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  2. Lotus Jazz - Wikipedia

    en.wikipedia.org/wiki/Lotus_Jazz

    Lotus Jazz is an integrated suite of word processor, spreadsheet, database, graphics, and communication software designed for the Macintosh 512K. The name was intended to evoke a group of musicians who together create something larger than each of the individual players. [ 1 ]

  3. Comping (jazz) - Wikipedia

    en.wikipedia.org/wiki/Comping_(jazz)

    "Charleston" rhythm, simple rhythm commonly used in comping. [1] Play example ⓘ. In jazz, comping (an abbreviation of accompaniment; [2] or possibly from the verb, to "complement") is the chords, rhythms, and countermelodies that keyboard players (piano or organ), guitar players, or drummers use to support a musician's improvised solo or melody lines.

  4. Jazz Chants - Wikipedia

    en.wikipedia.org/wiki/Jazz_Chants

    Jazz Chant is a rhythmic expression of natural language which links the rhythms of spoken American English to the rhythms of traditional American jazz. Jazz Chants are defined poems with repeated beats. The beat may vary depending on the idea of the reader.

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  6. Oleo (composition) - Wikipedia

    en.wikipedia.org/wiki/Oleo_(composition)

    "Oleo" is one of a number of jazz standards to be based on the same chord progression as that employed by George Gershwin's "I Got Rhythm", [3] also known as a musical contrafact. [4] Its melody has "become one of the standard rhythm changes melodies used by jazz musicians". [5]

  7. Rhythm changes - Wikipedia

    en.wikipedia.org/wiki/Rhythm_changes

    Rhythm changes is a common 32-bar jazz chord progression derived from George Gershwin's "I Got Rhythm". The progression is in AABA form , with each A section based on repetitions of the ubiquitous I–vi–ii–V sequence (or variants such as iii–vi–ii–V), and the B section using a circle of fifths sequence based on III 7 –VI 7 –II 7 ...

  8. Early Jazz: Its Roots and Musical Development - Wikipedia

    en.wikipedia.org/wiki/Early_Jazz:_Its_Roots_and...

    He cites various jazz performers for the natural quality of their sound production, sound that makes each performer readily identifiable. A final brief section in this chapter, on improvisation, states that group improvisation, a hallmark of early jazz, is a distinctively African practice. Schuller counters a variety of other theories of the ...

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