G Series Music

[Maryetta Worm]

Selfdescribed "Brass House" trio Too Many Zooz make manically kinetic instrumental music that combines avant-garde jazz, EDM, punk rock, and sundry other traditions into their own distinctive brand of high-energy dance music.

Accompanied by the telepathic rhythm section of Jorge Roeder and Ches Smith (Heaven and Earth Magick) this is a beautiful and soulful program of music for the classic instrumentation of piano, bass, and drums.

At only four years old, Zlata made her first stage appearance and just three years later, gave her debut with orchestra performing a Mozart Concerto at Grand Hall of Moscow State Conservatory. Along with an orchestral repertoire of over 50 concerti, Zlata Chochieva is a devoted chamber music performer having worked with Stephen Kovacevic, Lynn Harrell, Gilles Apap, and Jacquelyn Wagner, among others.

American Sign Language Interpretation is provided for all concerts on the Jay Pritzker Pavilion stage. For more accessibility information about Millennium Park visit our Accessibility page.

Ivan Singh is a Young Blues Guitarist and Singer from Argentina recently moved to Chicago with great acceptance in the blues community. Today he is one of the Greatest Blues Guitarists in his country and becoming a Rising Blues Sensation in Chicago using his "Lata de Batata" slide guitar (4 strings) to develop a distinctive sound and stand-out style. In a short period of time Ivan Singh have Sharing Stage with many Blues legends in Chicago In addition to tours throughout Argentina, Ivan has also played in many different countries between North America, Europe, Central-South America & Asia.

Seun Kuti is the youngest son of Afrobeat pioneer Fela Kuti. He has spent most of his life preserving and extending his father's political and musical legacy as the leader of his father's former band Egypt 80. Kuti was born in early 1983. He showed interestin his father's music from the age of five, and at nine began opening Fela's shows, singing a select group of songs with Egypt 80 before his dad took the stage. As a developing saxophonist and percussionist, he entered the formal ranks of the bandbefore he was 12. Fela passed in 1997, and Seun, in fulfillment of his father's wishes, assumed the mantle as head of Egypt 80; he has run it ever since. During his teens, Kuti divided his time between the band and school, participating in African Football. From the time he was 18, he pursued music full-time. His shows were always a mix of his father's tunes and his own. Although the elder Kuti never performed his recorded work on-stage, Seun felt it important that these compositions get a live hearing and added them to his own set.

Along the way, Seun began to add his own twist to the music, digging deep into various African traditions to reflect the continent's struggles and cultures. His debut recording, Seun Kuti & Fela's Egypt 80, was initially issued by WM Recordings in 2008, and later picked up for distribution by Mr. Bongo. While many outside Africa criticized it for using the Egypt 80 name, critics embraced its musical drive and improvisational fervor. Mr. Bongo also released his Many Things set later that year, whichdrew more praise than criticism. Seun toured globally and played for enthusiastically receptive audiences in Detroit, New York, Los Angeles, Chicago, Philadelphia, Paris, London, Tokyo, and especially Lagos. In 2011, He cut From Africa with Fury: Rise forKnitting Factory Records. It was co-produced with Brian Eno and John Reynolds. The set proved to be his breakthrough; it landed on both Billboard and digital International Charts. Seun Kuti & Egypt 80 toured the globe relentlessly, often playing multi-hour shows that were as heavy on group improvisation as they were on composition. The music never deviated from the overtly political. The younger Kuti continued to state that" Fela will always be number one," despite the fact that he was shifting and transforming Afrobeat with his own growing, evolving musical signature. "As the son of Afrobeat icon Fela Kuti, Seun Kuti carries a torch for infectious grooves and political songwriting." - NPR

Hailing from Sacramento, Calif., The Philharmonik is a producer, singer, rapper and multi-instrumentalist whose music has a palpable sense of urgency and depth. Talented and versatile, passionate and personal, The Philharmonik is an undeniable creative force.

The synthesis Rami and Karim create is an auditory expression of not only the power and persistence of tradition but equally the validity of its transformation under the unique cultural conditions we inhabit.

The basis of our work is the Turath, the canon of classical Arab compositions and improvisational techniques. This rich heritage consists of melodic and rhythmic exposition and instrumental interaction at countless levels of depth.

We interpret these forms in the context of the sounds of the contemporary North American metropole. In this project, the equally lush traditions of Blues and Jazz in Chicago provide the context of how we approach and assimilate the Turath.

The Arab Blues was developed by Lebanese-Egyptian oud and guitar player Rami Gabriel through a research fellowship at the Center for Black Music Research, two Illinois Artist grants, and a decade of experience as a jazz and blues musician in Chicago.

Native Egyptian percussionist Karim Nagi, a 2-time beneficiary of the Doris Duke Building Bridges grant for Muslim Artists, a TEDx speaker, and accomplished teacher completes this duo with his energetic & lyrical rhythms on Riqq, Tublah and alternatively assembled drum-set.

Chicago inspires us to amplify and expand the sound of our Arab folk traditions. Here, we are discovering the trajectory of our community's music; the future of our past sound. We are participating in this city's musical possibilities by celebrating and embodying the potential of the immigrant experience.

GZA/The Genius is a founding member of the seminal hip hop group the Wu-Tang Clan. GZA boasted some high-profile appearances on the group's debut album, Enter the Wu-Tang (36 Chambers), including one of only two solo tracks, "Clan in da Front."

The answer is 'yes,' with a big "if". If there is something in the instrument which is capable of vibrating at some simple multiple of the tone's wavelength, then it'll happen. As Tim's test showed, playing a note on a piano will produce a little bit of sound at sub8va and other subharmonics.

In general, if you play, say a 440-A, the 110, 220, 880, 1760 A-strings will vibrate in sympathy. Now, the higher pitched strings don't support 440, so they will "dump" energy into their own fundamental. However, the lower-pitched strings do support 440 (as the 2nd, 4th, etc harmonics), so their principle resonance will be at 440. Due to mathematical magic :-), there will be some energy at each string's fundamental, but that's a weak secondary effect.

I pressed A3 (A below middle C) gently so that the damper was lifted but no sound was made. If you cannot manage this then play as softly as you can and wait for the note to end. Assuming that my piano is tuned well, the fundamental of this string is 220Hz.

I stuck A2 (octave below) hard and then released it. So, this is 110Hz. The A3 string resonated afterwards but at its normal frequency 220Hz. To check that the note is coming from this string, let go of the key and you will find that the note stops.

It also works two octaves away e.g. A1 and A5 but in the case of A1 the resonance from A3 is very brief. Again, A1 caused A3 to resonate at its normal frequency but A5 caused it to resonate at A5's frequency.

I also tried a twelveth away which is approximately the third harmonic. So, D2 and E5 with similar results to the two octave case. So, the match does not need to mathematically exact since assuming that my piano is tuned normally, these twelveths won't be exactly on the third harmonic.

However, even though I can induce the resonance with notes above or below, this can all be explained by overtones without undertones. My experiment does not disprove undertones but suggests that, if they exist, they are much weaker than overtones.

Finally, note that if you really wanted to do this experiment scientifically then you should not trust your ear as the measuring device. It is quite conceivable that the ear may falsely detect 110Hz from a 220Hz stimulus. Tim's piece of paper on the guitar string test is more objective but just proves that resonance can occur above or below and does not tell us the frequency of that resonance. You would need some good lab equipment to be sure.

The "test" described is being used incorrectly to support a potentially false claim. In linear system you will NEVER excite an undertone. This is simply not possible. It could be done by some non-linear coupling that cause sub harmonics to be generated. In Tim's experiment there is a false conclusion being drawn from the fact that plucking the high e string caused the low e string to vibrate. Of course it will vibrate as Newton's law says that a force applied to the object will cause acceleration and hence motion.

What is really happening is that the high e string's fundamental is a natural harmonic of the low e string. Hence when the high e string is plucked the low e string vibrates in response to that frequency and the n = 4 harmonic (with n = 1 being the fundamental) is excited. This does NOT mean that there is a sub harmonic or under tone being generated. For that to be the case you would need to somehow prove that the lower octaves were excited by this.

This is the case with all sympathetic resonance phenomenon and I think it is grossly misunderstood. E is also the 5th of the A string and hence equal to the n = 3 harmonic, and n = 6 as well. If you were to play the high e string you would "SEE" literally the low E and A strings vibrate. However this does not mean that the note A was produced, in fact it is the E that is the 7th fret harmonic that is excited in the A string. A is NOT a natural harmonic of E.

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