Last week I had the opportunity of attending the Bavon Jazz concert on November 20th. Notable dignitaries graced the concert. It kicked off at precisely 1900H. It was happening at Zaton social hall. The composition of the instruments consisted of pianos, guitars, trumpets, trombones, drums of various sizes, cellos and lastly a saxophone. My best instrument was the trumpet. This is because of how it is played. Besides, I got a chance to see and hear the trombone being played live. I had a beautiful night to the extent of listening to Duke Ellington’s ‘In A Sentimental Mood.’ With interest on Duke Ellington’s ‘In A Sentimental Mood’ piece.
During the performance were the following a trombone, bass guitar, drums, and piano. The song is a jazz composition. The composition of the music consisted of key signature, time signature, tempo or metronome mark and form (including repeats or “roadmap” symbols, such as codas or 1st /2nd endings) (Drotos).
The composition of the tune is in the form of a thirty-two-bar form, and it comprises sections of eight measures. A closer analysis shows that a song is an AABA form (Drotos). This is from the first eight measures that return to measures of 9-16 and twenty-five up to thirty-two. These are Jazz standards of which are written in AABA form. This also includes the dynamics in rhythm. The works of Duke Ellington are seen to be more distinct and a pivot for the success of the Jazz world (Drotos). According to public critique, his style was impeccable, and this led to him exceeding the standards due to his innate ability and technique in playing his pieces of music. He had the chance and interest of composing over two thousand pieces of music. This also consists of standard songs. He, therefore, had an impact in the United States of America and overseas.
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The great Duke Ellington composed the song Sentimental Mood is a jazz composition. It has been played and recorded by various Jazz artists from the year 1935 (Drotos). It is a famous Jazz song. This is because of the tunes that are contextualized in the song. Many people like it because of the chords and piano composition. The song received a wave of popularity in the sense that many people listened to it back then in the 1930s (Drotos). It competed evenly with other songs that made the song rise to the top charts. For instance, the chart saw the song be listed on popular charts as number thirteen. It was number nineteen during 1936. It listened in radio stations when people started acquiring the devices in homes and homes. It also featured as a theme song for more than nine radio stations and shows.
The rhythm is primarily scale-wise, formerly rising from the third degree of the minor key, slowly working its way back down in a grouping of paces and skips in both sides (Drotos). The form is A – A – B – A. The tone is nearly forty-five percent minor; first ‘A’ wanders to the relative major key, even though ‘B’ is exclusively a major. The song is a beautiful epic poem it consists of a soaring melody and an unforgettable, chromatic countermelody in the chord variations of which are similar to the one done by Rodgers and Hart previously nearly two years ago. The chord development can be a little thought-provoking at primarily, but it becomes easier once you learn the tunes (Drotos). The texture distinction essentially offers one to have a different pianistic approach for every piece, and this leads to the uniqueness of the song. At some point, harmonies could be used in the course of the ‘A’ parts, for example, while moving gradually, in composed steps with accompaniment during the bridge.
In late 1600 to around 1900, music was governed by general doctrines (Kamien). The artists of that time and even of the present decided to have their work to mirror certain aspects. For instance, Bach, Beethoven, and Brahms had basics that led to their work having a particular flow at all times. It was organized regarding pitches that had central tones. In the contemporary world, there has been no system to put regulations on the pitch of music composition. Nowadays every pitch has its unique system. Composers usually depended on audience awareness; they were the ones who consumed their works (Kamien).
Thus the artists made sure that they impress the people who came out to listen to their songs or works. For example, musicians looked at the tone, melody, chord, and pitch of the song. If the song had a dominant chord would typically be followed by a tonic chord. This made the listeners enjoy the dynamics and in case they did not the next song was composed differently. The listeners were left in suspense, or a dramatic stance or even astonishment. In America, Jazz was a sign of nationalism (Kamien). It was a way of uniting the Americans and showing that they were together at all times of the year. They would also live modestly. In the European world, composers used jazz rhythms and tone colors, tempo, and dynamics.
For instance, in the year 1920s and 1930s, musicians such as George Gershwin made use of Jazz and other common styles to compose their music. For example, Gershwin’s Rhapsody in Blue (1924) and his opera Porgy and Bess (1934–1935) are received recognition and were songs which are memorable. The composition of the songs was also out of inspiration (Kamien). The history of other musicians would also lead songwriters or composers to come up with new pieces of which they would relate with at all times. By the 20th century, musicians had started using music from ancient times as a source of reference. They were able to compose new songs of which they released. The performances were intriguing and also documented.
How a particular song is played would depend on the concert, length of the composition of the song and the type of audience that is present (Scaravilli). Thus there must be communication between the musicians and the audience at all times. The artists were performing one set (Kamien). That is they are all on stage have nonverbal cues. This is through the songs which they play due to the beats, verses, and parts each person should join the song. Every artist can have their role to maintain a flow. The composition and records of the songs were done poorly (Scaravilli). They were limited to three minutes each side under a speed of seventy-eight revolutions per minute being recorded. This improved with time with the introduction of possible playing time per recording to about seventy-five minutes. In the twenty-first century, you can carry an entire music library in your pocket: digital devices such as the iPod and Mp3 players have the capacity for hundreds of hours of music. The artists have always had a degree of professionalism in their performances (Scaravilli, 2017). This is due to the music being a source of livelihood, and also they have passion on the same aspect. The music is also unique, and they respect their audience’s expectations.
A comparison between the modern and classical songs shows. For instance, the chart saw the song be listed on popular charts in ancient times while also in recent times they are listed. In ancient and contemporary times songs were ranked (Scaravilli ). This is because of the tunes that are contextualized in the song. During ancient times many people liked music because of chords and piano composition. The audiences in contemporary settings like songs, viewing videos because of dancing and the artists present. Classical music and contemporary music both are listened to locally and overseas.
Some of the earlier masters in this field were Perotin and Machaut as well as Josquin Desprez and Gesualdo from the Renaissance, and Purcell and Vivaldi after the baroque period (Kamien). They had excellent music of which people could listen to as well as artists. The composer’s ideas at that time were presented being unique during that time. One could learn from them some concepts. Also, they did not have any obscene connotations. During the 20th century the people that were significantly inspired by the songs (Kamien). This was due to the chords were used. Harmonies were two-fold during that time that being in agreement with an unmusical A in agreement chord was stable; it functioned as a point of rest or arrival. An unmusical chord was unstable; its tautness demanded headlong signals, or resolve to a steady, agreement chord (Scaravilli). The 19th up to the 21st century has led to the freedom of the use of chords where composers use unmusical chords.
In conclusion, Duke Ellington’s ‘In A Sentimental Mood’ piece constituted a trombone, bass guitar, drums, and piano. The composition of the tune is in the form of the thirty-two-bar form, and it comprises sections of eight measures. It has been played and recorded by various Jazz artists from the year 1935. The song received a wave of popularity in the sense that many people listened to it back then in the 1930s. The chord development can be a little thought-provoking at primarily, but it becomes easier once you learn the tunes. In late 1600 to around 1900, music was governed by general doctrines.
Composers usually depended on audience awareness; they were the ones who consumed their works. The composer’s ideas at that time were presented being unique during that time. One could learn from them some concepts. How a particular song is played would depend on the concert, length of the composition of the song and the type of audience that is present. The structure and records of the songs was done poorly. The artists have always had a degree of professionalism in their performances. A comparison between the modern and classical songs shows a lot of similarities.
