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| not written down,Happens when a musician decides what to play while they are playing it |
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| an african american style named for its ragged or syncopated rhythms |
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| One of the best known ragtime composers. (Ex.”maple leaf rag”) |
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| Where music players used to live in new york between 5th St. and Broadway |
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| One of the most important jewish american songwritters of the tin pan alley era (ex. “Alexanders Rag time band” and “god bless america”) |
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| three or more notes played together |
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| “ragged” melodys played by the pianist right hand or the main melody played by the banjo of the band |
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| principle solo instruments played in early hot bands (Ex.trupmet,clarient,trombone) |
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| is a general term for the instruments in any band that keep beat and play the chords (ex. banjo,guitar,piano) |
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| when individual intrumentalist featured alone |
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| bands played jazz-related music, idividuals were allowed to improvise solos in a jazz style, butbands were bigger and improvation time was limited |
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| carefully planned music bands played for swing dance rhythms |
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| swing bassits created a much smoother effect by “walking” from note to note by playing a new note on every beat and occasionally between the beats to create a rhythmic flow |
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| the left hand(or both hands) could play chords on or between beats and not play bass notes at all |
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| trombonist of one of the most popular swing bands (Gleen Miller Band)( in movies “sun valley serenade” and “orchestra wives”) |
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| style of singing, developed in a way of using a microphone, men softened their natural singing voice into a smooth gentle one |
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| to enhance music already recorded, abtainable only not live(ex. Elvis’ “heartbreak hotel”) |
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| one to help bring both blues and rock music to the white teens through radio |
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| accents on the second and fourth of each four-beat bar |
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| oral poets who tell the history of their leaders |
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| leader sings a phrase and the group sings a copy version |
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| worker who sings about the task required of them |
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| singing during slave work |
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| having double meaning to a text |
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| earliest blues styles of the south,blues was an integral part of the peoples lives |
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| written from the mississippi delta, lyrics expressed lives the singers really lived |
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| tubes of glass used to make a specific sound with the guitar strings |
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| bending the pitches of notes |
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| five-tone note that influenced blues notes |
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| when the lowered fifth sclae degree becomes a blues note |
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| pushing or pulling a string to loosen or tighten a string to lower or raise the pitch in a blues note |
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| 12 bar song in the structure of: AAB |
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| slow and uneven beats created to relax a feeling |
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| country blues singer/guitarist(“cross road blues”) |
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| women singing in 12 bar form |
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| classic blues singer (“Lost your head blues”) |
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| played by groups of intruments including a rhythm section and solo instruments |
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| blues writter influencing on my many rock guitarist(3 O’clock blues) |
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| blues styles combined with swing jazz influences developed in Chicago |
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| owned and ran Chess Recording Studios in Chicago/provided country blues artist with a more urban style |
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| stage name for McKinely Morganfield (“Rollin Stone”) |
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| when instruments stopped playing during a vocal line and continued on the second,third and fourth |
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| ryhthmatic dance music in which every 2nd and 4th beat was accented in each bar |
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| played in various large jazz bands and made his own band “Louis Jordan and His Tympnay Five”/influenced jump blues |
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| Sang “say man”, “bo Diddley”, and “im a man” |
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| spirited and rhythmic piano style created by african americans in the south |
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| notes both above and below the melody note, dramatically delaying the note |
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| Group that influenced other gospel groups |
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| higher than standards tenor range and generally somewhat breathy in tone quality |
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| a rock singer and writer popular in the late 50’s |
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| recorded gospel songs “oh happy day” |
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| group from baltimore “crying of the chapel” |
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| an afraican american vocal group “sh-boom” |
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| covered Chords song “sh-boom” |
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| same basic progression at about the same progression at about the same rhythmic rate, reason why so many doowop songs sounded simular |
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| memebers known to drift from group to group, never stayed in one group through entire career “honey love” |
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| music played by fiddle and guitar barn dance bands |
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| simple 3 chord notes with no added 7ths |
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| “father of country music”, distinctive vocal style described as “blue yodeling” |
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| “ill never get out of this world alive” |
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