Реферат на тему UnH1d Essay Research Paper The Life of
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Untitled Essay, Research Paper
The Life of a Pioneer One of the greatest jazz composers that
has ever lived is, arguably, Duke Ellington. Born Edward
Kennedy Ellington in Washington D.C. in 1899. By the age of
17 was playing professionally. In 1923 he moved to New York
City where he started recruiting people for his orchestra. He
started off with an average jazz band of ten people but
through the thirties and forties that number greatly expanded.
He started playing in small nightclubs, theaters, and on the
radio. His biggest break is considered to be when he got the
chance to play at one of the most popular nightclubs of the
time in Harlem, The Cotton Club, when another performer
(King Oliver) turned down the offer, from that day forward
Duke Ellington become a well known name in the jazz world.
Ellington?s first compositions were considered to be very stiff
and jerky rhythmically as was all jazz music of the era and in
his music you could hear a strong tie to New Orleans music.
In 1924 the first recordings were made, these seemed to be
the recordings of a jazz musician who was headed in the
wrong direction and some did not consider him to be a jazz
musician at all. When we look back on those recordings now
we see that all they were was an inauspicious beginning for
some major talent. With the addition of Bubber Miley a strong
folk influence was added in with the New Orleans sound.
Miley helped Ellington affirm his calling as a leader of the jazz
orchestra. Ellington?s music began to show the expressive
depth and increasing sophistication he is famous for. His
ideas of harmony, melody, orchestral color, and form came
from the music around him. Ellington would listen to the music
of the time and end up turning it into his own jazz style. When
he first started writing music he would devise a harmony and
melody on the piano and from there assign a line to a different
instrument in his orchestra. Over the years he learned how to
write for what some people consider to be his greatest
instrument, the orchestra. This was accomplished because he
realized that he had to take everything he had ever learned
from people such s Miley, Redman, and Henderson, even his
own innate urbanity and sophistication and start over with a
new approach to Big Band Jazz. His approach to the Big
Band Jazz was a new one, even though the idea was not. In
the past people had tried and failed when they would take an
existing orchestra and add a few jazz soloists. Ellington on the
other hand took a small show band or pit band and turned
each person in the orchestra into a jazz artist. In the past jazz
consisted of much improvisational work that at times seemed
out of control. Ellington?s theory was that a song should not
consist entirely of improvisation but should not be very strict
either. His performances turned out to be larger than the sum
of each of its parts because of his discipline of improvisation
and how he extended the orchestration so that they
complimented each other and both became enhanced.
Ellington learned to think directly as a jazz orchestrater, he
was now looking at scores as a whole and not writing for one
main part or instrument. Ellington had made his primary
instrument the orchestra. He had started to become a pioneer
of jazz music. This now was a completely new challenge for
what he was doing there was no presidents to follow and no
models to compare to his music. Ellington also started writing
for the horns themselves. He was not creating a melody on
the piano for them anymore now he wrote so that the horns
could perform with the best sound possible. A final thing he
began doing that had not been done before is using more
flexible rhythms for a newer sound. In his orchestra he helped
the soloists and players alike invent and develop their own
best resources and proceeded to write for those talents.
Some of Ellington?s most famous pieces are as follows, Mood
Indigo written in 1931, Sophisticated Lady 1933, and Solitude
1934. Some of his larger scale works consist of Black, Brown,
and Beige written in 1943, A Concert of Sacred Music 1965,
and Far East Suite 1967. Ellington has also contributed to
movies such as Anatomy of a Murder and Paris Blues, along
with the musical comedies Beggars Opera. and Pousse-Cafe.
Ellington?s most famous song is considered to be Take the A
Train, even though it was written by his longtime associate
Billy Strayhorn it became the theme song of Ellington?s
orchestra. The Music of a Legend In 1937 Ellington wrote two
pieces that complimented each other better than any in the
history of jazz. He named these to pieces the Diminuendo and
Crescendo in Blue. Appropriately named for the style that they
were written. These two songs are considered to be some of
Ellington?s most ambitious efforts and when he first wrote
them they were beyond the capabilities of his band. It took
until 1957 for the full potential of the songs to be realized.
This was one of Ellington?s many pieces written with very little
room for improvisation and it was very demanding, structurally
and harmonically. Starting with Diminuendo in Blue a song
that was based on Blues changes but used elongated 14 bar
choruses with 2 bar subdivisions and modulated through 5
keys. The modulations were very abrupt and hard for the
players and audiences to handle. Its predecessor, Crescendo
is the complete opposite. The beginning of the song starts
quietly and gradually builds to the climax in dynamic levels
along with exploiting the full texture, timbral, and registral
resources of the orchestra. Crescendo also differs from
Diminuendo because it has no modulations. These two songs
are considered to be an important stepping stone for another
famous song Ko-Ko Ko-Ko was written in the crescendo or
bolero form where each chorus builds on the one before it.
Ellington included many different enhancements to add depth
to the song such as dynamics, harmonic density, timbral,
textural augmentation and increasingly expanded range.
These elements were used in such a way as to have a steady
buildup where one element supports and compliments
another. The first chorus (A) is calm and the next two
choruses (B & C) begin the ascent to a more powerful climax.
Chorus B is higher dynamically than the first and played with
a slightly more intense sound. In both A and B the
saxophones riffs remain the same. In chorus D the
saxophones move up a fourth along with the brass chords
moving up thus making the song sound fuller and thicker.
Next the song is lifted to an entirely new level with Ellington?s
piano interjection and dissonant harmonies, with the addition
of the piano the song becomes bitonal. In chorus E the song
moves up yet again with two bars of brass and piano jabs
while the riff raises a third. Next the chorus is divided into four
choirs; trombones, trumpets, reeds, and rhythm Incredibly the
song can still move to a higher level in parts E and F. In F
Ellington adds even more massive chords to the past
choruses and for a finale he saves just enough for a unison
saxophone riff in the middle register that is phenomenal.
Ko-Ko is done with an amazing eleven piece horn section and
a four man rhythm section. The song closes with an abrupt
four bar coda. In the summer of 1938 Duke Ellington recorded
a prime example of the 32 bar AABA song format, Gypsy
Without a song. Gypsy was a collaboration of Mack Gordon,
Ellington, and Tizol. In the first 16 bars the melody is split
between two trombones. The two parts were written to give
the appearance of only one being played throughout the
section. This is doneby using different muting techniques and
further aided with the addition of a two bar open horn trumpet
solo between the two trombone solos. Ellington believed that
the different trombones could better express different moods.
In measures 17-24 saxophones further exploit the reeds and
intensify the mood. The saxophones are also used to proceed
the song to the A2 theme. The third part of the song, B, is a
chorus given to the trumpet to reach the songs highest point
of tension along with three other elements. First, the trumpet
represents an inevitable acoustical intensification over the
alto sax. Second, the eight bar trumpet solo is filled with
expression and depth. Finally, the song returns to the to the
tonic leading into the A3 part. For a finale Ellington uses both
trombones for a duet where one is playing the melody while
the other weaves around it in a variation of the A1 part until
the song relaxes with the return of the A2 part where it comes
to a close. All Good Things Must Come to an End In 1974
tragedy came upon the jazz world, Duke Ellington had passed
away, he had performed sense the age of 18, nearly 55
years. He said he decided to become a musician when, in his
youth, he realized that ?when you were playing piano there
was always a pretty girl standing down at the bass clef end of
the piano.” By the end of his life, he would declare, “Music is
my mistress,” which became entirely true, for it was his love
and his life. Duke Ellington has received numerous honors,
including the Presidential Medal of Freedom and at least
fifteen honorary degrees. The name ?Duke” came from his
personality, it is said he was something of a dandy with a love
of fancy clothes and an elegant style. He retained those traits
throughout his life, but he wore his sophistication without a
hint selflessness, that continued on in his music. Bibliography
1. The Jazz Tradition Williams, Martin ?1970 2. The Swing
Era: The Development of Jazz, 1930-1945 Schuller, Gunther
?1989 3. What Jazz Is King, Jonny ?1997 4. Reading Jazz
Gottlieb, Robert ?1996