Âm nhạc - Chapter 4: Jazz tenth edition

JazzTenth EditionChapter 4PowerPointbySharon Ann Toman, 2004Chapter 4 - Piano Styles: Ragtime to Boogie-Woogie2The Birth of RagtimeRagtime is said to have originated in Sedalia, MissouriRagtime is considered to be outside the jazz tradition because it is composed before it is performedRagtime is a solo style of playing the pianoChapter 4 - Piano Styles: Ragtime to Boogie-Woogie3The Birth of RagtimeRagtime is not improvised but has an “improvisatory feel”Ragtime: displayed a definite separation of the hands at the pianoLeft hand played both bass and chordsRight hand the melodic partsUse of syncopationChapter 4 - Piano Styles: Ragtime to Boogie-Woogie4The Birth of RagtimeThe general public first became aware of ragtime during a series of world’s fairs held in Chicago, Omaha, Buffalo and other citiesRagtime flourished for over twenty yearsRagtime players were both black and whiteChapter 4 - Piano Styles: Ragtime to Boogie-Woogie5Scott Joplin (1868-1917) Most prolific composer of ragtime musicKnown as the “king of ragtime”Composed about 600 rags and published around 50Composed a symphony, and 2 operasChapter 4 - Piano Styles: Ragtime to Boogie-Woogie6Jelly Roll Morton (1890-1941) Best known ragtime piano playerHe claims that he originated jazz in 1902As well as ragtime, swing, and other jazz stylesHe also formed his own orchestraJelly Roll Morton and His Red Hot PeppersChapter 4 - Piano Styles: Ragtime to Boogie-Woogie7Jelly Roll MortonMorton as an ideal ragtime bandleaderAn excellent piano playerCreative and knowledgeable arrangerAnd a fair singerIn Morton, we see for the first time in jazz that the personality of performing musician is more important than the material contributed by the composerChapter 4 - Piano Styles: Ragtime to Boogie-Woogie8Ragtime and Dixieland Merge2 important changes resulted:1. The basic melodic concept of the rags was changedThe first melody became the verse, the 2nd and 3rd melodies were omitted and the 4th became a repeated chorus and the basis for improvisation2. The rhythmic accentuation to the rags was carried over into Dixieland JazzRhythm changed form a flat four to a two-four rhythmChapter 4 - Piano Styles: Ragtime to Boogie-Woogie9Ragtime Live OnRagtime is still played todayRecordings are available form several sources1. Recordings of ragtime played today on a tack piano2. Repressing of old master recordings3. Original recordings by old-timers like: Eubie BlakeChapter 4 - Piano Styles: Ragtime to Boogie-Woogie10Stride PianoThree basic differences between stride piano playing and ragtime:1. Stride players were not al all concerned with ragtime formthey played popular tunes of the day2. Original ragtime was a composed music.stride players were often very proficient improvisers and used this in their performance3. The feeling of stride music was intense stride pianists played faster and with much more drive than the relaxed players of ragtimeChapter 4 - Piano Styles: Ragtime to Boogie-Woogie11James P. Johnson (1891-1955)Famous stride pianistConsidered to be the “father of stride piano”Composer of the famous tune “Charleston”Chapter 4 - Piano Styles: Ragtime to Boogie-Woogie12Thomas “Fats” Waller (1904-1943)Made important contributions to the Stride piano styleStudent of James P. JohnsonMost entertaining and exciting stride piano playerChapter 4 - Piano Styles: Ragtime to Boogie-Woogie13Art Tatum (1909-1956)Most versatile piano player in the history of jazzStride pianistAlmost completely blindIntroduced advanced harmonies into jazzReceived a Grammy Award from the National Academy of Recording Arts and Sciences (1974)Chapter 4 - Piano Styles: Ragtime to Boogie-Woogie14Boogie-WoogieBoogie-woogie is another piano style important in the evolution of jazzA style of piano playing that came into prominence as early as 1930sRhythm is based on playing eight beats to the barChapter 4 - Piano Styles: Ragtime to Boogie-Woogie15Boogie-WoogieMost identifying feature is the eight beats to a bar that are played as an ostinatoOstinato is a melodic figure that recurs throughout the music in the bassTwo distinct methods of boogie-woogie playing:1. The left hand plays full, moving chords2. The left hand plays a walking bass line outlining chords in a melodic fashionIn both, the right hand is kept free for melodic interpretation or improvisationChapter 4 - Piano Styles: Ragtime to Boogie-Woogie16Boogie-WoogieBoogie-woogie has been called “8 over 4”The main feature of this style is rhythmic virtuosityThe left and right hand operate so independently that boogie-woogie often sounds like it is being performed by 2 pianists instead of oneChapter 4 - Piano Styles: Ragtime to Boogie-Woogie17The PlayersUsually played by untrained pianistsMany players could not read musicSo they simply listened and developed this full style of playingChapter 4 - Piano Styles: Ragtime to Boogie-Woogie18OriginThe boogie-woogie piano style developed from a guitar technique used in mining, logging, and turpentine camps using 3 guitars1st guitar pick out an improvised melody, 2nd guitar played the chords, 3rd guitar the bass lineTo imitate 3 guitars at one time, piano players had to develop a very full style the right hand play the melodic improvisation the left hand substitute for the other 2 guitarsChapter 4 - Piano Styles: Ragtime to Boogie-Woogie19Later DevelopmentsBoogie-woogie laid the groundwork for some later musical styles both inside and outside of jazzLeft hand rhythm is similar to the “shuffle rhythm” used later by rhythm and blues artists and early rock songwriters like Jim Croce (“Bad, Bad, Leroy Brown”)Revival of swing of the late 1990s like with Brian Setzer (“The Dirty Boogie” CD)