The signature line of this song involved the simultaneous playing of the tenor trumpet (Dizzy) and the alto Saxophone (Sonny) at a difference of an octave. The octave effect is pronounced all throughout the songs whenever the noted of the opening line notation is played. The opening line is played twice in the beginning of the piece and is used as a closing stanza in the performance. Another noteworthy feature of the opening lines is that when the trumpet-saxophone combination plays the notes the drums, bass and piano remain on mute, and when the trumpet-saxophone goes on mute, the drum, bass and piano repeat the same rhythm. This gives the jazz rendition a question-answer feel, as if the trumpet-saxophone combination was engaged in a conversation with the rhythm section of the jazz band. The opening line also known as the signature phrase or signature line of the jazz composition starts at 0:09 seconds of the video documentary. Dizzy Gillespie and Sonny Stitt are seen taking the centre front of the stage, leading the Jazz Quintet. The audience is quiet and well settled and seen enjoying the dextrous rendition of classical jazz of this Quintet. At the back row are the following artistes: pianist Lou, bassist Ray and drummer Gus lined up left to right. The composition is based on medium tempo on duple (4/4 rhythm). The first line is rendered from 0:09 to 0:35 seconds of the video. The signature line is repeated again from 0:35 to 1:05. The rhythm accompaniment begins at 1:00 on the completion of the first stanza or the opening stanza (consisting of 2 repetitions of the signature line). The first solo commences from 1:32. Dizzy Gillespie plays the first solo that sets the expectations from this musical piece. Once Dizzy starts playing the timbre, texture and original tonal quality of the trumpet can be identified. He starts playing from the higher octave. The notes played by Dizzy are clear, bold and distinct from one another. His style represents clarity and confidence. He does well in varying the amplitude and therefore the emphasis on certain notes by controlling the air pressure through light whistles and hard blows into the trumpet pipe. Dizzy remain calm, composed and relaxed throughout the performance. He takes time from until 2:02 seconds playing with the tempo and at a slow pace. He is seen smiling at the audience and his fellow-performers, turning left to Sonny and saying something to him between 2:00 and 2:03 seconds of the video. He demonstrates stunning control over his instrument at 2:16 playing an impromptu solo, manoeuvring the trumpet keys and weaving a fantastic note progression involving chromatic note progression (i.e., playing consecutive notes to create a dissonance). From 2:35 to 2:45 Dizzy moves along with the rhythm and creates beautiful composition and at 2:46 he plays a dissonant pattern. Once again at 3:16 Dizzy pulls off an incredibly fast and tough solo putting the audience at awe. From 3:35 till 3:40 amplitude modulation is brought out in its best form by regulating the air pressure. Dizzy modulates the pitch and frequency with ease. At 3:46 he gracefully pulls of another sweep of note progression. A gradual descent in the form 4 repetitions down the higher and middle conclude his solo exactly at 4:00 of the video. At this point in time Sonny Stitt takes the centre stage with his solo on the saxophone. The
Long Listening Assignment Blues after Dark This musical piece was performed live by the following artistes: Dizzy Gillespie, Sonny Stitt, Lou Levy, Ray Brown, and Gus Johnson. Following were the instruments played by the following performers: Dizzy Gillespie on the trumpet, Sonny Stitt on the Saxophone, Lou Levy on the piano, Ray Brown on the double-bass and Gus Johnson on the drums…
The conference was held in the homeroom classroom of my nephew. The school desks were taken out of the classroom at the Mother Goose Playschool and Grade School Internationale and were replaced with plastic guest chairs while a modified podium was set up in the center of the room where the teacher's table was formerly placed.
tening with all of one’s senses” ("Developing effective communication," 2007) which exemplifies the importance of the process as of being more than just hearing. In an effort to understand and integrate effective listening skills; I recorded an interaction between myself as
The pianist starts playing the keys setting the groove and the tone for the music piece. The bass comps at a low pitch. The technique used is that of slap on the headpiece. The drums keep the pace or groove for the performers and also play the
Stride piano reveals the piano-like features of soloists playing the bass. Basie’s piano appears as if it is practicing some modest type of piano expression (Ventnor43 2012). The instrumental role of the base is a ride pattern. The
The Trumpeter pushes the limits of the trumpet as he plays fast and melodic lines in all of the instruments registers. This creates a fast and nimble feel to the composition and gives the characteristic cool feel of the song. The trumpet provides the trendy fast tune from
There was comping all through the song by the piano. The double bass provides a walking bass effect together with the drum set. It was plucked to every drum beats from start to the end of the song. There is also some ride
Other members included Bobby Timmons the pianist, Jymie Merrit on the bass, Benny Golson the saxophonist and Lee Morgan who was the band’s legendary trumpet player (Lesslie 12). Blakey and the Jazz messengers recorded most of their music with
According to the discussion listening is a mental process that involves constructing meaning from spoken input. It is conceived as an active process where listeners select and interpret information from auditory and visual clues so as to define what is going on and what the speakers intend to pass on.
My listening behavior at the service center was not very good as I tried to persuade. I did not listen to the viewpoint of the support official properly and kept on saying that the cell phone had already some bug in it. However, I managed
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