An essay "The Jazz Combos Concert" claims that the performers’ notation was good for the octatonic pieces, despite the fact that they are diatonic to a lack of the key. This demonstrates that the universal rules for non-harmonic tones were applicable to the performances…
Some of the performers featured during the concert included Kelsey Marvin, Jeff Hampton, and Sarah Rodger among others. This paper discusses my thoughts and feelings about the Jazz Combos concert held on April 4 this year. The performers’ notation was good for the octatonic pieces, despite the fact that they are diatonic to a lack of the key. This demonstrates that the universal rules for non-harmonic tones were applicable to the performances. Ascending notes took naturals or sharps – either flat or descending. The signature style for Jazz performances stood throughout the performance. In developing a swing feel, there were notable ways that included the notation of the bass lines as quarter note pieces. However, there was a high sense of repetitiveness and predictability throughout the performance, which appeared to limit the forward motion aspect of the swing bass effect. Throughout the performances, the basic rule that the double bass should not be used to play a simple single-measure line, which is repetitive, was observed. This shows that the performances were highly stylistic and were presented before the audience in an effective manner (Cone 48). There were instances where the piano accompaniment was placed on the music’s beat, instead of using it to anticipate alternating beats, which marked a weakness in many of the performances. In some performances, like I anticipated all the performances to be played, the chords were played in staccato-against on-the-beat music lines, which were used effectively, to create the musical yin and yang characteristic of the swing feel. The style was very effective in cultivating the interest of the audience and demonstrating its artistic nature. As expected from the performances, most artists used modified block chords – which they employed, when comping with the melody of a walking bass (Cone 42). ...
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7 Pages(1500 words)Essay
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