Chapter8
.pptx
School
Florida International University**We aren't endorsed by this school
Course
BUSINESS 2
Subject
Sociology
Date
Dec 17, 2024
Pages
32
Uploaded by ProfTurkeyMaster1024
Chapter 8 BopCopyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 2 The Shift to Bop, 1Bop jazz was sometimes called bebop or rebopBig bands were replaced by small combosNew, younger, players were replaced by those serving in the military
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 3 The Shift to Bop, 2Complexities of bop offered musicians a way to escape the commercialization of swing•Helped center the musical voice of jazz in the African American identity For Black musicians, bebop offered a voice to the racism they found in the military and in the defense plants
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 4 Bop: Changes, 1Not intended for dancingBrought changes in the repertoireThe listening audience was more eliteMusic was fast-paced and demanded execution on individual instruments
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 5 Bop: Changes, 2Complexity of bebop required more expertise from musiciansSolos were short and stylized with limited opportunities for improvisationQuintet was the favored setting among some musiciansRefer to Interactive Guide 6
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 6 The Developing Mainstream and The Jazz CanonView of the jazz musicians changed drastically in the bop period•Codified canon began to emerge in the late 1940sBop was the era from which many of the canon’s giants emerged•Set the framework for the developing jazz mainstream
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 7 Bop ArrangingNotations for bop bands were confined to unison lines for the melodic instrumentsFormat•The first chorus is played in unison, followed by the improvised choruses, and the unison chorus is played again•Choruses performed in unison had to be planned beforehand
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 8 Musical Expansion, 1Players used extended harmonies in improvised choruses•Ninth, eleventh, and thirteenth chords and beyond were used extensivelyUse of higher harmonics and complex harmonies became prevalent•New, more complex, chords were substituted for the simpler chords used in the standard tunes of the day
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 9 Musical Expansion, 2Musicians employed faster tempos•Often used sixteenth-note rhythms•Unusual phrasing idioms occurred in a series of eighth notes, where alternate notes were accented
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 10 Musical Expansion, 3There was increased tension in the music, which was caused by:•Tonal clashes•Fast tempos with complex rhythms•Unusual harmoniesChords of a standard tune were used as framework to compose a new melody •Listen to “Shaw ‘Nuff” on Spotify
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 11 Bop Rhythm Section, 1Drums•Bass and snare drums were used mainly for accents and punctuations•Spontaneous punctuations on the bass drum were called bombsPiano players changed the rhythm to syncopated chordal punctuations •Played to designate the chord changes, which added to the overall musical excitement
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 12 Bop Rhythm Section, 2Guitar•Became a melody instrumentString bass•Maintained the steady and rhythmic pulse of the beat•Bass players now played a new note almost every beat to create a walking bass line
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 13 Bop Rhythm Section, 3Individual members did not have to duplicate one another’s role Rhythm players from Cuba were included •Aided the pulse assigned to the bass players •Introduced new, improvised cross-rhythms
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 14 Bop: Important InnovatorsTrumpet player Dizzy Gillespie Alto saxophonist Charlie ParkerPianist Thelonious MonkDrummers Kenny Clarke and Max Roach
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 15 Dizzy Gillespie, 1Combined great technique with fresh thoughts and extensive harmonic knowledgeTrumpet playing was modeled on the talents of Roy EldridgeMost important record: “Things to Come” Photo: William P. Gottlieb/Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 16 Dizzy Gillespie, 2Made his first appearance as an arranger and composer in 1939 with Cab Calloway’s bandFormed the first actual bop band along with Oscar Pettiford in 1944•Worked in the clubs on Fifty-second Street in New YorkWas a leader, along with Charlie Parker, in the style of jazz that was labeled bop
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 17 Charlie “Yardbird” Parker, 1921 to 1955, 1Grew up in Kansas City listening to Lester Young and Buster SmithCame to New York in 1939 to search out jam sessions and for opportunities to listen and learn•Joined the Jay McShann band•Made his first solo recordings with the band
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 18 Charlie “Yardbird” Parker, 1921 to 1955, 2Got his first job as leader in 1944 at the spotlight club on New York’s Fifty-second Street Some of his most mature jazz statements •“Billie’s Bounce” •“Now’s the Time” •“KoKo” and “Meandering” •“Warming Up a Riff” and “Thriving from a Riff”
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 19 Charlie “Yardbird” Parker, 1921 to 1955, 3By continually working over his favorite tune, “Cherokee,” he developed melodic lines from the higher harmonics of the chordsUse of rhythmic nuances was his most impressive assetHad an impeccable ear and virtuosity on the alto saxophone
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 20 Charlie “Yardbird” Parker, 1921 to 1955, 4Melodically, rhythmically, and harmonically freed the solo aspect of jazzDrugs and alcohol problems destroyed his career Listen to “KoKo” on SpotifyPhoto: William P. Gottlieb/Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 21 Bud Powell, 1Pioneer in bop piano•Brought advanced technique and his harmonic acuity into the bop communityMember of the Fifty-second Street sceneHis improvisations may be considered classic bebop
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 22 Bud Powell, 2Known for his ability to play accurately at fast temposHis left-hand voicings were his major contribution to jazz piano playing •The choice of notes and the way they were voiced were fresh and innovative
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 23 Thelonious Monk, 1Talent and importance were not readily recognizedHis style developed into one of the most recognizable stylesMade his first recordings for Blue Note in 1947©Michael Ochs Archives/Getty Images
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 24 Thelonious Monk, 2Worked with Parker and Gillespie when he joined the house band at Minton’s Playhouse in Harlem Lost his Cabaret Card because of a narcotics charge and could not work in New York City•Began recording instead•Memorable recordings include “Brilliant Corners” and “Thelonious Monk with John Coltrane”
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 25 Thelonious Monk, 3An innovative pianist•Instead of playing variations, he either fragmented lines or elaborated on themBlended melodic lines with harmonies •Melodies and harmonies were fragmented with fewer, but distinctive, notesListen to “Bag’s Groove” on Spotify
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 26 J J JohnsonHad a smooth and clean style of playing Was influenced by Parker and Gillespie Leading influence for all trombonists that would follow
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 27 Bop and Progressive Big Bands, 1Large bands were labeled “progressive” when they used bop harmonic and melodic developmentsBilly Eckstine’s band•Featured many leading bop players in New York along with singers Sarah Vaughan and Billy Eckstine•Not much recorded documentation of the band can be found as it reached its peak during a record ban
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 28 Bop and Progressive Big Bands, 2Stan Kenton•Pianist•Influential pioneer in jazz•Never compromised art for the sake of commercialismBill Wagg/Redferns/Getty Images
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 29 Bop and Progressive Big Bands, 3Gillespie’s bop band•Incorporated African-Cuban rhythms •Chano Pozo was added to the band to bring Latin American and West African rhythms •Composed of both Black and White musicians•The band helped to relieve diplomatic tension in some parts of the world
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 30 Swing to Cubop, 1Latin jazz found a fertile connection with the jazz mainstream as bands became more progressive in scope•Gillespie’s “A Night in Tunisia” was a signature composition of the time Machito and Bauzá were continually in the center of the cubop and Latin jazz movement throughout the 1940s
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 31 Swing to Cubop, 2Afro-Cubans•One of the most important Latin jazz groups•Had a rhythm section similar to those in African American bands along with the Cuban repertoireLed to musical collaborations•Gillespie with Mario Bauzá •Stan Kenton with MachitoListen to “Manteca” on Spotify
Copyright © 2019 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.8 - 32 Tito PuenteCombined complex jazz harmonies in Latin arrangements and complex Latin rhythms in his jazz performancesPlayed Latin versions of jazz materials and mambos with a clear jazz swing•Introduced the vibraphone into the mamboListen to “Donna Lee” on Spotify©Bob Parent/Getty Images