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288 Cards in this Set
- Front
- Back
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timbre
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tone color
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mutes
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physical devices inserted into the bell of brass instruments to distort the timbre of the sounds coming out
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timbre variation
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the use of a wide range of timbres for expressive purposes
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mouthpiece
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on a brass instrument, a cuplike rest for the musician's lips, into which air is blown
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wind instruments
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in jazz, instruments that are played by blowing air into a tube
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soloists
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any instrument in the jazz ensemble whose improvisation is featured in a performance
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rhythm section
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instruments that provide accompaniment for jazz soloing: harmony instruments, bass instruments, and percussion
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vibrato
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a slight wobble in pitch produced naturally by the singing voice, often imitated by wind and string instruments
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embouchure
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the shaping and positioning of the lips and other facial muscles when playing wind instruments
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overtone
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higher pitch caused by secondary vibration of the main sound wave
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valves
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controls in brass instruments that shunt air into a passageway of tubing, altering a pitch
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trumpet
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the most common brass instrument; its vibrating tube is completely cylindrical until it reaches the end, where it flares into the instrument's bell
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bell
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the flared opening at the end of a brass instrument
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cornet
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a partially conical brass instrument used often in early jazz and eventually supplanted by the trumpet
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flugelhorn
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brass instrument with a fully conical bore, somewhat larger than a trumpet and producing a more mellow, rounded timbre
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straight mute
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a standard orchestral mute that dampens the sound of a brass instrument without much distortion
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cup mute
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an orchestral mute with an extension that more or less covers the bell of a brass instrument
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Harmon mute
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a hollow mute, originally with a short extension but usually played without it, leaving a hole in the center and creating a highly concentrated sound
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plunger mute
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the bottom end of a sink plunger (minus the handle), used as a mute for a brass instrument
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pixie mute
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a small mute inserted into the bell of a brass instrument
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half-valving
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depressing one or more of the valves of a brass instrument only halfway, producing an uncertain pitch with a nasal sound
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shake
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for brass instruments, a quick trill between notes that mimics a wide vibrato, often performed at the end of a musical passage
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trombone
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a low-pitched brass instrument that uses a slide to adjust the column of air
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slide
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an elongated trombone tube that adjusts the length of a column of air when the player slides it
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glissando
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sliding seamlessly from one note to another, as exemplified on the trombone
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reed instruments
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wind instruments whose mouthpieces are inserted between the lips, with the player blowing a stream of air into a passageway between a thin, limber reed and the hard part of the mouthpiece
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single reed
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a reed instrument, such as the clarinet or saxophone, that uses only one reed
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multiphonics
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complicated sounds created on a wind instrument (through intense blowing) that contain more than one pitch at the same time
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clarinet
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a wind instrument consisting of a slim, cylindrical, ebony-colored wooden tube that produces a thin, piercing sound
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bass clarinet
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a wind instrument pitched lower than a standard clarinet
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saxophone
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invented by Adophe Sax in the 1840s, a family of single-reed wind instruments with the carrying power of a brass instrument
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alto saxophone
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one of the most common saxophones used in jazz performance, smaller and higher-pitched than the tenor
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tenor saxophone
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a common type of saxophone, larger and deeper than the alto
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soprano saxophone
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the smallest and highest-pitched saxophone used in jazz performance
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baritone saxophone
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the largest and deepest saxophone used in jazz performance
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double
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to play more than one instrument; to reinforce a melody with one or more different instruments
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harmony
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two notes played simultaneously
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bass
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in the rhythmic section of a jazz band, an instrument that supports the harmony and plays a basic rhythmic foundation
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percussion
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in the rhythmic section of a jazz band, the drums, cymbals, congas, and other instruments that are struck to provide the music's rhythmic foundation
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vibraphone
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an amplified metallophone with tubes below each slab; a disc turning within each tube helps sustain and modify the sound
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organ
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in jazz, an electrically amplified keyboard with pedals that imitates the sound of a pipe organ
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synthesizer
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an electronically amplified keyboard that creates its own sounds through computer programming
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electric piano
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an electrically amplified keyboard, such as the Fender Rhodes, capable of producing piano sounds
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guitar
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a plucked string instrument with waisted sides and a fretted fingerboard
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bass drum
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the large drum front and center in a jazz drum kit, struck with a mallet propelled by a foot pedal; it produces a deep, heavy sound
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piano
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a soft dynamic
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string bass
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the most common bass used in jazz, the same acoustic instrument found in symphony orchestras
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bow
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a string instrument, such as a string bass, played by drawing a bow with horsehair across the strings
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pizzicato
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the technique of playing a string instrument by plucking the strings with the fingers
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electric bass
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a four-stringed guitar used in popular music, amplified through an electric speaker
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tuba
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a large, low-pitched brass instrument with an intricate nest of tubing ending in an enormous bell
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pickup
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a small microphone attached to the bridge of a string bass or to an acoustic guitar to amplify its sound
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drum kit
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a one-man percussion section within the rhythm section of a jazz band, usually consisting of a bass drum, snare drum, tom-toms, and cymbals
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snare drum
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smaller drum in a jazz drum kit, either standing on its own or attached to the bass drum, and emitting a penetrating, rattling sound
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cymbals
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broad-rimmed, slightly-convex circular plates that form part of the jazz drum kit
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foot pedal
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the mechanism that propels the mallet to hit a bass drum
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tom-toms
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cylindrical drums with no snare used in a drum kit, typically tuned to different pitches
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ride cymbal
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a cymbal with a clear, focused timbre that's played more or less continuously
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crash cymbal
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a cymbal that produces a splashy, indeterminate pitch, not unlike a small gong, used for dramatic punctuations
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high-hat
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two-shoulder level cymbals on an upright pole with a foot pedal at its base
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fill
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a short drum solo performed to fill in the spaces in an improvised performance
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wire brushes
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drumsticks, actually hollow handles with thin wire strands, used to strike or brush the drumheads
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congas
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in Latin percussion, two tall drums of equal height but different diameters, with the smaller one assigned the lead role
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bongos
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in Latin percussion, an instrument with two drumheads, one larger than the other, compact enough to sit between the player's knees
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timbales
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in Latin percussion, two drums mounted on a stand along with a cowbell, played with sticks by a standing musician
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maracas
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in Latin percussion, a gourd filled with beans and shaken
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guiro
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in Latin percussion, a scraped gourd with ridges
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dynamics
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volume, or loudness
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tempo
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the speed of a piece of music
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free rhythm
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music that flows through time without regularly occurring pulses
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cadenza
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a classical-music word for a monophonic solo passage that showcases the performer's virtuosity
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rubato
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an elastic approach to rhythm in which musicians speed up and slow down for expressive purposes
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meter
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the organization of recurring pulses into patterns
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duple meter
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the most common form of meter, grouping beats into patterns of twos or fours
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measure
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a rhythmic unit lasting from one downbeat to the next
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triple meter
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a meter that groups beats into patterns of threes
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irregular meters
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a meter featuring beats of unequal size
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downbeat
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the first beat of a measure, or bar
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upbeat
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notes or notes that precede the downbeat
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rhythmic layers
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in the repetitive cyclic structures of jazz, highly individualized parts that contrast with one another, even as they create a unified whole
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polyrhythm
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the simultaneous use of contrasting rhythms
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foundation layers
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continuous, unchanging patterns whose very repetition provides a framework for a musical piece
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keeping time
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playing the foundation layers for a musical piece
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register
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the range of an instrument or voice
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time-line pattern
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a repeated, asymmetric pattern that serves as a basic foundation layer in African music
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variable layers
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contrasting parts played above the foundation layers in a piece
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call and response
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a pervasive principle of interaction or conversation in jazz: a statement by one musician or group of musicians is immediately answered by another musician or group
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syncopation
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an occasional rhythmic disruption, contradicting the basic meter
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backbeat
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a simple polyrhythm emphasizing beats 2 and 4 of a 4/4 measure
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groove
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a general term for the overall rhythmic framework of a performance
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swing
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a jazz-specific feeling created by rhythmic contrast within a particular rhythmic framework (usually involving a a walking bass and a steady rhythm on the drummer's ride cymbal)
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swing eighth notes
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a jazz soloist's flexible division of the beat into unequal parts
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frequency
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the vibrations per second of a musical note
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pitch
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the vibrations per second of a sound
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interval
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the distance between two different pitches of a scale
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octave
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two notes with the same letter name; one pitch has a frequency precisely twice the other
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scale
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a collection of pitches within the octave, forming a certain pattern of whole and half steps, from which melodies are created
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chromatic scale
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the scale containing twelve half steps within the octave, corresponding to all the keys within an octave on the piano
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half step
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the smallest interval possible in Western music
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major mode
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the most common scale in Western music, sung to the syllables do, re, mi, fa, sol, la, ti, do.
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degree
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individual notes in a scale
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tonic
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the first degree of the scale, or the chord built on the first scale degree
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tonal music
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music characterized by an overall tonal center that serves as the center of gravity: all other harmonies are more or less dissonant in relation to this tonal center
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transposed
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to shift an entire musical phrase to a higher or lower pitch
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whole step
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an interval made up of two half steps
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sharps
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a music symbol that raises a note a half step
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flats
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a musical symbol that lowers a note by a half step
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minor mode
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a diatonic scale similar to the major scale, but with a different pattern of half steps and whole steps; WHWWHWW
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third
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the basic interval for tonal harmony; in a major scale, it's formed by skipping over a scale degree
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diatonic scales
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the seven-note scale most commonly used in Western music
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pentatonic
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a scale of five notes
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Dorian mode
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a diatonic scale with an arrangement of half and whole steps that falls between major and minor
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whole-tone scale
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a six-note scale made up entirely of whole steps; because it avoids the intervals of a perfect fourth or fifth, it has a peculiar, disorienting sound
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blues scale
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the melodic resources for the blues; includes simple pentatonic and diatonic scales combined with blue notes
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intonation
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playing in tune
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fixed intonation
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a tuning system that fixes pitches at precise frequencies
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microtones
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melodic intervals smaller than a half step
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variable intonation
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a tuning system that allows for certain pitches to fluctuate by microtones, thus creating blue notes
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blue notes
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notes in which the pitch is bent expressively, using variable intonation
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phrase
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a musical utterance that's analogous to a sentence in speech
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phrasing
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the manner of shaping phrases
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licks
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short melodic ideas that form a shared basic vocabulary for jazz improvisers
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motive
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a short melodic or rhythmic idea
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riff
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a short, catchy, and repeated melodic phrase
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ostinato
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a repeated melodic or rhythmic pattern
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ostinato riff
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a riff that's repeated indefinitely
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chord
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a combination of notes performed simultaneously
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triad
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the standard three-note chord that serves as the basis for tonal music
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root
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the bottom note of a triad
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voicing
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distributing the notes of a chord on a piano, or to different instruments in an arrangement
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extended chords
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triads to which additional pitches, or extensions, have been added
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harmonic progression
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a series of chords placed in a strict rhythmic sequence
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tonic triad
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the chord built on the first scale degree
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consonant
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the quality of a harmony that's stable and doesn't need to resolve to another chord
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dissonant
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the quality of an unstable harmony that resolves to another chord
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dominant
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a chord built on the fifth degree of the scale that demands resolution to the tonic chord
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seventh
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an interval one step smaller than an octave, often used as an extension for chords
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resolve
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what an unstable (or dissonant) note or chord does when it moves to a stable (or consonant) note or chord
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cadence
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stopping places that divide a harmonic progression into comprehensible phrases
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half cadence
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a musical stopping point on the dominant
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full cadence
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a musical stopping point on the tonic that marks the end of a phrase
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harmonic substitution
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the substitution of one chord, or a series of chords, for harmonies in a progression
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chromatic harmony
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complex harmony based on the chromatic scale
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atonal
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music with no key center
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playing inside
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improvising within the structure of a tonal harmonic progression
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playing outside
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improvising outside the structure of a tonal harmonic progression
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texture
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the relationship between melody and harmony
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homophony
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a texture featuring one melody supported by harmonic accompaniment
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monophony
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a texture featuring one melody with no accompaniment
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polyphony
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texture in which two or more melodies of equal interest are played at the same time
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block-chord
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a homophonic texture in which the chordal accompaniment moves in the same rhythm as the main melody
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soli
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a passage for a section of a jazz band in block-chord texture
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countermelody
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in homophonic texture, an accompanying melodic part with distinct, though subordinate, melodic interest
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breaks
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a short two- or four-bar episode in which the band abruptly stops playing to let a single musician solo with a monophonic passage
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stop-time
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a technique in which a band plays a series of short chords a fixed distance apart, creating spaces for an instrument to fill with monophonic improvisation
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counterpoint
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polyphonic texture, especially when composed
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form
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the preconceived structures that govern improvisation in jazz
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cycle
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a fixed unit of time, repeated indefinitely, that's used as the framework for improvisation in jazz
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chorus
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a single statement of the harmonic and rhythmic jazz cycle defined by the musical form
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blues
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a musical/poetic form in African American culture, created c. 1900 and widely influential around the world
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popular song
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a type of song created by professional songwriters, especially in the period from the 1920s to the 1960s; usually falls into one of the basic song forms, such as AABA or ABAC
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blues form
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a twelve-bar cycle used as a framework for improvisation by jazz musicians
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turnaround
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a faster, more complex series of chords used in the last two bars of a blues or the last A section of an AABA form, leading back to the beginning of the chorus
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head
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a composed section of music that frames a small-combo performance, appearing at the beginning and again at the end
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thirty-two-bar popular song
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a standard song form, usually divided into shorter sections, such as AABA or AA'
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verse
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the introductory portion of a popular song, preceding the chorus; usually omitted by jazz musicians
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refrain
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in popular song or folk music, a musical section that returns regularly
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bridge (release)
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the middle part (or B section) of 32-bar AABA form, which connects between the A sections; it typically ends with a half cadence
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AABA form
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the most common 32-bar popular song form, referring to melody and harmonic progression. Each portion is eight bars long, with B, the bridge, serving as the point of contrast
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rhythm changes
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a harmonic progression based on the George Gershwin tune "I Got Rhythm"
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standard
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a popular song that has become part of the permanent
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modulation
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to move from one key to another
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ABAC Form
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the second most common 32-bar popular song form, referring to melody and harmonic progression. Each portion is eight bars long, with the A section returning in the song's middle.
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chart
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a shorthand musical score that serves as the point of reference for a jazz performance, often specifying only the melody and the harmonic progression
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walking bass
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a bass line featuring four equal beats per bar, usually used as a rhythmic foundation in jazz
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pedal point
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a passage in which the bass note refuses to move, remaining stationary on a single note
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voicing
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distributing the notes of a chord on a piano, or to different instruments in an arrangement
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extensions
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notes added to extend a chord beyond the triad
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harmonic substitutions
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the substitution of one chord, or a series of chords, for harmonies in a progression
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comping
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a rhythmically unpredictable way of playing chords to accompany a soloist
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ride pattern
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a steady pulsation played on the ride cymbal that forms one of the foundations for modern jazz
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melodic paraphrase
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a preexisting melody used as the basis for improvisation
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harmonic improvisation
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a new melodic line created with notes drawn from the underlying harmonic progression
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modal improvisation
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the process of using a scale as the basis for improvisation
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big bands
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large jazz orchestras featuring sections of saxophones, trumpets, and trombones, prominent during the Swing Era (1930s)
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small combos
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the standard small group for jazz, combining a few soloists with a rhythm section
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arrangements
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composed scores for big bands, with individual parts for each musician
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jam session
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an informal gathering at which musicians create music for their own enjoyment
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trading fours
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in a jam session, "trading" short (usually four-bar) solos back and forth between the drums and the soloists, or between soloists
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folk music
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a form of music created by ordinary people for their own use, insulated from the commercial world and the world of social elites
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ballads
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a long, early type of folk song that narrated a bit of local history
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work songs
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a type of folk song used during work to regulate physical activity or to engage the worker's attention
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field holler
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an unaccompanied, rhythmically loose vocal line sung by a field worker
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spiritual
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African American religious song
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backbeat
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a simple polyrhythm emphasizing beats 2 and 4 of a 4/4 measure
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blues
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a musical/poetic form in African American culture, created c. 1900 and widely influential around the world
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country blues
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an early style of blues, first recorded in the 1920s, featuring itinerant male singers accompanying themselves on guitar
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bottleneck guitar
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guitar played with a glass slide over the finger to create a glissando effect
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vaudeville blues
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an early theatrical form of the blues featuring female singers, accompanied by a small band
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race records
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black music created for black people
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ragtime
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a style of popular music in the early twentieth century that conveyed African American polyrhythm in notated form; includes popular song and dance, although it's primarily known today through compositions written for the piano
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"Hellfighters"
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369th Infantry Band led by by James Europe, which he persuaded dozens of his best musicians to join
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march form
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a musical form exemplified by composers like John Philip Sousa, consisting of a series of sixteen-bar strains, usually repeated once and not brought back
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coon song
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an early form of ragtime popular song that yoked polyrhythmic accompaniments to grotesque racial stereotypes
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cakewalk
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ragtime dancing featuring syncopated rhythms
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march/ragtime form
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march form as adopted by ragtime composers like Scott Joplin
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secondary ragtime
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a pattern of polyrhythm in which a short motive of three pitches, implying a meter of three, is superimposed on a duple meter
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New Orleans jazz
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the earliest jazz style, developed early in the twentieth century and popularized after 1917 in New York and Chicago
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collective improvisation
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method of improvisation found in New Orleans jazz in which several instruments in the front line improvise simultaneously in a dense, polyphonic texture
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Creoles of Color
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New Orleans caste of "mixed-race" Negroes
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rhythmic contrast
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the simultaneous use of contrasting rhythms
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glissando
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sliding seamlessly from one note to another, as exemplified on the trombone
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Jazz Age
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the 1920s; the era in which jazz became a popular, prominent form of music
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staccato
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a short, detached way of playing notes or chords
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symphonic jazz
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a form of jazz popular in the 1920s that attempted to elevate the music through symphonic arrangements
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fusion
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the joining of two types of music, especially the mixing of jazz and rock in the 1970s
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Charleston rhythm
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a dance rhythm from the 1920s, consisting of two emphatic beats followed by a rest
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scat-singing
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improvising by a vocalist, using nonsense syllables instead of words; popularized by Louis Armstrong
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stock arrangements
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standard arrangements of popular songs made available by publishing companies for swing bands
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klezmer
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a Jewish dance music
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block-chord harmonies
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two or more instruments playing the same phrase and rhythm, in harmony
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obbligato
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an independent countermelody, less important than main melody
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Harlem Renaissance
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an artistic movement of the 1920s that attempted to display African American abilities in painting, drama, literature, poetry, criticism, and music; jazz was usually not included by critics of the time, although in retrospect the music of Duke Ellington seems central
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stride piano
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a style of jazz piano relying on a left-hand accompaniment that alternates low bass notes with higher chords
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ring-shout dances
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an African American religious dance, performed in a circle moving counterclockwise; often cited as the earliest and most pervasive form of African survival in the New World
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Ellingtonians
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musicians who played with Duke Ellington for years or even decades
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programmatic
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music that attempts to link itself to specific places, people, or events
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sideman
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any musician employed by a bandleader; often used to describe members of a swing band
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tremolos
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the speedy alternation of two notes some distance apart; on a piano, this action imitates a brass vibrato
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Chicago style
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style of jazz in the 1920s that imitated the New Orleans style, combining expansive solos with polyphonic theme statements
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arpeggio
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the notes of a chord played in quick succession rather than simultaneously
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legato
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a smooth, unbroken connection between notes
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Scott Joplin
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Ragtime composer who is known for publishing rags in march/ragtime form
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Zez Confrey
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Pianist known for carrying on the rhythmically tricky subcategory of novelty ragtime
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W.C. Handy
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Blues composer and cornet player that is known as the "Father of the Blues"
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John Phillip Sousa
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Inspired the sousaphone and took the U.S. Marine Band in 1880 and transformed it into a top-notch concert orchestra
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James P. Johnson
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Known as the "Father of Stride Piano"
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Fats Waller
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Became a master of stride piano
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Earl Hines
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Developed an ability to improvise in octaves and tremolos, creating a pianistic version of the brass man's vibrato
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Eubie Blake
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Wrote the Broadway musical, "Shuffle Along", one of the first Broadway musicals to be written and directed by African Americans
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Jellyroll Morton
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Claimed to have invented jazz in 1902 and was considered the first serious composer of jazz
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The Red Hot Peppers
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Recording group created by Jellyroll Morton that represented the pinnacle of the New Orleans tradition, establishing an ideal balance between composition and improvisation
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Buddy Bolden
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Generally acknowledged as the first important musician in jazz, and his rise to fame marks the triumph of African American culture
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James Reese Europe
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Conducted the 369th Infantry Band, also known as the "Hellfighters"
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Irene and Vernon Castle
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Introduced the fox-trot in 1914, which symbolized the new freedoms available to women at the dawn of the twentieth century
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Nick LaRocca
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Leader of the "Original Dixieland Jazz Band" and referred to himself, as the "Creator of Jazz"
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Original Dixieland Jazz Band
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Popularized jazz in Chicago and New York, and made the first jazz recording in 1917
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Freddie "King" Keppard
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One of the first musicians to take a New Orleans ensemble to Chicago and Los Angeles
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King Oliver
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Pioneered the use of mutes and was the bandleader for the Creole Jazz Band
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Creole Jazz Band
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Band lead by King Oliver that performed at Lincoln Gardens, located on Chicago's Southside
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Louis Armstrong
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Played second cornet in King Oliver's Creole Jazz Band
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The Hot Five
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The most influential small band in jazz history and existed only to make records
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Earl Hines
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Louis Armstrong's partner and earned the name Fatha for the originality of his piano style
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George Gershwin
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Pianist whose compositions spanned both popular and classical genres, and composed music for both Broadway and the classical concert hall
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Paul Whiteman
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Honored as the originator of symphonic jazz and was promoted as the "King of Jazz"
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Fletcher Henderson
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Organized the first great black orchestra in New York and introduced many major jazz musicians
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Don Redman
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Worked as the arranger for Fletcher Henderson and is known for revising stock arrangements to include jazz content
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Duke Ellington
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Regarded as the most accomplished figure in American music and played a vital role in every decade of the development of jazz from the 1920s to the 1970s
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Sidney Bechet
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Argued as the first great soloist in jazz history and one of the first Americans to perform in the Soviet Union in the 1920s
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Johnny Dodds
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Played clarinet and saxophone in Louis Armstrong's "The Hot Five"
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Baby Dodds
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Drummer who worked in the New Orleans Bootblacks in 1926 and was the younger brother of Johnny Dodds
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Kid Ory
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Played trombone in Louis Armstrong's "The Hot Five"
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Lil Hardin
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Played piano in Louis Armstrong's "The Hot Five"
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Bix Beiderbeck
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First major white jazz star and the first to acquire a mythological aura after his death
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Frankie Trumbauer
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Presided over the most admired white small-group jazz records in the 1920s, and his sweet-without-being-corny timbre, lyricism, phrasing, and songlike use of smears and glides introduced a delicacy to the jazz saxophone
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Charlie Patton
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Considered by many to be the "Father of the Delta Blues"
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Son House
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Pioneered an innovative style featuring strong, repetitive rhythms, often played with the aid of slide guitar, and his singing often incorporated elements of southern gospel and spiritual music.
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Robert Johnson
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Has been called the "Grandfather of Rock and Roll" and whose two-CD complete set sold more than half a million copies in 1990
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Blind Lemon Jefferson
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He was one of the most popular blues singers of the 1920s and has been titled the "Father of the Texas Blues"
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Bessie Smith
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"Classic" blues singer of the 1920s, who billed herself as the "Empress of the Blues" in theaters and tent shows across the country
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Ma Rainey
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Vaudeville blues singer who was also known as the "Mother of the Blues"
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Mamie Smith
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Recorded "Crazy Blues" which sold so well that it made recording companies realize that African Americans constituted a new market
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Ghana Field Recording
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Style: African music
Characteristic musical traits: - Time-line pattern of bells, pair of notes played by drum A, variable layers played by two other drums (B and C), interaction between fixed and variable layers, and call and response between male singer and chorus Form: Cyclic |
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Bessie Smith, "Reckless Blues"
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Style: vaudeville blues
Characteristic musical traits: - Vaudeville blues singing, clear twelve-bar blues form, call and response between Smith and Armstrong, and trumpet adopting blues singing style Instrumentation: Vocal, trumpet, and reed organ Form: 12-bar blues Performers: Bessie Smith, Louis Armstrong, and Fred Longshaw |
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John Philip Sousa, "The Stars and Stripes Forever"
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Style: Concert march
Characteristic musical traits: - March form: Three strains, each repeated, with interludes; Cadences: half-cadence for strain A, full cadence for strain B, contrasting trio (C) in a new key, and countermelodies in trio Form: March (AABBCCC) |
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Original Dixieland Jazz Band, "Dixie Jass Band One-Step"
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Style: New Orleans jazz
Characteristic musical traits: - Rehearsed collective improvisation, march/ragtime form, with modulations between the different strains, raucous clarinet playing, using glissandos, 32-bar C strain (trio), which grows rowdier and more percussive with each repeat Instrumentation: Cornet, trombone, clarinet, piano, and drums Form: March/ragtime Performers: Nick LaRocca |
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Jelly Roll Morton, "Dead Man Blues"
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Style: New Orleans jazz
Characteristic musical traits: - Vaudeville humor, references to New Orleans funerals at beginning; collective improvisation alternating with clarinet and cornet solos, clarinet trio at chorus 5, with countermelody in trombone at chorus 6 Instrumentation: Piano, cornet, trombone, clarinet, banjo, bass, and drums Form: 12-bar Blues Performers: Jelly Roll Morton, Kid Ory |
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Jelly Roll Morton, "Doctor Jazz"
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Style: New Orleans jazz
Characteristic musical traits: - Stop-time at the very beginning and in last eight bars (C) of each chorus (except for chorus 1), ingenious use of collective improvisation and breaks within the tune, chorus 2: single held note in clarinet, cut off by cymbal; chorus 3: Morton as singer, emphasizing unexpected syllables; a build in intensity toward the end Instrumentation: Trumpet, trombone, clarinet, piano, guitar, bass, and drums Form: 32-bar popular song (ABAC) Performers: Kid Ory, Jelly Roll Morton |
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King Oliver, "Snake Rag"
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Style: New Orleans jazz
Characteristic musical traits: - March/ragtime form, dramatic changes in texture from polyphony to monophony (breaks), breaks in A and B strains: descending chromatic line, trombone glissando; modulation to a new key at the trio, variety of breaks for the two cornets Instrumentation: Trumpet, trombone, clarinet, piano, banjo, and drums Form: March/ragtime Performers: King Oliver, Louis Armstrong, Johnny Dodds, Lil Hardin, and Baby Dodds |
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Red Onion Jazz Babies/ Sidney Bechet, "Cake Walking Babies from Home"
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Style: New Orleans jazz
Characteristic musical traits: - New Orleans-style collective improvisation, a "duel" between two great jazz soloists, Armstrong and Bechet, especially in choruses 3 and 4, triplets in the Bechet breaks Instrumentation: Cornet, trombone, soprano saxophone, piano, banjo, and vocals Form: Verse/chorus, chorus is 40-bar popular song (ABA'CA) Performers: Louis Armstrong, Sidney Bechet |
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Paul Whiteman, "Changes"
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Style: early New York big band
Characteristic musical traits: - Full instrumentation of a large commercial dance band, including strings; Charleston rhythm, vocalists: "sweet" trio vs. "jazz" trio (with scat-singing), Beiderbecke's "hot" cornet solo Instrumentation: Trumpets, cornet, C-melody saxophone, trombone, alto saxophone, clarinet, alto and baritone saxophones, violins, piano, banjo, brass bass, string bass, drums, vocals Form: 32-bar popular song (ABCA'), with interlude and verses Performers: Paul Whiteman, Bix Beiderbecke, Frank Trumbauer, Bing Crosby |
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Fletcher Henderson, "Copenhagen"
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Style: early big band
Characteristic musical traits: 16-bar ragtime strains alternating with 12-bar blues, sectional arranging: clarinet trios (B strain) and trumpet trios (D), an early Armstrong solo, trombone and clarinet glissandos, notated polyphony (A) vs. improvised polyphony (E), unexpected ending Instrumentation: Piano, trumpets, trombone, clarinet, clarinet and alto saxophone, clarinet and tenor saxophone, banjo, tuba, and drums Form: march/ragtime Performers: Fletcher Henderson, Louis Armstrong, Don Redman, Coleman Hawkins |
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James P. Johnson, "You Got to Be Modernistic"
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Style: Harlem stride
Characteristic musical traits: - Stride piano accompaniment: a steady alternation of bass note and chord, whole-tone harmonies in introduction, strain A, and interlude; Trio (C) played seven times, with jazzy riffs, pianistic blue notes Form: march/ragtime (ABAC) Performers: James P. Johnson |
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Duke Ellington, "Black and Tan Fantasy"
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Style: early New York big band
Characteristic musical traits: - the growing timbre of Ellington's horns, clash between blues harmony and contrasting pop-song material, the expressive use of mutes by Miley and Nanton in their solos, Ellington's stride piano Instrumentation: Piano, trumpet, trombone, saxophones, banjo, bass, and drums Form: 12-bar blues (with a contrasting 16-bar interlude) Performers: Duke Ellington |
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Louis Armstrong, "Hotter Than That"
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Style: New Orleans jazz
Characteristic musical traits: - polyphonic collective improvisation vs. homophonic solos, Armstrong's soloing and scat-singing, his intense improvised polyrhythms, and dialogues between voice and guitar Instrumentation: Trumpet, trombone, clarinet, piano, and guitar Form: 32-bar popular song (ABAC) Performers: Louis Armstrong, Kid Ory, Johnny Dodds, Lil Hardin |
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Louis Armstrong/Earl Hines, "Weather Bird"
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Style: early jazz
Characteristic musical traits: - improvised call and response between trumpet and piano, great soloists pushing each other to their limits, cadence figure at the end of each strain, unpredictable rhythms, and exchange between soloists in the coda, figuring out how to end the piece Instrumentation: Trumpet and piano Form: march/ragtime Performers: Louis Armstrong and Earl Hines |
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Frank Trumbauer/ Bix Biederbecke, "Singin' the Blues"
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Style: Chicago-style jazz
Characteristic musical traits: - Chorus 1: Trumbauer's fluid solo on C-melody saxophone, answered by Lang's inventive guitar, Chorus 2: Beiderbecke's introverted, delicated cornet solo, and Chicago-style collective improvisation and solos Instrumentation: C-melody saxophone, cornet, trombone, clarinet, alto saxophone, piano, guitar, and drums Form: 32-bar popular song (ABA'C) Performers: Frankie Trumbauer, Bix Beiderbecke, and Eddie Lang |
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Mound City Blue Blowers/ Coleman Hawkins, "One Hour"
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Style: early jazz
Characteristic musical traits: - Romantic expressiveness of Hawkin's tenor saxophone, supporting solos by McKenzie, Russell, and Miller, blue notes and timbre variation in Russell's clarinet solo, and collective improvisation at the end Instrumentation: Pocket comb, tenor saxophone, trombone, clarinet, banjo, guitar, bass, and drums Form: 18-bar popular song (ABAC, with two bars added to the C section) Performers: Coleman Hawkins and Gene Krupa |
