Music Essay on John Coltrane Example For Students

Music Essay on John Coltrane A true visionary, John Trance Chlorates life ambition was o create a new sound and a new music, and in doing so, he dedicated his life to Jazz. His dedication was extremely powerful to listeners, and his compositions were instilled into Jazz history. John Trance Chlorate was initially introduced to mainstream Jazz listeners as a sideman and shot to fame in both Miles Davis and Telethons Monks bands in the late sass (Priestley 1988: 122). Chlorates dedication to perfecting mastery of the saxophone was tremendous. Even Miles Davis commented on Chlorates ambitions to improvement. John Chlorate was only really concerned about improving his playing and writing, and growing up as a musician- imposer. Those goals became an obsession. Women, drugs, alcohol, money, power ?all were secondary or had become irrelevant in his life. He was a totally devout musician. (Wheaton 1998: 162) Chlorate first gained prominence as a sideman in Miles Davis groups in the late sass and led his own quartet beginning in 1961 (Priestley 1988:123). Chlorates group included pianist McCoy Toner, bassist Steve Davis (later Jimmy Garrison), and drummer Elvin Jones, creating a quartet that is arguably the most influential Jazz combo in history (Griddle 2009:294). The combination of Joneses powerfulness and imagination coupled with Toners unique titlists approach and Garrisons rhythms created a heavily influential band for future generations. Chlorates intensity amazed everyone including his band mates who sometimes had a difficult time keeping up with his hour-long solos. When Davis questioned why he did not simply play for a shorter period, Chlorate responded: l got involved in this thing and I dont know how to stop (Crow 1990: 36). Alongside with Charlie Parker, Chlorate is often praised as the most influential saxophone player in Jazz history, encouraging musicians to mimic his intensity and powerful performances. Throughout his career, Chlorate explored new frontiers, branching out to explore Spanish and African music and wholly incorporating Indian religion into his future compositions. Chlorates command of his art was so great that his compositional and improvisational concepts were used not only by hundreds of saxophonists but also by pianists, trumpeters, and guitarists (Griddle 2009: 289). Chlorates techniques were so applicable that even musicians of other instruments were highly influenced by him. Since Chlorates period during the sass, his music has inspired poetry, sculpture, and modern dance, indicating his widespread Music Essay on John Chlorate By dancegoer melding of both Sonny Stilts influence and his own new techniques; a few of his key musical signatures included multimillion and cry, most similar to shrieking and wailing noises that were carefully included in his arrangements (Griddle 2009: 290). Chlorate often experimented with sound and techniques, creating several signature devices he used time after time in his renowned recordings (Ballet 2000: 826). Perhaps most well known are Chlorates well-arranged and composed chord changes. He added chords to existing chord progressions in a challenging manner to create ewe, unique improvisation solos (Griddle 2009: 290). Chlorates knack for choosing compatible chords separates him from the many other musicians who added chord progressions. A prime example is Chlorates Giant Steps which proved to be an immensely difficult song to improvise upon, challenging and pushing musicians towards greater improvisation mastery. Although mostly known for upbeat pieces, Chlorate was also one of the foremost ballad players who possessed the skill to channel the same energy of quick songs into powerful and emotional ballads (Ballet 2000: 291). The musicians ballads are often reminiscent of sentimental feelings, being especially popular among listeners and admirers. Chlorate also popularized usage of the pedal point, where a single note repeats continuously underneath the melody, creating suspense and tension in the melody (Griddle 2009:291). .u6c56395058d37ee57cd62ccfbe372860 , .u6c56395058d37ee57cd62ccfbe372860 .postImageUrl , .u6c56395058d37ee57cd62ccfbe372860 .centered-text-area { min-height: 80px; position: relative; } .u6c56395058d37ee57cd62ccfbe372860 , .u6c56395058d37ee57cd62ccfbe372860:hover , .u6c56395058d37ee57cd62ccfbe372860:visited , .u6c56395058d37ee57cd62ccfbe372860:active { border:0!important; } .u6c56395058d37ee57cd62ccfbe372860 .clearfix:after { content: ""; display: table; clear: both; } .u6c56395058d37ee57cd62ccfbe372860 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u6c56395058d37ee57cd62ccfbe372860:active , .u6c56395058d37ee57cd62ccfbe372860:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u6c56395058d37ee57cd62ccfbe372860 .centered-text-area { width: 100%; position: relative ; } .u6c56395058d37ee57cd62ccfbe372860 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u6c56395058d37ee57cd62ccfbe372860 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u6c56395058d37ee57cd62ccfbe372860 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u6c56395058d37ee57cd62ccfbe372860:hover .ctaButton { background-color: #34495E!important; } .u6c56395058d37ee57cd62ccfbe372860 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u6c56395058d37ee57cd62ccfbe372860 .u6c56395058d37ee57cd62ccfbe372860-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u6c56395058d37ee57cd62ccfbe372860:after { content: ""; display: block; clear: both; } READ: Music Essay ThesisIn addition, Chlorate utilized his own sheets-of-sound technique to create dense sounding improvisations essentially consisting of rapid successions of single notes; he successfully incorporated the style seamlessly to his performances, adding yet another layer of difficulty and intensity to his music (Wheaton 1994:162). Chlorates innovative use of novel techniques in his compositions and improvisations sets him apart and above the standard of music at his time, creating an ideal character figure of modern Jazz. Even in Chlorates early albums, such as Blue Train, he demonstrates his mastery of the tenor saxophone and his amazing execution of extremely difficult melodies, resulting in unique harmonies and tones (Priestley 1988:123). Chlorate explored styles that were less dependent on preset movement of harmonies as compared to bop and that were most often associated with the modal and free Jazz styles. The modal approach, undemanding on harmony, was a deviance from Chlorates usual demanding chord progressions. Instead, the modal approach was undemanding and much more simplistic while still retaining Chlorates improvisation techniques. Chlorate applied this approach to his cover of My Favorite Things, a popular album that inspired many musicians to emulate Chlorates more simplistic style (Griddle 2009: 292). My Favorite Things represented Chlorates triumphant combination of surface serenity and inner turbulence (Priestley 1988:124). Chlorates piqued interest in free Jazz involved deviating away from preset chord regressions and soloist and accompaniment distinctions (Griddle 2009: 292). However, Chlorates popular free Jazz recordings dont follow all the guidelines to deem them fully free as there are noticeable preset arrangements. As a prominent bandleader, immediately post Chlorates foray in free Jazz, this style became more popular among modern musicians. Chlorate established his ability to embrace and promote new styles of Jazz performance both in his own playing as well as his supporters music. Especially during the free-Jazz period, Chlorate was viewed as a Chlorate popularized the saxophone instrument and had so many followers of his style that at one point, critics commented on the lack of originality. His style evolution from dense and difficult chord progressions to modal and free Jazz to turbulent improvisation heralded new waves of followers throughout his career (Ballet 2000: 825). John Chlorates impact was even extended to his contemporaries, a sign of his great encompassing influence. The impressiveness and depth of his commitment to his art was so intense that it inspired hundreds of musicians (Wheaton 1994:164), which created higher levels of mastery within the Jazz art. Without a doubt, Chlorate was one of the most significant Jazz musicians of all time, a living legend even in his own era. Chlorates widespread prominence and catchy tunes propelled generations of musicians seeking to mimic his styles and techniques so that to this day, his mark upon modern Jazz is still heavily felt. With a passion for performance not paralleled by either contemporaries or key musicians, Chlorate has evidently dominated through a short but significant career in Jazz history.