49 Matching Annotations
  1. Sep 2023
    1. The “major” blues scale Some improvisers find it helpful to think of a major blues scale. The difference between a major and minor pentatonic scale is identical to the difference between the major and minor blues scale: the major blues scale is a rotation of the blues scale of its relative minor. Begin the blues scale on me (↓^3)(↓3^)(\downarrow\hat3), and you will get a blues scale for the relative major. These relationships are summarized in Example 5
    2. This blues scale is used in both major and minor blues tunes, despite the clashes with the underlying harmony.
    3. Much as the harmonies of the blues tend not to stick to one diatonic key, flouting the norms of tonal music, the melodies are similarly chromatic to match.
    1. "Surrendering" by Ocean Vuong

      1. He moved into United State when he was age of five. He first came to United State when he started kindergarten. Seven of them live in the apartment one bedroom and bathroom to share the whole. He learned ABC song and alphabet. He knows the ABC that he forgot the letter is M comes before N.

      2. He went to the library since he was on the recess. He was in the library hiding from the bully. The bully just came in the library doing the slight frame and soft voice in front of the kid where he sit. He left the library, he walked to the middle of the schoolyard started calling him the pansy and fairy. He knows the American flag that he recognize on the microphone against the backdrop.

  2. Aug 2023
  3. Jul 2023
    1. Glossary of some important musical terms
  4. Jun 2023
    1. As pointed out in the analysis of the tune, blues melodic devices are featured prominentlyin the original melody. In Jones’s solo, the melodic blue notes are integral componentsof his lines. In mm. 14–15, for instance, the pitch D≤4/C≥4 connects two adjacent phrases:≤^3 functions as a ≤7th of E≤7 and then becomes a lower chromatic neighbor preparingthe 3rd of B≤Maj7 in m. 15. The tritone G4–D≤4 in m. 14 provides additional bluesreferences. In mm. 61–62, open-position chords have similar blues underpinnings with≤^3 as the highest note piercing through the characteristic blues voicing. In mm. 94–95,the use of three-note close-position voicings embellished with grace notes enhances thestructural subdominant
    2. Even though the subdominant on IV features a dominant 7th chord, inthe context of this progression it functions as a predominant
    3. The melody of “Moose the Mooche” confirms the premise that contrafacts are far moredexterous than the tunes from which they borrow their chord progressions. The melodicrhythm of “Moose the Mooche” is typical of bebop syntax. In m. 1, the Charleston rhythmis highlighted with an octave leap from F4 to F5. This rhythmic gesture appears in variousguises throughout the tune. Other rhythmic figures, such as 8th-note triplets in mm. 2and 8, and 16th-note triplet turn figures in mm. 14, 31, and 32, are idiomatic decorationsthat enhance the melodic surface.The presence of chromaticism is integral to the structure of bebop melodies. Some of thechromatic additions, such as the metrically accented C≥5s in mm. 2, 6, 26, and 30, makesubtle references to the blues. Other chromatic notes emphasize structurally importantharmonies. For instance, a carefully prepared A≤4 occupies beat 1 in mm. 5 and 29, andconstitutes the ≤7th of the underlying V7/IV harmony. The preparation of A≤4 in mm. 4and 28 features an upward stepwise ascent: F4–G4. The end of m. 12 illustrates anotheridiomatic preparation of this pitch. Here, the A≤4 anticipates V 7/IV by a half beat andoccurs at the “and” of 4 in m. 12. The downward tritone leap from D5–A≤4 furtherintensifies its status and injects yet another blues characteristic into the framework of themelody. Other chromatic notes, such as unaccented passing and pitch enclosures, haveprimarily ornamental functions. The chromatic passing note G≤4 in mm. 5 and 29 moves
    4. Chapter 26 provides an analysis of Lennie Tristano’s “Line Up.” Based on this analysis,specific elements of his style of improvisation are codified

      no note: break up tristano style into atomic jazz style elements

    5. any melodic line can be represented by a chord and/or harmonicprogression and, conversely, any chord or harmonic progression can be horizontalizedwith a melodic line
    6. motivic development
    7. Chapter 18 provides an analysis of Charlie Parker’s “Confirmation” as a representativecomposition from the Bebop Era. It offers a transcription of the solo by the pianist HankJone
    1. fragmentation
    5. Motivic sequence
    6. Phrase repetition—four measures
    7. Motivic repetition
    8. Modal tunes alternate back and forth from low to medium rhythmic density
    9. Bebop tunes contain a high degree of rhythmic density
    10. Melodic Considerations
  5. May 2023
    1. patterns are often called‘formulas’, ‘licks’, ‘stock-phrases’, and ‘riffs’. The maindifferences between these terms lie in their supposed ori-gin, their function, and their musical characteristics .
  6. Jul 2019
    1. And then, in 1986, Morrissey was interviewed by Frank Owen in Melody Maker and insisted that there was a conspiracy to maintain the presence of black music in the charts. He'd already remarked on the vileness of reggae, the awfulness of Diana Ross.