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JAZZ > EXAM 1 > Flashcards

EXAM 1 Flashcards

1
Q

TIMBRE

A

The sound quality or tone color of an instrument.

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2
Q

mutes

A

physical devices inserted into the bell of brass instruments to distort the timbre of the sounds coming out

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3
Q

timber variation

A

achieved by changing sound of instrument, the use of wide range timbres for expressive purposes

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4
Q

vibrato

A

A slight wobble in pitch produced naturally by the singing voice, often imitated by wind and string instruments

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5
Q

half valving

A

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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6
Q

shake

A

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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7
Q

cup mute

A

an orchestral mute with an extensive that more or less covers the bell of a brass instrument

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8
Q

straight mutes

A

a standard orchestral mute that dampens the sound of a brass instrument

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9
Q

harmon mute

A

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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10
Q

plunger mute

A

the bottom end of a sink plunger used as a mute for a brass instrument

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11
Q

glissando

A

a continuous slide upward or downward between two notes.

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12
Q

sections of ensemble

A

wind (horns) and rhythm

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13
Q

wind section

A

includes brass and single reed instruments

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14
Q

brass instruments

A

trumpet, cornet, trombone

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15
Q

single reed instruments

A

clarinet and saxophone

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16
Q

rhythm and harmony instruments

A

vibraphone, organ, synthesizer, electric piano, guitar, banjo, piano

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17
Q

bass instruments

A

string bass

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18
Q

pizzicato

A

Technique of playing a string instrument by plucking the strings with the fingers, usually preferred method in jazz for string instruments

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19
Q

bowing

A

Technique of playing a string instrument by using a bow and sliding it across the strings

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20
Q

percussion instruments

A

drum kit/drum set/trap set, bass drum, snare drum, cymbals, congas, bongos, timbales, maracas, guiro

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21
Q

rhythm

A

music’s pattern in time

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22
Q

meter

A

pulses grouped into patterns constitute a meter

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23
Q

tempo

A

speed

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24
Q

pulse rhythm

A

In music theory, the pulse is a series of uniformly spaced beats—either audible or implied that sets the tempo and is the scaffolding for the rhythm.

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25
Q

free rhythm

A

“Breath rhythm” is more elusive. Although we breathe continuously, we can speed it up or slow it down, or even (for a time) stop it altogether. In music, this can be called rubato, or free rhythm

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26
Q

polyrhythm

A

simultaneous use of contrasting rhythms, aka rhythmic contrast

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27
Q

call and response

A

a pervasive principle of interaction of conversation in jazz: a statement by one musician or group of musicians is immediately answered by another musician or group.

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28
Q

syncopation

A

an occasional rhythmic disruption, contradicting the basic meter.

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29
Q

backbeat

A

a simple polyrhythm emphasizing beats 2 and 4 of a 4/4 measure rather than 1 and 3.

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30
Q

downbeat

A

the first beat of a measure or bar.

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31
Q

groove

A

a general term for the overall rhythmic framework of a performance. Grooves include swing, funk, ballad, and Latin

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32
Q

swing

A

(1935-45) a jazz specific feeling created by rhythmic contrast within a particular rhythmic framework( usually involving a walking bass and a steady rhythm on the drummer’s ride cymbal.

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33
Q

melody

A

Melody is a succession of pitches in rhythm. The melody is usually the most memorable aspect of a song, the one the listener remembers and is able to perform

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34
Q

scale

A

basic unit of melody, pitches that fall within the octave

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35
Q

chromatic scale

A

the 12 notes in an octave

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36
Q

half-step

A

interval separating each note in an octave

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37
Q

major mode

A

pitches from c to c, white keys on a piano, do re mi scale aka mode

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38
Q

degree

A

each note is a degree in the scale

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39
Q

tonic

A

the first degree note (c in c major scale)

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40
Q

tonal music

A

music that insists on returning to the tonic/first degree (happy bday to you)

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41
Q

whole step

A

white key to white key

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42
Q

mode

A

aka scale

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43
Q

minor mode

A

different whole/half step pattern. sounds sad, moody, angry, tragic WHWWHWW

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44
Q

whole tone scale

A

a six-note scale made up entirely of whole steps; because it avoids the intervals of a perfect fourth or fifth.

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45
Q

major scale

A

WWHWWWH

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46
Q

pentatonic scale

A

a scale of five notes; for example, CDEGA

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47
Q

blue notes

A

notes that would fall between the cracks on the piano

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48
Q

motives

A

a short melodic or rhythmic idea

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49
Q

riffs

A

a short catch and repeatable melodic phrase

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50
Q

chords

A

If you play two or more notes at the same time, you get a chord, the basis of harmony

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51
Q

Harmonic progression

A

Jazz musicians improvise over a harmonic progression, also known as the changes—a series of chords played in a strict rhythmic sequence. As the term “progression” suggests, the movement from chord to chord conveys a feeling of moving forward:

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52
Q

Consonant harmony

A

stable chords

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53
Q

Dissonant harmony

A

unstable or jarring chords

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54
Q

cadence

A

the end of a phrase where a chord progression comes to rest

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55
Q

harmonic substitutions

A

chord substitution or the substitution of one chord or a series of chords for harmonies in progression.

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56
Q

Chromatic harmony

A

Complex harmony based on the chromatic scale

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57
Q

texture

A

The balance between melody and harmony.

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58
Q

Homophony

A

melody is supported by harmonic accompaniment

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59
Q

monophony

A

melody exists on its own

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60
Q

polyphony

A

2 or more melodies of equal interest are played at the same time

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61
Q

breaks

A

when the rest of the band stops to allow a musician to solo

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62
Q

stop-time

A

monophonic texture when ensemble plays a short chord at brief intervals while soloist improvises

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63
Q

counterpoint

A

is the relationship between voices that are interdependent harmonically (polyphony) yet independent in rhythm and contour.

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64
Q

licks

A

melodic phrases

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65
Q

jazz forms are derived from?

A

african music

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66
Q

improv happens within?

A

cycle or chorus

67
Q

rhythmic contrast is used for?

A

prevent boring repetition

68
Q

blues form has its origins in?

A

african american folk poetry

69
Q

blues form known as?

A

12 bar blues

70
Q

what is known as chord progression?

A

I, V, IV, V

71
Q

I means?

A

a chord built on the first note of a particular scale

72
Q

IV means?

A

IV means a chord built on the fourth note of a particular scale

73
Q

I is known as?

A

the tonic

74
Q

V is known as?

A

the dominant

75
Q

variety can be added through?

A

harmonic variations

76
Q

what is a head?

A

first and last chorus may consist of the straight tune with no improv

77
Q

what form is “west end blues”?

A

12 bar blues

78
Q

what form is “now’s the time”?

A

12-bar blues

79
Q

what the the refrain?

A

the 32 bar section

80
Q

what is AABA?

A

4 x 8 bars making up 32 bar section. 3xA and 1xB

81
Q

form of “a sailboat in the moonlight”?

A

32 bar AABA

82
Q

what did jazz musicians like about “I got rhythm”?

A

the harmonic progression

83
Q

song in AABA form?

A

so what

84
Q

song in ABAC form?

A

singing the blues

85
Q

walking bass

A

a bass line featuring four equal beats per bar, usually used as a rhythmic foundation in jazz.

86
Q

chart

A

the musical score that serves as the basis for jazz performance

87
Q

comping

A

plays chords in a rhythmically unpredictable manner, known as comping (jazz slang for “accompanying”).

88
Q

pedal point

A

Spaar suddenly restricts the bass line to a single repeated note,

89
Q

ride pattern dropping bombs

A

The drummer plays a more or less constant pattern with his right hand, while accenting the backbeat on the high-hat cymbal with his left foot. The right foot controlling the bass drum pedal, plays thunderous accents while the left hand swoops over the rest of the drum kit adding sharp responses on the snare drum, tom-tom, or crash cymbal.

90
Q

fill

A

an improvised passage by the drummer

91
Q

melodic paraphrase

A

The simplest method of improvisation takes a preexisting melody—a song known by millions or an original composition by a member of the band—and varies it

92
Q

big bands

A

large jazz orchestras featuring sections of saxophones, trumpets, and trombones, prominent during the swing era

93
Q

small combos

A

Jazz is usually played by small groups: a few horns plus rhythm section.

94
Q

trading fours

A

trading short solos back and forth between the drums and the soloists, or between soloists.

95
Q

jazz sometimes called?

A

america’s classical music

96
Q

jazz is x and x music

A

popular and folk

97
Q

jazz can be traced to?

A

africa

98
Q

african music characterized by?

A

polyrhythm, call and response, blue notes, timber variation, combined ideas

99
Q

ballad?

A

retelling of local history through lengthy ballads

100
Q

work songs

A

These thrived on the railway, levee, or wherever else music was needed to pace manual labor.

101
Q

spirituals

A

which transformed call-and-response songs into religious poetry.

102
Q

field hollers

A

a rhythmically loose vocal line that expressed his or her lonesome individuality.

103
Q

blues

A

a new poetic genre marked by its unusual three-line stanza.

104
Q

country blues

A

an early style of blues, first recorded in the 1920s featuring itinerant male male singers accompanying themselves on guitar

105
Q

vaudeville/classic blues

A

in which female singers were accompanied by a small band on the stages of black theater circuits in the 1910s and 1920s.

106
Q

bessie smith

A

empress of the blues

107
Q

buzzard lope

A

Cyclic form, African American Folk style, Bessie Jones is the song leader, Chorus is sung by Joe Armstrong, Jerome Davis, John Davis, Peter David, Henry Morrison, Willis Proctor

108
Q

reckless blues

A

Singer: Bessie Smith
Trumpet: Louis Armstrong
Reed Organ: Fred Longshaw
1924-25
Form: 12-bar blues
Style: vaudeville blues

109
Q

How did Dance Music influence jazz?

A

Dancing started to be more common and ragtime became a popular form. Dance music influenced the small combo and big bands. Big bands were for swing and combo for New Orleans Jazz.

110
Q

charleston

A

the charleston rhythm was a dance rhythm from the 1920s consisting of two emphatic beats followed by a rest

111
Q

ragtime

A

A style of popular music in the early 20th 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.

112
Q

john philip sousa

A

Took over the US marine Band in 1880
-The US marine band performed ambitious programs that featured European music as well as his own concert marches.
-1982 he formed his first ensemble
-His band toured all over the world and had the highest level of virtuosity and precision in performance.

113
Q

brass bands

A

Originally a military institution that in peacetime became a local peoples orchestra.

114
Q

march form

A

(AABBCCDD or AABBACCDD)

115
Q

scott joplin

A

He believed in power of literacy to lift black people out of poverty.
-Joplin left home as a teenager to become a professional pianist.
-He organized a black brass band
-He began composing and composed the Maple Leaf Rag.
-He insisted on royalty payments for the piece rather than the usual flat fee.
-Best known for composing the entertainer

116
Q

wilbur sweatman

A

-Known for dixieland jazz and ragtime.
-First black composer to develop a national fan base.

117
Q

“Down Home Rag”

A

By Wilbur Sweatman (clarinet)
style: ragtime/early jazz
form: march/ragtime

118
Q

new orleans

A

-It transformed jazz though a highly unusual polyphonic texture known as collective improvisation.
-Influenced jazz my mixing the black and creole populations thus mixing african and european styles together.

119
Q

congo square

A

It was a music and dance square that in 1817 allowed slaves and free blacks to congregate there to dance and play music on sunday afternoons. Whites were shocked with what they saw. Intricate vocal choirs, massed groups of musicians playing drums, stringed gourds, homemade instruments.

120
Q

Manuel Perez

A
  • was a band leader
    -He led the Onward Brass Band
    -Led small groups that played on river boats
    -Lots of musicians came under his influence
    -Outstanding Cornet and trumpet player
    -He strictly played ragtime with no improvisation
    -He realized he needed this and hired King Oliver as his bands improvisor.
121
Q

buddy bolden

A

-He is recognized as the first important musician in Jazz
-He is known for his loudness in playing and the snake charmer seductiveness of his approach to slow blues. He attracted audiences that preferred his livelier, raunchier brand of music.
-His individuality was a decisive element. He thought how you did it was more important than what you did.
- style: loud, lively, raunchy

122
Q

new orleans style

A

first method of groups jazz improvisation.

123
Q

collective improv

A

-Most distinctive feature of new orleans jazz and it is where each instrument occupies its own musical space, rhythm, and timbre.

124
Q

great migration

A

During the war a large migration happened from the south to the north.

125
Q

freddie keppard

A

was one that escaped the south. He was the star attraction of the creole jazz band that played in LA, NY, Chicago, and places in between. He brought new orleans jazz to the rest of the country. He played with a handkerchief over his hands so others couldn’t see what he was playing and refused an opportunity to record. So the first jazz record went to the ODJB.

126
Q

Jelly Roll Morton

A

-He was a vordello pianist, pimp, pool hall hustler and comedian.
-He claimed he had invented Jazz.
-If he didn’t invent jazz he sure defined it
-He studied guitar and trombone before focusing on piano and got disowned because he liked sneaking out to hear new vibrant music.
-He was 32 when he settled in Chicago
-He made his first records a year later and they were overwhelmed by loud woodblocks. He spent a few afternoons recording with a white band and this was the first significant integrated recording session in jazz history.

127
Q

Red Hot Peppers

A

-It was Jelly Roll Mortons group
-Had 7 to 8 players.
-Was advertised as the number 1 hot band.
-Ideal balance between composition and improvisation.

128
Q

dead man blues

A

-Morton: Piano
-George Mitchell: Cornet
-Kid Ory: Trombone
-Omer Simeon, Barney Bigard, Darnell Howard: Clarinets
-Johnny St Cyr: Banjo
John Lindsay: Bass
Andrew Hilaire: Drums
Form: 12 bar blues
Style: New Orleans

129
Q

doctor jazz

A

George Mitchell: Trumpet
Kid Ory: Trombone
Omer Simeon: Clarinet
Morton: Piano
John St Cyr: Guitar
John Lindsay: Bass
Andrew Hilaire: Drums
Form: 32 bar popular song (ABAC)
Style: New Orleans Jazz

130
Q

king oliver

A

-Brought New Orleans jazz to an enduring plateau
-Moved to Orleans as a young boy
-Played leaning against a wall
-He did all sorts of things with mutes

131
Q

creole jazz band

A

was King Oliver’s band who played and attracted black and white musicians alike. His band played for audiences many of which liked him and had moved to chicago from the south.
first recording in 1923

132
Q

sidney bechet

A

Jazz saxophonist, clarinetist, composer. First important soloist in jazz. First notable jazz saxophonist.
Forceful delivery, well-constructed improvisation, distinctive vibrato.
bad temper hampered career.

133
Q

sidney bechet ability

A

His ability to improvise, perhaps the first great improviser in jazz history.

134
Q

“Changes”

A

“scat break (wordless vocalizing)”
Director: Paul Whiteman
Trumpets: Henry Busse, Charlie margulis
Cornet: Bix Beiderbecke
Style: early new york big band
Form: 32 bar popular song (ABCA) with interlude and versus.

135
Q

Fletcher Henderson

A

-Grew up in a middle class home with parents who disdained jazz
-Graduated in Chemistry but then continued his education in music and learned piano well enough to play with Ethel Waters and Bessie Smith. From there he went on to organize dance bands for night clubs and ballrooms.
-He worked at the luxurious roseland ballroom so he offered polished and conventional dance music.
-He also however had access to the best musicians.
-He hired Coleman Hawkins a young saxophonist.
-In 1926 his jazz orchestra was known as the best jazz orchestra anywhere.

136
Q

Who is Fletcher Henderson? Who is the trumpet player he hired in 1924?

A

louis armstrong

137
Q

“Copenhagen”

A

1924
composed by Charlie Davis
Recorded by Wolverine Orchestra in a foxtrot tempo
cornet: Bix Beiderbecke

138
Q

obbligato

A

is an independent countermelody, less important than the main melody

139
Q

Black-chord harmonies

A

are two or more instruments playing the same phrase and rhythm in harmony.

140
Q

Tin pan Alley

A

-A song writing factory. It was a place where most of the music publishers had their offices.

141
Q

harlem renaissance

A

-It was a book of essays called the new negro but it argued that African American artists represented a political and cultural force in literature, art, dance, theater, and music.

142
Q

stride piano

A
  • was an exciting, virtuoso way of playing piano that was impetuous, flashy, and loud. It was open to anything.
143
Q

Who is James P. Johnson?

A

-The father of stride piano
-credited the ring shout dances
-Wrote a song for a broadway musical

144
Q

“You’ve got to be Modernistic”

A

1923
style: harlem stride
form: march/ragtime form
piano: james P johnson

145
Q

Duke Ellington

A

-His music is more widely played than any other jazz musician
-He wrote all different styles of songs
-He played many different roles
-1. he clarified the nature of big-band jazz, demonstrating potential beyond whiteman’s imagination or henderson’s achievement. 2 He solidified the influence of stride piano as a jazz factor, employing it not only as a pianist himself but as a foundation in orchestrations. 3. He proved that the most individual and adventurous of jazz writing could also be applied to popular songs.

146
Q

Cotton Club

A
  • The club that Duke Ellington opened at. The band stand looked like a southern plantation and exploited minstrel cliches.
147
Q

What is programmatic music?

A

attempting to describe specific places, people, or events.

148
Q

Who’s music was often programmatic?

A

Duke Ellington

149
Q

Black and Tan Fantasy”

A

1927
composed by Duke Ellington
style: early New York big band
form: 12-bar blues (contrasting 16 bar)
piano: Duke Ellington

150
Q

louis armstrong

A

nickname satchmo
played trumpet, sang
influential figure in jaz

151
Q

hot five

A

Band led by Louis Armstrong
style: New Orleans jazz that relied heavily on collective improvisation

152
Q

louis armstrong 5 influences:

A

blues, improv, singing, repertory, rhythm

153
Q

louis armstrong and blues

A

established the blues scale and blues feeling as jazz’s harmonic foundation

154
Q

louis armstrong and improv

A

established jazz as music that prizes individual expression

155
Q

louis a and singing

A

scat singing

156
Q

louis a and repertory

A

created masterworks based on Tin Pan Alley songs, showing that pop music could broaden jazz’s potential both musically and commercially

157
Q

louis a and rhythm

A

teach the world to swing

158
Q

earl hines

A

a piano player who played like louis a played the trumpet

159
Q

weather bird

A

trumpet: Louis Armstrong
Piano: Earl Hines

160
Q

chicago style jazz

A

which began by imitating New Orleans bands and evolved into a more slapdash, aggressively rhythmic school that combined expansive solos with polyphonic theme statements.

161
Q

bix beiderbecke

A

-Originally started as a musician with the piano, and taught himself the cornet.
-Was 14 when he was with the ODJB and issued its first record, and died at 28 due to alcoholism.

162
Q

austin high gang

A

-Bix along with Trumbauer become known as the Austin High Gang, after those white musicians who attended Chicago’s Austin High School along with other musicians who had grown up in Chicago.
-Created Chicago Style.

163
Q

frankie trumbauer

A

“Tram” was described as one of the most influential and important jazz saxophonists of the 1920s and 1930s,

164
Q

coleman hawkins

A

-Tenor Saxophonist, who established the instrument (tenor sax) as the most iconic instrument in jazz
-Known for his powerful timbre and rhapsodic improvisational style

JAZZ (1 decks)

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