Download Architecture Is (as) a Gesture by Bart Verschaffel PDF

By Bart Verschaffel

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268 • 4G: Group Interaction (Level 4 — Strong) Multiple Soloists Occasionally, two or more soloists can play at once. Trading bars is a safer alternative, but simultaneous soloing can be effective if the players use space, timing, and development wisely. Here are some tips: 1) Have the second soloist wait for a bar or so after the first soloist starts. Try to keep an active musical conversation going. 2) For shorter durations, have two soloists play together. Make sure the rhythms are solid. 3) Keep listening for where to build and end the solo.

3:29-3:34 Bass solo plays offbeat quarters from 3:29-3:31; guitar answers from 3:313:34. Overall During trumpet and bass solos, smooth switching between guitar comping and piano comping. This creates a light and interesting background. Where’s Waldis? 2:36-2:38 Trumpet plays sparse chromatic fills; drums imitate rhythm. 3:03-3:05 Trumpet repeats high notes several times, piano adds strong fill. 6:02-6:52 Guitar and piano trade and vary 2-bar rhythmic pattern Ensemble Texture Background Riffs Background riffs can sometimes add excitement behind solos, but they must not interfere with the solo.

B) Recognize the chords, if necessary. C) Recognize pitches and intervals. D) Notate rhythms correctly. 2) The steps in transcribing a recorded solo are: A) Select a recorded solo on CD or cassette. B) Outline the form and chords of the solo. C) Sketch the rhythm figures in the solo. D) Add the pitches and indicate any significant expression or effects in the solo. Expressions *The more intellectual people are, the more originality they see in other men. To commonplace people all men are much alike.

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