MIDTERM 2 - LISTENING Flashcards
1
Q
Koko - Charlie Parker
A
- short melody played with Max Roach drum accompaniment
- first and last part composed - played in unison
- virtuosic improv shows Parker’s influence of Lester Young
- light, buoyant sax sound
- laid back swinging quality
- blues laced melodic lines
bebop
2
Q
Shaw Nuff - Dizzy Gillespie
A
- Opening tom tom & piano introduction provides the springboard for startling unison playing between Charlie Parker and Gillespie
- The melody line sounds like an improvisation
bebop
3
Q
Just Friends - Charlie Parker
A
- Considered by musicians and critics as one of his greatest recordings
- His solo flows effortlessly between melodic paraphrasing and complex bebop lines
- Sound of violins and harp
bebop
4
Q
Long Tall Dexter - Dexter Gordon
A
- Dexter Gordon on tenor sax
- opens with a drum solo
- trumpet and sax playing intertwined
bebop
5
Q
Criss Cross - Thelonious Monk
A
- Melody built on the standard 32 bar AABA structure
- Does not sound like the melody is based on four equal 8 bars but that is because of the syncopated accents
- B melody very similar to A
bebop
6
Q
Misterioso - Thelonious Monk
A
- 12 bar blues
- Melody is based on beginning piano student exercise
- Melody does not swing
- Vibraphone solo - Milt Jackson
bebop
7
Q
Wail - Bud Powell
A
-opens with an upbeat piano solo, then everyone joins in
bebop
8
Q
Manteca - Dizzy Gillespie
A
- Constructed in layers of sound with groups of instruments building on top of each other
- Opening bass and conga tumbao
- Brass and saxophone “shout” sections
-bebop
9
Q
Subconscious-Lee - Lee Konitz
A
- 32 bar form - four similar but different 8 bar melodies (ABCD)
- Features several solos by Tristano’s students
- All sound similar: light sound, smooth lines, reflective character
- Made a conscious effort not to sound like Charlie Parker
cool jazz
10
Q
Boplicity - Miles Davis Nonet
A
- Use of compex chords
- Cross-section voicing
- Use of composed counterpoint (simultaneous multiple melodies)
cool jazz
11
Q
Take Five - The Dave Brubeck Quartet
A
- Based on 5 beats per measure
- Repeated piano ostinato or vamp throughout the piece
cool jazz
12
Q
Blue Rondo A La Turk - The Dave Brubeck Quartet
A
- Based on 9 beats per measure
- The piece was structured like a classical rondo: ABACADAE
- Recurring “A” melody played by the alto sax
- The solo section was played in a standard 4 beat 12 bar blues format
cool jazz
13
Q
Sketch for Jazz Quartet and String Quartet - The Modern Jazz Quartet
A
- The string quartet was not required to play in the jazz idiom
- Lewis wanted to ensure that jazz and classical were being performed simultaneously without compromise to either style
cool jazz
14
Q
Blue Seven - Sonny Rollins
A
- Traditional 12 bar blues with a nontraditional melody
- Contains several tritones or flatted 5ths
- Used two principal rhythm themes: a triplet motif and a drum roll
- Played his solo like a horn emphasizing low to high pitched sounds rather than executing complex rhythms
cool jazz
15
Q
Sister Sadie - Horace Silver
A
- Music is characterized by an infusion of R&B flavorings
- Strong drum backbeat on beats 2 and 4 - characteristic of R&B
- Background riffs played behind soloists
- Climatic point: a shout chorus built around repeated blues riffs
hard bop
16
Q
Mercy, Mercy, Mercy - Julian Cannonball Adderley
A
- Written by Joe Zawinul
- Zawinul played an electric piano
- His electric piano was laced with soulful lines, projecting a thorough understanding of -Afro American gospel sensibility
- Soul jazz
- Soul jazz grew out of hard bop
hard bop
17
Q
The Sidewinder - Lee Morgan
A
- Melody was somewhat angular, although lyrical and memorable by any means
- Beat was labeled boogaloo (moving away from swing toward rock)
- Based on an extended blues form
- Each phrase was 8 bars long instead of 4 = 24 bar blues instead of 12
hard bop
18
Q
Back at the Chicken Shack - Jimmy Smith
A
- opens with the organ
- joined by bass, drums, guitar
hard bop
19
Q
Moanin’ - Art Blakely
A
- opens with piano with short melodies from the horn section and drums
- switches to the horn section playing a majority of the music and the piano playing the short sections
hard bop
20
Q
So What - Miles Davis
A
- AABA based upon two modes
- A sections - D Dorian
- B section - Eb Dorian
- Harmony does not move but the voicings suggest chordal movement
- Cluster chords: chords with notes bunched closely together
21
Q
Orbits - Miles Davis Quintet
A
- Melody is quite abstract and non-lyrical
- Roughly two parts to the melody
- Part one is played in and out of tempo
- Part two contains a repeated riff played in tempo
22
Q
‘Round Midnight - Miles Davis
A
- Miles Davis
- weird, intense, at 30 seconds in, haunting noise
- composed by thelonious monk
- one of the very beautiful monk melodies
- deep, soulful phrases
- vocalist with a horn
- used a harmon mute to create a more haunting reflective mood
23
Q
Summertime - Miles Davis
A
- Miles Davis
- Miles Davis Classic Quintet
- annoying sound in the beginning, screechy horn, ouch
- arranged by Gil Evans
- complex substitute chords
- beautiful cross section voicing
- Harmon mute for haunting sound
- solo was a plaintive cry of the blues
