1. 2011 © McGraw-Hill Higher Education Music: An Appreciation 10 th Edition by Roger Kamien Part VIII Jazz

2. Ch. 1 - Jazz Styles: 1900-1950 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

3. Tone Color Elements of Jazz 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

4. Rhythm, Melody, and Harmony 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

5. Dance hall and saloon music Ch 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 Scott Joplin – “King of Ragtime” (1868-1917) Listening - Maple Leaf Rag p. 469 Basic set CD 8:41 12 measure (bar) musical structure 1 2 3 4 5 6 7 8 9 10 11 12 IIVIVI 3 part vocal structure: a a’ b Statement/repeat of statement/counterstatement

6. Ch. 3 - Blues Listening Lost Your Head Blues (1926) Performed by Bessie Smith (Smith known as “Empress of the Blues”) Vocal Music Guide: p. 472 Basic Set, CD 9:30 Brief Set, CD 5:51 Note: Strophic 12 bar blues form 3 part (a a’ b) vocal structure Trumpet answers vocalist Call and response

7. Ch. 4 - New Orleans Style Also called Dixieland Front line of horns supported by rhythm section New Orleans was center of jazz 1900-1917 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

8. 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: p. 479 Basic Set, CD 9:32 Brief Set, CD 5:52 Note: Interplay of front line instruments Call and response Scat singing Also: Dippermouth Blues Basic Set, CD 8:46

9. Ch. 5 - Swing Popular 1935-45 (Swing era) Written music Large bands (usually 15-20 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)

10. Bebop Style Ch. 6 - Bebop 1940s and early 1950s 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

11. Listening KoKo (1945) by Charlie Parker Performed by Charlie Parker, Dizzy Gillespie, Curly Russell, Max Roach Listening Outline: p. 484 Basic Set, CD 9:38 Note: Beat marked by pizzacato bass & “ride” cymbal Rapid notes w/ asymmetrical phrases Spectacular drum solo

12. Cool Jazz Ch. 7 - Jazz Styles Since 1950 1950’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

13. 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 Basic Set, CD 9:40 Note: Electric and acoustic instruments Mixture of jazz and rock elements