Coltrane's Interpretation Of The Sound Of Music

While in the head, the winds played a harmonization of one theme, the rest of the band just accompanied behind them, creating a rather homophonic texture. The form of the piece seemed rather simple, AAI, with larger structure of: intro-head-solos-head-tag. At the beginning of the piece, the drumset player was given room to improvise an intro, and it was nice to hear what he did especially after not having played many solos in the previous tunes. Right after the drumset player’s intro, the group jumped right into the head. This specific arrangement seemed to have written out snippets of Coltrane’s solo, because right after both iterations of the head, instead of jumping into the solo section there was a densely-harmonized saxophone soli that sounded like quotations. It was after this showcase and a few more embellishments from the rest of the group that the actual solos began. Most of the soloing was grounded on staying right on top of the changes and echoing the angular phrases in the head, not venturing out too far with the rhythms. I think the soloists did a good job of that, but could have taken more risks with playing around with the rhythms. However, being in the hot seat is already stressful enough on this piece that playing it safe is not a bad thing, it’s just about surviving at that

The movie, Music Within was an informative and brilliant movie based on the the true story of Richard Pimentel. Afer returning home from Vietnam with significant hearing loss, Pimentel’s purpose in life became became obvious to him after he realized just how badly disabled people were being treated and to the degree, they were discriminated against. He wanted to improve the lives of the disabled and allow them the same rights as any other human being. Pimentel became an advocate for the disabled and was truly instrumental in the passage of the Americans with Disabilities Act.

The song starts off from 0:00 to 0:12 with a melody begun by the saxophones, and there are riffs apparent played by the brass section behind this melody, followed by a repeating of this section until 0:22 when the brass section of instruments climbs up the scale to a higher key. This section, from 0:22 to 0:29,

I attended a Jazz Recital presented by faculty on March 9th 2016 in Marlboro Hall 1076. The recital was performed by Bobby Muncy, Gene D’Andrea, Shaun Jurek, Andrew Hare and Dr. Nakia Verner. The group performed the following songs, Donna Lee composed by Charlie Parker, Wave composed by Antonio Carlos Jobim, Misty composed by Erroll Garner, Another Song(For All The Pretty People) and Impressions composed by John Coltrane. In my essay I will discuss Impressions composed by John Coltrane.

The “Davenport Blues” introduction begins sounding somewhat homophonic. It sounded homophonic because the cornet and clarinet begin by playing the same melody but at different pitches. The melody in the intro sounds a little broken up and unorganized. But then we begin to hear the verses becoming somewhat reminiscent of the New Orleans style, which is known for its collective improvisation and polyphony. Polyphony is clearly heard in the three different melodies played simultaneously by the cornet, clarinet, and trombone in the “Davenport Blues” verses.

"I've got to keep experimenting. I feel that I'm just beginning. I have part of what I'm looking for in my grasp, but not all."

Throughout history, music has evolved and branched off into many different categories, each of which have distinct styles and orchestrations; there is classical music that is centuries old and today there is modern contemporary music that is often synthesized or played with electronic instruments. There are also many ways that the two styles can cross over each other; this is seen in popular music and a lot of video game music. Though many people cannot see any similarities between modern and classical music, modern music is really an evolution of classical music; the roots of modern music go back to classical era.

In 1965 Robert Wise presented the world with his smashing box office hit film, The Sound of Music. Over time it has become known as one of the most loved and well-known musicals of all time. Shortly after its release it won many Academy awards: Best Picture, Best Director, Best Sound, Best Adapted Score, Best Film Editing, Best Film-Musical, Best Color Cinematography, and Best Costume design (Freiden par3). The movie is based upon the true story of the VonTrapp family and allows its audience to relive their family experience as well as their flight from Nazism just before the outbreak of World War Two.

Piano trills are just a small part of the great work developed by Chadsey, who cleverly infuses a sort of spirituality in the harmonic sequences in order to exalt and stun. Vocals take over the second section, uttering Bly’s words - ‘I would rather go in dead and successful than alive and behind time’. This melody is intermittently repeated by the organist behind Fleenor’s passionate solo. For the triumphant finale, the first section is retrieved and intensified by fluttering horn stamps and decisive percussion maneuvers.

The Hard Bop style is really a listener’s style, with the head of the selection preparing the listener for the upcoming solos, and then closing out the selection with a similar head. The head of “Sparks” is a short 32 bar popular form that has an influence of Dizzy Gillespie’s “Salt Peanuts”. The rhythm section lays down the harmony for the solos of Marsalis and Blanding. Marsalis flawlessly transitions to his solo, immediately increases tempo and fingering the trumpet to perfection. Marsalis maintains a traditional and timeless technique that takes the listener back to the 1960’s. As you watch him play you witness his emotion appear through his improvisation. Marsalis closes out his improve by returning to the head chorus, this signaled Walter Blanding for the sax solo. Blanding begins playing right where Marsalis left off with the chorus. He transitions into his sax solo that has John Coltrane feel to

Tyner’s style is different from the other jazz pianist because he produces a unique low bass sound that is different from the others. It seems that Tyner’s base chords are being played as if it were leading is right hand. Tyner and Coltrane solo on chord changes on certain parts of the song, Tyner plays a different chord during each of Coltrane’s solos. Certain parts of this

The title of the fourth song was called, “Let’s get away from it all”. In their fourth song again, saxophone was played a huge role. From the beginning of the song piano kept playing same melody line repeated and saxophone was moving wide range of notes and pitch. The rhythm and the tempo of drum changed as saxophone changed rhythm and the tempo. The bass guitar helped drum to follow saxophone’s rhythm and tempo. The saxophone style was kind of similar with the how Louis Armstrong was playing a solo. There were two guitars, but saxophone dominated other instruments and it was difficult to hear other instruments.

1. I think the biggest element that made this song unique is the use of counterpoint. Counterpoint is the use of two or more melodic lines of equal importance. During the course of the song, no one melody sounds like the main melody, and are all of the same significance. I think this would have upset many of the jazz purists, as it was such a change from traditional jazz music.

Miles Davis loved the "new" Coltrane, and hired him back into his band for a third time. Davis came up with a new jazz concept, modal improvisation.

This piece is a jazz standard that was composed by Arthur Schwartz and Howard Dietz. Schwartz was born in Brooklyn, New York on November 25, 1900 and died on September 3, 1984. He began playing piano and harmonica at a very young age and also wrote silent films at the age of fourteen. Dietz was born on September 8,1896 and died on July 30, 1983. He was a publicist and lyrists. Him and Schwartz first started working together when they teamed up for a Broadway show in 1929. They composed Alone Together in 1932 for the Broadway musical “Flying Colors” (Schwartz composing the music and Dietz the lyrics).