The Baked Potato

The instruments in the first gathering included bass, drums, conga, trumpet, alto saxophone, shaker and vibraslap. They performed two quick tempo melodies for drums and percussion, and every instrumentalist was given the chance to hold a performance. All through the execution of the first gathering, the bass player was absence of innovativeness and specialized abilities that should have been be cleaned; his spontaneous creation was a progression of specific scales that were dull and basic. Then again, he was extremely rhythmical and had decent state of mind toward the group of onlookers, coordinating great with drums and knew how to connect with the gathering of people. Particularly, the alto saxophone player was not the same as different instrumentalists, since his tones were more vividly communicated than some other payers. His act of spontaneity was confounded and inventive too. His pitch and rhythms were exact. Notwithstanding that, he executed as harmony with trumpet player in a brief moment performing melody, where he demonstrated a decent feeling of flow. In general, despite the fact that every part of the orchestra possessed the differential musical skill, but they coordinated with each other quite

The first song that the band played was very soft and relaxing. The string bass was the lead of the first song and played a flat four rhythm, and the rest of the band

One would play for approximately ten seconds and then another would play. This seemed more improvised. And though they were short, they were complex improvisations. After they played, there was one trumpet playing. All of the playing occurred with the drums being played in the

The song starts off from 0:00 to 0:12 with a melody begun by the saxophones, and there are riffs apparent played by the brass section behind this melody, followed by a repeating of this section until 0:22 when the brass section of instruments climbs up the scale to a higher key. This section, from 0:22 to 0:29,

At the beginning of the piece, the trumpets had a established a good melody and were clearly louder than the rest of the band. At measure 9, the band did a good job of getting quiet and the trombones were able to carry the melody through measure 17. At measure 17, the trumpets regained control of the melody and there was a good balance between the trumpets and the winds. At measures 25 through 43, it was a little difficult to tell who had the melody as many instruments were playing at a mezzo forte dynamic marking. At measure 46, we had a nice chord that was led by the Euphoniums and trombones. At measure 47, the clarinets did a good job of regaining the melody. The band started to cover the melody at measures 55 through 63 as more and more instruments were being added. At measure 71, the band found the melody in the trumpets and the winds and sustained it until measure 103. At measure 103, we went right back into the flute melody which was played until measure 120. At measure 120, we had a good transition and then the trumpets gained the melody and played it well above the band. The trombones also did a good job of filling in with a melody of their own at measures 120 through 135. At measures 135 through 143, the trombone melody was completely lost and the backgrounds were way too loud. At measure 143, the trumpets regained the melody and played well over the band and the trombones also played their counter

It is a formless music, but because the performers are quite literally composing in the moment, there were three noticeable sections in the piece. The first part was developing an idea, slowly getting used to each other’s sounds, sometimes gentle and sometime aggressive. Beginning of the improvisation the drumbeat is simple but rather random. There is no set pattern that I could find, but the tom-tom pattern was rather similar so I think that was the main motif. The bass clarinet also started an idea, a 6-note pattern downward without any tonal center. He slowly develops this idea by playing a similar patters, or sequence, to concrete the idea for the audience but slightly mutating the motif little by little each time he plays it. He never plays the same way again. As the bass clarinet gets more active by increasing the amount of notes played and the intensity of the tone, the drum slowly matches the bass clarinet in aggressiveness. The drum plays very sudden loud snare drum occasionally, creating tension in the music with already atonal bass clarinet. Then the drummer starts to put a cymbal and a pad on two different drums to create a very dull thick sound. The bass clarinet and the drum both simultaneously becomes very aggressive, loud, and complex at this point. Bass clarinet sounds very similar to a saxophone at this point. The drummer still

The title of the fourth song was called, “Let’s get away from it all”. In their fourth song again, saxophone was played a huge role. From the beginning of the song piano kept playing same melody line repeated and saxophone was moving wide range of notes and pitch. The rhythm and the tempo of drum changed as saxophone changed rhythm and the tempo. The bass guitar helped drum to follow saxophone’s rhythm and tempo. The saxophone style was kind of similar with the how Louis Armstrong was playing a solo. There were two guitars, but saxophone dominated other instruments and it was difficult to hear other instruments.

The first song played was “Hope Street” written by Tom Harrell. The piece was started off with Jerald snapping his fingers to a quick beat and then the Trumpet (Lynn) starts with a loud entrance. The other musicians join in and copy his notes as he plays. When the trumpet hits the high notes he trills the note as he holds it before dropping back down in PITCH to match the rest of the instruments. The bass, drums, and guitar carry the beat and the trumpet and trombone take turns playing in a sort of solo. As the trumpet and trombone fall back into rhythm with the other instruments the tempo becomes quick and the guitar take the lead in the piece. All three “solos” mirror each other in notes and TEMPO as the rest of the instruments keep the rhythm and beat. All instruments join in at the same note and continue playing together now in a

The song was called “Funk Indeed Free”. The texture to this song was very soft. Not all the instruments were competing with each other like the last song. The song had some form to it aside from the trumpet. The trumpet was very wild and had many different ranges. The melody was the same throughout the song aside from the trumpet as well. There was a steady flow throughout the whole song. The dynamic of the song was very calm and quiet aside from the trumpet. I didn’t appreciate that because it was so distracting. The tempo was at a mild pace. Not all the instruments were played during this song. It was only 2 instruments played at a time during the whole time.

When listening to “The Santé Fe Jazz Combo,” you get a mellow feeling that courses through your body. Their opener “Recorda-Me,” which was my favorite piece, featured solos from Dr. Hamilton on Piano, Spencer Hoefert on Guitar, Ben Salhanick on Bass, Doc B on Alto Sax, Wyatt Thomas on Trombone, and Noah Woolard on Drum Set. The song had a moderate swing tempo that kept your feet tapping up until the solo. First, the brass rang through their part, then the electric instruments. Next came the bass; he was strumming so fast but he was barely audible. The pianist busting through with a tricky piano rift and the drummer finished it off with an intense solo. Every rim-shot sent a jolt into the air like lightning and the buzz rolls sounded like thunder. Noah’s part reminded me why I love playing the drums.

six minutes in length and a couple songs were a little over ten minutes. The

The beginning sounded similar to a salsa type of music due to the drum’s rhythm on the crash cymbal. Each musician had a solo within each piece. The rhythm section (double bass and drums) did a phenomenal job at maintaining as well as driving the tempo when it felt dragging. Moreover, they displayed great control and maturity of their sound throughout their solos. The dexterity and mastery within their instrument of some of the soloist in this group is inspiring because it truly shows their years and years of practice and

The rhythm section (piano, guitar, bass, and drums) maintained a steady, even beat; the saxophone and brass sections countered each other with harmonized riffs and repeated figures, with section leaders improvising over this background (Stewart, 1979).

Your comment about practitioners needing to consider the bps factors faced by children caused me to self-reflect. I can remember being a youth and having many issues with the interrelationship of self harm,isolation, racism, bullying and lack of interest in studies. Melchert states a child’s lack of academic progress could also have to do with socio cultural factors, such as bullying, racism and lack of social support. Melchert (2011). The level of diversity in the US is increasing dramatically and in fact by 2042 it is estimated that over half of the US population will comprise of Minorities. Melchert (2011). Having a lack of understanding of cultural influences and challenges faced by these individuals as a psychologist can lead to the field

The second vocal ensemble of the night started out with a song which included a twelve bar blues, called “ I use to know you”. This performance consisted of the most combinations of solos of the night as well as using an improvising style. The entire band started all together which led to a Trumpet solo. Then Jose on the Sax did his solo followed by the pianist comping. Then the choir along with the band joined together to lead to a female solo which was particularly interesting since she was scatting. The second performance of this ensemble was “Spring can really hang you up the most” which consisted of 3/4 time and 4/4 time. This started with a female solo vocalist then a male one. The band as a whole played together and ended with a male solo scatting. The third and shortest performance of the night was a vocal acapella piece, “Love walked in” which was short and sweet. The fourth performance of the night was a Richmond Rogers piece. This had a rhythmic swing/salsa feel from the “Lady is a tramp”. This started with the rhythm section, with the male vocalist and horns. Then the female vocalist from the choir joined and concluded this piece. The fifth performance for the group was a sequel to voice stand an acapella piece by Greg Jaspers. This song started with the choir using their voices as the instruments altogether. The final performance of the night was one of