Jazz3:33Parcourez 3 partitions
Trier :
Bibliothèque de morceaux
Parcourez les partitions de piano de Frank Sinatra sur Zen Virtual Piano. Frank Sinatra was born in Hoboken on 12 December 1915, and as a young man, in the New Yorker’s account, his expectations were woefully at odds with his abilities. He wanted to build bridges, but he had spent only forty-seven fractious days in high school; he wanted to be a sportswriter, but he was a “deez, demz, and doz” guy; and he loved music but could not read it and was too impatient to learn an instrument. A list of ambitions that did not match his schooling makes his later singing career look like a turn that none of his early plans predicted. In 1935, still unemployed and living at home, he attached himself to a trio in nearby Englewood called the Three Flashes. An unemployed young man attaching himself to a local trio is a modest scene beside the career that followed. The New Yorker wrote that his voice was smaller and lighter than Crosby’s, but that, as Whitney Balliett observed, “his phrasing and immaculate sense of timing gave it a poise and stature Crosby’s lacked.” A smaller, lighter voice whose phrasing and timing Whitney Balliett credited with giving it poise can be read as a voice carried by its delivery. A Fresh Air biography of Sinatra says that when he first left the big bands he knew where he wanted to go, and that, although singing with the bands was lucrative and relatively easy, he now had a payroll of his own and responsibilities he had not had a few months earlier. Leaving the big bands for a payroll of his own and new responsibilities marks a change in what the work asked of him. In the Los Angeles Times he said, “Performing live is the way I like to do it,” and went on, “nothing beats the electricity of a hot band and interplay between audience and vocalist. That’s why when I record I try to reproduce the atmosphere of concerts as much as possible.” He said that in his Capitol sessions in the 1950s he was maturing as a vocalist, and that Nelson built on the lower range of his voice, with less crooning and more hot numbers. A singer who tries to bring the concert’s atmosphere into the studio can be read as treating a recording as a record of an event rather than an object.
Parcourez les partitions de piano de Frank Sinatra sur Zen Virtual Piano.
Frank Sinatra was born in Hoboken on 12 December 1915, and as a young man, in the New Yorker’s account, his expectations were woefully at odds with his abilities. He wanted to build bridges, but he had spent only forty-seven fractious days in high school; he wanted to be a sportswriter, but he was a “deez, demz, and doz” guy; and he loved music but could not read it and was too impatient to learn an instrument. A list of ambitions that did not match his schooling makes his later singing career look like a turn that none of his early plans predicted.
In 1935, still unemployed and living at home, he attached himself to a trio in nearby Englewood called the Three Flashes. An unemployed young man attaching himself to a local trio is a modest scene beside the career that followed. The New Yorker wrote that his voice was smaller and lighter than Crosby’s, but that, as Whitney Balliett observed, “his phrasing and immaculate sense of timing gave it a poise and stature Crosby’s lacked.” A smaller, lighter voice whose phrasing and timing Whitney Balliett credited with giving it poise can be read as a voice carried by its delivery.
A Fresh Air biography of Sinatra says that when he first left the big bands he knew where he wanted to go, and that, although singing with the bands was lucrative and relatively easy, he now had a payroll of his own and responsibilities he had not had a few months earlier. Leaving the big bands for a payroll of his own and new responsibilities marks a change in what the work asked of him.
In the Los Angeles Times he said, “Performing live is the way I like to do it,” and went on, “nothing beats the electricity of a hot band and interplay between audience and vocalist. That’s why when I record I try to reproduce the atmosphere of concerts as much as possible.” He said that in his Capitol sessions in the 1950s he was maturing as a vocalist, and that Nelson built on the lower range of his voice, with less crooning and more hot numbers. A singer who tries to bring the concert’s atmosphere into the studio can be read as treating a recording as a record of an event rather than an object.
Rechercher dans la bibliothèque
