| Swing attracted millions of dancers |
|
|
| Swing was played in big concert halls |
|
|
| Swing prefered combos instead of large ensembles |
|
|
| The saxophone was the leading instrument rather than the Trumpet |
|
|
| What part of the drums was used for time-keeping? |
|
|
| Collective Improvisation was common in Big Band era jazz |
|
| False, Collective improvisation was rare |
|
| Rhythmic feeling was smoother in this era |
|
|
| Swing musicians were just as talented in speed, agility, tone control, and playing in tune than early jazz musicians |
|
| False, swing musicians were MORE talented. |
|
| What instrument replaced the Tuba in the swing era? |
|
|
| What instrument replaced the banjo in the swing era? |
|
|
| What decades did the Big Band era last for? |
|
|
| How many trumpets did a swing band have |
|
|
| How many trombones a swing band have |
|
|
| How many saxophones did a swing band have |
|
|
| What instruments were in the rhythm section? |
|
| Rhythm guitar
Piano
Hire a custom writer who has experience.
It's time for you to submit amazing papers!
order now
Bass
Drum Set |
|
| What did the rhythm guitar do in the rhythm section |
|
| played chords on each quarter note (beat) |
|
| What did the piano do in the rhythm section |
|
| Stride or chord on every beat or every other beat; MELODY |
|
| What did the bass do in the rhythm section |
|
| Two beats and walking style |
|
| What did the Drum set do in the rhythm section? |
|
| kept time and hi-hat ride |
|
|
|
|
| Melody is played just by the piano and guitar in a Big Band arrangement |
|
| False, Melody is played by the entire band in unison |
|
| Premier soloists were popular in the Big Band music era |
|
|
|
|
|
| Hired Louis Armstrong in 1924 for a short time |
|
|
| Who was credited for started the Big Band era |
|
|
| Was born in St. Joesph, Missouri |
|
|
| Considered to be the first important jazz tenor sexophonist |
|
|
| Supercharged playing on the saxophone and brought it recognition |
|
|
| Command of the saxophone in a deep, husky tone |
|
|
| Played with Mamie Smith and Fletcher Henderson’s band |
|
|
| Had a vertical improvisational approach |
|
|
| Played the Saxophone with a harmonic emphysis |
|
|
| Vertical improvisational approach |
|
| up and down chords, arpeggios |
|
|
|
| Up and down the notes of a chord |
|
| Tenor saxophonist born in mississippi |
|
|
|
|
|
| Inspired cool jazz, and had a hipster vocab |
|
|
| Played in a Horizontal improvisational approach |
|
|
| Horizontal improvisational approach |
|
More melodic in nature, less harmony,
lines were smoother and more swinging |
|
| Played tenor saxophone in “Taxi War Dance” with Count Basie |
|
|
| Played tenor saxophone in “Fine and Mellow” with Billie Holiday |
|
|
| Linear approach to chords in his tenor saxophone |
|
|
| Sounded like hard work playing his saxophone |
|
|
| Accented hard and often on main beats |
|
|
| Had a light sound on his saxophone |
|
|
| Who had amazing piano techinque, and good “manipulate harmony and will on a dime”? |
|
|
| Flowery, long, fast runs which sometimes overlapped each other |
|
|
| Durring the 30’s and 40’s led the best-known jazz-oriented big band |
|
|
| Revolutionized the dance-band business |
|
|
| One of the most popluar figures in the music industry and a whole |
|
|
| 1939 Carnegie hall concert |
|
|
| Swinging and highly agile clarinet playing |
|
|
| Big band was modeled after Fletcher Henderson; owned dozedns of Henderson arrangements |
|
|
| Broke racial tabbos that seperated white from black jazz players |
|
|
| Had Teddy Wilson, Charlie Christian, and Lionel Hampton in the band |
|
|
|
|
|
| Original and Fresh singer |
|
|
| Had depth and sincerity of emotion in her singing |
|
|
|
|
|
| Conveyed a song’s meaning as though speaking it directly to you |
|
|
|
|
|
| Bluesy inflections and jazzy accents |
|
|
| Who was the best scat singer? |
|
|
| Had near-flawless singing technique |
|
|
| Tone of voice was pure and supple |
|
|
| Vocal range spanned 3 octaves |
|
|
| Pitch was extremely accurate no matter the register or tempo |
|
|
|
|
|
| Sang with the Chick Webb band |
|
|
|
|
|
| Band leader from 1937 until his death in 1984 |
|
|
| Stride pianist with very light touch with precision/accuracy |
|
|
| Compact musical statements with the piano |
|
|
| Used silence to pace his piano solos |
|
|
| Led the first rhythm section in jazz history that consistently swung in a smooth, relaxed way |
|
|
| Bouncy,walking bass
One of the first masters of walking style |
|
|
| Guitar
Rhythm cords on each beat adding a propulsive swing feel |
|
|
| Played guitar on all 4 beats |
|
|
| Drummer for Count Basie’s band |
|
|
| Precise drummer without being stiff |
|
|
| Used wire brushes on high hat of drums |
|
|
| His comping was very sharp and lively |
|
|
|
|
| Riffs and Head Arrangements
was lighter, more relaxed and swinging |
|
|
|
| Short muical phrases
Backgrounds for imporovised solos, created spontaneously |
|
|
|
| An arrangement made up of riffs “off the top of someone’s head”
Learned by ear and memorized by the players |
|
| Had over 2000 compositions |
|
|
| Most creative and prolific comoser and arrager in jazz history |
|
|
| Reflected James P. Johnson’s stride on the piano |
|
|
| “A single pedal of a rose” |
|
|
| Maintained a large ensemble continuously from 1920’s to his death in 1974 |
|
|
| Maintained most stable and longest-lived ensemble in jazz history |
|
|
| “Voicing across sections” |
|
|
| Showcased his improvisers in pieces tailored to their musical personalities |
|
|
| Most famous sideman was Johnny Hodges |
|
|
| Most famous alto saxophonist |
|
|
| Played with a romantic style on the saxophone |
|
|
| Band played with mutes, made growl sounds |
|
|
| Worked with Billy Strayhorn, who was his co-author |
|
|
| Included a diversity of themes within a single piece |
|
|
| “Take the A-Train” was Duke Ellington’s theme song |
|
|