Samantha Boshnak: Concert Analysis

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 soul and passion in the delivery of the song is depicted through the clear enunciation of each syllable, allowing the audience to empathize with the shame that he came across and the hope that things will change. The song ends with a slow decrescendo of the majestic strings and horns. The overall music in the song elicits melancholy yet majestic emotions, showing that while the events during the time were distressing, there is a glimmer of hope in the background represented by the occasional sounds of the horn and kettledrum in the

The rhythm section consists of the piano by Paul Mertz, drums by Tommy Gargano, and banjo by Howdy Quicksell. Throughout the piece, the cornet, which is accompanied by the clarinet, plays the main tune as the trombone and piano keep the tempo like a bass. The piano plays the chords as the trombone plays consistent quarter notes which helps the whole ensemble keep time.

On November 18, 2015, I attended a UAB concert involving jazz combos and a guitar ensemble. This concert was filled with amazing musicians, intricate solos, and thick harmonies. There were three jazz combos and one guitar ensemble; the first set was the guitar ensemble, which contained four guitarists and one bass player. The ensemble consisted of four songs: “Swing It,” a swing-style song; “Samba #1”; “A Child is Born,” a waltz; and “Bill’s Bay.” The main theme of “Bill’s Bay” was very catchy and memorable, and the ensemble’s most impressive player to me was Michael Galanti on the bass guitar. His solos involved precise pizzicato and quick movement that I have never witnessed in a bass player.

Moments of poignant abstractionism are delivered in the electronic-tinged “Time Takes Its Return” while “Where Worlds Collide”, a typical Binney creation well structured from root to branches, rejoices with plenty of life. Weiss enchants with his percussive clear-sightedness, and after the torrential bursts from guest saxophonist Shai Golan, Sacks shows why he’s one of the most rhythmically daring pianists in

The album title is also the name of the eight-piece jazz ensemble she leads, which comprises multifaceted musicians such as trumpeter Jack Walrath, saxophonists Lily White (who also produces) and Lisa Parrott, trombonist Deborah Weisz, cellist Marika Hughes, bassist Ratzo Harris, and drummer Scott Neumann.

On the night of February 11, 2017, Sarah and I traveled to the Music Hall at Fair Park to see Broadway’s hit “An American in Paris.” This was one of the most breathtaking shows I have ever experienced. From the talented dancing, magnificent acting, and wonderful singing it was a great way to spend my night! George and Ira Gershwin composed the music in this show the and the performers did a fabulous job making it entertaining. It was an amazing show to get to write about for my last Honors Paper, and I hope to see it again one day.

When I saw the piece of the skulls over the drum, it really struck me. The piece showed that life is constantly moving even after your dead. There is a musicality to life even when you're dead. There is a moment of recognition of the fallen when the drums play during certain parts of the music, but the music continues

The sextet he summoned to join him on the bandstand had a three-horn frontline composed of David Neves on trumpet, Sam Dillon on tenor saxophone, and Kalia Vandeaver on trombone, and was rounded out with his mates from the rhythm section, David Meder on piano and Marty Jaffe on bass.

What does McBride bring us this time? Originals? Jazz standards? Elated post-bop classics? Well, the answer is yes to all of that, and he does it with an impressive cohort of artists and outstanding soloists, many of them retrieved from the first experience, including saxophonists Ron Blake and Steve Wilson, trumpeter Freddie Hendrix, trombonists Steve Davis and Michael Dease, as well as pianist Xavier Davis and vocalist Melissa Walker.

The concert I attended was called the Faculty and Student Recital, which took place in the Cisco Auditorium on April 11, 2017. The music that was on the program was mostly what is called “classical” music, as well as a Chinese Folk Song, an electronic composition, and variations on an Indian Tala. In the classical pieces, the instruments that were used were the violin, the piano, the cello, and the oboe. In the electronic composition, the computer was used to make music. In the Chinese Folk Song, the piccolo was used to imitate the unique timbre of a Chinese flute. In the Indian tala, drums from Ghana were used to imitate the rhythm and sound of Indian drums. The piano, the violin, the cello, and the piccolo all originate

The piece “Stakeout” by “The Tango Saloon” effectively uses instrumentation, harmony and rhythm to convey character in the song. The prominent use of organ in the piece contributes to the songs tense, foreboding character. The dissonance created by the organ and the use of a rotary speaker creates a thick, unnatural and disturbing timbre. The character of the song is also conveyed using auxiliary percussion. The ostinato arpeggio played on the xylophone in the chorus, along with the tubular bell strikes, shakers and heavy toms convey this character.

I have chosen to review the musical Guys and Dolls Jr., performed by the Charlotte Country Day Middle School. At the beginning of the musical, there are many discussions about the unknown location of the famous Nathan Detroit’s next crap game. Nathan has been engaged to Adelaide, who is a performer at the Hot Box, for fourteen years. Nathan Detroit learns that Sky Masterson, a well-known gambler, is in town. After a failed attempt at a cheated bet, Sky bets Nathan that Sky would be able to take any ‘doll’, including Sarah Brown to Havana, Cuba. Sarah Brown works for the mission, and has trouble arousing attention from gamblers and drinkers on the street. After much persistence on Sky’s part, as well as a promise to bring sinners

The first half of the concert was only instrumental. There were two violins, two violas, and two cellos. They sat on stage with the violins one my right, then the violas in the middle, and the cellos on the end. The violins played a few songs solo. The second half of the concert was only the choir and a piano. Their performance started with the song Daybreak. The song Daybreak also had a few girls playing percussion, one of them had a tambourine. Using SHMRG, the Harmony of most of the choirs songs were very homophonic. The Melody of most of the songs were mainly slow, though a couple songs were very fast, and upbeat.

Licorice Pizza. LP. Long after the music has played, the record returned to its sleeve, I smile, treasuring the experience of having reconnected with my