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Chapter 9 Cool/ Third Stream
© 2009 McGraw-Hill All Rights Reserved 2 Cool contrasted with Bop Understated playing style –Relaxed tempos –Subtle instrumental colors –Emotional detachment Ensembles larger then in bop –Emphasis on tonal colors and harmonic possibilities –Likened to jazz chamber music Refer to demonstration 7
© 2009 McGraw-Hill All Rights Reserved 3 Cool contrasted with Bop -continued- Conservative playing style like pastel colors –Conservatory trained musicians –Orchestral conception Expanded forms and solo space Delicate attacks Little or no vibrato Middle register playing
© 2009 McGraw-Hill All Rights Reserved 4 New instruments A number of instruments not previously associated with jazz were used –Bowed string instruments –Orchestral woodwinds Flugelhorn –Same key as trumpet –Conical bore produces darker, warmer sound
© 2009 McGraw-Hill All Rights Reserved 5 Third-stream music A version of cool wherein classical forms and devices were used –Rondos and fugues –Polymeter –Longer orchestral type works Reaction by the public was mixed
© 2009 McGraw-Hill All Rights Reserved 6 Cool era bands Woody Herman (1913-1987) –Clarinetist, band leader –Four Brothers sound ca. 1947 –Featured 3 tenor saxes and a baritone –Proved that independent minded musicians could play well together
© 2009 McGraw-Hill All Rights Reserved 7 The Performers Gil Evans/Miles Davis –The subtle arranging style of Evans complimented the understated playing of Davis –Former members of the Claude Thornhill Band –Effectively highlighted Davis’s talents –Yielded “Birth of the Cool” sessions in 1949
© 2009 McGraw-Hill All Rights Reserved 8 The Performers -continued- Gerry Mulligan (1927-1996) –Popularized the sound of baritone saxophone –Played with Miles Davis, Claude Thornhill, Stan Kenton Lennie Tristano (1919-1978) –Pianist –Explored a compositional alternative to bop –Subtle yet complex arrangements were influential Gerry Mulligan
© 2009 McGraw-Hill All Rights Reserved 9 The Performers -continued- Bill Evans (1929-1980) –Introspective style influenced a generation of future pianists –Classically trained and influenced, he explored third- stream and collaborated with Miles Davis –Wrote many interesting tunes and won Grammy awards for solo recordings Listen to “Autumn Leaves” CD 2 track 6
© 2009 McGraw-Hill All Rights Reserved 10 West Coast Jazz Little difference stylistically from cool played on the East Coast Different audience, setting, and some different players Many were former Kenton Band members –Shorty Rogers, Shelley Manne, Stan Getz Lighthouse at Hermosa Beach was the center of much activity in the developing style
© 2009 McGraw-Hill All Rights Reserved 11 Third Stream Jazz has borrowed from many traditions including classical Beginning in the 50s, many artists began to use classical forms and devices e.g. fugue, canon, theme and variations Another approach was to play a pre- composed classical piece in a jazz style
© 2009 McGraw-Hill All Rights Reserved 12 The Modern Jazz Quartet Pivotal group between cool and third stream Together for over 40 years Listen to their most well known piece “Django” CD 2, track 1
© 2009 McGraw-Hill All Rights Reserved 13 Jazz and Classical 20th century non-jazz composers have successfully infused jazz into their music –Gershwin, Milhaud, Stravinsky Such works not considered third stream because they did not originate in the jazz tradition Both stylistic streams have been enriched by the other
© 2009 McGraw-Hill All Rights Reserved 14 The Brazilian Wave Jazz musicians were influenced by lighter, gentler samba called “Bossa Nova” Particularly suited to the West Coast style and musicians like Stan Getz and guitarist Charlie Byrd The first of many Latin styles and influences that would become part of the mainstream of jazz from the 60s onward
© 2005 The McGraw-Hill Companies, Inc. All rights reserved. Jazz Tenth Edition Chapter 9 PowerPoint by Sharon Ann Toman, 2004.
COOL JAZZ Just as BeBop contrasted from Swing, Cool Jazz will contrasted similarly from BeBop Cool Jazz steps away from the fiery and aggressive playing.
Popular Styles in Jazz since the Swing Era Chapter 9.
© 2005 The McGraw-Hill Companies, Inc. All rights reserved. Jazz Tenth Edition Chapter 15 PowerPoint by Sharon Ann Toman, 2004.
© 2007 The McGraw-Hill Companies, Inc. All rights reserved McGraw-Hill The World of Music 6 th edition Part 2 Listening to American Music: Folk, Religious,
Bop Chapter 8. © 2009 McGraw-Hill All Rights Reserved 2 A Shift to Bop a.k.a. bebop Big bands were replaced by combos New, younger players replaced those.
© 2005 The McGraw-Hill Companies, Inc. All rights reserved. Jazz Tenth Edition Chapter 8 PowerPoint by Sharon Ann Toman, 2004.
© 2005 The McGraw-Hill Companies, Inc. All rights reserved. Jazz Tenth Edition Chapter 10 PowerPoint by Sharon Ann Toman, 2004.
© Boardworks Ltd of 7 4F Orchestra in the 20 th Century – Unit 4: Orchestral Landmarks © Boardworks Ltd 2016 Icons key: For more detailed instructions,
© 2005 The McGraw-Hill Companies, Inc. All rights reserved. Jazz Tenth Edition Chapter 12 PowerPoint by Sharon Ann Toman, 2004.
The World of Music 7 th Edition Part 2 Listening to American Music: Folk, Religious, Pop, and Jazz Chapter 5: Jazz in America.
The Saxophone Family For 4 th -5 th grade general music Andrea Draime.
© 2005 The McGraw-Hill Companies, Inc. All rights reserved. Jazz Tenth Edition Chapter 13 PowerPoint by Sharon Ann Toman, 2004.
Origins of Jazz. Elements unique to jazz “style” Rhythm “swing” feel Pitch Blue notes; bent pitches Sound traditional instruments played in unusual.
African American Musicians in American Popular Culture Presented by: Ryan Tarjanyi Jasen Dodds.
Chapter 12 Free Form, Avant-Garde. © 2009 McGraw-Hill All Rights Reserved 2 The Process Free form - also known as Free Improvisation –Sheds the structures.
© 2005 The McGraw-Hill Companies, Inc. All rights reserved. Jazz Tenth Edition Chapter 11 PowerPoint by Sharon Ann Toman, 2004.
Jazz and the American Culture An Historical Overview and Analysis By Al Underachiever.
John Coltrane BLUE TRAIN ( ) Despite a relatively short career, only living to the age of forty, Coltrane remains one of the most influential.
Reactions to Bebop – Cool and Hard Bop. The Term “Cool" Apparently originated by Lester Young Refers to a number of different (albeit related) states.
Classical Music Higher Music. Characteristics A less complicated texture than had been evident in Baroque times (less Polyphonic) More use.
Jazz developed from blues, which developed from African American spirituals, work songs, field hollars, etc. Born in the South.
Famous African American Jazz Players (1900’s) By: Olivia Yates.
Jazz Roots of jazz and American “pop” - African-American/Slave songs - English folk songs The Blues - major form of black music until Dixieland - lead.
Jazz from the 40’s and 50’s Duke Ellington (piano, big band leader) and Johnny Hodges (alto saxophone) “Prelude to a Kiss” by Duke Ellington and Billy.
Chapter 13 Jazz/Rock Fusion. © 2009 McGraw-Hill All Rights Reserved 2 Early Jazz Rock The term fusion became associated with the jazz/rock crossover in.
KIND OF BLUE https://www.youtube.com/watch?v=rGQzNsZAtCo https://www.youtube.com/watch?v=I21UW_hgopE https://www.youtube.com/watch?v=mX3K9CkORO0.
HOW MUSICAL LINES INTERACT Musical Texture (Harmony), Form, and Style.
Manao Project A bridge Between A bridge Between Canary Folk Music Canary Folk Music and and Jazz Jazz.
Jazz Notes II. Characteristics of Jazz The difference between New Orleans style Jazz and other cities’ Jazz was improvisation. –The true, individual.
American Music History Jazz, Big Band, Swing, & R’n’B.
Ridin’ in Rhythm: The Thirties and Swing Professor Jeff Rupert, Director of Jazz Studies, The University of Central Florida
HOW MUSICAL LINES INTERACT Musical Texture, Form, and Style.
Chapter 14 Contemporary Trends: A Maturing Art Form.
Swing Music. Swing Music was developed in the 1920’s by Benny Goodman. Swing music was far more organised than jazz that had come before. Swing music,
Jazz Brief Overview. About Jazz You may know jazz when you hear it May not be able to describe what you hear Jazz has signature traits: Improvisation.
What is JAZZ? 4 th Grade Music. What is Jazz?? Improvisation is important in Jazz Jazz uses “bent” music notes Jazz expresses many emotions Jazz uses.
JAZZ MUSICIAN. Miles Davis was into a lot of different genres.. Jazz, hard bop, bebop, cool Jazz, Modal, fusion…..
Chapter 16: Classical Genres: Instrumental Music.
Jazz. Shortly after the War of 1812 From New Orleans, LA Instruments included trumpets, trombones, clarinets, saxophones, and drums A mixture.
©2009, The McGraw-Hill Companies, Inc. All Rights Reserved. 1.
By Nicole Demke. Born on February 2, 1927 in Philadelphia, Pennsylvania. Getz was a gifted boy, both in academics and music. His love for music focused.
MILES DAVIS - ALL BLUES. KIND OF BLUE All Blues This track is from the album KIND OF BLUE and was recorded in one take in New York in 1959 Each.
Dixieland ~New Orleans Solo vs accompaniment Jazz instruments -saxophones -trumpets -trombones -clarinets -rhythm section *piano *drums *string bass ~walking.
Roots of Jazz When 1850 and later Where New Orleans Instruments Trumpet, Trombone, Clarinet, Saxophone, drums Who African Americans Why Jazz.
Thelonious Monk The most important jazz musicians are the one who are successful in creating their own original world of music with its own rules, logic,
SWING AND THE BIG BANDS MUH 271 Jazz History. JAZZ IN THE 1920S much of the most popular music called jazz reflects a "slapstick" phase. new interest.
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