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Relevant bibliographies by topics / Electric guitar music – Scores

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Academic literature on the topic 'Electric guitar music – Scores'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Electric guitar music – Scores"

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Byambatsogt, Gerelmaa, Lodoiravsal Choimaa, and Gou Koutaki. "Guitar Chord Sensing and Recognition Using Multi-Task Learning and Physical Data Augmentation with Robotics." Sensors 20, no. 21 (2020): 6077. http://dx.doi.org/10.3390/s20216077.

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In recent years, many researchers have shown increasing interest in music information retrieval (MIR) applications, with automatic chord recognition being one of the popular tasks. Many studies have achieved/demonstrated considerable improvement using deep learning based models in automatic chord recognition problems. However, most of the existing models have focused on simple chord recognition, which classifies the root note with the major, minor, and seventh chords. Furthermore, in learning-based recognition, it is critical to collect high-quality and large amounts of training data to achieve the desired performance. In this paper, we present a multi-task learning (MTL) model for a guitar chord recognition task, where the model is trained using a relatively large-vocabulary guitar chord dataset. To solve data scarcity issues, a physical data augmentation method that directly records the chord dataset from a robotic performer is employed. Deep learning based MTL is proposed to improve the performance of automatic chord recognition with the proposed physical data augmentation dataset. The proposed MTL model is compared with four baseline models and its corresponding single-task learning model using two types of datasets, including a human dataset and a human combined with the augmented dataset. The proposed methods outperform the baseline models, and the results show that most scores of the proposed multi-task learning model are better than those of the corresponding single-task learning model. The experimental results demonstrate that physical data augmentation is an effective method for increasing the dataset size for guitar chord recognition tasks.

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Lindroos, Niklas, Henri Penttinen, and Vesa Välimäki. "Parametric Electric Guitar Synthesis." Computer Music Journal 35, no. 3 (2011): 18–27. http://dx.doi.org/10.1162/comj_a_00066.

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Ciszak, Thomas, and Seth F. Josel. "OF NEON LIGHT: MULTIPHONIC AGGREGATES ON THE ELECTRIC GUITAR." Tempo 74, no. 291 (2019): 25–49. http://dx.doi.org/10.1017/s0040298219000962.

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AbstractConsiderable research has been made into the harmonic properties and playability of woodwind multiphonics, while the utility of string multiphonics has received far less attention. In recent years, however, there has been an increasing amount of interest in the topic, and several publications have been devoted to acoustic guitar multiphonics. Primarily written for non-guitarist composers, these studies range from the scientific to the practical. Variously, they describe the sonic qualities of the multiphonics, discuss methods of performing them, or examine their spectral content and morphology. Until now, published research into guitar multiphonics has been limited to the acoustic guitar and has examined only its three lower strings. In this study, we analyse multiphonics on all six strings of the electric guitar and present a catalogue of harmonic aggregates on strings 3–1. We test these multiphonics on five different guitars and examine their response to three commonly used analogue effect pedals (compression, overdrive and distortion). In order to precisely indicate the spectral components and harmonic nodes, we have used the Extended Helmholtz-Ellis JI Pitch Notation (HEJI).

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Jameson, Ben. "‘ROCK SPECTRALE’: THE CULTURAL IDENTITY OF THE ELECTRIC GUITAR IN TRISTAN MURAIL'S vampyr!" Tempo 69, no. 274 (2015): 22–32. http://dx.doi.org/10.1017/s0040298215000340.

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AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (1984), in the hope of demonstrating perspectives that will be useful in considering new music for the electric guitar more generally. The article draws both on established analytical approaches to Murail's spectral oeuvre and on concepts from popular music and cultural studies, in order to analyse the influence that the electric guitar's associations from popular culture have in new music.

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Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.

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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.

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Carfoot, Gavin. "Acoustic, Electric and Virtual Noise: The Cultural Identity of the Guitar." Leonardo Music Journal 16 (December 2006): 35–39. http://dx.doi.org/10.1162/lmj.2006.16.35.

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Guitar technology underwent significant changes in the 20th century in the move from acoustic to electric instruments. In the first part of the 21st century, the guitar continues to develop through its interaction with digital technologies. Such changes in guitar technology are usually grounded in what we might call the “cultural identity” of the instrument: that is, the various ways that the guitar is used to enact, influence and challenge sociocultural and musical discourses. Often, these different uses of the guitar can be seen to reflect a conflict between the changing concepts of “noise” and “musical sound.”

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Barry, Robert. "BBC Radio 3 Open Ear: EXAUDI Vocal Ensemble, We Spoke & Gwen Rouger LSO St Luke's, London." Tempo 72, no. 286 (2018): 81–82. http://dx.doi.org/10.1017/s0040298218000426.

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Simon Løffler's b presents to its audience an immediate question: where are the instruments? Three players sit on straight-backed chairs, joined by a daisy-chain of cables and guitar stomp boxes. The score directs a choreography of foot switching, demanding extraordinary pedal dexterity. Sounds pass down the line, modulated by distortion and equaliser effects, before bursting out of the PA in a series of abrupt electrical barks. But at the other end of the line there is nothing but an unplugged jack, held aloft, inserted nowhere but the open air.

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Aprianno, Ryan Gredy. "PENGARUH ETUDE TERHADAP TEKNIK PERMAINAN GITAR KLASIK DAN GITAR ELEKTRIK." IKONIK : Jurnal Seni dan Desain 2, no. 2 (2020): 103. http://dx.doi.org/10.51804/ijsd.v2i2.740.

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Banyak gitaris yang memainkan gitar klasik dan gitar elektrik secara beriringan. Namun banyak dari mereka yang merasakan bahwa kedua teknik permainan gitar tersebut agak bertolak belakang dan saling mempengaruhi. Tujuan penelitian ini adalah untuk menjembatani antara teknik permainan gitar klasik dan gitar elektrik. Metodologi yang digunakan dalam penelitian ini adalah pendekatan studi kasus, kajian pustaka dan karya dengan memanfaatkan jurnal online, buku serta partitur karya. Hasilnya adalah teknik permainan gitar klasik dan elektrik yang agak bertolak belakang tersebut dapat diatasi salah satunya dengan cara memainkan etude. Etude tersebut terdiri dari teknik-teknik permainan yang khas terdapat pada gitar klasik dan gitar elektrik. Selain itu teknik-teknik permainan yang khas tersebut dapat dikombinasikan sehingga menghasilkan teknik hybrid antara gitar klasik dan gitar elektrik. Dengan tujuan, gitaris klasik dan gitaris elektrik yang memainkan kedua gitar tersebut secara beriringan akan mengetahui teknik-teknik permainan yang khas terdapat pada gitar klasik dan gitar elektrik. Serta mengaplikasikan teknik hybrid tersebut kedalam permainan gitarnya, sehingga gitaris bisa melatih kedua teknik permainan gitar tersebut secara bersamaan, tanpa meninggalkan salah satunya.Many guitarists play classical guitar and electric guitar simultaneously. But many of them feel that the two guitar playing techniques are somewhat contradictory and influence each other. The purpose of this study is to bridge the technique between classical guitar and electric guitar. The methodology used in this research is a case study approach, literature review and works by utilizing online journals, books and scores of works. The result is that the classical and electric guitar playing techniques are somewhat contradictory, one of which can be overcome by playing etude. Etude consists of techniques that are typical of the game found on the classical guitar and electric guitar. In addition, these typical playing techniques can be combined to produce a hybrid technique between a classical guitar and an electric guitar. With the aim, the classical guitarist and the electric guitarist who play both guitars together will know the game techniques that are typical found on the classical guitar and the electric guitar. As well as applying these hybrid techniques into his guitar playing, so the guitarist can practice both guitar playing techniques simultaneously, without leaving one of them.

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Schwartz, Jeff. "Writing Jimi: rock guitar pedagogy as postmodern folkloric practice." Popular Music 12, no. 3 (1993): 281–88. http://dx.doi.org/10.1017/s0261143000005729.

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Most instruction in electric guitar, bass guitar, drums and electronic keyboards is conducted on a one-to-one basis by uncertified, independent teachers. The lessons are face-to-face, and based on the student's imitation of the teacher's example. Popular music education is a ‘little tradition’ (in comparison to school music departments) and largely an oral one, thus meeting the usual criteria of folk cultures.

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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.

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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.

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Dissertations / Theses on the topic "Electric guitar music – Scores"

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Welch, Chapman. "Tele using vernacular performance practices in an eight channel environment /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/welch%5Fchapman/index.htm.

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Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.<br>The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.<br>"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.<br>'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."

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Chapman, Davis Howard. "Three Ideas, a Collection of Three One-Act (Musical) Plays for Mixed Ensemble." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501209/.

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Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal with an unknown, or at least unseen, force that has a strong influence (possibly control) over our actions and the actions of objects around us. This force could possibly radiate from within ourselves, or it could be completely outside us.

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Klčo, Michal. "Electric Guitar to MIDI Conversion." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2018. http://www.nusl.cz/ntk/nusl-385891.

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Automatický přepis hudby a odhad vícero znějících tónu jsou stále výzvou v oblasti dolování informací z hudby. Moderní systémy jsou založeny na různých technikách strojového učení pro dosažení co nejpřesnějšího přepisu hudby. Některé z nich jsou také omezeny na konkrétní hudební nástroj nebo hudební žánr, aby se snížila rozmanitost analyzovaného zvuku. V této práci je navrženo, vyhodnoceno a porovnáváno několik systémů pro konverzi nahrávek elektrické kytary do MIDI souború, založených na různých technikách strojového učení a technikách spektrální analýzy.

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Ledroit, Christien. "Streamlined : for chamber orchestra with electric guitar and digital audio." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79289.

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Streamlined is a musical composition for chamber orchestra. The entire piece was created from four basic musical fragments. These fragments are used melodically and as "roots" for chord progressions, eventually rendering melody and harmonic progression as one entity. These chord progressions move slowly from one chord to the other, through several intermediate chord progressions, metamorphosing into each other through carefully calculated and executed transformative processes.

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Gilgunn, Paul. "Distillation and synthesis : aesthetics and practice in Rhys Chatham's music for electric guitar." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22066/.

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This is a critical study of music for electric guitars by composer-performer Rhys Chatham (b. 1952), work that distils and synthesises elements from various genres, primarily, minimalism and rock. I investigate the development, realisation, and import of these works, created between 1977 and 2006, in an analytical, biographical, and cultural account that examines unpublished performance directions, scores, and original interviews with this significant, yet under-explored artist and his collaborators. An immanent sublime aesthetic characterises Chatham’s formative experiences in downtown music, and I explain how this informs his composition, performance, and listening practices (including attendant issues of entrainment, frisson, and perceptualization). This reading is situated within major music traditions of the later twentieth century and at the forefront of a nexus of postmodern radical pluralism, operating across the borderline of the avant-garde and the popular. I use a range of research methods: aesthetics, cultural theory, interviews, musical analysis, music theory, and my own experience of performing several of these works. Part One maps Chatham’s development as a composer and performer through his engagement with modernist, serialist, electronic, minimalist, improvised, North Indian classical, popular, and rock music between 1952 to 1978, to interpret how he distilled key components of these experiences. Part Two outlines how he synthesised these elements in several non-notated works for the electric guitar, from 1977 to 1982, using idiosyncratic and inventive approaches to composition and performance. Part Three provides in-depth analyses of Chatham’s notated music for increasingly large ensembles of electric guitars from 1984 to 2006, to outline the development of his post-Cagean musical language, and interpret the wider import of these works. I argue that the interpenetration and reciprocity of musical elements in these works expand, and implode, pre-established forms of art and rock music. While this eludes ‘either/or’ classifications, per se, this is a particular kind of post-minimalism, with significant components of popular music, identifiable as part of a post-1945 culture that was distinguished by immanence, participation, and subjectivity.

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Jameson, Benjamin Thomas. "Negotiating the cross-cultural implications of the electric guitar in contemporary concert music." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/417404/.

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Despite its ubiquity in rock and popular music, use of the electric guitar has only become commonplace within ‘classical’ concert music in recent decades. This increased prominence is partly due to the expanded sonic possibilities that the instrument offers, but also reflects composers’ greater willingness to engage with popular music practices. Use of the electric guitar in concert music often involves some form of encounter between contemporary compositional approaches and popular forms of cultural expression, presenting creative possibilities and challenges to composers, performers, listeners and scholars alike. This research project investigates the cross-cultural implications of employing the electric guitar in concert music through theory, analysis and composition. Case studies of electric guitar works by Tristan Murail and Laurence Crane provide an opportunity to consider how popular music scholarship relating to the electric guitar might figure in analysis of concert music featuring the instrument. These analyses informed the composition of four new works within the included portfolio (provided as scores with accompanying audio/video documentation) that feature the electric guitar or draw upon its related musical idioms, with a specific focus on rock and heavy metal styles.

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Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.<br>CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

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Hodges, Jeff. ""Being" a Stickist: A Phenomenological Consideration of "Dwelling" in a Virtual Music Scene." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28430/.

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Musical instruments are not static, unchanging objects. They are, instead, things that materially evolve in symmetry with human practices. Alterations to an instrument's design often attend to its ergonomic or expressive capacity, but sometimes an innovator causes an entirely new instrument to arise. One such instrument is the Chapman Stick. This instrument's history is closely intertwined with global currents that have evolved into virtual, online scenes. Virtuality obfuscates embodiment, but the Stick's world, like any instrument's, is optimally related in intercorporeal exchanges. Stickists circumvent real and virtual obstacles to engage the Stick world. Using an organology informed by the work of Heidegger and Merleau-Ponty, this study examines how the Chapman Stick, as a material "thing," speaks in and through a virtual, representational environment.

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Holmquist, Mats G. (Mats Göran). "Concertino for Jazz Clarinet, Electric Viola and Symphonic Orchestra." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500779/.

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Concertino for Jazz Clarinet. Electric viola and Symphonic Orchestra is a composition of approximately fifteen minutes' duration, and is scored for two flutes (second doubling piccolo), two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb trumpets, three trombones (third bass), two percussionists, solo Bb clarinet, solo electric viola and strings. The piece is divided into two movements; Andante and Canon. Concepts derived from jazz music are employed in, for example, harmony and improvisation in the solo parts, whereas the orchestration is mainly traditional. The piece is written for two great Swedish instrumentalists; Putte Wickman, clarinet, and Henrik Frendin, viola. Stylistically this work is difficult in the orchestral parts, since it uses concepts from two different musical styles, jazz and classical. Influences originate from such wide-ranging composers as Mozart, Stravinsky, Shostakovich and Chick Corea.

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Books on the topic "Electric guitar music – Scores"

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Reich, Steve. Electric counterpoint: For guitar and tape or guitar ensemble. Hendon Music, 1990.

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Davidovsky, Mario. Synchronisms: No. 10, guitar and tape. C.F. Peters, 1995.

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Harrison, Lou. The Lou Harrison guitar book: For guitar. Columbia Music Co., 1994.

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group), Jimi Hendrix Experience (Musical. Electric ladyland. MCA, 1997.

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Hot guitar. Miller Freeman Books, 1996.

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Shattenkirk, Ray. Tastar de corde: Guitar duo. Guitar Arts, 1993.

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Strizich, Robert. Landscapes: For flute and guitar. Fallen Leaf Press, 1990.

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Kolb, Barbara. Umbrian colors: For violin and guitar. Boosey & Hawkes, 1989.

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Ayton, Will. Three movements for mandolin and guitar. NL Publications, 1985.

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Tower, Joan. Snow dreams: For flute and guitar. Associated Music Publishers, 1987.

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Book chapters on the topic "Electric guitar music – Scores"

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Abeßer, Jakob. "Automatic String Detection for Bass Guitar and Electric Guitar." In From Sounds to Music and Emotions. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_18.

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Herbst, Jan-Peter. "‘Gear Acquisition Syndrome’ – A Survey of Electric Guitar Players." In Popular Music Studies Today. Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_15.

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Lethem, Jonathan. "Electric Guitar." In Talking Heads' Fear of Music. Bloomsbury Publishing Plc, 2012. http://dx.doi.org/10.5040/9781501397363.0024.

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Pras, Amandine. "Standard 3-point Micing Technique (Advanced)." In The Music Technology Cookbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0048.

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How can you make a guitar sound full, large, and deep even if it was recorded in a bedroom? In this advanced lesson, I introduce the “standard 3-point micing technique,” which picks up the different personalities of an electric guitar and amplifier with a “bright” mic, a “dark” mic, and a “back” mic. This recording approach mirrors the “standard 3-point lighting technique” and its “key” light, “fill” light, and “back” light to form the basis of most lighting approaches for video, film, and still photography. The “standard 3-point micing technique” offers multiple mixing options based on different mic combinations, creative panning, and time delay.

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Suprayogi, A., and K. S. Astuti. "Effect of a backing track on improvement of students’ electric guitar playing skills." In 21st Century Innovation in Music Education. Routledge, 2019. http://dx.doi.org/10.1201/9780429024931-31.

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Longo, Shawna. "Instructional Plans: Grades K–2." In Integrating STEM with Music. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546772.003.0005.

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Chapter 5 presents three instructional plans that are geared toward grades K–2. Instructional plans consist of planning necessities, standard alignment, alignment to philosophies approached in earlier chapters, as well as instructional procedures and assessments. Adaptations for other grade-level bands as well as potential extensions are available for each plan. This chapter includes the following instructional plans: Shapes of Electric Guitars, Sound Amplification and Speaker Building, and Measuring Length and Pitch. In Shapes of Electric Guitars, students will design guitar bodies and perform on them using available technology. In Sound Amplification, students will analyze and experiment with sound waves, eventually building their own small speaker. In Measuring Length and Pitch, students will measure pitched tubes to determine the mathematical relationship between pitches.

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Bellaviti, Sean. "Introduction." In Música Típica. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936464.003.0001.

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It was some time after I first met Panamanian vocalist and multi-instrumentalist Lucho de Sedas, in early 2005, that he began playing a custom designed Fender Stratocaster whenever he performed for audiences in Toronto. In contrast to the sleek B. C. Rich Gunslinger Assassin that had followed him from Panama, Lucho’s new electric guitar had emblazoned on its front the tricolored Panamanian flag. This new guitar would become a key part of his signature look, for it communicated his connection to and love of country. Indeed, for the highly diverse contingent of Hispanic Canadians that made up the audience for his music in his newly adopted land, the instrument was also the most striking if not principal reference to the musician’s nationality. This is because—as Lucho would remark to me on several occasions—Panamanian music is little known outside of Panama. This lack of familiarity with the music to which he had devoted his life was deeply felt by Lucho, who is not only a household name in his own country, but had risen to fame performing the most widely embraced form of popular music in Panama....

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Chapman, Con. "The Blues." In Rabbit's Blues. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0020.

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The chapter discusses the nature of the blues and Johnny Hodges’s place within the genre. Recognized as a master of the blues in his time, he would not be thought of as a blues musician by most listeners today because what is meant by that term has been narrowed over time. Guitar-based blues music has crowded the horn-based variety out of the marketplace since rock ‘n’ roll displaced jazz as the most popular music among America’s youth. A brief history of the evolution of the term blues in American music is provided, along with an explication of the role played by W. C. Handy in popularizing the genre before electric amplifiers gave rise to the current ascendancy of guitars over horns. Hodges’s blues-based collaborations with organist Wild Bill Davis are then described as largely responsible for creating a new subgenre of jazz, the organ-sax combo, which endures to this day.

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