1. JazzJazzJazzJazz In Context

2. The Blues Ragtime What is Jazz? (1) J A Z Z The Entertainer Scott Joplin Sweet Home Chicago Robert Johnson Cameroon Dance Sousa - Semper Fideles Work Songs Spirituals European Music African Music Ezekiel Saw the Wheel

3. What is Jazz? (2) There are three aspects that almost all jazz styles have in common: Improvisation Improvisation Syncopation Syncopation Swing Swing

4. What is Jazz? (3) Some of the important composers and performers of jazz were: “Duke” Ellington Louis Armstrong Benny Goodman Glenn Miller Dizzy Gillespie Dave Brubeck

5. Timeline of Jazz Styles 19001910192019301940195019601970198019902000 19001910192019301940195019601970198019902000 Blues Ragtime Dixieland Swing Bebop Cool Free Form Fusion World War I World War 2 Depression Advent of radio Advent of TVAdvent of Digital recording First jazz recordings Rock ‘n Roll Beatles Progressive Contemporary

6. Dixieland (1) - Instruments Dixieland Jazz began in New Orleans around the 1920s. It is also called Trad Jazz (Traditional Jazz) Dixieland jazz used a small group of between three and eight musicians. Frontline players: Trumpet or cornet - introduced the melody Clarinet - played a different faster melody Trombone - played the bass line Listen to the opening of Muskrat Ramble played by Louis Armstrong and his Hot Five The Hot Five was: Louis Armstrong (trumpet) Kid Ory ( trombone) Johnny Dodds (clarinet) Johnny St Cyr (guitar and banjo) Louis Armstrong's wife Lil ( piano) The Rhythm section (banjo, guitar, piano, bass and drums) provided rhythmic and harmonic support.

7. Dixieland (2) - Improvisation There are two different types of improvisation in Dixieland Jazz: Group improvisation Where the melody instruments improvised together over the chords played by the rhythm section Solo improvisation Where one melody instrument improvised over the chords played by all or some of the rhythm section As the trumpet plays the main tune, the clarinet is improvising a faster second tune over the top while the trombone decorates the bass line. The trumpet, accompanied by the banjo, is improvising over the same chords as were used when the tune was first played

8. Dixieland (3) - Form Tune 1 Tune 2 Trumpet - melody Clarinet and trombone improvisation. 16 bars G G = Group improvisation S = Solo improvisation 16 bars Trumpet - melody Clarinet and trombone improvisation. G Melody - all (2 bars) trombone improvisation 16 bars S Trumpet improvisation16 bars S Clarinet improvisation16 bars S Tune 1 Tag Trumpet, clarinet and trombone all improvising G 16 bars Polyphonic texture Same three instruments do a different improvisation G 16 bars TAGCODA The two extra bars at the end to finish the music off is called a TAG (or CODA)

9. Dixieland (4) - Summary MELODYRHYTHMHARMONYFORMTEXTUREINSTRUMENTS A simple, singable melody March-like with steady beat Often just one chorus Polyphonic in group improvisations Small Ensemble 5-8 players Improvisation produces more than one melody Contains syncopation Traditional tonal harmony Different improvisations give variation form When the Saints Go Marching In Frontline players Trumpet/Cornet Trombone Clarinet Often had a “boogie-woogie bass Improvisations give polyrhythms Uncomplicated Louis Armstrong Homophonic texture for solo improvisations Rhythm Section Guitar/banjoBass/Tuba Drums Piano

10. Swing (1) - Introduction In the 1930s jazz groups grew bigger - instead of single instruments there were now small groups of each (eg 3 trumpets, 3 or 4 saxophones and trombones). This meant that less improvisation could take place, so the music was arranged and written down. This style was known as swing and the music was used for dancing not just for listening to. The groups who played swing were known as Big Bands. Because of this, this time was known as the ‘Big Band Era’. Some of the best known groups were led by ‘Duke’ Ellington, ‘Count’ Basie, Benny Goodman Glenn Miller. The Benny Goodman Big Band plays Alexander’s Ragtime Band

11. Swing (2) - Instruments Listen for : A 12-bar blues progression A conversation between saxophones and trumpets A smooth sophisticated sound Changing dynamics (f p) The Glenn Miller Orchestra DIAGRAM - BIG BAND In the Mood - Glenn Miller String Bass Clarinets Piano Vibraphone Drum kit Guitar Tuba Trombones Trumpets Baritone sax Tenor saxes Alto saxes Soprano sax Not all instruments present in every performance

12. Swing (3) - Form Take the A Train - Strayhorn - (Ellington) Each chorus of the music is 32 bars long and based on an A A B A structure. The first 8 bars are repeated, then there is an 8 bar contrasting phrase before a final repetition of the opening phrase. SECTION SOLO INSTRUMENTBACKING INSTRUMENTS Introduction PianoDrums and Bass Chorus 1 (A A B A) SaxesRest of band Bridge TrumpetsRest of band Chorus 2 (A A B A) Muted Trumpet Saxes, drums, bassChorus 3 (A A B) Saxes alternate with trumpet (no mute) Full band Chorus 4 (A A A…) Fade out (with a short tag at the end) SaxesFull band

13. Swing (4) - Summary MELODYRHYTHMHARMONYFORMTEXTURE INSTRUMENTS Simple, singable melodies March-like with steady beat Moonlight Serenade - Glenn Miller Often 32 bar AABA chorus repeated several times with variation Generally homophonic texture Large Ensemble Saxes Trumpets Trombones(Clarinets) One or two melodies that change by being improvised on Contains syncopation Traditional tonal harmony Often features intros, bridges and tags Glenn Miller Rhythm Section Guitar Piano Bass Drums Some blue notes Swung - uneven triplet feel Harmony enhanced by 7th, 9th and added 6th chords Sometimes uses Blues form Some antiphonal sections (eg saxes answered by trumpets)

14. Lots of dissonance Chord substitution led to chords not related to the original key Could become Many irregular accents Sometimes the regular rhythmic beat gets lost Rhythm was much more important than melody Bebop Many musicians left to fight in the war There was less and less improvisation Bebop was a complete contrast to swing They only used one or two melodic instruments Even if the melody was known, it soon became unrecognisable through wild improvisations Bebop did not appeal to many people. It was too complicated and difficult to listen to. Most people wanted to hear a melody and did not like the angular tunes and dissonant chords. There was too much improvisation for most people to understand the music Bebop was for a small group of instruments Dizzy Gillespie was one of the first to develop the Bebop style Jazz musicians who wanted to experiment went to Minton’s Club in New York Swing music had become very commercial Swing bands began to break up during World War II Salted Peanuts - Dizzy Gillespie

15. Cool Jazz (1) The term Cool Jazz is a style of jazz that developed in California in the 1960s Pianist, Dave Brubeck is probably the best known of the Cool Jazz composers and performers The style developed to avoid the roughness and brassiness of Bebop Important in the Cool Jazz scene are Paul Desmond Miles Davis and the Swingle Singers Melodies were smooth and easy to listen to and the style was more relaxed Sometimes the music featured instruments not usually found in Jazz (eg flute, French horn) Little David by the Swingle Singers is a good example of Cool Jazz. Listen to the scat singing (nonsense words and syllables). Soft dynamics Many different forms Unusual harmonies Syncopated Many improvisations Polyphonic

16. Cool Jazz (2) Mancini’s Pink Panther was written in 1964 as a film theme. The music describes the”cool cat” and the opening section is a good example of Cool Jazz Articulation Melody The first section is Cool Jazz. The second is Big Band (Swing) Style Texture The first section is light. The second is heavier. Instruments The saxophone’s sound is cool and sophisticated like the Panther Each phrase ends with a small downward slide. This is called a smear. The melody imitates the way a cat stalks its prey - slowly and with tiny steps up at first (semitones), then a crouch down, then silence. Sometimes the sax music is slurred and sometimes tongued LISTEN FOR

17. Ragtime (1) - The Beginning When they played them, they changed them by adding syncopated rhythms and changing some notes to make them more fun to play. This music was played by small groups in the streets of New Orleans and on showboats on the Mississippi River. When the American Civil War ended, the marching bands that had led the soldiers into war were broken up, and the instruments sold. Many former slaves took up these instruments (clarinets, trumpets, trombones and percussion) They formed their own bands and played their own versions of the formal European march tunes The “jazzing up” of these tunes was known as ragging

18. Ragtime (2) - Rhythm  Ragtime music was usually written for piano  It was composed in a simple 2-beat march style  It had a bouncy jerky rhythm in the melody with a steady beat in the bass  The Cakewalk was a popular dance which had jerky movements to match the rhythm of the music The best known composer and performer of rags was Scott Joplin. He published and recorded the rags he wrote and performed

19. Ragtime (3) - Scott Joplin Born in Texas 1868; died 1917 in New York City. He studied piano and wanted to become a classical composer and pianist. Two of Joplin's most famous compositions are the Maple Leaf Rag and The Entertainer The Entertainer became popular again when it was featured in the soundtrack of the movie The Sting. in the 1970s. Today we listen to Ragtime on the radio or CD. In the early part of the 20th century people listened to their favourite rags played by Joplin on the pianola. Scott Joplin was the best known composer of ragtime music The Entertainer In 1902, Joplin's first major composition was a ballet suite that used the rhythms of ragtime music

20. Ragtime (4) - Features - Form Tune A Tune B Tune C Tune D Opening theme (16 bars) Maple Leaf Rag is in time and is made up of four different tunes, each of which repeats. 2 4 Theme repeats Tune A Tune B Second theme (16 bars) Theme repeats Opening theme (16 bars) Third theme (16 bars) Fourth theme (16 bars) Opening theme (16 bars) Second theme (16 bars) Theme repeats Section A Section A 1 Section B TERNARY (three part) FORM SECTION A SECTION A 1 SECTION B

21. Ragtime (5) - Features - Rhythm The melody has a SYNCOPATED (off beat) rhythm Examples of syncopation A TIE from a short note to a longer note on a beat The RHYTHM The left hand (bass) is not syncopated The rhythm is straight, not swung A REST on the first beat of the bar

22. Are the melodies Smooth Smooth Jagged JaggedJagged Ragtime (6) - Features - Melody Opening - Maple Leaf Rag Opening - The Entertainer Click the correct answer below :

23. Ragtime (6) - Features - Melody Opening - Maple Leaf Rag Opening - The Entertainer Click the correct answer below : Are the melodies Smooth Smooth Jagged JaggedJagged √ Jagged is correct

24. Ragtime (7) - Features - Texture The three main textures in music are: MONOPHONIC HOMOPHONIC POLYPHONIC A single melody A melody with chords Several melodies played together Listen to the opening of Maple Leaf Rag and click the word that best describes the texture of the music: MonophonicHomophonicPolyphonic

25. Ragtime (7) - Features - Texture The three main textures in music are: MONOPHONIC HOMOPHONIC POLYPHONIC A single melody A melody with chords Several melodies played together Listen to the opening of Maple Leaf Rag and click the word that best describes the texture of the music: MonophonicHomophonicPolyphonic √ The texture is homophonic

26. Blues (1) - The Beginning The slave route from West Africa to America. Many Africans were also sold as slaves in the West Indies NORTH AMERICA EUROPE WEST AFRICA SOUTH AMERICA WEST INDIES During the 18th and 19th centuries thousands of people were taken as slaves from Africa to America. For these Africans life became a nightmare. Many died on their long journey by sailing ship. Those that survived were sold in auctions and put to work on farms and cotton plantations in the Southern states of America. A slave ship

27. Blues (2) - Influences Since I Laid My Burden Down is a traditional gospel song. Listen to the call and response (solo answered by chorus) which is influenced by traditional African music. Slavery was a nightmare come true. Yet the slaves sang songs which influenced music all over the world. If there had been no Negro slavery, there would have been no jazz. African Americans used and changed European church hymns, folk songs, and dance music and mixed it with their own taste and traditions. Families were often split up. Children were often taken from their parents. The life of slavery was cruel and horrible. Musical slaves were encouraged to play the violin, and the plantation ‘fiddler’ (violinist) was sometimes rewarded with more freedom than ordinary slaves.

28. Blues (3) - Spread The first Blues singers were African slaves. Their music grew out of the misery of slavery. The words of their songs reflected their despair. When the slaves were set free in 1865, they faced poverty and homelessness. The nightmare of slavery was over, but black people were often denied jobs and mistreated in other ways As the ex-slaves moved North in search of work and a better life, their music spread from New Orleans to St Louis and Chicago and New York. The spread of the Blues

29. Blues (4) - Instruments and Scales Originally the Blues was performed by one singer usually accompanied by a guitar or a banjo Blues was a raw-sounding music, full of emotion Blues melodies and harmonies were based on the blues scale. This is a version of the major scale, but with the 3rd and 7th notes flattened. MAJOR SCALEBLUES SCALE The blues scale is more usually known as the minor pentatonic Often the 5th is also flattened MINOR PENTATONIC 1 2 3 4 5 BLUES SCALE WITH FLATTENED 5TH

30. Blues (5) - Harmony Traditional 12-bar blues uses three chords The melody contains “blue” notes, but the harmony (chord) does not In blues songs, the chords are organised into the following pattern: IIVV Bar Chord In C major, this would be: CCCCFFCCGGCC or G F

31. Blues (6) - Form Blues verses have three lines, the first two being the same (Guitar intro - 2 bars) O Baby don’t you want to go Back to the land of California, from my sweet home Chicago In 12-bar blues, each of these lines takes 4 bars: C / / / C / / / O baby don’t you want to go F / / / F / / / C / / / C / / / O baby don’t you want to go G / / / G / / / C / / / G / / / Back to the Land of Ca-li-fornia from my sweet home Chi- ca-go 4 4 Although the chords change for the second line (bars 5 -8), the melody stays exactly the same.

32. Blues (7) - Improvisation In the repeat of Sweet Home Chicago, the singer improvises for part of the verse Listen to the second verse, and answer the questions below by clicking on the correct answer: Which phrases contain improvisation? Third First and third Second and third First

33. Blues (7) - Improvisation In the repeat of Sweet Home Chicago, the singer improvises for part of the verse Listen to the second verse, and answer the questions below by clicking on the correct answer: Which phrases contain improvisation? Third First and third Second and third First √ First is correct When the singer improvises, does he use a narrow or wide range of notes? Wide Narrow

34. Blues (7) - Improvisation In the repeat of Sweet Home Chicago, the singer improvises for part of the verse Listen to the second verse, and answer the questions below by clicking on the correct answer: Which phrases contain improvisation? Third First and third Second and third First √ First is correct When the singer improvises, does he use a narrow or wide range of notes? Wide Narrow √ Narrow is correct When the guitarist improvises, does he do so mostly in the first, second or third phrase? First Second Third

35. Blues (7) - Improvisation In the repeat of Sweet Home Chicago, the singer improvises for part of the verse Listen to the second verse, and answer the questions below by clicking on the correct answer: Which phrases contain improvisation? Third First and third Second and third First √ First is correct When the singer improvises, does he use a narrow or wide range of notes? Wide Narrow √ Narrow is correct When the guitarist improvises, does he do so mostly in the first, second or third phrase? First Second Third √ Third is correct

36. Improvisation (1) Improvising is making up a tune over a chord pattern Listen to the tune of Take Five Listen to all the saxophone improvisation in Take Five and then click on the answer to the question below: Are the chords: The Same? Different?

37. Improvisation (1) Improvising is making up a tune over a chord pattern Listen to the tune of Take Five Listen to all the saxophone improvisation in Take Five and then click on the answer to the question below: Are the chords: The Same? Different? Yes, they are the same √

38. Improvisation (2) The performer will develop and change riffs made up from notes in the blues scale Listen to all the saxophone improvisation in Take Five and then click on the answer to the question below: Is each phrase of the tune: The Same? Different?Different??

39. Yes, each phrase is different √ Improvisation (2) The performer will develop and change riffs made up from notes in the blues scale Listen to all the saxophone improvisation in Take Five and then click on the answer to the question below: Is each phrase of the tune: The Same? Different?Different??

40. Syncopation In music, accented notes are usually ON the beat When music is syncopated, accented notes are OFF the beat Music can be syncopated by: To hear syncopation in the melody, there needs to be an unsyncopated part in the bass Tying note from a weak beat to a strong beat so as the strong beat does not sound Putting a rest on a strong beat Having a short note followed by a longer one within a beat

41. Swing Most jazz rhythm is swung. This means that instead of each beat being divided into 2 or 4, the beat is divided into 3 Straight rhythm: Swung rhythm: The music is written like this The opening of Muskrat Ramble is written like this… …but the performer swings the rhythm so that it sounds like this: but the player makes it sound like this

42. African Music The music extract comes from the Cameroon, West Africa an area from where slaves were transported. LISTEN FOR Instruments: Drums; Jingles; Voices Features:Complex rhythms Ostinati - repeated rhythms (Drums and voice). Call (solo) and Response (chorus): from voices

43. John Phillip Sousa  Composer of many marches that are still popular today  Bandmaster of the Marines Band then formed his own concert band  Toured America and Europe playing his music as well as the new Ragtime music Washington Post The Thundererer 1854 - 1932 Invented the Sousaphone, which was named in his honour The bell could be twisted in any direction, to allow the sound to be heard more clearly

44. Ternary Form  Ternary form has three parts:  (Intro)  The opening theme or section A  A contrasting theme or section B  A repeat of the opening theme or section A Back to ‘Duke’ Ellington Intro A B A Ternary Form is rather like a Musical sandwich BREAD - FILLING - BREAD Take Five is in Ternary Form

45. The Pianola The pianola roll for the opening of The Entertainer by Joplin An early pianola The pianola roll had a hole punched for each note The roll was placed inside the piano, and the player pedaled to make the roll go round The music for the opening of The Entertainer by Joplin Scott Joplin recorded several of his “Rags” for the pianola Back to Scott Joplin

46. Louis (Satchmo) Armstrong West End Blues Trumpeter, singer and composer. Born in New Orleans in 1901. Died in New York in 1971 His father left, so he earned money to support his family by selling papers and by singing on the street with friends The nickname “Satchmo” is an abbreviation of “satchel mouth” (referring to the size of his mouth)! As a youth he met “King” Oliver and in 1922 was invited to play with his band in Chicago. Louis was invited to play solos on the trumpet. This changed the sound of jazz. Before this the musicians had all played together, improvising around eachother. He formed and directed his own bands the”Hot Five” and “Hot Seven”, and later the “All Stars”. As a singer, one of his proudest moments was when his song, ”What a Wonderful World” was a top hit in 1968 At 13 he began his musical education in the ”Jones Home” (for wayward coloured children) and was proud to play the cornet in its orchestra at public concerts. Louis Armstrong

47. Edward K “Duke” Ellington He began to learn the piano at the age of seven He is recognized as one of the greatest jazz composers and performers. Among his many honors and awards were honorary doctorates from Howard and Yale Universities Already popular on radio, he made his first recording in 1923 Back to What is Jazz? He sometimes used "call-and- response" techniques linking back to music from the time of slavery (solo answered by chorus) As a youth he was influenced by the ragtime pianists. In late 1917, Duke formed his first group: The Duke’s Serenaders an made his professional debut. Born 1899; Died 1974 He was be one of the first jazz composers to focus on musical form and composition in jazz using ternary form Creole Love Song

48. Benny Goodman 1909-1986 Goodman became the first famous jazz musician to achieve success performing classical music. In 1935, he performed Mozart's Clarinet Quintet Benny Goodman began to learn music in 1919 when he was 10, and made his professional début only two years later. In spring 1934, Goodman organized his first big band. (three saxophones, three trumpets, two trombones, and four rhythm instruments) and started recording for Columbia Records. Under Goodman's exacting direction, the members' playing was a model of ensemble discipline. He set a high standard for the musicians, and demanded accurate intonation, matched vibrato, phrasing, and a careful balancing of parts — performance standards rare in the bands of that time.. He moved to New York in 1929 and made a living performing in bands and working in recording studios and for radio. Many say that swing music arrived on January 16, 1938, when Benny Goodman performed his Killer Diller at New York's Carnegie Hall. He was among the first to feature black jazz players, an action that might have compromised his own career at a time when racial integration was not a popular concept. His concerts brought a new audience and a new level of recognition to jazz. He received classical training, but was also influenced by the music of Louis Armstrong and other New Orleans jazz musicians. Stompin’ at the Savoy

49. Glenn Miller Chattanooga Choo-Choo He went to university, but dropped out because he spent too much time attending gigs. He decided to become a professional musician. His musical career began when, as a youth, his father bought him a mandolin. He traded it in for an old trombone, and spent most of his spare time practicing. He experimented to try and find a unique sound that would make his band memorable. His solution was to have the clarinet and tenor sax play the melody and the rest of the saxes harmonising. When he formed the Glenn Miller Orchestra in 1937, it was an immediate hit. 1904 -1944 He joined the US Air Force in 1942. The Army Air force Band gave over 800 performances to the troops. He died in 1944 when his plane was lost over the English Channel. In 1938 he composed many hits. Most popular was “In the Mood” which topped the charts for fifteen weeks As a freelance trombonist, he worked with a number of bands and met many different jazz musicians. Amongst these was Benny Goodman. At this time he also began to compose and arrange music. He was quite discouraged when the first band he formed in 1936 failed to be popular because it did not sound any better than the rest of the bands of the time.

50. Dizzy Gillespie Dizzy was born John Birks Gillespie in 1917 to a family of ten. His father, a local bandleader, encouraged Gillespie's musical progress. At four years old, John was already playing the piano. He then taught himself to play the trombone but switched to the trumpet before the age of twelve. He received a music scholarship to a small school in North Carolina. He left the school in 1935 to pursue a career as a musician and soon earned the nickname "Dizzy" for his comical stage antics - wearing a beret and horn rimmed glasses, and performing using puffed out cheeks and a trumpet with a bent bell Dizzy played with several famous bands, but was often criticised for taking too many risks in his solos. One well known band leader, Cab Calloway referred to his improvisations as “Chinese music”. Dizzy began appearing at Minton's where he tried out his new ideas and styles. He met Thelonius Monk,and the two began to experiment with the complex chord changes that soon became the music of the Bebop Era. He died in 1993 and has a star on the Hollywood Walk of Fame. He is rememberd for using complex rhythms, and for being a musician whose improvisations were very skilled. He also introduced new ideas to jazz - the use of Afro-Cuban music and even ideas from pop music. Be Bop

51. Dave Brubeck When he went to College (Uni) he was nearly expelled when one of the professors discovered that he could not read music. Only the support from several other professors saved him, but he had to promise that he would never teach music! Dave Brubeck was born in 1920 in California. His mother, who had hoped to become a concert pianist, taught the piano. Dave preferred to make up his own tunes than learn to read music. He formed the Dave Brubeck Quartet in 1951. The quartet remained together (with a few changes of personnel) until 1967. They re-formed in 1976 for a 25th anniversary concert. One of the characteristics of Brubeck’s music is his use of unusual time signatures. Blue Rondo a la Turk is in However, Take Five, the most famous number played by the Quartet was not written by Brubeck. It was composed by Saxophone player, Paul Desmond. 7 4 In 1954 Dave Brubeck was the first jazz musician to be honoured by having his photo on the cover of TIME magazine. Blue Rondo a la Turk