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33 Cards in this Set
- Front
- Back
John Coltrane
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--tenor sax
--complex chord progression, difficult to improv over --sheets of sound (scalar sweeps) --Coltrane changes (harmonic progression variation using substitute chords over common jazz chord progression) --exhaustive use of scale permutations including 4 & 5 note groups (tetratonic, pentatonic)(scales from other cultures. Re-ordered notes) |
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John Coltrane
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--played using a hard sound, harsh, intense
--highest range of saxophone --playing more than one notes at a time, adding different tone color using different fingers (mutiphonics, harmonics) --repopularized soprano sax -- “Classic Quartet” w/ McCoy Tyner (piano) and Elvin Jones (polyrhythmic drumming) and jimmy garrison (bass) |
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John Coltrane
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--long duration modal improvisations
--pedal point improvisations ( taking one central tone, rather than scale) --“late Trane”= free meter, coloristic approach, harmonic collage, additional saxophonis --free jazz summarized on “Ascension”and “Mediations” |
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Coltrane
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--born in NC, moved to Philly
--similar to Bichet's playing |
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Free Jazz (avant-garde)
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--a modernistic style of jazz exploring new methods that radically oppose existing traditions;
--rhythm-ambiguous pulse or several pulses at once instead of steady beat --harmony: dispensed harmony based on chords and scales--instead discovering harmony as musicians instinctively felt their way through a performance |
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Free Jazz
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--Melody: no longer relied on harmonic patterns and resolutions
--structure: free improv, rejected blues and songs, where energy or emotion of performance dictated overall shape --instrumentation: wide variety of instrumentation, from hand drums and woods flutes to cello and oboe --presentation: no longer entertainment, instead it could be witty, even funny, but it was serious, challenging music--requiring listener's full concentration --politics: entrenched in the increasingly militant racial and antiwar struggles--> assertive posture |
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Ornette Coleman
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--alto sax, violin, trumpet
--played with Don cherry (trumpet), Charlie Haden (bass), and Billy Higgins (drums), and Paul Bley (piano) --moved to NY --formed not determined by preset chord changes --can be determined by mood or spontaneous interaction w/in group --swing --uses tuning and temperament freely and subjectively on the sax with a high level of vocalization --strong influence of blues phrasing and gestures --instrumental 'soloing' and simultaneous improv by various horns --compositions first received more acceptance by jazz establishment than did his improv on alto sax |
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Ornette Coleman
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--elastic beat
--shifting tempos --self taught --head/solos/head format; rhythm section plays time (walking quarter notes) --no piano or guitar -- it also resembled bebop, melody with bunch of solos |
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Cecil Taylor
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--Pioneer free jazz pianist on east coast (from long island, NY)
--cycles of chord progressions --studied at New England Conservatory --influenced by classical music |
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Cecil Taylor
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--sounds like chaos
--small melodic motives offset by dense chordal textures --functional chords often replaced by clusters --frequent use of 'countermelodies' in solos and accompaniment --attention on density/texture/energy performances instead of melodic/chordal based soloing |
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Sun Ra (Herman Blount)
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--Keyboard player, pioneer in electronic keyboard and organs (synthesizer)
--led a free jazz collective, living communally --CHI->NY->PHI --collective free improv with an emphasis on unifying the sister arts of music, dance, poetry, and theatre |
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Bill Evans
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--early influences (including classical music, Tristano, Bud Powell)
--advanced and subtle use of harmony --early career w/Miles Davis: “Kind of Blue” --delicate touch, lyricism trio w/Scott LaFaro (bass) and Paul Motian: dialogue oriented, non-walking bass function, 1961 Village Vanguard recordings --huge influence on subsequent jazz pianists |
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Bill Evans
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--contemporary of Miles
--piano and flute |
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Herbie Hancock
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--pianist, bandleader
--early influences (Bill Evans and Oscar Peterson) --from CHI --w/ Miles Davis 1963-68 --“Maiden Voyage” (1965) --“Headhunters” fusion (1974) --synthesizers and funk music --(funk vs. jazz) |
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Keith Jarrett
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--pioneered solo piano concert and improvised off the top of his head
--early work with Charles Lloyd Quartet (1966-69) --solo piano in the 1970’s (ECM recordings):highly eclectic style, totally improvised solo concerts --American and European Quartets --“standards” trio (1980’s to the present) |
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Afro-Cuban jazz
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clave patterns--dividing subsequent measures into 2 and 3 parts
--Machito/Dizzy Gillespie/ Chano Pozo in the 1940’s --salsa music (including Puerto Rican influences) in the 1970’s |
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Bossa Nova
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rooted in Brazilian samba
--Antonio Carlos Jobim: the idiom’s most famous composer --popularized by Stan Getz in the early 1960’s |
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Jimmy Smith and the Hammond B-3 organ
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--B-3 organ could actually be mobile on road, amplification of keyboard, color of it
--jazz vs. R&B --brash, bluesy, and rocking |
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Jazz Rock Fusion
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Jazz, rock, R &B/Soul, World Music
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Jazz (Fusion)
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-swing feel
-virtuoso technique -advanced harmony -advanced linear concepts -walking bass lines -extended soloing -modal improv -AABA,AA' song form |
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Rock (Fusion)
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-electricity (volume)
-guitar as lead instrument -rock drumming -poetics -mod fashion -large performing venues -music as theater -music as protest -democratization of the bandstand |
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R&B/Soul Music (Fusion)
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-blue modality
-soul singing -blues guitar -accompanying guitar riff patterns -bass ostinatos -open form -Hammond Organ -funk drumming -gospel music harmonies and call and response |
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World Music: India (Fusion)
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-sitar, tablas, tambora, shanai
-microtonal melodies -drones=note or chord is continuously sounded throughout most or all of a piece -raga/tala improv -impact of Hindu religious traditions |
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World Music: Latin Music (Fusion)
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Afro-Cuban Music
-clave patterns -drumming techniques Bossa Nova and Brazilian music -samba rhythms -Brazilian percussion instruments -comping patterns -acoustic guitar techniques Sub Saharan African Music -polyrhythmic drumming and instrumentation -open forms -pentatonics -flute traditions |
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Miles Davis and fusion
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use of electric piano by 1967
studio methods --additional bass, keyboards, and drummers --post-production techniques --centered on bass ostinatos (motif or phrase, that persistently repeats in the same musical voice, usually at the same pitch) and rich textures all of the above summarized on “Bitches Brew” --tape splicing, effects added --no longer tune based, based on bass lines |
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The Tony Williams Lifetime
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--w/John McLaughlin and Larry Young (organ)
--fusion based on organ trio |
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Weather Report
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--texture oriented
--difference between soloing front line and backround instruments merged w/ Joe Zawinul, Wayne Shorter, Miroslav Vitous;w/ Jaco Pastorius-bass (late 70’s) |
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The Mahavishnu Orchestra
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John McLaughlin-- guitar player, complicated harmonics
--chords are not common for jazz --complex meter (Indian musical influences) |
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ECM recordings in the 1970’s
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--progessive record company whose musical orientation reflected the influences of the 60's modalism, the Bill Evans 'equal voiced' trio concept, European classical music, European and South American folk music, and free jazz improvisation. ECM recordings are notable for their acoustical character, often sounding as if they were recorded in a small concert hall
--recordings of Jan Garbarak, Keith Jarrett, Gary Burton, Ralph Towner, Chick Corea -popularized improv solo piano concerts |
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Wynton Marsalis and the “Young Lions”
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--retrospective examination of Miles legacy of the 1960’s quintet
--Ellington influences --trumpeter --eclectic --half-valving--pressing trumpet valves halfway down --making most of long phrases and high notes in his improvs |
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Neoclassicism in Jazz
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composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint
--emphasis on rhythm and on contrapuntal texture, an updated or expanded tonal harmony |
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Acoustic Jazz Extensions
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1. McCoy Tyner
2. Keith Jarrett American Quartet 3. Paul Motian small groups 4. Dave Liebman/Richie Beirach and Quest 5. Jack Dejohnette Special Edition 6. Dave Holland groups 7. Brad Mehldau Trio 8. Keith Jarrett Standards Trio 9. Joe Lovano 10. Big Bands (Thad Jones/Mel Lewis; Maria Schneider) |
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Neoclassicism
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--devotion to a canon of jazz musicians
--defining jazz by the work of certain artists and practices --tribute albums/repertory ensembles |