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Sidney Bechet
Sidney Bechet (May 14, 1897 – May 14, 1959) was an American jazz saxophonist, clarinetist, and composer. He was one of the first important soloists in jazz, and first recorded several months before trumpeter Louis Armstrong. His erratic temperament hampered his career, and not until the late 1940s did he earn wide acclaim. Bechet spent much of his later life in France. Biography Early life Bechet was born in New Orleans in 1897 to a middle-class Creole of color family. Bechet's father Omar was both a shoemaker and a flute player, and all four of his brothers were musicians as well. His older brother, Leonard Victor Bechet, was a full-time dentist and a part-time trombonist and bandleader. Bechet learned and mastered several musical instruments that were kept around the house (he began on the cornet), mostly by teaching himself; he decided to specialize in the clarinet (which he played almost exclusively until about 1919). At the age of six, he started to perform with h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William P
William is a male given name of Germanic origin.Hanks, Hardcastle and Hodges, ''Oxford Dictionary of First Names'', Oxford University Press, 2nd edition, , p. 276. It became very popular in the English language after the Norman conquest of England in 1066,All Things William"Meaning & Origin of the Name"/ref> and remained so throughout the Middle Ages and into the modern era. It is sometimes abbreviated "Wm." Shortened familiar versions in English include Will, Wills, Willy, Willie, Bill, and Billy. A common Irish form is Liam. Scottish diminutives include Wull, Willie or Wullie (as in Oor Wullie or the play ''Douglas''). Female forms are Willa, Willemina, Wilma and Wilhelmina. Etymology William is related to the given name ''Wilhelm'' (cf. Proto-Germanic ᚹᛁᛚᛃᚨᚺᛖᛚᛗᚨᛉ, ''*Wiljahelmaz'' > German '' Wilhelm'' and Old Norse ᚢᛁᛚᛋᛅᚼᛅᛚᛘᛅᛋ, ''Vilhjálmr''). By regular sound changes, the native, inherited English form of the name shoul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cornet
The cornet (, ) is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is a transposing instrument in B, though there is also a soprano cornet in E and cornets in A and C. All are unrelated to the Renaissance and early Baroque cornett. History The cornet was derived from the posthorn by applying rotary valves to it in the 1820s, in France. However, by the 1830s, Parisian makers were using piston valves. Cornets first appeared as separate instrumental parts in 19th-century French compositions.''Encyclopædia Britannica'', Micropedia, Volume III, William Benton, Chicago Illinois, 1974, p. 156 The instrument could not have been developed without the improvement of piston valves by Silesian horn players Friedrich Blühmel (or Blümel) and Heinrich Stölzel, in the early 19th century. These two instrument makers almost simultaneously invented valves, though it is l ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swing Music
Swing music is a style of jazz that developed in the United States during the late 1920s and early 1930s. It became nationally popular from the mid-1930s. The name derived from its emphasis on the off-beat, or nominally weaker beat. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, known as the swing era. The verb "to swing" is also used as a term of praise for playing that has a strong groove or drive. Musicians of the swing era include Duke Ellington, Benny Goodman, Count Basie, Cab Calloway, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Harry James, Lionel Hampton, Glenn Miller, Artie Shaw and Django Reinhardt. Overview Swing has its roots in 1920s dance music ensembles, which began using new styles of written arrangements, incorporating rhythmic innovations pioneered by Louis Armstron ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melody
A melody (from Greek μελῳδία, ''melōidía'', "singing, chanting"), also tune, voice or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively, the term can include other musical elements such as tonal color. It is the foreground to the background accompaniment. A line or part need not be a foreground melody. Melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjunct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence, cadence, and shape. Function and elements Johann Philipp Kirnberger argued: The Norwegian composer Marcus Paus has argued: Given the many and varied e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arpeggios
A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord and span one or more octaves. An arpeggio () is a type of broken chord, in which the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also span more than one octave. Being an Italian noun, its plural is ''arpeggi''. The word ''arpeggio'' comes from the Italian word ''arpeggiare'', which means ''to play on a harp''. Even though the notes of an arpeggio are not played or sung all together at the same time, listeners hear the sequence of notes as forming a chord. When an arpeggio also contains passing tones that are not part of the chord, different music theorists may analyze the same musical excerpt differently. Arpeggios enable composers writing for monophonic instruments that play one note at a time (e.g., flute, saxophone, trumpet), to voice chords and chord progressions in musical pieces. Arpeggios and broken ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scale (music)
In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a descending scale. Often, especially in the context of the common practice period, most or all of the melody and harmony of a musical work is built using the notes of a single scale, which can be conveniently represented on a staff with a standard key signature. Due to the principle of octave equivalence, scales are generally considered to span a single octave, with higher or lower octaves simply repeating the pattern. A musical scale represents a division of the octave space into a certain number of scale steps, a scale step being the recognizable distance (or interval) between two successive notes of the scale. However, there is no need for scale steps to be equal within any scale and, particularly as demonstrated by microtonal music, there is no limit to how many notes can ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Obbligato
In Western classical music, ''obbligato'' (, also spelled ''obligato'') usually describes a musical line that is in some way indispensable in performance. Its opposite is the marking ''ad libitum''. It can also be used, more specifically, to indicate that a passage of music was to be played exactly as written, or only by the specified instrument, without changes or omissions. The word is borrowed from Italian (an adjective meaning ''mandatory''; from Latin ''obligatus'' p.p. of ''obligare'', to oblige); the spelling ''obligato'' is not acceptable in British English, but it is often used as an alternative spelling in the US. The word can stand on its own, in English, as a noun, or appear as a modifier in a noun phrase (e.g. ''organ obbligato''). Independence ''Obbligato'' includes the idea of independence, as in C.P.E. Bach's 1780 Symphonies "''mit zwölf obligaten Stimmen''" ("with twelve ''obbligato'' parts") by which Bach was referring to the independent woodwind parts he was us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Improvisation
Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians. Sometimes musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music and many other kinds of music. One definition is a "performance given extempore without planning or preparation". Another definition is to "play or sing (music) extemporaneously, by inventing variations on a melody or creating new melodies, rhythms and harmonies". ''Encyclopædia Britannica'' defines it as "the extemporaneous composition or free performance of a musical passage, usually in a manner conforming to certain stylistic norms but unfettered by the prescriptive features of a specific musical text." Improvisation is often done within (or based on) a pre-existing harmonic framework or chord pro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Baquet
George Francis Baquet (July 22, 1881 – Jan. 14, 1949) was an American jazz clarinetist, known for his contributions to early jazz in New Orleans. His father, Theogene V. Baquet, eminent New Orleans musician and educator, was also a clarinetist, as were his brothers, Achille and Harold. Baquet's professional career began in 1897 while he was still in his early teens. He played in the Lyre Club Symphony Orchestra and then on the road with P.T. Wright's Nashville Students Company. He then joined the Georgia Minstrels, but returned to New Orleans in 1905, where he played with Buddy Bolden. In the 1900s and early 1910s he played off and on with John Robichaux, Freddie Keppard, and the Onward Brass Band. Baquet and Keppard played in Los Angeles with the Original Creole Orchestra, an ensemble Baquet remained in until 1916. Later in the decade Baquet played in New York City at Coney Island. In 1923, he joined the Lafayette Players, in Philadelphia, where Baquet lived until his d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Louis Nelson Delisle
"Big Eye" Louis Nelson Delisle (January 28, 1885 – August 20, 1949) was an American early twentieth-century Dixieland jazz clarinetist in New Orleans, Louisiana, United States. He also played double bass, banjo, and accordion. Early life and education Nelson Delisle was born into a family who were Creoles of color. He spent most of his life in New Orleans, Louisiana. He studied clarinet with the elder Lorenzo Tio. Career By the age of 15, Delisle was working professionally in the music venues of Storyville, an area of brothels and clubs in New Orleans. He developed a style of hot jazz, a.k.a. Dixieland, and was an influence on clarinetists Johnny Dodds and Jimmie Noone. Early in his career Delisle often played a C clarinet, as opposed to the more common B♭; the C was used by other New Orleans clarinetists of the era, such as Alcide Nunez. In 1917, Delisle joined the reconstituted Original Creole Orchestra that included Freddie Keppard and Bill Johnson. The band had ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lorenzo Tio
Lorenzo Tio Jr. (April 21, 1893 – December 24, 1933) was an American clarinetist from New Orleans, Louisiana, United States, as were his father Lorenzo Tio Sr. (1867–1908) and uncle Louis "Papa" Tio (1862–1922). Their method of playing the instrument (which involved the Albert system, a double-lip embouchure and soft reeds) was seminal in the development of the jazz solo. The three Tios helped bring classical music theory to the ragtime, blues and jazz musicians of New Orleans; Lorenzo Jr. eventually played jazz himself. Lorenzo Sr. taught Louis Nelson Delisle. Many reed players significant in early jazz studied with Lorenzo Tio Jr., including Sidney Bechet, Barney Bigard, Johnny Dodds, Omer Simeon, Louis Cottrell, Jr., Jimmie Noone and Albert Nicholas. Tio Jr. taught Bigard what would become the main theme to the Duke Ellington tune, "Mood Indigo." Lorenzo Tio Jr. also played oboe. He joined Manuel Perez's band in Chicago in 1916 and Armand J. Piron's from 1918 to 1928, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Freddie Keppard
Freddie Keppard (sometimes rendered as Freddy Keppard; February 27, 1890 – July 15, 1933) was an American jazz cornetist who once held the title of "King" in the New Orleans jazz scene. This title was previously held by Buddy Bolden and succeeded by Joe Oliver. Early life and career in New Orleans Keppard (pronounced in the French fashion, with relatively even accentuation and a silent ''d'') was born in the Creole of Color community of downtown New Orleans, Louisiana. Born in 1889, Freddie Keppard was Buddy Bolden's junior by thirteen years and Louis Armstrong's senior by eleven years. Keppard's father, Louis Keppard (Sr.), had been a New Orleans man and had worked as a cook in the Vieux Café until his early death. His mother, Emily Peterson Keppard, was from St. James parish. His older brother Louis Keppard was his elder by one year and also became a professional musician later in life. The first tune they learned to play together was called "Just Because She Made Dem G ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
