Chapter Eighteen Improvisation and Form. New Orleans at the Turn of the 20th Century A Blending of 3 Musical Styles: ∑Folk Music Celtic-English-French.

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Presentation transcript:

Chapter Eighteen Improvisation and Form

New Orleans at the Turn of the 20th Century A Blending of 3 Musical Styles: ∑Folk Music Celtic-English-French African-American (Slave Songs) ∑Popular Music “Gay 90’s” Songs Vaudeville Songs Minstrel Songs ∑Light Classical Music (Parlor Songs) Operettas Chautauqua

New Orleans at the Turn of the 20th Century Instrumental/Stylistic Influences: ∑Military Bands (cheap musical instruments) ∑Ragtime (syncopation) ∑The Blues (call and response)

Important Musical Elements in Jazz Vocal Inflections “Blue” notes Bending pitches (melismas) Word painting

Important Musical Elements in Jazz Rhythmic Elements: ∑Steady Tempo (Pulse) ∑Syncopation ∑Repetition of Short Patterns (riffs) ∑Call and Response

Swing –– Early 30’s to Late 40’s Big Bands  Fletcher Henderson  Duke Ellington  Count Basie  Benny Goodman  Dorsey Brothers  Glenn Miller Combos  Art Tatum  Lionel Hampton  Ben Webster  Lester Young  Jonah Jones  Django Reinhardt

Edward Kennedy “Duke” Ellington [ ] Pianist Composer/Arranger Band Leader

Diversity and Breadth of his Style: Characteristics of his Music  Arrangements  Film Scores  Romantic Ballads  Exotic Works  Concert Works  Sacred Works  Concerto-Type Works  Swinging Instrumentals with Jazz Solos

Duke’s Arranging is Unique  Diversity of themes within a single piece  Block Scoring  Voicing Across Sections  Wordless Vocals  Parts written for unique capabilities of musicians  Mixture of improvised parts with prewritten parts