Quincy Troupe is world-renowned for his love of jazz music and for his poetry, which reflects that love. The rhythm and meter of his poems lend themselves easily to live readings, and have a very solid musical quality about them, reminiscent of the very songs that he has listened to his whole life. In his Snake-back Solo 2, he references several famous Jazz artists, including Louis “Satchmo” Armstrong and Miles Davis, two of the most famous jazz artists in history. The structure of this poem, when read aloud, sounds like it could be a jazz song from that era years ago when jazz music was the most prevalent in American culture, especially in New Orleans, widely considered to be the birthplace of jazz music.
The rhythm part of any jazz song is usually very repetitive, pushed steadily along by the bass and backed up by the drums. In early jazz recordings, the only rhythm heard was the bass (either a double-bass or stand-up bass) with no drums, or the drummer tapping on the floor or the table. The reason for that was because the drums were too loud and overpowering for the primitive recording devices commonly used back then. The loudness and dominance of the drums and the bass is what drives a jazz song, and is what drives Troupe’s Snack-Back Solo from start to finish.
The Essay on Bass And Drums Great Combo Song
In this paper, I will review the concert titled "ALL JAZZ", which was held at Weber Music Hall at UMD, on Wednesday, November 12, 2003. This concert held the four combo jazz bands that UMD has. The first band that performed was Combo 4, directed by Dan Eaton. The songs they performed were "Sugar" by Stanley Turrintine and arranged by Linnean; "Budini" by Buddy Montgomery, arr. By Sickle r; and the ...
Readers can see Troupe’s prominent use of repetition throughout the solo, signifying the rhythm section of his song. In the first stanza, “mojoin / on in, spacin on in on a riff full of rain / riffin on in full of rain & pain / spacin on in on a sound / like coltrane” (ll. 3-7) is full of repetition (“on in”) and rhyme, setting the reader (or listener) into a rhythm right from the start. Even the use of hard consonants can make the reader feel the bass pushing and the drums kicking: “boogalooin / bass down…/ up & under, eye come slidin…” – the second stanza repeats the phrase “to see” several times, which can bring to mind the sliding of a hand up the fretboard of the bass accompanied by the crash of a cymbal.
A jazz solo, usually played by a trumpet or a coronet, would try to bring such soul out of those instruments that it could sound almost like a human expression instead of just a mere dead piece of metal. The horn cries, laughs, yells and tells a story throughout its solo. Like a human telling a story, it changes tone, stops, starts back up, and uses a rhythm of its own to keep the listener interested. One way that words can suggest all these things is through the use of assonance, alliteration, consonance, or any literary device that repeats a soft sound or brings an image to the reader that is not explicitly defined in the text, but defined only by its sound.
One such image is that of the mighty Mississippi River, mentioned by name only once in the poem, although all the sounds and structure point to it. The curvy, winding Mississippi is the same river on which many of Troupe’s idols grew up and learned their craft, which earns it a special place in his heart. On any map of the United States, one can see quite easily how the Mississippi River resembles a snake, the way it winds itself vertically across the country. Troupe brings that image to mind directly calling it “snake river” (l. 45).
Throughout the poem, most notably in the third and fourth stanzas, there is an overabundance of the letter “s”, “m”, “n”, “l” and “w” sounds, all of which bring forth the image of something flowing smoothly – the “s” itself actually creates the audible sound made by a snake (“hiss”).
This particular solo sounds just the way that a snake looks – winding and curving and looping, and at the same time very intriguing. A listener could imagine the horn going from the top to the bottom of several blues scales during the song. A “scale” is a collection of notes that are all “related” to each other musically and can all be used with each other in any order (which comprises a solo) while at the same time remaining in harmony with chords played by the rhythm section. It is interesting to note that a scale, an integral piece of music, is also an integral part of a snake – without its scales it wouldn’t live, and the same could be said for any piece of jazz music.
The Term Paper on Readers And Bring Them Right Into The Theme Writing Reader Questions
Content Conference Guidelines 1. Keep an eye on the clock and remember you " re responsible to all the writers in the room. At first, as a teacher gets the hand of conferring, conferences may run longer than you wish. But it is important to remember that you are not asking to hear every single word every student writes. Instead, ask kids to tell you about the writing - what it is about and what is ...
Through Troupe’s use of rhythm and rhyme, his repetition of certain sounds to produce certain images, the reader’s mind and ears are placed inside of a concert hall, listening to a real jazz song. His clever use of those literary devices command his poetry to be not just read, but heard, like the jazz music that has been such a huge part of his life.
