Be bop
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Bebop emerged in the 1940s as a new style of jazz that was faster and more complex than previous styles. It developed during a recording ban that forced musicians to perform live. Key bebop musicians included Charlie Parker, Dizzy Gillespie, Thelonious Monk, and Miles Davis. Bebop was characterized by faster tempos, more complex rhythms, and melodies that featured unusual harmonies, leaps, and dissonances.
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The document provides an overview of big band music during the 1930s and 1940s. It discusses the history and context of the big band era as music to boost wartime morale. It also describes the typical instrumentation of a big band, which included 5 saxophones, 4 trumpets, 4 trombones, piano, bass, drums and sometimes guitar. The document lists some famous big band leaders and musicians of the era like Benny Goodman, Glenn Miller, and Count Basie. It concludes with a brief recap of the key points covered.
Traditional Jazz
Jazz originated in New Orleans in the late 19th century and early 20th century. It encompasses many styles including Dixieland, swing, bebop, cool jazz, and fusion. Key components of early jazz include improvisation, syncopated rhythms, and the collective improvisation of New Orleans-style Dixieland bands. Pioneering jazz artists like Louis Armstrong and Jelly Roll Morton emerged from New Orleans and helped establish jazz as a major new American musical genre in the 1920s.
Chapter 24Music in AmericaMusical TheaterPop Music .docx
Chapter 24
Music in America:
Musical Theater
Pop Music Forms
OperettaSpoken dialogueLight musical numbersMany dance numbersAmusing, far-fetched plotsPopular on Broadway in 1800s, early 1900s
*
Popular OperettasGilbert & Sullivan- The Mikado, HMS Pinafore, The Pirates of PenzanceVictor Herbert- The Serenade, Babes in Toyland, Sweethearts
Musical ComediesPopular theater picked up jazz accentsDemand for up-to-date, American stories and lyricsClosely tied to popular songs of the 1920s and 1930sThose written in Tin Pan Alley: N.Y. based collection of publishing/song writing offices.
*
Gershwin’s “Who Cares?” from Of Thee I Sing can be found on the Listen Companion DVD.
George Gershwin (1898 to 1937)Born in New YorkQuit school at 16 to become a song writerBegan writing his own hit songs with brother IraWrote concert works fusing jazz and ClassicalRhapsody in Blue, An American in Paris, Catfish Row (from Porgy and Bess)Musicals- Strike Up the Band, Girl Crazy, Funny Face, Nice Work If You Can Get It
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*
The Musical after 1940Plots worked out with more careMusical numbers tied in logicallyRichard Rodgers and Oscar HammersteinOklahoma! (1943); The King and I (1951)
*
Leonard Bernstein
(1918–1990)One of America’s most brilliant and versatile musiciansWrote classical symphonies, musicals, and film musicAcclaimed conductor, pianist, and authorWon Grammys, Emmys, and a Tony
*
Bernstein, West Side StoryUpdate of Romeo and JulietThe classical reaching out to the popular stylesStephen Sondheim, Jerome RobbinsCombines classical forms and techniques with 1950s jazz styles
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Bernstein’s Thematic TransformationThree-note motive first appears as a cha-chaThen as a slow, questioning motive in the Meeting SceneNext as the motive for “Maria”Finally turns into the intro to “Cool”
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Bernstein’s Thematic Transformation
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West Side Story, “Cool”Big production number of Act IHighly charged, syncopated introRiff sings first two stanzas1950s street dialectDance sequence begins with fugueMusic gets more angry as Jets lose their coolStanza 2 of Riff’s song returns
*
Later MusicalsInfluence of rock revolutionHair, Grease, RentConnection to filmShowboat, Rent, West Side Story, Disney’s musicals for filmContinual reinventionInfluence of hip-hop: Hamilton
*
Key TermsOperettaMusical comedyMusicals
Chapter 24
Music in America:
Jazz and Beyond
Secular Popular MusicStephen Collins FosterSongs popularized by Christie’s Minstrels“Camptown Races”, “Oh Susanna”Minstrel show: 19thc. variety show in the U.S. performed in blackface John Philip SousaMarine Corps bandmaster, known for marches: “The Stars and Stripes Forever”
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African American MusicBoth parodied and acknowledged by minstrel showsNo one wrote down slaves’ musicCall-and-response procedures:
-Descended from African traditionsSpirituals: religious folk songsEx. Wade in the Water
*
RagtimeA precursor of jazzA style of piano playing developed by ...
A brief history of jazz
This Slideshow presentation will take you through a brief history of Jazz and some of its most important styles and sub-genres.
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Chapter 24Music in AmericaMusical TheaterPop Music .docx
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Be bop
- 2. Recording Ban Jazz was big business – Benny Goodman, Glen Miller , Duke Ellington, Count Basie 1 August 1942 American Federation of Musicians Strike. 1943 Ellington premiered Black, Brown & Beige 1944 Norman Granz promoted his Jazz at the Philharmonic.
- 3. BeBop Musicians Charlie Chrisitan – Guitar Jimmy Blanton – Bass Jo Jones & Kenny Clarke - Drums Charlie Parker – Alto Saxophone Dizzy Gillespie – Trumpet Thelonious Monk – Piano Dexter Gordon – Tenor Saxophone
- 4. Rhythm section Characteristics of Bebop Drums play an individual role. Not just keeping time, become more a part of the ensemble. Walking bass lines in 4 crotchet beats instead of 2. Tempos are faster, and slower. Sparser piano comping (short for accompanying) and use of more open, “shell” like voicings. Simpler arrangements (head arrangements)
- 5. Melodic Characteristics of Bebop Melodies (written & improvised) predominantly quavers, or “8th notes” More angular melodies, i.e unusual leaps The use of chord extensions – 9ths, 11ths & 13th The use of dissonance, such as chromatic passing tones, particularly #5 and Maj 7ths. Beginning and ending phrases in unusual places. Double time feels and more complex rhythmic groupings – 5, 6, 7’s, etc.
- 7. John Birks “Dizzy” Gillespie
- 8. Miles Davis
- 9. “A Great Day In Harlem”