Mary Halvorson Essay

One of the leading black female activists of the 20th century, during her life, Mary Church Terrell worked as a writer, lecturer and educator. She is remembered best for her contribution to the struggle for the rights of women of African descent. Mary Terrell was born in Memphis, Tennessee at the close of the Civil War. Her parents, former slaves who later became millionaires, tried to shelter her from the harsh reality of racism. However, as her awareness of the problem developed, she became an ardent supporter of civil rights. Her life was one of privilege but the wealth of her family did not prevent her from experiencing segregation and the humiliation of Jim Crow laws. While traveling on a train her family was

Mary Abigail Wambach, otherwise known as Abby Wambach, was born on June 2nd, 1980 in Rochester, New York. She is the youngest of 7 children, 4 older brother and 2 older sisters. Her childhood was filled with playing whatever sports her older siblings were playing. Even though she was the youngest she was still able to be compete with her older siblings and their friends. In high school she focused on her two favorite sports basketball and soccer. The first heartbreak of her playing career game came during her senior year of high school soccer. During the state Championship game her team blew a 3-0 lead and eventually lost 4-3. While Abby scored two goals in this game, she still considers this one of the biggest disappoints of her playing career.

This review is about the Studio Big Band and their performance in the Casa Loma Room at the University of Redlands on Thursday, February 23rd at eight in the evening, under the direction of Prof. David Scott. The concert was made up of the following tunes: “High Maintenance” by Gordon Goodwin, “Four” by Miles Davis (arr. Dave Bardhun), “Nica’s Dream” by Horace Silver (arr. Frank Mantooth), “Witchcraft” by Cy Coleman (arr. Sammy Nestico), “Footprints” by Wayne Shorter (arr. Mat Harris), “Category 4” by Jeff Jarvis, and “Giant Steps” by John Coltrane (arr. Mark Taylor). The music on this program was very relevant for the eras we are covering or will be covering soon in the class, and to this end, the piece I will be focusing on

The second movement began with a solo from a wind instrument which I am not familiar. It seemed to be somewhat of a cross between a harmonica and maybe an African flute. This solo was guided by a guitar which provided an enticing rhythm. Also the tempo seemed to be much slower but it provided an eerie mysterious theme to the music which

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,

This is a gospel singing, soul convincing musician and jazz orchestra piano player. That has inspired the world with her unique talents.

The word peace can be heard again in “Celebration”, a non-standard AABA form and a festive communion of horns and vocals that thrive at a daring 5/4 tempo and flutters with brisk, colorful improvisations by Walrath, Hilts, and Parrott on baritone.

The rhythm of the song has a harmonious tone throughout the song. In this song, the timbre has a deep intense color to it making it more interesting for the audience. Emotional content for this song comes with the singer Deejha Marie as she interacts with all the performer in this high beat song. The song has an upbeat tempo that brings everyone up and out of their seats to dance on the dance floor. Jonny playing the sax was into the song and was grooving out, at one point when on the dance floor with his sax and started playing it in the middle of everyone dancing. From start to finish this song makes you want to get up and get rowdy. Sue Palmer the pianist towards the end hits some nice intense piano notes that make the song. In the song, there is a trombone player that wasn’t at the concert but in the actual song she has a solo that’s awesome.

The following piece, Harold Land’s Compulsion, was arranged for a trombone-less quintet engagement and spread colorful post-bop energy.

Boschnak’s “Expositions” tears into a puissant rhythm and groove after an intriguing intro featuring the deep tones of the bass clarinet, which, together with bowed bass reinforces the foundation’s density with swaggering stance. Rather intelligible than sprinting, the trumpet solo that follows, momentarily complemented with clarinet punctuations, disembogues in a bridge that leads to a vocalized ostinato interlude, obsessively iterate by the guest

The extended first piece was inspired by Ornette’s 1967 “Forms and Sounds” and was conveniently entitled “New Forms New Sounds”. The structure comprised two distinct sections that were played alternately a couple of times before the individual solos of each member. The first section included guitar, violin, and bass, while horns and drums shaped the second. Before completing the whole cycle, the audience was marveled with the collective

Kate may be young but she is incredibly talented and a musician who is going places. Besides being proficient in several genres of music - including classical, jazz, Celtic, old-time, and more - Kate is also a gifted composer. In the studio, this means she can read music that has been written for her, collaborate on writing a part or improvise on the spot. So make sure you get Kate’s violin and fiddle sound on your recording at $50 an

This swinging, riff tune based on a progression similar to the chords used in Bags’ Groove by Milt Jackson. The chart features fun, infectious rhythmic features, and an approachable solo section with a suggested solo and chord changes provided ffor every member of the band. The chart also features an ensemble section which moves from a whisper to a roar.

Jimi Hendrix blooms a chopped and screwed beat inserting an image of hanging around a 70’s Vietnam war staging ground, with death and despair in the air. The Drums dictate the guitar tune and force the beat throughout the whole song like a dictating general. Yet, the drums and guitar pickup gradually and get faster with unison of slowed and rough notes. With the hard beating drums, almost like a machine gun firing blankly into a battlefield, dictating the pause and change of the ear piercing guitar strings. In unison of the 2 instruments it creates an intimidating vibration of infidelity and guilt about murder, lingering a story behind the tune. Hendrix injects elements of jagged ragtime blues and Hendrix's new rock, combining them in a unheard

“Prelude” opens up the record with a strong rhythmic focus in a sturdy sax-bass-drums trio format, exposing fiery timbral explorations and edgy hooks while binding post-bop stamina and swinging passages. This tradition-modernity crossing is even stronger