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13 Halloween Songs from the 1920’s & 1930’s

13 Halloween Songs from the 1920’s & 1930’s

0:07 Hush Hush Hush (Henry Hall) 2:55 Heebie Jeebies (Boswell Sisters) 5:30 The Haunted House (New Mayfair Dance Orchestra) 9:09 Dancing The Devil Away (Arden & Ohman Orch) 12:12 Mysterious Mose (Rube Bloom & His Bayoo Boys) 15:30 Minnie The Moocher (Cab Calloway) 18:41 Spell of the Blues (Frederick Vettel) 21:39 Ghost of a Chance (Ted Fio Rito) 24:57 Them’s Graveyard Words (Bessie Smith) 27:33 The Nightmare (Cab Calloway) 30:14 Ghost Walk (Borrah Minnevitch) 33:08 Got The Jitters (Don Redman & Orchestra) 36:02 Midnight, The Stars and You (Al Bowlly with Ray Noble’s Orchestra)

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Did you know? Musical Analysis

Béla Bartók: Analysis of his music (2)

Table of Contents
    Table of Contents

      Béla Bartók: Analysis of his music (2)

      Form Principles

      Golden Section

      Golden Section (“sectio aurea” and henceforth GS) means the division of a distance in such a way that the proportion of the whole length to the larger part corresponds geometrically to the proportion of the larger to the smaller part, i.e. the larger part is the geometric mean of the whole length and the smaller part. A simple calculation shows that if the whole length is taken as unity, the value of the larger section is 0.618.

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      (see upper formula on page 78), and hence the smaller part is 0.382 .
      Thus, the larger part of any length divided into GS is equal to the whole length multiplied by 0.618.

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      Bela Bartok An Analysis Of His Music (Book) By Ernö Lendvai

      Béla Bartók – Six Dances in Bulgarian Rhythm [1 of 6] from Mikrokosmos

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      Scary! 13 Vintage Halloween Songs from the 1950’s & 60’s

      13 Vintage Halloween Songs from the 1950’s & 60’s

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      Vintage Halloween Songs from the 70’s

      Halloween GREATEST Songs from the 70s, 80s, 90s, 00s

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      The 100 most inspiring musicians of all Time

      James Brown: the 100 most inspiring musicians of all time

      James Brown: the 100 most inspiring musicians of all time

      James Brown (b. May 3, 1933, Barnwell, S.C., U.S.—d. Dec. 25, 2006, Atlanta, Ga.), known as “the Godfather of Soul,” American singer,
      songwriter, arranger, and dancer, was one of the most important and influential entertainers in 20th-century popular music. His remarkable achievements earned him the sobriquet “the Hardest-Working Man in
      Show Business.”

      Brown was raised mainly in Augusta, Ga., by his greataunt, who took him in at about the age of five when his parents divorced. Growing up in the segregated South during the Great Depression of the 1930s, Brown was so
      impoverished that he was sent home from grade school for “insufficient clothes,” an experience that he never forgot and that perhaps explains his penchant as an adult for wearing ermine coats, velour jumpsuits, elaborate
      capes, and conspicuous gold jewelry.

      Neighbors taught him how to play drums, piano, and guitar, and he learned
      about gospel music in churches and at tent revivals, where preachers would scream, yell, stomp their feet, and fall to their knees during sermons to provoke responses from the congregation.

      At age 15 Brown and some companions were arrested while breaking into cars. He was sentenced to 8 to 16 years of incarceration but was released after 3 years for good behavior. While at the Alto Reform School, he formed a gospel group. Subsequently, secularized and renamed the Flames (later the Famous Flames), it soon attracted the attention of rhythm-and-blues and rock-and-roll shouter Little Richard, whose manager helped promote the group.

      Intrigued by their demo record, Ralph Bass, the artists -and-repertoire man for the King label, brought the group to Cincinnati, Ohio, to record for King Records’ subsidiary Federal. Brown’s first recording, “Please, Please, Please” (1956) eventually sold three million copies and launched his extraordinary career. Along with placing nearly 100 singles and almost 50 albums on the bestseller charts, Brown broke new ground with two of the first successful “live and in concert” albums—his landmark Live at the
      Apollo (1963), and his 1964 follow-up, Pure Dynamite! Live at the Royal.
      During the 1960s, Brown was known as “Soul Brother Number One.”

      His hit recordings of that decade have often been associated with the emergence of the black aesthetic and black nationalist movements, especially the songs “Say It Loud—I’m Black and I’m Proud” (1968), “Don’t Be a Drop-Out” (1966), and “I Don’t Want Nobody to Give Me Nothin’ (Open Up the Door, I’ll Get It Myself)” (1969). In the 1970s Brown became “the Godfather of Soul,” and his hit songs stimulated several dance crazes and were featured on the soundtracks of a number of
      “blaxploitation” films (sensational, low-budget, action oriented motion pictures with African American protagonists).

      When hip-hop emerged as a viable commercial music in the 1980s, Brown’s songs again assumed center stage as hip-hop disc jockeys frequently incorporated samples (audio snippets) from his records.

      He also appeared in several motion pictures, including The Blues Brothers (1980) and Rocky IV (1985), and attained global status as a celebrity, especially in Africa, where his tours attracted enormous crowds and generated a broad range of new musical fusions. Yet Brown’s life continued to be marked by difficulties, including the tragic death of his third wife, charges of drug use, and a period of imprisonment for a 1988 high-speed highway chase in which he tried to escape pursuing police officers.

      Brown’s uncanny ability to “scream” on key, to sing soulful slow ballads as well as electrifying up-tempo tunes, to plumb the rhythmic possibilities of the human voice and instrumental accompaniment, and to blend blues,
      gospel, jazz, and country vocal styles together made him one of the most influential vocalists of the 20th century.

      His extraordinary dance routines featuring deft deployment of microphones and articles of clothing as props, acrobatic leaps, full-impact knee landings, complex rhythmic patterns, dazzling footwork, dramatic entrances, and melodramatic exits redefined public performance within
      popular music and inspired generations of imitators (not the least Michael Jackson).

      His careful attention to every aspect of his shows, from arranging songs to supervising sidemen, from negotiating performance fees to selecting costumes, guaranteed his audiences a uniformly high level of professionalism every night and established a precedent in artistic autonomy. In the course of an extremely successful commercial career, Brown’s name was associated with an extraordinary number and range of memorable songs, distinctive dance steps, formative fashion trends, and even significant social issues.

      A skilled dancer and singer with an extraordinary sense of timing, Brown played a major role in bringing rhythm to the foreground of popular music. In addition to providing melody and embellishment, the horn players in his bands functioned as a rhythm section (they had to think like drummers), and musicians associated with him (Jimmy Nolan, Bootsy Collins, Fred Wesley, and Maceo Parker) have played an important role in creating the core vocabulary and grammar of funk music. Brown was inducted into the Rock and Roll Hall of Fame in 1986.

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      James Brown Greatest Hits Full Album – Best Songs Of James Brown

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      LIVE Music Concerts Jazz & Blues Music

      A great musical experince: Keith Jarrett Trio Jazz in Copenhagen ’99

      Keith Jarrett Trio Jazz in Copenhagen ’99 (sheet music)

      Keith Jarrett – piano
      Gary Peacock – bass
      Jack DeJohnette – drum

      00:00 Hallucinations

      05:57 Doxy

      13:51 Only the Lonely

      20:02 Between the Devil and Deep Blue Sky

      28:48 Sandu

      36:42 All My Tomorrows

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      Copenhagen Jazz Festival

      Copenhagen Jazz Festival is a jazz event every July in Copenhagen, the capital of Denmark. Copenhagen Jazz Festival was established in 1979, but beginning in 1964 Tivoli Gardens presented a series of concerts under the name Copenhagen Jazz Festival with Thelonious Monk, Miles Davis and many others.

      According to reports,[1] the total attendance was 240,000 people during Copenhagen Jazz Festival in 2004. In 2006 the number of concerts increased to 850,[2] and today Copenhagen Jazz Festival numbers more than 100 venues, 1100 concerts, and approximately 260,000 guests,[3] making it one of the largest music events in Europe.

      Musicians who have performed at the Copenhagen Jazz Festival include Sonny Rollins, Oscar Peterson, Ray Charles, Michel Petrucciani, Niels-Henning Ørsted Pedersen, Keith Jarrett, Wayne Shorter, Dizzy Gillespie, John Scofield, Herbie Hancock, Pat Metheny, Michel Camilo, Ornette Coleman, Annette Peacock, Svend Asmussen Quartet, Richard Bona, Tony Allen, Chick Corea and Daniel Puente Encina.


      The founding of Copenhagen Jazz Festival in 1979 is closely linked to the jazz scene that evolved in Copenhagen in the 1960s, when the city served as a European home for American jazz musicians like Dexter Gordon, Ben Webster and Kenny Drew. An inspired music scene attracted even more American musicians and educated and inspired the whole Danish scene as well.

      Through the 70s jazz music expanded in terms of genres and audiences, and reaching 1978 lawyer and project manager Poul Bjørnholt (from Københavns City Center) took the initiative to Copenhagen Jazz Festival, when realizing how local jazz clubs, public spaces, theaters and large venues could contribute to this collaborative event.

      From 1979 and until the 90s the festival grew at a steady pace – making room for both international artists and local bands – and today Copenhagen Jazz Festival is its biggest ever with more than 100 venues in Copenhagen and over 1000 concerts. That makes Copenhagen Jazz Festival one of Copenhagen’s most important public festivals, attracting a broad international audience.

      1999 Concert

      Keith Jarrett, Herbie Hancock, Tony Bennett, Dianne Reeves, Ralph Izizarry & Timbalaye, Gary Peacock, Jack DeJohnette, Thomas Franck Quartet, Chick Corea & Origin feat. Gary Burton, Ed Thigpen Trio, Niels-Henning Ørsted Pedersen, Svend Asmussen, Palle Mikkelborg, Adam Nussbaum Trio, Ginman/Steen Jørgensen, Tys Tys.

      More information on Jazz in Coopenhagen (DK).

      Keith Jarrett and Denmark

      Keith Jarrett was known, respected and loved by the Danish jazz public – as he also was but lovers of classical music – for with Michala Petri he recorded in 1992 six Bach flute sonatas, and in 1999 flute sonatas by Händel. The year that Michala Petri received the Sonning Music Prize, Jarrett had just been in Copenhagen to give a concert, but he had in fact been here several times since 1966, including a concert in Tivoli Concert Hall and at the Copenhagen Jazz Festival in 1999, when he gave a concert in the Circus Building, Copenhagen with great success.

      The daily press

      wrote, among other things:

      “It was a revitalised Keith Jarrett who first received the Sonning Music Prize with the words: ‘Well, that’s nice’ and then sat down at the black Steinway, where he through his playing demonstrated what he had said in his speech: that he had not been put on this earth to receive prizes but to translate music […] Jarrett was very much alive. Almost danced at his grand piano. Got up, bent at the knees, ducked down, stood on tip-toe, sat down on the stool again. Improvised so the hairs rose on the back of one’s neck. And constantly emitted his characteristic laments during his playing. Was serious, yet went as far as to parody Victor Borge […]”

      (Ivan Rod, Jyllands-Posten)

      “Jarrett has a fantastic touch, a fluid and light playing style that allows him to be present even in the most diminutive ballad playing – yes, even when he scarcely touched the keys in Peacock’s and DeJohnette’s solo he could be noticed. Always curious to explore just how far the elastic could stretch, how far out he could entice himself and his musical companions. For almost two hours the elastic was stretched to breaking point, but not once did it snap.”

      (Anders Jørgensen, Information)

      “[…] At times he stands up when he is playing, at other times he is completely hunched over the keys. In that way he is part of his heart-rending phrasings, taking them further than the listener at first imagines, in the same way that a singer can impress one by singing incredibly long phrases at a single breath.”

      (Eva Hvidt, Kristeligt Dagblad)

      “[…] And yes, the trio comes in and goes out, and goes out and comes in to receive the standing ovation of the audience, and fortunately the three musicians return to their respective instruments. And yes indeed – here comes the loveliest imaginable interpretation of Victor Young’s beautiful ‘When I fall in Love’. The trio takes us on a fairytale excursion that is rounded off by Keith Jarrett – unaccompanied. A quite unique postlude that saves stars – at the finish.”

      (Kjeld Frandsen, Berlingske Tidende)

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      Copland portrait (1975 documentary)

      Copland portrait (1975 documentary)

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      The 100 most inspiring musicians of all Time

      Elvis Presley: the 100 most inspiring musicians of all time

      Elvis Presley: the 100 most inspiring musicians of all time

      Table of Contents

        Elvis Presley (b. Jan. 8, 1935, Tupelo, Miss., U.S.—d. Aug. 16, 1977, Memphis, Tenn.) American popular singer Elvis Aaron Presley, widely
        known as the “King of Rock and Roll,” was one of rock music’s dominant performers from the mid-1950s until his death.

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        Presley grew up dirt-poor in Tupelo, moved to Memphis as a teenager, and, with his family, was off welfare only a few weeks when producer Sam Phillips at Sun Records, a local blues label, responded to his audition tape with a phone call. Several weeks’ worth of recording sessions ensued with a band consisting of Presley, guitarist Scotty Moore, and bassist Bill Black. Their repertoire consisted of the kind of material for which Presley would become famous: blues and country songs, Tin Pan Alley ballads, and gospel hymns.

        Elvis Presley knew some of this music from the radio, some of it from his parents’ Pentecostal church and the group sings he attended at the Reverend H.W. Brewster’s black Memphis church, and some of it from the Beale Street blues clubs he began frequenting as a teenager.

        Elvis Presley was already a flamboyant personality, with relatively long greased-back hair and wild-coloured clothing combinations, but his full musical personality did not emerge until he and the band began playing with blues singer Arthur (“Big Boy”) Crudup’s song “That’s All Right
        Mama” in July 1954. They arrived at a startling synthesis, eventually dubbed rockabilly, retaining many of the original’s blues inflections but with Presley’s high tenor voice adding a lighter touch and with the basic rhythm striking a much more supple groove.

        This sound was the hallmark of the five singles Presley released on Sun over the next year. Although none of them became a national hit, by August 1955, when he released the fifth, “Mystery Train,” arguably his greatest record ever, he had attracted a substantial Southern following for his recordings, his live appearances in regional roadhouses and clubs, and his radio performances on the nationally aired Louisiana Hayride. (A key musical change came when drummer D.J. Fontana was added, first
        for the Hayride shows but also on records beginning with “Mystery Train.”)

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        Presley’s management was then turned over to Colonel Tom Parker , a country music hustler who had made stars of Eddy Arnold and Hank Snow. Parker arranged for Presley’s song catalog and recording contract to be sold to major New York City-based enterprises, Hill and Range and RCA Victor , respectively. Sun received a total of $35,000; Elvis got $5,000. He began recording at RCA’s studios in Nashville, Tennessee, with a somewhat larger group of musicians but still including Moore, Black, and Fontana and began to create a national sensation with a series of hits:

        Heart break Hotel,” “Don’t Be Cruel,” “Love Me Tender” (all 1956),
        “All Shook Up” (1957), and more.

        From 1956 through 1958 Presley completely dominated the bestseller charts and ushered in the age of rock and roll, opening doors for both white and black rock artists.

        His television appearances, especially those on Ed Sullivan’s Sunday night variety show, set records for the size of the audiences. Even his films, a few
        slight vehicles, were box office smashes.

        Presley became the teen idol of his decade, greeted everywhere by screaming hordes of young women, and, when it was announced in early 1958 that he had been drafted and would enter the U.S. Army, there was that rarest of all pop culture events, a moment of true grief.

        More important, he served as the great cultural catalyst of his period. Elvis projected a mixed vision of humility and self-confidence, of intense commitment and comic disbelief in his ability to create frenzy. He inspired literally thousands of musicians—initially those more or less like minded
        Southerners, from Jerry Lee Lewis and Carl Perkins on down, who were the first generation of rockabillies, and, later, people who had far different combinations of musical and cultural influences and ambitions.

        From John Lennon to Bruce Springsteen, Bob Dylan to Prince, it was
        impossible to think of a rock star of any importance who did not owe an explicit debt to Presley. Beyond even that, Presley inspired his audience. “It
        was like he whispered his dream in all our ears, and then we dreamed it,” said Springsteen at the time of Presley’s death.

        You did not have to want to be a rock and roll star or even a musician to want to be like Elvis—which meant, ultimately, to be free and uninhibited and yet still a part of the everyday. Literally millions of people—an entire generation or two—defined their sense of personal style and ambition in terms that Elvis first personified.

        As a result, he was anything but universally adored. Those who did not worship him found him despicable (no one found him ignorable). Preachers and pundits declared him an anathema, his Pentecostally derived hip-swinging stage style and breathy vocal asides obscene. Racists denounced him for mingling black music with white (and Presley was always scrupulous in crediting his black sources, one of the things that made him different from the Tin Pan Alley writers and singers who had for decades lifted black styles without credit).

        He was pronounced responsible for all teenage hooliganism and juvenile delinquency. Yet, in every appearance on television, he appeared affable, polite, and soft-spoken, almost shy. It was only with a band at his back and a beat in his ear that he became “Elvis the Pelvis.”

        In 1960 Presley returned from the army, where he had served as a soldier in Germany rather than joining the Special Services entertainment division. Those who regarded him as commercial hype without talent expected him to fade away. Instead, he continued to have hits from recordings stockpiled just before he entered the army.

        Upon his return to the States, he picked up pretty much where he had left off, churning out a series of more than 30 movies (from Blue Hawaii to Change of Habit) over the next eight years, almost none of which fit any genre other than “Elvis movie,” which meant a light comedic romance with musical interludes. Most had accompanying soundtrack albums, and together the movies and the records made him a rich man, although they nearly ruined him as any kind of artist.

        Presley did his best work in the 1960s on singles either unconnected to the films or only marginally stuck into them, recordings such as “It’s Now or Never (‘O Sole Mio’)” (1960), “Are You Lonesome Tonight?,” “Little Sister” (both 1961), “Can’t Help Falling in Love,” “Return to Sender” (both 1962), and “Viva Las Vegas” (1964).

        Elvis Presley was no longer a controversial figure; he had become one more predictable mass entertainer, a personage of virtually no interest to the rock audience that had expanded so much with the advent of the new sounds of the Beatles, the Rolling Stones, and Dylan.

        By 1968 the changes in the music world had overtaken Presley—both movie grosses and record sales had fallen. In December, his one-man Christmas TV special aired; a tour de force of rock and roll and rhythm and blues, it restored much of his dissipated credibility. In 1969, he released a single having nothing to do with a film, “Suspicious Minds”; it went to number one.

        He also began doing concerts again and quickly won back a sizable following, although it was not nearly as universal as his audience in the 1950s. For much of the next decade, he was again one of the top live attractions in the United States. Presley was now a mainstream American entertainer, an icon but not so much an idol.

        He had married in 1967 without much furor, became a parent with the
        birth of his daughter, Lisa Marie, in 1968, and got divorced in 1973. He made no more movies, and his recordings were of uneven quality. Hits were harder to come by—“Suspicious Minds” was his last number one and “Burning Love” (1972) his final Top Ten entry. But, thanks to the concerts, spectaculars best described by critic Jon Landau as an apotheosis of
        American musical comedy, he remained a big money earner.

        However, Presley had also developed a lethal lifestyle. Spending almost all his time when not on the road in Graceland, his Memphis estate, he lived nocturnally, surrounded by sycophants and stuffed with greasy foods and a variety of prescription drugs. His shows deteriorated in the final two years of his life, and his recording career came to a virtual standstill. Finally, in the summer of 1977, the night before he was to begin yet another concert tour, he died of a heart attack brought on largely by drug abuse. He was 42 years old.

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        Elvis Presley Greatest Hits | Best Songs Of Elvis Presley

        Track List:

        0:01 Burning Love 2:23 Can’t Help Falling In Love 5:45 Love Me Tender 8:25 Hound Dog 10:08 Jailhouse Rock 12:40 It’s Now or Never 14:56 Blue Christmas 17:04 You Gave Me a Mountain 20:17 Suspicious Minds 23:30 Heartbreak Hotel 25:21 Love Me Tender 29:02 All Shook Up 31:05 In The Ghetto 33:46 Blue Suede Shoes

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        Mozart – Piano Sonata No. 11 K 331 3rd Movement, “Rondo alla Turca” with sheet music

        Mozart – Piano Sonata No. 11 K 331 3rd Movement, “Rondo alla Turca” with sheet music

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        Best Classical Music

        Debussy Prélude from Suite Bergamasque – Pianist Paul Crossley

        Debussy Prélude from Suite Bergamasque – Pianist Paul Crossley with sheet music

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        Paul Christopher Richard Crossley CBE (born 17 May 1944) is a British pianist.

        Born in Dewsbury, Yorkshire, his piano teacher was Fanny Waterman in Leeds. While a student at Mansfield College, Oxford, he was discovered by Olivier Messiaen and his wife Yvonne Loriod, who heard him play and immediately invited him to come to Paris to study with them. In 1968 he was second prize winner (joint prize winner with Japanese pianist Izumi Tateno) at the Messiaen Competition in Royan, France.

        Crossley is particularly associated with the music of Messiaen and British composers such as Michael Tippett, Nicholas Maw and George Benjamin. Tippett wrote his third and fourth Piano sonatas specifically with Crossley in mind. His extensive discography includes the piano works of Tippett, Fauré, Debussy and Ravel and the Fauré Violin sonatas with Arthur Grumiaux.

        Paul Crossley was artistic director of the London Sinfonietta from 1988 to 1994.

        He presented a landmark television series on avant garde classical music entitled Sinfonietta for Channel 4.

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