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Contrafact
A contrafact is a musical work based on a prior work. The term comes from classical music and has only since the 1940s been applied to jazz, where it is still not standard. In classical music, contrafacts have been used as early as the parody mass and In Nomine of the 16th century. More recently, '' Cheap Imitation'' (1969) by John Cage was produced by systematically changing notes from the melody line of '' Socrate'' by Erik Satie using chance procedures. In jazz, a contrafact is a musical composition consisting of a new melody overlaid on a familiar harmonic structure.. As a compositional device, it was of particular importance in the 1940s development of bop, since it allowed jazz musicians to create new pieces for performance and recording on which they could immediately improvise, without having to seek permission or pay publisher fees for copyrighted materials (while melodies can be copyrighted, the underlying harmonic structure cannot be). Contrafacts are not to be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contrafactum
In vocal music, contrafactum (or contrafact, pl. contrafacta) is "the substitution of one text for another without substantial change to the music". The earliest known examples of this "lyrical adaptation" date back to the 9th century in Gregorian chant. Categories Types of contrafacta that are wholesale substitution of a different text include the following: Significantly different lyrics in another language While a direct translation that preserves original intent might not considered a "substitution", the lyrics of the following songs redone in another language have a substantially different meaning: * The melody of the French song Ah! vous dirai-je, maman (English: Oh! Shall I tell you, Mama) is used in English for " Twinkle, Twinkle, Little Star", the " Alphabet Song", and " Baa, Baa, Black Sheep", while all of the following use the melody: the German Christmas carol "" (Santa Claus is Coming Tomorrow) with words by Hoffmann von Fallersleben, the Hungarian Christmas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Back Home Again In Indiana
"(Back Home Again in) Indiana" is a song composed by James F. Hanley with lyrics by Ballard MacDonald that was published in January 1917. An Indiana signature The tune was published as a Tin Pan Alley pop song by the New York publishing firm Shapiro, Bernstein & Co. It contains a musical quotation from an earlier Tin Pan Alley popular song, "On the Banks of the Wabash, Far Away," and used several evocative words and phrases from the earlier song's lyrics including "candlelight," "moonlight," "fields," "new-mown hay," "sycamores," and "Wabash". Since 1946, the chorus of "Back Home Again in Indiana" has been performed during pre-race ceremonies before the Indianapolis 500. From 1947 until 2020, thousands of multicolored balloons would be released from an infield tent during the song, until the practice was halted citing environmental concerns. From 1972 to 2014, the song was performed most often by Jim Nabors. He admitted to having the song's lyrics written on his hand ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rhythm Changes
The Rhythm changes is a common 32-Bar (music), bar jazz chord progression derived from George Gershwin's "I Got Rhythm". The progression is in Thirty-two-bar form, AABA form, with each A section based on repetitions of the ubiquitous I–vi–ii–V sequence (or variants such as iii–vi–ii–V), and the B section using a Circle progression, circle of fifths sequence based on III7–VI7–II7–V7, a progression which is sometimes given passing chords. This pattern, "one of the most common vehicles for improvisation," forms the basis of countless (usually uptempo) jazz musical composition, compositions and was popular with swing music, swing-era and bebop musicians. For example, it is the basis of Duke Ellington's "Cotton Tail" as well as Charlie Christian's "Seven Come Eleven," Dizzy Gillespie's "Salt Peanuts," and Thelonious Monk's "Rhythm-a-Ning". The earliest known use of rhythm changes was by Sidney Bechet in his September 15, 1932 recording of "Shag" (two years after the f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Donna Lee
"Donna Lee" is a jazz standard attributed to Charlie Parker, although Miles Davis has also claimed authorship. Written in A-flat, it is based on the chord changes of the jazz standard " (Back Home Again in) Indiana". Beginning with an unusual half-bar rest, "Donna Lee" is a very complex, fast-moving chart with a compositional style based on four-note groups over each change. Authorship "Donna Lee" was originally attributed to Charlie Parker on the original 78-rpm recordingsChambers (1998), p. 61 and was copyrighted under his name in 1947. However, in various interviews and publications since, Miles Davis has claimed to be the composer. Among these is a statement Davis made in his autobiography: "I wrote a tune for the album called 'Donna Lee', which was the first tune of mine that was ever recorded. But when the record came out, it listed Bird arkeras the composer. It wasn't Bird's fault, though. The record company just made a mistake."Davis (1989), p. 103 Although Davis claime ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charlie Parker
Charles Parker Jr. (August 29, 1920 – March 12, 1955), nicknamed "Bird" or "Yardbird", was an American jazz Saxophone, saxophonist, bandleader, and composer. Parker was a highly influential soloist and leading figure in the development of bebop, a form of jazz characterized by fast tempos, Virtuoso, virtuosic technique, and advanced harmonies. He was a virtuoso and introduced revolutionary rhythmic and harmonic ideas into jazz, including rapid Passing chord, passing chords, new variants of Altered chord, altered chords, and Chord substitution, chord substitutions. Parker was primarily a player of the alto saxophone. Parker was an icon for the hipster (1940s subculture), hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual rather than just an entertainer. Early life Charles Parker Jr. was born in Kansas City, Kansas, to Charles Parker Sr. and Adelaide "Addie" Bailey, who was of mixed Choctaw and African-A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bebop
Bebop or bop is a style of jazz developed in the early to mid-1940s in the United States. The style features compositions characterized by a fast tempo (usually exceeding 200 bpm), complex chord progressions with rapid chord changes and numerous Modulation (music), changes of key, instrumental virtuosity, and Jazz improvisation, improvisation based on a combination of harmonic structure, the use of scales, and occasional references to the melody. Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing music-style to a new "musician's music" that was not as danceable and demanded close listening.Lott, Eric. Double V, Double-Time: Bebop's Politics of Style. Callaloo, No. 36 (Summer, 1988), pp. 597–605 As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, cho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stomp Progression
In music and jazz harmony, the Stomp progression is an eight-bar chord progression named for its use in the "stomp" section of the composition "King Porter Stomp" (1923) by Jelly Roll Morton. The composition was later arranged by Fletcher Henderson, adding greater emphasis on the Trio section, containing a highly similar harmonic loop to that found in the Stomp section.Magee, Jeffrey (2004). ''The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz'', np. Oxford. . It was one of the most popular tunes of the swing era, and the Stomp progression was often used. Following the success of "King Porter Stomp", many other compositions were named after the tune, although many of these "stomps" did not necessarily employ the stomp progression. Harmonic progression Magee (2004) describes a two-measure three-chord harmonic loop: : Putting the first C7 in second inversion produces a chromatically-ascending bass for the first three chords, so that loop () becomes: : The progressi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Just You, Just Me
"Just You, Just Me" is a song from the 1929 musical film ''Marianne'', composed by Jesse Greer with lyrics by Raymond Klages. It was introduced by Marion Davies and Lawrence Gray. The song has had many revisions after its first appearance and has become a jazz standard, having been recorded instrumentally by Red Norvo, Stan Tracey, Oscar Peterson and Lester Young, Buddy Rich, Artie Shaw, Les Paul, Benny Carter, Buddy Bregman, Tex Beneke, Coleman Hawkins, Harry James, Erroll Garner, Benny Goodman, Earl Hines, Joe Pass, Buddy Tate and Abdullah Ibrahim, Les Brown, Bill Evans, Bill Coleman and Duke Ellington. Thelonious Monk's 1948 composition, "Evidence", is a contrafact of "Just You, Just Me". Monk's tune was originally called "Justice" (which sounds like "Just Us", a reference to "Just You, Just Me"), then renamed "We Named It Justice", and finally "Evidence". Both songs are included on the CD reissue of Monk's 1964 live album, '' Live at the It Club''. Cliff Edw ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jazz Standard
Jazz standards are musical compositions that are an important part of the musical repertoire of jazz musicians, in that they are widely known, performed, and recorded by jazz musicians, and widely known by listeners. There is no definitive List of jazz standards (other), list of jazz standards, and the list of songs deemed to be standard (music), standards changes over time. Songs included in major fake book publications (lead sheet collections of popular tunes) and jazz reference works offer a rough guide to which songs are considered standards. Not all jazz standards were written by jazz composers. Many are originally Tin Pan Alley popular songs, Broadway theatre, Broadway show tunes or songs from Cinema of the United States, Hollywood musical film, musicals – the Great American Songbook. In Europe, jazz standards and "fake books" may even include some traditional folk songs (such as in Scandinavia) or pieces of a minority ethnic group's music (such as gypsy music ( ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Musical Quarterly
''The Musical Quarterly'' is the oldest academic journal on music in America. Originally established in 1915 by Oscar Sonneck, the journal was edited by Sonneck until his death in 1928. Sonneck was succeeded by a number of editors, including Carl Engel (1930–1944), Gustave Reese (1944–45), Paul Henry Lang (1945–1973), Joan Peyser (1977–1984), and Eric Salzman (1984–1991). Since 1993, ''The Musical Quarterly'' has been edited by Leon Botstein, president of Bard College and principal conductor of the American Symphony Orchestra. Originally published by G. Schirmer, Inc., it is now published by Oxford University Press. References Further reading * External links * Articles published before 1923at the Internet Archive The Internet Archive is an American 501(c)(3) organization, non-profit organization founded in 1996 by Brewster Kahle that runs a digital library website, archive.org. It provides free access to collections of digitized media including ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
12-bar Blues
The twelve-bar blues (or blues changes) is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key. Mastery of the blues and rhythm changes are "critical elements for building a jazz repertoire". Background The blues originated from a combination of work songs, spirituals, and early southern country music. The music was passed down through oral tradition. It was first written down by W. C. Handy, an African American composer and band leader. Its popularity led to the creation of "race records" and the popularity of blues singers like Bessie Smith and Ma Rainey. The style of music heard on race records was later called "rhythm and blues" (R & B). As the music became more popular, more people wanted to perform it. General patterns that existed in the blues were formalized, one of these being the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
I Got Rhythm
"I Got Rhythm" is a piece composed by George Gershwin with lyrics by Ira Gershwin and published in 1930, which became a jazz standard. Its chord progression, known as the " rhythm changes", is the foundation for many other popular jazz tunes such as Charlie Parker's and Dizzy Gillespie's bebop standard "Anthropology (Thrivin' on a Riff)". Composition The song came from the musical '' Girl Crazy'', which also includes two other hit songs, " Embraceable You" and " But Not for Me", and has been sung by many jazz singers since. It was originally written as a slow song for '' Treasure Girl'' (1928) and found another, faster setting in ''Girl Crazy''. Ethel Merman sang the song in the original Broadway production and Broadway lore holds that George Gershwin, after seeing her opening reviews, warned her never to take a singing lesson. The piece was originally penned in the key of D major. The song melody uses four notes of the five-note pentatonic scale, first rising, then fallin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
