| Typical Jazz Instrumentation (Rhythm Section and Frontline) |
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- Rhythm Section – Drums, bass, piano
- Frontline – Clarinet, sax, trumpet, and trombone
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| Forms (Blues and Song Form) |
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Blues Form: AAB
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Song Form: AABA
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| pattern of attack or accent |
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| Minstrelsy (When, what type of entertainment) |
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| white performers would pain their faces black to resemble African Americans as a joke |
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| What did Minstrelsy bring to our country |
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Brought nationalism to our country – but ingrained rascism in the country
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Even though its rascist it stayed around becuase it made money
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| Forms of Jazz (textual and harmonic) |
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- Textual: AAB
- Harmonic (12-Bar Blues):
- Tonic
- Subdominant, tonic
- Dominant, tonic
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| 12 bar (country/ delta) blues |
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secular counterpart to the spiritual
male singer – self accompany on guitar/ bango
good blues song will make you “feel better”
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1911-1938
Exemplified style of the blues
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1890-1915
“syncopation gone mad”
Its the idea of “ragging” something and prominence of syncopation
formal connection to Marching Brass Band form
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1868-1917
most prolific composer of ragtime
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Rag
Form: AABBACCDD or Intro AABBCCDDEE
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| Pre-Jazz Historical Threads |
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- Transcontinental Slave Trade and the African Diaspora
- Indeigenous African music-making values/practices
- Vocal Blues Tradition
- Minstrelsy tradition and advancement of racial stereotypes
- Congo Square
- African status
- Civil War
- Marching/ Brass Band traditoin
- Reconstruction
- Plessy v. Ferguson
- Merging of musical traditions
- Sex, brothels, and “jass”
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| in New Orleans, slave owners let slaves play in congo square to give them a break from their work and they would play music, but it wasn’t music from Africa |
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| African Status in 19th Century America |
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| Creoles v slave population: stark cultural and musical differences |
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1861-1865
Northern occupaiton of New Orleans, which means that Africans had the chance to play their music
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| Marching/ Brass Band tradition |
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| instumental surplus following the war |
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1865-1876
- Rise of the Ku Klux Klan
- Segregation (Jim Crow), white supremacy, poverty, and lynching commonplace
- Creoles become second-class citizens overnight and forced into African American ghettos
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1895
“Separate but equal” made constitututional
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| Merging of Musical Traditions |
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- African American Blues
- Creole European technical training
- Fusion of vocal blues tradition into instumental tradition
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| Country and Classic Blues Instrumentation |
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- Country blues instrumentation = banjo/ guitar and voice
- Classic blues instrumentation = updated to full band and voice
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| Defining Characteristics of New Oleans (Dixieland) style |
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- Role of dance in cementing jazz’s popularity
- “Collective” Improvisation
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| Common roles of early New Orleans melody instruments |
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- Trumpet = melody
- Clarinet = pitched above melody, often embellishing melody
- Trombone = pitched below trumpet and clarinet, supporting melody recording fidelity
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| The Original Dixieland (Jass) Jazz Band |
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| First Jazz Recording = “Livery Stable Blues” and “Dixie Jazz Band One-Step”, recorded February 26, 1917 |
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| King Oliver and Creole Jazz Band |
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King Oliver played: cornet
“Alligator Hop” 1923
“Dippermouth Blues” 1923
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| The biggest distinction between jazz and any othe type of music |
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| The collective improvisation (each instrument is important) |
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Instrument: piano
Self-proclaimed first composer of jazz (first to write things down)
Importance of New Orleans funeral march tradition
“Dead Man Blues” Morton’s Red Hot Peppers 1926
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Instrument: piano
“Charleston” 1925
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1901-1971
Influenced every jazz player to follow him for 25 years
called to chicago by Oliver during the great migration
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| Stylistic Traits of Louis Armstrong |
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- Incredible power of volume
- Amazing technician/ virtuoso
- Brilliant improviser
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| First Recording of Louis Armstrong |
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“Chimes Blues” with King Oliver 1923
Recording in Richmond Indiana
Had to stand in hallway bc he was too loud
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Armstrong and His Hot Five (1928)
Armstrongs opening solo is one of the first defining solos in jazz
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Louis Armstrong and His Hot Five (and later “Seven”)
1927
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| Edward “Duke” Ellington: important differences w Armstrong |
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1899-1974
- Biography
- Musical Style and Approach
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| Duke Ellingtons Biography |
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- Northern upbringing (Washington D.C.)
- Priviledged, upper-middle class (father worked at the White House)
- Supportive family unit
- Strong sense of self despite rampant racial bias of the early 20th century
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| “Duke” Ellingtons Musical Style and Approach |
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- Wrote for an “orchestra” vs a band
- Transitional status into Swing Era as a definitive figure of that specific style (unlike Armstrong’s more “universal” jazz stylistic appeal)
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