The Measure Stage -- General Electric Coursework

The Measure Stage -- General Electric - Coursework Example These are correct transactions and customer complaints. The number of correct transactions can be automatically withdrawn from the company’s system whereas the number of customer complaints can be obtained from customer feedbacks and recorded complaints during sale or after sale of company goods and services. For the ten months from February to November, the number of customer complaints was identifiably more than the number of incorrect transactions for each month. For this reason, the team should focus on improving issues that arise during customer complaints. This is because this section recorded the highest values every month when measured against the number of incorrect transactions. General Electric Company’s inability to assure its customers of utter satisfaction comes as a result of the high number of customer complaints. This is evident from the graph in the process baseline estimation section above. This is an indication that stringent measures ought to be taken in order to curb customer complaints within the company. The mission of this project, as indicated in the define stage of this project, is the improvement of General Electric company’s six sigma with the aim of ensuring utter customer satisfaction. For this reason, the data collected in the process baseline estimation section above supports the purpose of the project. The data, therefore, shows that there certainly is room for performing better as far as ensuring utter customer satisfaction is

Jazz History-1 Essay Example | Topics and Well Written Essays - 500 words

Jazz History-1 - Essay Example As a drummer myself, I can attest to the difficulty of creating unique ways of rhythm within a song. Max Roach’s style of drumming was visibly influenced by the style of Kenny Clarke, an early bebop drummer at Milton’s Playhouse. However, even though Clarke’s style was certainly innovative, Roach made a few changes to the method. Roach made bebop drumming more melodic and more polyrhythmic (Larson 133). In the 1940s, the jazz scene was changing in the wake of the War. Bebop had officially begun in New York, centered around Milton’s Playhouse, where Kenny Clarke was already playing when Max Roach began. Rather than keeping time with the bass drum, as was traditional at the time for swing drummers, Roach switched to time-keeping on the ride cymbal. This had the effect of making songs seem lighter and more propulsive. In addition, Roach freed his hands for more extravagant rhythms that ultimately defined his style as a bebop drummer (Mathieson 126-9). During the 1940s, Roach played with a number of the most recognizable names in the bebop scene. Most notably, he played in the Parker/Gillespie quintet in 1944 and in the Parker/Davis quintet in 1947. This brought Roach the fame and recognition he deserved, keeping rhythms and times for world-renowned trumpeters. But even as conventional bebop declined in popularity coming into the 1950s, Roach co-led a quintet named after him and Clifford Brown, forming one of the most noteworthy hard bop groups of the decade, incorporating such names as Sonny Rollins and Sonny Stitt between 1953 and 1956 (Larson 133). Roach’s influence would live on in his recordings which still influence countless drummers to this day. A more critical look at Roach’s biography reveals a number of interesting musical influences on his style. By 10, the young Roach was drumming in gospel bands, and, immediately after graduating from high school, he was already playing