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Lazy Bird
Lazy Bird is a musical composition by John Coltrane, first appearing on his 1958 album '' Blue Train''. Its name is most likely a play on the title of the Tadd Dameron composition " Lady Bird": Coltrane biographer Lewis Porter has proposed a harmonic relationship between "Lady Bird" and the A section of "Lazy Bird". (The bridge of Coltrane's song is apparently a variation on the standard "Lover Man"). The chord progression of "Lady Bird" may be transformed into that of "Lazy Bird" through chord substitution using the backdoor progression and tritone substitution.Lyon, Jason (2007)"Coltrane's Substitution Tunes" i See also *Tadd Dameron turnaround In jazz, the Tadd Dameron turnaround, named for Tadd Dameron, "is a very common turnaround in the jazz idiom",Coker, et al (1982). ''Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation'', p.118. . derived from a typical I∠... Sources Chord substitution Compositions by John Coltrane Hard bop jazz standard ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Composition
Musical composition can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score," which is then performed by the composer or by other musicians. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration (choosing the instruments of a large music ensemble such as an orchestra which will play the different parts of music, such as the melody, accompaniment, counte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Coltrane
John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist The saxophone (often referred to colloquially as the sax) is a type of single-reed woodwind instrument with a conical body, usually made of brass. As with all single-reed instruments, sound is produced when a reed on a mouthpiece vibrates to pro ..., bandleader and composer. He is among the most influential and acclaimed figures in the Jazz#Post-war jazz, history of jazz and 20th-century music. Born and raised in North Carolina, Coltrane moved to Philadelphia after graduating high school, where he studied music. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of Modal jazz, modes and was one of the players at the forefront of free jazz. He led at least fifty recording sessions and appeared on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk. Over the course of his career, Coltrane's music t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Blue Train (album)
''Blue Train'' is a studio album by John Coltrane which was released in January 1958 by Blue Note Records. Recorded at the Van Gelder Studio in Hackensack, New Jersey, it is the only Blue Note recording by Coltrane as session leader. It has been certified a gold record by the RIAA. Background The album was recorded in the midst of Coltrane's residency at the Five Spot as a member of the Thelonious Monk quartet. The personnel include Coltrane's Miles Davis bandmates, Paul Chambers on bass and Philly Joe Jones on drums, both of whom had worked before with pianist Kenny Drew. Both trumpeter Lee Morgan and trombonist Curtis Fuller were up-and-coming jazz musicians, and both were members of Art Blakey's Jazz Messengers in due course. Unlike his previous label, Blue Note paid the musicians to rehearse the music for a couple of days before the recording session. All of the compositions were written by Coltrane, with the exception of the standard "I'm Old Fashioned". Though at this poin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tadd Dameron
Tadley Ewing Peake Dameron (February 21, 1917 – March 8, 1965) was an American jazz composer, arranger, and pianist. Biography Born in Cleveland, Ohio, Dameron was the most influential arranger of the bebop era, but also wrote charts for swing and hard bop players. The bands he arranged for included those of Count Basie, Artie Shaw, Jimmie Lunceford, Dizzy Gillespie, Billy Eckstine, and Sarah Vaughan. In 1940-41 he was the piano player and arranger for the Kansas City band Harlan Leonard and his Rockets. He and lyricist Carl Sigman wrote " If You Could See Me Now" for Sarah Vaughan and it became one of her first signature songs. According to the composer, his greatest influences were George Gershwin and Duke Ellington. In the late 1940s, Dameron wrote arrangements for Gillespie's big band, who gave the première of his large-scale orchestral piece ''Soulphony in Three Hearts'' at Carnegie Hall in 1948. Also in 1948, Dameron led his own group in New York, which included F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lady Bird (composition)
"Lady Bird" is a sixteen-bar jazz standard by Tadd Dameron. This "celebrated" composition, "one of the most performed in modern jazz", was written around 1939, and released in 1948. Featuring, "a suave, mellow theme,"Giddins, Gary (2004). ''Weather Bird: Jazz at the Dawn of Its Second Century'', p.468. . it is the origin of the Tadd Dameron turnaround (in C: CM7 E7 AM7 D7 CM7).Coker, et al (1982). ''Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation'', p.118. . An example of Dameron's interest in keys and/or roots related by thirds, the piece is in binary form ( AABC) and features, through the use of ii-V turnarounds, movement toward three keys other than the tonic; E, A, and G. The first three four-measure phrases end with secondary ii-V's, while the last ends instead with the Tadd Dameron turnaround resolving to the tonic. : IM7 , IM7 , ii7/III , V7/III , IM7 , IM7 , ii7/VI , V7/VI , VIM7 , ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lover Man (Oh Where Can You Be?)
"Lover Man (Oh, Where Can You Be?)" (often called simply "Lover Man") is a 1941 popular song written by Jimmy Davis, Roger ("Ram") Ramirez, and James Sherman. It is particularly associated with Billie Holiday, for whom it was written, and her version was inducted into the Grammy Hall of Fame in 1989. Holiday's version reached No. 5 on the R&B chart and No. 16 on pop in 1945. In July 1946, Charlie Parker recorded a rendition of "Lover Man" while he was intoxicated. Dial Records producer Ross Russell had to hold him up to the microphone during the recording. Sonny Stitt played the song many times on alto saxophone in a virtuoso way, in the original key of D flat. Most jazz musicians play the song nevertheless in F. Barbra Streisand recorded a version for her album Simply Streisand in 1967, her version peaked #29 at Billboard Adult Contemporary chart. Cover versions *Sarah Vaughan recorded the song for the Guild label in 1945 with backing by an instrumental ensemble that includ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord Progression
In a musical composition, a chord progression or harmonic progression (informally chord changes, used as a plural) is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of Western popular music styles (e.g., pop music, rock music), traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built. In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the common chord progression I–vi–ii–V, are usually expressed by Roman numerals in Classical music theory. In many styles of popular and traditional music, chord progressions are expressed using the name and " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord Substitution
In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions. "A chord substitution occurs when a chord is replaced by another that is made to function like the original. Usually substituted chords possess two pitches in common with the triad that they are replacing." A chord progression may be repeated to form a song or tune. Composers, songwriters and arrangers have developed a number of ways to add variety to a repeated chord progression. There are many ways to add variety to music, including changing the dynamics (loudness and softness). Use in classical music In J. S. Bach's ''St Matthew Passion'', the chorale "Herzliebster Jesu" makes its first appearance in a straightforward harmonisation: Later, as the Passion Story draws towards its sombre conclusion, we f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Backdoor Progression
In jazz and jazz harmony, the chord progression from iv7 to VII7 to I (the tonic or "home" chord) has been nicknamed the backdoor progressionCoker, Jerry (1997). ''Elements of the Jazz Language for the Developing Improvisor'', p.82. . "Back Door Progression As A Substitute For V7 The I chord, in a given progression, is often preceded by IV-7 to VII7, ''instead of the usual V7 chord''.". or the backdoor ii-V, as described by jazz theorist and author Jerry Coker. This name derives from an assumption that the normal progression to the tonic, the ii-V-I turnaround (ii-V7 to I, see also authentic cadence) is, by inference, the "front door", a metaphor suggesting that this is the main route to the tonic. The VII7 chord, a pivot chord borrowed from the parallel minor of the current tonic major key, is a dominant seventh. Therefore, it can resolve to I; it is commonly preceded by IV going to iv, then VII7, then I. In C major the dominant would be G7: (the notes GBDF), sharing two co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tritone Substitution
The tritone substitution is a common chord substitution found in both jazz and classical music. Where jazz is concerned, it was the precursor to more complex substitution patterns like Coltrane changes. Tritone substitutions are sometimes used in improvisation—often to create tension during a solo. Though examples of the tritone substitution, known in the classical world as an augmented sixth chord, can be found extensively in classical music since the Renaissance period, they were not heard until much later in jazz by musicians such as Dizzy Gillespie and Charlie Parker in the 1940s, as well as Duke Ellington, Art Tatum, Coleman Hawkins, Roy Eldridge and Benny Goodman. The tritone substitution can be performed by exchanging a dominant seventh chord for another dominant seven chord which is a tritone away from it. For example, in the key of C major one can use D7 instead of G7. (D is a tritone away from G). Summary In tonal music, a conventional perfect cadence consists of a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tadd Dameron Turnaround
In jazz, the Tadd Dameron turnaround, named for Tadd Dameron, "is a very common turnaround in the jazz idiom",Coker, et al (1982). ''Patterns for Jazz: A Theory Text for Jazz Composition and Improvisation'', p.118. . derived from a typical I−vi−ii−V turnaround through the application of tritone substitution of all but the first chord, thus yielding, in C major: rather than the more conventional: The Tadd Dameron turnaround may feature major seventh chords, and derive from the following series of substitutions, each altering the chord quality:Bahha and Rollins (2005). ''Jazzology'', p.103. .Richard Lawn, Jeffrey L. Hellmer (1996). ''Jazz: Theory and Practice'', p.118-19. . The last step, changing to the major seventh chord, is optional. Dameron was the first composer to use the turnaround in his standard " Lady Bird", which contains a modulation down a major third (from C to A). This key relation is also implied by the first and third chord of the turnaround, CM7 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord Substitution
In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions. "A chord substitution occurs when a chord is replaced by another that is made to function like the original. Usually substituted chords possess two pitches in common with the triad that they are replacing." A chord progression may be repeated to form a song or tune. Composers, songwriters and arrangers have developed a number of ways to add variety to a repeated chord progression. There are many ways to add variety to music, including changing the dynamics (loudness and softness). Use in classical music In J. S. Bach's ''St Matthew Passion'', the chorale "Herzliebster Jesu" makes its first appearance in a straightforward harmonisation: Later, as the Passion Story draws towards its sombre conclusion, we f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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