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Parcourez les partitions de piano de Duke Ellington sur Zen Virtual Piano. Duke Ellington grew up in Washington, D.C., in a secure, middle-class household, and he started piano study at the age of seven. Fine arts were among the interests that his family encouraged. Though Ellington took piano lessons, he was more interested in baseball. A scholarship to the Pratt Institute in Brooklyn, New York, was awarded to him but not accepted; art also came to absorb him during his high-school years. Piano lessons beside a pull toward baseball and art may suggest a boyhood spread across several pursuits. Inspired by ragtime performers, Ellington began to perform professionally at age 17. His first composition, "Soda Fountain Rag", also known as the "Poodle Dog Rag", dates from the summer of 1914, when he was a soda jerk at the Poodle Dog Café. He made the piece by ear, as he had not yet learned to read and write music. One way to read this: a piece written by ear, beside piano lessons that began at age seven, is music-making that did not wait for notation. Billy Strayhorn, composer of "Take the 'A' Train", which would become the band's theme song, became Ellington's composing-arranging partner. Ellington wrote a 1930 setting of "Mood Indigo" for muted trumpet, unmuted trombone and low-register clarinet. In the early 1940s he composed "Concerto for Cootie", "Cotton Tail", "Ko-Ko", "Main Stem" and "Harlem Air Shaft", works in which successions of soloists are accompanied by diverse ensemble colours. The 1930 trumpet, trombone and clarinet setting and the early-1940s pieces for successions of soloists both turn on instrumental colour. Black, Brown and Beige (1943) portrayed African-American history and opened a series of suites by Ellington, each usually made up of pieces tied together by a shared subject. Sacred music occupied his final ten years or so, with three pieces: Third Sacred Concert (1973), Second Sacred Concert (1968) and In the Beginning God (1965). Of his Sacred Music, Ellington said it was "the most important thing I've done". A suite from 1943, beside sacred concerts in his last decade, may suggest extended works in more than one period of his career. Ellington composed and arranged "It Don't Mean A Thing (If It Ain't Got That Swing)" in August 1931 during intermissions at the Lincoln Tavern in Chicago, and Irving Mills contributed the lyrics. In July 1956 Ellington and his orchestra appeared at the Newport Jazz Festival, which followed a low-profile period and led to a major revival and regular world tours. He was awarded a posthumous Pulitzer Prize Special Award for music in 1999. If the 1956 festival appearance brought a revival, the Pulitzer Prize Special Award of 1999 could be read as notice of his music in another era.
Parcourez les partitions de piano de Duke Ellington sur Zen Virtual Piano.
Duke Ellington grew up in Washington, D.C., in a secure, middle-class household, and he started piano study at the age of seven. Fine arts were among the interests that his family encouraged. Though Ellington took piano lessons, he was more interested in baseball. A scholarship to the Pratt Institute in Brooklyn, New York, was awarded to him but not accepted; art also came to absorb him during his high-school years. Piano lessons beside a pull toward baseball and art may suggest a boyhood spread across several pursuits.
Inspired by ragtime performers, Ellington began to perform professionally at age 17. His first composition, "Soda Fountain Rag", also known as the "Poodle Dog Rag", dates from the summer of 1914, when he was a soda jerk at the Poodle Dog Café. He made the piece by ear, as he had not yet learned to read and write music. One way to read this: a piece written by ear, beside piano lessons that began at age seven, is music-making that did not wait for notation.
Billy Strayhorn, composer of "Take the 'A' Train", which would become the band's theme song, became Ellington's composing-arranging partner. Ellington wrote a 1930 setting of "Mood Indigo" for muted trumpet, unmuted trombone and low-register clarinet. In the early 1940s he composed "Concerto for Cootie", "Cotton Tail", "Ko-Ko", "Main Stem" and "Harlem Air Shaft", works in which successions of soloists are accompanied by diverse ensemble colours. The 1930 trumpet, trombone and clarinet setting and the early-1940s pieces for successions of soloists both turn on instrumental colour.
Black, Brown and Beige (1943) portrayed African-American history and opened a series of suites by Ellington, each usually made up of pieces tied together by a shared subject. Sacred music occupied his final ten years or so, with three pieces: Third Sacred Concert (1973), Second Sacred Concert (1968) and In the Beginning God (1965). Of his Sacred Music, Ellington said it was "the most important thing I've done". A suite from 1943, beside sacred concerts in his last decade, may suggest extended works in more than one period of his career.
Ellington composed and arranged "It Don't Mean A Thing (If It Ain't Got That Swing)" in August 1931 during intermissions at the Lincoln Tavern in Chicago, and Irving Mills contributed the lyrics. In July 1956 Ellington and his orchestra appeared at the Newport Jazz Festival, which followed a low-profile period and led to a major revival and regular world tours. He was awarded a posthumous Pulitzer Prize Special Award for music in 1999. If the 1956 festival appearance brought a revival, the Pulitzer Prize Special Award of 1999 could be read as notice of his music in another era.
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