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2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's
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2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's

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2 - History of Popular Music - Blues, Jazz & Be-Bop - Pre-1950's

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  • - Syncopation = Off beat notes are accented.
    Tin Pan Alley = Music that could be played by the masses

    Scoot Joplin+ One of the most famous Ragtime composers - ‘Maple Leaf Rag’ + ‘The Entertainer’

  • - Miles Davis throughout ‘Four’ uses Pitch Bends, Ghost notes, Fall-Offs (Short Downwards slides & double tonguing.
  • Known as the ‘Devil’s Interval’
  • I = Tonic
    II = Supertonic
    III = Mediant
    IV = Subdominant
    V = Dominant
    VI = Submediant
    VII = Leading Note
  • Transcript

    • 1. Pre-1950’s – Jazz: Bebop & Cool+ Early Blues
    • 2. Aims: • Illustrate the major historic development of Early Blue and modern Jazz styles like Bebop and & Cool. • Listen to different examples of these genres and be about to notice key details in structure, instrumentation & structure Objectives: • Able to record your own notes from the lecture and class discussions. • Have an understanding of Early Blues, Bebop and Cool Jazz. • Able to explain the difference between a Discord and Concord • Complete the class listening exercise provided.
    • 3. Recapping • In 1900’s the piano was the main instrument of composition and musical listening, before the radio. Music was performed by a member of the family playing popular tunes of the day. • Printed music saw the birth of Tin Pan Alley, and a MUSIC INDSTURY! Structured around money making from writing and selling music. • Music known as Ragtime developed as musicians moved North to big cities; bringing with them a rich mixture of cultural music tastes + styles. • Larger bands form as popularity grew, developing into Swing. A style people could dance to at popular night- clubs and venues. - What is Syncopation?
    • 4. • Swing Music was the popular time for Jazz composition; clubs were full of large ensembles performing the most popular songs. •Modern Jazz is Born!! •Because the majority of the audience were musicians coming to see good musicianship, it’s commercial value dropped. •By the 1940’s these structures were challenged. A new style differed greatly from swing, divorcing itself from dance music, establishing itself more as an art form.
    • 5. Listen to Swing and Bebop Swing Bebop ‘Pharaoh’s Dance’ – Miles Davis - Fast, complex improvisation, often at length - Improvised sections, more structured, less time - Large Bands - ‘Radio Friendly’ – Easy to listen to + Dance - Slower tempos for dancing - Less band members - ‘Challenging’ – demonstration of musicianship, NOT commercial - Fast tempos Count Basie & His Orchestra – ‘Too Close for Comfort’
    • 6. - Consonance = An interval or chord which gives and agreeable or satisfying effect. These are often seen as Octave, perfect 5th, 4th, and major/minor 3rds & 6ths. Beboppers introduce new forms of dissonance into Jazz: - Augmented 4th (Diminished 5th) became very popular in this genre: called the Tritone, because it embraces 3 whole tones (6 semitones). “Diabolus in Musica” - “The Devil in Music” - Dissonance = Give the effect of tension or unresolved. Often seen as being 2nds, 7ths, 9ths and all Augmented & Diminished.
    • 7. • Also employed an explosive style of drumming where the the ride-cymbal would keep the time, while the snare and bass-drum used for accents. • Despite the initial friction, by the 1950s bebop had become an accepted part of the jazz vocabulary. Respected Artists: - Charlie Parker (Alto Sax) -Dizzy Gillespie (Trumpet) -Charlie Christian (Guitar) - Clifford Brown (Trumpet) - Max Roach (Drummer)
    • 8. Cool Jazz • By the end of the 1940s, the nervous energy and tension of Bebop was replaced with a tendency towards calm and smoothness, with the sounds of ‘Cool Jazz’. • It emerged in New York City, as a result of the mixture of styles of predominantly white Jazz musicians and black Bebop musicians. • Miles Davis was one of the first artists seen as developing this sub-genre. Between 1949 & 1950 he released ‘Birth of the Cool’
    • 9. Birth of the BLUES • Blues developed in the Deep South of the USA, it originated as music of the African-American slaves. • Key aspect of the music was ‘call and response’, associated with work-songs and slavery. Sung rhythmically in time with the task. • Work-song were still used after the emancipation of the black slaves at the end of the American civil war, with railroad gangs doing manual labour. • Slowly instruments were introduced, however these were often very bad and broken. To compensate for lack of strings on old guitars bottlenecks were used, an important aspect still today.
    • 10. • The twelve-bar lyric framework of blues is reflected by a standard harmonic progression of twelve bars normally in 4/4 time signature. Blue’s Structure • Blues was built around a 3 lines of lyrics; Where the 1st line was repeated and a 3rd line answered the first two lines: 1/ The first rule of the blues is to repeat the first line twice. 2/ Yeah! First rule of the blues is repeat the first line twice. 3/ Then you just make up anything, and it sounds real nice!! • Often sings use to sing 9 or even 16 bars, was not until band developed did the songs need to be more structured.
    • 11. - Chord progressions normally centre around; I – Tonic VI – Subdominant V – Dominant (‘Turn-around’ leading back to I) • A common phenomenon was the use of the ‘Blue-Note’, distinguished by the use of the flattened 3rd, 5th and 7th of the associated major scale. • Improvising was usually based around a Pentatonic scale Turn-around section
    • 12. • Robert Johnson was a very influential Blues guitarist, known for a style called Delta Blues. • His songs often embraced very religious themes throughout, as was common with many Blue tracks. • ‘Cross Road Blues’ – •Notice the quality of the recording, because Stereo was not invented, all recordings were Mono and balance was created with how the artist was placed in relation to the microphone’s polar pattern.
    • 13. • The genre of Blues has very branch into many different sub-genres: Boogie-Woogie • Style of piano-based Blues that became popular during the 1930/40’s. • The chord progressions are typically based on I - IV – V - I Typical Boogie-woogie bassline: -'Boogie Woogie Stomp’ Albert Ammons Other Artists: - Peter Johnson - Big Joe Turner
    • 14. Research: • Comprise a list of your Top Ten Greatest Albums of all time; should have at least one album from the 60’s, 70’s, 80’s 90’s and 00’s + 4 of your own. (50 words on each) - Artist, Album Title + genre - Significant tracks - What made the album important? - Technology? - Popular? - Step forward for the genre?

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