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Music 131 Midterm 2

Terms in this set (69)

Jump Bands
rhythm and blue with strong elements of swing, root of rock and roll, dance able and accessible to popular audiences, primarily black bands appeal to white middle class teens, suggestive lyrics
Bebop
virtuoso musicians, exceptional improvising skills, small/dedicated/liberal-leaning audiences, reaction to commercialism of swing bands, expanded in Harlem
After Hours Clubs
Bebop-Jam sessions in Harlem, scat singing syllables, cutting contests, long complicated solo improvisations, intentional move away from constrictions of playing commercial swing music
Bebop style
zoot suits, goatees, sunglasses, string ties, berets or tams, hipster slang, modern ultra liberal philosophies, heroin
Dizzy Gillespie
First and most influential bebop trumpet player, self-taught trumpet lead to unorthodox technique and bulging cheeks, big full brassy tone, outgoing musical personality, high register playing, intense syncopated and accessible improvised lines, fused bebip with Afro-Cuban styles
Mambo
constructed in layers of sound with groups of instruments building on top of each other, Afro-cuban
Manteca
Dizzy Gillespie, co-wrote by Gillespie and Chano Pozo, brass and sax shout sections, moves between mambo and bebop, (straight 8ths and swing)
Charlie Parker home town
Kansas City
Buster Smith
Charlie Parker's mentor
Jimmy Dorsey
Influence to Charlie Parker
Lester Young
Idol to Charlie Parker, bluesy/linear approach
Charlie Parker
Transferred piano by Art Tatum to alto sax, morphine addiction from a car accident lead to heroin addiction, few recordings exist because of Musicians Union ban
Taxi Dancehalls
charged per each dance rather than for admission
Taxi bands
150-200 2 minute songs in a night to promote turnover of dancers
Ornithology
Charlie Parker, Miles Davis on trumpet, form and structure of How High The Moon, A1-A2 form, trade 4's, angular and effortless solo
Just Friends
Charlie Parker inspired by the symphony, studied Stravinsky, small chamber ensemble and jazz rhythm section arranged by Norman Granz, solo flows between melodic paraphrasing and bebop lines, stead and dance-able, piano solo by Russ Freeman, drummer Buddy Rich
Dexter Gordon
Premier tenor sax player, based in LA, long flowing lines contrasted with short irregular syncopated phrases, inserted short quotes of popular songs, virtuosity technique
Thelonious Monk
Unorthodox, away from mainstream bebop, walking symbol for bebop, considered himself an artist and his music an art form, played at or beyond the boundaries of mainstream jazz, abstract melodic lines and unusual harmonies, dissonance, stood up from piano to dance,
Misterioso
Thelonious Monk, based on beginning piano student exercise, 12-bar blues, does not swing, built on straight 8th notes
Dissonance
notes that purposefully clash with each-other, notes that cause tension with the established tonality, notes that sounded wrong
I Should Care
Thelonious Monk, pop song by Sammy Cahn, abstract musical sound painting, all original music is distorted, musical tension without release
Musical Tension without Release
using exaggerated rhythms, doing away with a steady tempo, employing unusual harmonies, incorporating dissonance, utilizing unorthodox playing techniques
Bud Powell
most imitated bebop pianist, de-emphasized activity of the left hand, took the stride out of piano playing, right hand improvised melodies, left hand used sporadically, locked hands
Locked Hands
Bud Powell, both hands played simultaneously in parallel motion
Clifford Brown
only 4 years on recordings, died in car accident, influenced trumpet players, warm fat tone, relaxed but highly articulated solos, advanced conception of harmony, used the entire range
Cool Jazz
Centered in New York, Jazz for the intellectual, formal compositions, reflective improvisations, exposure in movies and TV, sophisticated/mature music, reaction to bebop frenzy, projected cool attitude, more of a west coast style
Cool Jazz Musicians
insisted on being equals of classical musicians, borrowed procedures from classical music, consummate technique, had music reading skills, utilized classical instruments
Lennie Tristano
Blind classically trained pianist, studied music theory at American Conservatory of Music in Chicago, advanced understanding of Harmony, created a new scene to contrast the bebop movement when he moved to New York
Miles Davis
subtle less brassy trumpet tone, discouraged use of vibrato tough to him by Elwood Buchanan, dropped out of Julliard, played with Parker, left him at Royal Roost Club over drugs, softer hollow, plaintive trumpet tone, Harmon mute, straight unwavering tone, low to middle range of trumpet, avoided cliches, melismatic phrasing, created lines with intricate syncopated rhythms, extensive use of space or created tension, preferred to play with a saxophonist who provided a stylistic contrast-John Coltrane,
Harmon Mute
produces a buzzing, thin metallic sound
Melismatic Phrasing
holding a pitch longer than expected, emphasizing dissonant notes,
Boplicity
Miles Davis, arranged by Gil Evans, use of complex chords, cross section voicing, composed counterpoint, tonal texture: french horn and tuba, "birth of cool"
Composed Counterpoint
simultaneous multiple melodies
Dave Brubeck
one of the most popular of the 21st century, played piano in WWII French field hospital after battle of the bulge, complex odd time meters, San Francisco, popular on college campuses- underground hip identity, language, and fashion
Take Five
Dave Brubeck, by Paul Desmond, 5 beats per measure, repeated piano ostinato or vamp through the piece, odd time drumming, billboard top 40 hit, top 25
Shelly Mane
Important role in establishing the West Coast cool jazz style, strong focus on composition and orchestration, cerebral temperament, drummer, performed with Gillespie, Parker, Tristano, Konitz, Kenton
fugue
theme or subject introduced at the beginning of a composition
Modern Jazz Quartet
John Lewis-piano, Milt Jackson-vibraphone, Percy Heath- Bass, Connie Kay- Drums, combined classical concepts with bebop, elements of baroque counterpoint, third stream jazz, projected image of classical string quartet, wore tux's, performed in the finest music halls, printed programs and program notes, well-rehearsed, ensemble tightness
Sketch
Modern Jazz Quartet and Beaux Arts Quartet, composed by John Lewis, third stream music, string not required to play in jazz idiom, MJQ did need to play in string quartet style, jazz and classical music performed simultaneously without compromise, cool, soft, subtle
Hard Bop
R&B edge, stronger beat, younger generation of musicians with new ideas, combined hear and soul of bebop with the energy and rhythm of blues, East Cast style of jazz, became soul jazz in 1960s
Sonny Rollins
Tenor Sax, initially interested in rhythm and blues, influenced by swing era sax Coleman Hawkins, major transition figure for Hard Bop
Blue 7
Sonny Rollins, 12 bar blues with a nontraditional melody, several tritones or flattened 5ths, simple melody but sounds abstract, most analyzed improvisation: 2 bar phrases followed by silence, theme and variation, built intensity, R&B influences were pronounced, Max Roach- drum solo theme and variations, triplet motif and a drum roll, low to high pitch sounds rather than complex rhythms
Horace Silver
Essence of hard bop style, strong elements of rhythm and blues and gospel in his playing, bluesy, riff phrases, silence as a dramatic device, background horn riffs, shout coruses
Sister Sadie
Horace Silver, jump band style riff tune, R&B flavorings, strong drum background beat on beats 2 and 4, background riffs played behind solosit, climatic point: sout chorus, display of further influence of gospel music, trumpet solo- rooted in classical bebop (Blue Mitchel) tenor sax solo- built on blues scale (Junior Cook)
Julian Cannonball Adderly
best alto saxophonist since Charlie Parker, stylistic traits represent essence of hard bop, big full tone on alto sax, mistaken for tenor sax, funky blues-laced solos, virtuosic techniques, aggressive outgoing improvisations
The Work Song
Cannonball, old folk song rearranged by cornetist Nat Adderly, riff tune, rhythm and blues influenced performance, virtuosic bop-rooted improvisations by Cannonball, outgoing full rounded sax sound, gospel piano accompaniment, strong drum back beat,
The Sidewinder
Lee Morgan, hard bop/soul jazz, received radio airplay, billboard top 100, virtuosic technique, high range, full round tone, projected powerful energy, boogaloo, Billy Higgins on drums- modified original beat to fit tune, extended blues form
Boogaloo
a fusion of of R&B, jazz, mambo, and son montuno
Wes Montgomery
Brought guitar into focus in jazz in the 1960's, one of the most influential guitarists, style was rooted in hard bop, funky, bluesy improvisations, laced with rhythm and blues elements, aggressive outgoing improvisational character, long flowing bop-rooted virtuosic lines, octave voicings, clean and pure
Naptown Blues
Wes Montgomery, GUITAR, 12 bar blues riff tune, big band arrangement by Oliver Nelson, cross section voicing, background riffs played underneath Montgomery's solo, areas of call and response between Montgomery and the band, tutti shout chorus, aggressive horn like improvisations, lots of rhythm and blues elements
The Theme
Miles Davis Classic Quintet, 8 bar riff melody, focus was on improvising, 32 bar AABA rhythm changes, call and response between Miles and Coltrane
Miles Davis Classic Quintet
Davis- trumpet, Coltrane- tenor sax, garland- piano, chambers- bass, Jones- drums.. tailored their accompaniments to fit the cool approach of Davis and hard bop style of Coltrane
Summertime
Miles Davis Classic Quintet, arranged by Gil Evans, complex substitute chords, beautiful cross section voicing, Harmon mute for haunting sound, solo was a plaintive cry of the blues
So What
Miles Davis Sextet, AABA form, based on two modes, A-D Dorian B- Eb Dorian, complete freedom of melodic movement and thematic development without constraints of standard jazz harmonies and key changes, freedom of musical expression
Miles Davis Sextet
Davis, Coltrane-tenor sax, Adderley-alto sax, Evans- piano, Chambers-bass, Cobb-drums
Orbits
Miles Davis Quintet, abstract and non lyrical melody, Davis surrounded him by young musicians, was inspired by their energy, chromatic harmonies, combo of modal and free jazz with bop, composed by Wayne Shorter, two parts to the melody- one is played in and out of tempo, one is a repeated riff played in tempo, fast and hard grooved tempo, free form solos, no set harmony, mode, or length
Miles Davis Quintet
Davis, Shorter- tenor sax, Hancock- piano, carter- bass, Williams- bass, more than 90% of performances were spontaneous
John Coltrane
Born in Hamlet, NC, moved to Philadelphia at 17, played with Miles Davis, Thelonious Monk, had a spiritual awakening and confronted heroin habits, renewed dedication to religion and obsessive sax practice-intense dedication
Giant Steps
John Coltrane, ultimate hard bop recording, "Coltrane changes," rapid tempo, represents great challenge in harmonic complexity for jazz improvisations, 16 bar form, two 4 bar phrases, 8 bar phrase
My Favorite Things
John Coltrane- soprano sax, retained original melody, changed the form and harmonies, opposite of bebop practice, one basic chord, single mode, high range, exotic sound, highly reminiscent of Indian ragas
Indian Ragas
characterized by a drone tone over which tablas provide complex rhythms, improvised lines are added over the top of the drone, commonly by a sitar, consonant key centers anchored by drone tone, steady pulse,
A Love Supreme- Acknowledgement
John Coltrane, his masterwork, hard bop, modal, free form styles, he saw it as his gift to God, four movement work, four note mantra F-Ab-F-Bb, Jone's Afro-Cuban beat energized Coltrane's solo
Coltrane's Playing Characteristics
Sheets of Sound, The Sweep, Ultra Penetrative high notes
Free Jazz
collective improvisations between all members, textural improvisations instead of melodic, undercurrent of activity by the drums and bass, piano used texturally, carefully avoided traditional harmonies, time keeping rolls abandoned
John Coltrane and Rock and Roll
Psychedelic rock musicians were fascinated with Coltrane, influenced The Greatful Dead, The Byrds, The Doors, Kenny G,
John Coltrane Legacy
new approach to sax playing built on Hawkins and Youngs school of sax, bluesy/linear approach-young, aggressive, dense, big sound approach- hawkins, influenced jazz musicians more than anyone else, popularized modal jazz techniques,
Modal Jazz
based on a drone, allowed for more freedom for improvisation, melodic development not bound by rapid harmonic and key center changes, opened up new horizons for jazz improvisation
John Coltrane's Classic Quartet
Tyner- Piano, Garrison- Bass, Jones- drums Coltrane- tenor sax
Bud Powell
most imitated bebop pianist, most influential bebop pianist after WWII, took stride out of piano, used "Locked Hands" method of piano playing.
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