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72 Cards in this Set
- Front
- Back
Stride Piano
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a type of jazz playing derived from Ragtime. With greater speed than ragtime piano, stride combines left-hand accompaniment of altering bass notes and chords with tugging right hand that seems to pull at the left-hand rhythm to impart swing. Originated in Harlem.
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Ragtime
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An African American musical genre that flourished from the late 1890’s through the mid-1910’s. It is based on constant syncopation in the right hand and if often accompanied by a steady march bass in the left hand. Associated now primarily with piano music, ragtime was originally a method of performance that included syncopated songs, music for various ensembles, and arrangements of non-ragtime music. Scott Joplin was ragtime’s most famous composer.
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Arpeggio
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A melodic fragment based on the notes of the chord harmony and played in succession.
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Brass
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Instruments made from brass that mainly include Trumpet, Tuba, Trombone, the horn.
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Antiphony
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call-and-response
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Chart
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A common informal term for written music arrangement.
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Back-Phrasing
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A musical technique in which the singer momentarily delays the entry of a new phrase, in effect freeing the rhythm of a composition. Gives a loose feeling to the song as if the singer were delivering the song spontaneously.
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Chicago Jazz
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A type of New Orleans-style jazz created by the Chicago musicians in the 1920’s. Larger individual solo section.
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Collective Improvisation
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The term often applied to the simultaneous improvisation of the New Orleans (Dixieland) jazz ensemble.
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Comping
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The chordal accompaniment provided by pianists or guitarists in jazz bands. This accompaniment is often syncopated.
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Obbligato
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A complementary melodic part played at the same time as the main melody. In jazz, the obbligato part is usually improvised
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Creoles of Color
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People of mixed black and white ancestry, often from New Orleans. Until the late 19th century, they enjoyed more freedom and were better educated than the general black population. Musicians from this group generally had classical training and could read musical scores.
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Crescendo
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A gradual increase in volume of a musical passage.
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Diminuendo
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A gradual decrease in volume of a musical passage.
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Dropping bombs
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A technique in which bebop drummers used the bass drum to make sharp, irregular accents in the rhythmic accompaniment.
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Front line
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The lead (melody) instruments in early jazz bands. The front line usually included trumpet or cornet, trombone, and clarinet. Use of saxophone was a later development.
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Harlem Renaissance
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A period (1921 to 1929) of outstanding artistic activity among African Americans. The movement was centered in Harlem, in New York City.
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Harlem Stride
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Same as Stride Piano
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Head Arrangement
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A musical plan and form worked up verbally by the players in rehearsal or on the bandstand.
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Hollar
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A solo version of a work song. Usually contains only one vocals.
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Hot Bands
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Jazz bands that featured fast tempos and dramatic solo and group performances, usually with more improvisations than sweet bands.
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Sweet Bands
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Bands that played relatively less-syncopated, slower pieces, such as ballads and popular songs.
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Legato
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The technique if playing notes smoothly in a connected manner. The opposite of legato is staccato.
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Staccato
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The technique of playing short notes with distinct spaces between them.
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Library (book)
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A jazz bands collections of arrangements or pieces. These are usually song but may also include large-scale works. A library is necessary for big bands, but smaller groups may also have one.
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Lick
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A worked out melodic idea that fits a common chord progression.
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Minstrelsy
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A form of US musical theater and variety show that flourished in the 19th century. Traveling troupes performed songs, dances, and skits based on caricatures of African Americans. Performed by both blacks and whites in blackface, minstrelsy is often considered the first distinctively US musical genre.
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Motive
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A short melodic fragment used as the basis for improvisation or development.
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Mutes
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A device used to play in or over the bell of a brass instrument that alters the tone and timbre.
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New Orleans jazz
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The jazz style that originated in New Orleans and flourished in the late 1910’s and 1920’s. The New Orleans jazz band often had a front line of trumpet or cornet, trombone, and clarinet, accompanied by a rhythm section of piano, guitar or banjo, bass, and drums. Often called Dixieland Jazz. Collective improvisation.
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Piano Rolls
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Cylinders of rolled paper punched with holes. When fed through a properly equipped player piano, the holes activate hammers that play the piano automatically.
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Pitch
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the degree of highness or lowness of a tone.
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Polyrhythmic
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A rhythm that uses 2 or more rhythms at the same time.
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Race Record
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An early recording, usually of jazz or blues and typically performed by and marketed to African Americans
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Reharmonization
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The practice of inserting different chords into the fundamental chord structure of a well-known song to freshen the interpretation and expand harmonic options for the soloist.
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Riff
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A short melodic idea, usually one or two bars long, that is repeated as the core idea of a musical passage. Different bands sections sometimes trade riffs in a call-and-response format.
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Rent Party
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An informal gathering in the 1920’s, held to help raise money for rent or groceries. At these parties, musicians often gathered and performed, sometimes in competition with one another.
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Rhythm Section
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A part of a jazz band that provides the rhythmic pulse, harmonies, and the bass line. It may include any of the following: bass, drums, piano, or guitar. Early jazz bands sometimes included banjo and tuba in place of the guitar and bass.
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Ring Shout
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A rhythmic dance performed in a circular figure, originally derived from African religious practice. Worshipers moved in a counterclockwise direction while singing spirituals and accompanying themselves by clapping and stamping. Some historians describe the ring shout as contributing the essence of African song, dance, and spirit to African American music.
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Scat singing
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A jazz vocal style in which the soloist improvises using made-up or nonsense syllables.
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Speakeasy
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A prohibition-era nightclub in which liquor was sold illegally.
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Spirituals
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African America songs that arose in the 19th century and consisted of religious lyrics with fold melodies. They were often harmonized for a vocal choir.
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Stop Time
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The punctuation of distinct beats, often to accommodate a soloist’s improvisations between the bands chords.
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Tin Pan Alley
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The collective name applied to the major New York City sheet music publishers. Tin Pan Alley flourished from the late 1800’s until the mid-20th century.
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Swing
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Generic term for the jazz and much popular music of the mid 30’s through mid 40’s.
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Trading (twos, fours, eights)
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Improvisational jazz formats common since the swing era. In trading fours, for example, each soloist improvises for 2 bars before the next soloist takes over for 4 bars.
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Winds
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Most commonly used instruments in jazz bands. Divided in 2 sections called brass and reed. These include Clarinet, Saxophone, trumpet, trombone etc.
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Syncopation
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The unexpected accenting of a weaker melody node or offbeat. Displaces the accent, or emphasis, from an expected to an unexpected position.
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Tailgate trombone
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The New Orleans style of playing trombone with chromatic glissandos created by rapid up and down motion of the slide.
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Territory Band
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In the swing era, a band that played and toured a region around a major city that served as a home base.
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Vamp
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A repeating melodic or harmonic idea, often 1 to 4 bars long. Vamps can provide an introduction to a performance or a background to an improvisation.
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Walking Bass
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Musical feature in which the bass player plucks all 4 beats in a 4/4 bar. The bass lines often follow scale patterns, avoiding too many disruptive leaps between notes. Firmly established in the swing era.
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Crossover Music
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The practice of mixing musical styles and cultures.
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Ostinato
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A repeated melodic idea that forms the basis for section or entire composition. Persistently repeated in the same musical voice.
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West End Blues
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Louis Armstrong and his Hot Five
1928 Small band Jazz Scat singing, 12-bar blues format, marks the time when Armstrong comes back from New York. Recorded in Chicago. Musically traces out the whole great migration and how musicians were traveling back and forth from one city to another. Call-and-Response between voice and clarinet. |
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Buzzard Lope
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Georgia Sea Islanders
No date Ring Shout Poly-rhythmic. It is suppose to provide a proper burial for slaves. When slaves died, the slave owners did not provide a proper burial for the slave. Used music and memories of African traditions to right the wrong. |
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Won’t you tell me daddy how you want your Rollin’ done
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Johnny Shines
No Date Hollar Vibratos and bending notes. Songs about pleasures |
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Maple Leaf Rag – Scot Joplin
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1916
Ragtime Syncopated. First time a syncopated piece of music that was crossover music. It was in a written form and everyone who was able to read sheet music can play it. |
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Maple Leaf Rag – Jelly Roll Morton
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1938
Early Jazz Has a more swinging feel characteristic of jazz. There is more improvisation in this version that in the Joplin’s piece. Jelly Roll Morton tends to depart from the written piece and improvise. Played in a New Orleans Style. |
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This Train
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Elder Roma Wilson
No date Highly syncopated and repetitious. Call and response between vocals and harmonica. The train is a path to god and the music embodies this passage. |
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Tiger Rag
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Original Dixieland Jazz Band
1917 Early Jazz Dense Texture and breaks. Cornet carries the main melody while the whole band is playing. Trombone plays a countermelody while the clarinet plays an obbligato above the cornets. The first jazz recording and made the ODJB famous for it. There was over 100 covers of this song by the 1940’s. |
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Dippermouth Blues
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King Oliver’s Creole Jazz Band
1923 New Orleans Jazz 12-bar blues. 4-bar intro. Stop time. Collective improvisations. Use of mutes added a nice wah-wah effect to Olivers cornet. Simple 4/4 meter. |
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The Stampede
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Fletcher Henderson and his Orchestra
1926 Big band jazz Sectional Call-and-response. Stop time. Large solo sections. |
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Mary’s Idea
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Andy Kirk and his twelve clouds of Joy
1938 Swing Tempo kept in the high-hat. Dyanmics. Muted brass instruments. Written by a woman Mary Lou Williams. Repeated melodic phrases called a Vamp. Different melodies that fit well together. Muted instruments. There is a clear contrast between solos and full band sections. |
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Shoe Shine Boy
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Jones – Smith Incorporated (Count Basie)
1936 small band jazz Walking Bass, similar to stride-style piano intro, vamp, Rhythmic changes, call-and-response between all instruments, drum solo, Solo breaks. |
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Sepia Panorama
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Duke Ellington & his Orchestra
1940 Big Band Jazz Mix of 12-bar blues and 8-bar blues. Walking bass with upper register notes. Arch shaped song. ABC D1D2 CBA. |
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Salt Peanuts
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Dizzy Gillespie & his all Stars
1940's Bebop Walking Bass. Call and response between vocals and instruments. Very popular bebop tune. |
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Vi Vigor
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International Sweethearts of Rhythm
1940's Men were drafted into the army. Shortage of jazz bands allowed all-woman bands to gain more attention. Sometimes had trouble playing in the south due to jim crow laws. White band members would have to appear in black-face to perform on stage with the rest of the band. |
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Body and Soul - Coleman Hawkins
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1930's
Jazz Ballad Shows mutarity of colemans playing. Vertical improvisation. Use of full range on the instrument. Sound becomes edgier and louder towards the end creating climax. |
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Body and Soul - Billie Holiday
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1940's
Jazz Ballads Billie Holiday's interpretation of Coleman Hawkin's Body and Soul. Back phrasing. |
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I Got Rhythm
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Don Byas and Slam Stewart
1945 Bebop Reharmonized version of ethal waters song. Vertical improvisation. |
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Crazeology
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Charlie Parker
1947 bebop Composed by Benny Harris based on "I Got Rhythm" |