| Number of bars in a song form |
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| not officially jazz because there is not improvisation; one of the sources of info for jazz; important for jazz inspiration; is has march form but is different from the march because of the relationship between the treble and bass;
syncopated right hand; downbeat left hand |
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| The importance of the march |
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| (1) it is the basic structure of ragtime and (2)the function of the instruments: woodwinds have a decorative function – embellishing the brass players (brass is king). This idea of brass and woodwinds doing something else is the root of the march. |
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| Best known ragtime composer |
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| Scott Joplin; the left hand uses a stride technique (base and chord that keeps rhythm); it is additive and march form consisting of 8 strains (16 bars in length) |
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| succession of pitches going in the same direction; the name is given to the first note in the scale |
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| Standard Changes in 12 bar form |
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bars 1-4: accompanied by I chord
bars 5-8: 1st half are IV chord, 2nd half I chord
bars 9-12: 1st half are V chord, 2nd half I chord |
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| Standard Changes in 12 bar form |
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bars 1-4: accompanies by I
bars 5-8: IV and I
bars 9-12: V and I |
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| common in jazz, rhythm section stops playing while some are solo-ing for a bar or 2. Structure continues normally. |
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| Charlie Patton, delta blues |
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| Billy Holiday singing, Ben Webster and Lester Young on tenor sax, Jerry Mulligan on baritone sax, Roy Eldridge on trumpet, Coleman Hawkins on tenor sax |
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| tenor sax player – influence on modern tenor sax because his style was revolutionary; godfather of tenor sax |
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Going to Chicago, 1985 deemed the best male jazz singer ever; sang with Lambert, Hendricks and Loss – leading vocal group
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In Sawmill Blues he uses his voice improvisationally to convey his message |
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| consists of music that expands over 8 bars (32 beats) and then is repeated |
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| 3rd group of 8 bars; the “B” |
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| structural consideration – the most common element is a 12 bar structure (shorter than song form allowing for more choruses (improvisations are shorter as well), but much more predictable) |
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based on modes (scales); usually there is one chord attached to a particular scale – usually only one scale and therefore one chord; it is static
Most jazz improvisation based on chord changes (or changes) – but Modal jazz in the exception |
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| only last 3 minutes 15/20 seconds |
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| clarinet, soprano/alto/tenor/baritone sax |
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| piano, guitar/banjo, string bass/tuba, drums |
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| She’s Gotta Go – Ernie Andrews |
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| 1958, influenced by rock n roll; stop time; not really a serious blues but rather the dichotomy between the irnoy of blues being associated with heavier things but this song was funny. |
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| Good Rocking Tonigh – Whitney Harris |
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| the top race recording hit on the charts; connections between blues and rock n roll |
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| The connection between blues and jazz |
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| rock n roll got its inspiration from R & B; R originally known as race recordings with a very targeted audience |
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| tenor sax; old style; deleted the head and improvised the changes in the “Body and Soul” |
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| New Orleans cultural influences |
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| West African (slavery), European, and ports bringing culture (Caribbean) |
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| tumultuous / tragic environment |
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| uptown: African Americans playing music by improvisation
downtown: whites and creoles playing classical more formal music, functionality |
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| 2 kinds of music in the 1890’s |
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| RAGTIME: African American musicians in the midwest were the original, N.O. jazz took and improvised more
DELTA BLUES – not 12 bar structure |
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| 1894 racial segregation code: creoles were told to move uptown. This meant that blacks started learning how to read music creoles and creoles started learning how to improvise. Very important component to jazz in NO |
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| Plessy vs. Fergusson; separate but equal |
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2 sections of New Orleans: white and black Storyville
this 21 block area had 1500-2100 registered prostitutes. Brothels hires musicians to play – both black and white. Therefore, blacks got a head start in Storyville |
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| US Navy put pressure on it, and STORYVILLE CLOSED. Musicians headed North because there were no gigs in NO
Also, the Original Dixieland Jass Band – ODJB was the first jazz recording EVER. |
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| first jazz recording in 1917;
“The Livery Stable Blues” – popularity is due to novelty, representative of the brothels of Storyville |
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| 2 sections of NO Dixieland style |
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1. rhythm: piano, tuba, drums, banjo
2. front line: cornet (very important usually carried the lead), trombone, clarinet |
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| classic Blues, empress of the blues |
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| flat four; cornet plays melody, clarinet plays higher faster, trombone plays lower; stop time; breaks; march/blues/song forms |
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| creole piano player, classical music training but also excellent improviser; led a group called the Red Hot Peppers; first jazz musician to write down his jazz compositions |
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| Armstrong; first recording of scat |
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| father of the Delta Blues |
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| the first jazz musician, played a loud cornet |
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| cornet, Creole Jazz Band; first NO group to do a lot of recording and the first known recording of Armstrong’s |
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| the first jazz musician, played a loud cornet |
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| Soprano sax player; fast vibrato; New Orleans Style |
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| Cake Walking Babies from Home |
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| Red Onion Jazz Babies; Armstrong on cornet, Sydney Bechet on soprano sax, Charlie Irvis on trombone, |
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| Jellyroll Morton and the Red Hot Peppers; Jellyroll piano, George Mitchel trumpet, Omer Simeon clarinet, |
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| King Oliver’s Creole Jazz Band; king olver cornet, Armstrong cornet, Sydney Bechet soprano sax, Johnny Dodds clarinet |
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| the original source of all blues; developed in 1890’s as a fusion of British style-ballads and work songs |
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| peaked twice: 1910-1930 and 1940-1960; describes the movement of black from South to North and from the country to cities; 3 million blacks; incentives to leave: KKK, Woodrow Wilson, jobs in the North, crop destruction 1915-1916, and after the war job. |
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| WC Handy made blues popular in 1912 with this song |
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| first blues recording by Mamie Smith and Okeh Phonograph Co. |
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| top race recording hit on the charts; W. Harris; connection between blues and rock n roll |
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| first jazz recording in 1917; popularity due to novelty |
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| Rhythm section stops and solo continues. No interruption of form |
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| B section of Song Form. Provides contrast in texture, harmony. |
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| Typical of New Orleans jazz. Everyone improvises together |
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| Even weight to all four beats. Common in New Orleans style |
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| Typical of New Orleans style. All improvise together. |
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| Cornet or Trumpet, Clarinet, Trombone, (sometimes soprano Sax) |
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| Literary and Artistic development of African Americans, centered in Harlem. Matter of much pride for blacks in the 1920’s. Established numerous writers, eg. Langston Hughes. Jazz was part of this for many. |
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| 22 block section of New Orleans devoted to bars and prostitution, that provided regular employment for many jazz musicians until 1917. It’s closure meant jazz had to spread northward to Chicago, Kansas City, New York city, and numerous cities in California |
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| top race recording on the charts; R&B; Winona Harris |
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| piano player; Creole, first jazz musician to write down his jazz compositions |
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| first jazz musician to write down his compositions |
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| Jellyroll Morton, creole piano player |
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| the accentuation of rhythms that ordinarily go un-accentuated |
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| linear succession of pitches that we hear as a coherent unit |
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| the process of changing from one key to another |
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| emotional effects of a piece |
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| claimed that good will and productivity (Booker T Washington) would never prevail in the face of legalized segregation. Viewed segregation as fundamentally unjust and therefore unacceptable in a democratic society. wrote The Souls of Black Folks |
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| white entertainers satirically impersonated African Americans joking, dancing, singing, and playing music. Gave blacks their central route into show business |
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| 1890’s-1930’s; a step up from the minstrelsy because it didn’t have a built-in racial theme and was a more neutral performing tone; Bert Williams |
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| important songwriter; wanted to write a ragtime opera; produced many popular and familiar songs that have become American standards “blues skies,” “God Bless America,” and “White Christmas”
wrote for a lot of Broadway and Hollywood musicals |
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| before WWI; after WWI it was AABA |
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| first jazz recording in 1917 by ODJB |
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| first Jazz musician to write down his jazz compositions; piano player; Creole |
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| “Crazy Blues” was the first record by a jazz woman in 1920; first lady of the blues |
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