Meng Su (PC ’09, GPD ’11, Guitar; GPD ’15, Chamber Music) will be the featured soloist in two performances with the Baltimore Symphony Orchestra at the Joseph Meyerhoff Symphony Hall. Ms. Su, a former student of Manuel Barrueco, will perform the Concierto de Aranjuez by Joaquin Rodrigo with Nicholas Hersh conducting.
from the album Samba Tzigane- 2006
Duško Gojković (also spelled as Dusko Goykovich, born October 14, 1931, Jajce, Yugoslavia, now Bosnia and Herzegovina), Serbian jazz trumpeter and composer.He studied in Belgrade Music Academy from 1948 to 1953. He played trumpet in a number of jazz Dixieland bands and, though only 18 years of age, joined Big Band of Radio Belgrade. After five years spent there he grew into a seasoned musician and decided to continue his career in West Germany.In 1956 he recorded his first LP as a member of Frankfurt All Stars band. Next four years he spent as a member of Kurt Edelhagen’s orchestra as a first trumpet. In these years he played with legends such as Chet Baker or Stan Getz. In 1958 he performed at Newport Jazz Festival and drew much attention on both sides of the Ocean.
Sunday January 04, 2015 at: http://www.andrewwasson.com/
Andrew Wasson of Creative Guitar Studio answers a viewers question…
Q: For the past three months I’ve been working on trying to play Jazz. Currently, I’m getting into creating melodies over basic Jazz chord changes. What I’d like to get better at is how embellishing and targeting works. Are roots important? Or, should I focus on the 5th, the 3rd or maybe the 7th? And, what should be done regarding extensions (9th, 11th & 13th) and also how do altered tones get targeted? Thank You.
Howard – Buffalo, NY. USA
A: When it comes to Jazz Harmony accents and embellishments, it is important to select the chord tone that will work the best for the particular melody being built. In some certain situations the chord tone for creating a nice resolution, might simply be the 3rd or the 7th. Other times it might be the 5th. If extensions are involved then perhaps the 9th, 11th or 13th will work nicely. And, quite often when it comes to altered chords, the altered ‘augmented or diminished’ chord tones are so distinct that we might find it best to target into them for the melodic embellishment that works best. In the lesson, we’ll explore each of these areas, and through testing each example, we’ll have the chance to notice how each target tone and embellishment affects both harmony and melody.