WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ
3.
You will hear two extracts of music, both performed by jazz ensembles. You may wish to place a tick in the box each time you hear the extract.
EXTRACT EXTRACT EXTRACT EXTRACT 5 EXTRACT EXTRACT 1 1 2 2 MINS 1 2
Answer questions (a-f) in relation to extract 1 only. Question (g) is a comparison of extract 1 with extract 2.
Each extract will be played 3 times with a 30 second pause between each playing, a 5 minute pause after the second playing of extract 2 and a 7 minute silence after the last playing for you to complete your answer.
You now have 30 seconds to read the questions. 20
WEST END BLUES PG. 1 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ
First, you will hear an extract taken from a piece recorded by Louis Armstrong and his hot five in 1928.
An outline of the structure of the extract is printed below.
Introduction First chorus Second chorus Third chorus Fourth chorus (cadenza)
Trumpet only Trumpet and Solo Clarinet Piano solo band Improvisation and voice with band improvisation with band
a. Describe the music played by the trumpet in the introduction [ 3 ] AO4 (cadenza) of the extract.
• Improvisatory • Wide range of the instrument • Arpeggios • Some scalic movement • Use of ‘blue’ notes • Chromatic • Syncopation • Monophonic (apart from last chord) • Virtuoso playing • Vibrato
WEST END BLUES PG. 2 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ
b. Identify the solo instrument that improvises during the second [ 1 ] AO3 chorus.
Trombone
c. State the name given to the style of singing heard in the third [ 1 ] AO3 chorus.
Scat
d. Tick √ two statements that best describe the rhythm section in [ 2 ] AO3 this extract.
Tick
The rhythm section is piano, bass and percussion
The rhythm section is piano, banjo and percussion √
The piano and banjo play simple comping chords √
There is a walking bass with piano chords
The drum kit uses the ride cymbal to provide a swing rhythm
WEST END BLUES PG. 3 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ
e. Describe the music heard in the piano solo in the fourth chorus [ 2 ] AO4 at the end of this extract.
• Stride piano style • Left hand leaps from low bass notes to high chords • Right hand virtuosic playing in a high register • Right hand playing in octaves • Wide stretches in left hand (intervals of a 10th) • Wide range of the piano used
f. Identify the musical structure that forms the basis of this [ 2 ] AO3 piece.
12 bar blues
WEST END BLUES PG. 4 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ
g. Next, you will hear an extract from ‘Billie’s bounce’ recorded [ 10 ] AO4 by Charlie Parker in 1945. Compare and contrast the stylistic features of this extract with those of extract 1. You may wish to discuss organisation of musical material, use of instrumentation/ musical resources or any other features of interest relating to the style.
An outline of the structure of the extract is printed below.
Intro Head Head Chorus one Chorus two Chorus three Chorus four Chorus five
(repeated) Improvisation Improvisation Improvisation Improvisation Improvisation
Soloist one Soloist one Soloist one Soloist one Soloist two
WEST END BLUES PG. 5 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ
Answers will present any correct and appropriate musical and stylistic features of extract 2, including observation of any possible comparison with extract 1
Both extracts: • 12 bar blues • Major key • Diatonic harmonies • improvisation • use of front line and rhythm section • introduction before ‘head’ • structure of introduction/head/solos • both have trumpet, piano and drums (percussion) • 4/4 time • Syncopation • ‘blue’ notes • Chords I, IV and V most common • Piano comping style • Solos for instrumentalists • Virtuosic style in solos
Differences in Extract 2: • Piano introduction of four bars (shorter than extract 1) • Head is played by two solo instruments with rhythm section (trumpet only in extract 1) • Instrumentation: Alto Saxophone, Trumpet, piano, double bass & drum kit • Be-bop style • Solo passages are faster and more virtuosic • ‘Head’ stated in unison/3rds/ and octaves by the two instruments • Melody is chromatic • Melody contains triplets • Solo section is longer (48 bars) instead of 12 • Length of solos allow for greater display of technical ability • Chords Vi and ii used as part of the blues chord sequence • ‘two note’ repeated idea in the head • Use of rests in the ‘head’ create syncopated feel • Lots of syncopation • Arpeggio figures in head and solos • Bass line follows step wise pattern • Use of diminished chords (sharpened 4th diminished) • Second inversion dominant chord • Mixolydian scale used in solos • Solos contain triplets • Solos contain arpeggio patterns • Solos contain scalic runs • Solos contain grace notes • Swing quavers used on cymbal PG. 6 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ
AO4
Use analytical and appraising skills to make evaluative and critical judgements about music
Band Criteria
5 9-10 marks • A highly perceptive answer which presents a highly convincing comparison of the extracts. • Material is structured effectively, including accurate use of appropriate musical vocabulary
4 7-8 marks • A convincing answer which presents a comparison of the extracts. • Material is structured effectively, including accurate use of appropriate musical vocabulary
3 5-6 marks • A generally secure answer, which presents some comparison of the extracts. • Material is not always well structured, and there is insufficient use of appropriate musical vocabulary
2 3-4 marks • An inconsistent answer, which presents a few comparisons of the extracts. • Material is not always well structured, and there is insufficient use of appropriate musical vocabulary
1 1-2 marks • A limited answer which presents few or no accurate comparisons of the extracts. • Material is not always well structured, and there is little or no use of appropriate musical vocabulary
0 0 marks • Response not worthy of credit
WEST END BLUES PG. 5