Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
52 Cards in this Set
- Front
- Back
|
Anthropology Composers |
Charlie Parker and Dizzy Gillespie |
|
|
Anthropology was recorded in... |
1951 @ Birdland |
|
|
Anthropology Form |
AABA or Turnery |
|
|
Anthropology Tonality |
Bb major |
|
|
Anthropology Harmonic Progression |
Controfact of "I've Got Rhythm" by George Gershwin. This chord progression is commonly called Rhythm Changes and was often used for controfacts in Bebop. A section: I-vi-ii-V B section: III7-VI7-II7-V7 |
|
|
What is a controfact, what is the most commonly used controfact and what are some examples of it? |
A controfact is a song that uses the chord progression of a well known standard whilst creating a new melody over the top. The most commonly used controfact is that of "I've Got Rhythm" by George Gershwin. This chord progression is commonly called Rhythm Changes and was often used for controfact in Bebop. e.g. "Moose the Mooche", "Oleo" and "Anthropology". |
|
|
Who wrote the Anthropology melody? |
Authorship has been credited to Dizzy and Bird; however, in 1949 in an interview with Carl Woideck Bird claimed sole authorship. In truth there are many Parkerisms present and very little evidence as to what Dizzy's contribution was. |
|
|
What are some examples of the Parkerisms in Anthropology? |
Bar 2 -- "Moose the Mooche" rhythm Bar 14 -- Syncopated rhythm Bar 7-8 -- Turnaround pattern Bar 17, 23 & 24 -- "Ornithology" reference
|
|
|
Anthropology Instrumentation |
Charlie Parker -- Alto Saxophone Dizzy Gillespie -- Trumpet Bud Powell -- Piano Roy Haynes -- Drums Tommy Potter -- Bass |
|
|
What was Anthropology formally known as? |
Thriving on a Riff |
|
|
Charlie Parker's soloing/playing style |
Tone - laser like and clean Rhythmically - long 8th note running lines, plays across bars and lines, unusual phrasing, rests in strange places, quaver and semi-quaver triplets. Melody/Harmony - Chromaticism, extensions of chords (9th, 11th, 13th), arpeggios and surrounding techniques
|
|
|
Examples of Arpeggios in Anthropology |
Triplet Arpeggios -- line 8, bar 3 Semi-quaver Arpeggio -- line 14, bar 2 outlines Cmi7(b5) |
|
|
Examples of Surrounding Techniques in Anthropology |
Line 9, bar 3-4 |
|
|
Examples of Sequences in Anthropology |
Line 10, bar 1-3 |
|
|
Examples of Repetition in Anthropology |
Line 30-31 Also an example of tritone substitution - Bb chord played over F7 - and anticipation of next chord which is Bb7. |
|
|
Charlie Parker's Compostion Style |
Heavy use of ii7-V7-I7 (eg Blues for Alice), Often created controfacts (eg Anthropology), Tritone Substitution in both chords and melody, Surrounding techniques and anticipation of next chord. |
|
|
Other songs by Charlie Parker |
Moose the Mooche Now's the Time Ornithology |
|
|
Anthropology Role of Rhythm Section |
Piano comps, Bass walks and Drums incorporate heavy use of the ride cymbal as constant time keeper. |
|
|
Blues for Alice Composer |
Charlie Parker |
|
|
Blues for Alice was recorded... |
1951 for Verve |
|
|
Blues for Alice Form |
12 Bar Blues or more specifically Bird's version of the blues known as "Parker Blues" or " Bird Blues". |
|
|
Blues for Alice Tonality |
F major |
|
|
Blues for Alice Harmonic Progression |
Rapid ii7-V7-I7 and tritone substitutions that head towards the main chords of the blues progression (I7-IV7-V7). In a typical blues the first chord is I7 (in this case F7 - has a b7) but here Parker starts with an Fmaj7 or F6 (no b7). He then moves to a series of ii7-V7-I7 that lead to bar 5 where the IV7 chords in F (Bb7) is the resting point. Bars 6-9 feature ii7-V7-I7 and tritone substitutions to reach the resting point of V7 (C7) in bar 10. |
|
|
How do the rapid ii7-V7-I7 in Blues for Alice relate? |
The I7 of the previous ii7-V7-I7 becomes the ii7 of the next. e.g. Bar 2 - ii7-V7 of D minor (I7 of bar 2 becomes ii7 of bar 3) Bar 3 - ii7-V7 of C minor (I7 of bar 3 becomes ii7 of bar 4) Bar 4 - ii7-V7 of Bb7 |
|
|
Blues for Alice Melody |
Bar 1 - Melodic fragment repeated 5 times in piece providing structure to melody. Bar 2 - Use of arpeggio creates a surrounding technique leading to 3rd of A7 (Db) Bar 3 - Rep. of Melodic Fragment Bar 4 - Triplet arpeggio from Anthropology - ends on #5 of next chord which is F7 (anticipation). Bar 5 - Rep. of Melodic Fragment Bar 6 - Use of Bb Dorian Scale Bar 7 - Rep. of Melodic Fragment, Anticipation of A in previous bar ties into bar 7 Bar 8 - Echo of Bar 7 Bar 9 - Rhthym (Triplet) and interval (7th) creates tension and sense of climax Bar 10 - Use of the extension of the chord Eb (or D#) is the #9 of C7. Bars 11-12 - Rep. of Melodic Fragment and arpeggio sequence mirrors beginning. |
|
|
Blues for Alice Instrumentation |
Charlie Parker -- Alto Saxophone Red Rodney -- Trumpet John Lewis -- Piano Ray Brown -- Bass Kenny Clarke -- Drums |
|
|
Example of Arpeggios in Blues for Alice |
Triplet Arpeggio: Line 5, bar 4 |
|
|
Example of Surrounding Techniques in Blues for Alice |
Line 6, bar 3
|
|
|
Example of Sequencing in Blues for Alice |
Line 5, bar 1 - diminution of rhythm |
|
|
Round Midnight Composer |
Thelonious Monk |
|
|
When was Monk said to have first written Round Midnight. |
He wrote an early version in 1936 entitled Grand Finale |
|
|
Who was credited as a composer of Round Midnight but had no real input? |
Cootie Williams |
|
|
Who else helped develop Round Midnight? |
Bertie Hanighen added lyrics. Dizzy Gillespie added the now famous introduction/cadenza for his big band arrangement in 1946 which Monk added to his own performances. |
|
|
Round Midnight was recorded... |
- firstly in 1944 by Cootie Williams' Orchestra - they used it was their theme song - Monk recorded it in 1947 @ Bluenote - Miles Davis also performed it at the 1955 Newport Jazz Festival as his comeback. He recorded it in '56 with John Coltrane (tenor sax.), Red Garland (Piano), Paul Chambers (Bass) and Philly Joe Jones (Drums). |
|
|
Round Midnight Form |
AABA |
|
|
Round Midnight Tonality |
Alternates between Eb minor and Eb Major |
|
|
Round Midnight Harmonic Progression |
Includes chromatic movements, tritone substitutions, harmonic/colouristic effects using sudden ii7-V7 shifts and substitutions of bVII7 for V7 |
|
|
Round Midnight Melody |
- Bar 1 - melodic & rhythmic phrase rep. every 2 bars, written higher each time - Bar 2, 4, 6 - are answering phrases - bar 4 melody is built on guidetones - Bar 7-8 - downward phrase balances upward phrase before it. - Bar 9-10 - another downward phrase with a very strong dominant to tonic sound - Bar 11-12 - rep. of bars 7-8 - Bar 13-14 - echo of bars 11-12 with upward phrase balancing downward phrase in bar 12 - Bar 15-16 - very Gb major sounding and uses Gb->F idea (bar 16) from bars 7 & 11 - Bar 17-18 - Rep. of prev. phrase - use of common tones in bar 17&18 - similar rhythmic idea but to a lesser extent melodically to bars 7&11 - Bar 19-26 - same as second A section. |
|
|
Round Midnight Instrumentation |
Sahib Shihab -- Alto Sax. George Taitt -- Trumpet Thelonious Monk -- Piano Robert Paige -- Bass Art Blakey -- Drums |
|
|
Other songs by Monk |
In Walks Bud, Sophisticated Lady, Brilliant Corners, Epistrophy. |
|
|
Monk's Soloing/Playing Style |
- Whole tone runs - breaks & pauses - childlike/scarce accompaniment - heavy usage/quotation of the melody in solo - use of extentions like #9, b9, 11, 13, etc. - dissonant - use of min 2nd in solo and when accompanying himself he often used only 1&7th of the chord |
|
|
Monk's Composition Style |
- Heavy use of ii7-V7-I7 with extentions (ie. #9, b9, 11, 13, etc.) - tritone sub. eg. sub. a F7 for a B7 - chromatic harmonies - ii-V-I that shift chromatically |
|
|
How High the Moon Composers |
Lyrics by Nancy Hamilton, Music by Morgan Lewis |
|
|
How High the Moon Recorded |
Ella Fitzgerald 1947 |
|
|
What are some other notable recordings? |
- Benny Goodman feat. Helen Forrest (rose to #6) - Mitchell Ayres and his fashion in music feat. Mary Ann Mercer in 1940 - Stan Kenton and his orchestra in 1948 (instrumental) - Les Paul feat. Mary Ford in 1951 |
|
|
How High the Moon Form |
ABAB - Binary |
|
|
How High the Moon Tonality |
F major (originally in G major) |
|
|
How High the Moon Harmonic Progression |
ii7-V7-I7 covering 3 major key centres: F major, Eb major and Bb major It follows the pattern where I chords becomes ii chord of the next key |
|
|
How High the Moon Melody |
- It features a 3 note/beat anacrusis which is present throughout. - In the A section there is a use of 5, 1, 2, 3 (scale degrees) pattern for anacrusis - Guidetones used throughout - each phrase ends on 3rd or 7th - in fact many of the notes chosen for the melody are 3rds and 7ths |
|
|
Ella's Solo in How High the Moon |
Bars 1-8 - Use of repetition & sequences Bars 9-10 - Syncopation Bars 20-21 - Use of chromatics and an echo of bar 10 Bar 22 - Surrounding Technique Bars 30-33 - chromatics Bars 34-61 - Quotation of Ornithology Later quotes Rockin in Rhythm by Duke Ellington |
|
|
Characteristics of Bebop Melody Writing |
- Melody's sometimes outline chords or substitutes chords (e.g. Anthropology) - Anticipation of next chord (e.g. anticipation of Bb7 then Eb7 in Anthropology A Section) - Surrounding tech. (also in Anthropology) - Using Rhythms from other songs (e.g. use of Moose the Mooche rhythm in Anthropology) - Rhythmic Sequencing (Diminution or augmentation) - triplets and quaver triplets - arpeggiation
|
|
|
Characteristics of Bebop |
- Contrafacts - songs built on chord progressions of well known songs - small groups - as small as a trio but no bigger than a nonet - complex and abstract rhythmically, melodically and harmonically - longer improvisations - faster tempos - Not for dancing - less singable or memorable melodies - Drums - use of high hat/cymbal for time keeping |
