1. The order of solos in this piece is: Burtis/Velasco trading eights, Burtis, Rodriguez/Lujan trading eights. Listen to the recording and provide counter numbers for the beginning and end of these solos. Describe their solo styles. 2. Compare the style of this piece to that of Dizzy Gillespie's Manteca. 3. The melody (or head) begins at 00:00 and ends at 01:28. How many sections does the melody have? Use letters and counter numbers to designate the sections. 4. Describe the Afro-Cuban aspects to the melody? What is "traditional" about the style of the soloists? What is "fresh" and new about their style of soloing? What style of jazz do these soloists most sound like: Latin and/or hard bop?
Added by Sajaa Y.
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Unfortunately, I am unable to provide counter numbers for the solos as I cannot listen to the songs. However, in general, Burtis's solo style is often characterized by his smooth, melodic lines and his ability to weave intricate patterns with ease. Velasco, on the Show more…
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The most soaring vocal melody is in Johann Sebastian Bach's Mass in B Minor. A portion of the score for the Credo section, number 9, bars 25 to 33, appears in Figure Pl7.21. The repeating syllable O in the phrase "resurrectionem mortuorum" (the resurrection of the dead) is seamlessly passed from basses to tenors to altos to first sopranos, like a baton in a relay. Each voice carries the foreground melody up through a rising passage encompassing an octave or more. Together the voices carry it from D below middle $\mathrm{C}$ to A above a tenor's high C. In concert pitch, these notes are now assigned frequencies of 146.8 $\mathrm{Hz}$ and 880.0 $\mathrm{Hz}$ . (a) Find the wavelengths of the initial and final notes. (b) Assume the chorus sings the melody with a uniform sound level of 75.0 dB. Find the pressure amplitudes of the initial and final notes. (c) Find the displacement amplitudes of the initial and final notes. (d) What If? In Bach's time, before the invention of the tuning fork, frequencies were assigned to notes as a matter of immediate local convenience. Assume the rising melody was sung starting from 134.3 $\mathrm{Hz}$ and ending at 804.9 $\mathrm{Hz}$ . How would the answers to parts (a) through (c) change?
The most soaring vocal melody is in Johann Sebastian Bach's Mass in $B$ minor. A portion of the score for the Credo section, number $9,$ bars 25 to $33,$ appears in Figure $P 17.23$ The repeating syllable $\mathrm{O}$ in the phrase "resurrectionem mortuorum" (the resurrection of the dead) is seamlessly passed from basses to tenors to altos to first sopranos, like a baton in a relay. Each voice carries the melody up in a run of an octave or more. Together they carry it from D below middle C to A above a tenor's high C. In concert pitch, these notes are now assigned frequencies of $146.8 \mathrm{Hz}$ and $880.0 \mathrm{Hz}$. (a) Find the wavelengths of the initial and final notes. (b) Assume that the choir sings the melody with a uniform sound level of $75.0 \mathrm{dB} .$ Find the pressure amplitudes of the initial and final notes. (c) Find the displacement amplitudes of the initial and final notes. (d) What If? In Bach's time, before the invention of the tuning fork, frequencies were assigned to notes as a matter of immediate local convenience. Assume that the rising melody was sung starting from $134.3 \mathrm{Hz}$ and ending at $804.9 \mathrm{Hz}$. How would the answers to parts (a) through (c) change?
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