Some tracks, like "Haul Away Joe," feature voicings lifted straight from the vocal recording.
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I like the sonic palette and I like some of the chord voicings and phrases.
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When I'm playing a D chord, I'm not usually like, where are these voicings gonna go to?
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I love figuring out tricky progressions, chord voicings, harmonies ... that sort of dorky stuff, no matter what genre.
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The crew taped a Facebook Live session, where my teacher fielded questions about quartal voicings over major seventh harmony.
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The music on display at these events ranges from indie-pop to house, techno, crunchy bass, psytrance, and myriad voicings of experimental esoterica.
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Known as the "Cartoon Queen," she's most famous for her voicings of Rocky the Flying Squirrel and Natasha Fatale on the "Rocky" cartoon show.
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And I must have played the beginning of the record over and over and over so I could remember the voicings of what was happening.
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"It's the first thing that's easy to do," he said of Evans's widely imitated style, based on chord voicings that owe much to composers like Debussy and Ravel.
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As well as decisively not satisfying us, this device (unexpected chord voicings are prevalent throughout the song) also creates the intrigue that distinguishes it from your more 'basic' pop banger.
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Then next thing you know he's like fully ripping it true to the original voicings and stuff which is really difficult, so he's the lynch pin behind the entire sound.
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Mr. Rush's guitar technique owed a debt to the discursive single-string voicings of jazz players like Kenny Burrell and jazz-inspired bluesmen like T-Bone Walker and B. B. King.
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With a darkly combustive left hand and open-ended chord voicings in the right, he helped to define the group's classic sound while paving the way for the boundless abandon of Coltrane's later period (if not its atonality).
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I like chord voicings that are interesting, but right before they get, like—the tipping point right before you get into some of the more conventional jazz genres where it's less about a pop sensibility and more about exploring boundaries.
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Moross, best known for his film scores to westerns including "The Big Country," was a member of Aaron Copland's coterie and brings the familiar sound we call American, with its modal harmonies and widely spaced voicings, to a work of astonishing breadth and beauty.
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On that track—and throughout the record—her interpersonal musings come accompanied by tempestuous guitar parts, and gnarled chord voicings lending a heaviness and a discomfort to the musings, a sense that whatever conclusions she comes to aren't totally settled, just the best she can do for now.
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It's just about as sedate as the original but they stay away from the sub-Enya synth voicings in favor of pianos, guitars and real music, man—which generally wouldn't be a quality that I favor, but it feels a lot more like the songs that actually end up on the 8s.
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Upon its release that January, the album was hailed by many as their best to date, showcasing a bold blend that added early-synth electronica ("Space Odyssey"), acoustic roots rock ("Old John Robertson"), complex jazz voicings ("Tribal Gathering"), brass bands, and baroque strings to their trademark wash of lush harmonies and McGuinn's shimmering Rickenbacker 270-string.
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Beyond even what Robert Downey Jr. has done in the Iron Man series, Reynolds lets fly here in a manic, sly, self-conscious way that leaves you not quite knowing what hit you; the irreverence slides quickly into lewd comic territory, the inside jokes about Marvel in particular and pop culture in general come fast and furious, the fourth-wall breakage is disarming and the actor's occasional fey, high-pitched voicings add yet another strange element.
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He used voicings of the root and the tenth or the root with the minor seventh.
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I hope the jazz- > band boys will listen to him. A half-century of the same voicings is enough.
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Paul Kohler of AllMusic stated "this recording finds Laverne in top gear playing some of the most incredible chord voicings".
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However some voicings on a synthesizer (synthestration) will not work in the same way when orchestrated for the live orchestra. The sound samples are often doubled up very prominently and thickly with other sounds in order to get the music to "speak" louder. The orchestrator sometimes changes these synth voicings to traditional orchestral voicings in order to make the music flow better. He may move intervals up or down the octave (or omit them entirely), double certain passages with other instruments in the orchestra, add percussion instruments to provide colour, and add Italian performance marks (e.g.
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"If I am going to be sitting here playing roots, fifths and full voicings, the bass is relegated to a time machine." This idea had already been explored by Ahmad Jamal, Erroll Garner, and Red Garland. In Evans's system, the chord is expressed as a quality identity and a color. Most of Evans's harmonies feature added note chords or quartal voicings.
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His melodic improvisations generally stayed close to the theme while employing novel chord voicings. Pianist Ross Tompkins described Garner's distinctiveness as due to 'happiness'.
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When playing in Bb, such a guitarist will inevitably play with a very different set of voicings from what would be used in F or Eb, simply because the "normal" guitar chords in these keys have very different sonorities. Wayne tried to describe the "complete" scope of harmonic possibilities available on the fretboard, in all voicings, given conventional guitar tuning and a human left hand.
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Voicings was the last recording by the Minneapolis jazz vocal group Rio Nido. The album was one of the early recordings to feature live "direct to digital" recording techniques.
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Critics have praised Erik van der Luijt's talent for melody and the classical influences on his work. His style is likened with the subtle cohesion of legendary Bill Evans with his trio of the late 1950s, also in its fresh chord voicings and harmonic phrasing. Others have called him "the Dutch Oscar Peterson". :Van Der Luijt reflects a bit of a Keith Jarrett influence, particularly when he reaches for some wide gospel chord voicings.
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It is also worth noting that Garland's four-note left-hand chord voicings frequently left out the roots of the chords, a chord style later associated with pianist Bill Evans.
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Chord-playing performers can use their ear, their sense of good taste acquired from listening to jazz, and their knowledge of the style of the tune being played (e.g., is it a bebop tune or a jazz fusion tune) to help guide their use of extension notes, altered extensions, and added tones. In a band, the bandleader might request that certain voicings be used (e.g., 9/11) or request that certain other voicings be avoided (e.g.
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Oxford University Press. p. 304. . Tyner also got some of his inspiration for chord voicings from hearing Richie's use of left-hand fourths."Jazz Piano Giants: McCoy Tyner". soundjunction.org. Retrieved August 11, 2015.
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Another significant omission is any discussion of post-stride solo piano techniques—it is generally assumed that a bass player will be present to provide a root for the voicings that are discussed. The book covers a range of topics including left-hand voicings, scales and modes, improvisation, chords and comping. Much of the book involves musical theory, as Mark Levine states in the introduction. Jazz standards are cited frequently, often with notated examples, to help to explain a particular topic or idea.
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The Allmusic review by Ron Wynn states "His phrasing and voicings could entice or amaze, and he displays great range, rhythmic vitality, and harmonic excellence during the five selections featured on this 1966 live date".
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In standard tuning, the closed-voicing root-bass C7 chord on frets 3–8 is difficult to play, and so an open voicing is conventional. Major-thirds tuning facilitates playing chords with closed voicings. In contrast, standard tuning would require more hand-stretching to play closed- voice seventh chords, and so standard tuning uses open voicings for many four- note chords, for example of dominant seventh chords. By definition, a dominant seventh is a four-note chord combining a major chord and a minor seventh.
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As a flamenco player Haddad is noted for his rich chord voicings, with a clear Moorish and Arabic influence. He frequently uses sophisticated jazz chords and innovative extended voicings for major and minor chords, and often creates a mysterious and atmospheric Moorish ambiance to his compositions through a lush tapestry of flat ninth, minor major seventh and augmented chords. Additionally he often uses slash chords, gripping the bass string. His picados are typically heavily executed and crisp-sounding, and his rasqueados are cascading and dynamic.
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It has a huge range, a chromatically complete scale and is able to produce chord voicings. Most orchestras use a full range of sheng, including the gaoyin (soprano), zhongyin (alto), cizhongyin (tenor) and diyin (bass) sheng.
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Nevertheless, Fritsch has found his own style within melodic electronic music framework. The compositions are very melodic and emotive, with multi-layered instrumental textures/voicings and solidly coherent arrangements.(in Spanish) Muradás, Manuel Lemos. New Sounds Digital.
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TimeSignature 1 } >> } } The So What chord is often used as an alternative to quartal voicings and may be used in diatonic and chromatic planing. It is identical to the standard tuning of a guitar's five lowest strings.
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Scott Yanow of AllMusic said "Montoliu's style has Bud Powell's bop approach as its foundation but also incorporates the more modern chord voicings of McCoy Tyner and Bill Evans. This album is a fine example of his talents".
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To achieve denser sound and richer chord voicings, some vibraphonists have experimented with three mallets per hand, either in both hands for a total of six mallets or in just the left hand for a total of five.
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The Jazz Pianist: Left Hand Voicings and Chord Theory, p.6. . Harmonically, the song features a five-chord ragtime progression (I-VI7-II7-V7-I).Weissman, Dick (2001). Songwriting: The Words, the Music and the Money, p.59. .
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AllMusic reviewer Scott Yanow stated "Pianist Joanne Brackeen's debut album (after a barely documented period with Art Blakey's Jazz Messengers) is a very impressive effort. ... Her chord voicings are thick and sometimes quite dense, but this music is strangely accessible".
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While any jazz instrument can be used for comping, the chordal rhythm section instruments (piano, organ, and guitar) have developed the largest collection of pedagogical materials about comping. Since a jazz soloist has such wide-ranging harmonic, melodic, and rhythmic possibilities, chordal instrumentalists must have a similarly wide range of tools at their disposal to support the soloist properly. Comping musicians must know many different types of chord voicings so that they can match the mood the soloist is trying to create. To support some soloists, a comper needs to use very simple voicings (such as the 3rd and 7th of a chord).
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The result was the sound of a three-piece band under one person's creative control. McKenna often used his left hand to emulate the sound of a rhythm jazz guitarist, playing a four-to-the-bar "strum" consisting of a bass note (root/fifth/other interval), third and seventh. This pattern often took the form of intervals of a tenth, which is why the voicings were frequently "broken" arpeggiated, with the top two notes being played on the beat and the bass note slightly before. He often subtly altered these voicings every two beats for variety.
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Campbell had been playing trumpet by six years before he first heard Little perform on Max Roach's Deeds, Not Words. "He had textures, colors and voicings that were revolutionary for the '60s" says Campbell, citing Little's Out Front as a seminal trumpet recording.
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Tick, Judith (ed.) (2008) Music in the USA – A Documentary Companion. Oxford University Press. pp. 644–45. . Tyner's voicings became the norm for young jazz pianists. When Harold Mabern was at the beginning of his career, he emulated the harmonies in Powell's comping.
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Version B has switchable reverb, a single switchable stereo effects loop, and an output to drive another power amp. Its voicings are altered slightly. Both versions are highly regarded; production of the Mark IV ceased in 2008 after an 18 year production run.
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Examples of ambitonal chords are the maj6 chord (12:15:18:20) and the maj7 chord (8:10:12:15). Ambitonal chords often can be reasonably interpreted as either major or minor. For example, Cmaj6, in certain contexts or voicings, can be interpreted as Amin7.
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This allowed her to explore different chord voicings and, by using a twelve- string acoustic guitar, to add a droning quality. She recorded the song at a studio in the Manhattan Towers hotel in New York City for producer Maynard Solomon and Vanguard Records.
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The AllMusic review described Larkins as "A tasteful and subtle player whose chord voicings are unique". The Penguin Guide to Jazz wrote that Larkins's "proper technique, off-kilter humour and very slow, stately swing make up a kind of jazz that has almost vanished".
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Ashgate Publishing He explains that Govan achieves this through the use of heterophony, multi- layered harmonies, varied chord voicings and dynamic rhythmic grooves. He also mentions how, in this album, Govan pushes the boundaries of guitar playing as well as exploring its place in the studio.
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Note that the diminished chord is always tense and its seventh is double flattened (7); therefore, only in diminished context can a 6 (or 13) be played simultaneously with what is the enharmonic equivalent of a 6 (voiced only a major seventh above it or a minor second below it, the latter being only valid in piano voicings, but never a minor ninth below it). It is also the only context where the major seventh is considered a tension, rather than a chord tone. Similarly, only in Dorian/Mixolydian context can a 6 (or 13) be played simultaneously with what is the enharmonic equivalent of an augmented 6th (voiced only a major seventh above it or a minor second below it, the latter being only valid in piano voicings, but never a minor ninth below it). Also, only in Aeolian/Phrygian context can a 6 (or 13) be played simultaneously with the 5 (voiced only a major seventh above it or a minor second below it, the latter being only valid in piano voicings, but never a minor ninth below it).
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Billboard reviewed the album as having "distinctive arrangements and voicings", and being "intelligent easy listening". The album entered the Billboard Top LPs chart on September 19, 1970, and remained on the chart for three weeks, peaking at position No. 184.The Billboard Albums, 6th ed. Joel Whitburn. 2006.
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Butler, Stephanie (July 22, 2007) "Marian McPartlands Piano Jazz: Brad Mehldau". PopMatters. The two pianists play both individually and together. On "From This Moment On", Mehldau "utilizes multiple lines simultaneously rather than simply soloing against standard chord changes." He uses imaginative voicings on "When I Fall in Love".
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The term "So What chord" is used extensively in Mark Levine's landmark work The Jazz Piano Book, wherein he describes a range of uses for which the voicing might be employed. Frank Mantooth dedicated two chapters to the chord under the name "Miracle voicing" in his work Voicings for Jazz Keyboard.
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"Blues for Alice" is a 1951 jazz standard, composed by Charlie Parker.The Real Book, Volume I, p. 55The New Real Book, Volume II, p. 26 The standard is noted for its rapid bebop blues-style chord voicings and complex harmonic scheme which is a fine example of what is known as "Bird Blues".
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It incorporated influences ranging from punk rock, ambient music, post-hardcore and death metal. The music of the band features "death growls akin to hardcore and death metal, unusual chord voicings and polyrhythmic drumming." The basslines of the latest bassist were compared to jazz-fusion music and the works of King Crimson.
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When jazz guitarists play chords underneath a song's melody or another musician's solo improvisations, it is called "comping", short for "accompanying" The accompanying style in most jazz styles differs from the way chordal instruments accompany in many popular styles of music. In many popular styles of music, such as rock and pop, the rhythm guitarist usually performs the chords in rhythmic fashion which sets out the beat or groove of a tune. In contrast, in many modern jazz styles within smaller, the guitarist plays much more sparsely, intermingling periodic chords and delicate voicings into pauses in the melody or solo, and using periods of silence. Jazz guitarists commonly use a wide variety of inversions when comping, rather than only using standard voicings.
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However, not all jazz pianists leave out the root when they play voicings: Bud Powell, one of the best-known of the bebop pianists, and Horace Silver, whose quintet included many of jazz's biggest names from the 1950s to the 1970s, included the root note in their voicings. Improvising chord-playing musicians who omit the root and fifth are given the option to play other notes. For example, if a seventh chord, such as G7, appears in a lead sheet or fake book, many chord-playing performers add the ninth, thirteenth or other notes to the chord, even though the lead sheet does not specify these additional notes. Jazz players can add these additional, upper notes because they can create an important part of the jazz sound.
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The Edge's style of playing guitar is distinguished by his chiming timbres,Gulla (2009), pp. 57–65 echoing notes, sparse voicings, and extensive use of effects units. He favours the perfect fifth interval and often plays chords consisting of just two notes, the fifth and the root note, while eliminating the third.McCormick (2006), pp.
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Joseph Schillinger based his theory of chordioids off the above as well as those irregular voicings of 7th chords in which the 5th is present but the 3rd absent, and of 9th chords in which the 5th and 3rd are both absent.Schillinger, Joseph. (1941) The Schillinger System of Musical Composition, Vol. 1, p. 478.
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Scott Yanow of Allmusic said "The quartet performs unpredictable and sometimes eccentric versions of five standards and a previously unissued rendition of Konitz's "Antibes." Solal, whose chord voicings and use of space are quite original, acts as an equal partner with Konitz and the music is often magical and never overly safe. Worth investigating".
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He used a large variety of chord voicings, often creating the effect of two simultaneous players. Greene recorded one album, Solo Guitar, which was produced by William Perry and Leon White, and released in 1977 on PMP Records. The album contains no overdubbing (recording on multiple tracks). Although not well known to the public, Greene was respected by guitarists.
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The different necks have distinctly different voicings. The C6 has a wider pitch range than the E9, mostly on the lower notes. Certain players prefer different setups regarding which function the pedals and levers perform, and which string tuning is preferred. In the early 1970s, musician Tom Bradshaw coined the term copedent ( ), a portmanteau of "chord-pedal-arrangement".
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Coltrane chose the traditional English folk ballad "Greensleeves," arranged in a similar major/minor contrast as his popular "My Favorite Things."Ratliff, p. 67. For the two original pieces, "Africa" and "Blues Minor," Dolphy and Coltrane adapted Tyner's piano voicings for the orchestra. A second set of recording sessions for the album took place on June 7.
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In popular styles of music, much less of the music may be notated. A rock band may go into a recording session with just a handwritten chord chart indicating the song's chord progression using chord names (e.g., C major, D minor, G7, etc.). All of the chord voicings, rhythms and accompaniment figures are improvised by the band members.
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Cadd9 chord and two different voicings of the Mu chord on C: left, , . Notice the major second between the second and the third in all instances. A mu major chord or mu chord (signified by μ) is a particular voicing of an add 2 or "add 9" chord. It is formed by adding a 2nd to a major triad.
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Large symphonic chord voicings can be played on the chordboard with 12 notes available for each of the seven chord zones (84 active notes total). Each white key on the MIDI keyboard used represents an individual note within a chord zone, and is mapped to a note within a harmonic chord voicing pattern programmed for each chord, according to major-minor tonality and a particular voicing style (such as classic, jazz, or oriental). Due to the chord voicing mapping that takes place within the software, the entry level learning curve is short. In contrast, because of the millions of possible chord voicings between each of the seven chords in a key signature, more advanced level playing technique can take place, but over a much longer period of time.
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Jazz guitarists use their knowledge of harmony and jazz theory to create jazz chord "voicings," which emphasize the 3rd and 7th notes of the chord. Some more sophisticated chord voicings also include the 9th, 11th, and 13th notes of the chord. In some modern jazz styles, dominant 7th chords in a tune may contain altered 9ths (either flattened by a semitone, which is called a "flat 9th", or sharpened by a semitone, which is called a "sharp 9th"); 11ths (sharpened by a semitone, which is called a "sharp 11th"); 13ths (typically flattened by a semitone, which is called a "flat 13th"). Jazz guitarists need to learn about a range of different chords, including major 7th, major 6th, minor 7th, minor/major 7th, dominant 7th, diminished, half-diminished, and augmented chords.
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In jazz, the roots are usually omitted from keyboard voicings, as this task is left to the double bass player. Jazz pianists also make extensive use of chord "extensions", such as adding the ninth, eleventh or thirteenth scale degree to the chord. In some cases, these extensions may be "altered" i.e. sharpened or flattened, as in the case of a "sharp 11" chord.
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David Ezra Okonşar started composing at the age of 11. His role-models were Arnold Schoenberg and Pierre Boulez. The compositions by Okonşar were from the beginning exploring unusual ensembles in an avant-garde line. During the eighties atonal (free) Jazz specially by Cecil Taylor and the intricate voicings by Bill Evans had strong impact on the total serialism Okonşar always used.
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For instance, in a JAZZ genre, the STAC would utilize chord voicings that were compatible with larger chords such as the 9th, 11th, and 13th. The STAC allowed for key changes, genre changes, on the fly by a programmable section of keys on the top keyboard. All seven chords within any key signature selected were represented by the STAC (see photo).
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Keith Moliné is a British guitarist and electronic musician, best known for his work in Pere Ubu. He has also performed with David Thomas and Two Pale Boys, Infidel, They Came from the Stars I Saw Them, and Prescott. He uses Roland, Variax and Fernandes Sustainer technology, allowing him to produce numerous overlapping instrument voicings within the context of "live" playing.
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Yanow, Scott "Wynton Kelly: Piano Interpretations". AllMusic. Retrieved December 28, 2013. Critic Scott Yanow indicates that, at this stage of his career, Kelly's main influence was Bud Powell, but that his playing "displayed some of the joy of Teddy Wilson's style along with his own chord voicings".Bogdanov, Vladimir; Woodstra, Chris; Erlewine, Stephen Thomas (2002) All Music Guide to Jazz. p. 704.
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The Edge playing his signature guitar, the Gibson Explorer The Edge's style of playing guitar is distinguished by his chiming timbres,Gulla (2009), pp. 57–65 echoing notes, sparse voicings, and extensive use of effects units. He favours the perfect fifth interval and often plays chords consisting of just two notes, the fifth and the root note, while eliminating the third.McCormick (2006), pp.
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Tatum identified Waller as his biggest influence, while pianist Teddy Wilson and saxophonist Eddie Barefield suggested that Hines was one of his favorite jazz pianists. Another influence was pianist Lee Sims, who did not play jazz, but did use chord voicings and an orchestral approach (i.e. encompassing a full sound instead of highlighting one or more timbres) that appeared in Tatum's playing.
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Oliver Nelson was also known for his use of fourth chord voicings . Floyd claims that the "foundation of 'modern quartal harmony'" began in the era when the Charlie Parker–influenced John Coltrane added classically trained pianists Bill Evans and McCoy Tyner to his ensemble . Jazz guitarists cited as using chord voicings using quartal harmony include Johnny Smith, Tal Farlow, Chuck Wayne, Barney Kessel, Joe Pass, Jimmy Raney, Wes Montgomery, however all in a traditional manner, as major 9th, 13th and minor 11th chords (an octave and fourth equals an 11th). Jazz guitarists cited as using modern quartal harmony include Jim Hall (especially Sonny Rollins's The Bridge), George Benson ("Sky Dive"), Pat Martino, Jack Wilkins ("Windows"), Joe Diorio, Howard Roberts, Kenny Burrell, Wes Montgomery, Henry Johnson, Russell Malone, Jimmy Bruno, Howard Alden, Paul Bollenback, Mark Whitfield, and Rodney Jones .
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Acoustic guitar The guitar is not traditional in Irish music but has become widely accepted in modern sessions. These are usually strummed with a plectrum (pick) to provide backing for the melody players or, sometimes, a singer. Irish backing tends to use chord voicings up and down the neck, rather than basic first or second position "cowboy chords"; unlike those used in jazz, these chord voicings seldom involve barre fingerings and often employ one or more open strings in combination with strings stopped at the fifth or higher frets. Modal (root and fifth without the third, neither major nor minor) chords are used extensively alongside the usual major and minor chords, as are suspended and sometimes more exotic augmented chords; however, the major and minor seventh chords are less employed than in many other styles of music.
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The Mark V was introduced in early 2009. Much like its close cousin, the Triaxis Preamp, it features many voicings based on previous Mark Series amplifiers. It has three distinct channels, each with their own pre-gain three band tone stack, gain, master, and presence controls. Each channel also has three modes, which control several of the amplifier's 49 relays to mirror the circuit being modelled.
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He also wrote for modern ballet, and composed the scores of several feature films. As a pianist, Waldron's roots lay chiefly in the hard bop and post-bop genres of the New York club scene of the 1950s, but with time he gravitated more towards free jazz. He is known for his dissonant chord voicings and distinctive later playing style, which featured repetition of notes and motifs.
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Not only is digital software used, but acoustic instruments still are very important. In creating the instrumentals, usually riddims are created first and then the voicing part will take place afterward. There's fluidity in the fact that a riddim could have so many different voicings attached and on the flip side, a certain voicing could have so many different riddims which again reflects the diasporic transference.
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Keuning is noted as a guitarist for playing anthemic and soaring solos in addition to sweetened and often percussive style playing frequently. He is also noted for his "unusual voicings" and "digit-distending, string-skipping" finger work on the guitar in similar fashion of Andy Summers of The Police. Keuning was featured in Guitarist magazine in May 2009Crompton, Jamie. "Dave Keuning Interview: Serial Killer" Guitarist May 2009 Iss.
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Bill Evans performing at the Montreux Jazz Festival. Mastering the various chord voicings—simple to advanced—is the first building block of learning jazz piano. Jazz piano technique uses all the chords found in Western art music, such as major, minor, augmented, diminished, seventh, diminished seventh, sixth, minor seventh, major seventh, suspended fourth, and so on. A second key skill is learning to play with a swing rhythm and "feel".
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In the Western art music tradition, improvisation was an important skill during the Baroque era and during the Classical era. In the Baroque era, performers improvised ornaments, and basso continuo keyboard players improvised chord voicings based on figured bass notation. As well, the top soloists were expected to be able to improvise pieces such as preludes. In the Classical era, solo performers and singers improvised virtuoso cadenzas during concerts.
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Liberman's signature sound is a blend of Western and Middle Eastern influences from a blues and rock and roll perspective. He specializes in unique tones and phrasing, eastern scales, alternate chord voicings, song arrangement and phrase looping. In contrast with many players his effects enhance the music rather than his playing. He is constantly experimenting with new sounds through spontaneity and originality while being innovative and progressive through improvisation and expression.
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The next problem to be dealt with was the need to play with different voicings on the same guitar; i.e., the way the strings are tuned. The only way to accomplish this at the time was the addition of a duplicate neck and strings on the same instrument, tuned differently.Rickenbacker Console 758 tripleneck steel - 2011 TSGA Jamboree Players continued to add more necks, eventually getting up to four.
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Rio Nido then focused on the vocalese style of Lambert, Hendricks and Ross and Eddie Jefferson. They also included Doo-Wop classics in their performances. In 1983 they released Hi Fly on Red House Records and featured Dave Karr on flute and tenor sax and Jimmy Hamilton on piano. Rio Nido’s last recording was Voicings, recorded for the ProJazz label, one of the first early digital recordings released in CD format.
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Writing for Allmusic, critic John Vallier writes that the group "had a sophisticated and multi-faceted sound, one that melded an aggressive, samba-school-on-parade sound with a subtler air, redolent of Antonio Carlos Jobim, João Gilberto, and even the Bill Evans Trio". The album, he writes, "infused the soporific bossa nova scene of 1964 with much-needed doses of energetic rhythms, cutting-edge jazz voicings, and spontaneity".
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AllMusic awarded the album 3 stars and in its review by Scott Yanow, stated "At this point in time, pianist Brad Mehldau's style falls between Keith Jarrett and Bill Evans, being heavily influenced by the voicings of the latter and the free yet lyrical improvising of the former". The Penguin Guide to Jazz has listed the album as one of its "Core Collection" for fans of jazz music.
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The original plan was for singer- songwriter Jane Siberry to provide the voicings of the mermaids. But Siberry had a cold on the day those recordings were scheduled to take place, so her backing vocalist Rebecca Jenkins substituted instead. The musical score was composed by Mark Korven, who had only two weeks to complete the work. The film's musical arranger was John Switzer, who was also Jane Siberry's bassist.
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Guitar World described it as "a perfect illustration of [Smith's] mastery of the guitar's subtle inner-string voicings". According to Guitar World, the rendition was influential, becoming "the template for every guitarist to come". Smith's performance of the song was a favorite of guitarist Eddie Cochran and first turned Herbie Hancock on to jazz. James Sallis indicates that "[t]he mood of this ballad has never been more subtly captured".
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"Intro to the Steely Dan Song Book ", SteelyDan.com. Posted 05/96. When the chord is voiced with the 3rd in the bass, the presence of two stacked fourths in the upper register, between the second and the fifth, and the fifth and the root, gives the chord a quartal harmony flavour. The chord can also be voiced with the 9th (2nd) in the bass, although such voicings are generally known as slash chords.
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It is suggested that the chord was conceived on or for use on keyboards. Mu chords, or portions thereof, may be used in chord substitution by replacing the major triad found in voicings of other chords. For example, an Am7 chord can be voiced as a C major triad (CEG) with an A in the bass. A C mu major chord can be voiced as a DEG triad with a C in the bass.
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An mbira with only two or three octaves is better suited to fast, complex melodies while the larger five octave model is better suited to large chords and complex voicings. The shorter tines sound higher in pitch. This means that any ascending scale travels away from the player toward the back of the instrument. An ascending major scale is played by playing a "three-four" pattern: do-re-mi, fa-sol-la- ti, do-re-mi, etc.
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Retrieved: 21 September 2007 Martin played the song in the style of Bach to show McCartney the voicings that were available. Another example is the song "Penny Lane", which featured a piccolo trumpet solo that was requested by McCartney after hearing the instrument on a BBC broadcast. McCartney hummed the melody that he wanted, and Martin notated it for David Mason, the classically trained trumpeter. Martin's work as an arranger was used for many Beatles recordings.
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It points up his similarities to classical composers like Debussy and Chopin. But it also brings out a bittersweet sadness at the heart of his music." Reynolds praised, "the deep, dark keening sound of the cello, the twilight voicings of the piano and the perfect, pure pitch of Paula Morelenbaum's creamy voice." He concluded by saying, "This is chamber music of great beauty, which should appeal to both classical music lovers and fans of bossa nova.
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Much better documented are the years of Disley's association with Grappelli. His rhythm playing is notable for the lightness and propulsion engendered by his right hand technique while using Selmer/Maccaferri-style instruments noted for their projection and bright open tone, as well as choice of appropriate chord voicings. His contributions are most easily discernible in the solo introductions to certain swing tunes and in acoustic guitar solos backed by the other rhythm guitar and double bass.
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The two chords that open and close Igor Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes. The first chord is sometimes called the Psalms chord. William W. Austin remarks: Some chord voicings devised by composers are so striking that they are instantly recognizable when heard. For example, The Unanswered Question by Charles Ives opens with strings playing a widely spaced G-major chord very softly, at the limits of audibility.
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Particularly important is the presence of Alfredo "Chocolate" Armenteros, who had also taken part in the recording of 1950s descarga sessions with artists such as Tojo and Chico O'Farrill's All-Stars Cubano.Gerard (2001) p. 112. Unlike older descargas, Palmieri combines modal phrases and montuno patterns, and adds "harmonically advanced chord voicings, substitutions and alterations" to his guajeos. The title of the last track on the album, "17.1", corresponds to the average age of the percussion section.
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In musical set theory there are twelve trichords given inversional equivalency, and, without inversional equivalency, nineteen trichords. These are numbered 1–12, with symmetrical trichords being unlettered and with uninverted and inverted nonsymmetrical trichords lettered A or B, respectively. They are often listed in prime form, but may exist in different voicings; different inversions at different transpositions. For example, the major chord, 3-11B (prime form: [0,4,7]), is an inversion of the minor chord, 3-11A (prime form: [0,3,7]).
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Garland became famous in 1954 when he joined the Miles Davis Quintet, featuring John Coltrane, Philly Joe Jones, and Paul Chambers. Davis was a fan of boxing and was impressed that Garland had boxed earlier in his life. Together, the group recorded their famous Prestige albums, Miles: The New Miles Davis Quintet (1954), Workin, Steamin', Cookin, and Relaxin. Garland's style is prominent in these seminal recordings—evident in his distinctive chord voicings, his sophisticated accompaniment, and his musical references to Ahmad Jamal's style.
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During the first few seconds of the song, the background voicings "ooh-ooh, ooh, ooh", behind his spoken words, exemplify the heavily modulated sound of his voice through a Vocoder. The bridge features a vocoder as well ("Pretty young thing/You make me sing"), courtesy of session musician Michael Boddicker. Coldplay have used a vocoder in some of their songs. For example, in "Major Minus" and "Hurts Like Heaven", both from the album Mylo Xyloto (2011), Chris Martin's vocals are mostly vocoder-processed.
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In jazz, the term "faking" means to improvise accompaniment parts. The term "faking" in jazz does not have the same meaning as in faking in Classical music, where faking is seen as a controversial activity. In jazz, when a jazz quartet "fakes" accompaniment parts to a song with a singer, this is a synonym for improvising their backup parts. Improvising backup lines (chord voicings for piano/guitar, basslines for bass, and drum parts for drum set) is an essential skill for jazz musicians.
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Stephen "Stef" Carpenter (/ˈstɛfən/ STEF-ən; born August 3, 1970) is an American musician, known as the co-founder and lead guitarist of the alternative metal band Deftones. His guitar technique makes use of both ringing open strings and dissonant chord voicings, as well as stock power chords in polyrhythms. Carpenter began his musical career with Deftones playing the traditional six-string guitar. After becoming influenced by such bands as Fear Factory and Meshuggah, he began playing a seven-string guitar in the late 1990s.
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Things Ain't What They Used to Be is a 1989 album by McCoy Tyner released on the Blue Note label. Like Revelations (1987) it was recorded at Merkin Hall and features solo performances by Tyner, in addition he performs three duets with John Scofield and two with George Adams. The Allmusic review by Scott Yanow states that "the pianist makes every melody sound like a fresh original through his distinctive chord voicings and harmonies. This is a strong effort by one of the best".
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It is typical of chordioids that many different resultant chords can be created from the same base depending on the note or combination of notes added. The resultant chords on a single chordioid are somewhat related, because they can be progressed between using motion of just one voice. Theorists – or practical music teachers – writing of chordioids usually go so far as to advise that students learn them in the practical manner of chords generally: in all transpositions, ranges, permutations, and voicings, for reading, writing, and playing.Slonimsky, Nicholas.
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Allmusic awarded the album 3 stars. On All About Jazz Jack Bowers stated "there’s plenty of cleverly contoured music to appreciate. And it must be said that no other trumpeter ever sounded exactly like Shorty, who had a lively and swinging language all his own. His voicings for the trumpet section were similarly unexampled, and made any Rogers arrangement almost immediately identifiable. ...everything works, thanks to Shorty’s remarkable charts and the uncanny ability of his colleagues to speak volumes in only a few phrases".
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Jazz musicians are very much attuned to how "open" a chord sounds; generally, the more open the voicing, the less chance of conflict between the chord and melody or improvisation. For this reason, while comping, Wayne especially used the spread and split voicings, which have the most "open" sound in his system. The other forms, being more "closed", are often chosen in arrangements using counterpoint and melody. However, there are no hard-and- fast rules for choosing a particular form in a given situation.
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The ChengGong harmonica(a pun on the inventor's surname and , or "success," pronounced "chenggong" in Mandarin Chinese) harmonica, invented by Cheng Xuexue of China. has a main body, and a sliding mouthpiece. The body is a 24-hole diatonic harmonica that ranges from B2 to D6 (covering 3 octaves). Its 11-hole mouthpiece can slide along the front of the harmonica, which gives numerous chord choices and voicings (seven triads, three 6th chords, seven 7th chords, and seven 9th chords, for a total of 24 chords).
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For example, in a country music song, the guitarist will be expected to be able to perform a chord progression using an intricate fingerpicking style; in a heavy metal song, the guitarist will be expected to play power chords and complex, precise rhythmic patterns; in a jazz song, a guitarist will be expected to be able to play "jazz voicings" of the chords, which emphasize the third, seventh and often the sixth or ninth chord tones (this contrasts with the barre chord voicings used in pop and rock, which emphasize the root, fifth, and to a lesser degree, the third of the chord). Drummers and percussionists are expected to be able to improvise or prepare rhythm parts that suit the style of a given song. In some cases, an arranger, orchestrator or composer will provide a written-out bass part or drum part written in music notation (the five-line staff in which the notes are round symbols with or without stems). It is rare in jazz or rock for chords to be written out in music notation; the arranger or songwriter typically writes the chord symbol and expects the guitarist to improvise the appropriate chord voicing.
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For this soloist, a comper may decide to play altered dominants and dense harmonies. The next soloist, a jazz guitarist, may play sparse, delicate melody lines, with much space. For this soloist, the comper may use open voicings, omit passing chords, and try to play mainly in the space left by the soloist. If a soloist starts implying a certain style or feel in his solo, whether this is Afro- Cuban music or hard-driving swing, the entire rhythm section may shift to this style to support him.
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Over time, playing piano-accompaniment in ensemble sets, and then bands, changed from primarily time-keeping (consisting of repetitive left-hand figures) to a more flexible role. Ultimately, the skilled pianist was free both to lead and to answer the instrumental soloist, using both short and sustained, chordal and melodic, fragments—a technique known as 'comping'. Good comping musicians were capable of many and different chord voicings, so to match the various moods the different soloists were aiming for. In the early days not all leading pianists were concerned to provide comping.
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While the term treble is gender neutral, the term is widely used in place of the term boy soprano within the United Kingdom. The term became widely used by English composers of polyphonic choral music during the English pre-Reformation and Reformation eras. At this time choral music written for the Church of England was often voiced in five parts with TrMATB (Treble, Meane, Alto, Tenor, Bass) being one of the most common voicings utilized by Thomas Tallis and his contemporaries. In the Baroque era the term treble was used differently than it is today.
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Neither method strongly prevails over the other. For this reason, the phrase "chord-shape" is commonly used to clarify that the fingering shape and not the audible pitch is being referred to. With this concept in mind, if two players want to play a chord progression in a more interesting way, one can play first position chord- shapes with no capo, while the second player places the capo further up the fretboard and plays different voicings of the same chords. This creates a fuller sound than two guitars playing in unison.
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He wrote four books on the subject of jazz guitar performance and theory: Chord Chemistry, Modern Chord Progressions: Jazz and Classical Voicings for Guitar, and the two-volume Jazz Guitar: Single Note Soloing. His playing style included techniques such as harp-like arpeggios combined with gentle, tasteful neck vibrato, creating a "shimmer" to his sound. Other notable techniques included playing songs with a walking bass line with simultaneous melodies. Greene used counterpoint to improvise in a variety of styles, playing, for instance, a jazz standard such as Autumn Leaves in Baroque style.
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Afro/American Sketches is a jazz album by Oliver Nelson recorded in late 1961 and released in 1962. It is his first big band album as a leader.Afro/American Sketches at Jazzdisco In a June 7, 1962, review for Down Beat magazine jazz critic Richard B. Hadlock said this of Nelson: "In his penchant for melodic simplicity and inner complexity he is close to the secret of Duke Ellington's most enduring scores, and in his thick linear voicings there are echoes of Gil Evans at his best."Down Beat: June 7, 1962, vol.
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From these influences, he distilled his own individual guitar style. Some of his songs feature a basic Travis picking style of right-hand playing, but these are often distinguished by unusual chord voicings or by chords with added notes. An example of this is his song "Needle of Death", which features a simple picking style, though several of the chords are decorated with added ninths. Characteristically, the ninths are not the highest note of the chord, but appear in the middle of the arpeggiated finger-picking, creating a "lumpiness" to the sound.
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The original fakebooks were unauthorized, crudely copied publications for which copyright had not been paid to composers and songwriters or publishers. In the 1990s, legal fakebooks appeared, which had better editing and production quality, and which incorporated more arrangements (short intros or outros, or short sections with written-out chord voicings, chord melodies or basslines). A stripped-down version of fakebooks, typically the old unauthorized type, contains only the chords. faking : Despite the seemingly negative connotations of this term, it has a positive sense in the jazz scene.
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Vertical contrast is the combination of multiple styles simultaneously; Emerson frequently played a given style with one hand and a contrasting one with the other. This structure can be seen in works such as "Intermezzo from the Karelia Suite", "Rondo", and others. Emerson's love of modern music such as Copland and Bartok was evident in his open voicings and use of fifths and fourths, "Fanfare" emulating guitar power chords. He also used dissonance, atonality, sonata and fugue forms, exposing rock and roll audiences to a myriad of classical styles from Bach to Stravinsky.
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The flutina is a one-sided bisonoric melody-only instrument whose keys are operated with the right hand while the bellows is operated with the left. When the two instruments are combined, the result is quite similar to diatonic button accordions still manufactured today. Further innovations followed and continue to the present. Various buttonboard and keyboard systems have been developed, as well as voicings (the combination of multiple tones at different octaves), with mechanisms to switch between different voices during performance, and different methods of internal construction to improve tone, stability and durability.
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A lead sheet A lead sheet or fake sheet is a form of musical notation that specifies the essential elements of a popular song: the melody, lyrics and harmony. The melody is written in modern Western music notation, the lyric is written as text below the staff and the harmony is specified with chord symbols above the staff. The lead sheet does not describe the chord voicings, voice leading, bass line or other aspects of the accompaniment. These are specified later by an arranger or improvised by the performersBenward & Saker (2003).
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He would also watch each new Peanuts special to hear Guaraldi's newest music. In 1996, Winston released Linus and Lucy – The Music of Vince Guaraldi, primarily devoted to the theme music Guaraldi wrote for the Peanuts cartoons: fifteen television specials and one feature film, ranging from 1965 until Guaraldi’s death in 1976. "I love his melodies and his chord progressions," Winston said of Guaraldi. "He has a really personal way of doing voicings." Winston recorded a follow-up album, Love Will Come – The Music of Vince Guaraldi, Volume 2, released in February 2010.
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Improvising Blues Piano, p.81. . For example, the E chord described above can also be C6Δ9, Asus47(9), G69, Dsus24, 6 [no 7], Flydian (FΔ91113 [no 5]) or Fphrygian (Fm791113 [no 5]). Other jazz recordings that make extensive use of the chord include McCoy Tyner's "Peresina" and Gary Burton's "Gentle Wind and Falling Tear." Tyner's use of similar voicings was an early influence on Chick Corea; it can be heard in tunes such as "Steps" and "Matrix" (both featured on his landmark album "Now He Sings, Now He Sobs").
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Bentonia School, a style of guitar-playing sometimes attributed to blues players from Bentonia, Mississippi, features a shared repertoire of songs, guitar tunings and chord-voicings with a distinctively minor tonality not found in other styles of blues music.Blues: A Regional Experience, Bob L. Eagle, Eric S. LeBlanc, Greenwood Publishing Group (2013), p.212 While not all blues musicians from Bentonia played in this style, one particular blues player, Skip James (1902–1969), had a distinct, complicated, and highly sophisticated style that veered from typical blues guitar playing. His style became known as Bentonia School.
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Billboard magazine described the album as follows: "A neat teaming of talents here brings Peterson more strongly into the pop area than at any time in the past. Riddle's arrangements blend handsomely with their 10 celli, 5 horn and 5 flute voicings, with Peterson's perhaps underplayed pianistics here. There is, in fact, a kind of Claude Thornhill quality to these proceedings, making for strong mood as well as jazz buyer appeal." The album was nominated at the 1965 Grammy Awards in the category of Best Instrumental Jazz Performance - Large Group or Soloist with Large Group.
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Surprisingly, Wayne's approach reveals many chord forms that are comfortable to play but rarely seen, except in classical guitar fingerings. This is particularly true of inversions that begin on the third or sixth/seventh, and also of certain split and spread voicings. In Wayne's heyday, experienced guitarists were often puzzled to watch him playing chord shapes that they didn't even recognize, chords with subtle differences from the norm. Wayne's novel strategy gave him an exceptionally wide harmonic palette, helping him avoid the sameness often found in the playing of guitarists - even some great ones.
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He established the Dick Grove School of Music in Los Angeles in 1973. After the school closed in 1991, he established the Grove School Without Walls, a distance-learning school where he taught Musicianship and Modern Harmony, Composing and Arranging, and Jazz Keyboard via a series of books and accompanying videos and DVDs. While operating the Grove School and the School without Walls, Grove published many books on musicianship, jazz harmony, ear training, improvisation, composing, and arranging as related to contemporary styles of music. He pioneered innovative concepts such as tying the study of chord symbols, jazz harmony and chord-scale-theory to ear training by using movable do solfege; the concept of chord families to organize all possible chords (including all extended chords); the concept of plural interior chords and "assumed roots" within a chord family, which is instrumental in systematically organizing slash chords, polychords, and "upper structure" voicings used in jazz; the "grid" concept, an expanded circle of fifths that helps to visualize and analyze chord progressions moving through different momentary keys) according to criteria of good voice leading; the concept of "shapes" as a systematic approach to understanding voicings, a comprehensive approach to jazz harmonization and reharmonization.
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Da Capo Press, 1974. . If otonality and utonality are defined broadly, every just intonation chord is both an otonality and a utonality. For example, the minor triad in root position is made up of the 10th, 12th and 15th harmonics, and 10/10, 12/10 and 15/10 meets the definition of otonal. A better, narrower definition requires that the harmonic (or subharmonic) series members be adjacent. Thus 4:5:6 is an otonality, but 10:12:15 is not. (Alternate voicings of 4:5:6, such as 5:6:8, 3:4:5:6, etc.
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When playing in a group, he was able to accompany singers with quiet mastery, or let loose and play street samba in sloppy "party" style as if the guitar was another percussion instrument. Like Monk, he was fond of the minor second interval as a way to "bend" the tonality. However, because of his jazz background, he would rarely physically bend the string, preferring instead to play the minor second using an adjacent open string. Students of his style should note this preference for chord voicings that feature extensions on the open strings as a way of punctuating passages.
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Like Celtic rock in the 1970s, Celtic metal resulted from the application of a development in English music, when in the 1990s thrash metal band Skyclad added violins, and with them jigs and folk voicings, to their music on the album The Wayward Sons of Mother Earth (1990). This inspired the Dublin based band Cruachan to mix traditional Irish music with black metal and to create the subgenre of Celtic metal. They were soon followed by bands such as Primordial and Waylander. Like Celtic punk, Celtic metal replicates the fusing the Celtic folk tradition with contemporary forms of music.
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This makes the tuning reentrant (the > highest pitched strings are in the middle) and allows for unique chord > voicings. The range is roughly that of a baritone guitar. While devising the tuning Beck realized that some restringing was going to be needed to obtain optimal resonance from the strings, so he commissioned a custom-built instrument from luthier Rick McCurdy, of Cort Guitars: > I had someone build me a guitar, Rick McCurdy as it happens, and he made me > a beautiful guitar and so I started using it on the concert stage. > I'm actually playing through three channels.
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Although the earliest guitars used in jazz were acoustic and acoustic guitars are still sometimes used in jazz, most jazz guitarists since the 1940s have performed on an electrically amplified guitar or electric guitar. Traditionally, jazz electric guitarists use an archtop with a relatively broad hollow sound-box, violin-style f-holes, a "floating bridge", and a magnetic pickup. Solid body guitars, mass-produced since the early 1950s, are also used. Jazz guitar playing styles include "comping" with jazz chord voicings (and in some cases walking bass lines) and "blowing" (improvising) over jazz chord progressions with jazz-style phrasing and ornaments.
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Spector characterized Angelou's music as "calypso style with a liberal sprinkling of Afro-Cuban, and a dash of blues mixed together with delicate jazz". Foster, in the album's liner notes its 1995 reissue, called the music "fresh as the day it was recorded and entirely captivating", but that it followed the tradition of the calypso of its era. He described the album's genre as having "Jazz, Afro-Cuban rhythms, Odetta-style folk", with "gospel and blues voicings and Belafonte- influenced Caribbean flavors". Foster considered Tommy Tedesco's guitar and Al Bello's percussion as having a "Beat-era spiritual sound".
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A well-made flamenco guitar responds quickly, and typically has less sustain than a classical. This is desirable, since the flurry of notes that a good flamenco player can produce might sound muddy on a guitar with a big, lush, sustaining sound. The flamenco guitar's sound is often described as percussive; it tends to be brighter, drier and more austere than a classical guitar. Some jazz and Latin guitarists like this punchy tonality, and some players have even discovered that these guitars’ wide-ranging sound also works well for the contrapuntal voicings of Renaissance and Baroque music.
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Such a flat and rectangular voicing however, produces a less-than-sweet tone and offers far less dynamic flexibility (pitch bending) than a flute embouchure. The recorder voicing was designed to limit pitch bending for a more stable tone with variations in breath pressure. Typically, a shallow ramp instrument, such as a tabor pipe, will allow faster register changes, pitch bending and "flutey" tone, while an instrument with a deeper ramp will limit fast register changes, pitch bending and produce a more "reedy" tone. Some modern recorder makers now produce curved labium lip voicings to add harmonic tone color.
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We cannot know how major sixths actually were sung in the Middle Ages. In just intonation, the (5/3) major sixth is classed as a consonance of the 5-limit. A major sixth is also used in transposing music to E-flat instruments, like the alto clarinet, alto saxophone, E-flat tuba, trumpet, natural horn, and alto horn when in E-flat, as a written C sounds like E-flat on those instruments. Assuming close-position voicings for the following examples, the major sixth occurs in a first inversion minor triad, a second inversion major triad, and either inversion of a diminished triad.
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Masakowski with his keytar above a seven-string guitar Masakowski's switch pick In 1978, Masakowski invented the key-tar, a guitar-like instrument with seven rows of keys instead of strings, one key at each fret. This pre-MIDI controller was hardwired to a Moog synthesizer. One advantage of such an instrument was that it allowed playing more than one note in a row of keys at the same time, the equivalent on the guitar of playing multiple simultaneous notes on one string. Masakowski's song "Stepping Stone" was composed on the keytar, which allowed for the cluster-type chord voicings.
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Extended homophonic passages are rare in his sacred works, and he is particularly fond of imitation at very close time intervals, a technically very difficult feat (although he only rarely wrote strict canon).Reese, p. 257 He preferred the lower voice ranges instead of the four voices (SATB) which were the most common voicings for pieces at the time, such as five and six parts in mostly male registers. Gombert, unlike his predecessor and mentor, Josquin des Prez, used irregular numbers of voice entries and avoided precise divisions of phrases, resulting in a less-punctuated, more continuous sonic landscape.
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Waelrant uses text-painting as well, highlighting individual words with characteristic gestures, as a method to increase the expressivity of the music. Occasionally, his use of text-painting is obvious: for example, in his chanson Musiciens qui chantez, after the word "taire" (silent) all the voices rest for a moment of silence. Harmonically, Waelrant usually preferred voicings that contained complete triads, and with his preference for root motions of fifths over those of thirds, one can hear the impending tonal structures of the Baroque era, which was to begin shortly after his death. In this regard his motets also resembled those of Lassus.
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Jazz chords refer to chords, chord voicings and chord symbols that jazz musicians commonly use in composition, improvisation, and harmony. In jazz chords and theory, most triads that appear in lead sheets or fake books can have sevenths added to them, using the performer's discretion and ear. For example, if a tune is in the key of C, if there is a G chord, the chord- playing performer usually voices this chord as G7. While the notes of a G7 chord are G–B–D–F, jazz often omits the fifth of the chord—and even the root if playing in a group.
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Various kinds of partial capos A capo is a tool which clamps across all the strings of a string instriment, to raise the pitch of all the strings. This is done to achieve a brighter timbre, or to transpose the music to a higher key. Guitarists have also used many alternate tunings to change the pitch of the open (unfretted) strings. Recently, guitarists have begun to use capos that only clamp some of the strings, usually called a "partial capo", which offer similar options to guitarists as alternate tunings, with drone strings and new chord voicings.
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Improvised basslines typically outline the harmony of each chord by playing the root, third, seventh and fifth of each chord, and playing any other notes that the composer has requested in the chord (e.g., if the chord chart indicates a sixth chord on the tonic in C Major, the bassist might include the sixth degree of the C Major scale, an "A" note, in her/his bassline). The chordal instrument players improvise chords based on the chord progression. Chordal instrument players use jazz chord voicings that are different from those used in popular music and classical music from the common practice period.
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The arpeggios in Chuck Wayne's system were explained in his book with his student, Ralph Patt.Guitar arpeggio dictionary, Chuck Wayne and Ralph Patt 1965 Henry Adler Publishing NYC His arpeggios are derived from the rule for each two-octave arpeggio: 2-1-2-1-2 (five strings) for playing the tetrad (4 notes) harmonic forms of Chuck Waynes' chordal voicings. Unlike other ad-hoc arpeggio fingerings, the two notes per string followed by one note per string rule provides the characteristic legato sound of Chuck Wayne. Combined with the consecutive- alternate picking, the arpeggios resemble harp-like flows.
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Another internet-aided trend of 2010's jazz was that of extreme reharmonization, inspired by both virtuosic players known for their speed and rhythm such as Art Tatum, as well as players known for their ambitious voicings and chords such as Bill Evans. Supergroup Snarky Puppy adopted this trend, allowing players like Cory Henry to shape the grooves and harmonies of modern jazz soloing. YouTube phenomenon Jacob Collier also gained recognition for his ability to play an incredibly large number of instruments and his ability to use microtones, advanced polyrhythms, and blend a spectrum of genres in his largely homemade production process.
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In his review on AllMusic, Ron Wynn states "Guitarist Joshua Breakstone covers 10 tunes originally recorded by the guitar legends, but does not rip through them or make any concession to a more rock or pop approach. Instead, he takes them as he does any composition, playing in a gentle, relaxed pace, investigating the melody, slowly interpreting and revising via his solos. Breakstone's sound and approach are reminiscent of Jim Hall's, although his voicings are not as full, and his comping and tone are his own. Breakstone and company give Ventures fans and jazz audiences something to ponder with their explorations".
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Lenny Breau performed using an ensemble improvisational playing, along with a more orchestral finger-style solo jazz guitar. He used many diverse elements of music, including closed voicings, flamenco-style guitar, use of varied rhythms, fingered harmonics, modal jazz harmony, an intimate knowledge of inversions and tritone substitutions, and a great understanding of bebop. Bossa nova became popular in the early 1960s in part because of the album Jazz Samba by Stan Getz and guitarist Charlie Byrd and the song "The Girl from Ipanema" by Antonio Carlos Jobim. Although bossa nova isn't synonymous with jazz, the intermingling of bossa nova with jazz was fruitful for both genres.
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Joseph Leon Williams (February 3, 1935 – December 1, 2018), better known as Jody Williams, was an American blues guitarist and singer. His singular guitar playing, marked by flamboyant string-bending, imaginative chord voicings and a distinctive tone, was influential in the Chicago blues scene of the 1950s. In the mid-1950s, Williams was one of the most sought-after session guitarists in Chicago, but he was little known outside the music industry, since his name rarely appeared on discs. His acclaimed comeback in 2000 led to a resurgence of interest in his early work and a reappraisal as one of the great blues guitarists.
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Erkomaishvili's vision was to break through ethnic boundaries of regional styles while performing ethnographically authentic music from all of Georgia. The Rustavi's performance style synthesizes the powerful, rough-hewn sound characteristic of the traditional regional folk choirs with a newer, cleaner, more finely-honed aesthetic whose orientation is towards concert presentation - nowadays on an increasingly international scale. While striving to preserve, and in some cases recreate, authentic voicings and vocal timbres, the Rustavi singers have simplified the complex scales used by the earlier choirs in order to create firmer, more brilliant harmonies. The use of a smaller number of singers for certain songs has also helped to clarify their musical structure.
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Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence: > [T]hat's when I really learned some much farther-out voicings - like the > harmonies I used on Speak Like a Child - just being able to do that. I > really got that from Clare Fischer's arrangements for the Hi-Lo's.
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Allmusic awarded the album 4 stars, stating, "Kikuchi deserves accolades for not settling for another standard piano trio workout with the usual flashy runs and melody- solo-melody format. Instead, he really delves into the pieces, offering probing voicings and careful pacing, varying moods, timing, and tempo".Wynn, R., Allmusic Review, accessed December 8, 2014 Chris May wrote on AllAboutJazz, "It is not without some memorable moments—most notably "Speak Low," in which Motian takes a more assertive and forward role than he does for most of the time, and on which the group does achieve a sustained burn of collective momentum and beauty. But such moments are infrequent".
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In jazz, the term "fake" does not have the same meaning as in Classical music, and as well, it does not carry negative connotations. In jazz, when a jazz quartet "fakes" accompaniment parts to a song with a singer, this is a synonym for improvising their backup parts. Improvising backup lines (chord voicings for piano/guitar, basslines for bass, and drum parts for drum set) is an essential skill for jazz musicians. The use of the term "fake" in the jazz scene is illustrated by the expression "fake book", a collection of lead sheets and chord progressions for jazz standards (commonly-played jazz tunes).
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Meane (sometimes spelled mean) is a vocal music term used by English composers of polyphonic choral music during the English pre-Reformation and Reformation eras. At this time choral music written for the Church of England was often voiced in 5 parts, with MAATB (Meane, Alto, Alto, Tenor, Bass) or TrMATB (Treble, Meane, Alto, Tenor, Bass) being frequent voicings utilized by William Byrd, Thomas Tallis and their contemporaries. The meane part was typically sung by boys whose voices were not as high as a treble or boy soprano but were not as low as a countertenor. Occasionally the meane line would be sung by a combination of treble and countertenor voices.
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Ken Dryden reviewed the album for AllMusic and wrote that "This highly recommended CD is yet another of his finest hours". Dryden described the "...unusual chord substitutions to the very familiar "Over the Rainbow"" as "dazzling". Reviewing the album for the Jazz Times, Larry Appelbaum wrote that "The pieces are played in either ballad or medium tempo, and all the trademark Brubeck characteristics are here: his stacking of chords with moving inner voicings on "I'll Never Smile Again," the wry and audacious polytonality of "Bye Bye Blues" and the superimposition of one meter upon another on "Harbor Lights." Few pianists today take so many risks with standard repertoire, and fewer still with such wit, elegance and taste".
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An extremely diverse musician, Johnny Smith was equally at home playing in the famous Birdland jazz club or sight-reading scores in the orchestral pit of the New York Philharmonic. From Schoenberg to Gershwin to originals, Smith was one of the most versatile guitarists of the 1950s. As a staff studio guitarist and arranger for NBC from 1946 to 1951, and on a freelance basis thereafter until 1958, he played in a variety of settings from solo to full orchestra and had his own trio, The Playboys, with Mort Lindsey and Arlo Hults. Smith's playing is characterized by closed-position chord voicings and rapidly ascending lines (reminiscent of Django Reinhardt, but more diatonic than chromatically-based).
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Goldings' melodic style of organ playing has often been compared to that of Larry Young. On organ, Goldings cites as his first inspirations the solo piano style of Dave McKenna "who walks his own bass lines better than anyone" and Billy Preston accompanying Aretha Franklin on "Bridge Over Troubled Water." Other musical influences cited by Goldings include the Wes Montgomery records featuring Mel Rhyne and Jimmy Smith; Shirley Scott; Chester Thompson; Joe Zawinul; and Jack McDuff. Goldings' 1990s collaborations with Maceo Parker provided an authentic understanding of the language of funk music, and the voicings and rhythmic comping on the Hammond B3 organ as passed down by James Brown to Maceo Parker.
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Despite the reissue objective, the label released two one-riddim albums. The first was Tree of Satta (2003) which utilised the original "Satta Massagana" riddim featuring a mixture of new and vintage voicings over the riddim along with the original version of the song by The Abyssinians. The second, Fisherman Style (2006), utilised The Congos' "Fisherman" riddim and featured new material from a variety of singers including Horace Andy, U Roy, Big Youth, Luciano, Tony Tuff and Dillinger. The label also had a sound system which has featured original Jamaican artists such as Dilinger, Trinity, Ranking Joe, U Brown, Horace Andy, Dennis Alcapone, U Roy, Spikey Tee, Country Culture, Raggamonica along with Steve Barrow and Dom Sotgiu.
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While certainly facile in traditional blues and rock styles on that instrument, he has gradually developed a signature sound that includes elements of pedal steel and other various unusual harmonics and voicings. Other activities in the Los Angeles music scene included his stint as the MC at The Troubadour for the legendary Monday night talent showcases. In conjunction with his partner Matt Kramer, the two introduced or previewed many artists who have become mainstays in the music world including Tom Waits, Rikki Lee Jones, Karla Bonoff, Billy Vera and Gail Davies, among many others. Today, Joel resides in Seattle and is a familiar face as a multi-instrument accompanist at Northwest concerts, in California, Kerrville and elsewhere.
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The illustration shows one possible four-note voicing of a G7 third-inversion chord (written G7/F in lead-sheet chord-symbol notation), with every chord factor being represented once by a voice in the voicing. In Tertian harmony, chords are made more complex, or "extended", by introducing additional chord factors stacked in thirds. The illustration shows the theoretical construction of a C13 chord having seven chord factors, with the "extended" chord factors shown in red. In real applications, it is common practice to omit the eleventh from voicings of a dominant 13 chord, because though being necessary to theoretically derive the thirteenth by stacking on it, the unaltered perfect eleventh clashes with the major third.
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Chords are described here in terms of intervals relative to the root of the chord, arranged from smaller intervals to larger. This is a standard method used when describing jazz chords as it shows them hierarchically: Lower intervals (third, fifth and seventh) are more important in defining the function of the chord than the upper intervals or extensions (9th, 11th, 13th), which add color. Although it is possible to play the chords as described here literally, it is possible to use different orderings of the same notes, known as a voicings, or even by omitting certain notes.For instance, the dominant seventh 11 or Lydian dominant, C711, comprises the notes: :root (often omitted), 3, (5), 7, (9), 11, (13).
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In 1957, Russell was one of six jazz musicians commissioned by Brandeis University to write a piece for their Festival of the Creative Arts. He wrote a suite for orchestra, All About Rosie, which featured Bill Evans among other soloists, and has been cited as one of the few convincing examples of composed polyphony in jazz. Members of the orchestra on his 1958 extended work, New York, N.Y., included Bill Evans, John Coltrane, Art Farmer, Milt Hinton, Bob Brookmeyer, and Max Roach, among others, and featured wrap-around raps by singer/lyricist Jon Hendricks. Jazz in the Space Age (1960) was an even more ambitious big band album, featuring the unusual dual piano voicings of Bill Evans and Paul Bley.
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Redd's success in the theater production, however, did not advance his career in the United States, and shortly afterwards he moved to Europe, spending time in Denmark and France. He returned to the United States in 1974 and resettled on the West Coast; he became a regular on the San Francisco scene and recorded intermittently until 1990. In 2011, he resettled in Baltimore, where he still resides. Redd has always struggled to establish himself commercially, however musically, his creative lines, particular voicings and innovative compositions have solidified his reputation; he has worked with such musicians as Jackie McLean, Tina Brooks, Paul Chambers, Howard McGhee, Milt Hinton, Lou Donaldson, Benny Bailey, Charles Mingus, Louis Hayes, Al McKibbon, Billy Higgins, Osie Johnson, Tommy Potter, and Joe Chambers, among others.
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A pianist or organist who is good at faking can improvise an introduction, make up a backing pattern, or produce chord voicings to a given chord progression with no preparation. To "fake" means to be able to create on-the-spot backing parts. A comper who is good at faking can do this because she has a mastery of the "ingredients" of accompanying (chords, arpeggios, scales) and a good knowledge of idioms and stock devices (turnarounds, passing chords, bass "walk-ups" and "walk-down" lines). Continuing the cooking analogy, a good faker is able to quickly blend and mix these stock "ingredients" to produce what sounds to many listeners like a finished "dish" (in musical terms, a previously-written out arrangement).
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For the last, "the bustle of counterpoint is set aside as stark voicings gain warmth, sparse lines hover in space and a wistful melody lingers in the air". Between these two, Mehldau plays four preludes and one fugue from Bach's The Well-Tempered Clavier; each is followed by one of his own compositions that is an interpretation of the Bach piece. One is of the Prelude No. 3 in C-sharp major, which features the pianist "resetting Bach's original riff in a jerky 5/4 rhythm and taking it into a harmonically adventurous labyrinth. Similarly, a romantic, rubato-heavy reading of the F minor Prelude and Fugue is followed by a dreamlike meditation on some of the themes hinted at in Bach's original".
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Nolen developed a style of picking known as "chicken scratch," in which the guitar strings are pressed lightly against the fingerboard and then quickly released just enough to get a muted “scratching” sound that is produced by rapid rhythmic strumming of the opposite hand near the bridge. This new guitar style was affected not only by Nolen’s choice of two and three note chord voicings of augmented 7th and 9th chords, but also by his strumming straight 16th note patterns, as in James Brown’s "Papa's Got a Brand New Bag." Nolen’s choices of guitars and amplifiers also affected the sound for which he would be nicknamed. In his first recordings with James Brown, Nolen used a Gibson ES-175 and an ES-5 switchmaster, both hollow-body jazz guitars equipped with single coil P-90s.
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Reviewing the 2012 CD reissue for All About Jazz, Troy Collins calls Extension Fischer's "masterpiece," representing "a majestic culmination of his concepts, drawing upon myriad influences, including rich Ellingtonian voicings, the angular harmonic intervals of bebop, and bold modernist innovations proffered by classical composers such as Béla Bartók and Dmitri Shostakovich." Expanding on this notion, Collins continues: > Counter to the norms of the time, these meticulously scored big-band charts > are light on extended improvisation—but intentionally so—as Fischer > considered the relationship between composition and arrangement equally > important. Maintaining thematic control as primary soloist, Fischer proves > to be a concise, yet original interpreter, demonstrated by his adroit > pianism on the impressionistic tone poem "Quiet Dawn." His kaleidoscopic > Hammond organ work, revealed elsewhere on the record, is equally colorful.
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As a singer, Jenkins has primarily been a backing vocalist for Jane Siberry and Parachute Club. Early in her career, she provided the voicings of the mermaids in the 1987 film I've Heard the Mermaids Singing. She has also recorded tracks for a number of Canadian benefit and compilation albums, and participated in the Count Your Blessings concert with Siberry, Holly Cole, Mary Margaret O'Hara and Victoria Williams. As well, Jenkins is featured prominently on the Bye Bye Blues soundtrack album; her character in the film is a woman who takes up jazz singing to support her family while her husband is away during World War II. She also performed the title track "Bye Bye Blues" in Calgary at the September 1, 2005, opening the night of the celebration of Alberta's centennial.
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"Evolution of the Bugle / Evolution of the North American Competition Bugle 1968 through 2006" - The Middle Horn Leader Magazine The main advantages of horizontal-valved one-piston-with-slide and/or piston-rotor bugles include: # Ease of learning. The basic simplicity of the instrument allows for the possibility of rapid mastery by beginners # Substantially lower cost # Lightness # Ease of repair Additions to drum and bugle corps voicings occurred in the mid-1930s with the popularity of the baritone bugle, pitched one octave below the soprano. The tenor bugle also came into use at about this time, and although it was pitched in the soprano range, its slightly larger bore offered a darker, almost cornet-like and more robust tone. The tenor bugle fell from general favor by 1960 though they remained in bugle catalogs.
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The inner voicings within this chord pattern produce a chromatic descent of notes through each semitone from F to C. Musicologist Walter Everett comments on the aptness of the conciliatory lyric "Maybe you'd understand", which closes the second of these sections, as the melody concludes on a perfect authentic cadence, representing in musical terms "a natural emblem for any coming together". Pollack views the song's outro as partly a reprise of the introduction and partly a departure in the form of "a one-two-three-go! style of fade-out ending". On the Beatles' recording, the group vocals over this section include Indian-style gamaks (performed by McCartney) on the word "time", creating a melisma effect that is also present on Harrison's Revolver track "Love You To" and on Lennon's "Rain".
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Van Ronk took this pianistic approach and added a harmonic sophistication adapted from the band voicings of Jelly Roll Morton and Duke Ellington. He ranks high in bringing blues style to Greenwich Village during the 1960s, as well as introducing the folk world to the complex harmonies of Kurt Weill in his many Brecht-Weill interpretations, and was one of a very few hardcore traditional revivalists to move with the times, bringing old blues and ballads together with the new sounds of Dylan, Mitchell and Leonard Cohen. During this crucial period, he performed with Dylan and similar artists and spent many years teaching guitar in Greenwich Village, including to Christine Lavin, David Massengill, Terre Roche and Suzzy Roche. He influenced his protégé Danny Kalb and the Blues Project.
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The Double Take shows began in Sydney in 1986 and was part of the dub parody genre in which ostensibly serious films were deliberately re-voiced in a satirical or spoof-like manner. Well-known examples of this genre include the 1960s Jay Ward TV series Fractured Flickers and Woody Allen's What's Up, Tiger Lily? (1966). Double Take performances featured distinctly Australian voicings (often with exaggerated "Ocker" and ethnic Australian accents) and many local humorous references and the films that the Double Take team sent up were presented in their entirety with scripts were carefully tailored to follow the original sequencing of the movies. Double Take scripts were developed by Des Mangan and Lisa Sweeney and Sally Patience joined much later to become a contributor who provided voices for the films.
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A Rickenbacker 360/12 identical to the 12-string guitar used by Carl Wilson in the early to mid-1960s Early on, Mike Love sang lead vocals in the rock-oriented songs, while Carl contributed guitar lines on the group's ballads. Jim Miller commented: "On straight rockers they sang tight harmonies behind Love's lead ... on ballads, Brian played his falsetto off against lush, jazz-tinged voicings, often using (for rock) unorthodox harmonic structures." Harrison adds that "even the least distinguished of the Beach Boys' early uptempo rock 'n' roll songs show traces of structural complexity at some level; Brian was simply too curious and experimental to leave convention alone." Although Brian was often dubbed a perfectionist, he was an inexperienced musician, and his understanding of music was mostly self-taught.
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However, for other soloists who play in a very dense, complicated style, compers may need to use chords with many additional extensions, such as 9ths, 13ths, and altered voicings; they may also re-harmonize chord progressions depending on the soloist, thus creating a feedback of idea exchange between the soloist and the comper. For the most sophisticated soloists, a comper may need to be able to respond in real time to newly improvised implied chord changes. Compers must have an understanding of rhythm that allows them to respond to the rhythms and beat patterns the soloist plays, such as Latin or Afro-Cuban rhythms. As well, they must have a melodic sense based on a knowledge of a huge repertoire of different scales and scalar patterns, to be able to improvise countermelodies to supplement the soloist's melodies and fill in empty spaces.
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In the 1999 Classic Albums segment on Aja, Dias recalled the song as being particularly challenging for the guitarists, claiming that "its very existence is a contradiction. I mean, when have you ever heard a song on a rock'n'roll record that absolutely cannot be played on a guitar?" Specifically, he cited "clusters where the notes are so close together that you can't stretch your fingers far enough to get all the notes out at the same time ... [and] open voicings that are so wide apart that you can't reach the notes."Levens, at 43:53 The final recording used much of his work, including the long solo during the song's instrumental break; it was his last appearance with Steely Dan, and thus the last appearance of any of the group's original members besides Becker and Fagen on their records.
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Author Robert Rodriguez writes that the content of the five loops has continued to invite debate among commentators, however, and that the manipulation applied to each of the recordings has made them impossible to decipher with authority. Based on the most widely held views, he says that, aside from McCartney's laughter and the B major chord, the sounds were two loops of sitar passages, both reversed and sped up, and a loop of Mellotron string and brass voicings. In their book Recording the Beatles, Kevin Ryan and Brian Kehew list two loops of sitar recordings yet, rather than Mellotron, list a mandolin or acoustic guitar, treated with tape echo. Rather than revert to standard practice by having a guitar solo in the middle of the song, the track includes what McCartney described as a "tape solo".
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Writing for The Village Voice, Sara Sherr gave high marks to Tucker's vibrato, describing it as "a human teardrop [...] The one that hits you and feels like a kiss", while Robert Christgau praised the vocal interplay between Tucker and Brownstein, stating that the band "emerges as a diary of adulthood in all its encroaching intricacy". In a very positive review, Will Hermes of Entertainment Weekly highlighted the depth of the group's interplay, commenting that "Tucker explores what her voice can do when it's not in overdrive, stretching vowels like a religious supplicant or spewing prosody like Patti Smith. At the same time, Brownstein blossoms as a singer herself [...] braiding lines with Tucker so artfully the result sounds like the voicings of a single restless mind". He considered The Hot Rock as Sleater- Kinney's "most finely turned record" and that its music "never falters".
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In almost all genres of popular music and traditional music that use rhythm sections, ranging from rock to country to jazz, the rhythm section members are expected to be able to improvise (make up) their parts or prepare their own parts for a given song by listening to the CD at home. Once the bassist and chord-playing instruments are provided with the chord progression on a lead sheet (in which chords are typically named using the root note of the chord and its quality; e.g., C Major, d minor, G7, etc.), they are expected to be able to improvise or prepare a bass line and chord voicings, respectively, that suit the style of the song. In each style of music, there are different musical approaches and styles that rhythm section members are expected to use.
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Disley's style was frequently compared to Django Reinhardt's, particularly the single- string soloing. But he was also influenced by plectrum-style players such as Eddie Lang, Lonnie Johnson, and Teddy Bunn,MacKenzie chapter, p. 159 During the early part of his career, Disley developed an accompaniment style that incorporated complex and subtle jazz harmonies, the ability to play in any key anywhere on the instrument, including traditionally "non guitar-friendly" keys such as B flat and E flat, the choice of numerous alternate voicings for any chord, plus the incorporation of moving figures in the bassline and internal notes of chords. Although much of Disley's playing in this respect remains undocumented from his folk club years except for a few amateur recordings, the two tracks on Dave Swarbrick's Rags, Reels & Airs album give an indication of his swinging accompaniment.
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For their Brunswick recordings, "the Boswells took greater liberties, regularly changing style, tempi, modality, lyrics, time signatures and voicings (both instrumental and vocal) to create unexpected textures and effects." Connee's reworkings of the melodies and rhythms of popular songs, together with Glenn Miller's arrangements and New York jazz musicians (including the Dorsey Brothers, Benny Goodman, Bunny Berigan, Fulton McGrath, Joe Venuti, Arthur Schutt, Eddie Lang, Joe Tarto, Mannie Klein, Dick McDonough, and Carl Kress), made these recordings unlike any others. Melodies were rearranged and slowed down, major keys were changed to minor keys (sometimes in mid-song), and unexpected rhythmic changes were par for the course. They were among the few performers who were allowed to make changes to current popular tunes since, during this era, music publishers and record companies pressured performers not to alter current popular song arrangements.
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For instance, in a duo for saxophone and bass, the saxophonist might comp during the bass solo by playing guide tones. For example, during the standard jazz chord progression ii7/V7/I/VI7 (in the key of C Major, this would be Dm7/G7/C/A7), a horn player might play the guide tones, in whole notes, C (minor 7th of d minor), B (third of G7), A (sixth of C; sixths are added to major chords and dominant seventh chords in jazz even when not specified) and G (minor 7th of A7). This is only one possible guide tone sequence. A second guide tone sequence (in whole notes) might be F (minor third of d minor), E (sixth of G7), D (ninth of C Major; as with sixths, ninths are often added to chord voicings even when not indicated), C# (major third of A7).
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Because the G-101 was manufactured by Lowrey, its electronics - and thus, its voicings - are similar to Lowrey's own T-1 and T-2 models (all of which use the same generator boards as the Lowrey TLO ["Holiday"] spinet models); the G-101 is not, however, identical and does contain several additional distinctive features. The "Repeat" feature sounded similar to tremolo, but used a re-triggering circuit on the percussion board instead; the knob could be used to control its off/on and speed rate. This feature often faded in functionality because it used a "photo-cell" which contained a neon bulb that could dim over time, but this is fixable by locating and installing an appropriate replacement part. The "Glide" effect pitched the notes flat by a half-step when actuated by the side-lever on the expression pedal when the "Glide" tab was selected to "Normal".
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Opens with: "For the basic concepts, see the Wikipedia article Otonality and Utonality." Accessed: December 18, 2017. Melodic inversion is not inversion in the usual sense, in which C E G becomes E G C or G C E. Instead, C E G is turned upside down to become C A F. A chord's odd limit is the largest of the odd limits of each of the numbers in the chord's extended ratio. For example, the major triad in close position is 4:5:6. These three numbers have odd limits of 1, 5 and 3 respectively. The largest of the three is 5, thus the chord has an odd limit of 5. Its melodic inverse 10:12:15 has an odd limit of 15, which is greater, therefore the major triad is otonal. A chord's odd limit is independent of its voicing, so alternate voicings such as 5:6:8, 3:4:5:6, etc.
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It is sounded during the first two measures by Hendrix playing a B on guitar against an E played by Redding on bass, followed by the respective octaves. Mitchell on drums comes in for the third measure, when Hendrix introduces the riff that piqued Chandler's interest, and Redding continues playing the octaves in E. After the riff, the verse sections begin, which Shadwick describe as "simplicity itself, consisting of just three chords": E79, G, and A. The E79, or dominant seventh sharp ninth chord, has come to be called the "Hendrix chord" by guitarists and was used primarily in rhythm and blues and jazz before Hendrix helped popularize it. He also used an unconventional fingering technique for the G and A chords. Because Hendrix used his thumb to fret the roots of the G and A chords on the sixth string, his fingers were left in a position to create different chord voicings.
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Double Take was very similar in style to (and may have been partly inspired by) two sketches that featured under the banner "Europa Productions" in the popular Australian TV comedy series The Aunty Jack Show (1972–73). In these pre-recorded sketches the Aunty Jack team satirically re-voiced an Italian Hercules film (renamed "Herco the Magnificent") and the 1952 Robert Newton swashbuckler Blackbeard the Pirate (renamed "Gidget Goes Tasmanian"). Like these TV sketches, Double Take performances featured distinctly Australian voicings (often with exaggerated "Ocker" and ethnic Australian accents) and many local humorous references, but unlike the L.A. Connection shows – which often used heavily edited versions and excerpts of films – the films that the Double Take team sent up were presented in their entirety and the scripts were carefully tailored to follow the original sequencing of the movies. Mangan and Patience gained a strong following around Australia with their Double Take shows, which were performed live in a cinema.
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Virtually all current synthesizers and their sound libraries are designed to be played primarily with a keyboard controller, whereby the player often reserves one hand to manipulate the many real-time controls to determine how the instrument sounds, and perhaps using a foot to manipulate an expression pedal. Wind controller players do not have access to as many of these controls and thus are often limited in exploiting all of the potential voicings and articulation changes of their synthesizers, but the technologies of physical modeling (Yamaha VL-70), sample modeling and hybrid technologies (SWAM engine) promise more expression control for wind controller players. Furthermore, sound designers are paying more attention to the different playing idioms in which their sounds will be used. For example, certain percussion sounds do not work well with a wind controller simply because playing a struck instrument it is not idiomatic to the woodwind, whereas synthesized instruments that model the acoustic properties of a woodwind will seem fitting and natural to a wind controller player.
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Roche's hypothesis that Palestrina's seemingly dispassionate approach to expressive or emotive texts could have resulted from his having to produce many to order, or from a deliberate decision that any intensity of expression was unbecoming in church music, reflects modern expectations about expressive freedom and underestimates the extent to which the mood of Palestrina's settings is adapted to the liturgical occasions for which the texts were set, rather than the line-by-line meaning of the text, and depends on the distinctive characters of the church modes and variations in vocal grouping for expressive effect. Performing editions and recordings of Palestrina have tended to favour his works in the more familiar modes and standard (SATB) voicings, under-representing the expressive variety of his settings. There are two comprehensive editions of Palestrina's works: a 33-volume edition published by Breitkopf and Härtel, in Leipzig Germany between 1862 and 1894 edited by Franz Xaver Haberl, and a 34-volume edition published in the mid twentieth century, by Fratelli Scalera, in Rome, Italy edited by R. Casimiri and others.
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The beautiful art style and soundtrack are key elements to immersing yourself" Touch Arcade awarded Ticket To Earth 'Game of The Week' whilst stating "Fantastic music - seriously, turn the sound up." Carbone has also remixed several tracks as part of the Carl Cox Collective and produced and co-wrote an album for Australian artist Wensday titled 'Fading' which debuted in the top 10 [Triple J] Unearthed charts. In 2017 Carbone as Carbon Electra released the 'Mussenden EP' on Intec Digital, and as FSOM released 'The 90's Anthology' album featuring tracks never before available online. Carbone designed and released the highly successful music software 'Scaler' to worldwide critical acclaim as the first piece of software that analyses musical performances and notation in order to detect the scale and key and suggest alternate scales, chord voicings and chord progressions. Scaler received several positive reviews in major magazines and webzines including 9/10 in Computer Music, 4.7/5 at Rekkerd, a Music Tech Magazine ‘Editors Choice Award’ and a review in Sound on Sound which stated "Scaler will undoubtedly appeal to those who are stuck in a compositional rut and is accessible to almost anyone.
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The fifth of the chord is often omitted as well, if it is a perfect fifth above the root (as is the case in regular major chords and minor chords. The altered extensions played by a jazz guitarist or jazz pianist on an altered dominant chord on G might include (at the discretion of the performer) a flatted ninth A (a ninth scale degree flattened by one semitone); a sharp eleventh C (an eleventh scale degree raised by one semitone) and a flattened thirteenth E (a thirteenth scale degree lowered by one semitone). If the chordal playing musician were to omit the root and fifth of the dominant seventh chord (the G and D) and keep the third (B) and flatted seventh (F), and add the altered tones just listed (A, C and E), the resulting chord would be the pitches B, C, E, F, A, which is a much different-sounding chord than the standard G7 played by a pop musician (G, B, D, F). In Classical harmony and in pop music, chord voicings often double the root to emphasize the foundation of the chord progression.
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