Jazz Concert Review

Concert Evaluation Guidelines: MUS 2014: General guidelines to writing the paper. AFTER THE CONCERT Write your paper as soon as possible after the concert while the experience is fresh in your mind. What you include in you Concert Review will depend largely on the concert you attend. FORMAT Typed: double-spaced, 12 point, Times New Roman, one inch margins Title page: Concert title, performers (do not list performers in larger ensembles), date of concert, course number and section, your name, and date. Length: No more than three pages. Assemble: All concert reports must be stapled, with the concert program stapled behind your paper.Your name should be on each page, and also on the program. Programs: Attendance at a live performance is required; streaming concerts are not acceptable for this assignment. The concert program must be turned in with your paper; papers submitted without programs will not be accepted. Printed PDF programs and Xerox copies will also not be accepted. Be advise d that a well-attended performance may run out of programs; be sure to arrive early to get a program. STYLE Write your paper in the first person. This is about your concert experience and your reactions. Avoid jargon, slang, and wordiness.Points will be deducted for grammatical and spelling errors. CONTENT What do you include in your paper? The most important goal of the concert-going experience is to enjoy the music. If you are busy taking notes and trying to remember everything that you hear, then you are not listening and reflecting. There is not time to analyze the music in great detail in the context of a concert. The primary goals are to listen, enjoy, reflect, and to later articulate your impressions using musical terminology to the best of your ability through the writing of your Concert Review.What to include: Your paper should follow a standard format including an introductory paragraph, body (one paragraph on each work), conclusions, and a closing paragraph. Introduction: Include name of ensemble(s) and/or soloists performing and the genre of music being performed (eg. Swing, Latin, BeBop, etc.. ). Body: Dedicate one paragraph to each work of music. In each paragraph give the name of the piece, composer, and performer(s) (if different from one to the next). For concerts with several shorter works, these paragraphs will be brief. You MUST attend the entire performance. For concerts with several works, a minimum of 4 works is required) †¢ If possible, include historical context. Include the time period. Were there musical characteristics from that time period that you were able to recognize? Did the piece sound like other pieces in that time period that you heard in class? †¢ Most importantly, include your overall impressions of each piece. Did you like or dislike the work? What was it that you liked or disliked? Using musical terminology articulate to the best of your ability what you liked. †¢ Can you relate the piece to anything you have listened to in class? Had you heard the piece before?Conclusions/Closing Paragraph: †¢ Did you enjoy one piece of music more than others? If so, why? †¢ Have you been to a concert of this type before? †¢ How does attending a live concert influence your listening? †¢ What did you think of the quality of the performance? †¢ Given the opportunity, would you go to another concert of this type? Things to Avoid: †¢ Do not give a â€Å"play by play† of the pieces. â€Å"First the piano†¦ † â€Å"Next the Saxophones†¦ † then the percussion†¦. † †¢ Do not take unnecessary space with long lists of instruments, and performers. †¢ Avoid overused words like upbeat, smooth, entertaining, and cool. Avoid redundancies. For example, if an entire concert of music is from the Swing era, this does not need to be stated in each paragraph. †¢ Do not call a piece of music a â€Å"song† unless it has words an d someone was singing. †¢ Do not use additional sources without citing them. THE UNIVERSITY WRITING CENTER The University Writing Center is located on the bottom level of the Belk Library and Information Commons, in Room 008. Consultants will work with you one-on-one and provide assistance with style, organization, content, grammar, and documentation. For more information, visit www. writingcenter. appstate. du; or call 262-3144 to make an appointment. ACADEMIC INTEGRITY As a community of learners atAppalachian State University, we must create an atmosphere of honesty, fairness, and responsibility, without which we cannot earn the trust and respect of each other. Furthermore, we recognize that academic dishonesty detracts from the value of anAppalachian degree. Therefore, we shall not tolerate lying, cheating, or stealing in any form and will oppose any instance of academic dishonesty. This course will follow the provisions of the Academic Integrity Code, which can be found on the Office of Student Conduct Web Site: Jazz Concert Review Mus1104 Concert Review A Night of Jazz with the University Jazz Bands The concert I chose to attend was the University Jazz Bands’ Student Ensemble Concert on Wednesday, March 6, 2013. The concert featured two ensembles, both the Virginia Tech Jazz Ensemble and the Jazz Lab Band. At this concert, I was both a perceptive listener due to my knowledge of music and music performance, and a casual listener enjoying my friends performing a great concert. I enjoy my nature of listening because I can appreciate the music on many different levels, and get much more out of the performances than the casual listener.The concert was entirely jazz music, performing hits by Tommy Wolf, Duke Ellington, Mike Tomaro, and on. The ensembles varied in exact composition, but both contained: alto, tenor, and baritone saxophones; trumpets and trombones; drums, bass, piano, and guitar. A performer of every instrument had a solo and one point or another in the various songs, which provided not only a g reat chance to hear individual musician’s talents, but also a great opportunity to hear how the instrument itself can be used in jazz improvisation and how styles vary from instrument to instrument due to the nature of playing/performing them.There were nine songs performed at the concert, each with their own unique melody and form, but all following the jazz standards. The first song, â€Å"Rosewood,† was written by Woody Shaw and was performed by the Jazz Lab Band. The song features a fast presto tempo, fast with engineering and a driving bass line. A quarter of the way through the song, there’s a great trumpet solo blaring over a more subdued standard jazz riff, which goes straight into a tenor saxophone solo. The saxophone solo developed nicely upon the trumpet solo, both incorporating the first melody with some minor improvisations.The song had three themes, which were played in an ABACA pattern. The song was generally polyphonic, with one soloist or instru ment group playing a melody (theme) while the other instruments provided harmonies. The contrast between the trumpet section’s unity and the saxophones’ varying parts added depth to the song. The second song was â€Å"Dat Dere† was written by Bobby Timmons but arranged by Mark Taylor. In contrast to â€Å"Rosewood,† this song features a main theme that recurs throughout, with episodes throughout which develop upon the theme before it is repeated in its original form again.It featured a trombone solo which was unique to hear for me, because most pieces I’ve heard feature saxophone and trumpets but never a trombone. â€Å"Dat Dere† also features the typical saxophone and trumpet solos, however those follow the trombone. The tempo is more relaxed than that of â€Å"Rosewood† and is just below an allegro. However, the energy and enthusiasm of the musicians made it lively even though it wasn’t fast-paced. The third piece, Sammy Nest ico’s â€Å"Basie, Straight Ahead† also had a unique solo: the piano.The pianist had been switching between piano and keyboard for the first two songs, and in â€Å"Basie, Straight Ahead† finally got his time to shine. The piece emphasizes syncopation like none other, with the melody being one syncopated measure after another. There was great conversation between the saxophones and the trumpets, firing back and forth at each other with their music. The tempo was similar to that of â€Å"Dat Dere†. Towards the end, the drums really emphasize the syncopation by playing on the beat so that you can clearly hear that everyone else is off the beat.The next song the Jazz Lab Band played was â€Å"C-Jam Blues† by Duke Ellington, a classic jazz piece featuring a distinctive motif that is played over and over again. The theme is then developed upon by a few soloists, taking a simple two measure phrase and turning it into great ditty. The trumpet players make great use of Harmon Wah-wah mutes, keeping in the style of the original song by the Duke. Definitely the most laid back piece with regards to tempo, â€Å"C-Jam Blues† is definitely more bluesy than jazz.After the blues, the Band went into Tommy Wolf’s â€Å"Spring Can Really Hang You Up The Most† which ended up morphing into â€Å"Mercy, Mercy, Mercy† by Josef Zawinul. It opens with a beautiful slow piano solo which is quickly followed by a beautifully flowing saxophone solo. Definitely a song of polyphony to start, the saxophone soloist keeps going while the rest of the band accompanies quietly in the background. As soon as the solo is over though, the song quickly sped up and the background temporarily took over the melody, before the solo began some great improvisation upon the main theme.After the saxophonist, the drummer takes over for some great rhythmic variations. After a brief intermission, the Jazz Ensemble performed four pieces, which were al l more lively, energetic, and engaging than the first half. It was the Jazz Ensemble’s performance that I would recommend to friends, because it was much more enjoyable to watch and listen to than the Jazz Lab Band. Whether it was because of their bigger numbers or just a difference in personality of the performers, they were so much more energetic.The Ensemble’s first piece was â€Å"Max† by John Clayton, which gradually adds instruments in and gives a lot of attention to the saxophones by giving most of the melody and theme to them, unless it is being played by everyone. The trumpets break out their Harmon mutes again, which really does add a great layer of depth to the piece. The tempo was more casual than the other pieces which was a great way to relax into the second half. The next piece was â€Å"Lambeau Leap† by Fred Sturm, which quickly crescendos before a duet between the keyboardist and a trumpeter.Following them was a great guitar solo which wa s quite enjoyable, due to how great jazz guitar sounds. The theme was recurring, with an ABABA pattern throughout, with the B theme being improvisations upon the theme by soloists. The second to last piece was â€Å"Ice Castles† by Marvin Hamlisch, which was an incredible piece and was rich in melody and harmonies. Originally intended to be performed by a trumpet player Dave Detwiler, it was performed instead by the director Jason Crafton due to Mr. Detwiler getting stuck in Washington, D.C. from weather. The trumpet solos throughout the piece are quite smooth and beautiful, giving the piece a nice calm blues feeling. The piece is almost a concerto due to the nature of the trumpet solo. However, it was a great example of polyphony as the ensemble built underneath him, gradually growing in the number of people playing and in dynamic level, all the while accompanying the main trumpet’s theme. The final piece of the concert was â€Å"Minuano†, which is an intriguin g and difficult piece by Pat Metheny and Lyle Mays.Starting with a swirling almost klezmer melody. The song is led by a saxophone soloist until a trombone player takes over and leads the group. A theme and variation of sorts, the main melody is constantly developed upon by various instrumental parts, the tempo changing as they go, starting from a relaxed andante and quickly working their way up. The trumpets’ final use of the Harmon mute was quite enjoyable; a personal favorite of mine. All in all, it was a great concert, with much to talk about! It gave me a new appreciation for jazz music.