Part VIII Jazz Roots of Jazz Blend elements of several cultures “My Band is my instrument” - Duke Ellington Roots of Jazz Blend elements of several cultures West African emphasis on improvisation, percussion & call-and-response techniques American brass band influence on instrumentation European harmonic & structural practice Blues & ragtime were immediate sources

Homework: Complete pages 138—139 in the workbook by listening to one of the following jazz style pieces on YouTube and describing each: Note: find this PPT on Weebly for links! Ragtime Blues New Orleans Style Swing Bebop

Exercise: Jazz Styles, pages 138-139 in the workbook Ragtime: https://www.youtube.com/watch?v=pMAtL7n_-rc Blues: https://www.youtube.com/watch?v=CzUgX-HB9tA New Orleans Style: https://www.youtube.com/watch?v=5SS9EnD_-_Y Swing: https://www.youtube.com/watch?v=31JgwfP15kw Bebop: https://www.youtube.com/watch?v=rFFfoLhxgmI Bebop: https://www.youtube.com/watch?v=mkemox0461U Improv 101 ‘Blues & Bebop’: https://www.youtube.com/watch?v=0FZ-K3420cQ Other: https://www.youtube.com/watch?v=31JgwfP15kw

Chapter 1 ‘Jazz Styles: 1900—1950’ Elements of Jazz: Tone Color Usually performed by combo of 3-8 players Backbone is rhythm section Similar to Baroque basso continuo Main solo instruments trumpet, trombone, saxophone, clarinet, vibraphone, piano “Bends,” “smears,” “shakes,” “scoops,” “falls” Improvisation Created & performed simultaneously Each performance is different Usually in theme and variations form Most commonly 32-bar structure: A A B A format

Rhythm, Melody, and Harmony Syncopation & rhythmic swing are features Rhythmic accent on beats 2 and 4 Syncopation often occurs when performer accents note between the regular rhythmic accents “Swing” result of uneven 8th notes (triplet feel) Melodies flexible in pitch 3rd, 5th, & 7th scale steps often lowered (flatted) Called “blue” notes, these pitches come from vocal blues Chord progressions similar to tonal system As jazz evolved, harmony grew more complex

Jazz’s African Roots 1 A functional role: from 1619 to well into the 1890’s, slaves were brought to the Americas from Africa where music played a functional (not artistic) role: Work songs, call & response, spiritual songs, healing songs, fertility songs “a singing slave is a happy slave”: while most possessions were stripped from slaves, they were allowed to keep their music, as it was thought they would be less inclined to cause an uprising. Jazz traits of African origin, include: Rhythm, especially polyrhythms (i.e., one rhythmic pattern superimposed upon another Expressive (i.e., “vocal”) quality when playing or singing Blues: Evolved from slave field hollers and African American folk songs Usually characterized by plaintiveness and melancholy, a slow tempo, lyrics in the form of paired couplets in iambic pentameter, and intensity & passion Utilizes extremely expressive & emotional “vocal” quality even when played instrumentally, e.g. ‘pitch bending’, portamento (gliding from 1 note to another), whining, etc…

Jazz’s African Roots 2 Western African elements, that influenced jazz: Emphasis on improvisation Drumming & Percussive sounds Complex rhythms In West African vocal music: a soloist’s phrases are repeatedly answered by a chorus. In Jazz, call & response occurs when a voice is answered by an instrument, or when an instrument (or group of instruments) is answered by another instrument (or group) Call & Response influence on jazz, expanded: In the African American church service, in which the congregation responds vocally to the preacher’s “call”. YouTube resources: “Call & Response” in the Maasai Mara, Kenya https://www.youtube.com/watch?v=QFWRcXYsYMo West African drumming: https://www.youtube.com/watch?v=6dFtlcqGW50 https://www.youtube.com/watch?v=MKZFnAmqET0

Jazz’s African Roots 3 In America, a rich body of African American music was vital to jazz’s origins: Work Songs Spirituals Gospel Hymns Dances such as the Cakewalk Most of this music was not written down

American Band Tradition: In the late 1800’s most American cities, towns, and even villages had their own band. Bands influenced jazz by: Instruments (trumpets, trombones, tuba, clarinet, drums, etc) Band music influenced the forms and rhythms of early jazz Popularity of events

Homework: Read pages 514-519 in the text and complete page 137 in the workbook packet, due next class period  Complete page 137 exercises at the bottom by studying the text and identifying the best answers for each

Homework: Read and complete Joplin worksheet as preparation for Scott Joplin DVD Read pages 519-521 in text and complete page 140 in workbook

Basic Terms Jazz (page 514) Call and Response (516) Rhythm Section (517) Bar (518) Chorus (518) Swing (519) Ragtime (page 519)

Chapter 2 ‘Ragtime Music’: style of composed piano music that flourished from the 1890’s to about 1915 Dance hall and saloon music Piano music with left hand, “oom-pah” part Usually in duple meter at moderate march tempo Right hand part highly syncopated Left hand keeps steady beat

Listening Guide: page 521 Maple Leaf Rag (1899) Kamien9 Disc 8, tracks 41-44 Composed by Scott Joplin “King of Ragtime” Notice steady LH ‘oom-pah’ pattern Notice RH highly syncopated rhythm Example of ‘Polyrhythm’ Early jazz musicians used Ragtime melodies as a springboard for their improvisations Ragtime syncopations, steady beat, and piano style were an important legacy for jazz

Homework, due next class: Read Chapter 2 ‘Ragtime’ in text and complete page 140 in the workbook, including the Research Project at the bottom…

Chapter 3, ‘Blues’ Vocal and instrumental form 12 measure (bar) musical structure Line 1 (a) Line 2 (a’) Line 3 (b) 1 2 3 4 5 6 7 8 9 10 11 12 I IV I V I 3 part vocal structure: a a’ b Statement/repeat of statement/counterstatement

Listening Lost Your Head Blues (1926) Performed by Bessie Smith (Smith known as “Empress of the Blues”) Vocal Music Guide: page 525 Kamien9, CD 8, track 45 Note: Strophic 12 bar blues form 3 part (a a’ b) vocal structure Trumpet answers vocalist Call and response

Homework, due next class: Read Chapter 3 ‘Blues’ in text and complete page 141 in the workbook, including the EXERCISE ‘Blues Lyrics’ activity at the bottom…

Chapter 4, ‘New Orleans Style’ Also called Dixieland New Orleans was center of jazz 1900-1917 Front line of horns supported by rhythm section Songs frequently based on march or church melody, ragtime piece, pop song, or blues Characteristics Improvised arrangements Multiple instruments improvising simultaneously Scat singing Theme and variation form predominates Many notable performers Most famous was trumpeter Louis Armstrong

Listening ‘New Orleans Style’ Dippermouth Blues (1923) by King Oliver’s Creole Jazz Band 2 cornets (Joe “King” Oliver & Louis Armstrong), clarinet (Johnny Dodds), trombone (Honore Dutrey), piano (Lil Hardin), banjo & voice (Bud Scott), drums (Baby Dodds) Listening Outline: page 529 Kamien9, CD8, track 46 Fast tempo, quadruple meter 4/4 Introduction - nine choruses of 12-bar blues - tag

Listening Hotter Than That (1927) by Louis Armstrong and His Hot Five Based on tune by Lillian Hardin Armstrong, his wife and pianist Listening Outline: page 531 Kamien9, CD8, tracks 47-52 Note: Interplay of front line instruments Call and response Scat singing

Basic Terms Blues (522) 12-bar blues (522) Subdominant (522) New Orleans style (Dixieland) (page 528) Front Line (528) Break (528) Tag (528) Scat Singing (530)

Homework, due next class: Read Chapter 4 ‘New Orleans Style’ in text and complete page 142 in the workbook, including the Research Project ‘Jazz Centers’ activity at the bottom…

Discovering Jazz VCR & History of Jazz VCR Watch VCR and complete study guide YouTube resources: Discover Jazz Series, Vermont PBS Christian McBride: https://www.youtube.com/watch?v=MpqSkj5GZvs

Jazz Styles: Swing Popular 1935-45 (Swing era) Written music Primarily for dancing The popular music of the time The music of WWII Large bands (usually 15-20 players) Saxophones, trumpets, trombones, rhythm section Melody usually performed by groups of instruments rather than by soloists Other instruments accompany w/ background riffs Theme and variations form common Usually included improvisation by soloists (singly)

Listening C-Jam Blues (1942) by Duke Ellington and His Famous Orchestra Based on tune by Lillian Hardin Armstrong, his wife and pianist Listening Outline: page 534 Kamien9, CD1, track 10 Note: Showcases the talent of his band members Solos on the 12-bar blues chord progression Violin, muted Cornet, Tenor Sax, Trombone with plunger mute

Jazz Styles: Bebop Bebop Style 1940s and early 1950s Meant for listening—not dancing Combo was preferred ensemble Role of each instrument changed from earlier jazz Melodic phrases varied in length Chords built w/ 6 or 7 notes, not earlier 4 or 5 Theme and variations form still dominant Melodies derived from pop songs or 12-bar blues Initial melody by soloist or 2 soloists in unison Many notable performers including Trumpet Dizzy Gillespie, piano Thelonious Monk Most famous/influential alto sax Charlie Parker

Listening Bloomdido (1950) by Charlie ‘Bird’ Parker Note: Bebop style and Parker’s improv genius are displayed Listening Outline: page 537 Kamien9, CD8, tracks 53 Note:

Jazz Styles Cool Jazz Free Jazz Jazz Rock (Fusion) 1950’s More calm and relaxed than Bebop Relied more upon arrangements Free Jazz 1960’s Similar to Chance Music Solos sections of indeterminate length Improvisation by multiple players at once Jazz Rock (Fusion) In late 1960’s, rock became potent influence Style combined improvisation w/ rock rhythms Combined acoustic & electric instruments

Listening Miles Runs the Voodoo Down (1969) by Miles Davis Note: Jazz Fusion style Listening Outline: page 540 Kamien9, CD8, tracks 54 Note:

Basic Terms: Swing (page 532) Swing Band (532) Riff (533) Bebop (bop) (page 534) Cool Jazz (page 538) Free Jazz (539) Jazz Rock (Fusion) (540)

Ch. 20 - Music for Stage and Screen Musical, or musical comedy fuses script, acting, speech, music, singing, dancing, costumes, scenery, & spectacle Similar to opera, but musical has spoken dialog Sometimes called Broadway musical Originally designed for stage presentation Film versions soon followed Development of the Musical Roots go back to operetta, or comic opera Show Boat (1927) topic: interracial romance Some musicals were political/social statements Until 1960’s, songs mostly traditional (AABA) Musical mostly untouched by the rock revolution

Leonard Bernstein West Side Story: Re-telling of Romeo and Juliet set in the slums of New York. Shakespeare's feuding families become rival gangs (Jets—Americans and Sharks—Puerto Ricans).

Music in Film Early Film Music Functions and Styles of Film Music Provides momentum & continuity Suggests mood, atmosphere, character, and dramatic action Most music is commissioned for specific films Creating Film Music Up to 1950 – studios housed resident orchestra & musicians Since 1960 – freelance musicians

Ch. 21 - Rock Common features: Grew mainly from rhythm & blues Developed in mid-1950s First called rock & roll, later shortened to rock Common features: Vocal Hard driving beat Featured electric guitar Made use of heavily amplified sound Grew mainly from rhythm & blues Also drew influences from country & western Incorporated new technologies as they came available

Rock Styles 1960s: Early performers included: Bill Haley and His Comets Chuck Berry Rock Around the Clock Little Richard Elvis (King of Rock & Roll) The Platters 1960s: Rock by black performers called soul James Brown, Ray Charles, Aretha Franklin Motown blended R&B w/ mainstream white music Diana Ross & the Supremes, Stevie Wonder, … 1964: US tour by the Beatles, an English group More English groups followed: The British Invasion Rolling Stones, The Who, … Beatles most influential group in rock history Rock also began to absorb influences from folk Social issues: Environment (Blowin’ in the Wind), Vietnam Many genres: folk rock, jazz rock, acid rock, … 1st rock musical: Hair 1st rock opera: Tommy

Development of Rock 1970s: Continuation of many 60’s styles Revival of early rock & roll Rise of a dance style called disco Many veterans continued, many new artists arrived: Linda Ronstadt, Billy Joel, Donna Summer, … Other genres of rock arose: Country rock: blend of country music and rock Reggae from the West Indies Funk with electrification & jazz-like rhythms Punk (new wave)—a primitive form of rock & roll Classical rock—rock arrangements of earlier serious music Jazz rock reached wider group than ever before Chicago; Weather Report; Blood, Sweat, & Tears

Development of Rock 1980s: British new wave bands became popular Police; Culture Club, Eurhythmics Known as the second British invasion Increased use of electronic technology Synthesizers and computers (early sequencers) Heavy metal--sexually explicit lyrics & costumes Metallica; Iron Maiden; Motley Crue; Guns ‘n’ Roses Rap—developed among young urban blacks Began as rhythmic talking accompanied by disk jockey Often depicts anger and frustration Part of hip-hop culture

Development of Rock The 80s and into the 90s: Heavy metal & rap continue in popularity in 80s-90s Heavy metal continued to reach a mostly white audience Rap adopted devices from other types of music Rap began to attract broader audience African music began to influence mainstream music Paul Simon: Graceland (1986) used an African vocal group Grunge or alternative rock was embraced Grinding guitar sounds & angry lyrics Reaction to the polished sound of mainstream rock bands Direct stylistic influence from 1970’s punk rock Nirvana; Pearl Jam; Soundgarden; Alice in Chains Smashing Pumpkins; Nine Inch Nails; Belly; Hole

Elements of Rock Rhythm Tone Color Guitar-based, small core performance group 2 guitars, bass guitar, drum set, keyboards Usually a singer/instrumentalist Occasionally other instruments (horns, strings, etc.) Frequent vocal effects (shout, scream, falsetto) Rhythm Almost always in 4/4 meter Simple subdivision of beats 1 & 2 & 3 & 4 &, 1 & 2 & 3 & 4 &, … Late 70’s & 80’s: more rhythmically complex Result of polyrhythmic influences of African music

Form, Melody, and Harmony Elements of Rock Form, Melody, and Harmony Two commonly utilized forms: 12-bar blues form 32-bar A A B A form Short, repeated melodic patterns Usually built on modes, not major/minor Harmonically simple Usually 3 or 4 (or less) chords Often uses chord progressions that were rare in earlier popular music