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A jazz standard
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is a tune that is widely known, performed, and recorded
among jazz musicians. Stricter definitions of the term may be used;
therefore no 'definitive' list of standards exists.
As jazz is actually a range of musical styles, musicians and bands
can vary in their standards according to what type of jazz they play.
Most professional bands will have repertories with many more tunes
than the standards, but they will usually be sure to include some standards
in an evening's performance, and have them ready to play in case of
request.
The categories of jazz are not exclusive as to their standards, and
any of the songs may be played by bands that specialize in another
style. For example, some avant-garde groups may delight in playing
an old tune in their modern style, or a Dixieland band may pride themselves
on playing a modern tune in a style that gives it a traditional sound.
Many standards were originally written decades ago, and may be from
old popular tunes, Broadway or musical selections, or old recordings
of famous bands. However, jazz musicians might also include a wide
range of more recent tunes in their concept of standards.
It is common for jazz musicians invited to take part in a standards
gig to ask the person who's booking the gig or the other musicians
involved for particular tunes they have in mind. However, time spent
working through a respectable fake book will help in such situations.http://en.wikipedia.org/wiki/Jazz_standad
A jazz band (or jazz ensemble in western dialects of American English)
is a musical ensemble that plays jazz music. Jazz bands usually consist
of a rhythm section and a horn section. During the jazz and swing eras
in the mid-twentieth century, the most successful jazz orchestras also
empolyed strings and harp in expanded arrangements, but their presence
on the bandstand was more for visual impact and not as a key component
of the ensemble.
The rhythm section of a jazz band consists of the drums, bass, and
usually at least one instrument capable of playing chords, such as
a piano or guitar. Large early jazz bands such as Paul Whiteman’s
employed two pianos and banjo. The rhythm section is the foundation
for the band; it sets the feel for the piece.
The horn section consists of wind and brass instruments, which play
the melody and main accompaniment. Typical horns found in a big
jazz band include 4 to 5 trumpets, saxophones (2 altos, 2 tenors,
and a baritone), and 3-4 trombones and a bass trombone. The saxophones
may also double on flute and clarinet and the trumpets on flugelhorn.
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Piano Sonata, K. 545
The Piano Sonata in C major, K. 545 by Wolfgang Amadeus Mozart is possibly
his most famous piano sonata. It was described by Mozart himself
in his own thematic catalogue as "for beginners", and it is sometimes
known by the nickname Sonata facile or Sonata semplice. Mozart added
the work to his catalogue on June 26, 1788, the same date as his
Symphony No. 39. The exact circumstances of the work's composition
are not known, however. The work is in three movements: 1. Allegro
2. Andante 3. Rondo The first movement begins with one of the best
known examples of Alberti bass: Although the piece is very well
known today, it was not published in Mozart's lifetime, first appearing
in print in 1805.
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great Music men of history
Gustav Mahler
Gustav Mahler (July 7, 1860 - May 18, 1911) was best known in his own
time as one of the leading Austrian conductors of his day, but is now
remembered as an important composer linking the late romantic and modern
music periods. Biography Mahler was born in Kalist (Kalischt, Kaliste),
Bohemia, and his parents moved to Jihlava, Moravia in the first year
of his life, where Mahler spent his childhood. In 1875 he was admitted
to the Vienna Conservatoire where he studied piano under Julius Epstein.
Subsequently, Mahler attended lectures given by Anton Bruckner at Vienna
University. His first major attempt at composition came with Das Klagende
Lied which he entered in a competition as an opera (he later turned it
into a cantata). However, he was unsuccessful, and turned his attention
to conducting. After his first conducting job at Bad Hall, he took posts
at a succession of increasingly larger opera houses; Ljubljana in 1881,
Olomouc in 1882, Kassel in 1884, Prague in 1885, Leipzig in 1886 and
Budapest in 1891. He then secured his first long-term post at the Hamburg
Opera in 1891, where he stayed until 1897. While there, he took his summer
vacations at Steinbach-am-Attersee, during which he concentrated on composition.
He completed his Symphony No. 1 and the Lieder aus "Des
Knaben Wunderhorn" in this period. In 1897, Mahler converted from Judaism to
Roman Catholicism in order to secure a post as artistic director of the prestigious
Vienna Opera (Jews were virtually prohibited from holding the post at that time).
For the next ten years he stayed at Vienna, where he was noted as a great perfectionist.
He ran the Opera for nine months of the year, spending the other three composing,
mainly at Maiernigg, where he had a small house on the Wšrthersee. There he composed
his symphonies 2 through 8. He married Alma Schindler (1879-1964) in 1902. They
had two daughters, the elder of whom died in 1907. In the same year he discovered
he had heart disease, and he lost his job at Vienna, hounded out by a largely
anti-Semitic press after trying to promote his own music, which was not well
received on the whole. Indeed, not until the performance of his Symphony No.
8 in 1910 did Mahler have a true public success with his music. The pieces he
wrote after that were not performed in his lifetime. Mahler was coming under
increasingly virulent anti-semitic attacks —in 1907 these became almost
unbearable —when Mahler received an offer to conduct Metropolitan Opera
in New York. He conducted a season there in 1908, only to be set aside in favor
of Arturo Toscanini. Mahler returned to New York the next year to become conductor
of the newly formed New York Philharmonic Orchestra. Around this time, he completed
Das Lied von der Erde, and the Symphony No. 9, which turned out to be his last
completed work. During his last visit to America in February 1911, he fell seriously
ill and was taken back to Vienna at his request. He died there from blood poisoning
in May 1911 in Vienna, Austro - Hungary (now Austria), leaving his tenth symphony
incomplete. He is buried there in the Grinzinger Cemetery.
Johann Sebastian Bach
Johann Sebastian Bach (March 21, 1685 - July 28, 1750) was a German organist,
composer, and musical scholar of the Baroque period, and is almost universally
regarded as one of the greatest composers of all time. His works, noted for their
intellectual depth, technical command, and artistic beauty, have provided inspiration
to nearly every musician in the European tradition, from Mozart to Schoenberg.
Formative Years J. S. Bach was born in Eisenach, Germany, in 1685. His father,
Ambrosius Bach, was the town piper in Eisenach, a post that entailed organizing
all the secular music in town as well as participating in church music at the
direction of the church organist, and his uncles were also all professional musicians
ranging from church organists and court chamber musicians to composers, although
Bach would later surpass them all in his art. In an era when sons were expected
to assist in their fathers' work, we can assume J. S. Bach began copying music
and playing various instruments at an early age. Bach's mother died when he was
still a young boy and his father suddenly passed away when J. S. Bach was 9,
at which time J. S. Bach moved in with his older brother Johann Christoph Bach,
who was the organist of Ohrdruf, Germany. While in his brother's house, J. S.
Bach continued copying, studying, and playing music. According to one popular
legend of the young composer's curiosity, late one night, when the house was
asleep, he retrieved a manuscript (which may have been a collection of works
by Johann Christoph's former mentor, Johann Pachelbel) from his brother's music
cabinet and began to copy it by the moonlight. This went on nightly until Johann
Christoph heard the young Sebastian playing some of the distinctive tunes from
his private library, at which point the elder brother demanded to know how Sebastian
had come to learn them. It was at Ohrdruf that Bach began to learn about organ
building. The Ohrdruf church's instrument, it seems, was in constant need of
minor repairs, and young J. S. Bach was often sent into the belly of the old
organ to tighten, adjust, or replace various parts. Realizing that in the seventeenth
and eighteenth centuries the church organ, with its moving bellows, manifold
stops, and complicated mechanical linkages from the keys and pedals to the many
actual pipes, was the most complex machine in any European town, we can imagine
that Sebastian may have been awed by it much as modern boys are fascinated by
cars, trucks, and planes. This hands-on experience with the innards of the instrument
would provide a unique counterpoint to his unequalled skill at playing the instrument;
J. S. Bach was equally at home talking with organ builders and performers. While
in school and as a young man, Bach's curiosity compelled him to seek out great
organists of Germany such as Georg Bšhm, Dietrich Buxtehude and Johann Adam Reinken,
often taking journeys of considerable length to hear them play. He was also influenced
by the work of Nicholas Bruhns. Shortly after graduation (Bach completed Latin
school when he was 18, an impressive accomplishment in his day, especially considering
that he was the first in his family to finish school), Bach took a post as organist
at Arnstadt, Germany, in 1703. He apparently felt cramped in the small town and
began to seek his fortune elsewhere. Owing to his virtuosity, he was soon offered
a more lucrative organist post in Muhlhausen. Some of Bach's earliest extant
compositions date to this period (including, according to some scholars, his
famous Toccata and Fugue in D Minor), but owing to the general immaturity of
this "early" Bach music, much of the music Bach wrote during this time has unfortunately
been lost. Professional Life Still not content as organist of Muhlhausen, in
1708, Bach took a position as court organist and concert master at the ducal
court in Weimar, Germany. Here he had opportunity to not only play the organ
but also compose for it and play a more varied repertoire of concert music with
the dukes' ensemble. A devotee of contrapuntal music, Bach's steady output of
fugues begins in Weimar. The best known example of his fugal writing is probably
The Well-Tempered Clavier, which comprises 48 preludes and fugues, two for each
major and minor key, a monumental work not only for its masterful use of counterpoint
but also for exploring, for the first time, the full glory of keys available
to keyboard musicians when their instruments are tuned according to Andreas Werckmeister's
system of well temperament or similar system. Also during his tenure at Weimar,
Bach began work on the Orgelbuchlein for
Wilhelm Friedemann. This "little book" of organ music contains traditional Lutheran
church hymns harmonized by Bach and compiled in a way to be instructive to organ
students. This incomplete work introduces two major themes into Bach's corpus:
Firstly, his dedication to teaching, and secondly, his love of the traditional
chorale as a form and source of inspiration. Bach's dedication to teaching is
especially remarkable. There was hardly any period in his life when he did not
have a full-time apprentice studying with him, and there were always numerous
private students studying in Bach's house, including such 18th century notables
as Johann Friedrich Agricola. Still today, students of nearly every instrument
encounter Bach's works early and revisit him throughout their careers. Sensing
increasing political tensions in the ducal court of Weimar, Bach began once again
to search out a more stable job conducive to his musical interests. Prince Leopold
of Anhalt-Cšthen provided Bach with a place in his court ensemble as chambermusician.
Prince Leopold, himself a musician, appreciated Bach's talents, compensated him
well, and gave him considerable latitude in composing and performing. However,
the prince was Calvinist and did not use elaborate music in his worship, so that
most of Bach's work from this period is secular in nature. Many of the Brandenburg
concerti, as well as many other instrumental works, including the suites for
solo cello, the sonatas and partitas for solo violin, and the orchestral suites,
date to this period. In 1723, J. S. Bach was appointed Cantor and Musical Director
of St. Thomas church in Leipzig, Germany. This post required him to not only
instruct the students of the St. Thomas school in singing but also to provide
weekly music at the two main churches in Leipzig. Rising above and beyond the
call of duty, Bach endeavored to compose a new church piece, or cantata, every
week. This challenging schedule, which basically amounted to writing an hour's
worth of music every week, in addition to his more menial duties at the school,
produced some genuinely sublime music, most of which has been preserved. Most
of the cantatas from this period expound upon the Sunday readings from the Bible
for the week in which they were originally performed; some were written using
traditional church hymns, such as Wachet auf! Ruft uns die Stimme and Nun komm,
der Heiden Heiland, as inspiration for the music. On holy days such as Christmas,
Good Friday, and Easter, Bach produced cantatas of particular brilliance, most
notably the Magnificat for Christmas and St. Matthew Passion for Good Friday.
The composer himself considered the monumental St. Matthew Passion among his
greatest masterpieces; in his
correspondence, he referred to it as his "great Passion" and carefully prepared
a calligraphic manuscript of the work, which required every available musician
in town for its performance. Bach's representation of the essence and message
of Christianity in his religious music is considered by many to be so powerful
and beautiful that in Germany he is sometimes referred to as the Fifth Evangelist.
Family Life Bach and his first wife, Maria Barbara, had seven children together,
although several of them died while still very young. Little is known about Maria
Barbara. She died suddenly while Bach was travelling with Prince Leopold in July,
1720. While still at Cšthen, Bach met and later married Anna Magdalena, a young
soprano. Despite the age difference (she was 17 years his junior), the couple
seem to have enjoyed a very happy marriage, with Anna Magdalena supporting Sebastian's
composing (many final scores are in her hand) and with Sebastian encouraging
her singing career. Together they had 13 children, although few survived to adulthood.
All of the Bach children seem to have been musically inclined, which must have
given the aging composer much pride. His sons Wilhelm Friedemann Bach, Johann
Gottfried Bernhard Bach, Johann Christoph Friedrich Bach, Johann Christian Bach,
and Carl Philipp Emanuel Bach all became accomplished musicians, with C. P. E.
Bach especially winning the respect of Wolfgang Amadeus Mozart. Although the
barriers to women having professional careers were great, all of Bach's daughters
most likely sang and possibly played in their father's ensembles. The only one
of the Bach daughters to marry, Elisabeth Juliana Friederica, choose as husband
Bach's student Johann Christoph Altnickol. Most of the music we have from Bach
was passed on through his children, who preserved much of what C. P. E. Bach
called the "Old Bach Archive" after his father's death. At Leipzig, Bach seems
to have fit in amongst the professoriate of the university there, with many professors
standing as god-parents for his children, and some of the university's men of
letters and theology providing many of the librettos for his cantatas. In this
last capacity Bach enjoyed a particularly fruitful relationship with the poet
Picander. Sebastian and Anna Magdalena also welcomed friends, family, and fellow
musicians from all over Germany into their home; court musicians at Dresden and
Berlin as well as musicians including George Philipp Telemann (one of Carl Philipp
Emanuel's godfathers) made frequent visits to Bach's house and may have kept
up frequent correspondence with him. Interestingly, George Friedrich Handel,
who was born in the same year as Bach, made several trips to Germany, but Bach
was unable to meet him, a fact he regretted. Later Life and Legacy Having spent
much of the 1720s composing weekly cantatas, Bach assembled a sizable repertoire
of church music that, with minor revisions and a few additions, allowed him to
continue performing impressive Sunday music programs while pursuing other interests
in secular music, both vocal and instrumental. Many of these later works were
collaborations with Leipzig's Collegium Musicum, but some were increasingly introspective
and abstract compositional masterpieces that represent the pinnacle of Bach's
art. These
erudite works start with the four volumes of his Clavier-†bung ("Keyboard
Practice") a set of keyboard works to inspire and challenge organists and lovers
of music that includes the 6 Partitas for keyboard (Vol. I), the Italian Concerto,
the French Overture (Vol. II), and the Goldberg variations (Vol. IV). At the
same time, Bach wrote a complete Mass in B Minor, which incorporated newly composed
movements with portions from earlier works. Although the mass was never performed
during the composer's lifetime, it is considered to be among the greatest of
his choral works. After meeting King Frederick II of Prussia in Berlin in 1747,
who played a theme for Bach and challenged the famous musician to improvise a
six-part fugue based on his theme, Bach presented the king with a Musical Offering
including several fugues and canons based on the "royal theme." Later, using
a theme of his own design, Bach produced The Art of Fugue. These 14 fugues (called
Contrapuncti by Bach), are all based on the same theme, demonstrating the versatility
of a simple melody. During his life time he composed over 1,000 pieces. Johann
Sebastian Bach's contributions to music, or to borrow a term popularized by his
student Lorenz Christoph Mizler, "musical science" are frequently compared to
the "original geniuses" of William Shakespeare in English literature and Isaac
Newton in physics.
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Free Jazz
For
the Ornette Coleman album after which this genre was named see Free
Jazz: A Collective Improvisation.
Free jazz is a movement of jazz music which was developed in the 1950s
and 1960s by artists such as Ornette Coleman, Eric Dolphy, Cecil Taylor,
Albert Ayler, Joe Harriott, Archie Shepp, Bill Dixon and Paul Bley.
Some of the best known examples are the later works of John Coltrane.
Though the music produced by these players varied widely, the common
feature was a dissatisfaction with the expressive possibilities of
bebop, hard bop, and modal jazz; each in his own way, free jazz musicians
attempted to break down or extend the conventions of jazz, often by
discarding hitherto invariable features of jazz such as fixed chord
changes or tempos.
Though "free jazz"
is the generally used term nowadays, many other terms have been used.
In the 1960s, the loosely-defined movement was sometimes called "Energy
Music" or "The New Thing". Free-jazz players were other
said to be playing "outside" or "out" (as opposed
to "inside"--conventionally), and the word became a favorite
one among musicians and record labels: albums from this period include
Outward Bound, Out There, Out to Lunch (all by Dolphy), Out Front
(Jaki Byard), and Destination Out (Jackie McLean).
While free jazz is most often associated
with the era of its birth, many musicians — including Ken Vandermark,
William Parker, John Zorn, Paal Nilssen-Love and George Lewis (trombonist)
— have kept the style alive to the present day, continuing its
development as a jazz idiom. In Europe the style was further extended
by players such as Derek Bailey, Peter Brötzmann and Evan Parker
into an idiom that came to be called "free improvisation."
http://en.wikipedia.org/wiki/Free_jazz
A singer or vocalist is a type of musician who sings. i.e. uses the
voice as an instrument to make music. In classical music and in opera,
voices are treated just like musical instruments, thus special careers
were developed out of each principal pitch. Voices are commonly classified
into: * Female voices: o soprano o mezzo-soprano o contralto * Male
voices: o countertenor o tenor o baritone o bass o castrato
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