Exam 1

Question 1

Appreciating Jazz Improvisation

Answer 1

-New Ideas and embellishments more important than the tune
-Tune’s spirit and chord progression
-in early jazz reffed to it as “messing around”, “passing” or “Jazzing up

Question 2

Origins of Jazz

Answer 2

-ragtime, blues, and brass band music
-much of the performance was improvised
-looser and more relaxed rhythms
-anticipating jazz swing feeling
-generated some of its own repertories
-its improvised form made it more complex than ragtime and blues
-the early jazz was more exciting than ragtime and blues

Question 3

Early Combo Jazz

Answer 3

-began in New Orleans
-several significant soloists
-Trumpeter Luis Armstrong
-clarinetist, saxophonist Sidney Bechet
-Jolly R Morton most significant composer/arranger
-finest recording during 1920s in Chicago

Question 4

Dixieland

Answer 4

-Austin High Together with New Orleans Rhythm kings created a white parallel to the New Orlean combo style called “Dixieland”

Question 5

East Coast Piano Tradition

Answer 5

-New Jersey-born James P. Johnson continued through Fats Waller to Count Basie

Question 6

New Orlean’s Style

Answer 6

the music recorded by New Orlean musicians in Chicago during 1920s

Question 7

Earliest Jazz Style
(Chicago period of the new Orlean’s musicians)

Answer 7

-collective improvisation
-all group members playing at the same time
-creating phrases that compliment other player’s phrases
Trumpet often played the melody
-Clarinet played busy, fast notes
-trombone plays simpler figures, low-pitched harmony notes
-create motion in pitch range lower than trumpet and clarinet
-the skills the improvisor had to have to blend with the improvisation of other players
-delicate balance and sensitivity interplay in collective improvisation

Question 8

Obbligato

Answer 8

-Clarinet decorating trumpet’s melody
-designate a musical figure that sounds in the background

Question 9

The Original Dixieland Jazz Band

Answer 9

-made the first recordings in Chicago
-white New Orlean Musicians who organized a band in Chicago in 1916 and played in NY in 1917
-“Dixie Jazz Band One-Step” was the first jazz record ever issued (1917)
-leadership of Cornetist “Nick LaRocca”
-High sales, International fame

Question 10

Oliver’s Creole Jazz Band

Answer 10

-New Orlean group with the best black jazz Musicians in Chicago
-Joe Oliver created the group in 1918
-recordings made during Oliver’s leadership in 1923 are regarded as the first black New Orlean Combo Jazz recordings
-Members: Trumpetist Luis Armstrong, Clarinetist Johnny Dodds, and drummer Warren Dodds

Question 11

Chicago Style

Answer 11

-three different groups in Chicago: 1-transplanted New Orlean’s black musicians 2-White New Orlean counterparts (New Orlean
-these two groups influenced a group of young white musicians that many of them were Chicago native, these young musicians developed Chicago school or style

Question 12

Stride Piano Playing

Answer 12

-Jazz Piano Style with roots in ragtime
-uses percussive striding left-hand figures
-low bass notes alternate with mid-range chords
-right-hand plays energetic melodies and embellishments

Question 13

Jelly Roll Morton

Answer 13

-Pianist, Composer, arranger, and band leader from New Orlean
-one of the first jazz pianists and one of the most important composers
-performing jazz and ragtime styles
-using rhythmic techniques that swung
-using long-short long-short patterns on 8th notes (strong-weak)
-playing lighter and more sewing feeling
-playing two or three lines at the same time
-solo breaks in the same manners as the horn
-Mixing ragtime with less formal more blues-oriented New Orlean Styles (Maple Leaf Rag)

Question 14

Maple Leaf Rag Jello Roll Morton

Answer 14

-mixing ragtime with less formal more blues-oriented New Orlean Styles
-playing 2,3 lines at the time
-long-short patterns
-left-hand stride style
-syncopated melody
-lots of 7th chord usage32 bar blues

Question 15

Earl Hines

Answer 15

-Early Jazz Pianist
-Significant influence on piano playing in the 1930s and 1940s
-different jazz techniques
-influential recording with Armstrong
He affected so many musicians after him
-influence on Modern Jazz
-his piano music is called brassy
-punching quality piano sound
-trumpet or horn-like style
-doubled right0hand melodies in octave

Question 16

Fats Waller

Answer 16

-one of the best-known stride pianists
-excellent technique and bouncing swing feeling
-influence on Modern Jazz pianists

Question 17

“Handful of Keys” by Fats Waller

Answer 17

-stride style
-walking tenths
-horn-like lines
-flowery embellishments
-octave coaching
-tremolo
-solo breaks for the right-hand
-brief double-time figures
-off-balance left-hand rhythms that are highly syncopated, seeming to come out of nowhere
-swing feelings

Question 18

Boogie Woogie

Answer 18

left-hand playing subdivision of each beat
-these left-hand styles developed in southern pianists around 1912

Question 19

James P Johnson

Answer 19

-born in New Jersey
-part of East Coast jazz piano tradition
-transition from ragtime to jazz
-one of the first jazz musicians to board cast on the radio
-Carolina Shout:
-father of stride piano (his own brand of stride)
-stiff rhythms and broken chord melodies
-march-like bass of ragtime harmonic sophistication and attention to chord voicing
-won many competitions in NY
-wrote 230 popular tunes

Question 20

Luis Armstrong

Answer 20

-father of jazz or “pops”
-born in New Orleans
-his most significant recording, “Luis Armstrong and his hot five”
-his colleagues in New Orleans, clarinetist Johnny odds and trombonist Kid Ory
-his solos with hot five during the 1925-28 recording became a model for the sewing era
-appeared in more than 50 movies
-“Hello Dolly” was #1 on the charts
-displaced the Beatles with “what a Wonderfull World”

Question 21

“Dippermouth blues” by Armstrong and hot 5 or 7

Answer 21

-King Oliver’s Creole Jazz band
-refer to Armstrongs’s big mouth
-Joe Oliver’s Cornet Solo “blue notes”
-articulation and level of technique

Question 22

“Hotter than that” by Armstrong and hot 5 or 7

Answer 22

-polyrhythm sounding of two pulses while sounding other rhythms that a basis of three pulse
-the swing feeling and rhythmic excitements of jazz
-tension
-the singer intentionally delayed the positioning

Question 23

Dixie Jazz Band “One-step”

Answer 23

-marching band style
-bass drum played on beats one and three, while the snare drum played on two and four
-wood block and cowbell
-note decoration by clarinet player
-was the first instrumental jazz recording, high sells
-music was worked out in advance
-doesn’t have the swing qualities
-loaded with syncopations from ragtime

Question 24

“Black Bottom Stomp” by Jelly Roll Morton’s red hot peppers

Answer 24

-Morton employed New Orlean-born musicians brother black Chicago groups
-well-organized sound
*go back to J Morton card

Question 25

“West End Blues” Louis Armstrong and His Hot Five

Answer 25

-composed by King Oliver
-Earl Hines Piano
-intro solo one of the most famous
-trumpet sustains in the high note and gradually descends
-unaccompanied solo passage coming from light classical music
-cornet virtuosos in band music
FIRST Chorus:
12-bar blues played slowly
-soft sustained trombone notes
-sustained notes of clarinet sometimes patrolling with trumpet
–trombone and clarinet indicate a change of chords
-piano chords sound in unison with banjo chords
SECOND Chorus:
-trombone solo, high registers
-accompaniment includes staccato chords from the banjo and tremolo chords from the piano
-slow rhythm played by dummer
THIRD Chorus: -an improvised duet between clarinet and Armstrong’s vocal
-call-and-response format
-an early example of “Scat Singing”

Question 26

“Weather Bird” by Louis Armstrong and “Father” Hines

Answer 26

-percussive attacks and rhythmic tension on the piano
-a sense of tempo
-Hines, one of the most rhythmically compelling jazz pianists
-improvise a ritard for the last three or four bars
and sustain the final chord
-blues turn around in the last four chords
-trumpet displacing the rhythm with the same pitch

Question 27

“Potato Head Blues” Armstrong

Answer 27

-having tuba
-manipulation of the tune
-syncopation
-creating color in the pitch by altering the fingering
-no-diatonic pitches that got surrounded by diatonic pitches
-back to New Orlean improvisation

Question 28

“Struttin with some BBQ” Armstrong

Answer 28

-Armstrong’s classic improvisation

Question 29

“Singin the Blues”by Frankie Teumbauer

Answer 29

-relaxed, melodic, and tender early jazz
-C Saxophone
-slow vibrato
-Beiderbecke’s solo, advanced use of the tune’s harmonies
-choosing notes that go beyond the tune’s accompanying
-possibly the first “cool jazz”
-instrument’s tone colors are pale, not bright
-use of the guitar(Lang) as countermine to soloist
-almost like classical chamber music

Question 30

“Wolverine Blues” Jelly Roll Morton

Answer 30

-one of the most swinging of the early jazz
-forceful piano style
-left0hand stride style
-imitating a tuba or string bass
-and mid-range chord imitating banjo or guitar
-influence of ragtime
-use of stop-time breaks
-Morton’s change in volume

Question 31

“You’ve got to be modernistic” by James P Johnson

Answer 31

-composed and performed by Johnson
–stride style and virtuoso techniques
-stride bass style in the left hand
-he worked on the music in advance
-the chorus of the trio section contains the most improvisation

Question 32

St. Louis Blues by Bessie Smith

Answer 32

-sang by the most famous early blues singer
-12 bar blues
plus an 8-bar bridge and an additional 12-bar blues
-AABA forms
-call and response between singer and trumpet
-using mute to not cover the singer
-organ creates harmony and rhythmic stability

Question 33

Duke Ellington

Answer 33

-Among the most significant in jazz history
-created a jazz classification of his own
-composed different styles of music
-big bands were influenced by his style
-his piano style influenced many pianists
-derived from James P Johnson’s stride style
–he set the mood for his pieces and ornamented the solos
-band leader and large ensemble -composed more than 2000 pieces
-diversity of theme
-using wordless vocal

Question 34

Count Bessie

Answer 34

-Pianist
-bandleader
-Modern Jazz Stylist
-having rhythms sections
-simplicity and swing feeling
-stride pianist with a light touch
-made silence as important as notes-using riffs

Question 35

Charlie Parker

Answer 35

-modern saxophonist
-post-swing era
-most development of bop
-one of the most important music figures in 2oth century
-new ways of selecting notes
-new ways of accenting note
methods of adding chords to existing chord progressions
-double-timing and fast tempos
-lots of melodic ideas

Question 36

Dizzy Gillespie

Answer 36

-modern jazz trumpeter
-bop trumpet player
–modeled some of his lines from Parker
-virtuoso trumpet player
–phrases full of surprises and changes of direction
-playing single note each time differently

Question 37

Thelonius Monk

Answer 37

-bop pianist and composer
-melodies were unorthodox and chord progressions challenged improvisers
-influenced the flavor of modern jazz
-his music having logic and symmetry
-master of placing accent in irregular order

Question 38

Kenny Clarke/Max Roach

Answer 38

-drummer
-one of the original pioneers of bop
-increased the frequency of kicks
-a combination between drummers and solo performers
-drummers not only beat keepers
-using “chatter”
-feathering the drums instead of pounding it
-choice of a percussion instrument for the time-keeping