_Black.īallad - A slow song, usually of a romantic nature sometimes used for any song of the AABA or similar popular song form.īar - Also known as measure. _Black Bottom Stomp_ (1926), Jelly Roll Morton & His Red Hot Peppers: Your browser does not support the audio element.
An arranger may take such great liberties with the original piece that it becomes a new composition.Īrranger - A person who writes arrangements.Īrticulation - The style in which a tone is produced, i.e., with slurs, staccato, variations in volume, and the like.Īttack - The manner in which a tone is articulated.Īvant-garde jazz - A term loosely applied to various forms of "experimental" jazz first heard in the 1950s, and their later offshoots, especially in the sixties and seventies (see free jazz).Īx - Also "axe." Any musical instrument.īack beat - A rhythmic device in which the second and fourth beat of a measure is heavily emphasized in 4/4 time.
Arrangements may be as minimal as a bass line or as complex as a full orchestral score. (A version recorded on a different day is not an alternate take.).Īrco - Playing a string instrument with the bow, instead of pizzicato.Īrpeggio - Sounding the individual notes of a chord quickly, one at a time, usually starting at the lowest note.Īrrangement - An adaptation of a musical composition. (See also groove and club jazz.).Īd lib - Also "ad libitum." A notation on written music that gives the performer freedom to vary the notes or tempo in jazz it typically means to improvise freely.Īir check - A musical radio broadcast that was originally recorded for distribution to other stations radio broadcasts that people have recorded off the radio that are sometimes released commercially or bootlegged.Īll-in - The last chorus (in older jazz), often louder and more vigorous than the rest, and played by the ensemble.Īltered chord - A dominant chord that has the 5th or 9th raised or lowered by a single semi-tone.Īlternate takes - The various takes recorded of a piece of music at a single recording session, that for whatever reasons were not chosen to be used. *.Īccent - A note or tone that is given stress by volume or attack.Īcid jazz - Music for dancing, first heard in the 1980s, that combines elements of soul jazz, funk, and hip hop, and mixes acoustic and electric instruments. 4.A B C D E F G H I J K L M N O P Q R S T U V W AĪ cappella - Sung without instrumental accompaniment.ĪABA - The most common popular song form.Wollman Rink (Grand Fantasy on The Skaters' Waltz) (One listener tells of an evening in Cambridge when, after a performance of the Lobster Quadrille by the Boston Philharmonia, the composer took his bows fully attired in motorcycle leathers.) Nevertheless, his gift for the fantastic, so evident in the Scherzo, remains.
In these works an absolute symmetry of structure prevails, and there is hardly an idea which is not made to reappear upside down, backwards, transposed, and in different instrumental guise. In the mid-60's Del Tredici turned exclusively to writing pieces for voice and instruments, and in works such as Night Conjure-Verse and the more recent Vintage Alice (premiered last August at the Music in the Vineyards concerts) the formal aspects of the music take on a precise if somewhat stylized architecture.
(D.D.T.'s performances of the Lizst Totentanze are well remembered by a number of Bay Area listeners.) The strength and ferocity of his keyboard writing is in a class by itself and belies the composer's own virtuosity at the instrument. Bold, even rhapsodic in character, it contains those elements which were later so expertly refined in the Alice in Wonderland pieces: intense, almost mechanical rhythms coupled with a Gothic lyricism bordering on the diabolical. David Del Tredici composed his Scherzo in 1960 at the request of Milton and Peggy Salkind.