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350 Cards in this Set
- Front
- Back
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almost all music is based on the contrast of movement between _________ and dissonance
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consonance
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almost all music is based on the contrast of movement between consonance and ____________
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dissonance
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__________ are tones at rest
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consonance
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consonance are __________
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tones at rest
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_________ are tones that need to be resolved
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dissonance
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dissonance are tones _____________
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that need to be resolved
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_______ are groups of notes that sound consonant or dissonant when played together
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chords
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chords are ___________ that sound consonant or dissonant when played together
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groups of notes
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chords are groups of notes that sound _________ or dissonant when played together
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consonant
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chords are groups of notes that sound consonant or __________ when played together
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dissonant
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chords can be played through _________ or a ____________
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one instrument, combination of instruments
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what are the three types of "building block" chords found in almost every piece of popular music?
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tonic (I chord)
dominant (V chord) sub-dominant (IV chord) |
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the ______ chord, or I chord, is a consonant chord
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tonic
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the tonic chord, or __ chord, is a consonant chord
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I
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the tonic chord, or I chord, is a ________ chord
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consonant
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the _______ chord, or V chord, is a dissonant chord
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dominant
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the dominant chord, or __ chord, is a dissonant chord
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V
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the dominant chord, or V chord, is a _______ chord
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dissonant
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the _________ chord, or IV chord, is a dissonant chord, but is less dissonant than the dominant chord
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sub-dominant
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the sub-dominant chord, or ____ chord, is a dissonant chord, but is less dissonant than the dominant chord
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IV
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the sub-dominant chord, or IV chord, is a ________ chord, but is less ________ than the dominant chord
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dissonant, dissonant
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finding the _________ of the music is the best way to figure out the structure of a piece
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basic pulse
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finding the basic pulse of the music is the best way to figure out the ________ of a piece
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structure
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a groups of beats is a _________, or _____
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measure, bar
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groupings of _____ beats per measure are the most common
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four
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the _________ format is the formula for thousands of songs
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12-bar blues
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________ includes the basic beat and everything musicians play in a given tempo
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rhythm
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rhythm includes the _______ and everything musicians play in a given tempo
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basic beat
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rhythm includes the basic beat and everything musicians play in a given _______
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tempo
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________ is how fast or slow a piece of music is
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tempo
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tempo is how _____ or _______ a piece of music is
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fast, slow
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_________ is two or more parallel rhythms. essential to jazz as it accents weaker beats
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syncopation
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syncopation is ________ parallel rhythms. essential to jazz as it accents weaker beats
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two or more
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syncopation is two or more parallel _______. essential to jazz as it accents weaker beats
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rhythms
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syncopation is two or more parallel rhythms. essential to jazz as it ________ weaker beats
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accents
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___________ is spontaneous composition
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improvisation
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improvisation is _________ composition
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spontaneous
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improvisation is spontaneous __________
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composition
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____________ is adding extra rhythms and/or notes to an existing musical texture
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embellishment
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embellishment is adding extra ________ and/or _____ to an existing musical texture
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rhythms, notes
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embellishment is adding extra rhythms and/or notes to _____________
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an existing musical texture
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most jazz groups use the basic format of ___________ and a rhythm section
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front-line instruments
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most jazz groups use the basic format of front-line instruments and a ___________
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rhythm section
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the typical __________ includes a piano, a string bass and a drum set.
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rhythm section
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the typical rhythm section includes a _______, a string bass and a drum set.
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piano
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the typical rhythm section includes a piano, a ________ and a drum set.
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string bass
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the typical rhythm section includes a piano, a string bass and a _________.
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drum set
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in a typical __________, a piano is used for filling in the harmony
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rhythm section
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in a typical rhythm section, a _______ is used for filling in the harmony
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piano
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in a typical rhythm section, a piano is used _____________
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for filling in the harmony
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in a typical ___________, a string bass is used for playing the bass notes of the harmony and for driving home the basic beat
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rhythm section
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in a typical rhythm section, a _________ is used for playing the bass notes of the harmony and for driving home the basic beat
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string bass
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in a typical rhythm section, a string bass is used for _____________ and for driving home the basic beat
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playing the bass notes of the harmony
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in a typical rhythm section, a string bass is used for playing the bass notes of the harmony and for __________________
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driving home the basic beat
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in a typical ________, a drum set is used for helping keep time and adding rhythmic color
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rhythm section
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in a typical rhythm section, a ________ is used for helping keep time and adding rhythmic color
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drum set
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in a typical rhythm section, a drum set is used for ___________ and adding rhythmic color
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helping keep time
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in a typical rhythm section, a drum set is used for helping keep time and _______________
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adding rhythmic color
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the _________ instruments include any of the solo-type instruments such as clarinet, saxophone, trumpet and or trombone.
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front-line
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the front-line instruments include any of the ________ instruments such as clarinet, saxophone, trumpet and or trombone.
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solo-type
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the front-line instruments include any of the solo-type instruments such as _______, saxophone, trumpet and or trombone.
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clarinet
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the front-line instruments include any of the solo-type instruments such as clarinet, ___________, trumpet and or trombone.
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saxophone
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the front-line instruments include any of the solo-type instruments such as clarinet, saxophone, ________ and or trombone.
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trumpet
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the front-line instruments include any of the solo-type instruments such as clarinet, saxophone, trumpet and or __________.
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trombone
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the _________ players tend to do more of the solo or improvised playing
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front-line
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the front-line players tend to do more of the _____ or ______ playing
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solo, improvised
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________ players usually start and end a tune by playing, or playing around, the melody
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front-line
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front-line players usually _____ and _____ a tune by playing, or playing around, the melody
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start, end
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front-line players usually start and end a tune by __________________
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playing, or playing around, the melody
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What are the two types of improvisation?
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collective, solo
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TRUE or FALSE: front-line players can solo or collective improvise, rhythm sections can only collectively improvise
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FALSE
both front-liners or rhythm section players can do either |
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_________ and traditional jazz was king between 1890 and 1929
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ragtime
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Ragtime and _________ was king between 1890 and 1929
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traditional jazz
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Ragtime and traditional jazz was king between ______ and 1929
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1890
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Ragtime and traditional jazz was king between 1890 and ______
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1929
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________ is an early mixture of african, african american and european musical elements
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ragtime
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ragtime is an early mixture of ________, african american and european musical elements
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african
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ragtime is an early mixture of african, ___________ and european musical elements
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african american
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ragtime is an early mixture of african, african american and _________ musical elements
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european
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ragtime has/has no improvisation
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has no
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traditional jazz came BEFORE/AFTER ragtime
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after
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__________ is a mixture of african, african american and european musical elements that followed ragtime
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traditional jazz
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traditional jazz is a mixture of ______, african american and european musical elements that followed ragtime
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african
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traditional jazz is a mixture of african, ___________ and european musical elements that followed ragtime
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african american
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traditional jazz is a mixture of african, african american and __________ musical elements that followed ragtime
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european
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traditional jazz is a mixture of african, african american and european musical elements that followed _________
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ragtime
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traditional jazz had / had no improvisation
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had
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___________ is also known as dixieland
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traditional jazz
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traditional jazz is also known as _________
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dixieland
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jazz comes from african ___________ that was used for work, religion and ceremony
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functional music
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jazz comes from african functional music that was used for _____, religion and ceremony
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work
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jazz comes from african functional music that was used for work, _______ and ceremony
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religion
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jazz comes from african functional music that was used for work, religion and _______
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ceremony
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__________ gives music an unending set of variations
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embellishment
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embellishment gives music an unending set of _________
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variations
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many african work songs featured the technique of ____________
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call and response
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in __________, one singer or a group of singers creates a music line (or the ______ and it's repeated by another singer or group with the ________.
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call and response, call, response
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in call and response, one singer or a group of singers creates a ________ (or the call) and it's repeated by another singer or group with the response.
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music line
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african __________ had the same patterns as the blues and later made their way into american minstrel shows
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signifying songs
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african signifying songs had the same patterns as _______ and later made their way into american minstrel shows
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the blues
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african signifying songs had the same patterns as the blues and later made their way into american _____________
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minstrel shows
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____________ was enhanced by american slaves due to their adoption of christianity
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call and response
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call and response was enhanced by american slaves due to their adoption of __________
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christianity
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_____________'s black snake moan is an example of early blues style
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blind lemon jefferson
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blind lemon jefferson's ____________ is an example of early blues style
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black snake moan
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blind lemon jefferson's black snake moan is an example of _____________
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early blues style
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____________'s black snake moan was recorded in june 1926
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blind lemon jefferson
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blind lemon jefferson's ____________ was recorded in june 1926
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black snake moan
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blind lemon jefferson's black snake moan was recorded in ______ 1926
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june
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blind lemon jefferson's black snake moan was recorded in june ______
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1926
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_________, louis armstrong and fred longshaw's st. louis blues is an example of the blues, call and response and improvisation.
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bessie smith
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bessie smith, _________ and fred longshaw's st. louis blues is an example of the blues, call and response and improvisation.
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louis armstrong
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bessie smith, louis armstrong and __________'s st. louis blues is an example of the blues, call and response and improvisation.
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fred longshaw
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bessie smith, louis armstrong and fred longshaw's __________ is an example of the blues, call and response and improvisation.
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st louis blues
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bessie smith, louis armstrong and fred longshaw's st. louis blues is an example of the ______, call and response and improvisation.
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blues
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bessie smith, louis armstrong and fred longshaw's st. louis blues is an example of the blues, __________ and improvisation.
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call and response
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bessie smith, louis armstrong and fred longshaw's st. louis blues is an example of the blues, call and response and ___________.
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improvisation
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_________, louis armstrong and fred longshaw's st. louis blues was recorded in january 1925..
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bessie smith
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bessie smith, ___________ and fred longshaw's st. louis blues was recorded in january 1925..
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louis armstrong
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bessie smith, louis armstrong and __________'s st. louis blues was recorded in january 1925..
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fred longshaw
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bessie smith, louis armstrong and fred longshaw's _________ was recorded in january 1925..
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st louis blues
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bessie smith, louis armstrong and fred longshaw's st. louis blues was recorded in ________ 1925..
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january
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bessie smith, louis armstrong and fred longshaw's st. louis blues was recorded in january ____..
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1925
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the ____________ is an example of syncopation and polyrhythms
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manyanga drum rhythm
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the manyanga drum rhythm is an example of ________ and polyrhythms
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syncopation
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the manyanga drum rhythm is an example of syncopation and __________
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polyrhythms
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"___________" by leroy miller and other prison farm workers is an example of embellishment
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berta, berta
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"berta, berta" by ______________ is an example of embellishment
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leroy miller and other prison farm workers
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"berta, berta" by leroy miller and other prison farm workers is an example of ____________
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embellishment
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"__________" by leroy miller and other prison farm workers was recorded in the mid 1950s
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berta, berta
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"berta, berta" by _____________ was recorded in the mid 1950s
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leroy miller and other prison farm workers
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"berta, berta" by leroy miller and other prison farm workers was recorded in the mid _____s
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1950
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_________ mixed elements with the european march format
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ragtime
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ragtime mixed elements with the ________ march format
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european
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ragtime mixed elements with the european _______ format
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march
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__________'s maple leaf rag is an example of ragtime and a typical march format
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scott joplin
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scott joplin's __________ is an example of ragtime and a typical march format
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maple leaf rag
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scott joplin's maple leaf rag is an example of ______ and a typical march format
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ragtime
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scott joplin's maple leaf rag is an example of ragtime and a typical ______ format
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march
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________ was one of the creators of the ragtime style
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scott joplin
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scott joplin was one of the creators of the _______ style
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ragtime
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while still a teenager, ________ organized the texas medley quartet
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scott joplin
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while still a teenager, scott joplin organized the ____________
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texas medley quartet
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scott joplin played the ________
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cornet
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___________ consisted of two piano players trying to outplay each other
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cutting contests
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cutting contests consisted of two piano players __________________
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trying to outplay each other
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___________ directed a band in the marine corps called "the president's own."
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john philip sousa
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john philip sousa directed a band in __________ called "the president's own."
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the marine corps
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john philip sousa directed a band in the marine corps called "____________."
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the president's own
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_________ of sousa's marches in new orleans gave birth to traditional jazz
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embellishment
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embellishemnt of _______'s marches in new orleans gave birth to traditional jazz
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sousa
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embellishemnt of sousa's _________ in new orleans gave birth to traditional jazz
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marches
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embellishemnt of sousa's marches in __________ gave birth to traditional jazz
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new orleans
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embellishemnt of sousa's marches in new orleans gave birth to ___________
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traditional jazz
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lousianans use the word "_____" to distinguish themselves from who moved to the state after statehood
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creole
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lousianans use the word "creole" to distinguish themselves from ______________
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who moved to the state after statehood
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_________ in new orleans were called free people of color or creoles of color
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free blacks
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free blacks in new orleans were called ___________ or creoles of color
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free people of color
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free blacks in new orleans were called free people of color or ___________
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creoles of color
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some of the most influential musicians in new orleans in the late 19th and early 20th century were ___________
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creoles of color
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____________ in new orleans were houses of prostitution and gambling
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sporting houses
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when debauchery got out of hand, new orleans councilman _________ thought to put all sporting houses on the edge of the french quarter and storyville was born
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sidney story
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when debauchery got out of hand, new orleans councilman sidney story thought to put all ________ on the edge of the french quarter and storyville was born
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sporting houses
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when debauchery got out of hand, new orleans councilman sidney story thought to put all sporting houses on the edge of the french quarter and _________ was born
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storyville
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jazz flourished in ________ because of the close proximity of the different musicians
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storyville
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jazz flourished in storyville because _________________
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of the close proximity of the different musicians
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In ______, the U.S. Navy effectively shut down storyville, fearing a spread of disease and loss of control of its sailors
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1917
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In 1917, the ________ effectively shut down storyville, fearing a spread of disease and loss of control of its sailors
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U.S. Navy
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In 1917, the U.S. Navy effectively shut down ________, fearing a spread of disease and loss of control of its sailors
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storyville
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__________ called jazz's early latin influences the "spanish tinge."
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jelly roll morton
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jelly roll morton called jazz's early ______ influences the "spanish tinge."
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latin
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jelly roll morton called jazz's early latin influences the "____________."
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spanish tinge
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new orleans blue was performed by _________ as far back as 1902
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jelly roll morton
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new orleans blue was performed by jelly roll morton as far back as ______
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1902
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jelly roll morton did/didn't believe in volume in his jazz
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didn't
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most _________ recordings occurred in chicago between 1923 and 1929
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traditional jazz
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most traditional jazz recordings occurred in _______ between 1923 and 1929
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chicago
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most traditional jazz recordings occurred in chicago between ______ and ______
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1923, 1929
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the first _________ recordings done in chicago were done in both the solo and collective improvisational style
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traditional jazz
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the first traditional jazz recordings done in _______ were done in both the solo and collective improvisational style
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chicago
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the first traditional jazz recordings done in chicago were done in both the _____ and ________ improvisational style
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solo, collective
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almost all _________ played in new orleans was done in the collective improvisational style
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traditional jazz
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almost all traditional jazz played in __________ was done in the collective improvisational style
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new orleans
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almost all traditional jazz played in new orleans was done in the _________ improvisational style
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collective
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the difference between __________ and american band was that musicians agreed on a basic melody, chord structure, and rhythmic format; then they just improvised the rest.
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early new orleans jazz
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the difference between early new orleans jazz and __________ was that musicians agreed on a basic melody, chord structure, and rhythmic format; then they just improvised the rest.
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american band
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the difference between early new orleans jazz and american band was that musicians agreed on a basic _______, chord structure, and rhythmic format; then they just improvised the rest.
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melody
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the difference between early new orleans jazz and american band was that musicians agreed on a basic melody, __________, and rhythmic format; then they just improvised the rest.
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chord structure
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the difference between early new orleans jazz and american band was that musicians agreed on a basic melody, chord structure, and __________; then they just improvised the rest.
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rhythmic format
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the difference between early new orleans jazz and american band was that musicians agreed on a basic melody, chord structure, and rhythmic format; then they just _____________.
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improvised the rest
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a typical __________ band setup had both frontline and rhythm section instruments
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traditional jazz
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a typical traditional jazz band setup had both ________ and ___________ instruments
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frontline, rhythm section
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the ________ in a traditional jazz band usually consisted of a clarinet, a trumpet and a trombone
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frontline
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the front line in a ___________ band usually consisted of a clarinet, a trumpet and a trombone
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traditional jazz
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the front line in a traditional jazz band usually consisted of a ________, a trumpet and a trombone
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clarinet
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the front line in a traditional jazz band usually consisted of a clarinet, a ________ and a trombone
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trumpet
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the front line in a traditional jazz band usually consisted of a clarinet, a trumpet and a _________
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trombone
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the __________ in a traditional jazz band usually consisted of a drummer, a tuba or string bass, and chord instruments including a banjo and/or a piano
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rhythm section
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the rhythm section in a ___________ band usually consisted of a drummer, a tuba or string bass, and chord instruments including a banjo and/or a piano
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traditional jazz
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the rhythm section in a traditional jazz band usually consisted of a _______, a tuba or string bass, and chord instruments including a banjo and/or a piano
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drummer
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the rhythm section in a traditional jazz band usually consisted of a drummer, a ______ or _________, and chord instruments including a banjo and/or a piano
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tuba, string bass
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the rhythm section in a traditional jazz band usually consisted of a drummer, a tuba or string bass, and __________ including a banjo and/or a piano
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chord instruments
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the rhythm section in a traditional jazz band usually consisted of a drummer, a tuba or string bass, and chord instruments including a _____ and/or a ______
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banjo, piano
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in a traditional jazz band, the ______, nicknamed noodles, plays fast embellishments heard at the top of the musical texture
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clarinet
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in a traditional jazz band, the clarinet, nicknamed _______, plays fast embellishments heard at the top of the musical texture
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noodles
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in a traditional jazz band, the clarinet, nicknamed noodles, plays ________________
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fast embellishments heard at the top of the musical texture
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in a traditional jazz band, the _______ or _______ plays the melody
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trumpet, cornet
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in a traditional jazz band, the trumpet or cornet plays the ________
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melody
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in a traditional jazz band, the _______ plays the countermelody
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trombone
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in a traditional jazz band, the trombone plays the ____________
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countermelody
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in a traditional jazz band, the _______ keep the beat going and add rhythmic color
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drums
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|
in a traditional jazz band, the drums _____________
|
keep the beat going and add rhythmic color
|
|
|
in a traditional jazz band, the ______ or string bass plays the bass notes of the harmony and helps define the basic beat
|
tuba
|
|
|
in a traditional jazz band, the tuba or _______ plays the bass notes of the harmony and helps define the basic beat
|
string bass
|
|
|
in a traditional jazz band, the tuba or string bass plays the ____________ and helps define the basic beat
|
bass notes
|
|
|
in a traditional jazz band, the tuba or string bass plays the bass notes of the harmony and ______________
|
helps define the basic beat
|
|
|
in a traditional jazz band, the _______ or piano fills in the notes of the harmony and supports the basic rhythm
|
banjo
|
|
|
in a traditional jazz band, the banjo or _______ fills in the notes of the harmony and supports the basic rhythm
|
piano
|
|
|
in a traditional jazz band, the banjo or piano fills in _________ and supports the basic rhythm
|
the notes of the harmony
|
|
|
in a traditional jazz band, the banjo or piano fills in the notes of the harmony and _______________
|
supports the basic rhythm
|
|
|
the _________ of a typical jazz tune is called the head
|
main melody
|
|
|
the main melody of a typical jazz tune is called the ________
|
head
|
|
|
____________ are when everyone extends their embellishments
|
ensemble choruses
|
|
|
ensemble choruses are when everyone ______________
|
extends their embellishments
|
|
|
_________and sidney bechet were credited for breaking away from the ensemble texture, which left more room for soloists
|
louis armstrong
|
|
|
louis armstrong and ___________ were credited for breaking away from the ensemble texture, which left more room for soloists
|
sidney bechet
|
|
|
louis armstrong and sidney bechet were credited for breaking away from the _______ texture, which left more room for soloists
|
ensemble
|
|
|
louis armstrong and sidney bechet were credited for breaking away from the ensemble texture, which left more room for ______
|
soloists
|
|
|
new __________ in 1920s chicago were still supported by the rhythm section.
|
solo choruses
|
|
|
new solo choruses in _______s chicago were still supported by the rhythm section.
|
1920
|
|
|
new solo choruses in 1920s ________ were still supported by the rhythm section.
|
chicago
|
|
|
new solo choruses in 1920s chicago were still supported by the ____________.
|
rhythm section
|
|
|
the ________ is the return to the melody of a jazz tune; similar to the head, but the last chorus tends to be played more aggressively with larger deviations
|
out chorus
|
|
|
the out chorus is the ___________ of a jazz tune; similar to the head, but the last chorus tends to be played more aggressively with larger deviations
|
return to the melody
|
|
|
the out chorus is the return to the melody of a jazz tune; similar to the _______, but the last chorus tends to be played more aggressively with larger deviations
|
head
|
|
|
the out chorus is the return to the melody of a jazz tune; similar to the head, but the last chorus tends to be played more ________ with larger deviations
|
agressively
|
|
|
the out chorus is the return to the melody of a jazz tune; similar to the head, but the last chorus tends to be played more aggressively with larger _________
|
deviations
|
|
|
a ________ is when the band stops playing and one musicians improvises for usually two measures
|
solo break
|
|
|
a solo break is when the band ________ and one musicians improvises for usually two measures
|
stops playing
|
|
|
a solo break is when the band stops playing and one musicians ________ for usually two measures
|
improvises
|
|
|
a solo break is when the band stops playing and one musicians improvises for usually ____________
|
two measures
|
|
|
a _________ is a technique of accompaniement where the band just plays the first beat of every measure while a soloist improvises
|
stoptime
|
|
|
a stoptime chorus is a technique of __________ where the band just plays the first beat of every measure while a soloist improvises
|
accompaniement
|
|
|
a stoptime chorus is a technique of accompaniement where the band just plays the _____ beat of every measure while a soloist improvises
|
first
|
|
|
a stoptime chorus is a technique of accompaniement where the band just plays the first beat of every _______ while a soloist improvises
|
measure
|
|
|
a stoptime chorus is a technique of accompaniement where the band just plays the first beat of every measure while a soloist __________
|
improvises
|
|
|
__________ is where two or more musicians alternate four-measure improvisations
|
trading fours
|
|
|
trading fours is where _________ musicians alternate four-measure improvisations
|
two or more
|
|
|
trading fours is where two or more musicians alternate ______________
|
four-measure improvisations
|
|
|
george lewis' "when the saints go marching in" contains both ______ and _____ improvisation
|
collective, solo
|
|
|
after pioneering __________ in the 1920s, louis armstrong laid the groundwork for the swing style in the 1930s
|
solo improvisation
|
|
|
after pioneering solo improvisation in the ______s, louis armstrong laid the groundwork for the swing style in the 1930s
|
1920
|
|
|
after pioneering solo improvisation in the 1920s, __________ laid the groundwork for the swing style in the 1930s
|
louis armstrong
|
|
|
after pioneering solo improvisation in the 1920s, louis armstrong laid the groundwork for the ________ style in the 1930s
|
swing
|
|
|
after pioneering solo improvisation in the 1920s, louis armstrong laid the groundwork for the swing style in the _______s
|
1930
|
|
|
In _______, Louis Armstrong upstaged the beatles with a number one hit "hello dolly"
|
1964
|
|
|
In 1964, ___________ upstaged the beatles with a number one hit "hello dolly"
|
louis armstrong
|
|
|
In 1964, Louis Armstrong upstaged __________ with a number one hit "hello dolly"
|
the beatles
|
|
|
In 1964, Louis Armstrong upstaged the beatles with a number one hit "__________"
|
hello dolly
|
|
|
_________ called himself "a child of the american century" and said he was born JUly 4, 1900. In reality he was born August 4, 1901
|
louis armstrong
|
|
|
louis armstrong called himself "___________" and said he was born JUly 4, 1900. In reality he was born August 4, 1901
|
a child of the american century
|
|
|
louis armstrong called himself "a child of the american century" and said he was born __________. In reality he was born August 4, 1901
|
july 4, 1900
|
|
|
louis armstrong called himself "a child of the american century" and said he was born JUly 4, 1900. In reality he was born _____________
|
August 4, 1901
|
|
|
__________'s first legendary alliance was with joe "king" oliver in new orleans
|
louis armstrong
|
|
|
louis armstrong's first legendary alliance was with __________ in new orleans
|
joe "king" oliver
|
|
|
louis armstrong's first legendary alliance was with joe "king" oliver in __________
|
new orleans
|
|
|
when __________ left new orleans, louis armstrong got the best jobs
|
joe "king" oliver
|
|
|
when joe "king" oliver left __________, louis armstrong got the best jobs
|
new orleans
|
|
|
when joe "king" oliver left new orleans, ___________ got the best jobs
|
louis armstrong
|
|
|
_____________ brought louis armstrong to chicago
|
joe "king" oliver
|
|
|
joe "king" oliver brought _____________ to chicago
|
louis armstrong
|
|
|
joe "king" oliver brought louis armstrong to _________
|
chicago
|
|
|
____________ joined king oliver's creole jazz band in 1922
|
louis armstrong
|
|
|
louis armstrong joined _____________ in 1922
|
king oliver's creole jazz band
|
|
|
louis armstrong joined king oliver's creole jazz band in _______
|
1922
|
|
|
_________ married lil hardin, king oliver's piano player, and she encouraged him to go out on his own
|
louis armstrong
|
|
|
louis armstrong married __________, king oliver's piano player, and she encouraged him to go out on his own
|
lil hardin
|
|
|
louis armstrong married lil hardin, _________'s piano player, and she encouraged him to go out on his own
|
king oliver
|
|
|
louis armstrong married lil hardin, king oliver's _________, and she encouraged him to go out on his own
|
piano player
|
|
|
louis armstrong married lil hardin, king oliver's piano player, and she encouraged him to ____________
|
go out on his own
|
|
|
__________ band leader fletcher henderson brought louis armstrong in to his band in 1924
|
new york
|
|
|
new york band leader ___________ brought louis armstrong in to his band in 1924
|
fletcher henderson
|
|
|
new york band leader fletcher henderson brought ____________ in to his band in 1924
|
louis armstrong
|
|
|
new york band leader fletcher henderson brought louis armstrong in to his band in ______
|
1924
|
|
|
louis armstrong left fletcher henderson's band because ___________ and he returned to __________ to ____________
|
he thought they were unprofessional, chicago, start his own band
|
|
|
Between ______ and ______, louis armstrong recorded with his hot five and later hot 7.
|
1925, 1928
|
|
|
Between 1925 and 1928, ____________ recorded with his hot five and later hot 7.
|
louis armstrong
|
|
|
Between 1925 and 1928, louis armstrong recorded with his _________ and later _________.
|
hot 5, hot 7
|
|
|
____________'s hot 5 and hot 7 recordings were examples of solo improvisation and true start of traditional jazz
|
louis armstrong
|
|
|
louis armstrong's ______ and _______ recordings were examples of solo improvisation and true start of traditional jazz
|
hot 5, hot 7
|
|
|
louis armstrong's hot 5 and hot 7 recordings were examples of ___________ and true start of traditional jazz
|
solo improvisation
|
|
|
louis armstrong's hot 5 and hot 7 recordings were examples of solo improvisation and true start of _____________
|
traditional jazz
|
|
|
____________'s hot 5 and hot 7 recordings raised level of jazz vocals
|
louis armstrong
|
|
|
louis armstrong's ______ and hot 7 recordings raised level of jazz vocals
|
hot 5
|
|
|
louis armstrong's hot 5 and _______ recordings raised level of jazz vocals
|
hot 7
|
|
|
louis armstrong's hot 5 and hot 7 recordings raised level of ___________
|
jazz vocals
|
|
|
___________ was first singer to record scat singing
|
louis armstrong
|
|
|
louis armstrong was first singer to record __________
|
scat singing
|
|
|
_____________'s potato head blues was an example of progressive solo improvisation
|
louis armstrong and his hot 7
|
|
|
louis armstrong and his hot 7's ___________ was an example of progressive solo improvisation
|
potato head blues
|
|
|
louis armstrong and his hot 7's potato head blues was an example of ________________
|
progressive solo improvisation
|
|
|
______________'s west end blues was an example of blues, solo improvisation, early scat singing and call and response
|
louis armstrong and his hot 5
|
|
|
louis armstrong and his hot 5's ___________ was an example of blues, solo improvisation, early scat singing and call and response
|
west end blues
|
|
|
louis armstrong and his hot 5's west end blues was an example of _______, solo improvisation, early scat singing and call and response
|
blues
|
|
|
louis armstrong and his hot 5's west end blues was an example of blues, ____________, early scat singing and call and response
|
solo improvisation
|
|
|
louis armstrong and his hot 5's west end blues was an example of blues, solo improvisation, _____________ and call and response
|
early scat singing
|
|
|
louis armstrong and his hot 5's west end blues was an example of blues, solo improvisation, early scat singing and _____________
|
call and response
|
|
|
___________ was the first black on a network radio show
|
louis armstrong
|
|
|
louis armstrong was the first _______ on a network radio show
|
black
|
|
|
louis armstrong was the first black on a ____________
|
network radio show
|
|
|
after _______, all of louis armstrong's bands were called louis armstrong and his all stars
|
1946
|
|
|
after 1946, all of louis armstrong's bands were called ____________________
|
louis armstrong and his all stars
|
|
|
_____________ did the back o' town blues
|
louis armstrong and his all stars
|
|
|
louis armstrong and his allstars did the _____________
|
back o' town blues
|
|
|
_____________ made recordings in the 1920s that expanded improvisation and orchestration concepts
|
jelly roll morton and his red hot peppers
|
|
|
jelly roll morton and his red hot peppers made recordings in the ______s that expanded improvisation and orchestration concepts
|
1920
|
|
|
jelly roll morton and his red hot peppers made recordings in the 1920s that expanded __________ and orchestration concepts
|
improvisation
|
|
|
jelly roll morton and his red hot peppers made recordings in the 1920s that expanded improvisation and ___________ concepts
|
orchestration
|
|
|
when the __________ era began, jelly roll morton became obscure
|
swing
|
|
|
when the swing era began, jelly roll morton became ________
|
obscure
|
|
|
___________'s black bottom stomp is an example of collective and solo improvisation
|
jelly roll morton
|
|
|
jelly roll morton's black bottom stomp is an example of ________________
|
collective and solo improvisation
|
|
|
____________ was the first serious white innovator in jazz
|
bix beiderbecke
|
|
|
bix beiderbecke was the first serious _______ innovator in jazz
|
white
|
|
|
bix beiderbecke played the _______ and piano
|
cornet
|
|
|
bix beiderbecke played the cornet and ______
|
piano
|
|
|
bix beiderbecke played on _______________'s singing the blues
|
frankie trumbauer and his orchestra
|
|
|
bix beiderbecke played on frankie trumbauer and his orchestra's ____________
|
singing the blues
|
|
|
Who did this tune?
|
frankie trumbauer and his orchestra
|
|
|
What is the name of this song?
|
singing the blues
|
|
|
who played this song?
|
jelly roll morton
|
|
|
what is this song called?
|
black bottom stomp
|
|
|
who did this?
|
louis armstrong and his all stars
|
|
|
what is the name of this song?
|
back o town blues
|
|
|
who did this?
|
louis armstrong and his hot 5
|
|
|
what is this called?
|
west end blues
|
|
|
who did this?
|
louis armstrong and his hot 7
|
|
|
what is this called?
|
potato head blues
|
|
|
who did this?
|
king oliver's creole jazz band
|
|
|
what is this called?
|
dippermouth blues
|
|
|
who did this?
|
george lewis
|
|
|
what is the name of this tune?
|
when the saints go marchin in
|
|
|
who did this song?
|
scott joplin
|
|
|
what is the name of this song?
|
maple leaf rag
|
|
|
who did this?
|
WC Handy
|
|
|
what is this called?
|
St louis blues
|
|
|
who did this?
|
blind lemon jefferson
|
|
|
What is this called?
|
black snake moan
|
|
|
who did this?
|
leroy miller and other prisoners
|
|
|
what is this called?
|
berta, berta
|
