chord – the simultaneous sounding of two or more notes. chorale – a religious song with a simple tune and vernacular language. chamber music – the term applied to instrumental (altho sometimes vocal) music played by an ensemble of usually 3-8 players, with one player per part. cantata -a dramatic vocal work intended for performance in a church service. cadenza – a virtuoso passage near the end of a concerto movement or aria. cadence – the conclusion or punctuation point in a musical phrase the most effective waaay of affirming or establishing the tonality of a passage. break – a dramatic, unstable, strongly rhythmic section, as in a march. brass – wind instruments, including trumpet, french horn, trombone, and tuba. Bel canto – “beautiful singing” referring to the Italian vocal style of the 17th-19th centuries characterized by beautiful tone, florid delivery, shapely phrasing, and effortless technique. bebop – a complex, highly improvised style of jazz. bass – low male voice lowest line of music. ballads – song like instrumental pieces, particularly for piano. avant garde – leaders in the development of new and unconventional styles. atonality – the avoidance of a tonic note and of tonal relationships in music. arpeggio – the notes of a chord played rapidly one at a time. aria – Italian for “air” a song which is either independent or part of a larger work. andante – moderately slow a movement at a moderate or walking pace. allegro – quick a movement in lively tempo. adagio – “at ease” or leisurely a movement with slow tempo. accent – emphasis placed on a particular note thru metric placement, dynamic level, articulation, duration, or register a strong sound. acapella – Italian for “in the chapel” choral music sung without musical accompaniment. Rhythmic groupings to create grooves, solos and textures. Versed in "Linear Rhythm Concept" utilizing. Private Studies with Joe Dorris (Gary Chaffee). Drum Set player since 1982, Performer since 1986. Original Funk, Reggae, World Beat, Latin, HipHopĮxperience from Cat's A Bear with Frank on Keyboard Swing: Anticipated Feel, Walking Bass Lines. Intervallics, Suspensions, Spontaneous Reharmonization. Bill Evans / Substitution Voicings (Standard Comps). 4-Way Close Sevenths, Open / Drop Voicings. Finger Action Reduction, Front & Back Assembly Balance and Use. Wrist Staccatto, Sticky Fingers, Rub Pinky, Knock for Bugs. #Harmony assistant metric modulation professional
Professional with The Music Machine, Boston, MA, 1982-89.Pianist since 1967, Performer since 1982.
Swing: Walking Bass Lines, Triple Approachįrank Singer on Bass (Multi-Instrumentalist), Larry Maksin on Drumsįrank Singer on Bass, Nokes Kelly on Sax, Larry Maksin on Drums.Blocking and Cup Techniques for Clean Sound.Professional with The Music Machine, Boston, MA, 1980-89.Private Studies with Brian Baker (Berklee College of Music).Bassist since 1978, Performer since 1980.Instruction choices do not include Classical Style Right Hand Technique. Reverse Pick-and-Finger Style (+) Frank developed using the pick on the higher-pitched strings and plucking the chords below with the Middle, Ring and Pinky of the Right Hand. In Wonderland: Four Jazz Standards from Cat's A Bearīy Too Big Power on Amazon (Multi-Instrumentalist)Ĭovered Right Hand Techniques include Finger Style, Pick-and-Finger Styles,Īnd Pick Styles including Sweep picking, Circular picking, Flat picking, Standards 1, Frank Singer's Solo Jazz Guitar Album Functional and Modal Harmony and Progression.Giant Steps Studies, Tritonics, Quadratonics.Latin: Bossa Nova, Samba, Cha Cha, Montuno.
Solo Jazz Guitar and Repertoire Development. Chromatic, Whole Tone, Diminished Scales and Use. Modes (Traditional 'Church' Modes, Jazz Minor Modes). Right Hand / Picking / Strumming Technique *. Private studies with Dave Marshall, Andy Steinborn (Berklee College of Music),. Principal instrument of study at Berklee College of Music ('80). Guitarist since 1969, Performer since 1974.
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