1.
Beat (acoustics)
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In acoustics, a beat is an interference pattern between two sounds of slightly different frequencies, perceived as a periodic variation in volume whose rate is the difference of the two frequencies. When tuning instruments that can produce sustained tones, beats can readily be recognized, tuning two tones to a unison will present a peculiar effect, when the two tones are close in pitch but not identical, the difference in frequency generates the beating. The volume varies like in a tremolo as the sounds alternately interfere constructively and destructively, as the two tones gradually approach unison, the beating slows down and may become so slow as to be imperceptible. It can be proven that the envelope of the maxima and minima form a wave frequency is half the difference between the frequencies of the two original waves. Instead, it is perceived as a variation in the amplitude of the first term in the expression above. It can be said that the lower frequency cosine term is an envelope for the higher frequency one, the frequency of the modulation is f1 + f2/2, that is, the average of the two frequencies. It can be noted that every second burst in the pattern is inverted. Each peak is replaced by a trough and vice versa, however, because the human ear is not sensitive to the phase of a sound, only its amplitude or intensity, only the magnitude of the envelope is heard. A physical interpretation is that when cos =1 the two waves are in phase and they interfere constructively, when it is zero, they are out of phase and interfere destructively. Beats occur also in more complex sounds, or in sounds of different volumes, beating can also be heard between notes that are near to, but not exactly, a harmonic interval, due to some harmonic of the first note beating with a harmonic of the second note. For example, in the case of perfect fifth, the harmonic of the bass note beats with the second harmonic of the other note. Musicians commonly use interference beats to objectively check tuning at the unison, perfect fifth, piano and organ tuners even use a method involving counting beats, aiming at a particular number for a specific interval. The composer Alvin Lucier has written many pieces that feature interference beats as their main focus, composer Phill Niblocks music is entirely based on beating caused by microtonal differences. Binaural beats are heard when the right ear listens to a different tone than the left ear. Here, the tones do not interfere physically, but are summed by the brain in the olivary nucleus and this effect is related to the brains ability to locate sounds in three dimensions. Combination tone Gamelan tuning Heterodyne Consonance and dissonance Moiré pattern, a form of interference that generates new frequencies
2.
Beat music
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Beat music, British beat, or Merseybeat is a pop and rock music genre that developed in the United Kingdom in the early 1960s. Beat music is a fusion of rock and roll, doo-wop, skiffle, the exact origins of the terms beat music and Merseybeat are uncertain. The name Mersey Beat was used for a Liverpool music magazine founded in 1961 by Bill Harry, Harry claims to have coined the term based on a policemans beat and not that of the music. The band the Pacifics were renamed the Mersey Beats in February 1962 by Bob Wooler, MC at the Cavern Club, the equivalent scenes in Birmingham and London were described as Brum beat and the Tottenham Sound respectively. The most distinctive characteristic of the music was the beat, using the backbeat common to rock and roll and rhythm and blues. The 8/8 rhythm was flexible enough to be adopted for songs from a range of genres and this flexibility also meant that beat music could cope with a greater range of time-signatures and song shapes than rock & roll had been able to. Beat groups usually had simple guitar-dominated line-ups, with vocal harmonies, the most common instrumentation of beat groups featured lead, rhythm and bass guitars plus drums, as popularized by the Beatles, the Searchers, and others. Beat groups—even those with a separate lead singer—often sang both verses and choruses in harmony, resembling doo wop, with nonsense syllables in the backing vocals. In the late 1950s, a culture of groups began to emerge, often out of the declining skiffle scene, in major urban centres in the UK like Liverpool, Manchester, Birmingham. This was particularly true in Liverpool, where it has estimated that there were around 350 different bands active, often playing ballrooms, concert halls. Liverpool was perhaps uniquely placed within Britain to be the point of origin of a new form of music. It was also a port with links to America, which made for much greater access to American records and instruments like guitars. As a result, Beat bands were influenced by American groups of the era, such as Buddy Holly and the Crickets. Outside of Liverpool many local scenes were influenced by rock and roll and more by the rhythm and blues. These included bands from Birmingham who were grouped with the beat movement, the most successful being the Spencer Davis Group. Similar blues influenced bands who broke out from local scenes to national prominence were the Animals from Newcastle, the term British Invasion was coined by T. V. reporter Walter Cronkite to describe the Beatles arrival in the United States and the outbreak of Beatlemania in 1964. Their appearance on The Ed Sullivan Show soon after led to chart success, by 1967 beat music was beginning to sound out of date, particularly compared with the harder edged blues rock that was beginning to emerge. Most of the groups that had not already disbanded, like the Beatles, moved into different forms of music and pop music, including psychedelic rock
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.
Music theory
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Music theory is the study of the practices and possibilities of music. The term is used in three ways in music, though all three are interrelated. The first is what is otherwise called rudiments, currently taught as the elements of notation, of key signatures, of time signatures, of rhythmic notation, Theory in this sense is treated as the necessary preliminary to the study of harmony, counterpoint, and form. The second is the study of writings about music from ancient times onwards, Music theory is frequently concerned with describing how musicians and composers make music, including tuning systems and composition methods among other topics. However, this medieval discipline became the basis for tuning systems in later centuries, Music theory as a practical discipline encompasses the methods and concepts composers and other musicians use in creating music. The development, preservation, and transmission of music theory in this sense may be found in oral and written music-making traditions, musical instruments, and other artifacts. In ancient and living cultures around the world, the deep and long roots of music theory are clearly visible in instruments, oral traditions, and current music making. Many cultures, at least as far back as ancient Mesopotamia and ancient China, have also considered music theory in more formal ways such as written treatises, in modern academia, music theory is a subfield of musicology, the wider study of musical cultures and history. Etymologically, music theory is an act of contemplation of music, from the Greek θεωρία, a looking at, viewing, contemplation, speculation, theory, also a sight, a person who researches, teaches, or writes articles about music theory is a music theorist. University study, typically to the M. A. or Ph. D level, is required to teach as a music theorist in a US or Canadian university. Methods of analysis include mathematics, graphic analysis, and especially analysis enabled by Western music notation, comparative, descriptive, statistical, and other methods are also used. See for instance Paleolithic flutes, Gǔdí, and Anasazi flute, several surviving Sumerian and Akkadian clay tablets include musical information of a theoretical nature, mainly lists of intervals and tunings. The scholar Sam Mirelman reports that the earliest of these dates from before 1500 BCE. Further, All the Mesopotamian texts are united by the use of a terminology for music that, much of Chinese music history and theory remains unclear. The earliest texts about Chinese music theory are inscribed on the stone and they include more than 2800 words describing theories and practices of music pitches of the time. The bells produce two intertwined pentatonic scales three tones apart with additional pitches completing the chromatic scale, Chinese theory starts from numbers, the main musical numbers being twelve, five and eight. Twelve refers to the number of pitches on which the scales can be constructed, the Lüshi chunqiu from about 239 BCE recalls the legend of Ling Lun. On order of the Yellow Emperor, Ling Lun collected twelve bamboo lengths with thick, blowing on one of these like a pipe, he found its sound agreeable and named it huangzhong, the Yellow Bell
5.
Pulse (music)
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In music and music theory, the pulse consists of beats in a series of identical yet distinct periodic short-duration stimuli perceived as points in time occurring at the mensural level. This pulse is typically what listeners entrain to as they tap their foot or dance along with a piece of music, the pulse may be audible or implied. The tempo of the piece is the speed of the pulse, if a pulse becomes too fast it would become a drone, one that is too slow would be perceived as unconnected sounds. When the period of any continuous beat is faster than 8–10 per second or slower than 1 per 1. 5–2 seconds, musical pulses are generally specified in the range 40 to 240 beats per minute. The pulse is not necessarily the fastest or the slowest component of the rhythm and this is currently most often designated as a crotchet or quarter note when written. In fact there is a tendency to perceptually group or differentiate an ideal pulse in this way. A repetitive, regularly accented pulse-group is called a meter, pulses can occur at multiple metric levels - see figure. Pulse groups may be distinguished as synchronous, if all pulses on slower levels coincide with those on faster levels, an isochronal or equally spaced pulse on one level that uses varied pulse groups create a pulse on the multiple level that is non-isochronal
6.
Counting (music)
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In music, counting is a system of regularly occurring sounds that serve to assist with the performance or audition of music by allowing the easy identification of the beat. Commonly, this involves verbally counting the beats in each measure as they occur, in addition to helping to normalize the time taken up by each beat, counting allows easier identification of the beats that are stressed. Counting is most commonly used with rhythm and form and often involves subdivision, the method involving numbers may be termed count chant, to identify it as a unique instructional process. In lieu of simply counting the beats of a measure, other systems can be used which may be appropriate to the particular piece of music. Depending on the tempo, the divisions of a beat may be vocalized as well, as an alternative to counting, a metronome can be used to accomplish the same function. Triple meter, such as 34, is often counted 123, while compound meter, for each subdivision employed a new syllable is used. Triplets may be counted 1 tri ple 2 tri ple 3 tri ple 4 tri ple, quarter note triplets, due to their different rhythmic feel, may be articulated differently as 1 dra git 3 dra git. Rather than numbers or nonsense syllables, a word may be assigned to a rhythm to clearly count each beat. An example is with a triplet, so that a triplet subdivision is often counted tri-pl-et, the Kodály Method uses Ta for quarter notes and Ti-Ti for eighth notes. For sextuplets simply say triplet twice, while quintuplets may be articulated as un-i-vers-i-ty, in some approaches, rote-before-note, the fractional definitions of notes are not taught to children until after they are able to perform syllable or phrase-based versions of these rhythms. However the counting may be syllabized, the important skill is to keep the pulse steady, there are various ways to count rhythm, from simple numbers to counting syllables to beat placement syllables. Ultimately, musicians count using numbers, “ands” and vowel sounds, downbeats within a measure are called 1,2, 3… Upbeats are represented with a plus sign and are called “and”, and further subdivisions receive the sounds “ee” and “uh”. Musicians do not agree on what to call triplets, some say the word triplet. Some use numbers along with the word triplet, still others have devised sounds like “ah-lee” or “la-li” added after the number. Counts the beat number on the tactus, & on the half beat, the beat numbers are used for the tactus, te for the half beat, and n-ti-te-ta for four sixteenths. Triplets or three notes in compound meter are n-la-li and six sixteenth notes in compound meter is n-ta-la-ta-li-ta. Counting system using n-ne, n-ta-ne-ta, n-na-ni, and n-ta-na-ta-ni-ta, all three systems have internal consistency for all divisions of the beat except the tactus, which changes according to the beat number. French Time-Names system, and also called the Galin-Paris-Cheve system
7.
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
8.
Rhythm
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Rhythm generally means a movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions. In the performance arts, rhythm is the timing of events on a scale, of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language. In some performing arts, such as hip hop music, the delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as timed movement through space, in recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, Godfried Toussaint, William Rothstein, and Joel Lester. In Thinking and Destiny, Harold W. Percival defined rhythm as the character and meaning of thought expressed through the measure or movement in sound or form, or by written signs or words. In his television series How Music Works, Howard Goodall presents theories that human rhythm recalls the regularity with which we walk, other research suggests that it does not relate to the heartbeat directly, but rather the speed of emotional affect, which also influences heartbeat. Yet other researchers suggest that certain features of human music are widespread. The perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, Joseph Jordania recently suggested that the sense of rhythm was developed in the early stages of hominid evolution by the forces of natural selection. Plenty of animals walk rhythmically and hear the sounds of the heartbeat in the womb, some types of parrots can know rhythm. There is not a report of an animal being trained to tap, peck. For this reason, the fast-transient sounds of percussion instruments lend themselves to the definition of rhythm, Musical cultures that rely upon such instruments may develop multi-layered polyrhythm and simultaneous rhythms in more than one time signature, called polymeter. Such are the cross-rhythms of Sub-Saharan Africa and the interlocking kotekan rhythms of the gamelan, for information on rhythm in Indian music see Tala. For other Asian approaches to rhythm see Rhythm in Persian music, Rhythm in Arabian music and Usul—Rhythm in Turkish music and this consists of a series of identical yet distinct periodic short-duration stimuli perceived as points in time. It is currently most often designated as a crotchet or quarter note in western notation, faster levels are division levels, and slower levels are multiple levels. 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 durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit. A rhythmic gesture is any pattern that, in contrast to the rhythmic unit
9.
Groove (music)
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In music, groove is the sense of propulsive rhythmic feel or sense of swing. In jazz, it can be felt as a repeated pattern. It can be created by the interaction of the music played by a rhythm section. Groove is a key of much popular music, and can be found in genres, including salsa, funk, rock, fusion. Musicologists and other scholars have analyzed the concept of groove since around the 1990s, the concept can be linked to the sorts of ostinatos that generally accompany fusions and dance musics of African derivation. The term is applied to musical performances that make one want to move or dance. The expression in the groove was widely used from around 1936 to 1945, at the height of the swing era, in the 1940s and 1950s, groove commonly came to denote musical routine, preference, style, source of pleasure. Like the term swing, which is used to describe a cohesive rhythmic feel in a jazz context, indeed, some dictionaries use the terms as synonyms, Groovy. enotes music that really swings. Marc Sabatellas article Establishing The Groove argues that groove is a subjective thing. He claims that one person may think a given drummer has a feel, while another person may think the same drummer sounds too stiff. Similarly, a bass educator states that while groove is a thing it can be defined as what makes the music breathe. In a musical context, general dictionaries define a groove as a pronounced, enjoyable rhythm or the act of creat, danc to, or enjoy rhythmic music. Steve Van Telejuice explains the groove as the point in this sense when he defines it as a point in a song or performance when even the people who cant dance wanna feel like dancing, due to the effect of the music. Bernard Coquelet argues that the groove is the way an experienced musician will play a rhythm compared with the way it is written by playing slightly before or after the beat. Coquelet claims that the notion of groove actually has to do with aesthetics and style, groove is an artistic element, that is to say human. Minute rhythmic variations by the section members such as the bass player can dramatically change the feel as a band plays a song. UK musicologist Richard Middleton notes that while the concept of groove has long familiar in musicians own usage, marks an understanding of rhythmic patterning that underlies its role in producing the characteristic rhythmic feel of a piece. He notes that the created by a repeating framework is also modified with variations
10.
Bar (music)
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Dividing music into bars provides regular reference points to pinpoint locations within a piece of music. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of bars of the same length. In simple time, the top figure indicates the number of beats per bar, the word bar is more common in British English, and the word measure is more common in American English, although musicians generally understand both usages. In international usage, it is correct to speak of bar numbers and measure numbers. Along the same lines, it is wise to reserve the abbreviated form ‘bb, 3–4’ etc. for beats only, bars should be referred to by name in full. The first metrically complete measure within a piece of music is called ‘bar 1’ or ‘m. 1’, when the piece begins with an anacrusis, ‘bar 1’ or ‘m. 1’ is the following measure. Originally, the bar came from the vertical lines drawn through the staff to mark off metrical units. In British English, these lines are called bar, too. Note that double bar refers not to a type of bar, another term for the bar line denoting the end of a piece of music is music end. A repeat sign looks like the end, but it has two dots, one above the other, indicating that the section of music that is before is to be repeated. The beginning of the passage can be marked by a begin-repeat sign. This begin-repeat sign, if appearing at the beginning of a staff, does not act as a bar line because no bar is before it, in music with a regular meter, bars function to indicate a periodic accent in the music, regardless of its duration. Igor Stravinsky said of bar lines, The bar line is much, much more than a mere accent, bars and bar lines also indicate grouping, rhythmically of beats within and between bars, within and between phrases, and on higher levels such as meter. The earliest barlines, used in keyboard and vihuela music in the 15th and 16th centuries, didnt reflect a regular meter at all but were only section divisions, or in some cases marked off every beat. Barlines began to be introduced into music in the late 16th century. Not until the mid-17th century were used in the modern style with every measure being the same length. Modern editions of music that was originally notated without barlines sometimes use a mensurstrich as a compromise
11.
Time signature
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The time signature is a notational convention used in Western musical notation to specify how many beats are to be contained in each bar and which note value is to be given one beat. A mid-score time signature, usually following a barline, indicates a change of meter. | Simple time signatures consist of two numerals, one stacked above the other, The lower numeral indicates the value that represents one beat. The upper numeral indicates how many beats there are grouped together in a bar. For instance,24 means two quarter-note beats per bar—38 means three eighth-note beats per bar, the most common simple time signatures are 24,34, and 44. The symbol is used for 44 time, also called common time or imperfect time. In modern notation, it is used in place of 22 and is called alla breve or, colloquially, in compound meter, subdivisions of the main beat are in three equal parts, so that a dotted note becomes the beat unit. Compound time signatures are named as if they were simple time signatures, in which the part of the beat unit is the beat. The lower number is most commonly an 8, as in 98 or 128,34 is a simple signature that represents three quarter notes. To the ear, a bar may seem like one singular beat, for example, a fast waltz, notated in 34 time, may be described as being one in a bar. Terms such as quadruple, quintuple, and so on are also occasionally used, as mentioned above, though the score indicates a 34 time, the actual beat division can be the whole bar, particularly at faster tempos. Correspondingly, at slow tempos the beat indicated by the time signature could in actual performance be divided into smaller units, on a formal mathematical level the time signatures of, e. g.34 and 38 are interchangeable. In a sense, all simple triple time signatures, such as 38,34,32, etc. —and all compound duple times, such as 68,616, a piece in 34 can be easily rewritten in 38, simply by halving the length of the notes. Other time signature rewritings are possible, most commonly a simple time signature with triplets translates into a compound meter, though formally interchangeable, for a composer or performing musician, different time signatures often have different connotations. First, a note value in the beat unit implies a more complex notation. Second, beaming affects the choice of actual beat divisions and it is, for example, more natural to use the quarter note/crotchet as a beat unit in 64 or 22 than the eight/quaver in 68 or 24. Third, time signatures are traditionally associated with different music styles—it might seem strange to notate a rock tune in 48 or 42. For all meters, the first beat is stressed, in time signatures with four groups in the bar
12.
Disco
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Disco is a genre of dance music containing elements of funk, soul, pop, and salsa. It achieved popularity during the mid-1970s to the early 1980s, Disco can be seen as a reaction against both the domination of rock music and the stigmatization of dance music by the counterculture during this period. It was popular with men and women, from many different backgrounds. The disco sound often has several components, a beat, an eighth note or 16th note hi-hat pattern with an open hi-hat on the off-beat. In most disco tracks, string sections, horns, electric piano, Orchestral instruments such as the flute are often used for solo melodies, and lead guitar is less frequently used in disco than in rock. Many disco songs use electronic synthesizers, particularly in the late 1970s, well-known 1970s disco performers included Donna Summer, the Bee Gees, Boney M. KC and the Sunshine Band, The Trammps, Sylvester, Village People, Gloria Gaynor and Chic. While performers and singers garnered much attention, record producers working behind the scenes played an important role in developing the disco sound. Many non-disco artists recorded songs at the height of discos popularity. Disco was the last mass popular movement that was driven by the baby boom generation. Disco was a phenomenon, but its popularity drastically declined in the United States in 1980. Disco Demolition Night, an anti-disco protest held in Chicago on 12 July 1979, is thought of as a factor in discos fast. By the late 1970s most major U. S. cities had thriving disco club scenes, Studio 54, a venue popular amongst celebrities, is a well-known example of a disco club. Popular dances included the Hustle, a suggestive dance. Discotheque-goers often wore expensive, extravagant and sexy fashions, Disco clubs were also associated with promiscuity. Disco was a key influence on the 1980s electronic dance style called house. The term is derived from discothèque, by the early 1940s, the terms disc jockey and DJ were in use to describe radio presenters. During WWII, because of restrictions set in place by the Nazi occupiers, eventually more than one of these jazz venues had the proper name discothèque. By 1959, the term was used in Paris to describe any of these type of nightclubs and that year a young reporter named Klaus Quirini started to select and introduce records at the Scotch-Club in Aachen, West Germany
13.
Funk
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Funk is a music genre that originated in the mid- 1960s when African American musicians created a rhythmic, danceable new form of music through a mixture of soul music, jazz, and rhythm and blues. Like much of African-inspired music, funk typically consists of a groove with rhythm instruments playing interlocking grooves. Funk uses the same richly-colored extended chords found in jazz, such as minor chords with added sevenths and elevenths. Other musical groups, including Sly and the Family Stone and Parliament-Funkadelic, soon began to adopt, Funk samples have been used extensively in genres including hip hop, house music, and drum and bass. It is also the influence of go-go, a subgenre associated with funk. The word funk initially referred to a strong odor and it is originally derived from Latin fumigare via Old French fungiere and, in this sense, it was first documented in English in 1620. In 1784 funky meaning musty was first documented, which, in turn, in early jam sessions, musicians would encourage one another to get down by telling one another, Now, put some stank on it. At least as early as 1907, jazz songs carried titles such as Funky, as late as the 1950s and early 1960s, when funk and funky were used increasingly in the context of jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer was the first to use the word funky to explain to other musicians that their music should be made more syncopated, the style later evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the set the pattern for later musicians. The music was identified as slow, sexy, loose, riff-oriented, a great deal of funk is rhythmically based on a two-celled onbeat/offbeat structure, which originated in sub-Saharan African music traditions. New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, New Orleans funk, as it was called, gained international acclaim largely because James Browns rhythm section used it to great effect. Funk creates an intense groove by using strong guitar riffs and bass lines, like Motown recordings, funk songs used bass lines as the centerpiece of songs. Slap basss mixture of thumb-slapped low notes and finger popped high notes allowed the bass to have a rhythmic role. In funk bands, guitarists typically play in a style, often using the wah-wah sound effect. Guitarist Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic were notably influenced by Jimi Hendrixs improvised solos, Eddie Hazel, who worked with George Clinton, is one of the most notable guitar soloists in funk. Ernie Isley was tutored at an age by Jimi Hendrix himself. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown, on Browns Give It Up or Turnit a Loose, Jimmy Nolens guitar part has a bare bones tonal structure
14.
Duple and quadruple metre
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44 is the most common time signature in rock, blues, country, funk, and pop. Although jazz writing has become more adventurous since Dave Brubecks seminal Time Out, duple time is common in many styles including the polka, notorious for its obvious oom-pah duple feel. Tunes in duple metre tend to be lyrical and more martial than those in triple. Binary measure refers to common time
15.
Triple metre
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It is reasonably common in ballads and classical music but much less so in traditions such as rock & roll and jazz. The most common time in rock, blues, country, funk, although jazz writing has become more adventurous since Dave Brubecks seminal Time Out, the majority of jazz and jazz standards are still in straight quadruple time. One noteworthy example of a classic that employs triple-meter time is John Coltranes version of My Favorite Things. Triple time is common in formal dance styles, for example the waltz, the minuet and the mazurka, the baroque sarabande is commonly a slow triple rather than the much faster Spanish original, consistent with the courtly European interpretations of many Latin dances. Tunes in triple metre tend to be lyrical and less martial than those in duple meter. Consequently, for example, triple meter is rare in national anthems – the national anthems of the United Kingdom, there are many classical works in triple metre. Joseph Haydns Farewell Symphony is a case, as the first three movements are all in triple meter, as is the farewell section of the final movement. In hymns and other works it is still common, with tunes such as Dave Bilboroughs Abba, Father following from more traditional melodies such as Slane, Cloisters. In contemporary pop traditions triple metre is much less common but examples do exist, the verses of Lucy in the Sky with Diamonds from The Beatles 1967 album, Sgt. Manic Depression from the 1967 album, Are You Experienced, the Way Young Lovers Do from the 1968 album, Astral Weeks, by Van Morrison. You Aint The First from the 1991 album, Use Your Illusion I, Waltz #2 and Waltz #1 from Elliott Smiths 1998 album XO. The verses of 3 Libras from the 2000 album, Mer de Noms, by A Perfect Circle and Its About Time from Young the Giants 2014 album, sWVs 1992 R&B hit Weak includes the lyrics cause my heart starts beating triple time but the song is in 44 time. In film music, the score to Peter Pan by James Newton Howard is remarkable in that it is almost entirely written in triple meter
16.
Tuplet
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In music a tuplet is any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature. This is indicated by a number, indicating the fraction involved, the notes involved are also often grouped with a bracket or a slur. The most common type is the triplet, an alternative modern term, irrational rhythm, was originally borrowed from Greek prosody where it referred to a syllable having a metrical value not corresponding to its actual time-value, or. A metrical foot containing such a syllable, the term would be incorrect if used in the mathematical sense or in the more general sense of unreasonable, utterly illogical, absurd. Alternative terms found occasionally are artificial division, abnormal divisions, irregular rhythm, the term polyrhythm, sometimes incorrectly used of tuplets, actually refers to the simultaneous use of opposing time signatures. Besides triplet, the terms duplet, quadruplet, quintuplet, sextuplet, septuplet, the terms nonuplet, decuplet, undecuplet, dodecuplet, and tredecuplet had been suggested but up until 1925 had not caught on. By 1964 the terms nonuplet and decuplet were usual, while subdivisions by greater numbers were commonly described as group of eleven notes, group of twelve notes. The most common tuplet is the triplet, shown at right, similarly, three triplet eighth notes are equal in duration to one quarter note. If several note values appear under the bracket, they are all affected the same way. If the notes of the tuplet are beamed together, the bracket may be omitted, for other tuplets, the number indicates a ratio to the next lower normal value in the prevailing meter. Some numbers are used inconsistently, for example septuplets usually indicate 7 notes in the duration of 4—or in compound meter 7 for 6—but may sometimes be used to mean 7 notes in the duration of 8. Thus, a septuplet lasting a whole note can be written with either quarter notes or eighth notes, a French alternative is to write pour or de in place of the colon, or above the bracketed irregular number. This reflects the French usage of, for example, six-pour-quatre as a name for the sextolet. There are disagreements about the sextuplet —which is also called sestole, sestolet, sextole, some go so far as to call the latter, when written with a numeral 6, a false sextuplet. In compound meter, even-numbered tuplets can indicate that a value is changed in relation to the dotted version of the next higher note value. Thus, two eighth notes take the time normally totaled by three eighth notes, equal to a dotted quarter note. Four quadruplet eighth notes would also equal a dotted quarter note, the duplet eighth note is thus exactly the same duration as a dotted eighth note, but the duplet notation is far more common in compound meters. A duplet in compound time is often written as 2,3 than 2, 1 1⁄2
17.
Johann Sebastian Bach
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Johann Sebastian Bach was a German composer and musician of the Baroque period. Bachs compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor and his music is revered for its technical command, artistic beauty, and intellectual depth. He is now regarded as one of the greatest composers of all time. Bach was born in Eisenach, in the duchy of Saxe-Eisenach and his father Johann Ambrosius Bach was the director of the town musicians, and all of his uncles were professional musicians. His father probably taught him to play the violin and harpsichord, apparently at his own initiative, Bach attended St. Michaels School in Lüneburg for two years. He received the title of Royal Court Composer from Augustus III in 1736, Bachs health and vision declined in 1749, and he died on 28 July 1750. Johann Sebastian Bach was born in Eisenach, the capital of the duchy of Saxe-Eisenach, in present-day Germany and he was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt. He was the eighth and youngest child of Johann Ambrosius, who taught him violin. His uncles were all musicians, whose posts included church organists, court chamber musicians. One uncle, Johann Christoph Bach, introduced him to the organ, Bachs mother died in 1694, and his father died eight months later. The 10-year-old Bach moved in with his eldest brother, Johann Christoph Bach, there he studied, performed, and copied music, including his own brothers, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly. He received valuable teaching from his brother, who instructed him on the clavichord, also during this time he was taught theology, Latin, Greek, French and Italian at the local gymnasium. By 3 April 1700 Bach and his schoolfriend Georg Erdmann–who was two years Bachs elder–were enrolled in the prestigious St. Michaels School in Lüneburg, some two weeks travel north of Ohrdruf and their journey was probably undertaken mostly on foot. His two years there were critical in exposing Bach to a range of European culture. In addition to singing in the choir, he played the Schools three-manual organ and he came into contact with sons of aristocrats from northern Germany, sent to the highly selective school to prepare for careers in other disciplines. While in Lüneburg, Bach had access to St. Johns Church and possibly used the famous organ from 1553. His role there is unclear, but it probably included menial, non-musical duties, despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir and he called one of them a Zippel Fagottist
18.
BWV
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The Bach-Werke-Verzeichnis is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder, the catalogues second edition appeared in 1990. An abbreviated version of second edition, known as BWV2a, was published in 1998. 1126 compositions were assigned a BWV number in the 20th century, more compositions were added to the catalogue in the 21st century. The Anhang of the BWV lists over 200 lost, doubtful, the first edition of the Bach-Werke-Verzeichnis was published in 1950. It allocated a number to every known composition by Bach. Schmieder published the BWVs second edition in 1990, with some modifications regarding authenticity discriminations, and more added to the main catalogue. Several compositions were repositioned in the structure of chapters organised by genre. In 1998 Alfred Dürr and Yoshitake Kobayashi published an edition of the catalogue. This edition, known as BWV2a, contained a few further updates, new additions to BWV2/BWV2a included, BWV 1081–1126 BWV Anh. 190–213 An upper case R was used as an addition to a BWV number to indicate a reconstructed version, numbers above BWV1126 were added in the 21st century. The numbers assigned to compositions by Johann Sebastian Bach and by others in the Bach-Werke-Verzeichnis are widely used for the identification of these compositions. BWV numbers 1 to 1126 appear in the 1998 edition of the Bach-Werke-Verzeichnis, BWV numbers 1127 and 1128 were assigned in the 21st century. Ich sehe, itzt, da ich zur Hochzeit gehe BWV163 – Nur jedem das Seine BWV164 – Ihr, BWV167 – Ihr Menschen, rühmet Gottes Liebe BWV168 – Tue Rechnung. k. a. Mourning Ode BWV199 – Mein Herze schwimmt im Blut BWV200 – Bekennen will ich seinen Namen BWV201 – Geschwinde, ihr wirbelnden Winde a. k. a. The Dispute between Phoebus and Pan BWV202 – Weichet nur, betrübte Schatten BWV203 – Amore traditore BWV204 – Ich bin in mir vergnügt a. k. a. On Contentedness BWV205 – Zerreißet, zersprenget, zertrümmert die Gruft a. k. a. k. a. k. a, coffee Cantata BWV212 – Mer hahn en neue Oberkeet a. k. a. Peasant Cantata BWV213 – Laßt uns sorgen, laßt uns wachen a. k. a, hercules at the Crossroads BWV214 – Tönet, ihr Pauken
19.
Conducting
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Conducting is the art of directing a musical performance, such as an orchestral or choral concert. A conductors directions will almost invariably be supplemented or reinforced by verbal instructions or suggestions to their musicians in rehearsal prior to a performance. The conductor typically stands on a podium with a large music stand for the full score. Conducting while playing a piano or synthesizer may also be done with musical theatre pit orchestras, communication is typically non-verbal during a performance. However, in rehearsals, frequent interruptions allow the conductor to give verbal directions as to how the music should be played or sung, Conductors act as guides to the orchestras or choirs they conduct. They choose the works to be performed and study their scores, to which they may make adjustments, work out their interpretation. They may also attend to matters, such as scheduling rehearsals, planning a concert season, hearing auditions and selecting members. Orchestras, choirs, concert bands and other musical ensembles such as big bands are usually led by conductors. The principal conductor of an orchestra or opera company is referred to as a music director or chief conductor, or by the German words Kapellmeister or Dirigent. Conductors of choirs or choruses are sometimes referred to as director, chorus master, or choirmaster. Conductors of concert bands, military bands, marching bands and other bands may hold the title of director, bandmaster. Respected senior conductors are sometimes referred to by the Italian word, an early form of conducting is cheironomy, the use of hand gestures to indicate melodic shape. This has been practiced at least as far back as the Middle Ages, in the 17th century, other devices to indicate the passing of time came into use. Rolled up sheets of paper, smaller sticks and unadorned hands are all shown in pictures from this period, the large staff was responsible for the death of Jean-Baptiste Lully, who injured his foot with one while conducting a Te Deum for the Kings recovery from illness. The wound became gangrenous and Lully refused amputation, whereupon the gangrene spread to his leg, in instrumental music throughout the 18th century, a member of the ensemble usually acted as the conductor. This was sometimes the concertmaster, who could use his bow as a baton and it was common to conduct from the harpsichord in pieces that had a basso continuo part. In opera performances, there were sometimes two conductors – the keyboard player was in charge of the singers, and the principal violinist or leader was in charge of the orchestra. By the early 19th century, it became the norm to have a dedicated conductor, the size of the usual orchestra expanded during this period, and the use of a baton became more common, as it was easier to see than bare hands or rolled-up paper
20.
Anacrusis
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In poetry and music, and by analogy in other fields, an anacrusis is a brief introduction. In poetry, a set of extrametrical syllables at the beginning of a verse is said to stand in anacrusis. The technique is seen Old English poetry, and in lines of iambic pentameter, in music, an anacrusis is a note or sequence of notes which precedes the first downbeat in a bar in a musical phrase. The musical term is inferred from the terminology of poetry, where it refers to one or more first, the anacrusis is a perceived grouping which is context generated in the individual phrasing of a concrete composition. The grouping of one or more antecedent tone events to a perceived phrase gestalt may be evoked by their temporal proximity to the phrases first downbeat. An anacrusis may also be evoked solely metrically, i. e. tonally, although the anacrusis is integrated in a musical phrase gestalt, it is not located in the perceived body of the phrase, but before the phrase. If anacrusis is present, the first bar after the anacrusis is assigned bar number 1, in the song Happy Birthday to You, the anacrusis forms the Happy and the accent is on the first syllable of Birthday. In academic publishing, the term is used in an article to mark an introductory idea standing between the abstract and the introduction proper
21.
Poetry
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Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient attempts to define poetry, such as Aristotles Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on such as repetition, verse form and rhyme. From the mid-20th century, poetry has sometimes been more generally regarded as a creative act employing language. Poetry uses forms and conventions to suggest differential interpretation to words, devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony and other elements of poetic diction often leaves a poem open to multiple interpretations. Similarly figures of such as metaphor, simile and metonymy create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between verses, in their patterns of rhyme or rhythm. Some poetry types are specific to cultures and genres and respond to characteristics of the language in which the poet writes. Much modern poetry reflects a critique of poetic tradition, playing with and testing, among other things, in todays increasingly globalized world, poets often adapt forms, styles and techniques from diverse cultures and languages. Some scholars believe that the art of poetry may predate literacy, others, however, suggest that poetry did not necessarily predate writing. The oldest surviving poem, the Epic of Gilgamesh, comes from the 3rd millennium BCE in Sumer. An example of Egyptian epic poetry is The Story of Sinuhe, other forms of poetry developed directly from folk songs. The earliest entries in the oldest extant collection of Chinese poetry, the efforts of ancient thinkers to determine what makes poetry distinctive as a form, and what distinguishes good poetry from bad, resulted in poetics—the study of the aesthetics of poetry. Some ancient societies, such as Chinas through her Shijing, developed canons of poetic works that had ritual as well as aesthetic importance, Classical thinkers employed classification as a way to define and assess the quality of poetry. Later aestheticians identified three major genres, epic poetry, lyric poetry, and dramatic poetry, treating comedy and tragedy as subgenres of dramatic poetry, Aristotles work was influential throughout the Middle East during the Islamic Golden Age, as well as in Europe during the Renaissance. English Romantic poet John Keats termed this escape from logic Negative Capability and this romantic approach views form as a key element of successful poetry because form is abstract and distinct from the underlying notional logic
22.
Syllable
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A syllable is a unit of organization for a sequence of speech sounds. For example, the water is composed of two syllables, wa and ter. A syllable is typically made up of a nucleus with optional initial and final margins. Syllables are often considered the building blocks of words. They can influence the rhythm of a language, its prosody, its poetic meter, syllabic writing began several hundred years before the first letters. The earliest recorded syllables are on tablets written around 2800 BC in the Sumerian city of Ur and this shift from pictograms to syllables has been called the most important advance in the history of writing. A word that consists of a syllable is called a monosyllable. Syllable is an Anglo-Norman variation of Old French sillabe, from Latin syllaba, συλλαβή means what is taken together, referring to letters that are taken together to make a single sound. συλλαβή is a noun from the verb συλλαμβάνω syllambánō, a compound of the preposition σύν sýn with. The noun uses the root λαβ-, which appears in the aorist tense, the present tense stem λαμβάν- is formed by adding a nasal infix ⟨μ⟩ ⟨m⟩ before the β b and a suffix -αν -an at the end. In the International Phonetic Alphabet, the period ⟨. ⟩ marks syllable breaks, in practice, however, IPA transcription is typically divided into words by spaces, and often these spaces are also understood to be syllable breaks. When a word comes in the middle of a syllable. The liaison tie is used to join lexical words into phonological words. In the typical theory of structure, the general structure of a syllable consists of three segments. e. Nucleus and coda are grouped together as a rime and onset are only distinguished at the second level, the nucleus is usually the vowel in the middle of a syllable. The onset is the sound or sounds occurring before the nucleus, and they are sometimes collectively known as the shell. The term rime covers the nucleus plus coda, in the one-syllable English word cat, the nucleus is a, the onset c, the coda t, and the rime at. This syllable can be abstracted as a consonant-vowel-consonant syllable, abbreviated CVC, languages vary greatly in the restrictions on the sounds making up the onset, nucleus and coda of a syllable, according to what is termed a languages phonotactics
23.
Ska stroke
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The ska stroke or ska upstroke, skank or bang, is a guitar strumming technique that is used mostly in the performance of ska, rocksteady, and reggae music. Reggae is most easily recognized by. the skank, Ska strokes serve as a rhythmic base to a song, and may be doubled by the drums. This style of playing has an associated with it, the skank. In reggae, the guitar plays a short, percussive, scratchy chop sound, on beats 2 and 4. Play Ska strokes create a rhythm, going up then down in pitch. Played in 44 time, the guitar chord is played on the downbeat. However most traditional ska is focused on the upbeat, playing on the downbeat is more associated with reggae. Chop chord Mento One drop rhythm Basic Ska Strokes
24.
Strum
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In music, strumming is a way of playing a stringed instrument such as a guitar. A strum or stroke is an action where a fingernail or plectrum brushes past several strings in order to set them all into motion. Strums are executed by the dominant hand, while the hand holds down notes on the fretboard. Strums are contrasted with plucking, as a means of activating strings into vibration, because in plucking. A hand-held pick or plectrum can only be used to pluck one string at a time, plucking multiple strings simultaneously requires a fingerstyle or fingerpick technique. A strumming pattern or strum is a pattern used by a rhythm guitar. Compare with pattern picking, strumming patterns may be indicated through notation, tablature, up and down arrows, a simple eight-to-a-bar rhythm is known as straight eights as opposed swung eights, in which each pair are played as the first and third notes in a triplet. The fretting hand can also be lifted off the fretboard to damp a chord, creating staccato, in reggae and ska, a few staccato chops are played per bar. In funk rhythm playing, the strumming hand keeps a steady motion in 16th notes, while the left hand. Some of the many possible fingerstyle strums include A slow downstroke with the thumb and this is a sforzando or emphatic way of playing a chord. Light brushing strokes with the fingers moving together at an angle to the strings. Works equally in either direction and can be alternated for a chord tremolo chord effect, upstrokes with one finger make a change from the standard downstroke strum. A pinch with the thumb and fingers moving towards each other gives a crisp effect and it is helpful to clearly articulate the topmost and bass note in the chord, as if plucking, before following through. Rasgueado, Strumming typically done by bunching all the right hand fingers, the rasgueado or rolling strum is particularly characteristic of flamenco. Turning p-a-m-i tremolo plucking into a series of downstrokes and this is a lighter version of the classic rasgueado, which uses upstrokes
25.
Accent (music)
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In music, an accent is an emphasis, stress, or stronger attack placed on a particular note or set of notes, or chord, either as a result of its context or specifically indicated by an accent mark. Accents contribute to the articulation and prosody of a performance of a musical phrase, accents may be written into a score or part by a composer or added by the performer as part of his or her interpretation of a musical piece. Compared to surrounding notes, A dynamic accent or stress accent is an emphasis using louder sound or a stronger articulation, a tonic accent is an emphasis on notes by virtue of being higher in pitch as opposed to higher in volume. An agogic accent is an emphasis by virtue of being longer in duration, accents which do not correspond to the stressed beats of the prevailing meter are said to be syncopated. For example, in time, also called 4/4, the most common metre in popular music. If chords or notes are played on two or four, this creates syncopation, as the music is emphasizing the weak beats of the bar. Syncopation is used in Classical music, popular music and traditional music, however, it is more prominent in blues, jazz, funk, disco and Latin music. There are four kinds of accents, Longer notated duration of a note, for example. Extended duration of a note within its full-time value, for example, players of organ and harpsichord can emphasize one of a sequence of staccato quarter notes by making it less staccato. Extended duration of a note with the effect of slowing down the tempo. Delayed onset of a note, for example by doing a pause before starting a note, in music notation, an accent mark indicates a louder dynamic and a stronger attack to apply to a single note or an articulation mark. The most common is the accent, the fourth symbol in the diagram above. The vertical accent, third in the diagram, may be stronger or weaker than the horizontal accent, in most musical works this type of accent is meant to be played more forcefully and usually shorter. The remaining marks typically shorten a note, staccato, the first symbol shown above, indicates that the last part of a note should be silenced to create separation between it and the following note. For example, a quarter note should be played as an eighth note followed by an eighth rest. The duration of a note may be about half as long as the note value would indicate, although the tempo. In jazz articulation, it is stated as dit, the staccatissimo, shown second, is usually interpreted as shorter than the staccato, but composers up to the time of Mozart used these symbols interchangeably. A staccatissimo crotchet would be played in traditional art music as a lightly articulated semi-quaver followed by rests which fill the remainder of the beat
26.
Syncopation
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In music, syncopation involves a variety of rhythms which are in some way unexpected which make part or all of a tune or piece of music off-beat. More simply, syncopation is a term for a disturbance or interruption of the regular flow of rhythm. The correlation of at least two sets of time intervals, also known as an Uneven movement from bar to bar. Syncopation is used in musical styles, especially dance music--All dance music makes use of syncopation. In the form of a beat, syncopation is used in virtually all contemporary popular music. The latter frequently occurs in tonal cadences in 18th and early 19th century music and is the conclusion of any section. A hemiola can also be seen as one measure in 3 with one long chord and one short chord. Usually, the last chord in a hemiola is a dominant, technically, syncopation occurs when a temporary displacement of the regular metrical accent occurs, causing the emphasis to shift from a strong accent to a weak accent. Syncopation is, however, very simply, a disruption of the two- or three-beat stress pattern, most often by stressing an off-beat. In the following example, there are two points of syncopation where the beats are carried over from the second beats rather than missed. In the same way, the first beat of the bar is carried over from the fourth beat of the first bar. Play Though syncopation may be complex, dense or complex looking rhythms often contain no syncopation. For example, in meters with even numbers of beats, the stress falls on the odd-numbered beats. If the even-numbered beats are stressed instead, the rhythm is syncopated, accordingly, the former implies duple meter while the latter implies quadruple meter. In general emphasizing the and would be considered the off-beat, anticipated bass is a bass tone that comes syncopated shortly before the downbeat, which is used in Son montuno Cuban dance music. Timing can vary, but it falls on the 2+ as well as the 4 of the 44 time, thus anticipating the third. This pattern is known as the Afro-Cuban bass tumbao. Richard Middleton suggests adding the concept of transformation to Narmours prosodic rules which create rhythmic successions in order to explain or generate syncopations, the syncopated pattern is heard with reference to, in light of, as a remapping of, its partner
27.
Polyrhythm
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Polyrhythm is the simultaneous use of two or more conflicting rhythms, that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic conflict may be the basis of a piece of music. In some European art music, polyrhythm periodically contradicts the prevailing meter, for example, polyrhythm is heard near the opening of Beethovens Third Symphony. It is a common feature of the music of Brahms. Writing about the Violin Sonata in G major, Op and these ideas gather at the climax at measure 235, with the layering of phrases making an effect that perhaps during the 19th century only Brahms could have conceived. The illusion of simultaneous 34 and 68, suggests polymeter, triple meter combined with compound duple meter, however, the two beat schemes interact within a metric hierarchy. The triple beats are primary and the beats are secondary. The four-note ostinato pattern of Mykola Leontovychs Carol of the Bells is the composite of the two-against-three hemiola, another example of polyrhythm can be found in measures 64 and 65 of the first movement of Wolfgang Amadeus Mozarts Twelfth Piano Sonata. Three evenly spaced sets of three attack-points span two measures, the physical basis of cross-rhythms can be described in terms of interference of different periodicities. A simple example of a cross-rhythm is 3 evenly spaced notes against 2, other cross-rhythms are 4,3,5,2,5,3,5,4, etc. All these interval ratios are found in the harmonic series, in traditional European rhythms, the most fundamental parts typically emphasize the primary beats. By contrast, in rhythms of sub-Saharan African origin, the most fundamental parts typically emphasize the secondary beats and this often causes the uninitiated ear to misinterpret the secondary beats as the primary beats, and to hear the true primary beats as cross-beats. In other words, the background and foreground may mistakenly be heard. In Non-Saharan African music traditions, cross-rhythm is the generating principle, cross-rhythm was first explained as the basis of non-Saharan rhythm in lectures by C. K. Ladzekpo and the writings of David Locke, from the philosophical perspective of the African musician, cross-beats can symbolize the challenging moments or emotional stress we all encounter. Playing cross-beats while fully grounded in the beats, prepares one for maintaining a life-purpose while dealing with lifes challenges. Many non-Saharan languages do not have a word for rhythm, or even music, from the African viewpoint, the rhythms represent the very fabric of life itself, they are an embodiment of the people, symbolizing interdependence in human relationships—Peñalosa. At the center of a core of rhythmic traditions within which the composer conveys his ideas is the technique of cross-rhythm, the technique of cross-rhythm is a simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter
28.
Ska
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Ska is a music genre that originated in Jamaica in the late 1950s and was the precursor to rocksteady and reggae. Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and it is characterized by a walking bass line accented with rhythms on the off-beat. Ska developed in Jamaica in the 1960s when Prince Buster, Clement Coxsone Dodd, some suggest ska dates to earlier times, however. In the early 1960s, ska was the dominant music genre of Jamaica and was popular with British mods, later it became popular with many skinheads. There are multiple theories about the origins of the word ska, ernest Ranglin claimed that the term was coined by musicians to refer to the skat. skat. skat. Ranglin asserted that the difference between R&B and ska beats is that the former goes chink-ka and the latter goes ka-chink, a further theory is that it derives from Johnsons word skavoovie, with which he was known to greet his friends. Jackie Mittoo insisted that the called the rhythm Staya Staya. Dominos rhythm, accentuating the offbeat as in the song Be My Guest, was a particular influence, to meet the demand for that music, entrepreneurs such as Prince Buster, Coxsone Dodd, and Duke Reid formed sound systems. Drums kept 4/4 time and the drum was accented on the third beat of each 4-triplet phrase. The snare would play side stick and accent the third beat of each 4-triplet phrase, the upstroke sound can also be found in other Caribbean forms of music, such as mento and calypso. One theory about the origin of ska is that Prince Buster created it during the recording session for his new record label Wild Bells. The session was financed by Duke Reid, who was supposed to get half of the songs to release, the guitar began emphasizing the second and fourth beats in the bar, giving rise to the new sound. The drums were taken from traditional Jamaican drumming and marching styles, to create the ska beat, Prince Buster essentially flipped the R&B shuffle beat, stressing the offbeats with the help of the guitar. The first ska recordings were created at facilities such as Studio One and WIRL Records in Kingston, Jamaica with producers such as Dodd, Reid, Prince Buster, and Edward Seaga. Until Jamaica ratified the Berne Convention for the Protection of Literary and Artistic Works and this created a large number of cover songs and reinterpretations. One such cover was Millie Smalls version of the R&B/shuffle tune, Smalls rhythmically similar version, released in 1964, was Jamaicas first commercially successful international hit. With over seven million copies sold, it one of the best selling reggae/ska songs of all time. The Wailers covered The Beatles And I Love Her, and radically reinterpreted Bob Dylans Like a Rolling Stone and they also created their own versions of Latin-influenced music from artists such as Mongo Santamaria
29.
Chuck Berry
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Charles Edward Anderson Chuck Berry was an American guitarist, singer and songwriter and one of the pioneers of rock and roll music. With songs such as Maybellene, Roll Over Beethoven, Rock and Roll Music, Goode, Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive. Writing lyrics that focused on teen life and consumerism, and developing a style that included guitar solos and showmanship. Born into a middle-class African-American family in St. Louis, Missouri, Berry had an interest in music from an early age, while still a high school student he was convicted of armed robbery and was sent to a reformatory, where he was held from 1944 to 1947. After his release, Berry settled into married life and worked at an assembly plant. By early 1953, influenced by the guitar riffs and showmanship techniques of the blues musician T-Bone Walker and his break came when he traveled to Chicago in May 1955 and met Muddy Waters, who suggested he contact Leonard Chess, of Chess Records. With Chess, he recorded Maybellene—Berrys adaptation of the country song Ida Red—which sold over a million copies, reaching number one on Billboard magazines rhythm and blues chart. By the end of the 1950s, Berry was a star, with several hit records and film appearances. He had also established his own St. Louis nightclub, Berrys Club Bandstand, but in January 1962, he was sentenced to three years in prison for offenses under the Mann Act—he had transported a 14-year-old girl across state lines. After his release in 1963, Berry had several hits, including No Particular Place to Go, You Never Can Tell. His insistence on being paid in cash led in 1979 to a jail sentence and community service. Berry is included in several of Rolling Stone magazines greatest of all time lists, the Rock and Roll Hall of Fames 500 Songs That Shaped Rock and Roll includes three of Berrys, Johnny B. Goode, Maybellene, and Rock and Roll Music, Berrys Johnny B. Goode is the only rock-and-roll song included on the Voyager Golden Record. Born in St. Louis, Missouri, Berry was the child in a family of six. He grew up in the north St. Louis neighborhood known as the Ville and his father, Henry William Berry, was a contractor and deacon of a nearby Baptist church, his mother, Martha Bell, was a certified public school principal. His upbringing allowed him to pursue his interest in music from an early age, Berrys account in his autobiography is that his car broke down and he flagged down a passing car and stole it at gunpoint with a nonfunctional pistol. He was convicted and sent to the Intermediate Reformatory for Young Men at Algoa, near Jefferson City, Missouri, the singing group became competent enough that the authorities allowed it to perform outside the detention facility. Berry was released from the reformatory on his 21st birthday in 1947, on October 28,1948, Berry married Themetta Toddy Suggs, who gave birth to Darlin Ingrid Berry on October 3,1950
30.
Rock and Roll Music
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Rock and Roll Music is a 1957 hit single written and recorded by rock and roll star Chuck Berry. The song has been covered and is recognized as one of Berrys most popular. In the fall of 1957, his recording reached number 6 on Billboard magazines R&B Singles chart, Berry performed it on December 16,1957, on ABCs short-lived variety program The Guy Mitchell Show. In 2004, Rolling Stone magazine ranked Berrys version number 128 on its list of the 500 Greatest Songs of All Time, the song is also included in the Rock and Roll Hall of Fames 500 Songs That Shaped Rock and Roll. The sessions for Rock and Roll Music took place on either May 6 or May 21,1957, in Chicago, the session was produced by Leonard Chess and Phil Chess. Backing Berry were Lafayette Leake, Willie Dixon, and Fred Below, sometime after the single was released in September 1957, Rock and Roll Music reached #6 on Billboard magazines R&B Singles chart and #8 on the Billboard Top 100 chart before the years end. Side one Rock and Roll Music Side two Blue Feeling Side one Rock and Roll Music Blue Feeling Side two Oh Baby Doll La Jaunda Side one Rock and Roll Music Side two Johnny B. Among these was a version of Berrys tune that eventually became as known as the original. The lead vocal in The Beatles version was performed by John Lennon, in contrast to Berrys even-toned rendition, Lennon sang it as loudly and dynamically as his voice would permit. In the United States, it was released on the LP and it also served as the title song to The Beatles 1976 compilation album, Rock n Roll Music. The Beatles version of Rock and Roll Music was released as a single in some countries, and topped the charts in Finland, Norway, the Netherlands and Australia. The original Beatles for Sale liner notes, by Derek Taylor, said that George Martin joins John and Paul on one piano, the Beach Boys version is notable for the use of backing vocals which repeat the phrase Rock, roll, rockin and roll. There is a difference between the LP version and the version in that the LP version has more synthesizer. Their version reached number 5 on the US chart and number 11 in Canada during the summer of 1976, kelson, Jr. saxophone, clarinet Carol Lee Miller, autoharp Jack Nimitz, saxophone, clarinet Lyrics of this song at MetroLyrics
31.
Good Rocking Tonight
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Good Rocking Tonight was originally a jump blues song released in 1947 by its writer, Roy Brown and was covered by many other recording artists. The song includes the refrain, Well I heard the news. The song anticipated elements of rock and roll music, Brown had first offered his song to Wynonie Harris, who turned it down. He then approached Cecil Gant later that night, but after hearing Brown sing, Gant made a 2,30 AM phone call to Jules Braun, after Roy Brown sang his song over the phone, Braun asked Brown to sing it a second time. He then told Gant, Give him fifty dollars and dont let him out of your sight, five weeks later, Brown recorded the song for DeLuxe Records. Only after Browns record had gained traction in New Orleans did Harris decide to cover it, harriss version was even more energetic than Browns original version, featuring black gospel style handclapping. This may have contributed to the greater success on the national R&B chart. Browns original recording hit #13 of the Billboard R&B chart, but Harris record became a #1 R&B hit, Browns single would re-enter the chart in 1949, peaking at #11. Harris had a reputation for carousing, and sometimes forgot lyrics, the song is a primer of sorts on the popular black music of the era, making lyrical reference to Sweet Lorraine, Sioux City Sue, Sweet Georgia Brown, Caldonia, Elder Brown, and Deacon Jones. All of these characters had figured prominently in previous hit songs, while Brown missed out on the biggest hit version of his song, its success kicked off his own career, which included two #1 R&B hits. In 1949, he released Rockin at Midnight, a sequel to Good Rockin Tonight and it reached #2 on the R&B chart, where it remained for a month. In 1954, Good Rockin Tonight was the second Sun Records release by Elvis Presley, along with I Dont Care if the Sun Dont Shine on the flip side. Presley and his bandmates hewed closer to the original Roy Brown version, described as a flat-out rocker country radio programmers blanched, and older audiences were somewhat mystified. A live show broadcast from Houston DJ Bill Collies club documented that the crowd responded to the song. Blue Moon of Kentucky, the version of the Bill Monroe classic, has the fans go stark raving nuts with joy. Both sides of this second record featuring Elvis Presley, Scotty, the song was used for the biopic Elvis, which starred Jonathan Rhys-Meyers as Presley, it was used for a montage sequence where he is performing at the Louisiana Hayride in 1954. Carl Perkins in 1958 on his album Whole Lotta Shakin, link Wray in 1965 under the name Good Rockin Tonight. Paul McCartney recorded the song for the Unplugged album, montrose recorded the song for their 1973 self-titled debut album
32.
Wynonie Harris
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Wynonie Harris, born in Omaha, Nebraska, was an American blues shouter and rhythm-and-blues singer of upbeat songs, featuring humorous, often ribald lyrics. He had fifteen Top 10 hits between 1946 and 1952, Harris is generally considered one of the forerunners of rock and roll. He influenced Elvis Presley, among others and his dirty blues repertoire included Lolly Pop Mama, I Like My Babys Pudding, Sittin on It All the Time, Keep on Churnin, and Wasnt That Good. Harriss mother, Mallie Hood Anderson, was fifteen and unmarried at the time of his birth and his wife, Olive E. Goodlow, and daughter Patricia Vest said that his father was a Native American named Blue Jay. Wynonie had no father figure in his family until 1920, when his mother married Luther Harris, in 1931, at age 16, Harris dropped out of high school in North Omaha. The following year his first child, a daughter, Micky, was born to Naomi Henderson, ten months later, his son Wesley was born to Laura Devereaux. Both children were raised by their mothers, Wesley became a singer in the Five Echoes and in the Sultans. Later he became a singer and guitarist in Preston Loves band, eventually, Wesleys grandson, Jourdan Devereaux, under the pseudonym L Oquence began a music career as a hip-hop artist. In 1935 Harris, age 20, started dating 16-year-old Olive E. Goodlow, of Council Bluffs, Iowa, on May 20,1936, Ollie gave birth to a daughter, Adrianne Patricia. Harris and Ollie were married on December 11,1936, later they lived in the Logan Fontenelle projects in North Omaha. Ollie worked as a barmaid and nurse, Harris sang in clubs and his mother was Patties main caretaker. In 1940, Wynonie and Ollie Harris moved to Los Angeles, California, Harris formed a dance team with Velda Shannon in the early 1930s. They performed in North Omahas flourishing entertainment community, and by 1934 they were an attraction at the Ritz Theatre. In 1935 Harris, having became a celebrity in Omaha, was able to earn a living as an entertainer, while performing at Jim Bells Club Harlem nightclub with Shannon, he began to sing the blues. He began traveling frequently to Kansas City, where he paid attention to blues shouters, including Jimmy Rushing. His break in Los Angeles was at a nightclub owned by Curtis Mosby and it was here that Harris became known as Mr. Blues. During the 1942–44 musicians strike, Harris was unable to pursue a recording career, instead, he relied on personal appearances. Performing almost continuously, in late 1943 he appeared at the Rhumboogie Club in Chicago, Harris was spotted by Lucky Millinder, who asked him to join his band on tour
33.
Earl Palmer
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Earl Cyril Palmer was an American rock-and-roll and rhythm-and-blues drummer. He is a member of the Rock and Roll Hall of Fame, Palmer played on many recordings, including Little Richards first several albums and many other well-known rock-and-roll records. According to one obituary, his list of credits read like a Whos Who of American popular music of the last 60 years and his father is thought to have been the local pianist and bandleader Walter Fats Pichon. Palmer served in the United States Army during World War II and was posted in the European theatre and his biographer wrote, Most Negro recruits were assigned to noncombatant service troops, work gangs in uniform. They didnt want no niggers carrying guns, says Earl, they carried shovels, earls job, loading and handling ammunition, was relatively technical, but his duty was clear, to serve white infantrymen. After the war ended Palmer studied piano and percussion at the Gruenwald School of Music in New Orleans and he started drumming with the Dave Bartholomew Band in the late 1940s. His playing on The Fat Man featured the backbeat that has come to be the most important element in rock, Palmer said, That song required a strong afterbeat throughout the whole piece. With Dixieland you had a strong afterbeat only after you got to the shout last chorus…It was sort of a new approach to rhythm music. Reportedly, he was the first to use the word funky, to explain to other musicians that their music should be made more syncopated, Palmer left New Orleans for Hollywood in 1957, initially working for Aladdin Records. He soon started working with the Wrecking Crew, a group of session musicians who recorded nonstop during their heyday from 1962 to 1968. The musicians union tracked Palmer playing on 450 dates in 1967 alone, for more than 30 years he played drums on the soundtracks of many movies and television shows. He also played in sessions with David Axelrod, Dizzy Gillespie, Earl Bostic, Onzy Matthews, and Count Basie. Palmer played drums in a session with the West Coast folk singer-songwriter Jim Sullivan around 1969 or 1970. The album was released twice with different audio mixes, on the Monnie Records album, U. F. O. Palmers drumming can be heard, but on the Century City Record, Jim Sullivan. He remained in demand as a drummer throughout the 1970s and 1980s, playing on recordings for albums by Randy Newman, Tom Waits, Bonnie Raitt, Tim Buckley, Little Feat, in 1982, Palmer was elected treasurer of the Local 47 of the American Federation of Musicians. He served until he was defeated in 1984, a biography, Backbeat, Earl Palmers Story, by Tony Scherman, was published in 1999. In later years, Palmer played with a trio in Los Angeles
34.
Fats Domino
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Antoine Fats Domino, Jr. is an American pianist and singer-songwriter of French Creole descent. Five of his records released before 1955 sold over a million copies and were certified as gold records and his musical style is based on traditional rhythm and blues, accompanied by saxophones, bass, piano, electric guitar, and drums. Domino was born and raised in New Orleans, Louisiana, the Domino family was of French Creole background. Louisiana Creole French was his first language, antoine was born at home with the assistance of his grandmother, a midwife. His name was given as Anthony on his birth certificate but was later corrected. His family were new arrivals in the Lower Ninth Ward from Vacherie and his father was a well-known violinist. Domino learned to play the piano from his brother-in-law, the jazz guitarist Harrison Verrett, even after his success, he continued to live in his old neighborhood. His large home was enough for his 13 children. In the summer of 1947, Billy Diamond, a New Orleans bandleader, Domino played well enough that Diamond asked him to join his band, the Solid Senders, at the Hideaway Club, in New Orleans. Diamond nicknamed him Fats, because Domino reminded him of the renowned pianists Fats Waller, the Fat Man sold one million copies by 1953, it is widely considered the first rock-and-roll record to achieve this feat. Other notable and long-standing musicians in Dominos band were the saxophonists Reggie Houston, Lee Allen, Domino crossed into the pop mainstream with Aint That a Shame, which reached the Top Ten. Pat Boones milder cover version reached number 1, having received wider radio airplay in a racially segregated era, Domino eventually had 37 Top 40 singles. The reissue reached number 17 on the Billboard Pop Albums chart and his 1956 recording of Blueberry Hill, a 1940 song by Vincent Rose, Al Lewis and Larry Stock, reached number 2 in the Top 40 and was number 1 on the R&B chart for 11 weeks. Blueberry Hill sold more than 5 million copies worldwide in 1956 and 1957. Domino had further hit singles between 1956 and 1959, including When My Dreamboat Comes Home, Im Walkin, Valley of Tears, Its You I Love, Whole Lotta Loving, I Want to Walk You Home, and Be My Guest. Domino appeared in two films released in 1956, Shake, Rattle & Rock. and The Girl Cant Help It, on December 18,1957, his hit recording of The Big Beat was featured on Dick Clarks television program, American Bandstand. On November 2,1956, a riot broke out at Dominos show in Fayetteville, the police resorted to using tear gas to break up the unruly crowd. Domino jumped out a window to avoid the melee, he, Domino had a steady series of hits for Imperial through early 1962, including Walking to New Orleans, co-written by Bobby Charles, and My Girl Josephine in the same year
35.
Dixieland
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Dixieland, sometimes referred to as hot jazz or traditional jazz, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century. The first use of the term Dixieland with reference to music was in the name of the Original Dixieland Jazz Band, at that time, there was no issue of subgenres of jazz, so Dixieland referred to the band and not the music. That reflected the fact that all of the recorded repertoire of New Orleans musicians was from the period when the format was already evolving beyond the traditional New Orleans format. Dixieland may in that sense be regarded as denoting the jazz movement of the 1940s and 1950s as much as any particular subgenre of jazz. The essential elements that were accepted as within the style were the front lines consisting of trumpets, trombones, and clarinets. The Jim Crow associations of the name Dixieland also did little to attract younger coloured musicians to the revival, well-known jazz standard tunes such as Basin Street Blues and When the Saints Go Marching In are known even to non-jazz fans thanks to the enduring popularity of traditional jazz. The Vietnam-era protest song Feel Like Im Fixin to Die Rag is based on tonal centers, Traditional jazz is a major tourist attraction for New Orleans to the present day. It has been an influence on the styles of modern players such as Charles Mingus. New Orleans music combined earlier brass band marches, French quadrilles, biguine, ragtime, the Dixieland sound is created when one instrument plays the melody or a variation on it, and the other instruments improvise around that melody. This creates a more sound than the heavily arranged big band sound of the 1930s or the straight melodies of bebop in the 1940s. The West Coast revival began in the late 1930s in San Francisco which used banjo, the Dutch old-style jazz was played with trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including a washboard. Dixieland is the given to early jazz by traditional jazz revivalists. The name is a reference to the Old South, specifically anything south of the Mason-Dixon line, the term encompasses earlier brass band marches, French Quadrilles, biguine, ragtime, and blues with collective, polyphonic improvisation. Louis Armstrongs All-Stars was the band most popularly identified with Dixieland during the 1940s and this creates a more polyphonic sound than the arranged ensemble playing of the big band sound or the straight head melodies of bebop. During the 1930s and 1940s, the earlier group-improvisation style fell out of favor with the majority of black players. Though younger musicians developed new forms, many beboppers revered Armstrong, many Dixieland groups of the revival era consciously imitated the recordings and bands of decades earlier. Other musicians continued to create innovative performances and new tunes, for example, in the 1950s a style called Progressive Dixieland sought to blend polyphonic improvisation with bebop-style rhythm. Spike Jones & His New Band and Steve Lacy played with such bands and this style is sometimes called Dixie-bop
36.
Urban contemporary gospel
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Musically, it follows the trends in secular urban contemporary music. Urban/contemporary gospel is a recent subgenre of gospel music, Christian hip hop is a subtype of urban/contemporary gospel music. Although the style developed gradually, early forms are generally dated to the 1970s, the radio format is pitched primarily to African-American young adults. Protestant hymns and African-American spirituals make up the source material for traditional black gospel music. Urban/contemporary gospel has kept the focus of the traditional black gospel music. Urban/contemporary gospel derives primarily from traditional black music, with strong influence from. Due to strong racial divisions in 20th century American culture, urban/contemporary gospel developed specifically out of the African-American musical traditions, the equivalent music from white American culture is contemporary Christian music. Although the racial lines have blurred in some areas, particularly with urban musical styles, during the 1970s, hit songs like Edwin Hawkinss Oh Happy Day and Andrae Crouchs Take Me Back were significant milestones in the development of urban/contemporary gospel music. Andrae Crouch is called the godfather of contemporary gospel, artists in the urban/contemporary styles have taken a variety of approaches to address these concerns from their fan bases. Artists in this genre are expected to convey a committed Protestant Christian religious viewpoint, the secular version of this music is urban contemporary music, which is musically indistinguishable, but which takes non-religious subjects for its lyrical content. Urban/contemporary gospel music is characterized by dominant vocals, usually performed by a soloist, common instruments include drums, electric guitar, bass guitar, and keyboards. The lyrics very often have an explicitly Christian nature, although inspirational songs feature lyrics that can be construed as secular in meaning. For example, a song about a love for his son may be interpreted as God the Fathers love for God the Son. This lyrical ambiguity echoes the double-voicedness of 19th century spirituals, common themes include hope, deliverance, love, and healing. In comparison with hymns, which are generally of a statelier measure, gospel songs are expected to have a refrain. Compared to modern praise and worship music, urban/contemporary gospel typically has a faster tempo, like traditional black gospel music, the performers emotional connection to the audience and the lyrical content of the song is valued highly. The genre includes Christian hip hop, which has lyrics with Christian ideals, perhaps the most significant musical influences on urban/contemporary gospel are hip hop and R&B. Like contemporary gospel, R&B developed from black gospel music
37.
Tambourine
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The tambourine is a musical instrument in the percussion family consisting of a frame, often of wood or plastic, with pairs of small metal jingles, called zils. Classically the term denotes an instrument with a drumhead, though some variants may not have a head at all. Tambourines are often used with regular percussion sets and they can be mounted, for example on a stand as part of a drum kit, or they can be held in the hands and played by tapping or hitting the instrument. Tambourines come in shapes with the most common being circular. It is found in forms of music, Turkish folk music, Greek folk music, Italian folk music, classical music, Persian music, samba, gospel music, pop music. Tambourines originated in Egypt, where they were known as the kof to the Hebrews, from the Middle Persian word tambūr lute, drum. There are several ways to achieve a tambourine roll, the easiest method is to rapidly rotate the hand holding the tambourine back and forth, pivoting at the wrist. An advanced playing technique is known as the thumb roll, the finger or thumb is moved over the skin or rim of the tambourine, producing a fast roll from the jingles on the instrument. This takes more skill and experience to master, the thumb or middle finger of the hand not holding the tambourine is run around the head of the instrument approximately one centimeter from the rim with some pressure applied. If performed correctly, the thumb should bounce along the head rapidly, usually, the end of the roll is articulated using the heel of the hand or another finger. In the 2000s, the roll may be performed with the use of wax or resin applied to the outside of the drum head. This resin allows the thumb or finger to bounce more rapidly and forcefully across the head producing an even sound, a continuous roll can be achieved by moving the thumb in a figure of 8 pattern around the head. By drummers – Drummers such as Larry Mullen, Jr. of U2 mount a tambourine above the cymbals of their hi-hat stand, tambourines in rock music are most often headless, a ring with jangles but no drum skin. The Rhythm Tech crescent-shaped tambourine and its derivatives are popular, the original Rhythm Tech tambourine is displayed in the Museum of Modern Art. Jack Ashfords distinctive tambourine playing was a dominant part of the section on Motown records. The tambourine was featured in Green Tambourine, a song with which The Lemon Pipers. Wolfgang Amadeus Mozart was among the earliest western composers to include the tambourine in his compositions, gustav Holsts seven-movement orchestral suite The Planets also features the tambourine in several places throughout the suite, especially in the Jupiter movement. Originated in Galicia or Portugal, the pandeiro was brought to Brazil by the Portuguese settlers and it is a hand percussion instrument consisting of a single tension-headed drum with jingles in the frame
38.
Roll 'Em Pete
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Roll Em Pete is a rhythm and blues song, originally recorded in December 1938 by Big Joe Turner and pianist Pete Johnson. The recording is regarded as one of the most important precursors of what became known as rock. Johnson was a boogie-woogie pianist in Kansas City, who in the early 1930s had developed a partnership with Turner, Turner would shout blues rhymes to Johnsons music. In 1938, the pair were invited by music promoter and producer John Hammond to the first From Spirituals to Swing concert at Carnegie Hall in New York City. While in New York, Turner and Johnson had a session with the Vocalion record company, the song was an up-tempo boogie woogie which had become Johnsons signature tune in the Kansas City clubs. In performance, Turner often included many well-rehearsed blues verses, or improvised lyrics, larry Birnbaum wrote that. Roll Em Pete may well be regarded as the first rocknroll record. Although earlier songs contain elements of rocknroll, Roll Em Pete is a rocker in all. Johnsons bass line is a simple Chuck Berry-like chug, and his furious right hand embellishments anticipate Berrys entire guitar style, some of Turners verses are the stuff that rock is made of. But others are too mature for teenage listeners, if anything, Turners brilliant phrasing and Johnsons breathtaking keyboard technique are too sophisticated for rocknroll, the music has yet to be formularized for mass consumption. After Vocalion became a subsidiary of Columbia Records in 1938, the recording of Roll Em Pete was released in 1941 as part of a four-record compilation album entitled Boogie Woogie. Turner later recorded other versions, with various combinations of musicians, over the ensuing years, particularly in the 1950s when he became a star of rock
39.
Pete Johnson
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Pete Johnson was an American boogie-woogie and jazz pianist. Fellow journalist Scott Yanow added Johnson was one of the three great boogie-woogie pianists whose sudden prominence in the late 1930s helped make the very popular. Johnson was born in Kansas City, Missouri and he was raised by his mother after his father deserted the family. Things got so bad financially, Pete was placed in an orphanage when he was three and he became so homesick, however, that he ran away and returned living at home. By the age of 12, he sought out work to some of the financial burden at home. He worked various jobs, in a factory, a print shop and he dropped out of school in the fifth grade as a result of his efforts. Johnson began his career in 1922 as a drummer in Kansas City. He began piano about the time he was learning the drums. His early piano practices took place in a church, where he was working as a boy for a construction company. From 1926 to 1938 he worked as a pianist, often working with Big Joe Turner, an encounter with record producer John Hammond in 1936 led to an engagement at the Famous Door in New York City. In 1938 Johnson and Turner appeared in the From Spirituals to Swing concert at Carnegie Hall, after this show the popularity of the boogie-woogie style was on the upswing. Johnson worked locally and toured and recorded with Turner, Meade Lux Lewis, Lewis, Ammons, and Johnson appeared in the film short Boogie-Woogie Dream in 1941. The song Roll Em Pete, featuring Turner on vocals and Johnson on piano, was one of the first rock, another self-referential title was their Johnson and Turner Blues. In 1949, he wrote and recorded Rocket 88 Boogie, a two-sided instrumental. In the late 1940s, Johnson recorded a concept album, House Rent Party, in which he starts out playing alone, supposedly in a new empty house. Heard, and other Kansas City players, each has a solo single backed by Johnson, and then the whole group plays a jam session together. On this album Johnson shows his command of stride piano. At a nightclub in Niagara Falls, the piano was on a platform above the bar, in 1950 he moved to Buffalo
40.
Big Joe Turner
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Joseph Vernon Big Joe Turner, Jr. was an American blues shouter from Kansas City, Missouri. According to the songwriter Doc Pomus, Rock and roll would have never happened without him and his greatest fame was due to his rock-and-roll recordings in the 1950s, particularly Shake, Rattle and Roll, but his career as a performer endured from the 1920s into the 1980s. He was inducted into the Rock and Roll Hall of Fame in 1987, known as The Boss of the Blues and Big Joe Turner, Turner was born in Kansas City. His father was killed in an accident when Joe was four years old. He first discovered a love of music in his involvement at church and he began singing on street corners for money, quitting school at age fourteen to work in Kansas Citys nightclubs, first as a cook, and later as a singing bartender. The Sunset was managed by Piney Brown and it featured separate but equal facilities for caucasian patrons. Turner wrote Piney Brown Blues in his honor and sang it throughout his entire career. At that time Kansas City nightclubs were subject to frequent raids by the police, wed walk in, sign our names and walk right out. Then we would cabaret until morning and his partnership with Johnson proved fruitful. C. Eventually they were seen by the talent scout John H, in part because of their appearance at Carnegie Hall, Turner and Johnson had a major success with the song Roll Em Pete. The track was basically a collection of blues lyrics. It was a song that Turner recorded many times, with combinations of musicians. Besides Roll Em, Pete, Turners best-known recordings from this period are probably Cherry Red, I Want a Little Girl, Cherry Red was recorded in 1939 for the Vocalion label, with Hot Lips Page on trumpet and a full band in attendance. The next year Turner contracted with Decca and recorded Piney Brown Blues, in 1941, he went to Los Angeles and performed in Duke Ellingtons revue Jump for Joy in Hollywood. He appeared as a policeman in a comedy sketch called Hes on the Beat. Los Angeles was his home for a time, and during 1944 he worked in Meade Lux Lewiss Soundies musical movies and he sang on the soundtrack recordings but was not present for filming, and his vocals were mouthed by the comedian Dudley Dickerson for the camera. In 1945 Turner and Pete Johnson established their bar in Los Angeles and that same year he contracted with National Records company, and recorded under Herb Abramsons supervision. His first hit single was a cover of Saunders Kings S. K. Blues and he recorded the songs My Gals a Jockey and the risqué Around the Clock the same year, and the Aladdin company released Battle of the Blues, a duet with Wynonie Harris
41.
Harry James
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Harry Haag James was an American musician who is best known as a trumpet playing band leader who led a big band from 1939 to 1946. He broke up his band for a period in 1947. He was also an actor in a number of pictures that usually featured his bands in some way. Harry James was born in Albany, Georgia, the son of Myrtle Maybelle, an acrobat and horseback rider, and Everett Robert James, a bandleader in a traveling circus, the Mighty Haag Circus. By the age of 10 he was taking lessons from his father. Each day, James was given one page to learn from the Arbans book and was not allowed to any other pastime until he had learned that particular page. In 1931, his family settled in Beaumont, Texas and it was here, at 15 years of age, that James began playing in local dance bands. James played regularly with Herman Waldmans band, and at one performance was noticed by nationally popular Ben Pollack, in 1935 he joined Pollacks band, but at the start of 1937 left to join Benny Goodmans orchestra, where he stayed through 1938. He was nicknamed The Hawk early in his career for his ability to sight-read, a common joke was that if a fly landed on his written music, Harry James would play it. His low range had an associated with the cornet and even the flugelhorn. With financial backing from Goodman, in January 1939 James debuted his own big band in Philadelphia, Pennsylvania and this big band became known as Harry James and His Music Makers. His hit You Made Me Love You was in the Top 10 during the week of December 7,1941 and he and his band were featured in three films, Private Buckaroo, Two Girls and a Sailor and Springtime in the Rockies. He toured with the band into the 1980s, and to day the Harry James Orchestra still exists. His was the first name band to employ vocalist Frank Sinatra, in 1939, James signed Sinatra to a one-year contract, of which Sinatra worked seven months before leaving to sing for Tommy Dorsey He wanted to change Sinatras name to Frankie Satin but Sinatra refused. His later band included drummer Buddy Rich and his featured vocalist was Helen Forrest. Johnny MacAfee was featured on the sax and vocals and Corky Corcoran was a youthful sax prodigy and his orchestra succeeded Glenn Millers on a program sponsored by Chesterfield Cigarettes in 1942, when Miller disbanded his orchestra to enter the Army. In 1945, James and his orchestra had a replacement program for Danny Kayes program on CBS. He also led the orchestra for Call for Music, which was broadcast on CBS February 13,1948 - April 16,1948 and he played trumpet in the 1950 film Young Man with a Horn, dubbing Kirk Douglas
42.
Benny Goodman
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Benjamin David Benny Goodman was an American jazz and swing musician, clarinetist and bandleader, known as the King of Swing. In the mid-1930s, Goodman led one of the most popular groups in America. Goodmans bands launched the careers of many jazz artists. During an era of segregation, he led one of the first well-known integrated jazz groups. Goodman performed nearly to the end of his life while exploring an interest in classical music, Goodman was born in Chicago, the ninth of twelve children of poor Jewish immigrants from the Russian Empire. His father, David Goodman, came to America in 1892 from Warsaw in partitioned Poland and his mother, Dora, came from Kaunas, Lithuania. His parents met in Baltimore, Maryland, and moved to Chicago before Benny was born, hundreds of houses are unconnected with the street sewer. Money was a constant problem in the family, Bennys father earned at most $20 per week. On Sundays, his father took the children to free concerts in Douglas Park. The following year Benny joined the club band at Jane Addamss Hull House. By joining the band, he was entitled to two weeks at a summer camp about fifty miles from Chicago. It was the time he was able to get away from the bleak environment of his urban neighborhood. He also received two years of instruction from the classically trained clarinetist Franz Schoepp and his early influences were New Orleans jazz clarinetists working in Chicago, notably Johnny Dodds, Leon Roppolo and Jimmie Noone. Goodman learned quickly, becoming a player at an early age. Goodman made his debut in 1921 at the Central Park Theater on Chicagos West Side. He entered Harrison High School in Chicago in 1922 and he joined the musicians’ union in 1923 and by the age of 14 was in a band featuring Bix Beiderbecke. Goodman attended Lewis Institute in 1924 as a sophomore, while also playing the clarinet in a dance hall band. When Goodman was 16, he joined one of Chicagos top bands, when he was 17, his father was killed by a passing car after stepping off a streetcar
43.
Glenn Miller Orchestra
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Glenn Miller and His Orchestra was a swing dance band formed by Glenn Miller in 1938. It was arranged around a clarinet and tenor saxophone playing melody and this arrangement was different from usual and allowed Miller to develop his own style and sound, which made him and his orchestra one of the greatest and well-known of the swing era. By the mid-1930s, Glenn Miller was known as a sideman, originally forming a band around 1935–36, they signed with Brunswick Records, but struggled with financial troubles and the band folded in 1937. But they reformed in 1938, and under new management they got significant radio airplay, the newly reformed band was much better but it took more time for them to get famous. They opened April 16,1938 at Raymor Ballroom in Boston, but they performed more and more and eventually signed with RCA Victor subsidiary label Bluebird Records. On September 7,1938, the first recordings made with the newly reformed band. They were My Reverie, King Porter Stomp and By the Waters of Minnetonka, Miller was not yet famous, and made less than 10 recordings with his band for the rest of that year. On May 17,1939, they played their first songs of the night, the casino had a radio broadcast antenna and the Miller band was heard around the country. By the end of their season, they had nationwide attention. George T. Simon, the drummer for the unsuccessful first Miller band, had this to say about the Glen Island broadcasts, the bands first semi hit, Little Brown Jug, came out just when it opened at Glen Island. And the clarinet lead in Glenns arrangements was such a romantic sound and it caught the public fancy during this exposure. Miller began ending his broadcasts from Glen Island with his Something Old, but the most important thing for Glenns success was that he recorded In the Mood while he was at the casino. That made him the Michael Jackson of his day, also, at this time, Miller decided to add a trombone and a trumpet, giving the band a fuller sound. Miller was enormously popular and the rest of 1939 only got better, on April 4,1939, Miller and his Orchestra recorded Moonlight Serenade. Considered as one of the top songs of the swing era and it was soon played as the theme song to start and end all of his radio performances. Millers most famous song In the Mood was recorded August 1,1939, Miller, although he was never credited as an arranger, arranged some of the song in the studio. The song, famous for its dueling saxophone solos between Tex Beneke and Al Klink, and often the number to most shows, hit number one on Billboards charts. 1940 was a popular year for Miller and the band with 31 top ten hits
44.
Charlie Christian
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Charles Henry Charlie Christian was an American swing and jazz guitarist. Christian was an important early performer on the guitar and a key figure in the development of bebop. He gained national exposure as a member of the Benny Goodman Sextet and his single-string technique, combined with amplification, helped bring the guitar out of the rhythm section and into the forefront as a solo instrument. John Hammond and George T. Simon called Christian the best improvisational talent of the swing era, Christians influence reached beyond jazz and swing. In 1990, he was inducted into the Rock and Roll Hall of Fame in the category Early Influence, in 2006 Oklahoma City renamed a street in its Bricktown entertainment district Charlie Christian Avenue. Christian was born in Bonham, Texas and his family moved to Oklahoma City, Oklahoma, when he was a small child. He had two brothers, Edward, born in 1906, and Clarence, born in 1911, All three sons were taught music by their father, Clarence Henry Christian. Clarence Henry was struck blind by fever, and in order to support the family he and he would have them lead him into the better neighborhoods, where they would perform for cash or goods. When Charles was old enough to go along, he first entertained by dancing, later he learned to play the guitar, inheriting his fathers instruments upon his death when Charles was 12. He attended Douglass School in Oklahoma City, where he was encouraged in music by an instructor. Charles wanted to play saxophone in the school band. As he believed playing the trumpet would disfigure his lip, he quit to pursue his interest in baseball, around 1931, he took the guitarist Bigfoot Ralph Hamilton and began secretly schooling the younger Charles in jazz. They taught him to solo on three songs, Rose Room, Tea for Two, and Sweet Georgia Brown, when the time was right they took him out to one of the many after-hours jam sessions along Deep Deuce, Northeast Second Street, in Oklahoma City. Let Charles play one, they told Edward, ah, nobody wants to hear them old blues, Edward replied. After some encouragement, he allowed Charles to play, what do you want to play. All three songs were big in the early 1930s, and Edward was surprised that Charles knew them, after two encores, Charles had played all three, and Deep Deuce was in an uproar. He coolly dismissed himself from the jam session, and his mother had heard about it before he got home, Charles fathered a daughter, Billie Jean Christian by Margretta Lorraine Downey of Oklahoma City. Charles soon was performing locally and on the road throughout the Midwest, by 1936 he was playing electric guitar and had become a regional attraction
play eighth notes and bass drum alone (help·info)
