Download Bill Evans Fake Book (Richmond Music ¯ Folios) by Bill Evans PDF

By Bill Evans

Over 60 unique compositions transcribed and edited through Pascal Wetzel. Leadsheets as a rule persist with the most recent recording to teach the evolution of the track and maturation of the artist. Counterlines, codas, chord extensions and chord alterations for improvisation are incorporated. further good points are lyric models of 10 tunes, three essays approximately invoice Evans' existence and track, photos, and discography. contains: Fudgesickle equipped for 4 * interaction * Laurie * My Bells * Orbit * track for Helen * Time Remembered * end up the celebs * Very Early * Waltz for Debby * and extra.

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Extra info for Bill Evans Fake Book (Richmond Music ¯ Folios)

Sample text

But most American communities simply did not have the musical and physical resources to maintain a regular series of music and theatre productions. Besides, many Americans believed that regular attendance at public amusements was dangerous since it appealed to uncontrollable emotions. Theater, especially, which was associated with numerous vices from simple deception to prostitution, challenged deeply held religious and moral principles. In general, those outside of elite social circles believed that music could be made more respectably, regularly, and easily in the privacy of one’s home, as a pleasant pastime among friends and family.

T. Barnum, introducing Mad-elle Jenny Lind to Ossian E. ” All of this was fantasy, but it was plausible enough and worked as a brilliant stroke of advertising. It built on Dodge’s word-of-mouth reputation as a slightly crazed highest ticket bidder and transformed it into something bigger and more important—that he was on personal terms with both Barnum and Jenny Lind. By capturing that fiction visually, he enabled its quick apprehension even by those who did not know of, or understand, the circumstances on which he had based the portrait in the first place.

As Van Wyck Brooks characterized those coming of age during the time: “The more sensitive minds of the younger generation, the imaginative, the impressionable, the perceptive, those who characterize a generation . . ”45 The breakdown of the traditional theater-based entertainment system Capitalizing on Music in the Antebellum Era / 29 for music opened up opportunities for a business more singularly dedicated to public music performance. 47 Boston, for instance, which had long survived on only a handful of theaters and museums, saw new venues like the Vaudeville Saloon, the Olympic Saloon, the Boston Museum, the Howard Athenaeum, Graham’s Olympic Saloon, the Boston Adelphi, and the Lyceum Theatre all open between 1840 and 1848.

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