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Jazz style of the 1940’s;
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Fragmented approach to improvisation;
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Jazz style of the 1960’s;
Often dissonant and experimental
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| Bluesy jazz of the 1920’s, often with polyphonic texture |
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Precursor to jazz;
Mostly composed;
Dance music
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Mainstream popular music of the 1930’s;
Dance music
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Jazz influenced by other styles;
popularized in the 1970’s
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| Jazz that is detached, relaxed, and moderate |
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Traditional blues;
loose form
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| Jazz that is largely composed, refined, and conservative |
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Blues influenced by popular song;
popularized in the 1920’s
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| Jazz that is largely composed, refined, and conservative |
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| Sacred folk music of African American culture |
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Clarinetist;
Nicknamed “The Kind of Swing”
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Trumpeter;
Leader of the Hot Five and Hot Seven
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Trumpeter;
Member of the AACM
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Ragtime bandleader;
Brought jazz to France in WWI
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Bandleader of the 1920’s;
Played sweet music
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Early jazz pianist;
influenced by ragtime and spanish music
Played at the Cotton Club in Harlem
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Pianist of the swing era;
played with Benny Goodman
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| Saxophonist active at Minton’s in the 1940’s |
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| Saxophonist behind “A Love Supreme” |
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Trumpeter;
Advocate of Neo-Classicism
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| Trumpeter behind “Kind of Blue” and “The Birth of the Cool” |
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Trumpeter known for playing high and fast;
Pioneer of bebop
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Swing era bandleader;
described as “beyond category”
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| Saxophonist behind “Free Jazz” |
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Bandleader of the swing era;
advocate for female musicians
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| Pianist behind “Time Out” |
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Clarinetist;
Moved to France int he 1920’s
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Guitarist;
Member of the Quintette of the Hot Club
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Swing era bandleader;
known for his arrangements
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| Saxophonist known for his “horizontal” style of improv |
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Member of the Count Basie band;
Singer of “Strange Fruit”
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| Known for her scatting abilities; sang songs such as “Blue Skies” and “The Man I Love” |
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| Saxophonist known for his “vertical” style of improv |
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| A rhythm in which a primary beat is skipped |
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A bebop technique; irregular rhythmic patterns;
mostly found in the drums
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| One melody with accompaniment |
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| Multiple melodies performed simultaneously |
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| One hand plays chords; the other plays melody/improvs |
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| Three-phrase structure with a common harmonic progression |
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| A series of intervals used to construct melody and harmony |
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| Multiple rhythms performed simultaneously |
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| Back and forth exchange in music |
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| Playing in more than one key (scale) at the same time |
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The speed of a song;
determined by the beat
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| A recurring section played by the full group |
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| Unusual timbres produced on an instrument |
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| How does D. Leon Wolff criticize bebop? |
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| He feels that bebop musicians do not play with ease. |
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| How does Louis Armstrong criticize bebop? |
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He feels that bebop musicians are trying something new just to be different;
they do no know jazz.
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| According to Dizzy Billespie, what common stereotypes about bebop musicians existed in 1940’s? |
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| They wore dark glasses and had facial hair. |
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| How does Dizzy Gillespie respond to Louis Armstrong’s criticism of bebop? |
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| He suggested that Armstrong did not know enough about music technically to understand bebop. |
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| What is NOT Dizzy’s “Desiderata”–traits that he feels jazz musicians need? |
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| Nightclub in Harlem where bebop was born |
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| Saxophonist known as “Bird”—a bebop legend |
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| Long-standing trait of jazz…dominates bebop |
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| Pioneer of the electric guitar |
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Contains a head, but a short one; it’ s mostly improv.
Includes improvised features for the sax, trumpet, and drums.
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Follows a four-beat meter
Differs from most bebop in its danceable tempo and relaxed feel
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Exemplifies the “fragmented” style of improv used by Dizzy Gillespie
Contains a head, but a short one–mostly improv
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| How does Pete Welding describe “Free Jazz”? |
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| as a celebration of the spontaneous group improvisation found in early jazz |
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| How does John A. Tynan describe “Free Jazz” |
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| as an unsuccessful exercise in individual expression |
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| Does does the AACM define ragtime? |
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| music that was originally improvised, but was later composed in order to be deemed high quality |
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| How does the AACM define creative music? |
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| music that is primarily improvised |
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| How does the AACM define blues? |
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| music that features certain timbres and rhythms |
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| How do the AACM’s definitions of ragtime and blues reflect the mission of this organization? |
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| They emphasize the tradition of improvisation in African American music |
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| Give one reason why fusion is beneficial to jazz |
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| it mixes different types of music so it appeals to all listeners |
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| Give one reason why fusion could be seen as detrimental to jazz |
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| it changes the fundamentals and how people think of jazz |
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| give one reason why free jazz could be seen as the future of jazz |
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| it evolves jazz, making it looser with more improv |
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| give one reason why free jazz could be seen as the demise of jazz |
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| it changes the fundamentals and how people view jazz |
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By John Coltrane
Four note motive
mostly improvised
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| “Miles Runs the Voodoo Down” |
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By Miles Davis
regular beat
contains a funk-like groove in the bass line
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By Charles Mingus
Longer, traditional head
contains both homophonic and polyphonic sections
follows a four-beat meter
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