Music: An Appreciation 8 th Edition by Roger Kamien Unit VIII Jazz Presentation Development: Robert Elliott University of Arkansas at Pine Bluff

Jazz Developed in the United States Began around 1900 in New Orleans Originally music for bars and brothels Early practitioners primarily African-American Main characteristics Improvisation Syncopated rhythm Steady beat Call and response Originally performance music—not notated Tremendous impact on pop & art music

Geographical center has moved around Jazz in Society Originally music for dancing Listening forms later developed No longer associated with unfashionable lifestyle Colleges now offer bachelor & graduate degrees in jazz

Chpt 1: Jazz Styles: 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

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

Rhythm, Melody, and Harmony Elements of Jazz Chpt. 1-Jazz Styles: Syncopation & rhythmic swing are features Chord progressions similar to tonal system Syncopation often occurs when performer accents note between the regular rhythmic accents Rhythmic accent on beats 2 and 4 Melodies flexible in pitch As jazz evolved, harmony grew more complex “Swing” result of uneven 8 th notes (triplet feel) 3 rd, 5 th, & 7 th scale steps often lowered (flatted) Called “blue” notes, these pitches come from vocal blues

Dance hall and saloon music Chpt 2: Ragtime Piano music w/ left hand “oom-pah” part Vocal and instrumental form Blues Usually in duple meter at moderate march tempo Right hand part highly syncopated Left hand keeps steady beat “King of ragtime” was Scott Joplin ( ) Listening Joplin’s Maple Leaf Rag Basic set CD 8:42 12 measure (bar) musical structure IIVIVI 3 part vocal structure: a a’ b Statement/repeat of statement/counterstatement

Chpt 3: Blues Listening Lost Your Head Blues (1926) Performed by Bessie Smith (Smith known as “Empress of the Blues”) Listening Guide: p. 526 Brief Set, CD 4:55 Note: Strophic 12 bar blues form 3 part (a a’ b) vocal structure Trumpet answersvocalist Call and response

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

Listening Hotter Than That (1927) by Louis Armstrong and His Hot Five Based on tune by Lillian Hardin Armstrong, his wife and pianist Listening Guide: p. 530 Basic Set, CD 8:48 Note: Interplay of front line instruments Call and response Scat singing Also: Dippermouth Blues Basic Set, CD 8:47 Chpt. 4-New Orleans Style

Chpt 5: Swing Popular (Swing era) Written music Large bands (usually players) Primarily for dancing The popular music of the time The music of WWII 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 Listening Guide: p. 533 Brief set, CD 1:5 Listen for:12-bar blues format Contrast Repetition Improvisation Muted brass instruments Chpt. 5-Swing

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

Listening Bloomdido (1950) by Charlie Parker Performed by Charlie Parker, Dizzy Gillespie, Curly Russell, Thelonious Monk, and Buddy Rich Listening Guide: p. 537 Basic Set, CD 8:54 Note: Based on 12-bar blues format Fast tempo Lots of notes Extended improvisation Chpt. 6-Bebop

Cool Jazz Chpt 7: Jazz Styles Since ’s More calm and relaxed than Bebop Relied more upon arrangements 1960’s Free Jazz Similar to Chance Music Solos sections of indeterminate length Improvisation by multiple players at once In late 1960’s, rock became potent influence Jazz Rock (Fusion) Style combined improvisation w/ rock rhythms Combined acoustic & electric instruments

Listening Miles Runs the Voodoo Down from Miles Davis’s Bitches Brew (1969) Miles Davis, Wayne Shorter, Bennie Maupin, Lenny White, Jack De Johnette, Charles Alias, Jim Riley, Chick Corea, Larry Young, Harvey Brooks, Dave Holland, John McLaughlin Listening Guide: p. 540 Basic Set, CD 8:55 Note: Electric and acoustic instruments Mixture of jazz and rock elements