Âm nhạc - Chapter 8: Jazz tenth edition

JazzTenth EditionChapter 8PowerPointbySharon Ann Toman, 2004BopBop jazz was sometimes called bebop or rebop because players sang the words bebop or rebop 2Chapter 8 - BopThe Shift to BopBop became the 1st style of jazz that was not used for dancingBop took on the complexity that required players to extend their former playing knowledge and technique3Chapter 8 - BopThe Shift to BopBop was fast, demanding execution on individual instruments TodayBop is the mainstream of jazz style, yet it was not accepted by the jazz community at the time of its emergence4Chapter 8 - BopThe Shift to BopBop players turned to small combosBop did not “begin” at any one place or at any one time5Chapter 8 - BopDeveloping Mainstream and the Jazz CanonCanons exist for all musicsCanons become codified or formalized historically for those that gain a general consensus as being worthyBop was the era from which a majority of our canon’s jazz giants emerged6Chapter 8 - BopDeveloping Mainstream and the Jazz CanonChanges that occurred during this period set the framework for developing jazz mainstreamImprovisation was a valued component of the jazz expression7Chapter 8 - BopBop ArrangingNotation for bop bands were usually confined to unison lines for melodic instrumentsStandard format of Bop consisted of:1st chorus in unison2nd chorus improvised followed by3rd chorus in unison8Chapter 8 - BopMusical ExpansionGreater freedom of expressionBop players used:Extended harmonies (like 9th, 11th, and 13th chords)Extended harmonies resulted in complex harmonies with a fresh chord soundBop creates excitement by fast tempos, and players accent the note between beats1 and 2 and 3 and 4 and9Chapter 8 - BopMusical ExpansionTension in the music was created by tonal clashes (unusual harmonies)And fast tempos with complex rhythms10Chapter 8 - BopMusical ExpansionOne of the major changes that occurred during the bop era was repertoireThe building was accomplished mainly by using the chords of a standard tune as the framework on which to compose a new melody11Chapter 8 - BopMusical ExpansionBop players changed harmonies, melodies, and rhythmsAnd Bop players even changed phrasing from neat symmetrical phrases to phrases that seemed uneven and unnatural compared to earlier jazz12Chapter 8 - BopBop Rhythm SectionDrummer used bass and snare drums mainly for accents/punctuationsDrummer played an eighth-note rhythms on the top cymbalThe more spontaneous punctuations on the bass drum were called bombs13Chapter 8 - BopBop Rhythm SectionPiano player changed from 4/4 steady rhythm to syncopated chordal punctuationsThese chordal punctuations were to designate chord changes and add excitement to the music14Chapter 8 - BopBop Rhythm SectionGuitar (amplified) became a melody instrument and took the place of the trumpet, saxophones and othersString Bass maintained a steady rhythmic pulse and an interesting bass line (“walking bass”)15Chapter 8 - BopRoy Eldridge (1911-1989)Trumpet playerPlayed with Fletcher Henderson in 1936Fiery style of playingVirtuosic trumpet techniqueUse of the extreme upper register of the trumpetFeatured with bands like Gene Krupa and Artie Shaw16Chapter 8 - BopDizzy Gillespie (1917-1993)Great trumpet playerModeled his playing style after EldridgeArranger/composerThe period from 1944 to 1947 was noted for the great jazz groups that worked in the clubs on 52nd Street in NYCWhere Dizzy formed the 1st actual bop bandHighly regarded all over the world for his contributions to modern jazz trends17Chapter 8 - BopCharlie Parker (1910-1955)Called “Yardbird” or simply “Bird”Alto saxophonistCredited as an originator of bebop18Chapter 8 - BopCharlie Parker (1910-1955)He used higher harmonies of chords as structures to improvise new melodiesHe produces a rich, expressive tone and rhythmic freedom in his phrasingParker was one of the rare musicians who could play slow blues very well but also comfortable at extremely fast tempos19Chapter 8 - BopBud Powell (1924-1966)Classical trained pianistAn important pioneer in bop pianoRecorded many solo albumsCreative style and approach of piano playingCreative approach to developing melodies and rhythms20Chapter 8 - BopCharlie Christian (1919-1942)Revolutionized the concept of jazz guitar playingExcellent guitaristChristian took the role of the guitar from a rhythm instrument to a solo melody instrument equal to other instrumentsPioneered the use of the amplifier as early as 1937Played and made recordings with Benny Goodman, Duke Ellington and others big names21Chapter 8 - BopJimmy Blanton (1918-1942)1st greatest Bassist of the jazz eraPlayed melodies that belonged to the bassPlaying style rhythmically supported the musicHe laid the foundations for all bass players who followedHe would keep the pulse for the whole combo while using new and advanced chords22Chapter 8 - BopThelonious Monk (1917-1982)Pianist and composerHad a major influence on jazzUnique compositional and improvisational styleWrote more than 70 jazz compositions23Chapter 8 - BopJ.J. Johnson (1924-2001)TrombonistPaved the path for trombonist in the bop styleSmooth and clean style of playingBecame a leader influencing all trombonists to follow24Chapter 8 - BopBilly Eckstine (1914-1993)Singer and BandleaderOne of the most distinctive of all ballad singersImportant figure in the history of jazz because of his commitment to bebopHis singing style contained an exaggerated vibrato1st black singer to achieve lasting success in the pop mainstream25Chapter 8 - BopStan Kenton (1911-1979)Piano, Vocal and BandleaderInfluential pioneer in jazzRecruited exceptional instrumentalistsHis band arrangements required high quality playing26Chapter 8 - BopConclusionBop did not have a chance to emerge gradually for public listenings as the other jazz styles hadAfter WWII, bop started to be heard by more of the public27Chapter 8 - Bop