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Jazz
Shortly after the War of 1812 From New Orleans, LA Instruments included trumpets,
trombones, clarinets, saxophones, and drums
A mixture of traditional ethnic music, gospel, blues, ragtime, classical (from Creole musicians)
Jazz – a musical form distinguished by its reliance on improvisation and its rhythmic urgency
Polyrhythmic – juxtaposing two or more different rhythms
Eubie Blake, James P. Johnson, and Earl Hines set norms on “stride piano”
Ferdinand Morton – 1885-1941 Perfected Dixieland Jazz – small
ensemble, one of each instrument, blend of simultaneous improvisation
“Black Bottom Stomp” Break – a measure or two where
everyone stops playing except the soloist
Scat singing – a form of vocal improvisation on nonsense syllables (Ella Fitzgerald)
1898-1991 From New Orleans Trumpet, vocals Nicknamed – “Satchmo”
With style of “hot jazz” sizes of band expanded
“Hotter than That” – Lil Hardin
New style of jazz (1930s)– swing – the special rhythmic character that jazz musicians give to the music
Fletcher Henderson developed swing style and expanded jazz ensembles to compliment the style
Brass section – 3 trumpets, 2 trombones Reed section – 3 or 4 saxes (double
clarinets) Rhythm section – drums, piano, guitar
and double bass Henderson Stomp – trading fours
Mid 1930s, music was primarily for listening, not dancing
Benny Goodman – clarinetist, Russian-Jewish immigrant family, “King of Swing”, first/only major jazz artist to have a parallel career in classical music
Lester Young – played tenor sax, ushered the transition from clarinet to sax
32 bar form – AABA form, standard jazz form
Bridge – a connective part of a composition
Duke Ellington – one of the most important American composers, wrote over 2000 pieces, “It Don’t Mean a Thing” – sung by Ella Fitzgerald, “Cotton Tail”
Chromatic – incorporating tones from a musical scale consisting entirely of half steps
Mary Lou Williams – popular female composer, Zodiac Suite (Gemini)
Bebop – a complex and sophisticated type of improvised jazz, for listening rather than dancing
Smaller ensemble than big band/swing, more freedom to improvise
John Birks “Dizzy” Gillespie – trumpet Charlie “Yardbird” Parker – alto sax
Made melodies more chromatic, harmonies and rhythms became more complex, rapid tempos and dazzling technical displays
“Shaw Nuff” by Gillespie and Parker
1950s – return to Dixieland and Ragtime styles, developed new styles “rhythm and blues” and “modal jazz”
Dorian Mode – a scale with the pattern of WHWWWHW
Miles Davis – pioneer of modal jazz, “So What”
Thelonious Monk – “Smoke Gets in Your Eyes”
1960s/70s – “free jazz”, similar to modal jazz, just more complex
Miles Davis, Herbie Hancock, Chick Corea, and Quincy Jones – pushed new style of “fusion” – combination of jazz and rock
“Birdland” - fusion “So Danco Samba” - Latin “I Got You” - blues