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© 2005 The McGraw-Hill Companies, Inc. All rights reserved. Jazz Tenth Edition Chapter 9 PowerPoint by Sharon Ann Toman, 2004.

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Presentation on theme: "© 2005 The McGraw-Hill Companies, Inc. All rights reserved. Jazz Tenth Edition Chapter 9 PowerPoint by Sharon Ann Toman, 2004."— Presentation transcript:

1 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Jazz Tenth Edition Chapter 9 PowerPoint by Sharon Ann Toman, 2004

2 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 2 Cool/Third Stream Cool style of playing is different from the complexities of “Bop” The tempos are relaxed Virtuosity gave way to instrument colors and a reserved tonal style Size of the performance group also expanded

3 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 3 Cool/Third Stream Players took on an attitude of emotional detachment that helped define what is meant to be “cool” Cool bands were to perform in more intimate settings In the cool style jazz found its own chamber ensembles

4 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 4 Cool/Third Stream Instruments not common in jazz were now going to come into prominence (e.g. cello) Cool players were often conservatory trained The tonal sonorities of the cool style could be compared to pastel colors unlike Bop which could be compared to fiery red colors

5 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 5 Cool/Third Stream  Cool music contained: a delicate attack Little or no vibrato Use of the middle register of the instrument rather than the extreme Relaxed sound

6 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 6 The Sounds of Cool The Cool band usually consisted of 3 to 8 players Flute, French horn, oboe, flugelhorn, and cello became jazz instruments

7 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 7 The Sounds of Cool Cool players were not confined to 4/4 or 2/4 meters….new meters were added like 3/4, 5/4, 9/4 Use of polymeters (simultaneous use of several meters) Use of classical form in jazz (thus categorizing it as Third-Stream music) School of jazz moved closer to classical music adopting such forms as rondo and fugues

8 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 8 The Sounds of Cool Some people felted that the cool musician were bored or arrogant or cold Others felt that the cool players were trying to be creative

9 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 9 Woody Herman (1913-1987) Saxophonist Bandleader Hired the best musicians and kept changing musicians to keep the band up-to-date

10 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 10 Claude Thornhill (1909-1965) Pianist Orchestra leader Credited with being the progenitor of cool jazz Studied at the Cincinnati Conservatory and the Curtis Institute in Philadelphia Formed his own 9 man orchestra consisting of such great names as:  Miles Davis, Gerry Mulligan, and Gil Evans

11 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 11 Miles Davis (1926-1991) Trumpet player Composer/arranger Innovative band leader Important in the development of improvisational techniques incorporating modes rather than the standard chord changes Davis’s tone is straight with very little vibrato, long tones…epitomized the cool attitude © AP/Wide World Photos.

12 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 12 Gil Evans (1912-1988) Arranger, composer, pianist, and bandleader His arrangements made use of string instrument as as well as nontraditional jazz instruments Influenced by Duke Ellington The music of cool was much associated with the arranger (Gil Evans)

13 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 13 Lennie Tristano (1919-1978) Chicago born pianist Composer/arranger Blind from birth Educated at the Chicago American Conservatory of Music His music stressed the importance of melodic structure over emotional expression He showed interest in multi-track recordings Experiments with jazz rock fusion

14 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 14 Stan Getz (1927-1991) Tenor saxophonist Influenced by Lester Young Played with a rich and pure tone Played with much self control and subtlety During the 1950’s – he was one of the most popular jazz musicians He helped make bossa nova (a mixture of jazz and samba more popular)

15 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 15 West Coast Jazz Developed during the late 1940’s… A cool style was developing on the West Coast A subcategory of cool jazz.. West Coast jazz shares similar musical attributes, employing light tone color and a softer instrumental texture

16 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 16 West Coast Jazz Did not have the same intensity as bop The music involved less improvisation And sounded more reserved in its written-out melodies Often worked in the tradition of Duke Ellington by writing arrangements with specific players and specific sounds in mind

17 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 17 West Coast Jazz West Coast Jazz musicians often made their living by working in Hollywood studio orchestras Music writing style of West Coast Jazz showed an influence of Western Europe

18 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 18 Third Stream Is seen as an extension of the cool compositional style Time period from around 1959 to the present

19 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 19 Gunther Schuller (1925- ) Scholar, composer, conductor, teacher author, and music publisher Studied flute and horn Schuller coined the term “third stream” in a lecture Thus describing a style that is a synthesis of classical music and jazz

20 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 20 Third Stream From Jazz:  Language, gestures, improvisation, and rhythmic drive From Classical:  Instrumentation (orchestra, string quartet, etc.), forms (fugue, suite, concerto, etc.), and compositional techniques

21 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 21 Third Stream Most of the pieces in this style fall into 1 of 4 categories: 1. Concerto Grosso types…  Combine classical groups (playing composed sections) alternating with jazz groups (playing improvised sections 2. Pieces written for classical groups but which borrow heavily from jazz

22 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 22 Third Stream 3. Pieces written for jazz groups which use forms compositional techniques, and other elements from classical music 4. Pieces which are more integrated works in which the 2 idioms (jazz and classical music) merge in instrumentation, performance practice, and techniques

23 © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 9 - Cool/Third Stream 23 Conclusion… The blend between Jazz and Classical is not new… Jazz very existence is dependent on that blend

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