Village in the Koura District of Lebanon, whose inhabitants are Greek Orthodox and other confessions
POPULARITY
7 episodes with Aaba
4 episodes with Aaba
4 episodes with Aaba
2 episodes with Aaba
27 episodes with Aaba
Welcome back to #TheStoryofUs, your favorite fireside chat style, and #Paleo Series! On this episode, we have another amazing guest—no surprise there. This time, we are honored to be joined by science communication master Dr. Cara Ocobock! Winner of the 2023 “AABA and Leakey Foundation Communication & Outreach Award in Honor of Camilla Smith,” we are not dealing with just any science communicator here! Join us as we have an excellent discussion on her work, which surrounds how people survive in the most extreme climates and the adaptations that they create to survive, as well as her incredible work on bringing “Women the Hunter” into the public eye, the idea that human evolution does always surround the work of men! We have an electrifying episode that you will not want to miss! If you learned something new today or just enjoyed the conversation, be sure to leave a like. It helps me out a great deal; it allows me to reach more people as I spread the story of our Human Origins! Don't want to miss another episode? Be sure to subscribe! See you all next time!
We are back! I know it's been a while since the last episode of “The Story of Us.” life has been crazy, but coming back from the AABA 2024, I am very excited to bring this interview to you! In this episode, we are talking to archaeologist turned anthropologist Dr. Michael Petraglia, an exceptionally well-rounded and busy researcher! Hailing from Griffith University in Brisbane, Dr. Petraglia studies a wide range of ideas when it comes to “what makes us human” using decades of finely honed skills; join us as he discusses his past, his successes, how he does it, and even some exciting things coming in the future! In this episode, we discuss some of the ideas of what it means to be human, how ancient mega volcanoes affected human populations across the world, and “Green Arabia,” which is a fascinating topic that I and many others feel is on the brink of expanding into the world of paleoanthropology! With so much interesting information, do not miss this fantastic episode! If you enjoy how I bring the research and the researchers straight to you, be sure to like and subscribe for more! Hit that reminders button on the channel to always know when a new video is coming! Remember, there is always more to learn!
Ketutu unga feedback ah comments leh podunga. Please follow/ subscribe to our podcast. Follow us on Instagram in the below links
Aacharyam thayoligala! We're back with another episode within a week. Ketutu unga feedback ah comments leh podunga. Please follow/ subscribe to our podcast. Follow us on Instagram in the below links
Not ready to read all election manifestos? Don't worry. We'll do it for you! Ketutu unga feedback ah comments leh podunga. Please follow/ subscribe to our podcast. Follow us on Instagram in the below links
What if Sabareesh became an Anil & Dharaneesh became his real life character
Roast of the 2023 Bollywood Hindi movie Animal featuring Ranbir Kapoor, Rashmika Mandanna, Anil Kapoor, Bobby Deole & many others directed by Arjun Reddy fame Sandeep Reddy Vanga. Ketutu unga feedback ah comments leh podunga. Please follow/ subscribe to our podcast. Follow us on Instagram in the below links
Ketutu unga feedback ah comments leh podunga. Please follow/ subscribe to our podcast. Follow us on Instagram in the below links
Vijay Anna Nadithadhil Sirandha Padam Sura Va? Puli Ah? New year sirappu pattimandram featuring Haashiraamaa Senju, Sabaree, Dharanee, Aaba & TTK Chriznill. Ketutu unga feedback ah comments leh podunga. Please follow/ subscribe to our podcast. Follow us on Instagram in the below links
As an anthem to angst, George and Ira Gershwin's bittersweet counter-love song “But Not For Me” was well ahead of its time.The brothers penned the song in 1930 for the stage musical “Girl Crazy,” in which it was premiered by Ginger Rogers, who was appearing in the role that led to her film career. Since then, the tune has been recorded many times, though many leading vocalists like Tony Bennett don't seem to have ever given it a try, even though it is, as musician Jed Scott notes, “It's a gem of a song, and a welcome change from the AABA song form.”Waiting for JazzThe number initially failed to achieve significant pop success, charting only once. And that was a dozen years after its composition, when Harry James and His Orchestra brought it out with vocalist Helen Forrest.However, a decade after that, the song had a rebirth in the jazz world, which appreciated its kinky chord changes. As Scott noted in an online post, instead of the usual AABA of most pop standards, this 32-bar Gershwin melody is ABAB.Best of all, that second B section “has a brilliant compositional moment,” Scott observes. “In the first B, it leaps upwards to the tonic, but in the second it leaps a step higher, before climbing back down to the low tonic over the next four measures.”The result, says Scott, is “unexpected, beautiful and typical of Gershwin's clever compositional approach.”The Cool KidsThe world of 1950s cool jazz loved those leaps. A particularly beautiful understated rendering was done in 1956 by a 26-year-old superstar of the day. Trumpeter Chet Baker made it a centerpiece on his Chet Baker Sings album, achieving a perfect balance between George's upbeat melody and Ira's darker lyric.Other ‘50s jazz vocals of the tune included great ones by Ella Fitzgerald, Billie Holiday and Sarah Vaughn. Meanwhile, instrumental versions were released in the same decade by Miles Davis, Buddy De Franco, the Modern Jazz Quarter, Kenny Burrell, Ahmad Jamal and Red Garland.Since then the song has been recorded by various crooners, from Harry Connick Jr. and Barry Manilow to Linda Ronstadt and Diana Krall.Movie Time“But Not for Me” has made occasional cameo appearances in movies too, starting out as the title tune for a 1959 Clark Gable-Carroll Baker comedy. After that, Woody Allen added it to his 1979 Manhattan, a Jackie Gleason arrangement made it into L.A. Confidential in the same year, and 15 years later, Elton John performed it in Four Weddings and a Funeral.Our Take on the TuneLast week was The Flood's first fling with the tune. See what you think.We also expect to have the song in the repertoire for our big New Year's Eve do at Huntington's beloved Alchemy Theatre. Hope you've got us on your calendar. If you missed the earlier announcement, click this link:But Wait, There's More!If swinging along on these great old standards is what you need today, be sure to check out the Great American Songbook playlist in our all-free Radio Floodango music streaming service. The link below tells you all you need to know. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com
In this episode, Jamie and Emily talk about:- Authenticity- How to write strong lyrics- Using shock to grab the listener's attention- The importance of having an interesting introduction- Using less instrumentation without having a boring production- Having the pay-off of the song show up at the right moment- The AABA structure- The best hooks are generally less than 5 words- Repetition!- Preserving your uniqueness - Repetition!- Prosody- Repetition!- How the right production brings out the song's emotion- Free-writing- Beginner writing tips- Counting odd-time signatures- Publishing tips and warnings- How royalties work- and more.-----------------Songs reviewed:Mary Heather Hickman - Small Town Saturday NightGabriel Marchuk - What You Promised To DoPhillipa Cooper - ParalyzedChristine Passig - How StrongQuestions:1. What exercises do you recommend to someone new to songwriting?2. What's a good practical approach to develop rhythm-writing skills for a beginner?3. Is it worth sending songs to publishers?-------------Book a free coaching call with Jamie: https://calendly.com/jamiekarlcoupe/60minBook a free call with Emily right here or by going to calendly.com/emilytallmanEmily's personal Instagram: @therealemilytallman---------------Book a free consultation call with Jamie: https://calendly.com/jamiekarlcoupe/60minJamie's Instagram: @jamiekarlcoupeJamie's Website: jamiekarlcoupe.comGet your song reviewed: send an MP3 or download link to iwishiknewthatpod@gmail.comSend us videos of you playing, suggestions or questions on Instagram. Be well, write well.YouTube: https://www.youtube.com/@iwishiknewthataboutsongwritingEdited and mixed by Tiki Horeatikihorea.com@tikiproducer
"Somehow I don't think you'll ever love anyone but you." How can you combine caustic wit and heartfelt honesty in a song? What do you do when you've got a story without a chorus? Can you write an authentic and meaningful song to a prompt?Douglas Allen has these answers and more.In this episode, Emmeline sits down with Douglas Allen to discuss his post-relationship anthem, "The Breakup." Douglas shares the story behind the song, talks about song form, and discusses the importance of leaning into the mood each song presents. Emmeline and Douglas also talk about how the meaning of a song can change for the artist over time, and why interaction with listeners means so very much to songwriters.To learn more about Douglas Allen, or to follow his musical journey, visit his official website. For behind-the-scenes information and more about Journey of a Song, follow Emmeline on social media or visit the Journey of Series official webpage. You can also hear songs from previous episodes on the Journey of a Song Official Spotify playlist.
In today's episode, Sheila talks with Chris Parker, candidate in the upcoming Joliet city election for mayor and president of the professional business organization AABA, about the actual importance of serving the community under the right chosen leadership in the field of politics.
Looking to keep you students engaged this Spring? These Spring music lessons are fun and Spring themed-- and most of them have little to no prep on your part. Coordinating blog post (with free sheet music): http://beccasmusicroom.com/spring-music-lessons/00:00 Timestamps00:34 Ballet of the Unhatched Chicks1:50 Los Pollitos4:04 Spring Matching Games5:34 Frog in the Meadow7:00 El coqui8:00 Kearu no uta ga9:25 John the Rabbit10:45 Spring by Vivaldi12:06 Rain Rain Go Away13:40 Que Llueva17:00 Closet Key19:20 2, 4, 6, 8Happy teaching!Becca//IN THIS VIDEOBlog Post: http://beccasmusicroom.com/spring-music-lessons/Ballet of the Unhatched Chicks video: https://www.youtube.com/watch?v=VXSj7ESyDkwBallet of the Unhatched Chicks lesson pack: https://www.teacherspayteachers.com/Product/Ballet-of-the-Unhatched-Chicks-Kindergarten-and-1st-grade-lesson-for-AABA-form-5337030?utm_source=BMR%20Youtube&utm_campaign=Spring%20music%20lessonsLos Pollitos video: https://www.youtube.com/watch?v=fKX3JIVbmMgLos Pollitos book: https://amzn.to/3EatWClSpring matching games: https://www.teacherspayteachers.com/Store/Beccas-Music-Room/Search:egg+matching?utm_source=BMR%20Youtube&utm_campaign=Spring%20music%20lessonsKearu no uta ga video: https://youtu.be/i1ohzRzu74cTap Tap Boom Boom: https://amzn.to/3uIr8cBTap Tap Boom Boom lesson: https://www.teacherspayteachers.com/Store/Beccas-Music-Room/Search:tap+tap?utm_source=BMR%20Youtube&utm_campaign=Spring%20music%20lessonsQue Llueva: https://www.youtube.com/watch?v=rODAG3Qoy8ACloset Key: https://www.youtube.com/watch?v=_jifTc_58Sk2, 4, 6, 8: https://www.teacherspayteachers.com/Product/2-4-6-8-Meet-Me-at-the-Garden-Gate-Folk-Chant-for-Quarter-Eighth-Notes-4143602?utm_source=BMR%20Youtube&utm_campaign=Spring%20music%20lessonsNeed more virtual lessons?Online music lesson course: https://beccasmusicroom.teachable.com/p/teaching-elementary-music-online/Virtual Music Lesson ebook: http://beccasmusicroom.com/virtual-music-lessons/
Dr. Adam Van Arsdale, a Professor of Anthropology at Wellesley College chats with Chris and Cara about why and how we need to rethink the way human anatomical evolution is taught. He discusses his recent presentations at the AABA in Denver and highlights his talk with Dr. Robin Nelson on the inconsistencies in how the term "population" is used by anthropologists. You can find Dr. Van Arsdale's talk on the concept of human modernity here: https://www.youtube.com/watch?v=t_LakWU3PR0 And his other AABA talk on the term "population" here: https://www.youtube.com/watch?v=VJb9SunMtOo You can also find Dr. Van Arsdale's MOOC prerecorded lectures on human evolution here: https://www.youtube.com/playlist?list=PLWYl-iTHMAj3n-1o0idR9k2c0NYFBKspU Contact Dr. Van Arsdale at avanarsd@wellesley.edu and on Twitter at @APV2600 Contact the Sausage of Science Podcast and Human Biology Association: Facebook: www.facebook.com/groups/humanbiologyassociation Website:humbio.org/, Twitter: @HumBioAssoc Cara Ocobock, Website: sites.nd.edu/cara-ocobock/, Email:cocobock@nd.edu, Twitter:@CaraOcobock Chris Lynn, HBA Public Relations Committee Chair, Website: cdlynn.people.ua.edu/, Email: cdlynn@ua.edu, Twitter:@Chris_Ly Delaney Glass, Website: dglass.netlify.app/, Email: dglass1@uw.edu, Twitter: @GlassDelaney Alexandra Niclou, Email: aniclou@nd.edu, Twitter: @fiat_Luxandra
Looking to incorporate movement into your kindergarten, first, and second grade music lessons? This Ballet of the Unhatched Chicks lesson is an easy one to teach listening and form to your littles! Use hand puppets, no props, parachute, or scarves, plus extensions like drawing to the music! Lesson pack: https://www.teacherspayteachers.com/Product/Ballet-of-the-Unhatched-Chicks-Kindergarten-and-1st-grade-lesson-for-AABA-form-5337030?st=e26be25b683d100372dec5083fdd92f8&utm_source=BMR%20Youtube&utm_campaign=Ballet%20of%20the%20Unhatched%20ChicksHappy teaching!Becca//IN THIS VIDEOLesson pack: https://www.teacherspayteachers.com/Product/Ballet-of-the-Unhatched-Chicks-Kindergarten-and-1st-grade-lesson-for-AABA-form-5337030?st=e26be25b683d100372dec5083fdd92f8&utm_source=BMR%20Youtube&utm_campaign=Ballet%20of%20the%20Unhatched%20ChicksParachute: https://amzn.to/3vXNzeRLos Pollitos sheet music: https://beccasmusicroom.com/folk-songs-hispanic-heritage-month/Need more virtual lessons?Online music lesson course: https://beccasmusicroom.teachable.com/p/teaching-elementary-music-online/Virtual Music Lesson ebook: http://beccasmusicroom.com/virtual-music-lessons///HELPFUL LINKS*Happier Teacher Life (my new book!): https://amzn.to/337t28M*Camera I use: https://amzn.to/35BS9Pc*Erin Condren (get $10 off when you create an account): https://www.erincondren.com/referral/invite/rebeccadavis-7580/1*Get one month of free ink with HP Instant Ink: http://try.hpinstantink.com/v6mcZWant to get access to exclusive content? Sign up to join my FREE RESOURCE LIBRARY. Once you sign up, you can download and use any of the content in the library. New things are being added every few weeks, so make sure you check back for more FREE stuff! https://mailchi.mp/12c5827aecfa/beccasmusicroom//LET'S BE FRIENDSBlog: https://beccasmusicroom.comTeachers Pay Teachers: https://www.teacherspayteachers.com/Store/Beccas-Music-RoomEtsy: https://www.etsy.com/shop/BeccasMusicRoomPinterest: https://www.pinterest.com/beccasmusicroom/Instagram: https://www.instagram.com/beccasmusicroom/Facebook: https://www.facebook.com/beccasmusicroomPainting in the background: https://www.etsy.com/shop/beccadavisdesigns*May contain affiliate links
In this highly entertaining episode in Marathi, the Global Nomad talks about a few interesting events in his childhood in his trademark style with great humor and sensitivity. And then he adroitly describes a couple of most fascinating characters, Gangudada and Aaba who seem to have appeared straight from Pu La Deshpande's famous Batatyachi Chaal. Gangudada reminds you of the India of the stalwarts Tilak and Agarkar. The vivid description of Gangudada's unexpected late night appearance is most entertaining as is the story of the improvised hair cut uncle Aaba gave the author. But the podcast's main character is Grandfather Baa whose larger than life persona will leave the listeners speechless.
Episode one hundred and thirty-nine of A History of Rock Music in Five Hundred Songs looks at “Eight Miles High” by the Byrds, and the influence of jazz and Indian music on psychedelic rock. This is a long one... Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Winchester Cathedral" by the New Vaudeville Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, as there were multiple artists with too many songs. Information on John Coltrane came from Coltrane by Ben Ratliffe, while information on Ravi Shankar came from Indian Sun: The Life and Music of Ravi Shankar by Oliver Craske. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This dissertation looks at the influence of Slonimsky on Coltrane. All Coltrane's music is worth getting, but this 5-CD set containing Impressions is the most relevant cheap selection of his material for these purposes. This collection has the Shankar material released in the West up to 1962. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript This episode is the second part of a loose trilogy of episodes set in LA in 1966. We're going to be spending a *lot* of time around LA and Hollywood for the next few months -- seven of the next thirteen episodes are based there, and there'll be more after that. But it's going to take a while to get there. This is going to be an absurdly long episode, because in order to get to LA in 1966 again, we're going to have to start off in the 1940s in New York, and take a brief detour to India. Because in order to explain this: [Excerpt: The Byrds, "Eight Miles High"] We're first going to have to explain this: [Excerpt: John Coltrane, "India (#3)"] Before we begin this, I just want to say something. This episode runs long, and covers a *lot* of musical ground, and as part of that it covers several of the most important musicians of the twentieth century -- but musicians in the fields of jazz, which is a music I know something about, but am not an expert in, and Hindustani classical music, which is very much not even close to my area of expertise. It also contains a chunk of music theory, which again, I know a little about -- but only really enough to know how much I don't know. I am going to try to get the information about these musicians right, but I want to emphasise that at times I will be straying *vastly* out of my lane, in ways that may well seem like they're minimising these musicians. I am trying to give just enough information about them to tell the story, and I would urge anyone who becomes interested in the music I talk about in the early parts of this episode to go out and find more expert sources to fill in the gap. And conversely, if you know more about these musics than I do, please forgive any inaccuracies. I am going to do my best to get all of this right, because accuracy is important, but I suspect that every single sentence in the first hour or so of this episode could be footnoted with something pointing out all the places where what I've said is only somewhat true. Also, I apologise if I mispronounce any names or words in this episode, though I've tried my best to get it right -- I've been unable to find recordings of some words and names being spoken, while with others I've heard multiple versions. To tell today's story, we're going to have to go right back to some things we looked at in the first episode, on "Flying Home". For those of you who don't remember -- which is fair enough, since that episode was more than three years ago -- in that episode we looked at a jazz record by the Benny Goodman Sextet, which was one of the earliest popular recordings to feature electric guitar: [Excerpt: The Benny Goodman Sextet, "Flying Home"] Now, we talked about quite a lot of things in that episode which have played out in later episodes, but one thing we only mentioned in passing, there or later, was a style of music called bebop. We did talk about how Charlie Christian, the guitarist on that record, was one of the innovators of that style, but we didn't really go into what it was properly. Indeed, I deliberately did not mention in that episode something that I was saving until now, because we actually heard *two* hugely influential bebop musicians in that episode, and I was leaving the other one to talk about here. In that episode we saw how Lionel Hampton, the Benny Goodman band's vibraphone player, went on to form his own band, and how that band became one of the foundational influences for the genres that became known as jump blues and R&B. And we especially noted the saxophone solo on Hampton's remake of "Flying Home", played by Illinois Jacquet: [Excerpt: Lionel Hampton, "Flying Home"] We mentioned in that episode how Illinois Jacquet's saxophone solo there set the template for all tenor sax playing in R&B and rock and roll music for decades to come -- his honking style became quite simply how you play rock and roll or R&B saxophone, and without that solo you don't have any of the records by Fats Domino, Little Richard, the Coasters, or a dozen other acts that we discussed. But what we didn't look at in that episode is that that is a big band record, so of course there is more than just one saxophone player on it. And one of the other saxophone players on that recording is Dexter Gordon, a musician who was originally from LA. Those of you with long memories will remember that back in the first year or so of the podcast we talked a lot about the music programme at Jefferson High School in LA, and about Samuel Browne, the music teacher whose music programme gave the world the Coasters, the Penguins, the Platters, Etta James, Art Farmer, Richard Berry, Big Jay McNeely, Barry White, and more other important musicians than I can possibly name here. Gordon was yet another of Browne's students -- one who Browne regularly gave detention to, just to make him practice his scales. Gordon didn't get much chance to shine in the Lionel Hampton band, because he was only second tenor, with Jacquet taking many of the solos. But he was learning from playing in a band with Jacquet, and while Gordon didn't ever develop a honk like Jacquet's, he did adopt some of Jacquet's full tone in his own sound. There aren't many recordings of Gordon playing solos in his early years, because they coincided with the American Federation of Musicians' recording strike that we talked about in those early episodes, but he did record a few sessions in 1943 for a label small enough not to be covered by the ban, and you can hear something of Jacquet's tone in those recordings, along with the influence of Lester Young, who influenced all tenor sax players at this time: [Excerpt: Nat "King" Cole with Dexter Gordon, "I've Found a New Baby"] The piano player on that session, incidentally, is Nat "King" Cole, when he was still one of the most respected jazz pianists on the scene, before he switched primarily to vocals. And Gordon took this Jacquet-influenced tone, and used it to become the second great saxophone hero of bebop music, after Charlie Parker -- and the first great tenor sax hero of the music. I've mentioned bebop before on several occasions, but never really got into it in detail. It was a style that developed in New York in the mid to late forties, and a lot of the earliest examples of it went unrecorded thanks to that musicians' strike, but the style emphasised small groups improvising together, and expanding their sense of melody and harmony. The music prized virtuosity and musical intelligence over everything else, and was fast and jittery-sounding. The musicians would go on long, extended, improvisations, incorporating ideas both from the blues and from the modern classical music of people like Bartok and Stravinsky, which challenged conventional tonality. In particular, one aspect which became prominent in bebop music was a type of scale known as the bebop scale. In most of the music we've looked at in this podcast to this point, the scales used have been seven-note scales -- do-re-mi-fa-so-la-ti- which make an octave with a second, higher, do tone. So in the scale of C major we have C, D, E, F, G, A, B, and then another C: [demonstrates] Bebop scales, on the other hand, would generally have an extra note in, making an eight-note scale, by adding in what is called a chromatic passing note. For example, a typical bebop C major scale might add in the note G#, so the scale would go C,D,E,F,G,G#, A, B, C: [demonstrates] You'd play this extra note for the most part, when moving between the two notes it's between, so in that scale you'd mostly use it when moving from G to A, or from A to G. Now I'm far from a bebop player, so this won't sound like bebop, but I can demonstrate the kind of thing if I first noodle a little scalar melody in the key of C major: [demonstrates] And then play the same thing, but adding in a G# every time I go between the G and the A in either direction: [demonstrates] That is not bebop music, but I hope you can see what a difference that chromatic passing tone makes to the melody. But again, that's not bebop, because I'm not a bebop player. Dexter Gordon, though, *was* a bebop player. He moved to New York while playing with Louis Armstrong's band, and soon became part of the bebop scene, which at the time centred around Charlie Christian, the trumpet player Dizzy Gillespie, and the alto sax player Charlie Parker, sometimes nicknamed "bird" or "Yardbird", who is often regarded as the greatest of them all. Gillespie, Parker, and Gordon also played in Billy Eckstine's big band, which gave many of the leading bebop musicians the opportunity to play in what was still the most popular idiom at the time -- you can hear Gordon have a saxophone battle with Gene Ammons on "Blowing the Blues Away" in a lineup of the band that also included Art Blakey on drums and Dizzy Gillespie on trumpet: [Excerpt: Billy Eckstine, "Blowing the Blues Away"] But Gordon was soon leading his own small band sessions, and making records for labels like Savoy, on which you can definitely hear the influence of Illinois Jacquet on his tone, even as he's playing music that's more melodically experimental by far than the jump band music of the Hampton band: [Excerpt: Dexter Gordon, "Dexter Digs In"] Basically, in the late 1940s, if you were wanting to play bebop on the saxophone, you had two models to follow -- Charlie Parker, the great alto saxophonist with his angular, atonal, melodic sense and fast, virtuosic, playing, or Dexter Gordon, the tenor saxophonist, whose style had more R&B grease and wit to it, who would quote popular melodies in his own improvisations. And John Coltrane followed both. Coltrane's first instrument was the alto sax, and when he was primarily an alto player he would copy Charlie Parker's style. When he switched to being primarily a tenor player -- though he would always continue playing both instruments, and later in his career would also play soprano sax -- he took up much of Gordon's mellower tone, though he was also influenced by other tenor players, like Lester Young, the great player with Count Basie's band, and Johnny Hodges, who played with Duke Ellington. Now, it is important to note here that John Coltrane is a very, very, big deal. Depending on your opinion of Ornette Coleman's playing, Coltrane is by most accounts either the last or penultimate truly great innovator in jazz saxophone, and arguably the single foremost figure in the music in the last half of the twentieth century. In this podcast I'm only able to tell you enough about him to give you the information you need to understand the material about the Byrds, but were I to do a similar history of jazz in five hundred songs, Coltrane would have a similar position to someone like the Beatles -- he's such a major figure that he is literally venerated as a saint by the African Orthodox Church, and a couple of other Episcopal churches have at least made the case for his sainthood. So anything I say here about him is not even beginning to scratch the surface of his towering importance to jazz music, but it will, I hope, give some idea of his importance to the development of the Byrds -- a group of whom he was almost certainly totally unaware. Coltrane started out playing as a teenager, and his earliest recordings were when he was nineteen and in the armed forces, just after the end of World War II. At that time, he was very much a beginner, although a talented one, and on his early amateur recordings you can hear him trying to imitate Parker without really knowing what it was that Parker was doing that made him so great. But as well as having some natural talent, he had one big attribute that made him stand out -- his utter devotion to his music. He was so uninterested in anything other than mastering his instrument that one day a friend was telling him about a baseball game he'd watched, and all Coltrane could do was ask in confusion "Who's Willie Mays?" Coltrane would regularly practice his saxophone until his reed was red with blood, but he would also study other musicians. And not just in jazz. He knew that Charlie Parker had intensely studied Stravinsky's Firebird Suite, and so Coltrane would study that too: [Excerpt: Stravinsky, "Firebird Suite"] Coltrane joined the band of Eddie "Cleanhead" Vinson, who was one of those figures like Johnny Otis, with whom Vinson would later perform for many years, who straddled the worlds of jazz and R&B. Vinson was a blues shouter in the style of Big Joe Turner, but he was also a bebop sax player, and what he wanted was a tenor sax player who could play tenor the way Charlie Parker played alto, but do it in an R&B setting. Coltrane switched from alto to tenor, and spent a year or so playing with Vinson's band. No recordings exist of Coltrane with Vinson that I'm aware of, but you can get an idea of what he sounded like from his next band. By this point, Dizzy Gillespie had graduated from small bebop groups to leading a big band, and he got Coltrane in as one of his alto players, though Coltrane would often also play tenor with Gillespie, as on this recording from 1951, which has Coltrane on tenor, Gillespie on trumpet, with Kenny Burrell and two of the future Modern Jazz Quartet, Milt Jackson and Percy Heath, showing that the roots of modern jazz were not very far at all from the roots of rock and roll: [Excerpt: Dizzy Gillespie, "We Love to Boogie"] After leaving Gillespie's band, Coltrane played with a lot of important musicians over the next four or five years, like Johnny Hodges, Earl Bostic, and Jimmy Smith, and occasionally sat in with Miles Davis, but at this point he was still not a major musician in the genre. He was a competent, working, sideman, but he was also struggling with alcohol and heroin, and hadn't really found his own voice. But then Miles Davis asked Coltrane to join his band full-time. Coltrane was actually Davis' second choice -- he really wanted Sonny Rollins, who was widely considered the best new tenor player around, but he was eventually persuaded to take Coltrane. During his first period with Davis, Coltrane grew rapidly as a musician, and also played on a *lot* of other people's sessions. In a three year period Coltrane went from Davis to Thelonius Monk's group then back to Davis' group, and also recorded as both a sideman and a band leader on a ton of sessions. You can get a box set of his recordings from May 1956 through December 1958 that comes to nineteen CDs -- and that's not counting the recordings with Miles Davis, which aren't included on that set. Unsurprisingly, just through playing this much, Coltrane had grown enormously as a player, and he was particularly fascinated by harmonics, playing with the notes of a chord, in arpeggios, and pushing music to its harmonic limits, as you can hear in his solo on Davis' "Straight, No Chaser", which pushes the limits of the jazz solo as far as they'd gone to that point: [Excerpt: Miles Davis, "Straight, No Chaser"] But on the same album as that, "Milestones", we also have the first appearance of a new style, modal jazz. Now, to explain this, we have to go back to the scales again. We looked at the normal Western scale, do-re-mi-fa-so-la-ti-do, but you can start a scale on any of those notes, and which note you start on creates what is called a different mode. The modes are given Greek names, and each mode has a different feel to it. If you start on do, we call this the major scale or the Ionian mode. This is the normal scale we heard before -- C,D,E,F,G,A,B,C: [demonstrates] Most music – about seventy percent of the melodies you're likely to have heard, uses that mode. If you start on re, it would go re-mi-fa-so-la-ti-do-re, or D,E,F,G,A,B,C,D, the Dorian mode: [demonstrates] Melodies with this mode tend to have a sort of wistful feel, like "Scarborough Fair": [Excerpt: Simon and Garfunkel, "Scarborough Fair"] or many of George Harrison's songs: [Excerpt: The Beatles, "I Me Mine"] Starting on mi, you have the Phrygian mode, mi-fa-so-la-ti-do-re-mi: [demonstrates] The Phrygian mode is not especially widely used, but does turn up in some popular works like Barber's Adagio for Strings: [Excerpt: Barber, "Adagio for Strings"] Then there's the Lydian mode, fa-so-la-ti-do-re-mi-fa: [demonstrates] This mode isn't used much at all in pop music -- the most prominent example I can think of is "Pretty Ballerina" by the Left Banke: [Excerpt: The Left Banke, "Pretty Ballerina"] Starting on so, we have so-la-ti-do-re-mi-fa-so -- the Mixolydian mode: [demonstrates] That mode has a sort of bluesy or folky tone to it, and you also find it in a lot of traditional tunes, like "She Moves Through the Fair": [Excerpt: Davey Graham, "She Moved Thru' The Bizarre/Blue Raga"] And in things like "Norwegian Wood" by the Beatles: [Excerpt: The Beatles, "Norwegian Wood"] Though that goes into Dorian for the middle section. Starting on la, we have the Aeolian mode, which is also known as the natural minor scale, and is often just talked about as “the minor scale”: [demonstrates] That's obviously used in innumerable songs, for example "Losing My Religion" by REM: [Excerpt: REM, "Losing My Religion"] And finally you have the Locrian mode ti-do-re-mi-fa-so-la-ti: [demonstrates] That basically doesn't get used, unless someone wants to show off that they know the Locrian mode. The only vaguely familiar example I can think of is "Army of Me" by Bjork: [Excerpt: Bjork, "Army of Me"] I hope that brief excursion through the seven most common modes in Western diatonic music gives you some idea of the difference that musical modes can make to a piece. Anyway, as I was saying, on the "Milestones" album, we get some of the first examples of a form that became known as modal jazz. Now, the ideas of modal jazz had been around for a few years at that point -- oddly, it seems to be one of the first types of popular music to have existed in theory before existing in practice. George Russell, an acquaintance of Davis who was a self-taught music theorist, had written a book in 1953 titled The Lydian Chromatic Concept of Tonal Organization. That book argues that rather than looking at the diatonic scale as the basis for music, one should instead look at a chord progression called the circle of fifths. The circle of fifths is exactly what it sounds like -- you change chords to one a fifth away from it, and then do that again and again, either going up, so you'd have chords with the roots C-G-D-A-E-B-F# and so on: [demonstrates] Or, more commonly, going down, though usually when going downwards you tend to cheat a bit and sharpen one of the notes so you can stay in one key, so you'd get chords with roots C-F-B-E-A-D-G, usually the chords C, F, B diminished, Em, Am, Dm, G: [demonstrates] That descending cycle of fifths is used in all sorts of music, everything from "You Never Give Me Your Money" by the Beatles: [Excerpt: The Beatles, "You Never Give Me Your Money"] to "I Will Survive" by Gloria Gaynor: [Excerpt: Gloria Gaynor, "I Will Survive"] But what Russell pointed out is that if you do the upwards cycle of fifths, and you *don't* change any of the notes, the first seven root notes you get are the same seven notes you'd find in the Lydian mode, just reordered -- C-D-E-F#-G-A-B . Russell then argued that much of the way harmony and melody work in jazz could be thought of as people experimenting with the way the Lydian mode works, and the way the cycle of fifths leads you further and further away from the tonal centre. Now, you could probably do an entire podcast series as long as this one on the implications of this, and I am honestly just trying to summarise enough information here that you can get a vague gist, but Russell's book had a profound effect on how jazz musicians started to think about harmony and melody. Instead of improvising around the chord changes to songs, they were now basing improvisations and compositions around modes and the notes in them. Rather than having a lot of chord changes, you might just play a single root note that stays the same throughout, or only changes a couple of times in the whole piece, and just imply changes with the clash between the root note and whatever modal note the solo instrument is playing. The track "Milestones" on the Milestones album shows this kind of thinking in full effect -- the song consists of a section in G Dorian, followed by a section in A Aeolian (or E Phrygian depending on how you look at it). Each section has only one implied chord -- a Gm7 for the G Dorian section, and an Am7(b13) for the A Aeolian section -- over which Davis, Cannonball Adderley on alto sax, and Coltrane on tenor, all solo: [Excerpt: Miles Davis, "Milestones"] (For the pedants among you, that track was originally titled "Miles" on the first pressings of the album, but it was retitled "Milestones" on subsequent pressings). The modal form would be taken even further on Davis' next album to be recorded, Porgy and Bess, which featured much fuller orchestrations and didn't have Coltrane on it. Davis later said that when the arranger Gil Evans wrote the arrangements for that album, he didn't write any chords at all, just a scale, which Davis could improvise around. But it was on the album after that, Kind of Blue, which again featured Coltrane on saxophone, that modal jazz made its big breakthrough to becoming the dominant form of jazz music. As with what Evans had done on Porgy and Bess, Davis gave the other instrumentalists modes to play, rather than a chord sequence to improvise over or a melody line to play with. He explained his thinking behind this in an interview with Nat Hentoff, saying "When you're based on chords, you know at the end of 32 bars that the chords have run out and there's nothing to do but repeat what you've just done—with variations. I think a movement in jazz is beginning away from the conventional string of chords ... there will be fewer chords but infinite possibilities as to what to do with them." This style shows up in "So What", the opening track on the album, which is in some ways a very conventional song structure -- it's a thirty-two bar AABA structure. But instead of a chord sequence, it's based on modes in two keys -- the A section is in D Dorian, while the B section is in E-flat Dorian: [Excerpt: Miles Davis, "So What"] Kind of Blue would become one of the contenders for greatest jazz album of all time, and one of the most influential records ever made in any genre -- and it could be argued that that track we just heard, "So What", inspired a whole other genre we'll be looking at in a future episode -- but Coltrane still felt the need to explore more ideas, and to branch out on his own. In particular, while he was interested in modal music, he was also interested in exploring more kinds of scales than just modes, and to do this he had to, at least for the moment, reintroduce chord changes into what he was doing. He was inspired in particular by reading Nicolas Slonimsky's classic Thesaurus of Scales and Melodic Patterns. Coltrane had recently signed a new contract as a solo artist with Atlantic Records, and recorded what is generally considered his first true masterpiece album as a solo artist, Giant Steps, with several members of the Davis band, just two weeks after recording Kind of Blue. The title track to Giant Steps is the most prominent example of what are known in jazz as the Coltrane changes -- a cycle of thirds, similar to the cycle of fifths we talked about earlier. The track itself seems to have two sources. The first is the bridge of the old standard "Have You Met Miss Jones?", as famously played by Coleman Hawkins: [Excerpt: Coleman Hawkins, "Have You Met Miss Jones?" And the second is an exercise from Slonimsky's book: [Excerpt: Pattern #286 from Thesaurus of Scales and Melodic Patterns] Coltrane combined these ideas to come up with "Giant Steps", which is based entirely around these cycles of thirds, and Slonimsky's example: [Excerpt: John Coltrane, "Giant Steps"] Now, I realise that this is meant to be a history of rock music, not jazz musicology theory time, so I promise you I am just hitting the high points here. And only the points that affect Coltrane's development as far as it influenced the music we're looking at in this episode. And so we're actually going to skip over Coltrane's commercial high-point, My Favourite Things, and most of the rest of his work for Atlantic, even though that music is some of the most important jazz music ever recorded. Instead, I'm going to summarise a whole lot of very important music by simply saying that while Coltrane was very interested in this musical idea of the cycle of thirds, he did not like being tied to precise chord changes, and liked the freedom that modal jazz gave to him. By 1960, when his contract with Atlantic was ending and his contract with Impulse was beginning, and he recorded the two albums Olé and Africa/Brass pretty much back to back, he had hit on a new style with the help of Eric Dolphy, a flute, clarinet, and alto sax player who would become an important figure in Coltrane's life. Dolphy died far too young -- he went into a diabetic coma and doctors assumed that because he was a Black jazz musician he must have overdosed, even though he was actually a teetotal abstainer, so he didn't get the treatment he needed -- but he made such a profound influence on Coltrane's life that Coltrane would carry Dolphy's picture with him after his death. Dolphy was even more of a theorist than Coltrane, and another devotee of Slonimsky's book, and he was someone who had studied a great deal of twentieth-century classical music, particularly people like Bartok, Messiaen, Stravinsky, Charles Ives, and Edgard Varese. Dolphy even performed Varese's piece Density 21.5 in concert, an extremely demanding piece for solo flute. I don't know of a recording of Dolphy performing it, sadly, but this version should give some idea: [Excerpt: Edgard Varese, "Density 21.5"] Encouraged by Dolphy, Coltrane started making music based around no changes at all, with any changes being implied by the melody. The title song of Africa/Brass, "Africa", takes up an entire side of one album, and doesn't have a single actual chord change on it, with Dolphy and pianist McCoy Tyner coming up with a brass-heavy arrangement for Coltrane to improvise over a single chord: [Excerpt: The John Coltrane Quartet: "Africa"] This was a return to the idea of modal jazz, based on scales rather than chord changes, but by implying chord changes, often changes based on thirds, Coltrane was often using different scales than the modes that had been used in modal jazz. And while, as the title suggested, "Africa" was inspired by the music of Africa, the use of a single drone chord underneath solos based on a scale was inspired by the music of another continent altogether. Since at least the mid-1950s, both Coltrane and Dolphy had been interested in Indian music. They appear to have first become interested in a record released by Folkways, Music Of India, Morning And Evening Ragas by Ali Akbar Khan: [Excerpt: Ali Akbar Khan, "Rag Sindhi Bhairavi"] But the musician they ended up being most inspired by was a friend of Khan's, Ravi Shankar, who like Khan had been taught by the great sarod player Alauddin Khan, Ali Akbar Khan's father. The elder Khan, who was generally known as "Baba", meaning "father", was possibly *the* most influential Indian musician of the first half of the twentieth century, and was a big part of the revitalisation of Indian music that went hand in hand with the growth of Indian nationalism. He was an ascetic who lived for music and nothing else, and would write five to ten new compositions every day, telling Shankar "Do one thing well and you can achieve everything. Do everything and you achieve nothing". Alauddin Khan was a very religious Muslim, but one who saw music as the ultimate way to God and could find truths in other faiths. When Shankar first got to know him, they were both touring as musicians in a dance troupe run by Shankar's elder brother, which was promoting Indian arts in the West, and he talked about taking Khan to hear the organ playing at Notre Dame cathedral, and Khan bursting into tears and saying "here is God". Khan was not alone in this view. The classical music of Northern India, the music that Khan played and taught, had been very influenced by Sufism, which was for most of Muslim history the dominant intellectual and theological tradition in Islam. Now, I am going to sum up a thousand years of theology and practice, of a religion I don't belong to, in a couple of sentences here, so just assume that what I'm saying is wrong, and *please* don't take offence if you are Sufi yourself and believe I am misrepresenting you. But my understanding of Sufism is that Sufis are extremely devoted to attaining knowledge and understanding of God, and believe that strict adherence to Muslim law is the best way to attain that knowledge -- that it is the way that God himself has prescribed for humans to know him -- but that such knowledge can be reached by people of other faiths if they approach their own traditions with enough devotion. Sufi ideas infuse much of Northern Indian classical music, and so for example it has been considered acceptable for Muslims to sing Hindu religious music and Hindus to sing songs of praise to Allah. So while Ravi Shankar was Hindu and Alauddin Khan was Muslim, Khan was able to become Shankar's guru in what both men regarded as a religious observance, and even to marry Khan's daughter. Khan was a famously cruel disciplinarian -- once hospitalising a student after hitting him with a tuning hammer -- but he earned the devotion of his students by enforcing the same discipline on himself. He abstained from sex so he could put all his energies into music, and was known to tie his hair to the ceiling while he practiced, so he could not fall asleep no matter how long he kept playing. Both Khan and his son Ali Akhbar Khan played the sarod, while Shankar played the sitar, but they all played the same kind of music, which is based on the concept of the raga. Now, in some ways, a raga can be considered equivalent to a mode in Western music: [Excerpt: Ali Akbar Khan, "Rag Sindhi Bhairavi"] But a raga is not *just* a mode -- it sits somewhere between Western conceptions of a mode and a melody. It has a scale, like a mode, but it can have different scales going up or down, and rules about which notes can be moved to from which other notes. So for example (and using Western tones so as not to confuse things further), a raga might say that it's possible to move up from the note G to D, but not down from D to G. Ragas are essentially a very restrictive set of rules which allow the musician playing them to improvise freely within those rules. In the late 1940s and early 1950s, the violinist Yehudi Mehuin, at the time the most well-known classical musician in the world, had become fascinated by Indian music as part of a wider programme of his to learn more music outside what he regarded as the overly-constricting scope of the Western classical tradition in which he had been trained. He had become a particular fan of Shankar, and had invited him over to the US to perform. Shankar had refused to come at that point, sending his brother-in-law Ali Akbar Khan over, as he was in the middle of a difficult divorce, and that had been when Khan had recorded that album which had fascinated Coltrane and Dolphy. But Shankar soon followed himself, and made his own records: [Excerpt: Ravi Shankar, "Raga Hamsadhwani"] The music that both Khan and Shankar played was a particular style of Hindustani classical music, which has three elements -- there's a melody instrument, in Shankar's case the sitar and in Khan's the sarod, both of them fretted stringed instruments which have additional strings that resonate along with the main melody string, giving their unique sound. These are the most distinctive Indian instruments, but the melody can be played on all sorts of other instruments, whether Indian instruments like the bansuri and shehnai, which are very similar to the flute and oboe respectively, or Western instruments like the violin. Historically, the melody has also often been sung rather than played, but Indian instrumental music has had much more influence on Western popular music than Indian vocal music has, so we're mostly looking at that here. Along with the melody instrument there's a percussion instrument, usually the tabla, which is a pair of hand drums. Rather than keep a steady, simple, beat like the drum kit in rock music, the percussion has its own patterns and cycles, called talas, which like ragas are heavily formalised but leave a great amount of room for improvisation. The percussion and the melody are in a sort of dialogue with each other, and play off each other in a variety of ways. And finally there's the drone instrument, usually a stringed instrument called a tamboura. The drone is what it sounds like -- a single note, sustained and repeated throughout the piece, providing a harmonic grounding for the improvisations of the melody instrument. Sometimes, rather than just a single root note, it will be a root and fifth, providing a single chord to improvise over, but as often it will be just one note. Often that note will be doubled at the octave, so you might have a drone on both low E and high E. The result provides a very strict, precise, formal, structure for an infinitely varied form of expression, and Shankar was a master of it: [Excerpt: Ravi Shankar, "Raga Hamsadhwani"] Dolphy and, especially, Coltrane became fascinated by Indian music, and Coltrane desperately wanted to record with Shankar -- he even later named his son Ravi in honour of the great musician. It wasn't just the music as music, but music as spiritual practice, that Coltrane was engaged with. He was a deeply religious man but one who was open to multiple faith traditions -- he had been brought up as a Methodist, and both his grandfathers were ministers in the African Methodist Episcopal Zion Church, but his first wife, Naima, who inspired his personal favourite of his own compositions, was a Muslim, while his second wife, Swamini Turiyasangitananda (who he married after leaving Naima in 1963 and who continued to perform as Alice Coltrane even after she took that name, and was herself an extraordinarily accomplished jazz musician on both piano and harp), was a Hindu, and both of them profoundly influenced Coltrane's own spirituality. Some have even suggested that Coltrane's fascination with a cycle of thirds came from the idea that the third could represent both the Christian Trinity and the Hindu trimurti -- the three major forms of Brahman in Hinduism, Brahma, Vishnu, and Shiva. So a music which was a religious discipline for more than one religion, and which worked well with the harmonic and melodic ideas that Coltrane had been exploring in jazz and learning about through his studies of modern classical music, was bound to appeal to Coltrane, and he started using the idea of having two basses provide an octave drone similar to that of the tamboura, leading to tracks like "Africa" and "Olé": [Excerpt: John Coltrane, "Olé"] Several sources have stated that that song was an influence on "Light My Fire" by the Doors, and I can sort of see that, though most of the interviews I've seen with Ray Manzarek have him talking about Coltrane's earlier version of "My Favourite Things" as the main influence there. Coltrane finally managed to meet with Shankar in December 1961, and spent a lot of time with him -- the two discussed recording an album together with McCoy Tyner, though nothing came of it. Shankar said of their several meetings that month: "The music was fantastic. I was much impressed, but one thing distressed me. There was turbulence in the music that gave me a negative feeling at times, but I could not quite put my finger on the trouble … Here was a creative person who had become a vegetarian, who was studying yoga, and reading the Bhagavad-Gita, yet in whose music I still heard much turmoil. I could not understand it." Coltrane said in turn "I like Ravi Shankar very much. When I hear his music, I want to copy it – not note for note of course, but in his spirit. What brings me closest to Ravi is the modal aspect of his art. Currently, at the particular stage I find myself in, I seem to be going through a modal phase … There's a lot of modal music that is played every day throughout the world. It is particularly evident in Africa, but if you look at Spain or Scotland, India or China, you'll discover this again in each case … It's this universal aspect of music that interests me and attracts me; that's what I'm aiming for." And the month before Coltrane met Shankar, Coltrane had had a now-legendary residency at the Village Vanguard in New York with his band, including Dolphy, which had resulted not only in the famous Live at the Village Vanguard album, but in two tracks on Coltrane's studio album Impressions. Those shows were among the most controversial in the history of jazz, though the Village Vanguard album is now often included in lists of the most important records in jazz. Downbeat magazine, the leading magazine for jazz fans at the time, described those shows as "musical nonsense" and "a horrifying demonstration of what appears to be a growing anti-jazz trend" -- though by the time Impressions came out in 1963, that opinion had been revised somewhat. Harvey Pekar, the comic writer and jazz critic, also writing in DownBeat, gave Impressions five stars, saying "Not all the music on this album is excellent (which is what a five-star rating signifies,) but some is more than excellent". And while among Coltrane fans the piece from these Village Vanguard shows that is of most interest is the extended blues masterpiece "Chasin' the Trane" which takes up a whole side of the Village Vanguard LP, for our purposes we're most interested in one of the two tracks that was held over for Impressions. This was another of Coltrane's experiments in using the drones he'd found in Indian musical forms, like "Africa" and "Olé". This time it was also inspired by a specific piece of music, though not an instrumental one. Rather it was a vocal performance -- a recording on a Folkways album of Pandita Ramji Shastri Dravida chanting one of the Vedas, the religious texts which are among the oldest texts sacred to any surviving religion: [Excerpt: Pandita Ramji Shastri Dravida, "Vedic Chanting"] Coltrane took that basic melodic idea, and combined it with his own modal approach to jazz, and the inspiration he was taking from Shankar's music, and came up with a piece called "India": [Excerpt: John Coltrane, "India"] Which is where we came in, isn't it? [Excerpt: The Byrds, "Eight Miles High"] So now, finally, we get to the Byrds. Even before "Mr. Tambourine Man" went to number one in the charts, the Byrds were facing problems with their sound being co-opted as the latest hip thing. Their location in LA, at the centre of the entertainment world, was obviously a huge advantage to them in many ways, but it also made them incredibly visible to people who wanted to hop onto a bandwagon. The group built up much of their fanbase playing at Ciro's -- the nightclub on the Sunset Strip that we mentioned in the previous episode which later reopened as It's Boss -- and among those in the crowd were Sonny and Cher. And Sonny brought along his tape recorder. The Byrds' follow-up single to "Mr. Tambourine Man", released while that song was still going up the charts, was another Dylan song, "All I Really Want to Do". But it had to contend with this: [Excerpt: Cher, "All I Really Want to Do"] Cher's single, produced by Sonny, was her first solo single since the duo had become successful, and came out before the Byrds' version, and the Byrds were convinced that elements of the arrangement, especially the guitar part, came from the version they'd been performing live – though of course Sonny was no stranger to jangly guitars himself, having co-written “Needles and Pins”, the song that pretty much invented the jangle. Cher made number fifteen on the charts, while the Byrds only made number forty. Their version did beat Cher's in the UK charts, though. The record company was so worried about the competition that for a while they started promoting the B-side as the A-side. That B-side was an original by Gene Clark, though one that very clearly showed the group's debt to the Searchers: [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] While it was very obviously derived from the Searchers' version of "Needles and Pins", especially the riff, it was still a very strong, original, piece of work in its own right. It was the song that convinced the group's producer, Terry Melcher, that they were a serious proposition as artists in their own right, rather than just as performers of Dylan's material, and it was also a favourite of the group's co-manager, Jim Dickson, who picked out Clark's use of the word "probably" in the chorus as particularly telling -- the singer thinks he will feel better when the subject of the song is gone, but only probably. He's not certain. "I'll Feel a Whole Lot Better", after being promoted as the A-side for a short time, reached number one hundred and two on the charts, but the label quickly decided to re-flip it and concentrate on promoting the Dylan song as the single. The group themselves weren't too bothered about their thunder having been stolen by Sonny and Cher, but their new publicist was incandescent. Derek Taylor had been a journalist for the Daily Express, which at that time was a respectable enough newspaper (though that is very much no longer the case). He'd become involved in the music industry after writing an early profile on the Beatles, at which point he had been taken on by the Beatles' organisation first to ghostwrite George Harrison's newspaper column and Brian Epstein's autobiography, and then as their full-time publicist and liner-note writer. He'd left the organisation at the end of 1964, and had moved to the US, where he had set up as an independent music publicist, working for the Byrds, the Beach Boys, and various other acts in their overlapping social circles, such as Paul Revere and the Raiders. Taylor was absolutely furious on the group's behalf, saying "I was not only disappointed, I was disgusted. Sonny and Cher went to Ciro's and ripped off the Byrds and, being obsessive, I could not get this out of my mind that Sonny and Cher had done this terrible thing. I didn't know that much about the record business and, in my experience with the Beatles, cover versions didn't make any difference. But by covering the Byrds, it seemed that you could knock them off the perch. And Sonny and Cher, in my opinion, stole that song at Ciro's and interfered with the Byrds' career and very nearly blew them out of the game." But while the single was a comparative flop, the Mr. Tambourine Man album, which came out shortly after, was much more successful. It contained the A and B sides of both the group's first two singles, although a different vocal take of "All I Really Want to Do" was used from the single release, along with two more Dylan covers, and a couple more originals -- five of the twelve songs on the album were original in total, three of them Gene Clark solo compositions and the other two co-written by Clark and Roger McGuinn. To round it out there was a version of the 1939 song "We'll Meet Again", made famous by Vera Lynn, which you may remember us discussing in episode ninety as an example of early synthesiser use, but which had recently become popular in a rerecorded version from the 1950s, thanks to its use at the end of Dr. Strangelove; there was a song written by Jackie DeShannon; and "The Bells of Rhymney", a song in which Pete Seeger set a poem about a mining disaster in Wales to music. So a fairly standard repertoire for early folk-rock, though slightly heavier on Dylan than most. While the group's Hollywood notoriety caused them problems like the Sonny and Cher one, it did also give them advantages. For example, they got to play at the fourth of July party hosted by Jane Fonda, to guests including her father Henry and brother Peter, Louis Jordan, Steve McQueen, Warren Beatty, and Sidney Poitier. Derek Taylor, who was used to the Beatles' formal dress and politeness at important events, imposed on them by Brian Epstein, was shocked when the Byrds turned up informally dressed, and even more shocked when Vito Paulekas and Carl Franzoni showed up. Vito (who was always known by his first name) and Franzoni are both important but marginal figures in the LA scene. Neither were musicians, though Vito did make one record, produced by Kim Fowley: [Excerpt: Vito and the Hands, "Vito and the Hands"] Rather Vito was a sculptor in his fifties, who had become part of the rock and roll scene and had gathered around him a dance troupe consisting largely of much younger women, and also of himself and Franzoni. Their circle, which also included Arthur Lee and Bryan MacLean, who weren't part of their dance troupe but were definitely part of their crowd, will be talked about much more in future episodes, but for now we'll just say that they are often considered proto-hippies, though they would have disputed that characterisation themselves quite vigorously; that they were regular dancers at Ciro's and became regular parts of the act of both the Byrds and the Mothers of Invention; and we'll give this rather explicit description of their performances from Frank Zappa: "The high point of the performance was Carl Franzoni, our 'go-go boy.' He was wearing ballet tights, frugging violently. Carl has testicles which are bigger than a breadbox. Much bigger than a breadbox. The looks on the faces of the Baptist teens experiencing their grandeur is a treasured memory." Paints a vivid picture, doesn't it? So you can possibly imagine why Derek Taylor later said "When Carl Franzoni and Vito came, I got into a terrible panic". But Jim Dickson explained to him that it was Hollywood and people were used to that kind of thing, and even though Taylor described seeing Henry Fonda and his wife pinned against the wall by the writhing Franzoni and the other dancers, apparently everyone had a good time. And then the next month, the group went on their first UK tour. On which nobody had a good time: [Excerpt: The Byrds, "Eight Miles High"] Even before the tour, Derek Taylor had reservations. Obviously the Byrds should tour the UK -- London, in particular, was the centre of the cultural world at that time, and Taylor wanted the group to meet his old friends the Beatles and visit Carnaby Street. But at the same time, there seemed to be something a little... off... about the promoters they were dealing with, Joe Collins, the father of Joan and Jackie Collins, and a man named Mervyn Conn. As Taylor said later "All I did know was that the correspondence from Mervyn Conn didn't assure me. I kept expressing doubts about the contents of the letters. There was something about the grammar. You know, 'I'll give you a deal', and 'We'll get you some good gigs'. The whole thing was very much showbusiness. Almost pantomime showbusiness." But still, it seemed like it was worth making the trip, even when Musicians Union problems nearly derailed the whole thing. We've talked previously about how disagreements between the unions in the US and UK meant that musicians from one country couldn't tour the other for decades, and about how that slightly changed in the late fifties. But the new system required a one-in, one-out system where tours had to be set up as exchanges so nobody was taking anyone's job, and nobody had bothered to find a five-piece group of equivalent popularity to the Byrds to tour America in return. Luckily, the Dave Clark Five stepped into the breach, and were able to do a US tour on short notice, so that problem was solved. And then, as soon as they landed, the group were confronted with a lawsuit. From the Birds: [Excerpt: The Birds, "No Good Without You Baby"] These Birds, spelled with an "i", not a "y", were a Mod group from London, who had started out as the Thunderbirds, but had had to shorten their name when the London R&B singer Chris Farlowe and his band the Thunderbirds had started to have some success. They'd become the Birds, and released a couple of unsuccessful singles, but had slowly built up a reasonable following and had a couple of TV appearances. Then they'd started to receive complaints from their fans that when they went into the record shops to ask for the new record by the Birds, they were being sold some jangly folky stuff about tambourines, rather than Bo Diddley inspired R&B. So the first thing the American Byrds saw in England, after a long and difficult flight which had left them very tired and depressed, especially Gene Clark, who hated flying, was someone suing them for loss of earnings. The lawsuit never progressed any further, and the British group changed their name to Birds Birds, and quickly disappeared from music history -- apart from their guitarist, Ronnie Wood, who we'll be hearing from again. But the experience was not exactly the welcome the group had been hoping for, and is reflected in one of the lines that Gene Clark wrote in the song he later came up with about the trip -- "Nowhere is there love to be found among those afraid of losing their ground". And the rest of the tour was not much of an improvement. Chris Hillman came down with bronchitis on the first night, David Crosby kept turning his amp up too high, resulting in the other members copying him and the sound in the venues they were playing seeming distorted, and most of all they just seemed, to the British crowds, to be unprofessional. British audiences were used to groups running on, seeming excited, talking to the crowd between songs, and generally putting on a show. The Byrds, on the other hand, sauntered on stage, and didn't even look at the audience, much less talk to them. What seemed to the LA audience as studied cool seemed to the UK audience like the group were rude, unprofessional, and big-headed. At one show, towards the end of the set, one girl in the audience cried out "Aren't you even going to say anything?", to which Crosby responded "Goodbye" and the group walked off, without any of them having said another word. When they played the Flamingo Club, the biggest cheer of the night came when their short set ended and the manager said that the club was now going to play records for dancing until the support act, Geno Washington and the Ramjam Band, were ready to do another set. Michael Clarke and Roger McGuinn also came down with bronchitis, the group were miserable and sick, and they were getting absolutely panned in the reviews. The closest thing they got to a positive review was when Paul Jones of Manfred Mann was asked about them, and he praised some of their act -- perceptively pointing to their version of "We'll Meet Again" as being in the Pop Art tradition of recontextualising something familiar so it could be looked at freshly -- but even he ended up also criticising several aspects of the show and ended by saying "I think they're going to be a lot better in the future". And then, just to rub salt in the wound, Sonny and Cher turned up in the UK. The Byrds' version of "All I Really Want to Do" massively outsold theirs in the UK, but their big hit became omnipresent: [Excerpt: Sonny and Cher, "I Got You Babe"] And the press seemed to think that Sonny and Cher, rather than the Byrds, were the true representatives of the American youth culture. The Byrds were already yesterday's news. The tour wasn't all bad -- it did boost sales of the group's records, and they became friendly with the Beatles, Stones, and Donovan. So much so that when later in the month the Beatles returned to the US, the Byrds were invited to join them at a party they were holding in Benedict Canyon, and it was thanks to the Byrds attending that party that two things happened to influence the Beatles' songwriting. The first was that Crosby brought his Hollywood friend Peter Fonda along. Fonda kept insisting on telling people that he knew what it was like to actually be dead, in a misguided attempt to reassure George Harrison, who he wrongly believed was scared of dying, and insisted on showing them his self-inflicted bullet wounds. This did not go down well with John Lennon and George Harrison, both of whom were on acid at the time. As Lennon later said, "We didn't want to hear about that! We were on an acid trip and the sun was shining and the girls were dancing and the whole thing was beautiful and Sixties, and this guy – who I really didn't know; he hadn't made Easy Rider or anything – kept coming over, wearing shades, saying, "I know what it's like to be dead," and we kept leaving him because he was so boring! ... It was scary. You know ... when you're flying high and [whispers] "I know what it's like to be dead, man" Eventually they asked Fonda to get out, and the experience later inspired Lennon to write this: [Excerpt: The Beatles, "She Said, She Said"] Incidentally, like all the Beatles songs of that period, that was adapted for the cartoon TV series based on the group, in this case as a follow-the-bouncing-ball animation. There are few things which sum up the oddness of mid-sixties culture more vividly than the fact that there was a massively popular kids' cartoon with a cheery singalong version of a song about a bad acid trip and knowing what it's like to be dead. But there was another, more positive, influence on the Beatles to come out of them having invited the Byrds to the party. Once Fonda had been kicked out, Crosby and Harrison became chatty, and started talking about the sitar, an instrument that Harrison had recently become interested in. Crosby showed Harrison some ragas on the guitar, and suggested he start listening to Ravi Shankar, who Crosby had recently become a fan of. And we'll be tracking Shankar's influence on Harrison, and through him the Beatles, and through them the whole course of twentieth century culture, in future episodes. Crosby's admiration both of Ravi Shankar and of John Coltrane was soon to show in the Byrds' records, but first they needed a new single. They'd made attempts at a version of "The Times They Are A-Changin'", and had even tried to get both George Harrison and Paul McCartney to add harmonica to that track, but that didn't work out. Then just before the UK tour, Terry Melcher had got Jack Nitzsche to come up with an arrangement of Dylan's "It's All Over Now, Baby Blue": [Excerpt: The Byrds, "It's All Over Now, Baby Blue (version 1)"] Nitzsche's arrangement was designed to sound as much like a Sonny and Cher record as possible, and at first the intention was just to overdub McGuinn's guitar and vocals onto a track by the Wrecking Crew. The group weren't happy at this, and even McGuinn, who was the friendliest of the group with Melcher and who the record was meant to spotlight, disliked it. The eventual track was cut by the group, with Jim Dickson producing, to show they could do a good job of the song by themselves, with the intention that Melcher would then polish it and finish it in the studio, but Melcher dropped the idea of doing the song at all. There was a growing factionalism in the group by this point, with McGuinn and to a lesser extent Michael Clarke being friendly with Melcher. Crosby disliked Melcher and was pushing for Jim Dickson to replace him as producer, largely because he thought that Melcher was vetoing Crosby's songs and giving Gene Clark and Roger McGuinn free run of the songwriting. Dickson on the other hand was friendliest with Crosby, but wasn't much keener on Crosby's songwriting than Melcher was, thinking Gene Clark was the real writing talent in the group. It didn't help that Crosby's songs tended to be things like harmonically complex pieces based on science fiction novels -- Crosby was a big fan of the writer Robert Heinlein, and in particular of the novel Stranger in a Strange Land, and brought in at least two songs inspired by that novel, which were left off albums -- his song "Stranger in a Strange Land" was eventually recorded by the San Francisco group Blackburn & Snow: [Excerpt: Blackburn & Snow, "Stranger in a Strange Land"] Oddly, Jim Dickson objected to what became the Byrds' next single for reasons that come from the same roots as the Heinlein novel. A short while earlier, McGuinn had worked as a guitarist and arranger on an album by the folk singer Judy Collins, and one of the songs she had recorded on that album was a song written by Pete Seeger, setting the first eight verses of chapter three of the Biblical book of Ecclesiastes to music: [Excerpt: Judy Collins, "Turn Turn Turn (To Everything There is a Season"] McGuinn wanted to do an electric version of that song as the Byrds' next single, and Melcher sided with him, but Dickson was against the idea, citing the philosopher Alfred Korzybski, who was a big influence both on the counterculture and on Heinlein. Korzybski, in his book Science and Sanity, argued that many of the problems with the world are caused by the practice in Aristotelean logic of excluding the middle and only talking about things and their opposites, saying that things could be either A or Not-A, which in his view excluded most of actual reality. Dickson's argument was that the lyrics to “Turn! Turn! Turn!” with their inflexible Aristotelianism, were hopelessly outmoded and would make the group a laughing stock among anyone who had paid attention to the intellectual revolutions of the previous few decades. "A time of love, a time of hate"? What about all the times that are neither for loving or hating, and all the emotions that are complex mixtures of love and hate? In his eyes, this was going to make the group look like lightweights. Terry Melcher disagreed, and forced the group through take after take, until they got what became the group's second number one hit: [Excerpt: The Byrds, "Turn! Turn! Turn!"] After the single was released and became a hit, the battle lines in the group hardened. It was McGuinn and Melcher on one side, Crosby and Dickson on the other, with Chris Hillman, Michael Clarke, and Gene Clark more or less neutral in the middle, but tending to side more and more with the two Ms largely because of Crosby's ability to rub everyone up the wrong way. At one point during the sessions for the next album, tempers flared so much that Michael Clarke actually got up, went over to Crosby, and punched Crosby so hard that he fell off his seat. Crosby, being Hollywood to the bone, yelled at Clarke "You'll never work in this town again!", but the others tended to agree that on that occasion Crosby had it coming. Clarke, when asked about it later, said "I slapped him because he was being an asshole. He wasn't productive. It was necessary." Things came to a head in the filming for a video for the next single, Gene Clark's "Set You Free This Time". Michael Clarke was taller than the other Byrds, and to get the shot right, so the angles would line up, he had to stand further from the camera than the rest of them. David Crosby -- the member with most knowledge of the film industry, whose father was an Academy Award-winning cinematographer, so who definitely understood the reasoning for this -- was sulking that once again a Gene Clark song had been chosen for promotion rather than one of his songs, and started manipulating Michael Clarke, telling him that he was being moved backwards because the others were jealous of his good looks, and that he needed to move forward to be with the rest of them. Multiple takes were ruined because Clarke listened to Crosby, and eventually Jim Dickson got furious at Clarke and went over and slapped him on the face. All hell broke loose. Michael Clarke wasn't particularly bothered by being slapped by Dickson, but Crosby took that as an excuse to leave, walking off before the first shot of the day had been completed. Dickson ran after Crosby, who turned round and punched Dickson in the mouth. Dickson grabbed hold of Crosby and held him in a chokehold. Gene Clark came up and pulled Dickson off Crosby, trying to break up the fight, and then Crosby yelled "Yeah, that's right, Gene! Hold him so I can hit him again!" At this point if Clark let Dickson go, Dickson would have attacked Crosby again. If he held Dickson, Crosby would have taken it as an invitation to hit him more. Clark's dilemma was eventually relieved by Barry Feinstein, the cameraman, who came in and broke everything up. It may seem odd that Crosby and Dickson, who were on the same side, were the ones who got into a fight, while Michael Clarke, who had previously hit Crosby, was listening to Crosby over Dickson, but that's indicative of how everyone felt about Crosby. As Dickson later put it, "People have stronger feelings about David Crosby. I love David more than the rest and I hate him more than the rest. I love McGuinn the least, and I hate him the least, because he doesn't give you emotional feedback. You don't get a chance. The hate is in equal proportion to how much you love them." McGuinn was finding all this deeply distressing -- Dickson and Crosby were violent men, and Michael Clarke and Hillman could be provoked to violence, but McGuinn was a pacifist both by conviction and temperament. Everything was conspiring to push the camps further apart. For example, Gene Clark made more money than the rest because of his songwriting royalties, and so got himself a good car. McGuinn had problems with his car, and knowing that the other members were jealous of Clark, Melcher offered to lend McGuinn one of his own Cadillacs, partly in an attempt to be friendly, and partly to make sure the jealousy over Clark's car didn't cause further problems in the group. But, of course, now Gene Clark had a Ferrarri and Roger McGuinn had a Cadillac, where was David Crosby's car? He stormed into Dickson's office and told him that if by the end of the tour the group were going on, Crosby didn't have a Bentley, he was quitting the group. There was only one thing for it. Terry Melcher had to go. The group had recorded their second album, and if they couldn't fix the problems within the band, they would have to deal with the problems from outside. While the group were on tour, Jim Dickson told Melcher they would no longer be working with him as their producer. On the tour bus, the group listened over and over to a tape McGuinn had made of Crosby's favourite music. On one side was a collection of recordings of Ravi Shankar, and on the other was two Coltrane albums -- Africa/Brass and Impressions: [Excerpt: John Coltrane, "India"] The group listened to this, and basically no other music, on the tour, and while they were touring Gene Clark was working on what he hoped would be the group's next single -- an impressionistic song about their trip to the UK, which started "Six miles high and when you touch down, you'll find that it's stranger than known". After he had it half complete, he showed it to Crosby, who helped him out with the lyrics, coming up with lines like "Rain, grey town, known for its sound" to describe London. The song talked about the crowds that followed them, about the music -- namechecking the Small Faces, who at the time had only released two single
For years I've loved to recite Omar Khayyam (1048-113 as translated by the master Victorian wordsong writer Edward FitzGerald. “Myself, when young, did eagerly frequent / Doctor and sage…” I owe the Persian poet two things: (1) a gently melancholy but likeable skepticism which at the same time says ‘Enjoy the moment!” and (2) a beautiful verse form with rhyme patter AABA. Pp. 14-15 show how I tried to “improve” the Omar four-line stanza. P. 17 show how I started to interbreed the Omar stanza with model-quatrains I learned from the ancient Greeks and Romans. The beauty of form and the commonsense cheerfulness of my mood always seemed to be carrying on Omar's legacy as he might have liked. Now let me show you some fruits of my Omar-pilgrimage: (1) The game of tag, rewakened, spring = open the door, and write. (2) A Shakespeare Episode = write up the play you've just read. (3) Who sing become what they proclaim = daily life recalls Sufi tradition. (4) Do I need to surrender to sleep? Will my dreaming = rhythm of thought. (40) E-mail to Lucy – and replies from two German “almanac” poets. (46) Jotted Rubaiyat – and a world of dying-god myths (blogatelle 46) (51) Moon Guardian Steadfast of the Way – Korean music on the shamisen (68) That wine's a problem I'm aware – personality portrait of Persian poet Hafiz (77) A Prayer of Love – simple Omar-style quatrain with simple Omar-type reply
It's great to talk about IDEAS for teaching elementary music, but it's completely different to actually put together lessons. In these What I'm Teaching this Week videos, I'll be talking about EXACTLY what I'm teaching in elementary music! Happy teaching!Becca//IN THIS VIDEOKing of France: https://www.teacherspayteachers.com/Product/KING-OF-FRANCE-Chant-for-High-Low-on-Barred-Instruments-Steady-Beat-7246346?utm_source=BMR%20Youtube&utm_campaign=WITTW%20S2%20E8Ballet of the Unhatched Chicks: https://www.teacherspayteachers.com/Product/Ballet-of-the-Unhatched-Chicks-Kindergarten-and-1st-grade-lesson-for-AABA-form-5337030?utm_source=BMR%20Youtube&utm_campaign=WITTW%20S2%20E8Need more virtual lessons?Online music lesson course: https://beccasmusicroom.teachable.com/p/teaching-elementary-music-online/Virtual Music Lesson ebook: http://beccasmusicroom.com/virtual-music-lessons///HELPFUL LINKS*Happier Teacher Life (my new book!): https://amzn.to/337t28M*Camera I use: https://amzn.to/35BS9Pc*Erin Condren (get $10 off when you create an account): https://www.erincondren.com/referral/invite/rebeccadavis-7580/1*Get one month of free ink with HP Instant Ink: http://try.hpinstantink.com/v6mcZWant to get access to exclusive content? Sign up to join my FREE RESOURCE LIBRARY. Once you sign up, you can download and use any of the content in the library. New things are being added every few weeks, so make sure you check back for more FREE stuff! https://mailchi.mp/12c5827aecfa/beccasmusicroom//LET'S BE FRIENDSBlog: https://beccasmusicroom.comTeachers Pay Teachers: https://www.teacherspayteachers.com/Store/Beccas-Music-RoomEtsy: https://www.etsy.com/shop/BeccasMusicRoomPinterest: https://www.pinterest.com/beccasmusicroom/Instagram: https://www.instagram.com/beccasmusicroom/Facebook: https://www.facebook.com/beccasmusicroomPainting in the background: https://www.etsy.com/shop/beccadavisdesigns*May contain affiliate links
El sello alemán ECM graba desde los 70, a exponentes de un jazz acústico que toma de Europa y el mundo, elementos para improvisar (sin usar el blues ni la canción AABA). Perdieron el swing? Es jazz? Keith Jarrett, pianista americano de Pennsylvania (1945), un prodigio, cómodo en lo clásico como en su forma de hacer jazz. Sus solos de piano. Sus tríos con Jack de Johnette ( Chicago 1942, uno de los mas grandes bateristas) y Gary Peacock (1935-2020) en el bajo. Otros exponentes, de Noruega Jan Garbarek con su saxo etéreo, de Inglaterra Dave Holland en bajo, de Italia Enrico Rava en trompeta, Ralph Towner (guitarra 12 cuerdas), Oregon, y Egberto Gismonti de Brasil
En los 60 surge el jazz de avant garde o free jazz, revolucionando y dividiendo el jazz, con elementos no solo musicales sino entroncados con los sociales y políticos. Cinco puntos clave marcan esa ruptura: 1) se prescinde de estructura de acordes de base, 2) el ritmo no es necesariamente simétrico, 3) se abandona la estructura AABA o el 12 bar blues y se rescatan estructuras de la "world music", 4) la intensidad, 5) coqueteo rompiendo barrera entre música y ruido. Ilustramos estos aspectos con música de Ornette Coleman (saxo), Albert Ayler (saxo), Eric Dolphy (saxo y clarinete), Freddie Hubbard (tp), Cecil Taylor (pn), Anthony Braxton (saxo) y el Art Ensemble de Chicago.
Chris and Cara chat with Elizabeth Cho, a PhD candidate in the Department of Anthropology at the University of Missouri. Elizabeth talks about her recent AABA presentation and the research behind it. Her findings on the associations between skeletal variations and climate are the result of her analysis of many different collections all across Asia. You can contact Elizabeth at ecomdd@mail.missouri.edu Contact the Sausage of Science Podcast and Human Biology Association: Facebook: www.facebook.com/groups/humanbiologyassociation Website:humbio.org/, Twitter: @HumBioAssoc Cara Ocobock, Website: sites.nd.edu/cara-ocobock/, Email:cocobock@nd.edu, Twitter:@CaraOcobock Chris Lynn, HBA Public Relations Committee Chair, Website: cdlynn.people.ua.edu/, Email: cdlynn@ua.edu, Twitter:@Chris_Ly Delaney Glass, Website: dglass.netlify.app/, Email: dglass1@uw.edu, Twitter: @GlassDelaney Alexandra Niclou, Email: aniclou@nd.edu, Twitter: @fiat_Luxandra
Horace Silver (1928-2014) se llamaba Tavares Silver y su padre era portugués originario de Cabo Verde. Compositor y pianista muy original trajo el "funk" al jazz. Componía con estructuras más complejas que el blues de 12 compases o el típico AABA de la canción popular. Importancia del quinteto (saxo, trompeta, piano, bajo y bateria) en el jazz moderno, que se consolida con el hardbop. Carrera fructífera, composiciones que son standards: The Preacher, Señor blues, Home cooking, Opus the funk y Song for my father. Lee Morgan (1938-1972), gran trompetista que hereda el trono dejado por la temprana muerte de Clifford Brown en 1955. Con un tono cálido y fraseo magistral graba 25 álbumes en Blue Note.
Un tema del legendario pianista, compositor y arreglador creole Joseph Ferninand La Mothe, más conocido como Jelly Roll Morton (ver Episodio 4 de JLS). Compuesto según él en 1905, es el único de sus múltiples fabulosos temas que se transformo en un standard. Probablemente porque Morton componía piezas complejas con varios temas a desarrollar en tres minutos. Y no los clásicos AABA o 12 bar blues que prefieren los improvisadores. Escuchemos, entre otros, al autor, F. Henderson, B. Goodman, Cannonball, Marsalis y la Porteña Jazz Band.
Back in school, but having a hard time trying to figure out how to teach elementary music from six feet away? In this video, we are talking all about movement music lessons for your general music class. Everything can also be done if you are teaching music from a cart!Happy teaching!Becca//IN THIS VIDEOGuide to Teaching 6 Feet Away: https://mailchi.mp/a15700ea7d29/simple-activities-for-6-feet-awayCoordinating blog post: http://beccasmusicroom.com/no-touch-movement-lessons/Stick figures: https://www.teacherspayteachers.com/Product/Stick-Figure-Statue-Posters-for-Movement-Activities-in-Music-4747075?aref=im79vtwe&utm_source=youtube.com&utm_campaign=BMR%20Movement%20Activities%20YoutubeBallet of the Unhatched Chicks: https://www.teacherspayteachers.com/Product/Ballet-of-the-Unhatched-Chicks-Kindergarten-and-1st-grade-lesson-for-AABA-form-5337030?aref=ykb5eqr2&utm_source=youtube.com&utm_campaign=BMR%20Movement%20Activities%20YoutubeBreezes are Blowing: https://beccasmusicroom.com/breezes-are-blowing/Fairies and Giants: https://amzn.to/2FXRdx7//HELPFUL LINKS*Camera I use: https://amzn.to/35BS9Pc*Full Focus Planner (get $10 off when you create an account): https://www.talkable.com/x/NkcxnA*I use Canva for all of my graphics (and it's FREE!): https://www.canva.com/join/forage-toad-wash*Need a website? I use Siteground for mine! You can check it out here: https://www.siteground.com/go/beccasmusicroom*Need Pinterest or Instagram help? I use Tailwind and love it! Check it out here: https://shareasale.com/r.cfm?b=992347&u=2101266&m=50947&urllink=&afftrack=*Get one month of free ink with HP Instant Ink: http://try.hpinstantink.com/v6mcZWant to get access to exclusive content? Sign up to join my FREE RESOURCE LIBRARY. Once you sign up, you can download and use any of the content in the library. New things are being added every few weeks, so make sure you check back for more FREE stuff! https://mailchi.mp/12c5827aecfa/beccasmusicroom//LET'S BE FRIENDSBlog: https://beccasmusicroom.comTeachers Pay Teachers: https://www.teacherspayteachers.com/Store/Beccas-Music-RoomEtsy: https://www.etsy.com/shop/BeccasMusicRoomPinterest: https://www.pinterest.com/beccasmusicroom/Instagram: https://www.instagram.com/beccasmusicroom/Facebook: https://www.facebook.com/beccasmusicroomPainting in the background: https://www.etsy.com/shop/beccadavisdesigns*May contain affiliate links
Musikalität und was es Dir im Tanzen bringt. Teil 1 - Wir erzählen aus Sicht eines Musikers und eines Tänzers an einem praktischen Beispiel. Swing-Struktur, Akkorde, „call for home“ und was Dir dieses Wissen als Tänzer bringt. Hör rein! Finde deine Lieblingsplattform, höre, abonniere, like, teile++++++++++++++Apple Podcasts: http://bit.ly/BMBDS-at-AppleSpotify: http://bit.ly/BMBDS-at-SpotifyDeezer: http://bit.ly/BMBDS-at-DeezerPodbean: https://beimirbistduschoen.podbean.com/Castbox: http://bit.ly/BMBDS-at-CastBoxOvercastFM: http://bit.ly/BMBDS-at-OvercastPlayerFM: https://de.player.fm/series/bei-mir-bist-du-schon-podcastYouTube: http://bit.ly/BMBDS-on-YouTube+++++++++++++++Abonniere und like unsere Seiten bei:Facebook: facebook.com/BeiMirBistDuSchoenPodcastInstagram: instagram.com/bei_mir_bist_du_schoen_podcast/Twitter: twitter.com/MirBist+++++++++++++++++++++++++BMBDS 014 - Musicality A0:00:00 Intro0:02:08 Social EckeNeues technisches SetupCorona Status und AusblickLieferzeiten von Online-Handel0:04:40 Warm up0:06:10 RecapVerwirrung um die letzte Episodebeimirbistduschoen.podbean.com/e/bmbds-podcast-013-zeitverteib/Like gerne unsere PodcastsWie hörst Du unseren Podcast über die SmartWatch?0:10:00 Hauptthema - Musicality AVorstellung des KonzeptsMusikalische Hintergründe von unsDefinition Musicality und wie Du es lernstWer nimmt was in der Musik wahr? Felix Berghäll facebook.com/FelixBerghall0:24:30 Aufbau der MusikSwing-Form AABA Capital Idea - Gene Krupa youtube.com/watch?v=2R4rclTWED4 #HereIsMyIdea youtube.com/playlist?list=PLwqvuRSSjJq8JW-SgmOIxswboGOn1zpRD Boris’ Beitrag facebook.com/DjCharlieTon/videos/2731968263590026/ Gene Krupa https://de.wikipedia.org/wiki/Gene_Krupa Brunswick Records https://de.wikipedia.org/wiki/Brunswick_Records Zählweise Musiker vs. Tänzer https://i1.wp.com/ihatetodance.com/wp-content/uploads/2012/09/set_of_8.jpgAufbau von Musik am Beispiel „Capital Idea“„Call & Response“„Erwartbare“ wiederkehrende Teile32 Takte = 4x4 8-counts Handzeichen für 3 SwingOuts + 1 Circle https://mediad.publicbroadcasting.net/p/shared/npr/styles/x_large/nprshared/201909/764774704.jpgDer 4. 8-Count im A-Teil0:40:30 B-Teil0:50:00 Akkorde0:58:00 „call for home“ Ali & Katja (SwingSetp) facebook.com/aliandkatja Miracoli Werbung 1987 youtube.com/watch?v=Sgx70bM4N4s Miracoli Werbung 2007 youtube.com/watch?v=GDEn_enbE7s1:01:00 praktische Beispiele, was Du machen kannst1:03:30 Synkope1:04:30 auswendig lernen vs. Prinzipien erkennen1:06:20 AABA bei den Beatles youtube.com/playlist?list=PLslkXQjEBvP-VA8N4mH0-47uZev9pMLjJ1:06:40 Chores und wie sie in Strukturen passen1:07:10 Was bringt mir das?1:15:00 Surprise Question1:17:00 Recap1:18:10 AusblickStyle Wars1:19:40 Boris ist live facebook.com/Boris-Naumann-101135851470909/ Boris YouTube Playlist youtube.com/playlist?list=PLzwwRgFIobD1RXYqw-YzbMJTxzcIylJyN Intro: The Andrew Sisters - Bei mir bist Du schön youtube.com/watch?v=Xe2UXccid40 Outro: Slim & Slam - The Flat Foot Floogie youtube.com/watch?v=S4eAapgCaZU Foto: JaninaSchuster.de Boris & Phil aus Hannover sprechen über die SwingTanz Szene in Deutschland, Europa und der Welt. Es gibt Episoden mit speziellen Themen, mit allgemeinen Themen und Interview-Specials. Alles dreht sich um die SwingTanz Welt. Ob LindyHop, Shag, Balboa, Blues, Charleston oder Solo Jazz. Schalte ein und genieße die spontane und lockere Art, in der wir unsere Sicht der Dinge wiedergeben. Viel Spaß!
It's easy to think of Nat King Cole as "that Christmas song guy" but his musical output is truly astounding, recording hundreds of songs with over a hundred of them becoming hits on the pop charts. The Complete Capitol Recordings of the Nat King Cole Trio is by far the largest album we've ever discussed on Heat Rocks and we couldn't have asked for better guests to come break it down with us. Nate Sloan and Charlie Harding of the Switched on Pop podcast sit down with us to talk about this enormous anthology, the timbre of Cole's voice, and the ubiquity of the AABA song structure. Stay tuned to the very end for a special Heat Rocks theme song workshop. More on Switched on Pop Get Charlie and Nate's book! Check out the Switched on Pop podcast Nate's Twitter | Charlie's Twitter More on Nat King Cole Nat King Cole: An Incandescent Voice (NPR) Della Reese on Nat King Cole Show Tracklisting (all songs from The Complete Capitol Recordings unless otherwise indicated): All for You John Pizzarelli: The Best Man The Best Man (I Love You) For Sentimental Reasons An Old Piano Plays the Blues I'm In The Mood For Love Sweet Lorraine Embraceable You (1943 version) Embraceable You (1961 version) I've Got A Way With Women Jonas Brothers: Sucker Prelude in C Sharp Minor The Christmas Song (Merry Christmas to You) Nature Boy Ahmed Sirour: Nature Boy Can You Look Me In The Eyes (And Say We're Through) I'm An Errand Boy for Rhythm The Frim Fram Sauce Embraceable You (1961 version) Nat King Cole: Almost Like Being in Love Kendrick Lamar: Thanksgiving An Old Piano Plays the Blues John Coltrane & Johnny Hartman: My One and Only Love Brook Benton: Mother Nature, Father Time Speedy West: Speedin' West Slim & Slam: Jump Session Here is the Spotify playlist of as many songs as we can find there. If you're not already subscribed to Heat Rocks in Apple Podcasts, do it here!
On this week's According to Sources, I sit down with Brett Buckley and James Dileva of Wallachbeth Capital. We discuss how event funds are coping with the current drought of deals, and later analyze AABA, COTY, and DELL
[२९]."Aaba he linka laba"-मुंदारी जीसस गीत.3gp
Vamos trazer os resultados do Google e falar porque o mercado não gostou tanto do resultado, entenda o que cresceu no Google e quem foi o vilão que fez com que o mercado não ficasse animado. Falaremos também da GoPro e você precisa entender porque o CEO deles vai receber só $1 (UM dólar) de […] The post Papo de Dividendo #44: Google – CVX – BA – GOOG – GPRO – FB – SSNLF – AMZN – GPS – RYAAY – DIDI – AABA – NTDOY appeared first on Viver de Dividendos.
For me, having a process with a list I can check off is critical to getting things done in my personal and professional life. I guess part of this method stems from the fact that personally I am forgetful. It also stems from experiences I had in lessons and teaching students. I would come in and my teacher would ask me about something in the score. Often the question was something I could have and should have known already. There really isn’t a good reason not to have defined a French word in the score that indicated information about expression or dynamics in the piece. This is easy to do with google. By the time I as a grad student I really didn’t have an excuse for not knowing more advanced things like how many lines in a contrapuntal passage where there or which one was the subject. Likely part of the reason I was showing up to lessons without having all my basses covered was an issue of maturity. But I also think it had to do with a lack of habit and not knowing what to look for or when to look for it. I hadn’t really trained myself to think about all the different pieces of information I could and should observe about a piece before or while physically practicing it. And I don’t think I am alone in this. Guitarists often discuss whether expression should be added before or after learning the notes. This suggests that there is some ambiguity within the community about when to think through this aspect of playing. It thus does not seem entirely unreasonable that a student may come to a lesson not having thought about expression or the different things in the score that provide information about expression. If a musician subscribes to the notes first expression second mentality, its even less surprising that a student would come in without having expression words define. Its the argument of this method that the physical act of practicing is different when expression is added to the notes. Because expression changes the physical motions the body needs to make, its the argument of this method, and an argument presented earlier in this method, that one should think of expression as much as possible before physically practicing a piece and add it to practicing as soon as practically possible. My experience is that teachers often think students should know better when they make mistakes like the one I made with the French word in my score. The French word is in the score! Why didn’t the student look it up? It seems like many teachers just resign themselves to the idea that some students get it and some students never will. That may be true, but I think there are many enthusiastic and potential musicians who don’t know what to look for, when to look for it, and what to do with it when they find it. Nobody ever explained two bar phrases, or walked them through analyzing a piece, or taught them how to phrase. I think part of the problem is there is a ton of things to think about and keep track of in a new piece and its easy to forget to think about any of those factors. Its also overwhelming for a teacher to remember them all and walk a student through them. This problem is especially true in advance music like Bach. So part of the goal of this method is to help the reader keep track of everything going on in the music. The idea of this section is to have a checklist of things you should do or think about when you first look at a piece. This method is not a theory and analysis book, so I won’t always thoroughly explain all the vocabulary here. I don’t think this means I am leaving the reader of this method hanging. There are plenty of books on these subjects, one could google search any vocabulary in this list, and a good teacher can also provide an explanation and more context. Some of these concepts such as 2 and 4 bar phrases are probably easier to understand and hear with an explanation from a teacher with an instrument at hand. This method is focused on where these concepts and vocabulary are applicable in a practice process. In other words, from the time I get a piece of music to the time I perform it, when do I think about certain things such as scales, counterpoint, or words in the score that indicate dynamics. Thats why I don’t want to provide too many definitions here. There are plenty of method books and treatise that explain counterpoint. What I want to target in this method is when does a performer start thinking about counterpoint during practice so that they make sure the music sounds both the way it is supposed to and/or the way the performer wants it to. I do present some ideas in the following sections on analysis that may be less familiar even to experienced musicians. In particular, the concepts I present on rhythm analysis are not necessarily original but they are not ideas that are commonly discussed in method books or in some cases even amongst musicians. In places where I present less common concepts I will expand on those ideas more thoroughly. The goal of the analysis portion of this method and the lists I present within it are to make sure that all my bases get covered. By “bases” I mean all the mental aspects of a piece and what must be thought of before touching the instrument are already accounted for. I also try to present techniques for experimenting and working out some of these pre physical mental ideas. Having used this method so much in the last two years, I actually find I often skim these lists and don’t necessarily need to write everything in the score anymore. Its about making sure I don’t miss anything. However, when I first started using this practice method I wrote in pencil in the score and noted nearly every detail. I will leave this choice mostly to the readers discretion, obviously I can’t force anything on anyone. But I would suggest being obsessively thorough for a couple pieces. Eventually it is both appropriate and more effective to make mental notes of these different aspects of a piece and skip intensive writing in the score. But wait until observing all these details become habit. The reason I can skim now is because I internalized a habit of looking for all these details. One of the goals of this method is to make teaching and lessons more pro active. If a student is working on their first fugue, walk through the analysis portion of this method with the student before they touch the music. Have the student play the different contrapuntal lines individually on the guitar and give them advice about phrasing. Play the two main contrapuntal lines as duets with the teacher and the student so the student can hear the lines together. Then have the student do the same exercises and analysis on their own with another passage for their next lesson. Its my hope to teach musician to fish. I can’t stress enough two more important points. First, one of the things that has to change is the idea that a performer is playing an instrument. I think part of the problem of musicianship is that the idea of the instrument and musicality are not treated separately enough. One needs to know how to make a piece sound like it has phrasing, articulation, and musicality before attempting to do so on the instrument. If a performer is not singing a melodic line with correct phrasing they probably don’t have the correct sound memorized in their mind for the passage and they probably can’t hear in their mind what correct phrasing sounds like. If the sound of a passage is incorrect in your mind it will very likely come out incorrect on the instrument. To put it another way, one must learn to play music correctly and then learn to play the music on the instrument. And to be more philosophical, one must enjoy just the music and playing music in addition to and before playing an instrument. So that brings me to a second really important point. Playing melodic lines, bass lines, contrapuntal voices, inner voices in an alberti bass, really almost any part of a passage individually is an important component of this method. Playing a line with ones voice, another instrument, or the guitar, and doing so to work out expression, articulation, and phrasing, is a very powerful tool in the tool box. If you are not a proficient sight singer or sight reader playing the lines individually can help you hear the music and work out phrasing, articulation, and expression. I tell my students to put the music on the instrument not the instrument on the music. If that expression seems a touch nonsensical, I blame the Spanish musicians I have studied with over the years who say things that sound profound but are actually difficult to make sense of. Do you know what “playing from the string” means? Below is the first list of analytical things to think about in the analysis portion of the method. This information is to be observed in the score. Large scale structural analysis. Mark large sections, phrases, and sub phrases using letters and numbers (A, a, 1, Roman numerals, etc.). For large pieces count the measures and give every row of measures and every four measures its number so things are easy to refer to. (Klickstein 44)Look for the piece’s large structures like binary form, ternary form, ABA, ABACADA, AABA, 32 bar form, 16 bar form, 12 bar form, sonata form, rondeau form, dance forms, etc. Be on the lookout for 2, 3, 4, 6, 8, 12, and 16 bar phrases and sub phrases. (some of this may become more obvious or refined after harmonic and melodic analysis). Note any double bar lines as these often separate phrases or sections. Note major key changes. These also mark major changes in sections or phrases. Note if the meter changes. These also mark major changes in sections or phrases. Note significant differences in texture between sections or phrases. Many theory classes put great emphasis on brainy concepts like harmonic analysis or interval analysis but many works such as the Bach solo violin sonatas can very easily be visibly broken down by their texture. You could do a macro level analysis of most of the solo violin sonatas simply by noting which parts of the score have one, two, and three voices. Note any Codas, DS signs, etc. If you're piece is a dance piece, identify its rhythmic patterns; especially were the accent falls in the measure. This can be an instance where listening to an authoritative recording by someone who specializes in the genre can be a huge help. Note when different phrases or sections share, repeat, or vary any of the features mentioned in the above list. If a phrase or section at the beginning of the piece is identical to one at the end of the piece, there is now one less phrase or section to practice. It may also be a place to change tone color or use an alternative fingering. Learn any unfamiliar language, like musical terms from other languages, signs for dynamics or style, etc. Section and phrase level analysis. Note any melodic sequences. Sequences might be a key component in a phrase with the end of a sequence also being an end of a phrase. Note scales being used in a passage (major, minor, harmonic minor, melodic minor, pentatonic, diminished, whole tone, the modes of the major and melodic minor scales). If the scale in the passage can be fingered similar to a scale exercise you have done in your technique practice, you now have one less thing to practice. Note any sections of 2, 3, or 4 voice counterpoint. A change in the number of voices may mark the end of a phrase or section. Note any long contrapuntal melodic lines. Note all the harmonies in each measure. Your left hand fingers will be influenced by the harmonies implied in the measure. Note any harmonic progressions. This allows you to think and eventually memorize not in terms of individual notes but instead in terms of larger chunks of information in the form of chord progressions. Many sections of Bach look complicated on the page but end up just using many of the same open chord fingerings that a beginning guitar student would know and progressions that a student with moderate experience has done many times such as ii V I or IV V I. Note any arpeggios you are familiar with. It is possible you may have worked on an exercise that uses a similar right hand fingering to the arpeggio in the piece. Note changes in harmonic rhythm or phrase rhythm in phrases and sub phrases. (This may become more obvious after harmonic and rhythmic analysis). Harmonic rhythm often changes between phrases. Note any rhythmic figures or patterns that are prevalent in a section. Note any ornament signs that are indicated or that would be appropriate even when not indicated. Write in the score the ornament you decide to use. Stealing ornaments from recordings by master performers or performers who specialize in the genre of music you are working on is great a idea for ornaments. Be aware of or write in the appropriate use of the following: accents, strong accents, tenutos, brief tenutos, staccato, etc. Constantly be mindful of the above points. Some analysis will be obvious right away from looking at the score or singing and playing lines in the score individually. Some analysis may become more clear as you continue through the followings sections and spend more time with the piece. It is not a bad idea to do the large scale analysis portion of the above list before the section and phrase analysis before physically practicing. In other words, get a broad concept of the piece as a whole, but don’t work out section and phrase level details until you are ready to physically practice. My experience was that if I did too much analysis of the entire piece, I would come back to a section I had thoroughly analyzed and remember less. I also found myself changing many of the details on the section and phrase level. But if I did my large scale structural analysis of the piece I could organize my practice time based on how I sectioned off the piece and then do the section and phrase level analysis on passages I would actually be physically practicing soon so that the analysis aided my physical practice and memorization.
“Mambo Inn” – 3 choruses of 32-bar AABA (as 8|8/8|8 bars) with an 8-bar intro’ and no ending, using a Mambo Latin Jazz rhythm at 190 bpm Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Afro-Cuban Salsa Sampler", Apple iOS App. https://itunes.apple.com/us/app/afro-cuban-salsa-sampler/id1367015786?mt=8
“Me recordaras” – 2 choruses of a 32-bar AABA form (as 8|8/8|8 bars) with a 2-bar intro’ and no ending, using a Songo rhythm at 210 bpm Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Afro-Cuban Salsa Sampler", Apple iOS App. https://itunes.apple.com/us/app/afro-cuban-salsa-sampler/id1367015786?mt=8
“Mambo Inn” – 3 choruses of 32-bar AABA (as 8|8/8|8 bars) with an 8-bar intro’ and no ending, using a Mambo Latin Jazz rhythm at 190 bpm Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Afro-Cuban Salsa Sampler", Apple iOS App. https://itunes.apple.com/us/app/afro-cuban-salsa-sampler/id1367015786?mt=8
“Me recordaras” – 2 choruses of a 32-bar AABA form (as 8|8/8|8 bars) with a 2-bar intro’ and no ending, using a Songo rhythm at 210 bpm Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Afro-Cuban Salsa Sampler", Apple iOS App. https://itunes.apple.com/us/app/afro-cuban-salsa-sampler/id1367015786?mt=8
“Mambo Inn” – 3 choruses of 32-bar AABA (as 8|8/8|8 bars) with an 8-bar intro' and no ending, using a Mambo Latin Jazz rhythm at 190 bpm Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Afro-Cuban Salsa Sampler", Apple iOS App. https://itunes.apple.com/us/app/afro-cuban-salsa-sampler/id1367015786?mt=8
“Me recordaras” – 2 choruses of a 32-bar AABA form (as 8|8/8|8 bars) with a 2-bar intro' and no ending, using a Songo rhythm at 210 bpm Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Afro-Cuban Salsa Sampler", Apple iOS App. https://itunes.apple.com/us/app/afro-cuban-salsa-sampler/id1367015786?mt=8
Check out http://alive-drumming.org Song Rhythm Tracks that fits "Blanket On The Ground" Using a Country even 8th rhythm at 100 bpm 2-bar intro', 2 choruses of a 64-bar AABA form (16|16/16|16); 8-bar edning As supplied on the "Old Country Music Sampler", Apple iOS App. https://itunes.apple.com/us/app/old-country-music-sampler/id1360761389
Check out http://alive-drumming.org Song Rhythm Tracks that fits "Leaving On A Jet Plane" Using a Nashville Pop Ballad at 65 bpm 4-bar intro', 2 choruses of 32-bar AABA form (8|8/8|8) As supplied on the "Old Country Music Sampler", Apple iOS App.
Check out http://alive-drumming.org Song Rhythm Tracks that fits "Leaving On A Jet Plane" Using a Nashville Pop Ballad at 65 bpm 4-bar intro', 2 choruses of 32-bar AABA form (8|8/8|8) As supplied on the "Old Country Music Sampler", Apple iOS App.
Check out http://alive-drumming.org Song Rhythm Tracks that fits "Blanket On The Ground" Using a Country even 8th rhythm at 100 bpm 2-bar intro', 2 choruses of a 64-bar AABA form (16|16/16|16); 8-bar edning As supplied on the "Old Country Music Sampler", Apple iOS App. https://itunes.apple.com/us/app/old-country-music-sampler/id1360761389
Check out http://alive-drumming.org Song Rhythm Tracks that fits "Raining In My Heart" Using a Nashville Pop ballad groove at 85 bpm 4-bar intro', 2 choruses of a 32-bar AABA form (8|8/8|8), with a 4-bar ending As supplied on the "Old Country Music Sampler", Apple iOS App. https://itunes.apple.com/us/app/old-country-music-sampler/id1360761389
Check out http://alive-drumming.org Song Rhythm Tracks that fits "Raining In My Heart" Using a Nashville Pop ballad groove at 85 bpm 4-bar intro', 2 choruses of a 32-bar AABA form (8|8/8|8), with a 4-bar ending As supplied on the "Old Country Music Sampler", Apple iOS App. https://itunes.apple.com/us/app/old-country-music-sampler/id1360761389
Check out http://alive-drumming.org Song Rhythm Tracks that fits "Raining In My Heart" Using a Nashville Pop ballad groove at 85 bpm 4-bar intro', 2 choruses of a 32-bar AABA form (8|8/8|8), with a 4-bar ending As supplied on the "Old Country Music Sampler", Apple iOS App. https://itunes.apple.com/us/app/old-country-music-sampler/id1360761389
Check out http://alive-drumming.org Song Rhythm Tracks that fits "Blanket On The Ground" Using a Country even 8th rhythm at 100 bpm 2-bar intro', 2 choruses of a 64-bar AABA form (16|16/16|16); 8-bar edning As supplied on the "Old Country Music Sampler", Apple iOS App. https://itunes.apple.com/us/app/old-country-music-sampler/id1360761389
Check out http://alive-drumming.org Song Rhythm Tracks that fits "Leaving On A Jet Plane" Using a Nashville Pop Ballad at 65 bpm 4-bar intro', 2 choruses of 32-bar AABA form (8|8/8|8) As supplied on the "Old Country Music Sampler", Apple iOS App.
A pretty standard medium swing 120 bpm rhythm arranged around the 32-bar AABA form with middle choruses playing at higher intensity. A 4-bar intro, 3 choruses and a standard 2-bar ending Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Jazz and Blues Sampler", Apple iOS App. https://itunes.apple.com/us/app/srt-jazz-and-blues-sampler/id1344104865?mt=8
Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Jazz and Blues Sampler", Apple iOS App. https://itunes.apple.com/us/app/srt-jazz-and-blues-sampler/id1344104865?mt=8
In this podcast, Alive Drumming supplies pre-arranged Song Rhythm Tracks for some sample songs. We hope you like them. You can arrange your own with the "Song Rhythm Tracks" iOS app.
This Song Rhythm Track fits an 32-bar AABA balad, being played at 50 b.p.m. Check out the Song Rhythm Tracks iOS App on the Apple iOS App Store Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Jazz and Blues Sampler", Apple iOS App. https://itunes.apple.com/us/app/srt-jazz-and-blues-sampler/id1344104865?mt=8
This Song Rhythm Track fits an 32-bar AABA balad, being played at 50 b.p.m. Check out the Song Rhythm Tracks iOS App on the Apple iOS App Store Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Jazz and Blues Sampler", Apple iOS App. https://itunes.apple.com/us/app/srt-jazz-and-blues-sampler/id1344104865?mt=8
A pretty standard medium swing 120 bpm rhythm arranged around the 32-bar AABA form with middle choruses playing at higher intensity. A 4-bar intro, 3 choruses and a standard 2-bar ending Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Jazz and Blues Sampler", Apple iOS App. https://itunes.apple.com/us/app/srt-jazz-and-blues-sampler/id1344104865?mt=8
Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Jazz and Blues Sampler", Apple iOS App. https://itunes.apple.com/us/app/srt-jazz-and-blues-sampler/id1344104865?mt=8
In this podcast, Alive Drumming supplies pre-arranged Song Rhythm Tracks for some sample songs. We hope you like them. You can arrange your own with the "Song Rhythm Tracks" iOS app.
In this podcast, Alive Drumming supplies pre-arranged Song Rhythm Tracks for some sample songs. We hope you like them. You can arrange your own with the "Song Rhythm Tracks" iOS app.
A pretty standard medium swing 120 bpm rhythm arranged around the 32-bar AABA form with middle choruses playing at higher intensity. A 4-bar intro, 3 choruses and a standard 2-bar ending Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Jazz and Blues Sampler", Apple iOS App. https://itunes.apple.com/us/app/srt-jazz-and-blues-sampler/id1344104865?mt=8
This Song Rhythm Track fits an 32-bar AABA balad, being played at 50 b.p.m. Check out the Song Rhythm Tracks iOS App on the Apple iOS App Store Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Jazz and Blues Sampler", Apple iOS App. https://itunes.apple.com/us/app/srt-jazz-and-blues-sampler/id1344104865?mt=8
Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Jazz and Blues Sampler", Apple iOS App. https://itunes.apple.com/us/app/srt-jazz-and-blues-sampler/id1344104865?mt=8
In this episode, Whisper Not is analysed according to the method. This song is in AABA form and is considered to have a home key of Dm since that is the only key in the song that is established and confirmed. Reference is made to Green Dolphin Street and How Deep is the Ocean that have some similar harmonic moves. Bricks used include: On; Cadence; POT; SPOT; launcher; Nowhere launcher. The only join used is the Backslider.
Selected Duets for Trumpet, Page 20 Number 16, Processional, performed by David Summer. A processional is generally a slow march tune. Think of the "Bridal March" or "Pomp and Circumstance". The tempo marking "maestoso", meaning march-like, reflects this. A processional is also thought of as stately, dignified and majestic. This processional has two sections and, with the second repeat omitted, follows an AABA musical pattern. The metronome setting for this performance is quarter note = 92.
© 2020-2025 Ivy Podcast Discovery LLC
