Jazz 1910-1950
- Created by: MkNeptune
- Created on: 12-05-17 13:53
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- Jazz from 1910-1950
- Major Musicians
- Louis Armstrong
- West End Blues (1928)
- Dixieland
- 12 bar blues progression
- Uses chords I, IV, V
- Frequent blues notes
- b3, b7 and b5
- Collective improvisation
- 6 bar trumpet cadenza
- 2 octaves and third range
- Sextuplet rise
- 1st chorus: 3 part harmony
- Armstrong melody
- Clarinets in 3rds
- Long trombone notes
- 2nd chorus: Improv in trombone
- Comping piano
- 3rd chorus: **** singing
- 4th chorus: Improv in piano
- 5th Chorus: Armstrong improv
- Homophonic 4 bar chord
- Alligator Crawl (1927)
- 12 bar blues in F major
- Trumpet cadenza in C maj
- Chorus 1 - Clarinet lead
- Frequent ornaments
- Chorus 2 - Ensemble polyphony
- Clarinet counter melody
- Trombone and trumpet interjections
- Transition - 4 bars
- Pedal on G with octave leaps
- 3 solos in C major
- ABA form
- Syncopated trumpet
- Harsh vibrato
- Wide leaping melody
- Return to F major
- Chorus 3 - Guitar solo
- Unusual melody
- Takes own rhythm
- Frequent speed ups
- Chorus 4 - Ensemble in double time
- Chorus 3 - Guitar solo
- Use of **** singing
- Heavily swung
- West End Blues (1928)
- Duke Ellington
- Take the A-Train (1941)
- Swing
- 32 bar A-A-B-A
- Piano intro, coda & key change
- Apperas 3 times
- Main I and II chords
- 9ths and 2nd inversion
- 4 bar piano intro
- Arpeggios
- E-Eb-C-A
- ic & VIIc
- Dissonant - b3 with C
- First A-A-B-A
- Unison sax
- Call and response
- Trombone and trumpet
- B section: Added fills
- Second A-A-B-A
- Trumpets 1-3 tacet
- Trumpet 4 improv
- Scalic counter rmelody in C
- Blues notes
- Trumpets 1-3 tacet
- 4 bar transition
- Eb key change
- Third A-A-B-A
- 2nd variation in Eb
- Coda
- Trumpet improv
- Dominant pedal
- Final Eb maj
- Take the A-Train (1941)
- Louis Armstrong
- Styles
- 1910
- Blues
- Blue notes b3, b7 and b5
- Minor feel over major harmony
- Set chords - 12 bar blues
- I, IV, V
- Bends and slides
- Ragtime
- LH stride pattern
- RH syncopation
- 16 bar sections from classical dances
- Diminished 7th chord use
- Short tags as intros
- No blues notes
- Blues
- 1920
- Dixieland/ Trad Jazz
- Front line of brass/clarinets
- Tuba generally plays bass
- Collective improvisation
- Polyphonic
- Improvisation in melodies
- Often follows 12 bar blues pattern
- More complex chords
- Louis Armstrong
- Dixieland/ Trad Jazz
- 1930
- Swing
- More solo improvisation
- Use of string bass
- More guitar usage
- Sax becomes predominant
- More emphasis on off beat
- Typical swung rhythms
- Duke Ellington
- Big Band
- Much larger arrangements
- 5 sax, 4 trumpet, 5 trombone and rhythm section
- Commonly supported singers
- Deliberate orchestrated gaps for soloist
- Woody Herman Band
- Much larger arrangements
- Swing
- 1940
- Be-bop
- Fast tempo
- Complex harmony
- Numerous key changes
- Intricate melodies, phrasing and syncopation
- Rhythm section has major role
- Head and solos
- Charlie Parker
- Cool Jazz
- Laid Back
- Slower tempos
- Soft dynamics
- Brush drums
- Miles Davis
- Laid Back
- Be-bop
- 1910
- Classical Influence
- George Gershwin "Rhapsody in Blue" (1924)
- 32 bar chorus pattern: AABA
- Frequent key changes used
- Bb to Eb to Ab to Db to Gb then A maj (bar 25)
- Used 9 key signatures by bar 72
- Frequent imitation like jazz call and response
- Blues scale used (b7 and b3)
- Sforzando dynamics
- Common use of triplets and syncopation
- Also uses cross rhythms
- Flutter tonguing (Vaudeville)
- Ragtime and Cuban clave rhythms
- Vernacular instruments
- Accordion
- Banjo
- Darius Milhaud "Creation Du La Monde" (1922)
- Harmony is primarily improvised (early jazz)
- Frequent syncopation
- Offbeat high horns
- Improvised section uses triplets - Ragtime
- Canonic 4's and 2's (Trad Jazz)
- Improvised melodies are disjunct
- Uses large intervals
- Blues notes are frequent
- Aaron Copland "Music for the Theatre" (1925)
- Lower instruments use dissonance
- Blues notes used
- Piano plays 2 semitonal chords in triplets
- Scalic motifs - trad blues
- Canonic polyphonic texture
- Ground bass and walking bass used
- 2nd triplet accented
- Strongly polyrhythmic - Dixieland
- Quintuplet motif in strings
- Lower instruments use dissonance
- George Gershwin "Rhapsody in Blue" (1924)
- Major Musicians
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