This piece has two choruses of AABA form. The first A section (0:46 – 1:02) starts at “in the olden days” and ends after “anything goes”. The second A section (1:03 – 1:18) repeats at “good authors” and ends after “anything goes.” What I find interesting is that these two A sections do not only have similar melodies, but also rhyming lyrics. After two A sections, the B section (1:18 – 1:37) ends the repeat and starts a new melody. Then another A section follows and ends the first chorus.
This recording follows the standard form of Jazz music. After the first chorus, the second chorus starts when the band members begin improvising. Although I can still hear a little similarity as the previous sections, the performers are mainly improvising
The performance at the sands is vocal jazz but the music in itself is swing andpop combined. Even though it is not improvisation the artists do take liberties sneaking in embellishments here and there. When you think of Frank Sinatra you think of the songs that are on his performance at the Sands. The Basie Rhythm machine establishes a stable swing beat allows Sinatra to sing freely around the music making a one of a kind performance. A lot of the credit for the success of the performance goes to Count Basie’s arranger and conductor Quincy Jones. Jones created a groove that blended Sinatra’s strong voice, use of phrasing and his free embellishing with Basie’s Orchestra so well it that has the band, Sinatra, and the crowd all feeding off each other.
On a Wednesday night I saw Texas State Theatre and Dance Department's performance of A Chorus Line. The main plot of the musical entails the audition of 17 dancers for several Broadway roles on the chorus line. However, during their auditions the director Zach asks for personal stories of each dancer's life. Though the plot of this musical is seemingly simple in its twist on the traditional audition, it explores themes that reveal the human experience, the search for individuality, and the sense of self.
To start off explaining the structure, take the rhyming words for example. There is internal rhyme in the first and third lines with “dreary and weary” and “napping and tapping”. The second, fourth, fifth, and sixth lines all end in the -ore sound (this reoccurs throughout the entire poem). This structure is consistent throughout the entirety of the piece. Many do believe this to be one of the best example of rhythm in American literature.
The song that I chose to write about is Intermission Riff composed by Ray Wetzel and originally recorded by Stan Kenton and his Orchestra. I have chosen three of my favorites versions and performances of this song. The first one is an original recording by Stan Kenton and his orchestra performing live in London in 1972. Another version is specifically on of my favorites because it incorporates voices and lyrics to the song. The final version I will discuss is one played by a small combo called Brighton Jazz.
It is noteworthy that the rhyme scheme for each verse is ABCB which is a “Simple 4-line” rhyme. The choice of such a comparatively simple
This album was performed by the Clifford Brown/Max Roach Quintet released in 1954. This group also included tenor-saxophonist Harold Land, pianist Richie Powell and bassist George Morrow. It shows Brown's fast pace and full rounded tones, Roach's classic bop drumming, soulful solos by Harold Land, and the work done by Ritchie Powell and George Morrow. Roach helps the album really stand out. Land and Brown complement each other massively.
The jazz band I observed played a series of six different songs. Although all the songs were categorized as jazz, each song had its own special style and sound to it. The band consisted of three different players. Paul Meyers, the guitarist and composer, Andy Eulau, the bassist, and Dave Rataczak, on drums. The songs performed were entitled “Love for Sale” by Cole Porter, “Once I Loved” by Antonio Carlos Jobim, “Stars” by Paul Meyers, “Blues for Mel” also by Paul Meyers, “Last Night When We Were Young” by Harold Arlen, and “Samba Novo” by Luis Eca.
Song of Ariran is a collaborative work of great importance. The book, written by Nym Wales, is a personal account of Kim San, who was a Korean rebel leader based in China. San was fighting the Japanese occupation of his country. The book emerged out of Wales’ interviews with San, which took place in the summer of 1937. While Wales admits that he was not entirely interested in devoting his time and energies to an in depth investigation, he was soon won over by San. According to Wales, even though he had come to China to study China, she could not help but want to write a book about the fascinating Korean revolutionary leader Kim San, and this is exactly what she did by conducting in depth interviews with San.
slowly paving way to avant-garde jazz that’s later to be seen in Ascension (11 musicians , freer ) free jazz, avant-garde
“More of That Jazz:” And now we come to the final track on the Jazz album. It’s a pretty dark and gritty song to choose to end the album but I like it. The most random part is that the song finishes off with a compilation of one liners from other different tracks on the album. It’s definitely a funky, trippy way to finish an album but I dig it. Best line: “Lie on the floor / Kinda thinking I’ve heard that line before.”
It consists of four stanzas, each a bit longer than the preceding one. Each stanza has it's own
stanza has four lines, rhyming a b c b. The language of it is pretty
The structure of the poem is “ABAB'; when the 1st and 3rd and 2nd and 4th lines rhyme with each other e.g.:
Throughout the poem there are clearly defined rhyme changes, the poem goes backwards and forwards from aabb to abab.
Through the poem, there is an exact rhyme such as on lines 1,3,2,4 “spent” and “bent”, “wide” and hide” with the last word of the line. The end rhymes of the fourteen lines create an ABBA ABBA CDE CDE pattern that would be consistent with