Part VIII Jazz

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

“My Band is my instrument”

- Duke Ellington

Homework:

Complete pages 138—139 in the

workbook by listening to one of the

following jazz style pieces on YouTube

and describing each:

Note: find this PPT on Weebly for links!

Ragtime

Blues

New Orleans Style

Swing

Bebop

Exercise: Jazz Styles, pages

138-139 in the workbook

Ragtime: https://www.youtube.com/watch?v=pMAtL7n_-rc

Blues: https://www.youtube.com/watch?v=CzUgX-HB9tA

New Orleans Style: https://www.youtube.com/watch?v=5SS9EnD_-_Y

Swing: https://www.youtube.com/watch?v=31JgwfP15kw

Bebop: https://www.youtube.com/watch?v=rFFfoLhxgmI

Bebop: https://www.youtube.com/watch?v=mkemox0461U

Improv 101 ‘Blues & Bebop’: https://www.youtube.com/watch?v=0FZ-K3420cQ

Other: https://www.youtube.com/watch?v=31JgwfP15kw

Elements of Jazz:

Tone Color

Chapter 1 ‘Jazz Styles: 1900—1950’

• 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

• 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 8th notes (triplet feel)

• 3rd, 5th, & 7th scale steps often lowered (flatted)

• Called “blue” notes, these pitches come from vocal blues

Jazz’s African Roots 1 A functional role: from 1619 to well into the 1890’s, slaves were

brought to the Americas from Africa where music played a functional

(not artistic) role:

Work songs, call & response, spiritual songs, healing songs, fertility songs

“a singing slave is a happy slave”: while most possessions

were stripped from slaves, they were allowed to keep their music, as it

was thought they would be less inclined to cause an uprising.

Jazz traits of African origin, include:

Rhythm, especially polyrhythms (i.e., one rhythmic pattern superimposed

upon another

Expressive (i.e., “vocal”) quality when playing or singing

Blues: Evolved from slave field hollers and African American folk songs

Usually characterized by plaintiveness and melancholy, a slow tempo, lyrics

in the form of paired couplets in iambic pentameter, and intensity & passion

Utilizes extremely expressive & emotional “vocal” quality even when played

instrumentally, e.g. ‘pitch bending’, portamento (gliding from 1 note to

another), whining, etc…

Jazz’s African Roots 2 Western African elements, that influenced jazz:

Emphasis on improvisation

Drumming & Percussive sounds

Complex rhythms

In West African vocal music: a soloist’s phrases are repeatedly answered by a chorus.

In Jazz, call & response occurs when a voice is answered by an instrument,

or when an instrument (or group of instruments) is answered by another

instrument (or group)

Call & Response influence on jazz, expanded: In the African American church service, in which the congregation responds

vocally to the preacher’s “call”.

YouTube resources: “Call & Response” in the Maasai Mara, Kenya

https://www.youtube.com/watch?v=QFWRcXYsYMo

West African drumming:

https://www.youtube.com/watch?v=6dFtlcqGW50

https://www.youtube.com/watch?v=MKZFnAmqET0

Jazz’s African Roots 3

In America, a rich body of African American music was

vital to jazz’s origins:

Work Songs

Spirituals

Gospel Hymns

Dances such as the Cakewalk

Most of this music was not written down

American Band Tradition:

In the late 1800’s most American cities, towns, and

even villages had their own band. Bands influenced

jazz by:

Instruments (trumpets, trombones, tuba, clarinet, drums, etc)

Band music influenced the forms and rhythms of early jazz

Popularity of events

Homework:

Read pages 514-519 in the text and

complete page 137 in the workbook

packet, due next class period

Complete page 137 exercises at the

bottom by studying the text and

identifying the best answers for each

Homework:

Read and complete Joplin worksheet as

preparation for Scott Joplin DVD

Read pages 519-521 in text and complete

page 140 in workbook

Basic Terms

Jazz (page 514)

Call and Response (516)

Rhythm Section (517)

Bar (518)

Chorus (518)

Swing (519)

Ragtime (page 519)

Chapter 2 ‘Ragtime Music’: style of composed

piano music that flourished from the 1890’s to about 1915

• Dance hall and saloon music

• Piano music with left hand, “oom-pah” part

• Usually in duple meter at moderate march

tempo

• Right hand part highly syncopated

• Left hand keeps steady beat

Listening Guide: page 521

Maple Leaf Rag (1899)

Kamien9 Disc 8, tracks 41-44

Composed by Scott Joplin “King of Ragtime”

Notice steady LH ‘oom-pah’ pattern

Notice RH highly syncopated rhythm

Example of ‘Polyrhythm’

Early jazz musicians used Ragtime melodies as a

springboard for their improvisations

Ragtime syncopations, steady beat, and piano style

were an important legacy for jazz

Homework, due next class:

Read Chapter 2 ‘Ragtime’ in text and

complete page 140 in the workbook,

including the Research Project at the

bottom…

Chapter 3, ‘Blues’

• Vocal and instrumental form

• 12 measure (bar) musical structure

• Line 1 (a) Line 2 (a’) Line 3 (b)

1 2 3 4 5 6 7 8 9 10 11 12

I

• 3 part vocal structure: a a’ b

• Statement/repeat of statement/counterstatement

IV I V I

Listening

Lost Your Head Blues (1926)

Performed by Bessie Smith (Smith known as “Empress of the Blues”)

Vocal Music Guide: page 525

Kamien9, CD 8, track 45

Note: Strophic

12 bar blues form

3 part (a a’ b) vocal structure

Trumpet answers vocalist Call and response

Homework, due next class:

Read Chapter 3 ‘Blues’ in text and

complete page 141 in the workbook,

including the EXERCISE ‘Blues Lyrics’

activity at the bottom…

Chapter 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

Listening ‘New Orleans Style’

Dippermouth Blues (1923)

by King Oliver’s Creole Jazz Band

2 cornets (Joe “King” Oliver & Louis Armstrong), clarinet

(Johnny Dodds), trombone (Honore Dutrey), piano (Lil Hardin),

banjo & voice (Bud Scott), drums (Baby Dodds)

Listening Outline: page 529

Kamien9, CD8, track 46

Fast tempo, quadruple meter 4/4

Introduction - nine choruses of 12-bar blues - tag

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: page 531

Kamien9, CD8, tracks 47-52

Note: Interplay of front line instruments

Call and response

Scat singing

Basic Terms Blues (522)

12-bar blues (522)

Subdominant (522)

New Orleans style (Dixieland) (page 528)

Front Line (528)

Break (528)

Tag (528)

Scat Singing (530)

Homework, due next class:

Read Chapter 4 ‘New Orleans Style’ in

text and complete page 142 in the

workbook, including the Research Project

‘Jazz Centers’ activity at the bottom…

Discovering Jazz VCR &

History of Jazz VCR

Watch VCR and complete study guide

YouTube resources:

Discover Jazz Series, Vermont PBS

Christian McBride: https://www.youtube.com/watch?v=MpqSkj5GZvs

Jazz Styles: 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)

Listening

C-Jam Blues (1942)

by Duke Ellington and His Famous Orchestra

Based on tune by Lillian Hardin Armstrong, his wife and pianist

Listening Outline: page 534

Kamien9, CD1, track 10

Note: Showcases the talent of his band members

Solos on the 12-bar blues chord progression

Violin, muted Cornet, Tenor Sax, Trombone with plunger mute

Bebop Style

Jazz Styles: 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

Listening

Bloomdido (1950)

by Charlie ‘Bird’ Parker

Bebop style and Parker’s improv genius are displayed

Listening Outline: page 537

Kamien9, CD8, tracks 53

Note:

Exercise, page 146, Jazz Styles since 1950:

Cool Jazz: https://www.youtube.com/watch?v=RPfFhfSuUZ4

Free Jazz: https://www.youtube.com/watch?v=d0HB8ybKJzo

Jazz Rock (Fusion): https://www.youtube.com/watch?v=pqashW66D7o

Cool Jazz

Jazz Styles

• 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

Listening

Miles Runs the Voodoo Down (1969)

by Miles Davis

Jazz Fusion style

Listening Outline: page 540

Kamien9, CD8, tracks 54

Note:

Basic Terms:

Swing (page 532)

Swing Band (532)

Riff (533)

Bebop (bop) (page 534)

Cool Jazz (page 538)

Free Jazz (539)

Jazz Rock (Fusion) (540)

Ch. 20 - Music for Stage and

Screen

• Musical, or musical comedy fuses script, acting, speech, music, singing, dancing, costumes, scenery, & spectacle

• Originally designed for stage presentation • Film versions soon followed

• Similar to opera, but musical has spoken dialog

Development of the Musical • Roots go back to operetta, or comic opera

• Show Boat (1927) topic: interracial romance • Some musicals were political/social statements

• Until 1960’s, songs mostly traditional (AABA)

• Musical mostly untouched by the rock revolution

• Sometimes called Broadway musical

Leonard Bernstein

West Side Story: Re-telling of Romeo and

Juliet set in the slums of New York.

Shakespeare's feuding families become rival

gangs (Jets—Americans and Sharks—Puerto

Ricans).

Music in Film

Early Film Music 1890’s - 1929

Functions and Styles of Film Music Provides momentum & continuity

Suggests mood, atmosphere, character, and dramatic action

Most music is commissioned for specific films

Creating Film Music Up to 1950 – studios housed resident orchestra &

musicians

Since 1960 – freelance musicians

Ch. 21 - Rock

• Developed in mid-1950s

• Common features:

• Also drew influences from country & western

• First called rock & roll, later shortened to rock

• Grew mainly from rhythm & blues

• Incorporated new technologies as they came

available

• Vocal

• Hard driving beat

• Featured electric guitar

• Made use of heavily amplified sound

• Early performers included:

Rock Styles

• 1960s:

• Chuck Berry

• Diana Ross & the Supremes, Stevie Wonder, …

• More English groups followed: The British Invasion

• Rolling Stones, The Who, …

• Rock also began to absorb influences from folk

• 1964: US tour by the Beatles, an English group

• Bill Haley and His Comets

• James Brown, Ray Charles, Aretha Franklin

• Motown blended R&B w/ mainstream white music

• Rock by black performers called soul

• Little Richard

• The Platters

• Rock Around the Clock

• Elvis (King of Rock & Roll)

• Many genres: folk rock, jazz rock, acid rock, … • Social issues: Environment (Blowin’ in the Wind), Vietnam

• Beatles most influential group in rock history

• 1st rock musical: Hair • 1st rock opera: Tommy

• 1970s:

Development of Rock

• Continuation of many 60’s styles

• Country rock: blend of country music and rock

• Reggae from the West Indies

• Funk with electrification & jazz-like rhythms

• Punk (new wave)—a primitive form of rock & roll

• Classical rock—rock arrangements of earlier serious music

• Jazz rock reached wider group than ever before

• Chicago; Weather Report; Blood, Sweat, & Tears

• Many veterans continued, many new artists arrived:

• Revival of early rock & roll

• Rise of a dance style called disco

• Linda Ronstadt, Billy Joel, Donna Summer, …

• Other genres of rock arose:

• 1980s:

Development of Rock

• British new wave bands became popular

• Increased use of electronic technology

• Heavy metal--sexually explicit lyrics & costumes

• Police; Culture Club, Eurhythmics

• Known as the second British invasion

• Synthesizers and computers (early sequencers)

• Metallica; Iron Maiden; Motley Crue; Guns ‘n’ Roses

• Rap—developed among young urban blacks • Began as rhythmic talking accompanied by disk jockey

• Often depicts anger and frustration

• Part of hip-hop culture

• The 80s and into the 90s:

Development of Rock

• Grunge or alternative rock was embraced

• Grinding guitar sounds & angry lyrics

• Reaction to the polished sound of mainstream rock bands

• Direct stylistic influence from 1970’s punk rock

• Nirvana; Pearl Jam; Soundgarden; Alice in Chains

• Smashing Pumpkins; Nine Inch Nails; Belly; Hole

• Heavy metal & rap continue in popularity in 80s-90s • Heavy metal continued to reach a mostly white audience

• Rap adopted devices from other types of music

• Rap began to attract broader audience

• African music began to influence mainstream music • Paul Simon: Graceland (1986) used an African vocal group

• Guitar-based, small core performance group

Elements of Rock

• 2 guitars, bass guitar, drum set, keyboards

• Frequent vocal effects (shout, scream, falsetto)

Rhythm • Almost always in 4/4 meter

• Simple subdivision of beats

• Usually a singer/instrumentalist • Occasionally other instruments (horns, strings, etc.)

• Late 70’s & 80’s: more rhythmically complex

• 1 & 2 & 3 & 4 &, 1 & 2 & 3 & 4 &, …

• Result of polyrhythmic influences of African music

Tone Color

• Two commonly utilized forms:

Elements of Rock

• 12-bar blues form

Form, Melody, and Harmony

• Short, repeated melodic patterns

• Usually 3 or 4 (or less) chords

• 32-bar A A B A form

• Usually built on modes, not major/minor

• Harmonically simple

• Often uses chord progressions that were rare in

earlier popular music