The Wire, Issue 375 (May 2015)

Roscoe Mitchell
50 years after the basis of the organization for the development of inventive Musicians, the paintings Ensemble Of Chicago founder remains to be forging forward. by means of Howard Mandel

Harry Bertoia
The past due US sculptor, fashion designer and sound artist returns in spirit through an exhaustive field set of his recorded works. by means of Matt Krefting

Legowelt
Prolific Dutch digital musician and equipment head Danny Wolfers is pining for the cyberpunk destiny. by way of Emily Bick

Sam Belinfante
Inscribing new audiovisual vocabularies. through Abi Bliss

Bridget Hayden & Claire Potter
Noise and textual content collide in a brand new collaboration. by way of Frances Morgan

Chris Hladowski
Bradford multi-instrumentalist will get the Qawwali get together all started. by means of Clive Bell

Brood Ma
London manufacturer fuses electronic futurism and vicious noise. by way of Adam Harper

Global Ear United Arab Emirates
International sound artists free up new methods of listening within the Gulf. through Fari Bradley

Invisible Jukebox RP Boo
The footwork pioneer battles The Wire’s secret list choice. verified through Jacob Arnold

The internal Sleeve
Mutamassik on Muhal Richard Abrams’s Lifea Blinec

Epiphanies
Tyondai Braxton at the paintings of letting go

Print Run
New song books: Penny Reel uncovers London’s reggae opposite, Elijah Wald performs the handfuls, Tom Perchard surveys jazz in postwar France and more

On Screen
New movies and DVDs: Prashant Bhargava and Vijay Iyer’s Rites Of Holi, and Phill Niblock’s Brazil 84

On Site
Recent exhibitions: encompass viewers in ny, and Staging ailment in London

On Location
Recent gala's, gigs and golf equipment: Bloc, Madalyn Merkey, any longer, Anthony Braxton, Cage vocal works and more

Soundcheck A–Z

Arooj Aftab
Félicia Atkinson
Aye Aye
Bang On A Can All-Stars
Beresford Hammond
Tyondai Braxton
Thomas Brinkmann
Gareth Davis & Machinefabriek
Enablers
Gil Evans Project
Extnddntwrk
Bill Fay
Food Court
Godspeed You! Black Emperor
Holly Herndon
Rob Jacobs
Goran Kajfes’ Subtropic Arkestra
Kallabris & Lepenik
The Kronos Quartet And Tanya Tagaq
Kendrick Lamar
Craig Leon
Peder Mannerfelt
Bérangère Maximin
Makaya McCraven
Rob Mazurek
Meadow House
DJ Nigga Fox
Obnox
Pearson Sound
Prurient
The Sonics
Tsembla
Various Cargaa Vol 1
Various Shirley Inspired
Kamasi Washington
Michael Zerang & The Blue Lights
23 Skidoo
Michel Chion
Loren Connors
General Magic And Pita
Robert Haigh
Half Japanese
Martin Hannett & Steve Hopkins
Section 25
Various Highlife at the Move
Michel Redolfi
Broadcast
Broadcast And the focal point Group
Various Sherwood on the Controls quantity 1: 1979–84
Soichi Terada

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Additional resources for The Wire, Issue 375 (May 2015)

Sample text

J I ... -I - -I • < = ""1l • Bm7D5 ... - l:::I::d:: l:::I::d:: ~ loco - U-l ... ::::: "U"" Cmaj7 ~ r=Fi .... ·· G7 loco --l ===- - --- U < 8 va- 1Il.. I - I 1 -~~~ ,- - .. 67-69 Dm7 < , ·· .. =..... ~ ~ -.. FF= -- *" "U"" 50 '-- ---1 G7 I~ 4 ~ 7; 1'- Sva- - - - - - - - - - - - - - - l =~ I L. -~ - - -= "i ""iI -= "i =~ .. r1 .. =0 - --e- ~ . l-4 Allegro C ~ u /~ ( 6:::6:::6d( P:;). ~J legat o < -(7- ~ u : Dm/C / /~ - ( I :; )'~J ,9-- - CHAPTER 4 51 Chapter 4 Exercises 1.

For instanc e, in the key of C, A7 is still called V7Ii i even if it is not followed by Dm7 but by anoth er chord in the key. Finally, not every domin ant chord that can occur in a given key other than V is necessarily a secondary dominant. For example, IV7 (F7) in the key of C is not a secondary domin ant chord , because its reso lution by a descending 5th would lead to bVII (Bbmaj 7), which is not a diatonic chord in C major. There are other po ssible analyses for IV7 that we' ll see in Chapters 7 and 8.

It is essential that jazz musicians be able to spot ii-V-I cadences instantly, as they are ubiquitous in jazz harmony and central to the process of improvising over changes. Familiarity with this very common chord progression will allow one to look at a set of chord changes and perceive the overall tonal structure. This will give a better idea 42 JAZZOLOGY of how the tun e is put together , and ho w gro up s of chord s relate to one anot her , instead of simply look ing at and trying to reme mber a serie s of ind ividua l chord s.

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