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114 Cards in this Set
- Front
- Back
"Temp" refers to the ________ of the music. |
Speed |
|
A version of the trumpet with a mellower timbre and deep mouthpiece is called a |
Cornet |
|
A harmony consisting of three or more different pitches is called a ... |
triad |
|
A typical rhythm section in a jazz ensemble comprises... |
drums, piano, guitar and bass |
|
The interval on a piano from any key to the next key, above or below, of the same letter name is called a |
octave |
|
In addition to playing the roots to the harmonies, the string bass also |
provides an underlying rhythmic foundation |
|
In jazz terminology, "changes" refers to |
harmony |
|
Playing pitches with a great deal of flexibility, sliding infinitesimal fractions of a step for expressive purposes, is know as |
variable intonation, blue notes & bent notes |
|
A scale that is somewhere between a major and minor is called a |
Blues Scale |
|
The grouping of pulses (beats) into patterns of two, three, or more per bar is known as |
meter |
|
The most common meter used in jazz is |
duple |
|
The rhythmic contrast resulting from the simultaneous use of contrasting rhythms is known as |
polyrhythm |
|
The sound quality or "tone color" of an instrument is called |
a Timbre |
|
Timbre variation can be produced by |
changing the sound of the instrument |
|
When jazz bassists pluck the strings with their fingers, that technique is called |
pizzicato |
|
When musicians invent music in that space and moment, they are |
improvising |
|
Which are common brass instruments in jazz? |
trumpet and trombone |
|
Which instrument was originally in the rhythm section but is rarely encountered in jazz today? |
banjo |
|
Which of the following is a set of two drums, mounted on a stand, that are played with sticks instead of hands? |
Timbales |
|
_______ is the simultaneous sounding of pitches |
Harmony |
|
The composed portion of a small-combo jazz performance is a |
head |
|
A big band consists of three sections: |
brass, reeds and rhythms |
|
A break is an interruption of ______ texture by _______ texture |
homophonic; monophonic |
|
A short improvised passage by a drummer is known as a |
fill |
|
A statement by one musician or group of musicians immediately answered by another musician or group is known as |
call and response |
|
The chords played in the last few bars of a chorus, leading on to the next is called a |
turnaround |
|
In African music, improvisation happens within a repeated |
rhythmic cycle |
|
In a jazz ensemble, the "ride pattern" is played by the |
drummer |
|
Pop songs were originally written as a verse followed by a refrain. Musicians typically ______ the verse, _____________ the refrain as a cycle |
drop; repeating |
|
The "chorus" of a composition in a pop songs form |
thirty-two bars long, known as a refrain, and contains the central melody or tune |
|
The contrasting B section in pop song form is known as |
the bridge |
|
The phrases of thirty-two-bar pop songs form are best represented as |
AABA |
|
Thirty-two-bar pop songs form is made up of |
four eight-bar phrases |
|
Which chords or harmonies are used in twelve-bar blues? |
I, IV and V |
|
Which instrumentalist might drop "bombs" during a performance? |
drummer |
|
Some songs become popular over the years among jazz musicians because of their improvisational possibilities. These are called ___________ |
Standards |
|
Sections within the chorus are usually represented |
like basic melodies, with letters such as A, B and C |
|
_____________ can involve call and response, occurs when soloist exchange short improvised solos, and often occurs between the drummer and other soloists |
Trading fours |
|
African American folk poetry are the roots of what form of music |
Blues |
|
"March form" was widely used in the following genre: |
ratime |
|
A polyrhythm, featuring a meter of three superimposed on a meter of two is called a |
Secondary ragtime |
|
Among the African American dances that shocked and invigorated the country in the early twentieth century was |
the Charleston |
|
At the turn of the century, the term _________ meant, a type of song, a piano style and a syncopated dance |
ragtime |
|
By 1900, the syncopations of ragtime music had shifted from the banjo to the ... |
piano |
|
Country blues musicians change the timbre and pitch of their guitars by using |
bottlenecks |
|
Field hollers and work songs |
expressed the loneliness and hardship of American Americans |
|
Gerturde "Ma" Rainey was |
a vaudeville/classic blues artist |
|
John Philip Sousa, as well as inventing the sousaphone, composed many marches, including |
"The Stars and Stripes Forever" |
|
James Reese Europe was |
an accomplished black conductor and arranger active during WWI |
|
Scott Joplin's most famous composition is |
"Maple Leaf Rag" |
|
The blues had ______-line stanzas |
three |
|
What type of show reinforced many degrading stereotypes of African Americans, featured performers in blackface makeup and was established as early as the 1840's |
The minstrel show |
|
The popularity of the trumpet (cornet), clarinet, and trombone in jazz was due mostly to the influence of |
brass bands |
|
Vaudeville blues - also known as classic or urban blues - were performed on |
black theater circuits |
|
It was a form of composition first published in 1897, its "ragged" polyrhythmic syncopation contributed to jazz, and it consisted of multiple distinct melodic strains were are true about what type of music |
Ragtime |
|
Who is the best-known composer of ragtime music? |
Scott Joplin |
|
______________, known as the "Father of the Blues," was a cornet-playing bandleader who first heard the blues in a Mississippi train station |
W.C Handy |
|
"Dead man Blues" was recorded in 1926 by |
Jelly Roll Morton and His Red Hot Peppers |
|
Exaggerated glissandos were features of |
Tailgate trombone |
|
An exaggerated slur from one note to the next is a |
glissando |
|
Before 1800, New Orleans was owned by |
France and Spain |
|
Several instruments impovising their parts simultaneously; dense, polyphonic texture; and defining characteristic of New Orleans jazz is |
Collective improvisation |
|
A racially mixed people of color were |
Creoles |
|
One of the first jazz musicians to travel widely was |
Freddie Keppard |
|
A Creole musician, a pianist and led the Red Hot Peppers was |
Jelly Roll Morton |
|
A musician that played the cornet, was Louis Armstrong's mentor and moved his band from New Orleans to Chicago was |
Joe "King" Oliver |
|
A musician that was Creole, led the Onward Brass Band, and studied classical music with a focus on the cornet was |
Manuel Perez |
|
The first great jazz saxophone soloist was |
Sidney Bechet |
|
An area known as "the district", contributed to the development of jazz and was a precinct of saloons, cabarets, and bordellos as |
Storyville |
|
The Great Migrations was a response to the manpower shortage created by |
WWI |
|
The Original Dixieland Jazz Band was a _______ ethnic band |
white |
|
The ____________ was the first jazz band to be recorded, in 1917 |
Original Dixieland Jazz Band |
|
The instrumentation of New Orleans jazz derived from which two sources? |
brass bands and strings ensembles |
|
The trumpet (or cornet), trombone, and _________ constitute the front line of a New Orleans band |
clarinet |
|
When Louisiana and other southern states adopted the "Jim Crow" laws, the special privileges of the Creoles ended in the year |
1894 |
|
Which musician, whose career ended with his nervous breakdown in 1906, is generally acknowledged as the first important musician in jazz? |
Buddy Bolden |
|
Will Marion Cook discovered what famous jazz saxophone soloist |
Sidney Bechet |
|
Although its specialty was the finest in Harlem jazz, the Cotton Club refused to admit |
black patrons |
|
Among the great stride virtuosos of the 1920s was ______________, a pianist whose composition "Carolina Shout" became a test-piece for the New York elite |
James P. Johnson |
|
Among the jazz soloist added to the Paul Whiteman Band in the mid-1920's was |
Bix Beiderbecke |
|
Among the musicians hired by Fletcher Henderson in the 1920's was |
Louis Armstrong |
|
Bing Crosby's vocal style was inspired by |
Louis Armstrong |
|
Don Redman was |
an arranger |
|
Duke Ellington's compositions number |
over a thousand |
|
George Gershwin composed and performed |
Rhapsody in Blue |
|
How many notes does a pentatonic scale have? |
five |
|
Jazz nightlife was affected by the passage of the 18th Amendment to the Constitution, which |
prohibited the sale and manufacture of alcohol |
|
Jazz was transformed by the following technological advancements, new in the 1920's |
radio, electrical recording, and movies |
|
Paul Whiteman hired ___________ to be the full-time featured vocalist with his orchestra |
Bing Crosby |
|
Rhapsody in Blue's premiere, in 1924, featured |
the Paul Whiteman Orchestra |
|
A left-hand technique, alternating bass notes and chords defines what style |
Stride style |
|
The bandleader and composed Duke Ellington was also |
a songwriter, an arranger and a stride-piano player |
|
The center of the songwriting industry in New York was known colloquially as |
Tin Pan Alley |
|
This San Francisco bandleader was not famous, but he established the saxophone section as part of a jazz ensamble |
Art Hickman |
|
This bandleader, widely known as the "King of Jazz," was an early pop superstar who championed "symphonic jazz" |
Paul Whiteman |
|
Any musician employed by a bandleader is called a |
sideman |
|
A white cornet player from Iowa was |
Bix Beiderbecke |
|
Coleman Hawkins was an influential solist on the |
tenor sax |
|
During the 1920's, Louis Armstrong recorded with |
Sidney Bechet, Bessie Smith, and Early Hines |
|
In 1928, Armstrong recorded with this pianist from Pittsburgh, whose single-line improvisations matched his ability to create new melodic lines |
Earl Hines |
|
In addition to being a leading exponent of the "Chicago style," Frankie Trumbauer was |
a saxophonist whose delicate solos influenced later black soloists |
|
In his later years, _______________, had a number one ht single in 1964 ("Hello, Dolly!"), maintained his old-fashioned "grinning and shuffling" stage demeanor despite its uncomfortable connections to minstrel traditions, and shocked the establishment by protesting Orval Faubus's takeover of Central High School |
Louis Armstrong |
|
Louis Armstrong changed the way jazz musicians improvised by preforming with a _________________ that was quickly imitated |
rhythmic energy |
|
Louis Armstrong grew up in a |
poor neighborhood in New Orleans |
|
____________'s All Stars was a band that played in the New Orleans style that Armstrong played with and led for the last twenty-five years of his life |
Louis Armstrong |
|
The Hot Five and Hot Seven recordings are influential because they feature |
soloists and highlight individual expression |
|
Vocal improvistation that uses nonsense syllables instead of words is called |
scat-singing |
|
What did Louis Armstrong learn through his gig in the Mississippi riverboats? |
He improved his ability to read music, learned to adapt New Orleans-style improvisation to written arrangements, and learned songs outside the New Orleans repertory |
|
What was distinctive about Bix Beiderbeck's recording "Singin' the Blues" when it was recorded in 1927? |
It is a slow ballad |
|
When individual notes of a chord are played one after another it is called |
an arpeggio |
|
When the Swing Era began, in 1935, Louis Armstrong |
fronted his own big band and made dozens of hit records |
|
_____________ is considered by many the most important figure in the development of Jazz |
Louis Armstrong |
|
_________ was Louis Armstrong's nickname |
Satchmo |
|
__________ was known for his legato performance style |
Coleman Hawkins |