2. Black and Tan Fantasy 2 Duke Ellington

3. Learning Objectives  To revise our knowledge of the origins of jazz music and find influences of earlier jazz styles in the Black and Tan Fantasy

4. Origins of Jazz  African slave songs – from late 18 th century  Negro spirituals – 1850s  Call and response  Blues – late 19 th century  Slow and melancholy  12 bar blues  Blue notes  Syncopation  Ragtime – 1890s  Piano  Scott Joplin  African slave songs – from late 18 th century  Negro spirituals – 1850s  Call and response  Blues – late 19 th century  Slow and melancholy  12 bar blues  Blue notes  Syncopation  Ragtime – 1890s  Piano  Scott Joplin IIII IV II VVII

5. Other common variants

6. Lost your head blues

7. The birth of Jazz  New Orleans Style / Dixieland – 1910s  Cornet, clarinet, trombone popular  Collective improvisation  12 bar blues sequence still common  Louis Armstrong  Big Band – 1920s  Swing Jazz – 1930s  Music for dancing  Glenn Miller  32 bar changes become more common  New Orleans Style / Dixieland – 1910s  Cornet, clarinet, trombone popular  Collective improvisation  12 bar blues sequence still common  Louis Armstrong  Big Band – 1920s  Swing Jazz – 1930s  Music for dancing  Glenn Miller  32 bar changes become more common

8. Later styles of jazz  Bebop – 1940s  Fast and very complicated, lots of improvisation  Heavy use of extended chords  Smaller groups; for listening not dancing  Charlie Parker and Dizzy Gillespie  Cool Jazz – late 1940s  More understated and laid-back  Miles Davis!  Modal Jazz – 1950s  Uses modes for improvisation rather than changes  Bebop – 1940s  Fast and very complicated, lots of improvisation  Heavy use of extended chords  Smaller groups; for listening not dancing  Charlie Parker and Dizzy Gillespie  Cool Jazz – late 1940s  More understated and laid-back  Miles Davis!  Modal Jazz – 1950s  Uses modes for improvisation rather than changes

9. Chronology WhenStyleArtists C18-19 Slave songs 1850s Negro spirituals Late C19 BluesBessie Smith 1890s RagtimeScott Joplin 1910s New Orleans Jazz / Dixieland Louis Armstrong 1920s Big BandDuke Ellington 1930s Swing JazzGlenn Miller 1940s BebopCharlie Parker, Dizzy Gillespie Late 1940s Cool JazzMiles Davis 1950s Modal JazzMiles Davis

10. Influences  What influences can you find of  Blues  Ragtime  New Orleans style  What influences can you find of  Blues  Ragtime  New Orleans style

11. Jungle Style (Instrumentation)  Heavy drums, low saxophone textures and, most characteristically, the growling sound of Bubber Miley’s plunger-muted Trumpet  This ‘growl’ effect is produced using a combination of  straight mute  a ‘gargling’ noise in the throat  plunger mute to shape the sound  The ‘dark’ sonorities used, and the focus on the individuality of the improvised solo sections, are all typical of Ellington’s mature style  Heavy drums, low saxophone textures and, most characteristically, the growling sound of Bubber Miley’s plunger-muted Trumpet  This ‘growl’ effect is produced using a combination of  straight mute  a ‘gargling’ noise in the throat  plunger mute to shape the sound  The ‘dark’ sonorities used, and the focus on the individuality of the improvised solo sections, are all typical of Ellington’s mature style

12. True or False?  This piece features collective improvisation  The 12-bar blues sequence is used throughout  The use of trumpet mutes is common in the 1920s  The Black and Tan fantasy was written specifically for the performers in this recording  The music suggests that Duke Ellington was optimistic about racial integration in the USA  This piece features collective improvisation  The 12-bar blues sequence is used throughout  The use of trumpet mutes is common in the 1920s  The Black and Tan fantasy was written specifically for the performers in this recording  The music suggests that Duke Ellington was optimistic about racial integration in the USA