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The Big Band Era Beyond Classical Music 137 By the 1930s jazz bands were increasing in size and more emphasis was placed on written arrangements. “Swing” was the term used to describe syncopated ensemble arrangements, including written rhythmic passages for the winds and brasses called “riffs” or “shout choruses.” One of the earliest successful swing bands was led by arranger Fletcher Henderson. The sound of his band became a prototype for the flood of swing bands that would follow in the late ‘30s. Benny Goodman (1909–1986) had what might be regarded as the first nationally popular swing band, also known as a big band. His phenomenal success in 1935 officially started the “big band” era. Three years later, the Benny Goodman orchestra made history by being the first jazz ensemble to perform in Carnegie Hall. Goodman, an accomplished clarinetist, also set the standard for virtuosic jazz improvisation. After Benny Goodman, jazz soloists pursued a high degree of technical skill. Later big bands including those of Artie Shaw, Tommy and Jimmy Dorsey, Glenn Miller, Count Basie and many others featured jazz soloists of exceptional skill. The big band era was a watershed time for American instrumental musicians, the recording industry and the musicians’ labor movement. Individual artists made successful solo careers, including saxophonist Coleman Hawkins, and trumpeters Bunny Berigan and Harry James. Serious composers began to realize how good these musicians really were. Many collaborations resulted, including clarinet concertos by Aaron Copland for Benny Goodman, and by Igor Stravinsky for Woody Herman. World War II interrupted the big band era as many musicians went to war. After the war, some of the innocence in American society was gone. Many bands reassembled, but there were differences. For starters, musicians wanted to display their technical skills, which dictated that longer solo sections be included in jazz arrangements. Though this development was interesting, from a listening standpoint the extended “concert” versions of jazz arrangements made the music more difficult for dancing. The big bands of Woody Herman and Stan Kenton in the 1940s and ‘50s, though often used for dancing, were actually concert jazz orchestras that showcased extraordinarily skilled jazz improvisers. (Refer to the chart on page 138 for more detailed listing of jazz artists.) From Bebop to Cool School Some artists, such as saxophonist Charlie Parker and trumpeter Dizzy Gillespie, established a new style based on melodic and harmonic virtuosity. This style, called bebop, emphasized improvisational skill over all other musical attributes. Though successful as an art form, bebop drove away much of the audience that had been fans of the big bands. Therefore, just as serious musical trends in the twentieth century lost its popular audience, so jazz lost “market share” as the music became more complex and sophisticated. Most bebop groups were smaller than the big bands of the 1930s, though Dizzy Gillespie led several large jazz orchestras during the 1950s. The typical bebop ensemble was normally three to seven players, with bass, piano, drums, solo woodwinds and brasses, and perhaps a guitar. Bebop improvisational style was typified by highly complex, legato melodic lines improvised over sophisticated chord progressions. Melodic and harmonic ingenuity became the primary focus of the musicians; often the presence of an audience was almost irrelevant. Students of jazz during the 1950s studied improvisation with as much fervor and dedication as any musician of any other age. The desire to properly match improvised solos with a variety of chords led to discoveries of relationships between some chords and modal scales that had been used as far back as the Medieval period.
138 Chapter 11 Development of Jazz Year Stylistic Trend Characteristics Main Figures 1890 Cakewalk Dance form with syncopation. 1900 Ragtime Derived from the cakewalk. Scott Joplin, Tommy Turpin 1910 “Jass” Brass bands, piano, largely improvised. Jelly Roll Morton 1918 Dixieland Established rhythm section Joe “King” Oliver, of bass, piano, drums; first Louis Armstrong, great jazz soloists and records Jack Teagarden, Bix Beiderbecke 1923 Dance bands Increased size of wind and Fletcher Henderson, brass sections, strict written Don Redman, arrangements, some open Paul Whiteman, sections for improvisation. “Duke” Ellington 1935 “Swing” era More virtuosic soloists in Benny Goodman, or Big Band era the dance band structure. Artie Shaw, Count Basie, Tommy Dorsey, Jimmy Dorsey, Ben Webster, Coleman Hawkins, Harry James, Gene Krupa, Glenn Miller, Bunny Berigan, Buddy Rich 1945 Post-war Greater emphasis on concert Woody Herman, Stan Big Bands arrangements, extended solo Kenton, early Dizzy sections. Gillespie Bebop Emphasis on greater technical Charlie “Bird” Parker, facility, more improvisatory John Birks “Dizzy” freedom; smaller bands. Gillespie, Bud Powell 1950 Cool Jazz More introverted, personal Miles Davis, John style than bop, similar band Coltrane, Julian size. Simple arrangements, “Cannonball” Adderly, ample improvisatory freedom. Bill Evans, Stan Getz 1961 Progressive Jazz Experimental harmonic late John Coltrane, structures, improvisational Elvin Jones, Ornette styles; at times borders on atonal, aleatoric styles. Coleman, Stan Kenton 1970 Fusion Blending of jazz and rock Blood, Sweat, and elements, in both small group Tears, the group and big band settings. “Chicago,” late Cannonball Adderly, early Herbie Hancock, big bands of Buddy Rich and Woody Herman 1980 Misc. Marriages with jazz and Tower of Power, other styles, such as rhythm Pat Metheny, and blues, Latin, etc. Yellowjackets, Dave Grusin
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M usic to Your Ears An Introduction
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Contents Preface vii 1 What Is Musi
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7 Beethoven and the Transition to R
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Preface The purpose of this book is
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2 Chapter 1 that might have puzzled
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4 Chapter 1 Writings from the Greek
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6 Chapter 1 Figure 2 The treble cle
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8 Chapter 1 Often a musician will f
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10 Chapter 1 Key Terms adagio mezzo
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2 Musical Instruments Evidence exis
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saxophone Musical Instruments 15 ho
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Musical Instruments 17 musician to
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The Percussion Family timpani Music
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The Symphony Orchestra Percussion H
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Name Date Chapter 2 Review Musical
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26 Chapter 3 Gregorian Chant Gregor
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28 Chapter 3 requirements of the Ch
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30 Chapter 3 Summary residences at
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4 The Renaissance Music History Tim
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The Mass The Renaissance 35 Since b
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Listen to This The Renaissance 37 P
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Listen to This Track 4 Renaissance
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The Renaissance 41 of the dance ste
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5 Music of the Baroque The name Bar
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Music of the Baroque 47 chord progr
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Music of the Baroque 49 Astute read
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Music of the Baroque 51 special occ
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Music of the Baroque 53 sing. Occas
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Typical Fugue Exposition (4-part) M
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Name Date Chapter 5 Review Music of
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60 Chapter 6 The Piano governments
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62 Chapter 6 A. (statement) Twinkle
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64 Chapter 6 The Symphony First Mov
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66 Chapter 6 The Concerto The fourt
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68 Chapter 6 Composer Profile Wolfg
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70 Chapter 6 Summary Haydn’s symp
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7 Cultural Overview Beethoven and t
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Beethoven’s Music Beethoven and t
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Beethoven and the Transition to Rom
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Beethoven and the Transition to Rom
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Name Date Chapter 7 Review Beethove
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84 Chapter 8 Romantic Thinking The
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Page 101 and 102: 90 Chapter 8 Schumann began showing
Page 103 and 104: 92 Chapter 8 decline rapidly. He wa
Page 105 and 106: 94 Chapter 8 Composer Profile Franz
Page 108: Name Date 1. What is a lied? 2. Who
Page 111 and 112: 100 Chapter 9 characteristics an in
Page 113 and 114: 102 Chapter 9 the Nibelung. These o
Page 115 and 116: 104 Chapter 9 music drama as “a t
Page 117 and 118: 106 Chapter 9 Beethoven’s music s
Page 119 and 120: 108 Chapter 9 twenty years of her l
Page 121 and 122: 110 Chapter 9 Nationalism cycles he
Page 123 and 124: 112 Chapter 9 Composer Profile Anto
Page 126: Name Date Chapter 9 Review The Late
Page 129 and 130: 118 Chapter 10 Music History Timeli
Page 131 and 132: 120 Chapter 10 The Impressionistic
Page 133 and 134: 122 Chapter 10 2 4 7 9 11 1 3 5 6 8
Page 135 and 136: 124 Chapter 10 Music composed in th
Page 137 and 138: 126 Chapter 10 Spain pivotal works
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Page 146 and 147: 11 Introduction Beyond Classical Mu
Page 150 and 151: Beyond Classical Music 139 This aca
Page 152: Beyond Classical Music 141 was noth
Page 156 and 157: Glossary a cappella Vocal music tha
Page 158 and 159: Glossary 147 cadenza Unaccompanied,
Page 160 and 161: Glossary 149 country western Type o
Page 162 and 163: Glossary 151 fusion A type of jazz
Page 164 and 165: inversion Mirror image of a melody
Page 166 and 167: Glossary 155 Neo-Classical Strictly
Page 168 and 169: Glossary 157 pure music Music that
Page 170 and 171: Glossary 159 spiritual Sung by Afri
Page 172 and 173: Glossary 161 triple meter A metric
Page 174: Bibliographic References Apel, Will
Page 177 and 178: 166 Index chant, 25-27 character pi
Page 179 and 180: 168 Index Neo-Romantic, 118, 124 no
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