism and creativity, songwriters who sign an exclusive songwriting agreement with a publisher are called staff writers. In the Nashville country music scene, there is a staff writer culture where contracted writers work normal 9-to-5 hours at the publishing office and are paid a regular salary. This salary is in effect the writers draw, an advance on future earnings, the publisher owns the copyright of songs written during the term of the agreement for a designated period, after which the songwriter can reclaim the copyright. In an interview with HitQuarters, songwriter Dave Berg extolled the benefits of the set-up, unlike contracted writers, some staff writers operate as employees for their respective publishers. Under the terms of work for hire agreements, the compositions created are fully owned by the publisher. In Nashville, young writers are often encouraged to avoid these types of contracts. Staff writers are common across the industry, but without the more office-like working arrangements favored in Nashville. All the major publishers employ writers under contract, songwriter Allan Eshuijs described his staff writer contract at Universal Music Publishing as a starter deal. His success under the arrangement eventually allowed him to found his own publishing company, so that he could. keep as much as possible, songwriters are also often skilled musicians. In addition to selling their songs and musical concepts for other artists to sing, songwriters need to create a number of elements for a song
27.
Metre (music)
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The metre of music is its rhythmic structure, the patterns of accents heard in regularly recurring measures of stressed and unstressed beats at the frequency of the musics pulse. A variety of systems exist throughout the world for organising and playing music, such as the Indian system of tala. Later music for such as the pavane and galliard consisted of musical phrases to accompany a fixed sequence of basic steps with a defined tempo. The term is not very precisely defined, macPherson preferred to speak of time and rhythmic shape, Imogen Holst of measured rhythm. This perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a definition of musical metre requires the possibility of identifying a repeating pattern of accented pulses — a pulse-group — which corresponds to the foot in poetry. Frequently a pulse-group can be identified by taking the accented beat as the first pulse in the group, frequently metres can be broken down into a pattern of duples and triples. The level of musical organisation implied by musical metre includes the most elementary levels of musical form, metrical rhythm, measured rhythm, and free rhythm are general classes of rhythm and may be distinguished in all aspects of temporality. Measured rhythm is where each time value is a multiple or fraction of a time unit. Free rhythm is where there is neither, some music, including chant, has freer rhythm, like the rhythm of prose compared to that of verse. Some music, such as some graphically scored works since the 1950s and non-European music such as Honkyoku repertoire for shakuhachi, may be considered ametric. Senza misura is an Italian musical term for without metre, meaning to play without a beat, Metric levels may be distinguished, the beat level is the metric level at which pulses are heard as the basic time unit of the piece. Faster levels are division levels, and slower levels are multiple levels, a rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level. In duple metre, each measure is divided into two beats, or a multiple thereof, for example, in the time signature 24, each measure contains two quarter-note beats, and with the time signature 68, each measure contains two dotted-quarter-note beats. Corresponding quadruple metres are 44, with 2 ×2 =4 quarter-note beats per measure, triple metre is a metre in which each measure is divided into three beats, or a multiple thereof. For example, in the time signature 34, each contains three quarter-note beats, and with a time signature of 98, each measure contains three dotted-quarter beats. Simple metre and compound metre are distinguished by the way the beats are subdivided, Simple metre or simple time is a metre in which each beat of the measure divides naturally into two equal parts. The top number in the signature will be 2,3,4,5
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Key (music)
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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
29.
Instrumentation (music)
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In music, instrumentation is the particular combination of musical instruments employed in a composition, and the properties of those instruments individually. Instrumentation is sometimes used as a synonym for orchestration, the haunting second movement of Schubert’s Trio in E flat exemplifies the variety and interest that is possible with just three instruments. Kern Holoman, G. W. Hopkins, Paul Griffiths, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. The New Harvard Dictionary of Music, pp.397, 575-577, in The Cambridge Companion to Schubert, edited by Christopher H. Gibbs, 72–98. Cambridge and New York, Cambridge University Press, a Treatise on Instrumentation, A Practical Guide to Orchestration
30.
Joe Cocker
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John Robert Joseph Joe Cocker, OBE was an English singer and musician. He was known for his gritty voice, spasmodic body movement in performance, Cockers cover of the Beatles With a Little Help from My Friends reached number one in the UK in 1968. He performed the live at Woodstock in 1969 and at the Party at the Palace concert for the Golden Jubilee of Elizabeth II in 2002. His version also became the song for the TV series The Wonder Years. His 1974 cover of You Are So Beautiful reached number five in the US, Cocker was the recipient of several awards, including a 1983 Grammy Award for his US number one Up Where We Belong, a duet with Jennifer Warnes. Cocker was ranked number 97 on Rolling Stones 100 greatest singers list, Cocker was born on 20 May 1944 at 38 Tasker Road, Crookes, Sheffield. He was the youngest son of a servant, Harold Cocker. According to differing family stories, Cocker received his nickname of Joe either from playing a game called Cowboy Joe. Cockers main musical influences growing up were Ray Charles and Lonnie Donegan, Cockers first experience singing in public was at age 12 when his elder brother Victor invited him on stage to sing during a gig of his skiffle group. In 1960, along with three friends, Cocker formed his first group, the Cavaliers, for the groups first performance at a youth club, they were required to pay the price of admission before entering. Cocker was not related to fellow Sheffield-born musician Jarvis Cocker, despite a rumour to this effect, in 1961, under the stage name Vance Arnold, Cocker continued his career with a new group, Vance Arnold and the Avengers. The name was a combination of Vince Everett, Elvis Presleys character in Jailhouse Rock, the group mostly played in the pubs of Sheffield, performing covers of Chuck Berry and Ray Charles songs. Cocker developed an interest in music and sought out recordings by John Lee Hooker, Muddy Waters, Lightnin Hopkins. In 1963, they booked their first significant gig when they supported the Rolling Stones at Sheffield City Hall, in 1964, Cocker signed a recording contract as a solo act with Decca and released his first single, a cover of the Beatles Ill Cry Instead. Despite extensive promotion from Decca lauding his youth and working-class roots, after Cocker recorded the single, he dropped his stage name and formed a new group, Joe Cockers Blues Band. There is only one recording of Joe Cockers Blues Band on an EP given out by The Sheffield College during Rag Week. In 1966, after a hiatus from music, Cocker teamed up with Chris Stainton. The Grease Band was named after Cocker read an interview with jazz keyboardist Jimmy Smith, like the Avengers, Cockers group mostly played in pubs in and around Sheffield
31.
The Beatles
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The Beatles were an English rock band, formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, the Beatles built their reputation playing clubs in Liverpool and Hamburg over a three-year period from 1960, with Stuart Sutcliffe initially serving as bass player. The core of Lennon, McCartney and Harrison went through a succession of drummers, including Pete Best, before asking Starr to join them. They acquired the nickname the Fab Four as Beatlemania grew in Britain the next year, from 1965 onwards, the Beatles produced increasingly innovative recordings, including the albums Rubber Soul, Revolver, Sgt. Peppers Lonely Hearts Club Band, The Beatles and Abbey Road, after their break-up in 1970, they each enjoyed successful musical careers of varying lengths. McCartney and Starr, the members, remain musically active. Lennon was shot and killed in December 1980, and Harrison died of cancer in November 2001. The Beatles are the band in history, with estimated sales of over 600 million records worldwide. They have had more number-one albums on the British charts and sold more singles in the UK than any other act, according to the RIAA, the Beatles are also the best-selling music artists in the United States, with 178 million certified units. In 2008, the group topped Billboard magazines list of the all-time most successful Hot 100 artists, as of 2016 and they have received ten Grammy Awards, an Academy Award for Best Original Song Score and fifteen Ivor Novello Awards. The group was inducted into the Rock and Roll Hall of Fame in 1988 and they were also collectively included in Time magazines compilation of the twentieth centurys 100 most influential people. In March 1957, John Lennon, then aged sixteen, formed a group with several friends from Quarry Bank school. They briefly called themselves the Blackjacks, before changing their name to the Quarrymen after discovering that a local group was already using the other name. Fifteen-year-old Paul McCartney joined as a rhythm guitarist shortly after he, in February 1958, McCartney invited his friend George Harrison to watch the band. The fourteen-year-old auditioned for Lennon, impressing him with his playing, after a month of Harrisons persistence, they enlisted him as their lead guitarist. By January 1959, Lennons Quarry Bank friends had left the group, the three guitarists, billing themselves at least three times as Johnny and the Moondogs, were playing rock and roll whenever they could find a drummer. They used the name until May, when they became the Silver Beetles, before undertaking a tour of Scotland as the backing group for pop singer. By early July, they had changed their name to the Silver Beatles, allan Williams, the Beatles unofficial manager, arranged a residency for them in Hamburg, but lacking a full-time drummer they auditioned and hired Pete Best in mid-August 1960
32.
With a Little Help from My Friends
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With a Little Help from My Friends is a song by the Beatles, written by John Lennon and Paul McCartney, from the album Sgt. Peppers Lonely Hearts Club Band issued worldwide in June 1967, the song was written for and sung by the Beatles drummer Ringo Starr as the character Billy Shears. Peppers Lonely Hearts Club Band and featuring A Day in the Life as its B-side, was reissued as a single in the U. S. in August 1978 and in the U. K. in September 1978. With a Little Help from My Friends was ranked No.311 on Rolling Stones list of the 500 Greatest Songs of All Time, Lennon and McCartney finished writing this song in mid-March 1967, written specifically as Starrs track for the album. McCartney said, It was pretty much co-written, John and I doing a song for Ringo. In 1970 Lennon stated, Paul had the line about a little help from my friends and he had some kind of structure for it, and we wrote it pretty well fifty-fifty from his original idea. But in 1980 Lennon said, This is Paul, with a help from me. What do you see when you turn out the light/ I cant tell you and it was briefly called Bad Finger Boogie, supposedly because Lennon composed the melody on a piano using his middle finger after having hurt his forefinger. Lennon and McCartney deliberately wrote a tune with a limited range – except for the last note, speaking in the Anthology, Starr insisted on changing the first line which originally was What would you think if I sang out of tune. Would you throw ripe tomatoes at me and he changed the lyric so that fans would not throw tomatoes at him should he perform it live. The songs composition is well documented as Hunter Davies was present. The song is partly in the form of a conversation in which the other three Beatles sing a question — e. g, would you believe in a love at first sight. Where Starr answers, Yes, Im certain that it all the time. The Beatles began recording the song on 29 March 1967, the day before they posed for the Sgt and they recorded 10 takes of the song, wrapping up sessions at 5,45 in the morning. The backing track consisted of Starr on drums, McCartney playing piano, Harrison playing lead guitar and Lennon beating a cowbell. At dawn, Starr trudged up the stairs to head home – but the other Beatles cajoled him into doing his lead vocal then and there, the following day they added tambourine, backing vocals, bass and more electric guitar. After he is singing, Starr tells the audience Peace and love. peace and love is the only way. and good night. Since 2008, the band segued right into Give Peace a Chance, during which Starr comes back onstage, Starr performed the song with George Harrison, Eric Clapton and Elton John at the 1987 Princes Trust Concert at Wembley Arena, London
33.
Cream (band)
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Cream were a 1960s British rock supergroup power trio consisting of bassist/singer Jack Bruce, drummer Ginger Baker, and guitarist/singer Eric Clapton. The groups third album, Wheels of Fire, was the worlds first platinum-selling double album, the band is widely regarded as the worlds first successful supergroup. In their career, they more than 15 million copies of their albums worldwide. The bands biggest hits were I Feel Free, Sunshine of Your Love, White Room, Crossroads, and Badge. The band made a significant impact on the music of the time. They also had an impact on American southern rock leading groups The Allman Brothers Band, the bands live performances influenced progressive rock acts such as Rush. The band was inducted into the Rock and Roll Hall of Fame in 1993 and they were included in both Rolling Stone and VH1s lists of the 100 Greatest Artists of All Time, at number 67 and 61 respectively. They were also ranked number 16 on VH1s 100 Greatest Artists of Hard Rock, by July 1966, Eric Claptons career with The Yardbirds and John Mayall & the Bluesbreakers had earned him a reputation as the premier blues guitarist in Britain. Clapton, however, found the environment of Mayalls band confining, in 1966, Clapton met Ginger Baker, then the leader of the Graham Bond Organisation, which at one point featured Jack Bruce on bass guitar, harmonica and piano. Baker felt stifled in the Graham Bond Organisation and had tired of Graham Bonds drug addictions. I had always liked Ginger, explained Clapton, Ginger had come to see me play with the Bluesbreakers. After the gig he drove me back to London in his Rover, I was very impressed with his car and driving. He was telling me that he wanted to start a band, each was impressed with the others playing abilities, prompting Baker to ask Clapton to join his new, then-unnamed group. Clapton immediately agreed, on the condition that Baker hire Bruce as the groups bassist, according to Clapton, Clapton had met Bruce when the bassist/vocalist briefly played with the Bluesbreakers in November 1965, the two also had worked together as part of a one-shot band called Powerhouse. Impressed with Bruces vocals and technical prowess, Clapton wanted to work with him on an ongoing basis, in contrast, while Bruce was in Bonds band, he and Baker had been notorious for their quarrelling. Their volatile relationship included on-stage fights and the sabotage of one anothers instruments, after Baker fired Bruce from the band, Bruce continued to arrive for gigs, ultimately, Bruce was driven away from the band after Baker threatened him at knifepoint. Baker and Bruce put aside their differences for the good of Bakers new trio, the band was named Cream, as Clapton, Bruce, and Baker were already considered the cream of the crop amongst blues and jazz musicians in the exploding British music scene. Initially, the group were referred to and billed as The Cream, but starting officially with its first record releases, before deciding upon Cream, the band considered calling themselves Sweet n Sour Rock n Roll
34.
Cross Road Blues
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Cross Road Blues is a blues song written and recorded by American blues artist Robert Johnson in 1936. Johnson performed it as a piece with his vocal and acoustic slide guitar in the Delta blues-style. Bluesman Elmore James revived the song recordings in 1954 and 1960–1961. English guitarist Eric Clapton with Cream popularized the song as Crossroads in the late 1960s and their blues rock interpretation inspired many cover versions and the Rock and Roll Hall of Fame included it as one of the 500 Songs That Shaped Rock and Roll. Rolling Stone placed it at three on the magazines list of the Greatest Guitar Songs of All Time in recognition of Claptons guitar work. Little is known about Johnsons life and musical career, although his recordings are well documented, in October 1936, Johnson auditioned for music store owner and sometime talent scout H. C. Speir in Jackson, Mississippi, Speir passed on Johnsons contact information to Ernie Oertle, after a second audition, Oertle arranged for Johnson to travel to San Antonio, Texas, for a recording session. Johnson recorded 22 songs for ARC over three days from November 23 to 27,1936, during the first session, he recorded his most commercially appealing songs. They mostly represented his original pieces and reflected current, piano-influenced musical trends, the songs include Terraplane Blues along with Sweet Home Chicago and I Believe Ill Dust My Broom, which became blues standards after others recorded them. A second and third recording date took place in San Antonio after a two-day break, Johnson reached back into his long-standing repertoire for songs to record. The material reflects the styles of blues performers Charley Patton and Son House. Evokes the themes of damnation and redemption, darkness and light, glimpses into the musicians inner life, and all its attendant turmoils. Cross Road Blues was recorded during Johnsons third session in San Antonio, the sessions continued at an improvised studio in Room 414 at the Gunter Hotel. ARC producers Art Satherley and Don Law supervised the recording and used a portable disc cutting machine and it is unknown what input, if any, they had into Johnsons selection of material to record or how to present it. Two similar takes of the song were recorded, a crossroads or an intersection of rural roads is one of the few landmarks in the Mississippi Delta, a flat featureless plain between the Mississippi and Yazoo rivers. It is part of the iconography and various businesses use the name, such as gas stations, banks. A crossroads is also where cars are likely to slow down or stop. In the simplest reading, Johnson describes his grief at being unable to catch a ride at an intersection before the sun sets, however, many see different levels of meaning and some have attached a supernatural significance to the song
35.
Ike Turner
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Izear Luster Ike Turner, Jr. was an American musician, bandleader, songwriter, arranger, talent scout, and record producer. An early pioneer of rock and roll, he is most popularly known for his work in the 1960s and 1970s with his then-wife Tina Turner in the Ike & Tina Turner Revue. Turner began playing piano and guitar when he was eight, forming his group and he employed the group as his backing band for the rest of his life. His first recording, Rocket 88, credited to Jackie Brenston and his Delta Cats, in 1951 is considered a contender for first rock and roll song. Relocating to St. Louis, Missouri, in 1954, he built the Kings into one of the most renowned acts on the club circuit. There he met singer Anna Mae Bullock, whom he renamed Tina Turner, forming The Ike & Tina Turner Revue, Turner recorded for many of the key R&B record labels of the 1950s and 1960s, including Chess, Modern, Trumpet, Flair and Sue. With the Ike & Tina Turner Revue, he graduated to larger labels Blue Thumb, throughout his career Turner won two Grammy Awards and was nominated for three others. With his former wife, Turner was inducted into the Rock and Roll Hall of Fame in 1991, addicted to cocaine and crack for at least 15 years, Turner was convicted of drug offenses, serving seventeen months in prison between July 1989 and 1991. He spent the rest of the 1990s free of his addiction, near the end of his life, he returned to live performance as a front man and, returning to his blues roots, produced two albums that were critically well received and award-winning. Turner has frequently referred to as a great innovator of Rock and Roll by contemporaries such as Little Richard. Phil Alexander described Turner as the cornerstone of modernday rock n roll, Turner was born in Clarksdale, Mississippi, on November 5,1931, to Beatrice Cushenberry, a seamstress, and Isaiah Luster Turner, a Baptist minister. The younger of their two children, Turner had a sister named Ethel May. Turner believed that he had named after his father. Turner said that when he was young he witnessed his father beaten. His father lived for three years as an invalid in a tent in the yard before succumbing to his injuries. Writer and blues historian Ted Drozdowski told a different version of the story and his mother then married a man called Philip Reeves. Turner said his stepfather was a violent alcoholic and that they often argued, after one fight Turner knocked out his stepfather with a piece of wood. He then ran away to Memphis, where he lived rough for a few days before returning to his mother and he reconciled with his stepfather years later, buying a house for him in the 1950s around the time Turners mother died
36.
Creedence Clearwater Revival
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Creedence Clearwater Revival, often informally abbreviated to Creedence or CCR, was an American rock band active in the late 1960s and early 1970s. The band consisted of lead vocalist, lead guitarist, and primary songwriter John Fogerty, his rhythm guitarist Tom Fogerty, bassist Stu Cook. Their musical style encompassed the roots rock, swamp rock, the band performed at 1969s famed Woodstock Festival. After four years of chart-topping success, the group disbanded acrimoniously in late 1972, Fogertys ongoing disagreements with Saul Zaentz, owner of their label Fantasy Records, created further protracted court battles. As a result, John Fogerty refused to perform with the two other surviving former members at CCRs 1993 induction into the Rock and Roll Hall of Fame. Creedence Clearwater Revivals music is still a staple of U. S. radio airplay, Rolling Stone ranked the band 82nd on its list of the 100 greatest artists of all time. John Fogerty, Doug Clifford, and Stu Cook met at Portola Junior High School in El Cerrito, calling themselves The Blue Velvets, the trio began playing instrumentals and juke box standards, as well as backing Fogertys older brother Tom at live gigs and in the recording studio. The records success was the subject of a National Educational Television special, for the bands first release, Fantasy co-owner Max Weiss renamed the group the Golliwogs. Band roles changed during this period, Stu Cook switched from piano to bass guitar and Tom Fogerty from lead vocals to rhythm guitar, John became the bands lead vocalist and primary songwriter. In Tom Fogertys words, I could sing, but John had a sound, in 1966, the group suffered a setback when John Fogerty and Doug Clifford, having received draft notices, enlisted in the military. Fogerty joined the Army Reserve while Clifford joined the United States Coast Guard Reserve, in 1967, Saul Zaentz bought Fantasy Records and offered the band a chance to record a full-length album on the condition that they change their name. Having never liked the Golliwogs, in part because of the charge of the name. Zaentz and the agreed to come up with ten suggestions each, but he enthusiastically agreed to their first, Creedence Clearwater Revival. Rejected contenders for the name included Muddy Rabbit, Gossamer Wump, and Creedence Nuball and the Ruby. “Finally, John put together the three names and we surrendered to the inevitable, ” Stu laugh, “A name weirder than Buffalo Springfield or Jefferson Airplane. ”By 1968, John Fogerty and Doug Clifford had been discharged from military service, and all four members had quit their jobs to begin an intense schedule of rehearsing and playing full-time at clubs. AM radio programmers around the U. S. A. took note when the song Susie Q from their debut album received substantial airplay in the San Francisco Bay Area. A remake of a 1956 song by rockabilly singer Dale Hawkins and it would be CCRs only Top 40 hit not written by John Fogerty. Two other singles from the debut were released, a cover of Screamin Jay Hawkinss I Put A Spell On You and Porterville, after their breakthrough, CCR began touring and started work on their second album, Bayou Country, at RCA Studios in Los Angeles
37.
Proud Mary
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Proud Mary is a rock song written by John Fogerty and first recorded by his band Creedence Clearwater Revival. The song was released by Fantasy Records as a single from the second studio album, Bayou Country. The single is considered to have been released in early January 1969 although at least one source states that it came out just before Christmas 1968. The song became a hit in the United States, peaking at #2 on the Billboard Hot 100 in March 1969. In a 1969 interview, Fogerty said that he wrote it in the two days after he was discharged from the National Guard. The line Left a good job in the city was written following Fogertys discharge from the National Guard, Burke recalls, “We went to Muscle Shoals and recorded Proud Mary, which they didn’t like at all. They thought it was stupid to record a song Proud Mary, I was explaining to them that it was a very big record, but it’s a very white record, a pop record. We will redo the record, open up the doors for it to get on the r&b charts and it was a Solomon Burke record made in Muscle Shoals. We proved that we can make a hit record without Jerry Wexler eating sandwiches with us and this record was a hit without anybody’s help. Proud Mary was only promoted by Tamiko Jones and myself, John Fogerty, the songs composer, was impressed by Burkes version of his song, Two thousand miles away this man had crawled right up inside my head to learn what Proud Mary was all about. Sure, its great when someone sings your song, but when he understands it, reworked as a celebration of black consciousness, his potent mix of gospel and country – the kind that defined his earlier sides for Atlantic – and driven by a Southern funk-like strut. It returned Burke to the US R&B Top 20, with the single reaching #15 on the R&B charts, according to Burke in a 2002 interview, I was in Vegas for sixteen weeks at the Sands Hotel. I missed this record being a hit, because we weren’t there to promote the record, we had no backing. The greatest thing I ever did was tell Ike Turner, “Hey man, you should get on this record… I think you, Ike & Tina Turner first covered Proud Mary in 1970. The Turners version was rearranged by Soko Richardson and Ike Turner. After the lyrics are first sung softly by the Turners, the song is turned into a funk rock vamp with Tina. Following the original release and its success, Ike and Tina included the song in their live act. It was also performed in 1971 and 1974, the Turners performed the song on Soul Train on April 22,1972
38.
Vanilla Fudge
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Vanilla Fudge is an American rock band known predominantly for their extended rock arrangements of contemporary hit songs, most notably You Keep Me Hangin On. The band is touring with three of the four original members, Mark Stein, Vince Martell, and Carmine Appice with Pete Bremy on bass as Bogert retired in 2009. The band has cited as one of the few American links between psychedelia and what soon became heavy metal. Vanilla Fudge also is known to have influenced other bands such as The Nice, Deep Purple, Yes, Styx. Stein and Bogert had played in a band called Rick Martin & The Showmen. Originally calling themselves The Electric Pigeons, they shortened the name to The Pigeons. Appice was asked to join The Pigeons and in his 2016 autobiography, Carmine explained the name change to Vanilla Fudge, In April 1967 the Pigeons got signed to Atlantic Records. But there was one drawback, however, Atlantic didnt want to sign The Pigeons, ahmet Ertegun, the labels founder and president, didnt like that name and told us we had to change it. We didnt mind, in fact, I had always thought the Pigeons was a thing to be called but had just gone with it. We tried to think up a new name but were getting nowhere until we played a gig at the Page 2 club on Long Island and she told us how her grandfather used to call her Vanilla Fudge. Then she looked at us and added Maybe you guys should call yourselves that—youre like white soul music and we told our manager, Phil Basile. We told Atlantic and they liked it, too, a recording of the Pigeons was released by Scepter/Wand in 1970 under the title of While the World was Eating Vanilla Fudge. Vanilla Fudge was managed by the aforementioned reputed Lucchese crime family member Phillip Basile and their first three albums were produced by Shadow Morton, whom the band met through The Rascals. When Led Zeppelin first toured the USA in early 1969, they opened for Vanilla Fudge on some shows, the bands biggest hit was its cover of You Keep Me Hangin On, a slowed-down, hard rocking version of a song originally recorded by The Supremes. This version featured Steins psychedelic-baroque organ intro and Appices energetic drumming and it was a Top 10 hit in Canada, the US, and Australia and a Top 20 hit in the UK in 1967. The members of Vanilla Fudge were great admirers of The Beatles, the self-titled debut album quotes Strawberry Fields Forever at the end, with the line theres nothing to get hung about. On March 14,1970, Vanilla Fudge played a concert at the Phil Basiles Action House. After that, Bogert & Appice departed to go ahead with another group, Cactus, in 1972 they left Cactus and formed Beck, Bogert & Appice with guitarist Jeff Beck
39.
Yes (band)
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Yes are an English rock band formed in London in 1968 by singer Jon Anderson and bassist Chris Squire. The band has undergone numerous formations throughout its history, nineteen musicians have been full-time members, since June 2015, it has consisted of guitarist Steve Howe, drummer Alan White, keyboardist Geoff Downes, singer Jon Davison, and bassist Billy Sherwood. Yes adopted several changes in style, from rearranged covers to progressive and art rock in the 1970s. They have sold 13.5 million RIAA-certified albums in the US, Yes changed their name from Mabel Greers Toyshop and performed rearranged covers of rock, pop, blues and jazz songs as evident on their first two albums. Yes toured as a rock act that earned the band a reputation for their elaborate stage sets, light displays. The success of Roundabout, the single from Fragile, cemented their popularity across the decade, in 1983, Yes reformed with a new line-up that included guitarist Trevor Rabin and a more commercial and pop-oriented musical direction. The result was 90125, their album which contained the US number one single. From 1990 to 1992, Yes were an eight-member formation after they merged with Anderson Bruford Wakeman Howe to release Union, since 1994, Yes have released albums with varied levels of success and completed tours from 1997 to 2004. After a four-year break in activity, they resumed touring in 2008 and continue to release albums, Yes are one of the most successful, influential, and longest-lasting progressive rock bands. In 1985, they won a Grammy Award for Best Rock Instrumental Performance with Cinema, Yes have headlined annual progressive rock-themed cruises since 2013 named Cruise to the Edge. Their discography spans 21 studio albums, the band will be inducted into the Rock and Roll Hall of Fame in April 2017. In 1967, bassist Chris Squire joined the rock band Mabel Greers Toyshop, with singer and guitarist Clive Bayley, drummer Bob Hagger and they played at the Marquee Club in Soho, London where Jack Barrie, owner of the nearby La Chasse club, saw them perform. There was nothing outstanding about them, he recalled, the musicianship was very good, Barrie introduced Squire to singer Jon Anderson, a worker at the bar in La Chasse, who found they shared interests in Simon & Garfunkel and harmony singing. That evening at Squires house they wrote Sweetness, which was included on the first Yes album, meanwhile, Banks had left Mabel Greers Toyshop to join Neat Change, but he was dismissed by this group on 7 April 1968. In June 1968, Hagger was replaced in the nascent Yes by Bill Bruford, who had placed an advertisement in Melody Maker, finally, the classically trained organist and pianist Tony Kaye, of Johnny Taylors Star Combo and The Federals, became the keyboardist and the fifth member. The newborn band rehearsed in the basement of The Lucky Horseshoe cafe on Shaftesbury Avenue between 10 June and 9 July 1968, Anderson suggested that they call the new band Life while Squire suggested that it be called World. At Banks suggestion, the first gig under the new brand followed at a camp in East Mersea. Early sets were formed of songs from artists such as the Beatles
