Jazz piano

One of the challenges faced in post-secondary jazz education across the GTA is finding qualified instructors who are familiar with dialogical methods for teaching African American jazz histories. More specifically, finding and hiring African American instructors whose musical genealogy can be delineated from “black” oral/aural histories and can draw from these historicities. Unless the narratives of this music are unpacked, analyzed and taught from its internal elements, which embodies the symbiosis and synthesis of African American dance, theatrics, poetics and American black English that encapsulates the “African American-ness” in jazz, then there remains a risk that this folk music will become more and more diluted. Consequently, it is my belief that current music educators across the Greater Toronto Area (GTA) should consider alternative methods of pedagogy if students are to understand the historicity— the historical authenticity of this African American folk music. The idea for this study originated from my observation of a lack of “African American-ness”—African American narratives not being used as a pedagogical tool in post-secondary jazz curricula across the GTA. Therefore, this multi-case study will lead to the creation of an alternative curriculum that incorporates new teaching methods based on African American narratives. Dr. Barry Harris is one such educator who incorporates new teaching methods based on African American narratives. Therefore, I seek to unpack and analyze the musical and social upbringing that contributed to African American jazz pianist and educator Dr. Barry Harris’  primary contribution to jazz education, which is his concept of movement, while also expanding upon it.  When these antecedents of Harris’  concept of movement have been analyzed, they will use them as a compliance for the cultivation and filling in of gaps in post-secondary jazz curricula across the GTA.

Gillespie y Pozo fusionaron el Jazz y la música cubana. Mario Bauza, Machito y Graciela crearon el Cubop o Latin Jazz, el antecedente directo de la SALSA. Historia del Jazz. Parte XLIX
https://salsaconcausa.blogspot.com/2019/05/gillespie-y-pozo-fusionaron-el-jazz-y.html

This paper is an analysis of Brad Mehldau's solo on the Charlie Parker/Dizzy Gillespie composition "Anthropology," itself based on George Gershwin's "I Got Rhythm." The focus is on devices deployed by Mehldau to break free form the traditional harmonic underpinning of "rhythm changes."

This is from the album The Very Tall Band: Live At The Blue Note, a recording from 1998. Oscar Peterson also composed this ballad which, unlike the daunting virtuosity required by most of his playing, is merely of moderate difficulty. The music with the transcription can be heard here: https://www.youtube.com/watch?v=TdbPOIOKPPE&frags=pl%2Cwn

Giorgio Gaslini, scomparso il 29 luglio scorso, era nato a Milano il 22 ottobre del 1929. Pianista, compositore, arrangiatore, direttore d'orchestra, non era soltanto un protagonista della storia del jazz, ma un musicista multiforme che praticava con talento creativo e intel-ligenza critica anche altri generi musi-cali. Di formazione classica, compagno di corso di Claudio Abbado e Luciano Berio, consegue sei diplomi al Conservatorio di Milano studiando anche con Carlo Maria Giulini, ma si avvicina giovanissimo alla musica afro-americana, sua grande passione. Il suo primo disco è addirittura del '48. Fermamente convinto che il jazz sia solo un aspetto della musica contemporanea, dalla fine degli anni '50 inizia a promuovere contenuti innovativi, favorendo le condizioni per la nascita di un jazz di matrice europea. L'ampiezza degli interessi culturali e la sua lucidità programmatica lo portano a stabilire i fondamentali presup-posti teorici che contribuiscono subito a determinare le peculiarità della sua musica. Gaslini teorizza la musica totale in un Manifesto 2 del 1964, cogliendo utilmente il respiro delle neoavanguardie internazionali, che in quegli anni vanno riflettendo d'interdisciplinarità e di superamento delle categorie artistiche. Alcuni concetti essenziali, per molti versi già elabo-rati dalle avanguardie storiche, aprono ulteriori spazi di creatività. Dopo anni di disinteresse, le esperienze pionieristiche degli ismi novecenteschi diventano finalmente oggetto di grande attenzione. Da un lato, i critici e gli storici rivelano e valorizzano uno sterminato patrimonio di idee; dall'altro, gli artisti subiscono il fascino dell'interlinguaggio e via via ne consolidano le applicazioni, con un atteggiamento nuovo nei confronti della realtà e con efficaci strumenti tecnici e linguistici che amplificano le sollecitazioni verso l'intersezione tra le arti. L'idea di categoria è parzialmente assorbita da quella di continuità. La 1 Le foto vengono riprodotte per gentile concessione della Signora Marta Ceron: www.giorgiogaslini.it 2 Pubblicato in Giorgio Gaslini, Musica totale: intuizioni, vita ed esperienze musicali nello spirito del '68, Milano, Feltrinelli, 1975.

STUDIEBOEK UITTREKSEL (onder de tab 'BESCHRIJVING'):
https://notus.world/producten/piano-basis-studieboek/

OVER DE PUBLICATIE:

Voor wie?
Het NOTUS BASIS PIANO Studieboek is samengesteld voor de leek op vlak van muziek. Het start helemaal vanaf ‘geen kennis van muziek en piano’. Het boek wordt gebruikt tijdens de eerste 3 à 4 maanden bij zelfstudie of bij een opleiding onder een pianoleerkracht.
Het boek is geschikt vanaf 12 jaar maar richt zich toch vnl. tot de volwassen en senior beginner. Dat uit zich in de lay-out en een didactische strategie zonder franjes.
Het is eveneens noodzakelijke studie voor mensen die geëxperimenteerd hebben met de complexe conventionele muzieknotatie en twijfelen. In de eerste plaats om hun kennis van de conventionele notatie af te bouwen en de nieuwe NOTUS Muzieknotatie op te bouwen.

Focus
De focus in het BASIS PIANO Studieboek ligt op het leren lezen van ALLE noten en het leren spelen van ALLE erbij horende pianotoetsen. Dit gebeurt via 134 oefeningen en kleine stukjes voor beginners. Het specifieke kenmerk van een NOTUS piano studie is de gestage en zeer vlotte evolutie. Op het einde van de eerste 3 à 4 maanden zijn de gespeelde stukjes de vergelijkbare eerste 4 maanden van een conventionele opleiding op zijn minst twee jaar vooruit.
Waar in een conventionele opleiding de pianopraktijk tijdens het volledige eerste jaar beperkt blijft tot het midden van de piano (ongeveer 21 witte pianotoetsen), spelen de NOTUS adepten reeds vanaf de eerste les over het gehele piano klavier. Op het einde van het BASIS PIANO Studieboek, dus na 3 à 4 maanden, bezit de NOTUS adept de controle over het volledige pianoklavier van 88 toetsen en bijgevolg ook over ALLE noten voor dit gehele klavier. Dat is een uitzonderlijk groot verschil met de conventionele piano opleiding wat zich heel goed laat voelen in de vervolgstudie. De NOTUS BASIS is een extreem solide muziekbasis om op verder te bouwen.

Einddoel
Het doel van de specifieke focus in het PIANO BASIS Studieboek is het afsluiten van het leren lezen van de toonhoogte van alle noten zodat dit in de vervolgstudie in Studieboek 1 (en volgende) geen storende factor vormt zoals het geval is in de conventionele methode. Het kunnen lezen van alle noten is integendeel juist een stimulerende factor naar meer stukjes, muziekkennis en betere pianotechniek. Door het wegnemen van dit ‘lees’-struikelblok (een typisch kenmerk van de conventionele notatie) evolueert de NOTUS adept zeer vlot en zonder prestatie stress. De basis opleiding is via NOTUS dan ook wat een piano opleiding behoort te zijn, nl. een ontspannen genieten van lessen, evolutie en pianospel en een positief beseffen van de waarde van specifieke oefeningen. De NOTUS didactiek richt zich naar een stressloos en algemeen beheersen van muzieknotatie en piano en niet naar het kunnen spelen van enkele gememoriseerde stukjes zoals zo vaak in een conventionele opleiding voor jeugd en volwassenen voorkomt.

MUZIEKTHEORIE en COMPONISTEN

Muziektheorie:
• octaafgroepen, octaafgroepnummer, octaafsegmenten
• de tonen en noten C, Cs/Df, D, Ds/Ef, E, F, Fs/Gf, G, Gs/Af, A, As/Bf, B,
• dubbele of halve verhouding van nootwaarden tot 1/8 noot en rust; waardebalk;
• het maatcijfer rust teken
• gepunte hele noot, halve noot en kwartnoot;
• vingernummers en hun gebruik en interpretatie;
• tempo en indicatie via metronoom cijfer;
• de begrippen tel, puls, accent, maat, maatlijn;
• de maatsoorten vier-vierde, drie-vierde en twee-vierde, hun maatcijfer en hoofdaccent en zwak accent;
• de overbinding;
• de legato/fraseringsboog;
• basis dynamiek aanduiding met afkortingen en NOTUS restyled wiggen;
• basisbegrippen van intervallen: melodisch, harmonisch, stijgend, dalend, priem, secunde, terts, kwart, kwint, sext, septiem, octaaf en hun visuele relatie via noten op de notenbalk en tussen de pianotoetsen;
• enkele basisgegevens over akkoorden: consonant, dissonant, gestapelde drieklank, tonica en gebroken akkoord; benoemen van akkoorden;
• de NOTUS tekens voor een onmiddellijke herhaling, voor de herhaling van een volledige maat en voor de herhaling van ritmische eenheid;
• het teken fermata;
• staccato punt, marcato teken en accent teken;
• handnotatie van NOTUS;
• chromatische en diatonische verdeling van het octaaf;
• de FLAT- en SHARPnootkop;
• het begrip enharmonisch;
• het begrip ‘ostinato’;
• informatief: het demper pedaal.

COMPONISTEN in het PIANO BASIS Studieboek:
Barók, Gurlitt, Rövenstrunck, Kirby-Mason, Sartorio, Burgmüller, Wilton, Hook, Baumfelder, Beethoven, Köhler, Stravinsky, Strauss, Oesten.

ENGLISH:
The aim of the exercises presented in this study is to train ii–V–I chord progression, which is the most basic chord progression in jazz, with the addition of diatonic and chromatic tensions through sequences in major keys. The tensions have been notated with red colored noteheads throughout the study.

In the education of jazz, it is a very common method to transpose a particular chord progression a whole step down until returning back to the starting point after six transpositions. In so doing, one goes through the steps of a descending whole-tone scale, each of which referring to a key centre (for example: C, Bb, Ab, Gb, E, D). After completing the circle, the same process is repeated a half step up. This method is also used in the present study. 

Although all segments of the sequences are written out throughout this study, it is not recommended to play them by reading the notes. The aim of the practice should always be to transpose the pattern without looking at the notes. The notes can be used afterwards to check the own solution.
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DEUTSCH:
Das Ziel der in dieser Studie präsentierten Übungen ist, die Akkordfolge ii–V–I, welche die grundlegendste Akkordfolge im Jazz ist, mit den hinzufügten Farbtönen (Optionen, tensions) durch Sequenzen in Durtonarten zu trainieren. Die Farbtönen wurden in allen Übungen mit den rot gefärbten Notenköpfen notiert.

In der Ausbildung für den Jazz ist es eine sehr verbreitete Methode, eine bestimmte Akkordfolge um einen Ganzton abwärts zu transponieren, bis man nach sechs Transpositionen zum Ausgangspunkt zurückkommt. Auf diese Weise geht man durch die Töne einer absteigenden Ganztonleiter, wobei jeder Ton der Tonleiter eine Tonalität vertritt (zum Beispiel: C, B, As, Ges, E, D). Nachdem der Kreis geschlossen wird, wiederholt man denselben Lauf um einen halben Ton höher. Auch in der vorliegenden Studie wird diese Methode angewendet.

Obwohl alle Abschnitte der Sequenzen in der ganzen Studie ausnotiert sind, ist es nicht empfohlen, sie mit den Noten zu spielen. Das Ziel des Übens sollte immer sein, das Muster zu transponieren, ohne auf die Noten zu schauen. Danach können die Noten benutzt werden, um die eigene Lösung zu prüfen.

This, recorded in 1940, is Tatum at his most relaxed. His phenomenal technique belies the effortlessness of his performance, on a par with his "Sweet Lorraine" of the same year.  His ability to stretch 10ths in the left hand, even apart from the virtuosity, make playing it impossible for ordinary mortals,  but the transcription enables his harmonic inventiveness to be appreciated. You can listen to the original with the transcription here: https://youtu.be/Qt5f3x7VwrY

Another Hank Jones improvisation, this time from his classic album with Charlie Haden, "Steal Away".  Very different from Bill Evans's rendering of the same tune, this is Hank Jones at his most laid-back. You can listen to the original with the transcription here: https://youtu.be/1StE0-g2Vus

In the year 1951, pioneer jazz pianist and composer Lennie Tristano made groundbreaking musical experimentations and discoveries in the realm of jazz and improvised music by utilizing a Presto tape recorder in order to create overdubbing and multi-track recordings. With the use of the Presto recorder, Tristano created experimental works that resulted in a revolutionary approach to contrapuntal improvisations, superimposition of regular and odd rhythmic structures, over-layering of independent poly-melodic and polymodal structures, and experimentation with the limits of perception.

This is a solo track from the trio album Bluesette from 1979, but as usual, Hank Jones is even better performing on his own - apart from, perhaps, "Steal Away" his duo CD with Charlie Haden, from which I'll upload a transcription of  "Danny Boy" some time. Playing it is difficult if, like me, you can't span the left hand 10ths. You can listen to the original with the pdf here: https://youtu.be/WE0F9fXE_3U.

This catalog of melodic and harmonic materials found in Yusef Lateef’s "Repository of Scales and Melodic Patterns" is meant as a study guide for practical and academic use.

I have listed only the materials Lateef employed as general headings and source material for the text’s many etudes and harmonic studies. I hope that this paper stimulates further inquiry into this text in particular and in Lateef's creative output in general.

This is not an analytical paper and analysis has been kept to a minimum used solely for the purpose to aid in the general understanding of the materials and how they are used within the text . This catalog could be used both with the original text and without when the original text is not practically available.

Thomas Scott McGill
6.27.16

I first heard Tommy Flanagan play this, an Ellington composition,  in 1983 in Los Angeles, and waited impatiently for a recording. The long wait was well worth it - the recording is every bit as wonderful as my memory served. Although played in a trio setting, it makes a good solo piece as transcribed.
You can view the transcription and listen to the original here: https://www.youtube.com/watch?v=RRePN5W5F-o

Several of Jelly Roll Morton's 1920s piano rolls are among the greatest musical creations to come from an American composer. They are important because in terms of musical infrastructure — the notes and rhythms — they largely represent what Morton actually sat down and played.  This conclusion can be drawn by comparing them to Morton’s phonograph recordings, particularly those from the same time period in which his rolls were made.  However, as was standard for pop piano rolls of the era, the subtle expressive details — dynamics and tempo variation — that characterize all human performance were extracted in the roll manufacturing process. The fact that Morton had made these extraordinary piano roll renditions from which his unique performance style had been extracted was troubling. How then, could we return to his piano roll renditions the characteristic expressivity of Morton’s live performance? Using his contemporaneous 78 rpm phonograph recordings and new computer technologies that became available in the 1990s, this paper details the method we developed to return Morton's uniquely expressive performance style to his piano rolls.

Jazz has steadily evolved from its inception in the late 19th century to the present. As is the case for other genres, musicological analytic research on jazz evolution has lagged behind its practice; consequently, there is a paucity of in-depth descriptive and analytic research on the music of recent innovators. Among the most recent examples of this evolution, the works of Brad Mehldau as a solo/ensemble pianist and as a composer arguably embody some of the most compelling innovations in the field. Non-academically oriented jazz writers and fans have consistently assigned these works vanguard status, but Mehldau’s output has not yet been sufficiently examined to prescribe performance methods. This exegesis contains (1) descriptive analysis of improvisation contained within a broad cross-section of Mehldau’s music; (2) definition of a new analytical lexicon derived from a holistic study of consonance, dissonance, and research into perceived motivation in music; and (3) prescriptive musical tools relating to consonance and dissonance that have informed the researcher’s performance.

How to cite:  Syroyid Syroyid, B. (2018). The Silence Devices of Bill Evans's 1963 Solo Session: April in Paris, All the Things you are, and Ornithology. In A.Benetti, F. Monteiro & J. Salgado Correia (Eds.) Abstracts of the Research Hands on PIANO - International Conference on Music Performance (p. 32). University of Aveiro
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Bill Evans (1928-1980) was one of the most influential jazz pianists of the 20th century. Jazz musicians often study Bill Evans’s harmonic innovations through the transcription of his recordings. We will be using transcriptions by William Hughes (2017); however, the object our study will be silence, defined as an intentional refraining from producing sound. Bill Evans made frequent usage of silence devices in his improvisations, which are especially noticeable in his solo recordings. We will be looking at the piano session recorded on January 10, 1963, released posthumously in two separated albums as ‘The Solo Sessions, Vol.1’ (1989), and ‘The Solo Sessions, Vol.2’ (1992). With the intention of conducting a deeper analysis on the most significant material, we have selected only three tracks: ‘April in Paris’ (vol. 1/1), ‘All the Things You Are’ (vol. 2/1), and ‘Ornithology’ (vol. 2/6).

This paper contains insights gleaned from my analyses of four performances of James P. Johnson's classic composition "Carolina Shout." The performers are Johnson, Fats Waller, Stanley Cowell and Jason Moran. Historical and biographical information are provided for background, but the bulk of the paper consists of musical analysis and examples related to my transcriptions of the four recordings.

5 choruses of jazz blues playing, transcribed and analyzed. Blues, bop, riffs, permutations, and pianistic phrases abound. The solo is presented one measure at a time, in-depth. Key of G blues. BE was not know for his blues, but he sure could have been had he kept to this track.

This paper will examine Arnold Schönberg’s influence on modern jazz through the teachings of one of its most respected theorists and pedagogues Dennis Sandole, mentor to John Coltrane, James Moody, Art Farmer, Randy Brecker, Jim Hall, Rufus Harley, Pat Martino, and many other important jazz artists.

Through the analysis of musical examples, this paper proposes that important conceptual links exist between some of Schönberg’s key compositional concepts and Sandole’s pedagogical literature and practice which would go on to influence John Coltrane and many other jazz practitioners for decades to follow helping to solidify Schönbergian ideas and concepts within the syntax of modern jazz. Schönberg’s utilisation of various segmentation schemes such as trichords, tetrachords and hexachords, use of interval cycles particularly that of interval cycle 4 or major thirds, and the compositional practice of stating the complete chromatic collection within a relatively short musical space have provided jazz practitioners such as Sandole and Coltrane with a new conceptual framework for employing the total chromatic harmonically and melodically in modern jazz practice.

Riconoscimento del jazz come identità della cultura americana negli " Anni Ruggenti " attraverso " Rapsodia in blue " di George Gershwin. Lo scopo di questo lavoro è proporre una lettura e un punto di vista personale, e più in generale, una ricostruzione storica dell'humus culturale in cui si trovavano gli Stati Uniti d'America all'inizio degli anni '20 del Novecento. Consapevoli che, proporre una storia esaustiva su questo argomento sia del tutto irrealizzabile e, seguendo un tracciato già percorso in passato da filosofi e studiosi (Ariès, Duby, Koselleck, Burke ecc..,), si cercherà di far emergere, attraverso l'uso di documenti (opere d'arte, fonti storiche) quali siano stati i moventi psichici, consci e inconsci, che hanno portato a forgiare la " mentalità " dell'epoca. Una ricostruzione che non può far a meno di considerare anche una storia della ricezione che l'opera d'arte, (intesa come opera tout court) ebbe in questo periodo storico conosciuto come " Anni Ruggenti ". Occuparsi di una storia delle mentalità significa ricercare un sentiero, una sorta di filo conduttore che accomuni il non cosciente collettivo nella storia, indipendentemente dalla cultura e dalla corrente egemonica di un dato periodo, alla ricerca di linee generali che possano dare una visione più completa e generalizzante attraverso una particolare manifestazione artistica del periodo, e quindi dal particolare al generale e viceversa. In questa ricerca c'è bisogno di cercare un " Orientamento ideologico che produce documenti storici di un certo tipo di mentalità. L'emotività che spinge l'uomo alle azioni fa parte del non cosciente collettivo. Storia fatta dalla umoralità, testimonianze che portano l'emotività. Per studiare le emozioni abbiamo le opere d'arte, la narrativa, la musica e la pittura ". (Ariès, Duby) L'opera d'arte in se quindi va considerata in una duplice veste: come opera del suo tempo, affioramento di un episteme; e come oggetto e documento universale in eterno presente, soggetto alla libera interpretazione soggettiva, così come accade per le scienze storiografiche. (Foucault) Agli inizi degli anni '20 New York era un ribollire di idee e cultura. La città era protesa in avanti, desiderosa di conoscenza verso le nuove e più aggiornate tendenze culturali. Le correnti moderniste si formarono proprio in questo periodo sulle pagine di numerose riviste che stavano nascendo, a partire dal lavoro dei filosofi pragmatisti americani come William James e John Dewey che proponevano, se pur non in maniera del tutto unitaria, le loro nuove teorie pronte a contrapporsi allo spirito degli ideali vittoriani. In particolare la critica di Dewey era mossa verso le vecchie teorie filosofiche che nella relazione tra conoscenza e azione proponevano uno sbilanciamento a favore della conoscenza; per questo movimento filosofico l'ideale della vita " teoretica " dedita alla meditazione e alla ricerca di una verità a-storica, contrapponeva l'ideale della verità come farsi, come azione, come attività. Su questa strada quindi i pragmatisti proponevano una rivalutazione dell'azione, rifiutando la tradizionale concezione della verità intesa come conformità tra cosa e idea, come adeguamento tra essere e pensiero; la verità si trasforma da stato mentale ad attività, farsi conoscitivo, intesa come risultante delle attività necessarie alla verificazione. Risulta di particolare importanza il pensiero di Dewey che contesta la nozione classica dell'esperienza: " Noi cominciamo appena ora a intendere che è completamente annullata la psicologia che dominava la speculazione filosofica dei secoli XVIII e XIX. Essa affermava che la vita mentale ha origine nelle sensazioni che sono ricevute separatamente e passivamente e si riuniscono, per mezzo delle leggi della memoria e dell'associazione, in un mosaico di immagini, di percezioni e di concezioni. I sensi erano considerati come ingressi o vie della conoscenza. Salvo che nel combinare le atomistiche sensazioni, la mente era del tutto passiva e quiescente nel conoscere. Volizione, azione, emozione, desiderio, sono conseguenze delle sensazioni e delle immagini. Il fattore intellettuale o conoscitivo viene per primo e la vita emotiva e volitiva è solo una conseguente congiunzione di idee con sensazioni di piacere e di dolore. " (La ricostruzione filosofica) La vecchia concezione risulta ormai da contestare in base ai risultati della moderna scienza e soprattutto della biologia: " Lo sviluppo della biologia ha avuto per effetto di capovolgere questo quadro. Dovunque c'è vita,

CHROMOSCALE presents a novel framework that integrates numerical systems with color representation through a unique chromatic approach based on cyclic orders. The concept revolves around the relationship between different numerical bases and their visual representations, specifically focusing on Base 7. The paper explores the mathematical properties of cyclic numbers, monotonic functions, and their implications for establishing a harmonic system that maps numbers to colors in a structured way, thereby creating a cohesive language for sounds, colors, and numbers.

For more information see the following link:
https://pdpseven.wixsite.com/sound-color

CHROMOSCALE presents a novel framework that integrates numerical systems with color representation through a unique chromatic approach based on cyclic orders. The concept revolves around the relationship between different numerical bases and their visual representations, specifically focusing on Base 7. The paper explores the mathematical properties of cyclic numbers, monotonic functions, and their implications for establishing a harmonic system that maps numbers to colors in a structured way, thereby creating a cohesive language for sounds, colors, and numbers.

For more information see the following link:
https://pdpseven.wixsite.com/sound-color

James Price Johnson (1894-1955) is one of the seminal artists of jazz as it emerged in the 20th century. A virtuoso pianist, Johnson mastered ragtime and is understood to have created what is called stride piano. During his formative years — roughly 1917 through 1927 — Johnson’s extraordinary pianistic skills found a place in the exploding player piano industry. In this medium, Johnson was often able to express his evolving pianistic and compositional innovations, both in his own original material and in arrangements of tunes by others. This rollography lists all current salient information about Johnson's piano rolls.

Cool Jazz fue la otra cara de la moneda del Jazz clásico norteamericano. Miles Davis y Lester Young fueron los gran artífices y cerebros del Cool Jazz. Historia del Jazz. Parte XLI

http://salsaconcausa.blogspot.pe/2018/03/miles-davis-y-lester-young-fueron-los.html

This short work will look at some possibilities for using Arnold Schoenberg’s symmetrical set from his Serenade Op. 24 Mvmt. 5 as pitch material in Jazz/Fusion improvisation.

I will examine some harmonic and melodic uses of the set’s two hexachords using an accepted Jazz Chord/Scale Relationship pedagogical methodology. My approach will look at these pitch groups as unordered sets or collections only, although their use as ordered sets is of course certainly possible. As many Jazz and Fusion Improvisers are familiar with Nicholas Slonimsky’s Thesaurus of Scales and Melodic Patterns , I will reference this text in relation to the sets and subsets present in this survey for ease in cross referencing.

Chapter Eight, comparatively-contrastively, the two very different figures of (Wessi) Alexander von Schlippenbach and (Ossi) Ulrich Gumpert, both pianists, composers, and big-band as well as small-group leaders, and trio, duo, and solo artists.

Il saggio vuole raccontare l’incontro tra l’autore e il compianto M° Giorgio Gaslini, icona del jazz mondiale, avvenuto durante il concerto “Jazz in Blues” organizzato dal Comitato Giù le Mani dai Bambini Onlus in occasione della Giornata Mondiale dell’Infanzia delle Nazioni Unite 2009 presso l’Auditorium RAI “Arturo Toscanini” di Torino e Emmanuele Macaluso. Dopo un’introduzione sul contesto, l’autore condivide un ritratto intimo del Maestro, avvenuto in un momento di pausa prima dell’esibizione. Un omaggio all’uomo, nella speranza di poter dare del Maestro una visione meno nota e che esca dai confini del personaggio pubblico e delle pubblicazioni ufficiali.

Count Basie revolucionó el Jazz con su piano elegante y su blues original. La mejor sección de vientos del Jazz la tuvo Basie y de Kansas vino a conquistar New York. Historia del Jazz. Parte XXXVIII
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FLEMMO Enterprise Music has experienced more than 4 (four) years in the areas of Digital Music Production, Music Making, Beat Making, Audio Engineering, Sound Design, Mixing, Mastering, Composing/ Composition, Cinematography, and Video / Film Editing.

FLEMMO Enterprise Music has experience in the sound concept for a project that evokes feelings or emotions as well as sounds that suggest a place, time, mood, and atmosphere. Flemmo can collaborate closely with the Producer and Host / Voice Actors in order to develop the desired sound concept.

Familiar with record, layer and produce sounds and sound effects for the desired impact. Making sure that a recording meets requirements to achieve the best sound. I'm proficient in mixing and mastering sound using the Digital Audio Workstation (DAW) to assist in post-production to improving sound quality.

Using the artist's name FLEMMO Music - My album songs "The Beginning of Us" and "Dynamic" are available on major streaming platforms: YouTube, Spotify, Apple Music, Facebook/Instagram, TikTok, Deezer, Tidal, Shazam, Amazon Music, Napster, and all other stores: FLEMMO.

The earth moves with attitude in Paul Plimley’s left hand’s opening notes. It takes no nonsense from his right. Mei Han, Paul’s right hand zheng master, gives none. The immediate results are a flash breeze of recognition between the distant string cousins, followed by their settlings into their more distinctive voices (jazz-tinged piano, traditional zheng)...

Published in an abridged version in Signal to Noise magazine (july/august 2000), this piece on the pianist is a fun read informed by doses of close, substantial scholarship. It is again timely, as Borah Bergman just passed away as I write. A memorial will be held in April, 2013, in his New York home city.

Henderson el taciturno revolucionario de la era Big Band. Henderson educado en música culta europea, revolucionó el jazz de su tiempo y poseyó un Dream Team musical aún insuperado. Historia del Jazz. Parte XXIX
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Art Tatum el inmenso gigante del Harlem Stride Piano aún insuperado y aún no desarrollado plenamente. Desde el aislado Ohio llegó el inmenso coloso del piano Art Tatum a New York, para a destronar a los reyes del Harlem Stride Piano en su propia casa. Historia del Jazz. Parte XXVII
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This paper is an analysis of Bill Evans' improvisation on the Sonny Rollins composition "Oleo", itself based on George Gershwin's "I Got Rhythm." The focus here is on devices deployed by Evans to break free from the established harmonic underpinning of "rhythm changes."

This paper is an analysis of Kenny Barron's solo on the Charlie Parker/Dizzy Gillespie composition "Anthropology,: itself based on George Gershwin's "I Got Rhythm." The focus is devices deployed by Barron to break free from the traditional harmonic underpinning of "rhythm changes."