Chicago

Question 1

Example tracks for LA

Answer 1

‘Skid dat de dat’ - Hot 5 (1926)
‘Potato head blues’ - hot 7 (1927)
‘West end blues’ - Hot 5 (1928)

Question 2

1927 example track + MF LA

Answer 2

NO polyphony but development of melodies - noted from extended chords and arpeggios
Longer solo sections
Stop time chorus (alternate fingering b9, shows technical ability, cross rhythms b4/3, not bends, large tessitura (2 8ves in this piece), change in timbres
Extended harmony eg b2 Adim, b4 Bb7

Question 3

1928 example track

Answer 3

‘West end blues’ - hot 5 (1928)
Band
Loosening of rhythms, chord structure still blues orientated
Scar singing and clarinet create antiphonal texture
Opening virtuosic cadenza solo (common in classical music that was popular in america and established in jazz) ends on top C
Brings a virtuosic style to jazz, vibrato, mostly solo (changing structure) holds top note for 4 bars

Question 4

Ways in which Louis Armstrong developed jazz? (6)

Taught by joe Oliver (1914/15) - 3 8ve register
Began to play with various NO musicians

Answer 4

Changed all band member in 1928 (virtuosic style to jazz) jazz = solo art

Made greater use of arranged material

Use of rhythmic displacement (phrase staggered as though behind the beat) = more relaxed feeling than ragtime = ‘jazz swing feel’

Cornet to trumpet (1926) because more soloistic instrument, louder and can be heard though band to dominate recordings, straight bore = strong sound
‘Hot style of jazz to NY’ (1924), fletcher hendersons band

Corrected chorus developed by LA created balanced phrasing pattern in improvisation used later in jazz
(Weather bird - + earl Hines 1928

Question 5

1926 example track and MF

Answer 5

'Skid dat de dat' - Hot 5 
Scar singing (claimed to have created himself, one of earlist recordings of scar singing in 'heebie jeebies' 1926) NO polyphony still evident + solo breaks between full instr sections