1.
Los Angeles
–
Los Angeles, officially the City of Los Angeles and often known by its initials L. A. is the cultural, financial, and commercial center of Southern California. With a census-estimated 2015 population of 3,971,883, it is the second-most populous city in the United States, Los Angeles is also the seat of Los Angeles County, the most populated county in the United States. The citys inhabitants are referred to as Angelenos, historically home to the Chumash and Tongva, Los Angeles was claimed by Juan Rodríguez Cabrillo for Spain in 1542 along with the rest of what would become Alta California. The city was founded on September 4,1781, by Spanish governor Felipe de Neve. It became a part of Mexico in 1821 following the Mexican War of Independence, in 1848, at the end of the Mexican–American War, Los Angeles and the rest of California were purchased as part of the Treaty of Guadalupe Hidalgo, thereby becoming part of the United States. Los Angeles was incorporated as a municipality on April 4,1850, the discovery of oil in the 1890s brought rapid growth to the city. The completion of the Los Angeles Aqueduct in 1913, delivering water from Eastern California, nicknamed the City of Angels, Los Angeles is known for its Mediterranean climate, ethnic diversity, and sprawling metropolis. Los Angeles also has an economy in culture, media, fashion, science, sports, technology, education, medicine. A global city, it has been ranked 6th in the Global Cities Index, the city is home to renowned institutions covering a broad range of professional and cultural fields, and is one of the most substantial economic engines within the United States. The Los Angeles combined statistical area has a gross metropolitan product of $831 billion, making it the third-largest in the world, after the Greater Tokyo and New York metropolitan areas. The city has hosted the Summer Olympic Games in 1932 and 1984 and is bidding to host the 2024 Summer Olympics and thus become the second city after London to have hosted the Games three times. The Los Angeles area also hosted the 1994 FIFA mens World Cup final match as well as the 1999 FIFA womens World Cup final match, the mens event was watched on television by over 700 million people worldwide. The Los Angeles coastal area was first settled by the Tongva, a Gabrielino settlement in the area was called iyáangẚ, meaning poison oak place. Gaspar de Portolà and Franciscan missionary Juan Crespí, reached the present site of Los Angeles on August 2,1769, in 1771, Franciscan friar Junípero Serra directed the building of the Mission San Gabriel Arcángel, the first mission in the area. The Queen of the Angels is an honorific of the Virgin Mary, two-thirds of the settlers were mestizo or mulatto with a mixture of African, indigenous and European ancestry. The settlement remained a small town for decades, but by 1820. Today, the pueblo is commemorated in the district of Los Angeles Pueblo Plaza and Olvera Street. New Spain achieved its independence from the Spanish Empire in 1821, during Mexican rule, Governor Pío Pico made Los Angeles Alta Californias regional capital
2.
California
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California is the most populous state in the United States and the third most extensive by area. Located on the western coast of the U. S, California is bordered by the other U. S. states of Oregon, Nevada, and Arizona and shares an international border with the Mexican state of Baja California. Los Angeles is Californias most populous city, and the second largest after New York City. The Los Angeles Area and the San Francisco Bay Area are the nations second- and fifth-most populous urban regions, California also has the nations most populous county, Los Angeles County, and its largest county by area, San Bernardino County. The Central Valley, an agricultural area, dominates the states center. What is now California was first settled by various Native American tribes before being explored by a number of European expeditions during the 16th and 17th centuries, the Spanish Empire then claimed it as part of Alta California in their New Spain colony. The area became a part of Mexico in 1821 following its war for independence. The western portion of Alta California then was organized as the State of California, the California Gold Rush starting in 1848 led to dramatic social and demographic changes, with large-scale emigration from the east and abroad with an accompanying economic boom. If it were a country, California would be the 6th largest economy in the world, fifty-eight percent of the states economy is centered on finance, government, real estate services, technology, and professional, scientific and technical business services. Although it accounts for only 1.5 percent of the states economy, the story of Calafia is recorded in a 1510 work The Adventures of Esplandián, written as a sequel to Amadis de Gaula by Spanish adventure writer Garci Rodríguez de Montalvo. The kingdom of Queen Calafia, according to Montalvo, was said to be a land inhabited by griffins and other strange beasts. This conventional wisdom that California was an island, with maps drawn to reflect this belief, shortened forms of the states name include CA, Cal. Calif. and US-CA. Settled by successive waves of arrivals during the last 10,000 years, various estimates of the native population range from 100,000 to 300,000. The Indigenous peoples of California included more than 70 distinct groups of Native Americans, ranging from large, settled populations living on the coast to groups in the interior. California groups also were diverse in their organization with bands, tribes, villages. Trade, intermarriage and military alliances fostered many social and economic relationships among the diverse groups, the first European effort to explore the coast as far north as the Russian River was a Spanish sailing expedition, led by Portuguese captain Juan Rodríguez Cabrillo, in 1542. Some 37 years later English explorer Francis Drake also explored and claimed a portion of the California coast in 1579. Spanish traders made unintended visits with the Manila galleons on their trips from the Philippines beginning in 1565
3.
Berlin
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Berlin is the capital and the largest city of Germany as well as one of its constituent 16 states. With a population of approximately 3.5 million, Berlin is the second most populous city proper, due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one-third of the area is composed of forests, parks, gardens, rivers. Berlin in the 1920s was the third largest municipality in the world, following German reunification in 1990, Berlin once again became the capital of all-Germany. Berlin is a city of culture, politics, media. Its economy is based on high-tech firms and the sector, encompassing a diverse range of creative industries, research facilities, media corporations. Berlin serves as a hub for air and rail traffic and has a highly complex public transportation network. The metropolis is a popular tourist destination, significant industries also include IT, pharmaceuticals, biomedical engineering, clean tech, biotechnology, construction and electronics. Modern Berlin is home to world renowned universities, orchestras, museums and its urban setting has made it a sought-after location for international film productions. The city is known for its festivals, diverse architecture, nightlife, contemporary arts. Since 2000 Berlin has seen the emergence of a cosmopolitan entrepreneurial scene, the name Berlin has its roots in the language of West Slavic inhabitants of the area of todays Berlin, and may be related to the Old Polabian stem berl-/birl-. All German place names ending on -ow, -itz and -in, since the Ber- at the beginning sounds like the German word Bär, a bear appears in the coat of arms of the city. It is therefore a canting arm, the first written records of towns in the area of present-day Berlin date from the late 12th century. Spandau is first mentioned in 1197 and Köpenick in 1209, although these areas did not join Berlin until 1920, the central part of Berlin can be traced back to two towns. Cölln on the Fischerinsel is first mentioned in a 1237 document,1237 is considered the founding date of the city. The two towns over time formed close economic and social ties, and profited from the right on the two important trade routes Via Imperii and from Bruges to Novgorod. In 1307, they formed an alliance with a common external policy, in 1415 Frederick I became the elector of the Margraviate of Brandenburg, which he ruled until 1440. In 1443 Frederick II Irontooth started the construction of a new palace in the twin city Berlin-Cölln
4.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
5.
Free jazz
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For the Ornette Coleman album see Free Jazz, A Collective Improvisation. Though the music of jazz composers varied widely, a common feature was dissatisfaction with the limitations of bebop, hard bop. Often described as avant-garde, free jazz has also described as an attempt to return jazz to its primitive, often religious, roots. As its name implies, free jazz cannot be defined more than loosely, as many musicians draw on free jazz concepts and idioms, and it was never completely distinct as a genre. Many free jazz musicians, notably Pharoah Sanders and John Coltrane, used harsh overblowing or other techniques to elicit unconventional sounds from their instruments, Free jazz musicians created a progressive musical language which drew on earlier styles of jazz such as Dixieland jazz and African music. Typically this kind of music is played by groups of musicians. The music often swings but without regular meter, and there are frequent accelerandi and ritardandi, Free jazz is strongly associated with the 1950s innovations of Ornette Coleman and Cecil Taylor and the later works of saxophonist John Coltrane. Other important pioneers include Charles Mingus, Eric Dolphy, Albert Ayler, Archie Shepp, Joe Maneri, some of bassist Charles Minguss work was also important in establishing free jazz. Although today free jazz is the generally used term, many terms were used to describe the loosely defined movement, including avant-garde, energy music. During its early and mid-1960s heyday, much free jazz was released by established labels such as Prestige, Blue Note, keith Johnson of AllMusic describes a Modern Creative genre, in which musicians may incorporate free playing into structured modes -- or play just about anything. Defining the essence of jazz is complicated, many musicians draw on free jazz concepts and idioms. Many individual musicians reject efforts at classification, regarding them as useless or unduly limiting, earlier jazz styles typically were built on a framework of song forms with a set framework of chord changes. In free jazz, the dependence on a fixed and pre-established form is eliminated, Free jazz, especially during its inception, contains theme of both progressive musical language and gathering inspiration from the past. The rejection of the bop aesthetic was combined with a fascination with earlier styles of jazz such as Dixieland jazz with its collective improvisation. This includes Ed Blackwells use of the West African talking drum, typically this kind of music is played by small groups of musicians, although some examples use larger numbers. For example, John Coltranes 1965 album Ascension, uses eleven musicians, other forms of jazz use clear regular meters and strongly pulsed rhythms, usually in 4/4 or 3/4. Free jazz normally retains a general pulsation and often swings but without regular meter, despite all of this, it is still very often possible to tap ones foot to a free jazz performance, meter is more freely variable but has not disappeared entirely. Previous jazz forms used harmonic structures, and even when improvisation occurred it was founded on the notes in the chords, Free jazz almost by definition is free of such structures, but also by definition it retains much of the language of earlier jazz playing
6.
Saxophone
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The saxophone is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet, the saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. He patented the saxophone on June 28,1846, in two groups of seven instruments each, each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for bands, have proved extremely popular. The saxophone is used in music, military bands, marching bands. The saxophone was developed in 1846 by Adolphe Sax, a Belgian instrument maker, flautist, born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical instrument business. Prior to his work on the saxophone, he had several improvements to the bass clarinet by improving its keywork and acoustics. Sax was also a maker of the ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with two instruments allowed him to develop the skills and technologies needed to make the first saxophones. As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and he wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblows at the octave has identical fingering for both registers, Sax created an instrument with a single-reed mouthpiece like a clarinet, conical brass body like an ophicleide, and some acoustic properties of both the horn and the clarinet. Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, the patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. Although the instruments transposed at either F or C have been considered orchestral, the C soprano saxophone was the only instrument to sound at concert pitch. Saxs patent expired in 1866, thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design, the first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification and this extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings allows a player to play faster and more easily, a player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, a substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. This enables a chromatic scale to be played two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit
7.
Flutist
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The flute is a family of musical instruments in the woodwind group. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening, according to the instrument classification of Hornbostel–Sachs, flutes are categorized as edge-blown aerophones. A musician who plays the flute can be referred to as a player, flautist, flutist or, less commonly. Flutes are the earliest extant musical instruments, as paleolithic instruments with hand-bored holes have been found, a number of flutes dating to about 43,000 to 35,000 years ago have been found in the Swabian Jura region of present-day Germany. These flutes demonstrate that a musical tradition existed from the earliest period of modern human presence in Europe. Flutes, including the famous Bansuri, have been a part of Indian classical music since 1500 BC. A major deity of Hinduism, Krishna, has been associated with the flute, the English verb flout has the same linguistic root, and the modern Dutch verb fluiten still shares the two meanings. Attempts to trace the word back to the Latin flare have been pronounced phonologically impossible or inadmissable, the first known use of the word flute was in the 14th century. According to the Oxford English Dictionary, this was in Geoffrey Chaucers The Hous of Fame, today, a musician who plays any instrument in the flute family can be called a flutist, or flautist, or simply a flute player. Flutist dates back to at least 1603, the earliest quote cited by the Oxford English Dictionary, flautist was used in 1860 by Nathaniel Hawthorne in The Marble Faun, after being adopted during the 18th century from Italy, like many musical terms in England since the Italian Renaissance. Other English terms, now obsolete, are fluter and flutenist. The oldest flute ever discovered may be a fragment of the femur of a cave bear. In 2008 another flute dated back to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm, the five-holed flute has a V-shaped mouthpiece and is made from a vulture wing bone. The researchers involved in the officially published their findings in the journal Nature. The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels, on announcing the discovery, scientists suggested that the finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe. Scientists have also suggested that the discovery of the flute may help to explain the probable behavioural and cognitive gulf between Neanderthals and early modern human. A three-holed flute,18.7 cm long, made from a mammoth tusk was discovered in 2004, the earliest extant Chinese transverse flute is a chi flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the later Zhou Dynasty and it is fashioned of lacquered bamboo with closed ends and has five stops that are at the flutes side instead of the top
8.
Bass clarinet
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The bass clarinet is a musical instrument of the clarinet family. Like the more common soprano B♭ clarinet, it is pitched in B♭. Bass clarinets in other keys, notably C and A, also exist, Bass clarinets regularly perform in orchestras, wind ensembles/concert bands, occasionally in marching bands, and play an occasional solo role in contemporary music and jazz in particular. Someone who plays a clarinet is called a bass clarinetist. Most modern bass clarinets are straight-bodied, with a small upturned silver-colored metal bell, Early examples varied in shape, some having a doubled body making them look similar to bassoons. The bass clarinet is fairly heavy and is supported either with a strap or with an adjustable peg attached to its body. While Adolphe Sax imitated its upturned metal bell in his design of the larger saxophones, Bass clarinet bodies are most often made of grenadilla or plastic resin, while saxophones are typically made entirely of metal. More significantly, all including the bass have a bore that is basically the same diameter along the body of the instrument. This cylindrical bore differs from the saxophones conical one and gives the clarinet its characteristic tone, causing it to overblow at the twelfth compared with the saxophones octave. A majority of modern bass clarinets, like other clarinets in the family, have the Boehm system of keys and fingering, most modern Boehm system bass clarinets have an extension key allowing them to play to the E♭. This key was added to allow easy transposition of parts for the relatively rare bass clarinet pitched in A. A significant difference between soprano and bass clarinet key work is a key pad played by the index finger with a vent that may be uncovered for certain high notes. This allows a form of half-hole fingering that allows notes in higher registers to be played on the instrument, in addition, older bass clarinets have two register keys, one for middle D♯ and below, the other for middle E and higher. Newer models typically only have one, the second register key makes the altissimo range much easier to play. In addition to differences in keywork, many professional and advanced bass clarinetists own instruments with extensions down to a C a full two octaves below written middle C. At concert pitch this note is the B♭ below the second ledger line below the bass staff, overall, the instrument sounds an octave lower than the B♭ soprano clarinet. As with all instruments, the upper limit of the range depends on the quality of the instrument. According to Aber and Lerstad, who give fingerings up to written C8, the bass clarinet has been regularly used in scoring for orchestra and concert band since the late 19th century, becoming more common during the middle and latter part of the 20th century
9.
Composer
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A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are also skilled performers, either as singers, instrumentalists, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can also be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued. This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance. In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
10.
Sideman
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A sideman is a professional musician who is hired to perform or record with a group of which he or she is not a regular member. They often tour with acts as well as bands and jazz ensembles. Sidemen are generally required to be adaptable to different styles of music. Often aspiring musicians start out as sidemen, and then move on to develop their own sound, a name, some examples of this are, James Burton and Glen D. Don Henley and Glenn Frey were in the backup band for Linda Ronstadt. Afterwards, with the addition of Bernie Leadon and Randy Meisner, some sidemen become famous for their musical specialties, and become highly sought-after by pop, rock, blues, jazz and country music bands. Examples of some of these include multi-instrumentalists, david Lindley is a multi-instrumentalist who has worked with such diverse musicians as Curtis Mayfield, Dolly Parton, Jackson Browne, and Hani Naser. Lindley used his time as a sideman to discover and master new instruments while on tour around the world and he has mastered so many that he admits to losing count, and instead placed a photo gallery of them on his website. Jimmy Page left his first attempts working in bands, to hone his skills as a session player, bob Dylans first recorded song was as a harmonica sideman on Harry Belafontes cover of Midnight Special. Other musicians may take time from their own bands to tour or record as a sideman for other artists, such as Mike Watt with J Mascis and the Fog or Iggy and the Stooges. Phil Woods, jazz alto saxophonist and clarinetist Session musician Rock and Roll Hall of Fame list, which also inducts sidemen
11.
Alto saxophone
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The alto saxophone, also referred to as alto sax, is a member of the saxophone family of woodwind instruments invented by Belgian instrument designer Adolphe Sax in the 1840s, and patented in 1846. It is pitched in E♭, and is smaller than the tenor, the alto sax is the most common saxophone and is commonly used in classical music, military bands, marching bands, and jazz. The alto saxophone was also commonplace in music from the 1980s. The saxophone fingerings are all universal, so a player can play any type of saxophone. The range of the saxophone is from concert A♭3 to concert A♭5. As with most types of saxophones, the standard range is B♭3 to F6. Above that, the altissimo register begins at F♯6 and extends upwards, the saxophones altissimo register is more difficult to control than that of other woodwinds and is usually only expected from advanced players. By covering or partially covering the bell of the saxophone when playing B♭3, also of note is Kadri Gopalnath, a pioneer of Carnatic music, plays a modified alto saxophone. Some companies that currently produce saxophones are Buffet Crampon, KHS/Jupiter, Conn-Selmer, Selmer Paris, Yamaha, Leblanc/Vito, Keilwerth, Cannonball, new alto saxophones range in price between €250 for lower quality student models to over €6000 for professional models. The alto saxophone has a classical solo repertoire that includes solos with orchestra, piano. Two of the most well-known solo compositions are Jacques Iberts Concertino da Camera, also, the alto saxophone is part of the standard instrumentation of concert bands and saxophone quartets. The alto saxophone is also used in orchestral compositions. Several orchestral examples are listed below, georges Bizet features it in the Minuet from the second suite of music from LArlésienne. He also includes it in his Suite No.1 and Suite No.2, maurice Ravel uses the saxophone prominently in his orchestration of Modest Moussorgskys Pictures at an Exhibition, most notably as the soloist in Il vecchio castello. Alban Berg uses the saxophone in his orchestral works, most notably Der Wein, Lulu. Sergei Rachmaninoff uses the saxophone in his Symphonic Dances as a soloist in the first movement, george Gershwin includes it in a few pieces, such as Rhapsody in Blue and An American in Paris. Pierre Boulez wrote for 2 alto saxes in his composition Pli selon pli, benjamin Britten calls for an alto in his Sinfonia da Requiem and The Prince of the Pagodas. Leonard Bernstein includes an alto sax in his Symphonic Dances from West Side Story, vincent dIndy enlists two altos in his opera Fervaal
12.
Flute
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The flute is a family of musical instruments in the woodwind group. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening, according to the instrument classification of Hornbostel–Sachs, flutes are categorized as edge-blown aerophones. A musician who plays the flute can be referred to as a player, flautist, flutist or, less commonly. Flutes are the earliest extant musical instruments, as paleolithic instruments with hand-bored holes have been found, a number of flutes dating to about 43,000 to 35,000 years ago have been found in the Swabian Jura region of present-day Germany. These flutes demonstrate that a musical tradition existed from the earliest period of modern human presence in Europe. Flutes, including the famous Bansuri, have been a part of Indian classical music since 1500 BC. A major deity of Hinduism, Krishna, has been associated with the flute, the English verb flout has the same linguistic root, and the modern Dutch verb fluiten still shares the two meanings. Attempts to trace the word back to the Latin flare have been pronounced phonologically impossible or inadmissable, the first known use of the word flute was in the 14th century. According to the Oxford English Dictionary, this was in Geoffrey Chaucers The Hous of Fame, today, a musician who plays any instrument in the flute family can be called a flutist, or flautist, or simply a flute player. Flutist dates back to at least 1603, the earliest quote cited by the Oxford English Dictionary, flautist was used in 1860 by Nathaniel Hawthorne in The Marble Faun, after being adopted during the 18th century from Italy, like many musical terms in England since the Italian Renaissance. Other English terms, now obsolete, are fluter and flutenist. The oldest flute ever discovered may be a fragment of the femur of a cave bear. In 2008 another flute dated back to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm, the five-holed flute has a V-shaped mouthpiece and is made from a vulture wing bone. The researchers involved in the officially published their findings in the journal Nature. The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels, on announcing the discovery, scientists suggested that the finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe. Scientists have also suggested that the discovery of the flute may help to explain the probable behavioural and cognitive gulf between Neanderthals and early modern human. A three-holed flute,18.7 cm long, made from a mammoth tusk was discovered in 2004, the earliest extant Chinese transverse flute is a chi flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the later Zhou Dynasty and it is fashioned of lacquered bamboo with closed ends and has five stops that are at the flutes side instead of the top
13.
Soprano clarinet
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The B♭ clarinet is by far the most common type of clarinet and indeed the unmodified word clarinet usually refers to this instrument. While some writers reserve a separate category of sopranino clarinets for the E♭ and D clarinets, all have a written range from the E below middle C to about the C three octaves above middle C, with the sounding pitches determined by the particular instruments transposition. It is worth bearing in mind though that the instrument of the clarinet family whose name is undisputed. The use of the soprano, piccolo, sopranino etc. Even the term alto is open to discussion and indeed the alternative term tenor might appear, from the point of view of pitch at least, orchestral composers largely write for clarinets in B♭ and A. The bass is not uncommon and the high E♭ is very occasionally called for, clarinets in C were used likewise from the Classical era until about 1910. There have also been soprano clarinets in C, A, and B♭ with curved barrels and bells marketed under the names Saxonette, Claribel, shackleton lists also obsolete sopranino clarinets in G, F, and E, and soprano clarinets in B and A♭. The G clarinet, only a step lower than the A♭ piccolo clarinet, was popular during the late 19th century in Vienna for playing Schrammelmusik. B♭ soprano clarinet is also one of the most common instruments played in beginner and high school band, alongside the bass clarinet
14.
Baritone saxophone
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The baritone saxophone or bari sax is one of the largest members of the saxophone family, only being smaller than the bass, contrabass and subcontrabass saxophones. The baritone saxophone is used in classical music, military bands, marching bands. The baritone saxophone was created in 1846 by the Belgian instrument maker Adolphe Sax as one of a family of 14 instruments, the saxophone was created to be a tonal link between the woodwinds and brasses, which Sax believed to be lacking. The family was divided two groups of seven saxophones each from the soprano to the contrabass. The family consisting of saxophones ranged in the keys of B♭, the bari sax, pitched in E♭, is the fifth member of this family. The baritone saxophone, like saxophones, is a conical tube of thin brass. It has an end, flared to form a bell. The baritone saxophone uses a single reed mouthpiece like that of a clarinet, there is a loop in the neck to reduce it to a practical height, colloquially referred to as a “Q”. Baritone saxophones come in two sizes with one ranging to low A and the other to low B♭, originally, all baritone saxophones were low B♭ instruments, but over time players began modifying their horns to reach the low A below. In the 1980s, it common for saxophone manufacturers to produce low A instruments. In modern times, the low A is considered standard and is written in sheet music for the instrument. Despite the ubiquity of the low A horn, some still prefer to use B♭ horns because of the added weight. As is true for other saxophones, the F♯ key was also an addition to the horn now considered standard. The baritone saxophone’s relatively large mass has led to the development of harness-style neckstrap that distributes the weight across the users shoulders. Several different kinds exist, produced by brands as well known as Neotech and Vandoren, and each distributes weight differently across the neck, clavicle. Many marching saxophonists prefer this style for its ability to decrease fatigue and those who mainly perform seated, on the other hand, may dislike the decreased ability to move one’s upper body. It is an instrument in the key of E♭, pitched an octave plus a major sixth lower than written. It is one octave lower than the alto saxophone, modern baritones with a low A key and high F♯ key have a range from C2 to A4
15.
Piccolo
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The piccolo /ˈpɪkəloʊ/ is a half-size flute, and a member of the woodwind family of musical instruments. The modern piccolo has most of the same fingerings as its sibling, the standard transverse flute. This gave rise to the name ottavino, the name by which the instrument is referred to in the scores of Italian composers, piccolos are now manufactured in the key of C or D♭. It was for this D♭ piccolo that John Philip Sousa wrote the solo in the final repeat of the closing section of his march The Stars. In the orchestral setting, the player is often designated as piccolo/flute III. The larger orchestras have designated this position as a position due to the demands of the literature. Piccolos are often orchestrated to double the violins or the flutes, adding sparkle, in concert band settings, the piccolo is almost always used and a piccolo part is almost always available. Historically, the piccolo had no keys, and should not be confused with the fife, the piccolo is used in conjunction with marching drums in traditional formations at the Carnival of Basel, Switzerland. It is a myth that one of the earliest pieces to use the piccolo was Beethovens Symphony No.5 in C Minor, although neither Joseph Haydn nor Mozart used it in their symphonies, some of their contemporaries did, including Hoffmeister, Süssmayr and Michael Haydn. Also, Mozart used the piccolo in his opera Idomeneo, opera orchestras in Paris sometimes included small transverse flutes at the octave as early as 1735 as existing scores by Rameau show. Finely made piccolos are often available with a variety of similar to the flute. Most piccolos have a body with a cylindrical head, which is like the Baroque flute. There are a number of pieces for piccolo alone, by composers as Samuel Adler, Robert Dick, Michael Isaacson, David Loeb, Polly Moller, Vincent Persichetti. Additionally, there is a selection of chamber music that uses the piccolo. One example is the Quintet for Piccolo and String Quartet by Graham Waterhouse, another is Stockhausens Zungenspitzentanz, for piccolo and two euphoniums, with optional percussionist and dancer. Bryn Mawr, Theodore Presser Company,2008, the Symphonic Debutante Piccolo, Was it Really Beethovens Fifth. The Woodwind Fingering Guide, with piccolo fingerings
16.
Impulse! Records
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Records is an American jazz record company and label established by Creed Taylor in 1960. John Coltrane was among Impulse. s earliest signings, thanks to the consistent sales and critical kudos generated by his recordings, the label came to be known as the house that Trane built. Impulse. s parent company, ABC-Paramount Records, was established in 1955 as the division of the American Broadcasting Company. In the 1940s and 1950s, ABC benefitted from the U. S. governments antitrust actions against broadcasters, in the early 1950s, ABC acquired the Blue Network of radio stations from NBC and later merged with the newly independent Paramount Theaters chain, formerly owned by Paramount Pictures. The new recording division was located at 1501 Broadway, above the Paramount Theatre in Times Square, under the leadership of Leonard Goldenson, the former head of Paramount Pictures, the company sought to establish itself as a cross-media force in television, theaters and sound recordings. It enjoyed early success in TV with The Mickey Mouse Club, the new recording company enjoyed Goldensons full support. Sid Feller, a producer and arranger, was the first salaried employee on July 15,1955, the label achieved early success in pop music with Paul Anka. In 1960 Am-Par established a subsidiary and hired Creed Taylor. Taylor became producer and A&R manager and he chose the name Pulse but then learned there was already a label with that name, so he added a prefix. In the mid-60s, Impulse. s headquarters were moved to 1130 Avenue of the Americas, Impulse. s albums are noted for their visual appeal. The black, orange, and white livery was devised by Fran Attaway, the color scheme was chosen for its brightness and because no other label used this combination. The labels logo featured the Impulse, name in a heavy, sans-serif, lower-cased font, followed by an exclamation mark that mirrors the lower-case i at the beginning. For most of the 1960s, Impulse. s album covers featured the logo in orange letters in a circle, with black-and-orange exclamation marks above it. One exception is the album A Love Supreme, which used the design in black, in 1968 the circular front-cover badge was replaced by a one-color design featuring a simplified Impulse. Logo and the ABC Records logo side by side within a rectangular border. Album covers often featured stylish, large-format photographs or paintings, usually in color, LPs were issued in a gatefold sleeve, with photographs and liner notes, in some cases, multi-page booklets. Taylor achieved early success by signing Ray Charles, who had just ended his contract with Atlantic Records, charless Genius + Soul = Jazz gave the label its first hit and became the fourth-highest charting album of his career. Other early successes included Out of the Cool by Gil Evans, nelson played an important role in the labels early years before relocating to Los Angeles, where he became an arranger for film and television
17.
Prestige Records
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Prestige Records was a jazz record company and label founded in 1949 by Bob Weinstock in New York City. The company recorded hundreds of albums by many of the jazz musicians of the day. In 1971, the company was sold to Fantasy, which was absorbed by Concord. Weinstock opened a store for collectors in 1948 while still a teenager. The store was adjacent to the Metropole Jazz Club in New York City, Jazz musicians hung out and rehearsed at the club, and then moved upstairs adjacent to Weinstocks store. Weinstock got the idea to record these jazz stars by offering them cash payments, Prestige office was located at 446 West 50th Street, New York City. The labels name was initially New Jazz, but changed to Prestige Records the following year and its catalogue included Gene Ammons, John Coltrane, Miles Davis, Stan Getz, Wardell Gray, Thelonious Monk, and Sonny Rollins. Weinstock stated a desire for an authentic, spontaneous sound, unlike Blue Note, Prestige would not pay musicians for rehearsals and discouraged repeated takes. Another Weinstock practice, of rewinding the tapes after bad takes, has resulted in very few alternate takes surfacing from the classic Prestige years, audio engineer Rudy Van Gelder was in charge of recording many albums in the 1950s. Prestige created new labels in 1960, Swingsville, Moodsville, and Bluesville, musicians recording for the label at this time included Jaki Byard and Booker Ervin, while Prestige remained commercially viable by recording a number of soul jazz artists like Charles Earland. In the mid-sixties the companys headquarters were located at 203 South Washington Avenue in Bergenfield, Bob Weinstock has been criticized over the years for allegedly exploitive business practices. Jackie McLean in A. B. Spellmans Four Lives in the Bebop Business is particularly outspoken and he resented Weinstocks economic exploitation, but appreciated the chance Weinstock gave him when his career was at its low point. The company was sold to Fantasy Records in 1971, and original releases on the label formed a significant proportion of their Original Jazz Classics line, Fantasy was purchased by Concord Records in 2005. Prestige – official site Prestige discography at Discogs Prestige discography at JazzDisco
18.
Blue Note Records
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Blue Note Records is an American jazz record label, established in 1939 by Alfred Lion and Max Margulis. Francis Wolff became involved shortly afterwards and it derives its name from the characteristic blue notes of jazz and the blues. Originally dedicated to recording traditional jazz and small group swing, from 1947 the label began to switch its attention to modern jazz, while the original company did not itself record many of the pioneers of bebop, significant exceptions are Thelonious Monk, Fats Navarro and Bud Powell. Historically, Blue Note has principally been associated with the hard bop style of jazz, but also recorded essential albums in the avant-garde and free styles of jazz. Horace Silver, Jimmy Smith, Freddie Hubbard, Lee Morgan, Art Blakey, Grant Green, Hank Mobley, Wayne Shorter, Bobby Hutcherson, the label is currently owned by the Universal Music Group. Lion first heard jazz as a boy in Berlin. The Blue Note label initially consisted of Lion and Max Margulis, musicians were supplied with alcoholic refreshments, and recorded in the early hours of the morning after their evenings work in clubs and bars had finished. Francis Wolff, a photographer, emigrated to the USA at the end of 1939 and soon joined forces with Lion. In 1941, Lion was drafted into the army for two years, Milt Gabler at the Commodore Music Store offered storage facilities and helped keep the catalog in print, with Wolff working for him. By late 1943, the label was back in recording musicians. Johnson, who was returning to a degree of musical activity after having largely recovered from a stroke suffered in 1940. Towards the end of the war, saxophonist Ike Quebec was among those who recorded for the label, Quebec would act as a talent scout for the label until his death in 1963. Although stylistically belonging to a generation, he could appreciate the new bebop style of jazz. Lion recorded several Monk sessions before he began to release the resulting sides, monks recordings for Blue Note between 1947 and 1952 did not sell well for some years, but have since come to be regarded as the most important of his career. The sessions by Powell are commonly ranked among his best, J. J. Johnson and trumpeter Miles Davis both recorded several sessions for Blue Note between 1952 and 1954, but by then the musicians who had created bebop were starting to explore other styles. The recording of musicians performing in a jazz idiom, such as Sidney Bechet and clarinettist George Lewis. In 1951, Blue Note issued their first vinyl 10 releases, the label was soon recording emerging talent such as Horace Silver and Clifford Brown. Meanwhile, Milt Jackson and the Jazz Messengers recorded for Blue Note, the Milt Jackson Quartet session was a one-off, but Blakeys various groups recorded for the label extensively, if intermittently, for the next decade
19.
Mercury Records
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Mercury Records is an American-based record label owned by Universal Music Group. In the United States, it operates through Island Records, in the UK, Mercury Record Corporation was formed in the American city of Chicago in 1945 by Irving Green, Berle Adams, Ray Greenberg and Arthur Talmadge. They were a force in jazz and blues, classical music, rock and roll. Early in the history, Mercury opened two pressing plants, one in Chicago and the other in St. Louis, Missouri. With the use of presses and providing 24-hour turnaround, they went into direct competition with major recording labels such as Columbia, Decca, Capitol. By hiring two promoters, Tiny Hill and Jimmy Hilliard, they penetrated the pop market with such as Frankie Laine, Vic Damone, Tony Fontane. Rather than rely on radio airplay, Mercury initially relied on jukeboxes to promote their music, some early Mercury recordings featured a caricature of him as its logo. In 1947 Jack Rael, a musician and publicist/manager, persuaded Mercury to let Patti Page record a song that had planned to be done by Vic Damone. The budget was too small for them to hire a second singer to provide the parts to Page. The company released a number of recordings under the Mercury label as well as its subsidiaries. In addition, they leased and purchased material by independent labels, under their own label, Mercury released a variety of recording styles from classical music to psychedelic rock. However, its subsidiaries focused on their own specialized categories of music, Mercurys jazz division had two distinct and important fathers. John Hammond brought his expertise and connections when Mercury bought Keynote Records in the late 1940s, and Mercury was the issuing company and distributor for Norman Granzs pre-Norgran/Verve recordings. Although both Hammond and Granz had departed Mercury by the mid-1950s, they established the company in the jazz world, by the early 1960s, Mercury was releasing jazz under the flagship label and was an early leader in the new stereo sound releases. Highlights of the early and mid-1960s included albums by Quincy Jones, Buddy Rich, Cannonball Adderley, Charles Mingus, Dinah Washington, Sarah Vaughan, Max Roach, in the early 1950s, Norman Granz started his own record company, Norgran, which later became Verve. In an ironic twist, both Mercury and Verve are now owned by Universal Music Group and Mercurys jazz library falls under the Verve division. Since the early 1990s, Verve has reissued many Mercury jazz titles on CD, often taking care to use original master tapes, in 1962, Mercury began marketing a line of phonographs made by Philips bearing the Mercury brand name. In July 1967, Mercury Records became the first U. S. record company to release cassette music tapes, in 1969, Mercury changed its corporate name to Mercury Record Productions Inc. while its parent Conelco became North American Philips Corp after Philips brought control of the company
20.
Charles Mingus
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Charles Mingus Jr. was an American jazz double bassist, composer and bandleader. His compositions retained the hot and soulful feel of hard bop, drawing heavily from black gospel music and blues, while containing elements of Third Stream, free jazz. He once cited Duke Ellington and church as his main influences, Mingus espoused collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, he looked not only at the skills of the available musicians, many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists, whom he utilized to assemble unconventional instrumental configurations, as a performer, Mingus was a pioneer in double bass technique, widely recognized as one of the instruments most proficient players. Nearly as well known as his ambitious music was Minguss often fearsome temperament and his refusal to compromise his musical integrity led to many onstage eruptions, exhortations to musicians, and dismissals. Indeed, Dizzy Gillespie had once claimed Mingus reminded him of a young Duke, Gunther Schuller has suggested that Mingus should be ranked among the most important American composers, jazz or otherwise. Charles Mingus was born in Nogales, Arizona and he was largely raised in the Watts area of Los Angeles. His maternal grandfather was a Chinese British subject from Hong Kong, Mingus was the third great-grandson of the familys founding partiarch who was, by most accounts, a German immigrant. His ancestors included German American, African American, British, Chinese, in Minguss autobiography Beneath the Underdog his mother was described as the daughter of an Englishman and a Chinese woman, and his father was the son of a black farm worker and a Swedish woman. The autobiography doesnt confirm whether Charles Mingus Sr. or Mingus himself believed this story was true and his mother allowed only church-related music in their home, but Mingus developed an early love for other music, especially Duke Ellington. Despite this, Mingus was still attached to the cello, as he studied bass with Red Callender in the late 1930s, Callender even commented that the cello was still Minguss main instrument. In Beneath the Underdog, Mingus states that he did not actually start learning bass until Buddy Collette accepted him into his band under the stipulation that he be the bands bass player. Due to an education, the young Mingus could not read musical notation quickly enough to join the local youth orchestra. This had a impact on his early musical experiences, leaving him feeling ostracized from the classical music world. These early experiences, in addition to his confrontations with racism, were reflected in his music. Much of the technique he learned was applicable to double bass when he took up the instrument in high school. He studied for five years with Herman Reinshagen, principal bassist of the New York Philharmonic, throughout much of his career, he played a bass made in 1927 by the German maker Ernst Heinrich Roth
21.
John Coltrane
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John William Coltrane, also known as Trane, was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career and he led at least fifty recording sessions during his career, and appeared as a sideman on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk. As his career progressed, Coltrane and his music took on a spiritual dimension. Coltrane influenced innumerable musicians, and remains one of the most significant saxophonists in music history and he received many posthumous awards and recognitions, including canonization by the African Orthodox Church as Saint John William Coltrane and a special Pulitzer Prize in 2007. His second wife was pianist Alice Coltrane and their son Ravi Coltrane is also a saxophonist, Coltrane was born in his parents apartment at 200 Hamlet Avenue, Hamlet, North Carolina on September 23,1926. His father was John R. Coltrane and his mother was Alice Blair and he grew up in High Point, North Carolina, attending William Penn High School. Beginning in December 1938 Coltranes aunt, grandparents, and father all died within a few months of one another, leaving John to be raised by his mother, in June 1943 he moved to Philadelphia. In September of that year his mother bought him his first saxophone, Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. He had his first professional gigs in early to mid-1945 – a cocktail lounge trio, with piano and guitar. To avoid being drafted by the Army, Coltrane enlisted in the Navy on August 6,1945, by the time he got to Hawaii, in late 1945, the Navy was already rapidly downsizing. As the Melody Masters was a band, however, Coltrane was treated merely as a guest performer to avoid alerting superior officers of his participation in the band. He continued to other duties when not playing with the band, including kitchen. By the end of his service, he had assumed a role in the band. His first recordings, a session in Hawaii with Navy musicians. Coltrane played alto saxophone on a selection of standards and bebop tunes. In Philadelphia after the war, he studied theory with guitarist and composer Dennis Sandole. Originally an altoist, in 1947 Coltrane also began playing saxophone with the Eddie Vinson Band. Coltrane later referred to point in his life as a time when a wider area of listening opened up for me
22.
Chico Hamilton
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Foreststorn Chico Hamilton, was an American jazz drummer and bandleader. He came to prominence as sideman with the likes of Lester Young, Gerry Mulligan, Count Basie, foreststorn Hamilton was born in Los Angeles, California, one of three brothers. Another brother was actor Bernie Hamilton, Hamilton started his career in a band with Charles Mingus, Illinois Jacquet, Ernie Royal, Dexter Gordon, Buddy Collette and Jack Kelso. Hamilton appeared in Youll Never Get Rich as part of the group supporting Fred Astaire. Hamilton also performed on the soundtrack of the Bing Crosby and Bob Hope film Road to Bali and he recorded his first album as leader in 1955 with George Duvivier and Howard Roberts for Pacific Jazz. In same year Hamilton formed a quintet in L. A. featuring cello, flute/saxes/clarinet, guitar, bass. The quintet has been described as one of the last important West Coast jazz bands, the original personnel included flutist/saxophonist/clarinetist Buddy Collette, guitarist Jim Hall, cellist Fred Katz and bassist Jim Aton, who was later replaced by Carson Smith. Hamilton continued to tour, using different personnel, from 1957 to 1960, Hamilton revamped his group in 1961 with Charles Lloyd, Gabor Szabo, George Bohanon and Albert Stinson, playing what has been described as chamber jazz, with a moderate avant-gardism. The group recorded for Columbia, Reprise and Impulse Records and also recorded the soundtrack for the industrial film Litho in 1962, in 1996 Hamilton formed his sextet Chico Hamilton and the Young Altos featuring Kenneth Lampl, Eric Person and Marc Bernstein. The group performed at the 1986 JVC Jazz Festival, the Apollo Theater, in August 2001, he performed My Funny Valentine, A Tribute to Chico Hamilton at Lincoln Center. In 1997, Hamilton received the New School University Jazz and Contemporary Music Programs Beacons in Jazz Award in recognition for his significant contribution to the evolution of Jazz, in 2002, he was awarded the WLIU-FM Radio Lifetime Achievement Award. At the IAJE in NYC January 2004, he was awarded a NEA Jazz Master Fellowship, in December 2006, Congress confirmed the nomination of Hamilton to the Presidents Council on the Arts. In 2007, he received a Living Legend Jazz Award as part of The Kennedy Centers Jazz in Our Time Festival, in 2006, Hamilton released four CDs on Joyous Shout. in celebration of his 85th birthday. In 2007, he released Hamiltonia, sampling his original compositions from the four released in 2006. In 2002, a track titled For Mods Only from his 1966 Impulse, Records album The Dealer, was included on the Thievery Corporations Sounds from the Verve Hi-Fi. In 2006, Rong Music released the 12-inch vinyl Kerrys Caravan by Mudd and Hamilton, several remixes of Hamiltons recordings were released in the late 2000s. He released Twelve Tones of Love on Joyous Shout. in 2009, in March 2011, he had a long recording session, resulting in 28 new tracks with his Euphoria group. Hamilton died aged 92 on November 25,2013 in Manhattan, Hamilton was survived by his daughter, a brother, a granddaughter and two great-granddaughters
23.
Mal Waldron
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Malcolm Earl Mal Waldron was an American jazz pianist, composer, and arranger. He started playing professionally in New York in 1950, after graduating from university, in the following dozen years or so Waldron led his own bands and played for those led by Charles Mingus, Jackie McLean, John Coltrane, and Eric Dolphy, among others. Waldron was often an accompanist for vocalists, and was Billie Holidays regular accompanist from April 1957 until her death in July 1959. A breakdown caused by an overdose in 1963 left Waldron unable to play or remember any music, he regained his skills gradually. He left the U. S. permanently in the mid-1960s, settled in Europe, in his 50-year career, Waldron recorded more than 100 albums under his own name and more than 70 for other band leaders. He also wrote for modern ballet, and composed the scores of feature films. As a pianist, Waldrons roots lay chiefly in the hard bop and post-bop genres of the New York club scene of the 1950s and he is known for his dissonant chord voicings and distinctive later playing style, which featured repetition of notes and motifs. Mal Waldron was born in New York City on August 16,1925 and his father was a mechanical engineer who worked on the Long Island Rail Road. The family moved to Jamaica, Long Island when Mal was four years old, Waldrons parents discouraged his initial interest in jazz, but he was able to maintain it by listening to swing on the radio. Waldron had classical piano lessons from the age of seven until he was about 16. He then became inspired to play jazz on tenor saxophone when he heard Coleman Hawkins 1939 recording of Body and Soul and he played alto for local bands that performed for dances, bar mitzvahs, Spanish weddings, frequently taking over the pianists role when other musicians took their solos. In 1943, after school and having enrolled at university, Waldron was called up by the army and this allowed him to listen to the greats of jazz in clubs on 52nd Street and elsewhere in the city. After two years in the army, he returned as a student to Queens College in New York and this decision was influenced in part by hearing Charlie Parkers virtuoso speed on saxophone, and by not having the extroverted personality Waldron thought necessary for that instrument. Not yet a professional musician, he received money through the G. I, bill and continued to live with his parents. After obtaining a B. A. in music in 1949, Waldron worked for a time in rhythm and blues bands. Waldron went on to work with Ike Quebec in New York in 1950 and they played at Café Society Downtown on Mondays for six or seven months, which helped Waldron gain exposure and more work. Waldron worked frequently with Charles Mingus from 1954 to 1956, as part of the jazz composers workshop. He was pianist on several Mingus recordings, including Pithecanthropus Erectus, in 1955, Waldron worked with Lucky Millinder and Lucky Thompson
24.
Ron Carter
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Ronald Levin Ron Carter is an American jazz double bassist. His appearances on 2,221 recording sessions make him the most-recorded jazz bassist in history, Carter is also a cellist who has recorded numerous times on that instrument. Some of his albums as a leader include, Blues Farm, All Blues, Spanish Blue, Anything Goes, Yellow & Green, Pastels, Piccolo, Third Plane, Peg Leg. He was a member of the Miles Davis Quintet in the early 1960s, Carter joined Daviss group in 1963, appearing on the album Seven Steps to Heaven and the follow-up E. S. P. Carter also performed on some of Hancock, Williams and Shorters recordings during the sixties for Blue Note Records. He was a sideman on many Blue Note recordings of the era, playing with Sam Rivers, Freddie Hubbard, Duke Pearson, Lee Morgan, McCoy Tyner, Andrew Hill, Horace Silver and he was elected to the Down Beat Jazz Hall of Fame in 2012. In 1993, he won a Grammy Award for Best Jazz Instrumental Group, Carter was born in Ferndale, Michigan. Carter switched to playing double bass and he attended Cass Technical High School in Detroit, and, later, the Eastman School of Music in Rochester, New York, where he played in its Philharmonic Orchestra. He finished his bachelors degree at Eastman in 1959, and in 1961 a masters degree in bass performance from the Manhattan School of Music in New York City. His first jobs as a musician were playing bass with Jaki Byard. His first records were made with Eric Dolphy and Don Ellis and his own first date as leader, Where. Carter came to fame via the second great Miles Davis Quintet in the early 1960s, Carter joined Daviss group in 1963, appearing on the album Seven Steps to Heaven and the follow-up E. S. P. The latter being the first album to only the full quintet. It also featured three of Carters compositions and he stayed with Davis until 1968, and participated in a couple of studio sessions with Davis in 1969 and 1970. Although he played electric bass occasionally during this era of early jazz-rock fusion, he has stopped playing that instrument. Carter also performed on some of Hancock, Williams and Shorters recordings during the sixties for Blue Note Records. He was a sideman on many Blue Note recordings of the era, playing with Sam Rivers, Freddie Hubbard, Duke Pearson, Lee Morgan, McCoy Tyner, Andrew Hill, Horace Silver and others. After leaving Davis, Carter was for years a mainstay of CTI Records, making albums under his own name
25.
Ornette Coleman
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Randolph Denard Ornette Coleman was an American jazz saxophonist, violinist, trumpeter, and composer. He was one of the innovators of the free jazz movement of the 1960s. His Broadway Blues has become a standard and has cited as a key work in the free jazz movement. He was awarded a MacArthur Fellowship in 1994 and his album Sound Grammar received the 2007 Pulitzer Prize for music. Coleman was born in 1930 in Fort Worth, Texas, where he was also raised and he attended I. M. Terrell High School, where he participated in band until he was dismissed for improvising during The Washington Post. He began performing R&B and bebop initially on tenor saxophone, and started a band, the Jam Jivers, with some fellow students including Prince Lasha and Charles Moffett. Seeking a way to work his way out of his town, he took a job in 1949 with a Silas Green from New Orleans traveling show and then with touring rhythm. After a show in Baton Rouge, Louisiana, he was assaulted and he switched to alto saxophone, which remained his primary instrument, first playing it in New Orleans after the Baton Rouge incident. He then joined the band of Pee Wee Crayton and travelled with them to Los Angeles and he worked at various jobs, including as an elevator operator, while continuing to pursue his musical career. From the beginning of his career, Colemans music and playing were in many ways unorthodox and his raw, highly vocalized sound and penchant for playing in the cracks of the scale led many Los Angeles jazz musicians to regard Colemans playing as out-of-tune. He sometimes had difficulty finding like-minded musicians with whom to perform, nevertheless, pianist Paul Bley was an early supporter and musical collaborator. In 1958, Coleman led his first recording session for Contemporary, the session also featured trumpeter Don Cherry, drummer Billy Higgins, bassist Don Payne and Walter Norris on piano. 1959 was a productive year for Coleman. His last release on Contemporary was Tomorrow Is the Question, a quartet album, with Shelly Manne on drums, and excluding the piano, which he would not use again until the 1990s. Next Coleman brought double bassist Charlie Haden – one of a handful of his most important collaborators – into a group with Cherry. He signed a contract with Atlantic Records, who released The Shape of Jazz to Come in 1959. While definitely – if somewhat loosely – blues-based and often quite melodic, some musicians and critics saw Coleman as an iconoclast, others, including conductor Leonard Bernstein and composer Virgil Thomson regarded him as a genius and an innovator. Jazzwise listed it #3 on their list of the 100 best jazz albums of all time, Colemans quartet received a lengthy – and sometimes controversial – engagement at New York Citys famed Five Spot jazz club
26.
Max Roach
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Maxwell Lemuel Max Roach was an American jazz percussionist, drummer, and composer. A pioneer of bebop, Roach went on to work in other styles of music. He was inducted into the Down Beat Hall of Fame in 1980, Roach was born in the Township of Newland, Pasquotank County, North Carolina, which borders the southern edge of the Great Dismal Swamp, to Alphonse and Cressie Roach. Many confuse this with Newland Town in Avery County, although Roachs birth certificate lists his date of birth as January 10,1924, Roach has been quoted by Phil Schaap as having stated that his family believed he was born on January 8,1925. Roachs family moved to the Bedford-Stuyvesant neighborhood of Brooklyn, New York when he was 4 years old and he grew up in a musical home, his mother being a gospel singer. He started to play bugle in parade orchestras at a young age, at the age of 10, he was already playing drums in some gospel bands. In 1942, as an 18-year-old fresh out of Boys High School, in 1942, Roach started to go out in the jazz clubs of the 52nd Street and at 78th Street & Broadway for Georgie Jays Taproom. His first professional recording took place in December 1943, supporting Coleman Hawkins. He was one of the first drummers to play in the style, and performed in bands led by Dizzy Gillespie, Charlie Parker, Thelonious Monk, Coleman Hawkins, Bud Powell. Roach played on many of Parkers most important records, including the Savoy November 1945 session, the drummers early brush work with Powells trio, especially at fast tempos, has been highly praised. Roach studied classical percussion at the Manhattan School of Music from 1950 to 1953, in 1952, Roach co-founded Debut Records with bassist Charles Mingus. This label released a record of a May 15,1953 concert, billed as the greatest concert ever, also released on this label was the groundbreaking bass-and-drum free improvisation, Percussion Discussion. The group was a example of the hard bop style also played by Art Blakey. This group was to be short-lived, Brown and Powell were killed in a car accident on the Pennsylvania Turnpike in June 1956, the first album Roach recorded after their deaths was Max Roach +4. After Brown and Powells deaths, Roach continued leading a similarly configured group, with Kenny Dorham on trumpet, George Coleman on tenor, Roach expanded the standard form of hard-bop using 3/4 waltz rhythms and modality in 1957 with his album Jazz in 3/4 time. During this period, Roach recorded a series of albums for the EmArcy label featuring the brothers Stanley. In 1955, he was the drummer for vocalist Dinah Washington at several live appearances, in 1960 he composed and recorded the album We Insist. In 1962, he recorded the album Money Jungle, a collaboration with Mingus and this is generally regarded as one of the very finest trio albums ever made
27.
John Lewis (pianist)
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John Aaron Lewis was an American jazz pianist, composer and arranger, best known as the founder and musical director of the Modern Jazz Quartet. John Lewis was born in La Grange, Illinois, and raised in Albuquerque, New Mexico and his family was musical and had a family band that allowed him to play frequently and he also played in a Boy Scout music group. Even though he learned piano by playing the classics, he was exposed to jazz from an early age because his aunt loved to dance and he attended the University of New Mexico, where he led a small dance band that he formed and double majored in Anthropology and Music. Eventually, he decided not to pursue Anthropology because he was advised that careers from degrees in Anthropology did not pay well, in 1942, Lewis entered the army and played piano alongside Kenny Clarke, who influenced him to move to New York once their service was over. Lewis moved to New York in 1945 to pursue his studies at the Manhattan School of Music. Although his move to New York turned his attention more towards jazz, he still frequently played and listened to classical works and composers such as Chopin, Bach. Once Lewis moved to New York, he and Clarke tried out for Dizzy Gillespies bop-style big band by playing a song called Bright Lights that Lewis had written for the band played for in the army. They both were asked to join Gillespies band, and the tune they played for Gillespie, renamed Two Bass Hit. Lewis composed, arranged and played piano for the band from 1945 until 1948 after the made a concert tour of Europe. When Lewis returned from the tour with Gillespies band, he left it to work individually, in an article about Dexter Gordon for WorldPress. com, reviewer Ted Panken suggests that. Panken seems certain of his claim but does not offer corroboration to a charge that Davis took credit for music that was not his own, Lewis also was part of trumpeter Miles Daviss Birth of the Cool sessions. From when he returned to the U. S. in 1948 through 1949, for the Birth of the Cool sessions, Lewis arranged Sil Vous Plait, Rouge, Move and Budo. The Modern Jazz Quartet was formed out of the foursomes need for freedom and complexity than Gillespies big band. While Lewis wanted the MJQ to have more freedom, he also wanted to incorporate some classical elements and arrangements to his compositions. Lewis assumed the role of director from the start, even though the group claimed not to have a leader. It is commonly thought that John Lewis, for reasons of his contributions to the band, was apparently the first among the equals, Davis even once said that John taught all of them, Milt couldnt read at all, and bassist Percy Heath hardly. It was Lewis who elevated the groups collective talent because of his musical abilities. Lewis also made sure that the band was always dressed impeccably, Lewis believed that it was important to dress the way that they came across in their music, polished, elegant and unique
28.
Freddie Hubbard
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Frederick Dewayne Freddie Hubbard was an American jazz trumpeter. He was known primarily for playing in the bebop, hard bop and post-bop styles from the early 1960s onwards and his unmistakable and influential tone contributed to new perspectives for modern jazz and bebop. Hubbard started playing the mellophone and trumpet in his band at Arsenal Technical High School in Indianapolis. In his teens Hubbard worked locally with brothers Wes and Monk Montgomery and worked with bassist Larry Ridley, six days later he returned the favor to Brooks, and recorded with him on True Blue. In December 1960, Hubbard was invited to play on Ornette Colemans Free Jazz after Coleman had heard him performing with Don Cherry, then in May 1961, Hubbard played on Olé Coltrane, John Coltranes final recording session for Atlantic Records. Together with Eric Dolphy, Hubbard was the only sideman who appeared on both Olé and Africa/Brass, Coltranes first album with Impulse, later, in August 1961, Hubbard recorded Ready for Freddie, which was also his first collaboration with saxophonist Wayne Shorter. Hubbard joined Shorter later in 1961 when he replaced Lee Morgan in Art Blakeys Jazz Messengers and he played on several Blakey recordings, including Caravan, Ugetsu, Mosaic, and Free For All. In all, during the 1960s, he recorded eight albums as a bandleader for Blue Note. Hubbard was described as the most brilliant trumpeter of a generation of musicians who stand with one foot in tonal jazz and the other in the atonal camp. Hubbard achieved his greatest popular success in the 1970s with a series of albums for Creed Taylor and his record label CTI Records, overshadowing Stanley Turrentine, Hubert Laws, and George Benson. In 1994, Hubbard, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had set to the music of First Light. In 1977 Hubbard joined with Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, members of the mid-sixties Miles Davis Quintet, for a series of performances. Several live recordings of group were released as VSOP, VSOP, The Quintet, VSOP, Tempest in the Colosseum and VSOP. Hubbards trumpet playing was featured on the track Zanzibar, on the 1978 Billy Joel album 52nd Street, the track ends with a fade during Hubbards performance. An unfaded version was released on the 2004 Billy Joel box set My Lives, Hubbard played at the Monterey Jazz Festival in 1980 and in 1989. He played with Woody Shaw, recording with him in 1985, in 1988 he teamed up once more with Blakey at an engagement in the Netherlands, from which came Feel the Wind. In 1988, Hubbard played with Elton John, contributing trumpet and flugelhorn and trumpet solos on the track Mona Lisas and he also performed at the Warsaw Jazz Festival, at which Live at the Warsaw Jazz Festival was recorded. His best records ranked with the finest in his field, in 2006, the National Endowment for the Arts accorded Hubbard its highest honor in jazz, the NEA Jazz Masters Award
29.
Ted Curson
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Theodore Ted Curson was an American jazz trumpeter. He became interested in playing trumpet after watching a newspaper salesman play a silver trumpet, cursons father, however, wanted him to play alto saxophone like Louis Jordan. When he was ten, he got his first trumpet and he attended Granoff School of Music in Philadelphia. At the suggestion of Miles Davis, he moved to New York in 1956 and he performed and recorded with Cecil Taylor in the late 1950s and early 1960s. His composition Tears for Dolphy has been used in numerous films and he was a familiar face in Finland, having performed at the Pori Jazz festival every year since it began in 1966. In 2007, he performed at Finlands Independence Day Ball at the invitation of president Tarja Halonen
30.
Abbey Lincoln
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Anna Marie Wooldridge, known by her stage name Abbey Lincoln, was an American jazz vocalist, songwriter, and actress, who wrote and performed her own compositions. She was a rights advocate and activist from the 1960s on. Born in Chicago but raised in Calvin Center, Cass County, Michigan and she often visited the Blue Note jazz club in New York City. Her debut album, Abbey Lincolns Affair – A Story of a Girl in Love, was followed by a series of albums for Riverside Records, in 1960 she sang on Max Roachs landmark civil rights-themed recording, We Insist. Lincoln’s lyrics were often connected to the civil movement in America. During the 1980s, Lincoln’s creative output was smaller and she released only a few albums during that decade and her song For All We Know is featured in the 1989 film Drugstore Cowboy. During the 1990s and until her death, however, she fulfilled a 10-album contract with Verve Records, after a tour of Africa in the mid-1970s, she adopted the name Aminata Moseka. These albums are regarded and represent a crowning achievement in Lincoln’s career. Devil’s Got Your Tongue featured Rodney Kendrick, Grady Tate, J. J. Johnson, Stanley Turrentine, Babatunde Olatunji and The Staple Singers, in 2003, Lincoln received a National Endowment for the Arts Jazz Master Award. With Ivan Dixon, she co-starred in Nothing But a Man, in 1968 she also co-starred with Sidney Poitier and Beau Bridges in For Love of Ivy, and received a 1969 Golden Globe nomination for her appearance in the film. Television appearances began in 1968 with The Name of the Game and she later appeared in Mission, Impossible, the telemovie Short Walk to Daylight, Marcus Welby, M. D. and All in the Family. In the 1990 Spike Lee movie Mo’ Better Blues, Abbey Lincoln played the young Bleeks mother, Lincoln was married from 1962 to 1970 to drummer Max Roach, whose daughter from a previous marriage, Maxine, appeared on several of Lincoln’s albums. Lincoln died on August 14,2010 in Manhattan, eight days after her 80th birthday, no cause of death was officially given. She was cremated and her ashes were scattered,1956, Abbey Lincolns Affair, A Story of a Girl in Love with arrangements by Benny Carter and Marty Paich 1957, Thats Him. 1958, It’s Magic 1959, Abbey Is Blue 1961, Straight Ahead 1973, People in Me with Dave Liebman,1980, Painted Lady featuring Archie Shepp 1983, Talking to the Sun with Steve Coleman, James Weidman, Mark Johnson, Jerry Gonzalez a. o. 1987, Abbey Sings Billie, Vol.1 &2 with Harold Vick, J. Weidman, Tarik Shah, M. Johnson 1990, The World Is Falling Down with Jackie McLean, Clark Terry a. o. 1991, You Gotta Pay the Band with Stan Getz, Hank Jones, Charlie Haden, Marc Johnson, Maxine Roach 1992,1996, Who Used to Dance with Marc Cary, Graham Haynes, Steve Coleman, Oliver Lake a. o. 1998, Wholly Earth with Bobby Hutcherson, Nicholas Payton a. o,2000, Over the Years with Joe Lovano a. o
31.
Benny Golson
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Benny Golson is an American bebop/hard bop jazz tenor saxophonist, composer, and arranger. While in high school in Philadelphia, Golson played with other promising young musicians, including John Coltrane, Red Garland, Jimmy Heath, Percy Heath, Philly Joe Jones. Golson was so moved by the event that he composed the threnody I Remember Clifford, as a tribute to a fellow musician, in addition to I Remember Clifford, many of Golsons compositions have become jazz standards. Songs such as Stablemates, Killer Joe, Whisper Not, Along Came Betty, from 1959 to 1962 Golson co-led the Jazztet with Art Farmer. Golson then left jazz to concentrate on studio and orchestral work for 12 years, during this time he composed music for such television shows as Mannix, Ironside, Room 222, M*A*S*H, The Partridge Family and Mission, Impossible. During the mid-1970s Golson returned to playing and recording. In 1982 he re-organized the Jazztet, in 1995 Golson received the NEA Jazz Masters Award of the National Endowment for the Arts. Golson made a appearance in the 2004 movie The Terminal, related to his appearance in the A Great Day in Harlem photo, as of 2016. His song Something in b Flat can actually be heard in one of the scenes of the movie, in October 2007 Golson received the Mellon Living Legend Legacy Award presented by the Mid Atlantic Arts Foundation at a ceremony at the Kennedy Center. In November 2009, Benny was inducted into the International Academy of Jazz Hall of Fame during a performance at the University of Pittsburghs annual jazz seminar, the Howard University Jazz Studies program created a prestigious award in his honor called the Benny Golson Jazz Master Award in 1996. Several distinguished jazz artists have received this award
32.
Western concert flute
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The Western concert flute is a transverse woodwind instrument made of metal or wood. It is the most common variant of the flute, a musician who plays the flute is called a flautist, flutist, flute player, or fluter. This type of flute is used in ensembles including concert bands, military bands, marching bands, orchestras, flute ensembles. Other flutes in this include the piccolo, alto flute. A large repertory of works has been composed for flute, the flute is one of the oldest and most widely used wind instruments. The precursors of the concert flute were keyless wooden transverse flutes. These were later modified to include one and eight keys for chromatic notes. The most common pitch for keyless wooden traverse flutes is six-finger D, keyless traverse flutes continue to be used in folk music and in historically informed performances of Baroque music. Throughout the 11th, 12th and 13th centuries, transverse flutes were very uncommon in Europe, the transverse flute arrived in Europe from Asia, via the Byzantine Empire, where it migrated to Germany and France. These flutes became known as German flutes, to them from others. The flute became used in music, along with the viol. It would not spread to the rest of Europe for nearly a century, the first literary appearance of the transverse flute was made in 1285, by Adenet le Roi in a list of instruments he played. After this, a period of 70 years ensues, where there are few references to the flute, beginning in the 1470s, a military revival in Europe led to a revival in the flute. The Swiss army used flutes for signaling, and this helped the spread to all of Europe. In the late 16th century, flutes began to appear in court and theatre music, following the 16th century court music, flutes began appearing in chamber ensembles. These flutes were used as the tenor voice. However, flutes varied greatly in size and range and this made transposition necessary, which led flutists to use Guidonian hexachords to transpose music more easily. At this stage, the flute was usually made in one section and had a cylindrical bore
33.
Clarinet
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The clarinet is a musical-instrument family belonging to the group known as the woodwind instruments. It has a mouthpiece, a straight cylindrical tube with an almost cylindrical bore. A person who plays a clarinet is called a clarinetist, the word clarinet may have entered the English language via the French clarinette, or from Provençal clarin, oboe. It would seem however that its roots are to be found amongst some of the various names for trumpets used around the renaissance. Clarion, clarin and the Italian clarino are all derived from the medieval term claro which referred to a form of trumpet. This is probably the origin of the Italian clarinetto, itself a diminutive of clarino, according to Johann Gottfried Walther, writing in 1732, the reason for the name is that it sounded from far off not unlike a trumpet. The English form clarinet is found as early as 1733, while the similarity in sound between the earliest clarinets and the trumpet may hold a clue to its name, other factors may have been involved. The trumpet parts that required this speciality were known by the term clarino, Johann Christoph Denner is generally believed to have invented the clarinet in Germany around the year 1700 by adding a register key to the earlier chalumeau. Over time, additional keywork and airtight pads were added to improve the tone and these days the most popular clarinet is the B♭ clarinet. However, the clarinet in A, just a lower, is commonly used in orchestral music. Since the middle of the 19th century the clarinet has become an essential addition to the orchestra. The clarinet family ranges from the BBB♭ octo-contrabass to the A♭ piccolo clarinet, the clarinet has proved to be an exceptionally flexible instrument, equally at home in the classical repertoire as in concert bands, military bands, marching bands, klezmer, and jazz. The cylindrical bore is primarily responsible for the clarinets distinctive timbre, the tone quality can vary greatly with the musician, the music, the instrument, the mouthpiece, and the reed. The most prominent were the German/Viennese traditions and the French school, the latter was centered on the clarinetists of the Conservatoire de Paris. The proliferation of recorded music has made examples of different styles of clarinet playing available, the modern clarinetist has a diverse palette of acceptable tone qualities to choose from. The A clarinet and B♭ clarinet have nearly the same bore, orchestral players using the A and B♭ instruments in the same concert could use the same mouthpiece for both. The A and the B♭ instruments have nearly identical tonal quality, the tone of the E♭ clarinet is brighter than that of the lower clarinets and can be heard even through loud orchestral or concert band textures. The bass clarinet has a deep, mellow sound, while the alto clarinet is similar in tone to the bass
34.
Interval (music)
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In music theory, an interval is the difference between two pitches. In Western music, intervals are most commonly differences between notes of a diatonic scale, the smallest of these intervals is a semitone. Intervals smaller than a semitone are called microtones and they can be formed using the notes of various kinds of non-diatonic scales. Some of the very smallest ones are called commas, and describe small discrepancies, observed in some tuning systems, Intervals can be arbitrarily small, and even imperceptible to the human ear. In physical terms, an interval is the ratio between two sonic frequencies, for example, any two notes an octave apart have a frequency ratio of 2,1. This means that successive increments of pitch by the same result in an exponential increase of frequency. For this reason, intervals are often measured in cents, a derived from the logarithm of the frequency ratio. In Western music theory, the most common naming scheme for intervals describes two properties of the interval, the quality and number, examples include the minor third or perfect fifth. These names describe not only the difference in semitones between the upper and lower notes, but also how the interval is spelled, the importance of spelling stems from the historical practice of differentiating the frequency ratios of enharmonic intervals such as G–G♯ and G–A♭. The size of an interval can be represented using two alternative and equivalently valid methods, each appropriate to a different context, frequency ratios or cents, the size of an interval between two notes may be measured by the ratio of their frequencies. When a musical instrument is tuned using a just intonation tuning system, Intervals with small-integer ratios are often called just intervals, or pure intervals. Most commonly, however, musical instruments are tuned using a different tuning system. As a consequence, the size of most equal-tempered intervals cannot be expressed by small-integer ratios, for instance, an equal-tempered fifth has a frequency ratio of 2 7⁄12,1, approximately equal to 1.498,1, or 2.997,2. For a comparison between the size of intervals in different tuning systems, see section Size in different tuning systems, the standard system for comparing interval sizes is with cents. The cent is a unit of measurement. If frequency is expressed in a scale, and along that scale the distance between a given frequency and its double is divided into 1200 equal parts, each of these parts is one cent. In twelve-tone equal temperament, a system in which all semitones have the same size. Hence, in 12-TET the cent can be defined as one hundredth of a semitone
35.
Extended technique
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In music, extended technique is unconventional, unorthodox, or non-traditional methods of singing or of playing musical instruments employed to obtain unusual sounds or timbres. Composers’ use of extended techniques is not specific to contemporary music and it transcends compositional schools, extended techniques have also flourished in popular music. Nearly all jazz performers make significant use of extended techniques of one sort or another, musicians in free improvisation have also made heavy use of extended techniques. Twentieth-century exponents of extended techniques include Henry Cowell, John Cage, string scrapes, a technique especially associated with electric guitar and electric basss, as played with a pick. Detuning a string while playing 3rd bridge, a technique using the part of the string between the nut and the stopping finger, see Xenakis cello piece Nomos Alpha for a similar effect. Prepared piano, i. e. introducing foreign objects into the workings of the piano to change the sound quality string piano and these mallets are seldom used, and percussionists sometimes make them themselves when they are needed. Striking a gong and then inserting the vibrating meta into a tub of water, circuit bending, DIY experimenting with electronic keyboards and electronic toys. Michael Edward Edgertons The 21st Century Voice, ISBN 0-8108-5354-X, evan Hirschelman, Acoustic Artistry Guitar, ISBN 978-1-4234-0571-9, Hal Leonard Corporation. Thomas Howell, The Avant-Garde Flute, A Handbook for Composers and Flutists, ruth Inglefield and Lou Ann Neill, Writing for the Pedal Harp, ISBN 0-520-04832-6. Gardner Read, Contemporary Instrumental Techniques, ISBN 0-028-72100-4, gardner Read, A Thesaurus of Orchestral Devices, ISBN 0-837-11884-0. Philip Rehfeldt, New Directions for Clarinet, ISBN 0-520-03379-5, jamie Leigh Sampson, Contemporary Techniques for the Bassoon, Multiphonics, ISBN 0-615-99938-7. John Schneider, The Contemporary Guitar, ISBN 1-442-23789-9, reginald Smith Brindle, Contemporary Percussion, ISBN 0-198-16247-2. Patricia and Allen Strange, The Contemporary Violin, ISBN 0-520-22409-4, bertram Turetzky, The Contemporary Contrabass ISBN 0-520-06381-3. Includes definitions, descriptions and video interviews of extended techniques for most all common orchestral instruments, oddmusic A website dedicated to unique, odd, ethnic, experimental and unusual musical instruments and resources
36.
Bebop
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As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, Bebop groups used rhythm sections in a way that expanded their role. The term bebop is derived from nonsense syllables used in scat singing and it appears again in a 1936 recording of Ise a Muggin by Jack Teagarden. A variation, rebop, appears in several 1939 recordings, the first, known print appearance also occurred in 1939, but the term was little-used subsequently until applied to the music now associated with it in the mid-1940s. Some researchers speculate that it was a used by Charlie Christian because it sounded like something he hummed along with his playing. Another theory is that it derives from the cry of Arriba, used by Latin American bandleaders of the period to encourage their bands. At times, the bebop and rebop were used interchangeably. By 1945, the use of bebop/rebop as nonsense syllables was widespread in R&B music, ability to play sustained, high energy, and creative solos was highly valued for this newer style and the basis of intense competition. Swing-era jam sessions and cutting contests in Kansas City became legendary, the Kansas City approach to swing was epitomized by the Count Basie Orchestra, which came to national prominence in 1937. One young admirer of the Basie orchestra in Kansas City was an alto saxophone player named Charlie Parker. Young was equally daring with his rhythm and phrasing as with his approach to harmonic structures in his solos and he would frequently repeat simple two or three note figures, with shifting rhythmic accents expressed by volume, articulation, or tone. His phrasing was far removed from the two or four bar phrases that players had used until then. They would often be extended to an odd number of measures and he would take a breath in the middle of a phrase, using the pause, or free space, as a creative device. The overall effect was that his solos were something floating above the rest of the music, Parker played along with the new Basie recordings on a Victrola until he could play Youngs solos note for note. That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new language of bebop. That solo showed a sophisticated harmonic exploration of the tune, with implied passing chords, Hawkins would eventually go on to lead the first formal recording of the bebop style in early 1944. As the 1930s turned to the 1940s, Parker went to New York as a player in the Jay McShann Orchestra. Guitarist Charlie Christian, who had arrived in New York with the Benny Goodman Orchestra in 1939 was, like Parker, christians major influence was in the realm of rhythmic phrasing
37.
Igor Stravinsky
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Igor Fyodorovich Stravinsky was a Russian-born composer, pianist, and conductor. He is widely considered one of the most important and influential composers of the 20th century, Stravinskys compositional career was notable for its stylistic diversity. His Russian phase which continued with such as Renard, The Soldiers Tale. The works from this tended to make use of traditional musical forms, drawing on earlier styles. In the 1950s, Stravinsky adopted serial procedures, Stravinsky was born on 17 June 1882 in Oranienbaum, a suburb of Saint Petersburg, the Russian imperial capital, and was brought up in Saint Petersburg. It is believed that Stravinsky’s ancestry is traceable back to the 17th and 18th centuries, to the bearers of the Soulima, ivan Sulima, was a famous Ukrainian hetman 1628–1635. Stravinskys family branch most likely came from Stravinskas, polonized Lithuanian land owners and it is still unclear to when exactly the Soulima part of the surname was dropped. Stravinsky recalled his schooldays as being lonely, later saying that I never came across anyone who had any attraction for me. Stravinsky began piano lessons as a boy, studying music theory. In 1890, he saw a performance of Tchaikovskys ballet The Sleeping Beauty at the Mariinsky Theatre, despite his enthusiasm for music, his parents expected him to study law. Stravinsky enrolled at the University of Saint Petersburg in 1901, Stravinskys father died of cancer that year, by which time his son had already begun spending more time on his musical studies than on law. Thereafter, he concentrated on studying music, in 1905, he began to take twice-weekly private lessons from Rimsky-Korsakov, whom he came to regard as a second father. These lessons continued until Rimsky-Korsakovs death in 1908, in 1905 Stravinsky was betrothed to his cousin Katherine Gavrylivna Nosenko, whom he had known since early childhood. Diaghilev was sufficiently impressed by Fireworks to commission Stravinsky to carry out some orchestrations and then to compose a ballet score. The early period of Igor Stravinsky’s work would be incomplete without a research of his life while in Ukraine. From approximately 1890 till 1914 the composer was frequently visiting Ustyluh, town in Volyn Oblast and he spent most of his summers there and that’s where he met his cousin, Katherine Nosenko who he married in 1906. In 1907 Stravinsky designed and built his own house in Ustyluh where his own family stayed often during summer times until 1914 and his new Ukrainian home he called “My heavenly place”. In this house Igor Stravinsky worked on his seventeen early compositions, among which were orchestral fantasy Fireworks, ballets Firebird, Petrushka, currently, after its renovation this house is the only composers house-museum opened to the public
38.
Panama
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Panama, officially called the Republic of Panama, is a country usually considered to be entirely in North America or Central America. It is bordered by Costa Rica to the west, Colombia to the southeast, the Caribbean Sea to the north, the capital and largest city is Panama City, whose metropolitan area is home to nearly half of the countrys 4.1 million people. Panama was inhabited by indigenous tribes prior to settlement by the Spanish in the 16th century. Panama broke away from Spain in 1821 and joined a union of Nueva Granada, Ecuador, when Gran Colombia dissolved in 1831, Panama and Nueva Granada remained joined, eventually becoming the Republic of Colombia. With the backing of the United States, Panama seceded from Colombia in 1903, in 1977 an agreement was signed for the total transfer of the Canal from the United States to Panama by the end of the 20th century, which culminated on 31 December 1999. Revenue from canal tolls continues to represent a significant portion of Panamas GDP, although commerce, banking, in 2015 Panama ranked 60th in the world in terms of the Human Development Index. Since 2010, Panama remains the second most competitive economy in Latin America, covering around 40 percent of its land area, Panamas jungles are home to an abundance of tropical plants and animals – some of them to be found nowhere else on the planet. There are several theories about the origin of the name Panama, some believe that the country was named after a commonly found species of tree. Others believe that the first settlers arrived in Panama in August, when butterflies abound, the best-known version is that a fishing village and its nearby beach bore the name Panamá, which meant an abundance of fish. Captain Antonio Tello de Guzmán, while exploring the Pacific side in 1515, in 1517 Don Gaspar De Espinosa, a Spanish lieutenant, decided to settle a post there. In 1519 Pedrarias Dávila decided to establish the Empires Pacific city in this site, the new settlement replaced Santa María La Antigua del Darién, which had lost its function within the Crowns global plan after the beginning of the Spanish exploitation of the riches in the Pacific. Blending all of the above together, Panamanians believe in general that the word Panama means abundance of fish and this is the official definition given in social studies textbooks approved by the Ministry of Education in Panama. However, others believe the word Panama comes from the Kuna word bannaba which means distant or far away, at the time of the arrival of the Spanish in the 16th century, the known inhabitants of Panama included the Cuevas and the Coclé tribes. These people have disappeared, as they had no immunity from European infectious diseases. The earliest discovered artifacts of indigenous peoples in Panama include Paleo-Indian projectile points, later central Panama was home to some of the first pottery-making in the Americas, for example the cultures at Monagrillo, which date back to 2500–1700 BC. These evolved into significant populations best known through their spectacular burials at the Monagrillo archaeological site, the monumental monolithic sculptures at the Barriles site are also important traces of these ancient isthmian cultures. Before Europeans arrived Panama was widely settled by Chibchan, Chocoan, the largest group were the Cueva. The size of the population of the isthmus at the time of European colonization is uncertain
39.
Oboe
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Oboes /ˈoʊboʊ/ OH-boh are a family of double reed woodwind musical instruments. The most common oboe plays in the treble or soprano range, oboes are usually made of wood, but there are also oboes made of synthetic materials. A soprano oboe measures roughly 65 cm long, with keys, a conical bore. Sound is produced by blowing into the reed and vibrating a column of air, the distinctive oboe tone is versatile, and has been described as bright. When the term oboe is used alone, it is taken to mean the standard treble instrument rather than other instruments of the family. In English, prior to 1770, the instrument was called a hautbois, hoboy. The spelling of oboe was adopted into English c.1770 from the Italian oboè, a musician who plays the oboe is called an oboist or simply an oboe player. In comparison to other woodwind instruments, the treble oboe is sometimes referred to as having a clear. The Sprightly Companion, a book published by Henry Playford in 1695, describes the oboe as Majestical and Stately. Humorously, the sound of the oboe is described in the play Angels in America as like that of a if the duck were a songbird. The rich timbre of the oboe is derived from its conical bore, as a result, oboes are readily audible over other instruments in large ensembles. The highest note of the oboe is a lower than the nominally highest note of the B♭ clarinet. Since the clarinet has a range of notes, the lowest note of the B♭ clarinet is significantly deeper than the lowest note of the oboe. Music for the oboe is written in concert pitch. Orchestras normally tune to a concert A played by the oboe, according to the League of American Orchestras, this is done because the pitch of the oboe is secure and its penetrating sound makes it ideal for tuning purposes. The pitch of the oboe is affected by the way in which the reed is made. The reed has a significant effect on the sound of the instrument, Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch of the instrument. German and French reeds, for instance, differ in many ways, weather conditions such as temperature and humidity also affect the pitch
