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Twelve Bar Blues
The 12-bar blues (or blues changes) is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key. Mastery of the blues and rhythm changes are "critical elements for building a jazz repertoire". Background The blues originated from a combination of work songs, spirituals, and early southern country music. The music was passed down through oral tradition. It was first written down by W. C. Handy, an African American composer and band leader. Its popularity led to the creation of "race records" and the popularity of blues singers like Bessie Smith and Ma Rainy. The style of music heard on race records was later called "rhythm and blues" (R & B). As the music became more popular, more people wanted to perform it. General patterns that existed in the blues were formalized, one of these being the 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Twelve Bar Boogie-woogie Blues In C
Twelve or 12 may refer to: * 12 (number) * December, the twelfth and final month of the year Years * 12 BC * AD 12 * 1912 * 2012 Film * Twelve (2010 film), ''Twelve'' (2010 film), based on the 2002 novel * 12 (2007 film), ''12'' (2007 film), by Russian director and actor Nikita Mikhalkov * 12 (2003 film), ''12'' (2003 film), by American filmmaker Lawrence Bridges Literature * ''12: The Elements of Great Managing'', a 2006 business book by Rodd Wagner and James K. Hartjker * Twelve (novel), ''Twelve'' (novel), 2002 novel by Nick McDonell * ''Twelve'', a 2007 novel by Lauren Myracle, part of ''The Winnie Years'' * Twelve (publisher), an imprint of Grand Central Publishing * ''Twelve'', a 2009 novel by Jasper Kent Music * 12 (The Notwist album), ''12'' (The Notwist album), 1995 * 12 (Herbert Grönemeyer album), ''12'' (Herbert Grönemeyer album), 2007 * 12 (Keller Williams album), ''12'' (Keller Williams album), 2007 * 12 (Fiskales Ad-Hok album), ''12'' (Fiskales Ad-Hok album), 200 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rhythm And Blues
Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated in African-American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, rocking, jazz based music ... ith aheavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of relationships, economics, and aspirations. The term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was frequently applied to blues records. Starting in the mid-1950s, after this style of music co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Secondary Dominant
A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period: the use of diatonic functions for tonicization. Secondary chords are a type of altered or borrowed chord, chords that are not part of the music piece's key. They are the most common sort of altered chord in tonal music. Secondary chords are referred to by the function they have and the key or chord in which they function. Conventionally, they are written with the notation "''function''/''key''". Thus, the most common secondary chord, the dominant of the dominant, is written "V/V" and read as "five of five" or "the dominant of the dominant". The major or minor triad on any diatonic scale degree may have any secondary function applied to it; secondary functions may even be applied to diminished triads in some special circumstances. Secondary chords were not used until the Baroque period and are found more fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arpeggio
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Solo (music)
In music, a solo (from the Spanish and Italian based-word: ''Solo'', meaning ''alone'' or ''by yourself'') is a piece or a section of a piece played or sung featuring a single performer, who may be performing completely alone or supported by an accompanying instrument such as a piano or organ, a continuo group (in Baroque music), or the rest of a choir, orchestra, band, or other ensemble. Performing a solo is "to solo", and the performer is known as a ''soloist''. The plural is soli or the anglicised form solos. In some contexts these are interchangeable, but ''soli'' tends to be restricted to classical music, and mostly either the solo performers or the solo passages in a single piece. Furthermore, the word ''soli'' can be used to refer to a small number of simultaneous parts assigned to single players in an orchestral composition. In the Baroque concerto grosso, the term for such a group of soloists was '' concertino''. An instrumental solo is often used in popular music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bebop
Bebop or bop is a style of jazz developed in the early-to-mid-1940s in the United States. The style features compositions characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody. Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing music-style with a new "musician's music" that was not as danceable and demanded close listening.Lott, Eric. Double V, Double-Time: Bebop's Politics of Style. Callaloo, No. 36 (Summer, 1988), pp. 597–605 As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, and intricate melodies ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor Madness
''Tenor Madness'' is an album by jazz musician Sonny Rollins released in October 1956 by Prestige Records. It is most notable for its title track, the only known recording featuring both Rollins and John Coltrane. History Rollins, who had recorded with Miles Davis in 1954 and briefly joined Davis's working group in the summer of 1955, recruited the members of Davis's " First Great Quintet" to back him for the ''Tenor Madness'' session. This included, on the title cut only, fellow saxophonist Coltrane. Both were emerging as prominent tenor saxophone players, though Rollins had been recording under his own name for several years, while Coltrane's debut album under his own name would not be released until 1957. At the time of the ''Tenor Madness'' session, Rollins was a member of the Max Roach/ Clifford Brown Quintet, and two months before the session, he had recorded as a leader the LP '' Sonny Rollins Plus 4'' with the fellow members of that group. Two weeks before the ''Tenor Ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonny Rollins
Walter Theodore "Sonny" Rollins (born September 7, 1930) is an American jazz tenor saxophonist who is widely recognized as one of the most important and influential jazz musicians. In a seven-decade career, he has recorded over sixty albums as a leader. A number of his compositions, including " St. Thomas", " Oleo", " Doxy", "Pent-Up House", and "Airegin", have become jazz standards. Rollins has been called "the greatest living improviser" and the "Saxophone Colossus". Early life Rollins was born in New York City to parents from the United States Virgin Islands. The youngest of three siblings, he grew up in central Harlem and on Sugar Hill, receiving his first alto saxophone at the age of seven or eight. He attended Edward W. Stitt Junior High School and graduated from Benjamin Franklin High School in East Harlem. Rollins started as a pianist, changed to alto saxophone, and finally switched to tenor in 1946. During his high school years, he played in a band with other fu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Billie's Bounce
"Billie's Bounce" (also known as "Bill's Bounce") is a jazz composition written in 1945 by Charlie Parker in the form of a 12 bar F blues. Some sources claim that the song was dedicated to Dizzy Gillespie's agent, Billy Shaw, although according to Ross Russell, Shaw's "name was misspelled" accidentally. However, others claim that the song was in fact dedicated to Shaw's secretary, who was called Billie. The original recording by Charlie Parker and His Re-Boppers was inducted into the Grammy Hall of Fame in 2002. Originally an instrumental, lyrics were added later by Jon Hendricks and by Eddie Jefferson. Billie's Bounce a jazzstandards.com - retrieved on 28 April 2009 Personnel < ...
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Now's The Time (composition)
"Now's the Time" is a composition by Charlie Parker. He led the first recording of it, on November 26, 1945. Background and composition "Although Parker was capable of writing intricate bebop melody lines, he sometimes stepped back from his more progressive leanings and drew on his Kansas City jazz roots in crafting simpler, bluesier compositions – of which 'Now's the Time' is a case in point." It is a riff-based blues, with typical bebop phrase endings at the end of bars 5 and 6.Priestley, Brian (2005) ''Chasin' the Bird''. Equinox. pp. 50, 209. Original recording "Now's the Time" was first recorded on November 26, 1945, by Charlie Parker's Reboppers: Parker (alto sax), Miles Davis (trumpet), Dizzy Gillespie or Sadik Hakim (piano), Curley Russell (bass), and Max Roach (drums)."Charlie Parker – Complete Savoy & Dial Sessions" (CD liner notes). Definitive Records. DRCD 44402. Multiple takes were made; ''The Penguin Guide to Jazz'' suggests that "Parker's solo on the third tak ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charlie Parker
Charles Parker Jr. (August 29, 1920 – March 12, 1955), nicknamed "Bird" or "Yardbird", was an American jazz saxophonist, band leader and composer. Parker was a highly influential soloist and leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique, and advanced harmonies. Parker was an extremely brilliant virtuoso and introduced revolutionary rhythmic and harmonic ideas into jazz, including rapid passing chords, new variants of altered chords, and chord substitutions. Primarily a player of the alto saxophone, Parker's tone ranged from clean and penetrating to sweet and somber. Parker acquired the nickname "Yardbird" early in his career on the road with Jay McShann. This, and the shortened form "Bird", continued to be used for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology", "Bird Gets the Worm", and "Bird of Paradise". Parker was an icon for the hipste ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roman Numeral Analysis
In music theory, Roman numeral analysis is a type of musical analysis in which chords are represented by Roman numerals (I, II, III, IV, …). In some cases, Roman numerals denote scale degrees themselves. More commonly, however, they represent the chord whose root note is that scale degree. For instance, III denotes either the third scale degree or, more commonly, the chord built on it. Typically, uppercase Roman numerals (such as I, IV, V) are used to represent major chords, while lowercase Roman numerals (such as ii, iii, vi) are used to represent minor chords (see Major and Minor below for alternative notations). However, some music theorists use upper-case Roman numerals for all chords, regardless of chord quality. Roger Sessions (1951). ''Harmonic Practice''. New York: Harcourt, Brace. . p. 7. In Western classical music in the 2000s, some music students and theorists use Roman numeral analysis to analyze the harmony of a composition. In pop, rock, traditional music, a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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