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Field Hollars
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Work Songs
Religious Songs
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Sung by solitary field workers
Bent, liquid, or sliding pitches
Descending melodic voices
Nasal vocal quality with vocalistic effects
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Sung by a group of workers accompanied by tools of labor
Bent, liquid, or sliding pitches
Descending melodic voices
Lead singer/backup group relationship
Basic harmony employed by the singers
“Backbeat” rhythm provided by the tools of labor
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A mixture of Southern Baptist service and traditional ceremonial procedures of Western Affrican religions
Astoundingly emotional music that greatly influenced the twentieth century American popular styles
Examples – lining hymn and prayer
Ring shouts
Spirituals and lullabies
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A-A-B
Derived from religious hymn formats
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A: statement of problem
A: repeat of the above, sometimes with additional words
B: response to the A statement (solution, moral messages)
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A: I chord = home key
A: IV chord resolving to the I chord
B: V chord resolving to the I chord
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intense, gritty, gowling vocal style
use of yodeling and other vocalistic ornamentation
percussive style guitar playing; hard plucking
strong rhythm guitar 4-beat pulse emphasized
use of bottleneck on the guitar – sliding, or liquid notes
Greatky influences the development of electric rhythm and blues
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Hellbound on My Trail – 1937 (TX)
Primitive recording made in warehouse
Cutting, intense vocal style
Mixture off declamatory and harsh, intense blues singing
Predominant A-A-B form; lyric phrases of varying lengths
Guitar used as an extension of his voice; aggressive, rhythmic plucking
Johnson influenced the vocal style of Bob Dylan
Mississippi
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A-A-B form formally structured into three 4-bar phrases = 12 bar blues
Vocal style related to European “trained” vocal techniques
Use of steady vibrato
Powerful vocal style
Vocalist accompanied by a band
Call and response – emsemble approach
Lyrics were more sophisticated and dealth with universal themes rather than local topics
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Lyric Themes: Local events, people; love, death, freedom
Song Structures: A-A-B; three unequal phrases
Vocal Styles: Raw, nasal vocal sound; vocalistic effects such as “bent” notes, scoops, smears; “liquid” quality
Accompaniment: Folk-singing style; self-accompaniment on guitar or banjo
Performers: Itinerate male folk singers traveling the rural South (Mississippi Delta region)
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Bessie Smith
1925
classic example of urban or city blues
Begins with a non-blues verse
Powerful vocal style
Use of vibrato
Blues notes are evident throughout, although they are sung without as much sliding or “liquid” vocal sound of country blues
Cornetist Louis Armstrong answers vocal lines
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root of jazz
provided basis for improvisation
provided a standard repertoire of songs for jazz musicians
Introduced “blues notes”
Used vocal inflections to make instruments sound like human voices
Jazz got its soul from the blues
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Original form lacks improvisation, not considered true jazz
Thoroughly composed music originally for piano
Sources: Dance (exaggerated black dance style), Improvisation, and Rhythm (music felt “ragged”, left hand played 2-beat, right hand syncopated melody lines).
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important ragtime composer
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Scott Joplin
composed 1899
based on march music of John Phillop Sousa
A-A B-B A C-C D-D
Each theme 16 measures in length
Composed music
Left hand: 2-beat figures; Right Hand: 3-note melodic patterns
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Ragtime influence on jazz |
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provided ealy model for jazz performances
horn players played syncopated melodies over the top of a steady beat
Early jazz horn players borrowed ragtime (right-hand) melodic phrasing ideas while improvising
Early jazz players emulated ragtime’s left-hand 2-beat march rhythms
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Brass Bands and New Orleans |
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nineteenth century
brass bands of New Orleans represented several cultures
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reclassified creoles as blacks ; stripped them of rights
classically-trained Creole musicians began interacting with blues singers, ragtime pianists, and black brass band musicians
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earliest jazz bands found lucrative club work in Black Storyville |
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Punch Miller Band
early favorite
New Orleans jazz
Featured cornetist Ernest “Punch” Miller
Use of counterpoint (multiple) melodies played simutaneously
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Turk Murphy Band
New Orlans jazz band musicians jammed with ragtime piano players and blues singers at night in the bars and clubs in Storyville
re-creation of a Storyville bar band
original melody of Scott Joplin’s tune is paraphrased
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term came form streets of black Storyville
slang for sexual activity
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first important New Orleans jazz musician and improviser
powerful cornetist
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Jazz Moves Up The Mississippi River |
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After 1910
Gave way to new centers of activity in CHicago, Kansas City and New York
There were no recordings in New Orleans/Storyville
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free rhytmic improvisation
vocabularity of the blues
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Original Dixieland Jass Band
first jazz recordings
White musicians
Clarinet shreiks, comical trombone swoops
Trumpet “horse whinnies”
Very little improcisation
Cowbells, blocks, etc
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Joe “King” Oliver and his Creole Jazz Band |
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Joe tutored young Louis Armstrong
New Orleans style
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King Olover’s Creole Jazz Band
12-bar blues
4-part collective improvisation
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after his release in 1914, Joe Oliver became his mentor
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Louis Armstrong’s Hot Five
Armstrong – cornet
Johnny Dodds – clarinet
Kid Ory – trombone
Lil Armstrong – piano
Johnny Cyr – banjo
their recordings revolutionized jazz
12-bar blues
solo improvisation
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Louis Armstrong’s Hot Five
Scat singing
First recorded example of improvised scat singing
Made scat singing popular
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Louis Armstrong’s Hot Five
first recording of an extended jazz solo improvisation
Louis featured as a soloist
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Louis Armstrong’s Hot Seven
Armstrong plays two solos
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Louis Armstrong’s Important Contributions to Jazz |
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changes the focus of jazz performances from collective improvisation to solo
abondoned the stiffness of ragtime and defined the art of swinging
first jazz soloist to improvise melodic lines that could stand by themselves
Extended vocabulary
Popularized Jazz
Influenced with swinging techniques and scat singing style
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clarinetist
New Orleans style
Blue Horizon
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1940 Sidney Bechet
“sung” the blues through his clarinet
12-bar blues
Vocalistic effects on clarinet (scoops, soaring notes, wailing high notes, intense beat notes, blues notes, wide vibrato – very emotional)
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Chicago Jazz
(categories of musicians)
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older white musicians
transplated jazz musicians
young, white, musicians who studied the New Orleans style
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Chicago Jazz (characteristics) |
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solo improvisation; collective furing melody
2-beat feel derived from ragtime
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Chicago jazz style
Spent only a short amount of his life in Chicago
Developed technical habits that led to a new, unique sound: mellow, shallow, yet very expressive
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The Wolverines
incorporated advanced harmonies in their music
Cool approach, reflective tone quality, lyrical improvisations
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incorporated a “rip” –a sudden loud upward slide– as a climatic point in his solo
Chicago jazz
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Evolved out of New Orleans stride
Jelly Roll Morton was primarily responsible for its development
LH: bass notes on beats 1,3: chord on beats 2,4
RH: melody lines/improvisation
Faster tempos, more complex harmonies, less reliance on the blues, more reliance on technique
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born in New Orleans
Boasted that he “invented jazz”
Probably the first player to “jazz up” written melodies
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Maple Leaf Rag (Jelly Roll Morton) |
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Jelly made it sound “swing” by rhythmically interlocking the LH with the right hand with striding, left-hand bass lines flowing naturally with the right hand by “jazzing up” or paraphrasing the original melody lines |
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Grew out of New Orleans stride style
Faster, more melodically complex
Forerunner to boogie woogie
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“father of Harlem stride”
piano style
Solo laced with impressionistic harminic devices including tritones and whole tone scales
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developed a percussive appraoch to piano playing
Perfected an approach to playing melodic lines by doubling the melody in octaves (played high pitch and low pitch)
Utilized flowery classical establishments which added a sense of formal dignity
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Bridged from stride to swing
1930s
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Fats Waller
sounded as if he had four hands and two pianos at once
Fast temps
Stride Piano
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leading exponent of boogie woogie
Driving walking left-hand bass line riff patterns
Highly syncopated blues-based riffs in the right hand
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Legally blind, self-taught pianist
Stride
Never made popularity with general public
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1930 – 1945
Played for dancers and “jitterbugs”
12-16 musicians: big band
many came out of Chicago jazz scene
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1920s as a combination of:
Society bands
New Orleans and Chicago jazz
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Swing musicians divided the swing bands into.. |
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Sweet Bands: utilized very little or no jazz improvisaton in their music
Hot Bands: preferred to feautre jazz improvisation
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Jelly Roll Morton and His Red Hot Peppers |
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first significant jazz composer
intentions were to combine written and improvised jazz
experimented with various sound textures
first to utilize the string bass in place of tuba
Created the standard walking bass lines commonplace in contemporary lines
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Known as “father of the modern big band”
Developed effective block chord voicings within a section
Introduced concept of soli (plural of solo)
Introduced shout choruses
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Clarinetist – Chicago jazz scene
Regular on national network radio program NBC’s Let’s Dance
“King of Swing”
first jazz musician to have success in the classical world
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Benny Goodman Sextet
Swing Era
Solos by Christian, Hampton, and Goodman
Use of riffs to accomany soloists
Vibraphone riff
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Swing Era
One of the first ti play rhytms on high hat cymbals
inspiration for succeeding jazz drummers
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played at the Cotton Club in Harlem
portrayed African – American culture through his music
A-A-B 24-bar
loved sound of muted brass instruments
created a “gowling trumpet”
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Duke Ellington Orchestra
Ellington called for extensive mutes in this piece
Concerto: performed by a soloist, usually with large ensemble accompaniment
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Tone poem: impressionistic compositions
12-bar blues form
saxophone soli, call and response, and a driving shout chorus
Swing
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Kansas City big band style
Blues-based music
Improvisation was the primary focus
Well known for its “head arrangements)
Basie’s rhytm was known as the All-American Rhythm Section
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Coleman Hawkins and Lester Young |
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“Father of the Tenor Sax”
Swing Era
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International jazz musician
Guitars played like percussion instruments
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Django Reinhard
Very strong four beat pulse
Swinging groove
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pianist
Gemini from Zodiac Suite
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Mary Lou Williams
Bass line moving in one direction
Piano line moving in opposite
Boogie woogie
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