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Flashcards in Listening Test 2 Deck (10)
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Parker's mood

Charlie Parker
1948
12-bar-blues
Ornate lines
Shifting accents
Blend of harmonic sophistication and blues emotion
powerful introduction
phrases are slowed down enough to really be able to appreciate their complexities

1

April in Paris

Thelonius Monk
1947
Use of dissonance
Fragmentation of melody
Disjointed rhythm

2

Leap Frog

Charlie Parker and Dizzy Gillespie
1950
A-A-B-A
Entire performance improvised
Interaction between CP, DG, and Buddy Rich on drums

3

Get Happy

Bud Powell
1950
A-A-B-A (sort of)
Right hand dexterity
Cyclical harmony on bridge

4

Index

Dexter Gordon and Fats Navarro
1947
12- Bar Blues
DG on tenor sax is able to play many choruses with a continuous narrative
FN on trumpet has an approach to bebop that is considered more refined than Gillespies

5

Lullaby of Birdland

Sarah Vaughan
1954
SV's use of chromaticism, CLARITY of pitch
Clifford Brown on trumpet, very influential to other bebop trumpitist
Trading fours

6

Subconscience Lee

Lennie Tristano and Lee Konitz
1949
Straight even swing (drum brushes)
A-A-B-A
Long complex melody
Differences in phrasing and rhythm section

8

Speak Low

Chet Baker and Gerry Mulligan
1953
Pianoless ensemble
-really brings base lines forward in the comp.
Brushes on drums
CB's understated trumpet
GM's counter melody on baritone sax
All these factors bring together a very cool feeling that epitomizes the cool jazz era.
minimalist approach creates a very laid back feeling
-bari-sax, trumpet, drums, base
These pianoless quartets in this time period were based in California so they are also associated with "West Coast Jazz"


8

Improvisation

Stan Kenton
1952
Concert music
Interaction btw individual instruments and instrument choirs
Lee Konitz unique note choice
Free form imrovisation

9

Take Five

Dave Brubeck
1959
5/4 Vamp (Meter of 5)
Blues infused melody
Paul Desmond's breathy alto sax