Listening Test 2 Flashcards
April in Paris
Thelonius Monk 1947 Use of dissonance Fragmentation of melody Disjointed rhythm
Parker’s mood
Charlie Parker 1948 12-bar-blues Ornate lines Shifting accents Blend of harmonic sophistication and blues emotion powerful introduction phrases are slowed down enough to really be able to appreciate their complexities
Leap Frog
Charlie Parker and Dizzy Gillespie 1950 A-A-B-A Entire performance improvised Interaction between CP, DG, and Buddy Rich on drums
Get Happy
Bud Powell 1950 A-A-B-A (sort of) Right hand dexterity Cyclical harmony on bridge
Index
Dexter Gordon and Fats Navarro
1947
12- Bar Blues
DG on tenor sax is able to play many choruses with a continuous narrative
FN on trumpet has an approach to bebop that is considered more refined than Gillespies
Lullaby of Birdland
Sarah Vaughan
1954
SV’s use of chromaticism, CLARITY of pitch
Clifford Brown on trumpet, very influential to other bebop trumpitist
Trading fours
Subconscience Lee
Lennie Tristano and Lee Konitz 1949 Straight even swing (drum brushes) A-A-B-A Long complex melody Differences in phrasing and rhythm section
Speak Low
Chet Baker and Gerry Mulligan
1953
Pianoless ensemble
-really brings base lines forward in the comp.
Brushes on drums
CB’s understated trumpet
GM’s counter melody on baritone sax
All these factors bring together a very cool feeling that epitomizes the cool jazz era.
minimalist approach creates a very laid back feeling
-bari-sax, trumpet, drums, base
These pianoless quartets in this time period were based in California so they are also associated with “West Coast Jazz”
Improvisation
Stan Kenton 1952 Concert music Interaction btw individual instruments and instrument choirs Lee Konitz unique note choice Free form imrovisation
Take Five
Dave Brubeck 1959 5/4 Vamp (Meter of 5) Blues infused melody Paul Desmond's breathy alto sax
