UNIT II - HISTORY OF AFRO-AMERICAN MUSIC AND A SURVEY OF JAZZ STYLES
A. AUDIO-VISUAL MATERIALS: RECORDINGS USED IN UNIT II AND FILMSTRIPS
B. LESSONS
1. Music of West Africa
2. The Caribbean and the Deep South
3. POP Music in America, 1890-1930 (Filmstrip)
5. Vocal Blues Styles
6. Instrumental Blues Styles
8. Pop Music in Alnerica, 1930-1945 (Filmstrip)
9. The Big Band Royalty: the "King," the "Count," and the "Duke"
10. Bop and Cool J clZZ
11. Progressive and Avant-Garde Jazz
12. Review
13. Exam
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RECORDINGS AND FIL.\1STRlPS USED IN UNIT II
Lessons 1-2 African Music Folkways 8852 Best of Herbie Hancock Columbia JC' 36309 Negro Folk Music of Africa Folkways FE 4500 and America Sound of the Sun-Steel Band Nonesuch H- 2016 The Gospel Sound Columbia G 31086
Lesson 3 Pop Music in America EAV Filmstrips ~ 1 and 2
Lesson 4 Piano Rags by Scott Joplin Nonesuch H- 71248 Classic Jazz Piano Styles RCA Vintage Series LPV 543
Lesson 5. Take This Hammer - Leadbel1y Folkways SLP l7A The Bessie Smith Story - Volume 1 Columbia CL 855 Crying Time - Ray Charles ABC-Paramount 544
Lesson 6 The Original Dixieland Jazz Band RCA Vintasge Series LPV 547 Classic Jazz Piano Stvles RCA Vintasge Series LPV 543 An Anthology of British Blues Immediate Z12 52006
Lesson 7 George Gershwin Rhapsody in Blue Mercury SR 90002 Porgy and Bess Columbia OL 5410
Lesson 8 pop Music in America EAV Filmstrip #3
Lesson 9 The Great Benny Goodman Columbia CL 820 The Best of Basie Roulette SR 52081 The Best of Duke Ellington Historia H 621
Lesson 10 Dizzy Gillespie RCA Vintage Series LPV 530 Miles Davis - Birth of the Cool Capi tal DT 1974 The Greatest Jazz Concert Ever prestige PR 24024 (Dizzy Gillespie, Charlie Parker, Charles Mingus, Max Roach)
Lesson 11 Time OUt- Dave Brubeck Quartet Columbia CL 8192 The Heliocentric Worlds of Sun Ra ESP- 1014
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UNIT II - LESSON 1
AIM How does West Afr.ican music differ from traditional American folk music?
PERFORMANCE OBJECTIVES Students will be able to:
1. define and identify the following a-spects of West Afr ican music: responsorial singing, melodic and rhythmic ostinato patterns, metronomic sense of tempo, polyrhythmic use of percussion instruments, melismatic and
quarter tone singing style f shouting tone quali ty, ethnomus j,cologist. 2. contrast and compare differences between European style of melody and accompaniment to traditional African approach.
MOTIVATION
Refer to a map and ask students to name regions of Africa from where most Afro-Americans can trace their ancestry. Ask class which book and TV serial told the story of a man who was able to trace his family history using the folk legends he heard from his grandparents?" (Roots by Alex Haley) Point out that the black ciyil rights movement stimulated a great interest in the study of African culture in the 1960s and 70s. Explain that the musical examples which follow have great importance because of their influence on the entire development of jazz and rock and that American popular music now has world-wide influence due to advances in record ing-, TV and mov ies.
PROCEDURES
1. Terms and Definitions Write these terms and their definitions on the board and have students copy them into their notes. Reiterate when mentioned in discussion.
ethnomusicologis~ - scholar who studies the music of a given region improvisation - making up music as you go along • responsorial singing (call and response) - leader answered by a chorus melodic ostinato - repeated melody • rhythmic ostinato - repeated rhythm tempo - speed of beats • metronome - a clock-like device for producing beats at a variety of speeds • melisma and quarter tones - singing styles • polyrhythms - many different rhythms played at the same time
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2 (Play African Music, Band 4 (second half of band).] This is ceremonial music of a chieftain and his tribe. It was recorded by an ethnomusicologist. Ask: Which are the main stylistic characteristics? Responsorial singing - leader answered 0y a chorus Choral singing in harmony Short phrases repeated constantly (ostinato) although the leader tends to vary his part slightly each time and improvise changes. The chorus tends to repeat the same phrase. Multiple percussion instruments in the accompaniment - drums, rattles, sticks. Metronomic sense of tempo and pulse ~ - speed of beats Metronome - a clock-like device for producing beats at a variety of speeds from 40 to 208 per minute Singing tends to feature melismas and quarter tones Harsh, forced timbre in singing 3. (Play African Music, Band 6, Side 2.] This is an example of polyrhythms, the chief characteristic of African music. European music stresses harmony. Each drum plays this pattern separately. Drums have varying sizes and pitc~es. 4. [Play African Music, Band 5, Side 2.] This is a secret society dance song using the five drums heard in the last example. Ask: - >'ihichAfrican elements do you recognize? - What is the psychological state induced by the drums played over a lo~g period of time to the listener or dance.r in ::he' ceremony? (trance, , frenzy, ecstasy, fainting) 5. [Play an appropriate example to demonstrate improvising.] Improvisation is a main stylistic ingredient of West African nusic. Since there was_no written music, they had to make it up as they went along. European music has, since the Middle Agjjes, come to rely on written transcription of music. Contemporary example: fusion-disco-jazz. write this on the board and play Herbie Hancock's, d"Tell Everybody," listening for improvisation. Ask: How does disco use some of these elements?" (responsorial singing, melodic/rhythmic ostinato and a steady tempo)
POINTS FOR FURTHER DISCUSSION
How do these recordings differ from th·e traditional American and British folksongs heard in unit I?
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UNIT II - LESSON 2
AI~ How did West African music influence L~e music of the Caribbean and southern united States?
PERFORMANCE OBJECTIVES Students will be able to:
identify similarities between West African examples heard in previous lesson and New world examples. name Cariobean instruments which have African origins: maracas, c1aves, bongos, congas, marimba. discuss reasons why African music developed differently in the Caribbean from the Deep South in North America.
MGrIVATION
,Hold up maracas, claves, guiro and demonstrate. Ask class to name each instrument. use pictures if the instruments are not available. In the Caribbean, African istruments received new names. write these notes on the board and have students copy them into their notebooks. a) rattles became maracas b) sticks became claves c) drums became bongos, cOIlgas d) xylophone became marimba Music sung and played by persons of African descent in the islands of the Caribbean_and parts of Central and South America is often virtually indis~inguishable from West African music with the exception of the language used, whic.'lcoul& be a mixture of African dialect with Spanish, French, Dutch, Portuguese, or Englis'h (patois). Some of the reasons for the retention of African culture: - Isolation of the islands _ Africans formed the majority of the population on many islands; tribal and family units remained together, often working on large plantations under a few European overseers. _ The predominantly Catholic religion allowed for the inclusion of tribal gods as new saints. Many African religious customs, such as voodoo and other cults, continued to survive.
PROCEDURES write on the board all terms, definitions and recording$. Add descriptions.
1. [Play Example I - "Lucumi Songn - sung in Eastern Cuba by descendants of Yorubas from Nigeria. Play Side 2, Band 18 of Negro Folk Music of Africa and America.] Notice the po1ycythmic and responsorial elements. The refrain features two words very clearly - Buena Noce (Good 'Night - pronounced as Booehnah Nocheh from the Spanish).
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2. (play Example 2 - "Steel Drums of Trinidad" (see back of record jacket) Side 2, Band 6 (sounds like a stroshic lolksong).J In Trinidad (an island off the coast of Venezuela which has large oil refineries), island natives in search of rhythmic instruments (After drums and stick bands had been outlawed by the colonial government.) discovered that oil drums of various sizes and indentations made fine musical instruments when struck by rubber mallets. The soprano drum is dented to produce 32 different pitches. In addition, there are also alto, tenor and bass drums. 3. Why in general did black music in America not retain its Africanisms in as pure a form as in the Caribbean? (think of Roots) a) family and tribal units were systematically broken up; small plantations needed fewer workers b) blacks formed a minority of the population in many areas c) protestant missionaries introduced hymn tunes that were incorporated into black church service d) much closer relationship between black and white culture in the south and more repression 4. Example 3 - Spiritual - "Mississippi" [Play: Negro Folk Music of Africa and America Side 2, Band 23. (6)] This was recorded in an isolated country church in 1949 sung by old parishioners whose parents still remembered the times of slavery. Spiritual - early religious hymns sung by southern blacks. [Play: "My Name Has Been written Down" from Negro Folk Music of Africa and Amer ica.] a) Notice the responsorial singing. b) Since drums were not allowed by the authorities, the polyrhythmic accompaniment is created by hand clapping, footstamping, and fingersnapping. In this example, however, only hand clapping and foots~amping occurs. 5. Gospel style - (play: "Said I Wasn't Gonna Tell Nobody" from the Gospel Sound Side 3, Band 7 recorded 1960 by the Abyssinian Baptist Gospel Choir in New Yor k City (Har lem) .J a) Elicit similarities to African style. b) "Notice hand clapping, accompanying instruments." c) "What is the mood conveyed?" d) "How does the religious ecstasy compare to ceremonial music previously heard in lesson l?" (trance, frenzy, ecstasy, fainting)
POI~TS FOR FURTHER DISCUSSION
Which popular performers have been influenced by .this type of gospel singing? Many famous jazz, soul, and rock musicians began their musical careers singing in church. They then transferred this style ':0 their type of music. Examples: Black performers influenced by gospel singing: Aretha Franklin, Ray Charles, singers for Motown records. White performers influenced by gospel singing: Janis Joplin, Tom Jones, Elvis presley, Rolling Stones
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UNI'f II -, LESSON 3
AIM How did jazz develop in America from 1890-1930?
PERFORMANCE OBJECTIVES Students will be able to:
name early jazz styles such as: ragtime, blues, Dixieland, Tin-Pan Alley, and describe how jazz influenced popular songs. identify mechanical inventions which helped to spread the popularity of jazz such as: piano rolls, record player, radio, talking movies. identify the musical styles of Victor Herbert, Scott Joplin, Irving Berlin, Louis Armstrong, Stephen Foster, John Philip Sousa, George M. Cohan, George Gershwin, Original Dixieland Jazz Band, Bing Crosby, Al Jo1son, Paul Whiteman's Band, Rudee Valee. discuss sociological reasons for the development of popular music in America (World War I, Prohibition, flappers, automobiles, post-war prosperity and depression) .
MarI~TION: Mention that the two filmstrips show the background for the development of American popular music in this century. This development has worldwide influence.
PROCEDURES:
1. Show filmstrips I and II of EAV series Pop Music in the 20th Century. 2. Summar ize: filmstrips by the following chalkboard notes and have students copy these notes and discuss implication of technologicaT and societal changes resulting from the items listed below.
Musical Influences 1890-1930
a. John Philip Sousa ••••••••••••••••. marches b. S tefhen Foster •.•••••.••••••.••••• ballads show Afro-Amer ican influence c. Tin Pan Alley ••••.•••••••••••••••• song publishers
d. pianola (player piano) •• 0 ••• 0 ••••• piano rolls e. Scott Joplin •.•..••.•.•••••••••.•. rags f. Irving Berlin ••..•.•.••..•..•.•.•• "Alexander 's Ragtime Band" g. ragtime dances •..•..•••..••.•••.•• Castle Walk, Charleston, Black-bottom h. Victor Herbert •••.•••.•••••••...•• operettas i. George M. Cohan ••••••••••••••.•••• war songs j. victrola (record player) •••••••.•• 78 rpm records
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k. original Dixieland Jazz Band •..•... ragtime, blues :
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UNIT II - LESSON 4
AIM How did ragtime synthesize European and African musical styles?
PERFORMANCE OBJECTIVES Students will be able to:
define the fOllowing terms: ragtime, syncopation, bass, afterbeat, slide piano, cutting contest, technique identify prominent ragtime and stride pianists such as Scott Joplin, Jelly Roll Morton, Eubie Blake, Fats Waller recognize elements listed in *1 recorded examples
MOTIVATION (Playa short excerpt of "The Entertainer."] Ask students to identify the style, composer, title, and movie which popularized this selection. (The Sting). Use the piano or recording. Piano Rags by Scott Joplin-Side 1. Band 2.
PROCEDURES
1. Wr ite the following terms on the board and add the br ief definitions as the terms appear in the lesson. Have students copy them into their notebooks. -ragtime = piano jazz style in 2/4 or 4/4 timer earliest written jazz -syncopation - accenting the weak beats -bass - l~west sounding note on the downbeat ~afterbeat - upbeat -stride piano - action the left hand makes alternating between a low note and a chord -cutting contest - piano competition held to raise rent money ~technique - finger dexterity 2. Define ragtime - a piano jazz style in 2/4 or 4/4 time in which the bass part or accompaniment maintains the basic pulse and the treble or melody is syncopated. a) Mention that this style was the earliest written form of jazz; was popularized by piano rolls (forerunners of recordings); melodies were derived from marching band music and European - American dances such as the polka, quadrille and schottischee b) It had a great impact on development of American popular music (Tin Pan alley, Broadway shows).
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9. Define syncopation - a rhythmic device of stressing a weak beat, accenting notes in between beats or omitting normally stro!.g beats. (Although it '.vas used in European music, it is a feature of African music. Demonstr ate syncopa tion - page 2 or 3 of the Maple Leaf Rag is a good choice. Show the basic bass note and afterbeat left hand accompaniment patterns occurring on the regular beat and the syncopated right hand, or have the class count or clap 1-2-3-4 but accent or emphasize the numbers 2 and 4. 4. (Play Maple Leaf Rag (1899) either as a piano solo or on Piano Rags Side 1, Band 2, Scott Joplin's most famous rag.] Ragtime had a rather low-class origin, evolving in saloons, houses of ill-repute (sporting houses of New Orlean's red light district "Storyville." 5. Another famous ragtime pianist from New Orleans was Jelly Roll Morton. Eubie Blake at 97 was the subject of a recent Broadway show called "Eubie" which featured his rags. 6. A post-ragtime pianist was Fats Waller. The show Ain't Misbehavin' featured on Broadway is based on his music. waller had a prOdigious piano technique. He exemplified a style known as stride piano. Waller perfected his stride piano technique in cutting contests which 'Here informal piano competitions held in black neighborhoods in rent-party sessions. A party was held to raise money to pay the rent; the piano winner usually received a free dinner. "Fats" must have won lots of contests. (technique - finger dexterity) 7. [Play Jazz Piano Styles Side 1, Band 4, Handful of Keys by Fats Waller (see back of record jacket).J 8. Make a list on the chalkboard of the players and composers of ragtime mentioned in this lesson. Add descriptions. Ragtime composers and performers: - Scott Joplin - "The Entertainer," "Maple Leaf Rag" - Jelly Roll Morton Eubie Blake d) - Fats Waller - "Handful of Keys" - stride piano
POINTS FOR FURTHER DISCUSSION
How did ragtime and stride piano combine European and African elements?
European African
1. written - not purely improvised 1. syncopation or jazzing 2. used piano and traditional piano 2. some improvisation technique 3. played by performers of 3. 8 and 16 bar phrases Afr ican lineage 4. Melodies based on marches, dances and popular songs
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UNIT II - LESSON S
.1\IM How did "blues" 'influence the American popular song?
PERFORMANCE OBJECTIVES Students will be able to:
define the following musical characteristics of blues: 12 bar stanza, AAB rhymed verse structure and melody, improvised breaks within each 4-bar phrase, blue notes, blues progression and scale name blues performers such as Leadbelly, Bessie Smith, Louis Armstrong, Ray Charles differentiate between country, city and contemporary blues styles heard in class and identify the accompanying instruments used contrast European and African elements of blues
MOTIVATION Which styles of popular music use blues elements? (jazz, rock, soul, disco, folk, even "classical" composers)
PROCEDURES:
Write on the board all terms, recordings and performers for class notes. Add descriptions.
1. We ite the following terms on the board and define them as they appear in the lesson. Have students copy them into their notebo.oks.
a) 12 bar stanza - see diagram below I b) AAB structure - a repeated melody (AA) followed by a contrasting melody c) break - short jazz solo d) blue note - the lowered 3rd, 5th or 7th notes of the scale e) blues progression - the movement of chords f) blues scale - a scale containing the lowered 3i~, 5th and 7th notes 2. (Play examples of country blues usually sung by male farm workers and itinerant laborers. Leadbelly (Huddie Ledbetter) - "Take This Hammer"] 3. Ask: How is each stanza of blues constructed? Place diagram on chalkboard (can elicit musical elements in addition) •
12-Bar Stanza
I (chord) / I I I I I7 4 Verse A g 4 I I I (Break) IV7 I IV7 I I I I 4 Ver se A 4 I I I (Break) ~ V7 V7 I I 7 4 V Verse B (Break) : I. 4 ~
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':.~ -'- ..":',-;:: 47
a) Break - short improvised jazz interlude b) Harmonies used in blues are derived trom traditional Protestant church hymns. Play blues progression on piano. 4. "Why do blues tend to sound so melancholy?" The blues scale - lowers the third, seventh, and sometimes the fifth steps of the major scale melodically but not always harmonically. Thi3 creates a clash of sound between the melody and harmony called the "blue note" effect.
(OPTIONAL) To be placed on the board for notes.
aBO [) 15G 0 4~obe JY -::zI-yrr: r :::r: JI :::rrr.. y
5. Blue note - The lowered 3rd, 5th or 7th notes of the scale in the presence of the natural 3rd, 5th or 7th scale notes. 6. City Blues were early commercial blues recordings to be played at 78 revolutions per minute. This style is also known as Classic Blues and was usually sung by women in speakeasys (nightclubs serving illegal liquor during Prohibition) and vaudeville shows. a) (Play "Bessie Smith Story," Side 1, Band 5 of Reckless Blues (recorded 1925) .J b) Ask: Which instruments accompanied Bessie Smith? (Muted trumpet played by Louis Armstrong, born in New Orleans in 1900, who began playing in streetbands, lived many years in Corona, just off Northern BLVd. before his death in 1970.) What is a mute? wnat does it do to the sound? (Also Harmonium - a small portable organ.) How does Louis Armstrong's improvisation of the breaks reflect Bessie Smith's word? (seems to speak on the trumpet - vocal s'Lyle) How is this representative of an African musical characteristic? (responsorial or call and response) 7. Contemorarv Jazz - Soul Blues Play Ray Charles 1970 recording of Drifting 81ues (Side 2 Band 1) Ask: Which instruments accompany Ray Charles? (guitar, bass, drums, piano, singer s) 8. The Blues has influenced development of rock and all forms of jazz. It is an easy structure for improvisation.
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POINTS FOR FURTHER DISCUSSION
Contrast European· and African elements in blues.
Europea~ African
1. s trOphic song form (all the words 1. responsorial are sung to the same music) 2. syncopation 2. syllabic setting 3. blue notes, blues scale 3. basic harmonic structure 4. singing style 4. instruments
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UNIT II - LESSON 6
,~:::~How did blues influence the development of instrumental jazz styles?
?SRFORMANCE OBJECTIVES Students will be able to:
define the following styles and terms: Dixieland, polyphony, di3sonance, boogie-woogie, ostinato bass, piano fourhands, British blues, lead guitar, rhythm guitar. identify the following performers by their recorded examples: Original Dixieland Jazz Band, Albert Ammons and Pete Johnson, Eric Clapton and Jimmy Page. name the instruments appropriate to each style.
~OTIVATION
As class enters play an excerpt of Tiger Rag by original Dixieland Jazz Band (Record IV - Side 1, Band 3 - recorded 1918) ~ Ask students to name the style and instrumentation (cornet, clarinet, trombone, piano, drums) and to tell.where it originated. (New Orleans - moved to Chicago - then to New YorK). See history on back of record jacket. Recorded on wax cylinders.
?ROCEDURES: write on the board all terms, definitions and recordings. Add descr iptions.
Terms -Dixieland -polyphony -dissonance -boogie- woogie -ostinato bass -?iano four hands -or itish B1 ues -lead guitar -rhythm guitar
1. Place th~ list of terms on the board for class notes and add a definition of each term as it appears in the lesson.
2. As musical selections are played for the class list on the board the artists and the title of each selection.
Artists Comoositions
a) The Original Dixieland Jazz Band Tiger Rag Livery Stable Blues ~ Albert _~mons/Pete Johnson Boogie woogie Man £L Eric Clapton/Jirnmy Page Snake Dr i'Je
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2. [Play example of Dixieland blues - Original Dixieland Jazz Band (Side 1 Band 1 of Livery Stable Blues, recorded 1917) .J Ask: Which animals do the instruments imitate? (rooster-clarinet, horse-cornet, donkey-trombone). Define: Dixieland - a ,ragtime polyphonic jazz style featur ing group improvisation (1900-1928) POlyphony - simultaneous use of independent melodies Dissonance - simultaneous sounding of clashing sounds 3. [Play "Boogie Woogie Man," (Classic Jazz Piano Styles, Band 7) played by Albert Ammons playing the ostinato bass and Pete Johnson improvising the treble (piano four hands - two performers at one piano).J Boogie-Woogie - a blues piano style featuring continuous syncopated melody improvised over a 12 bar ostinato bass pattern. 4. British Blues - played by British blues and rock performers such as: John Mayall, Eric Clapton, Jimmy Page of Led zeppelin, Mick Jagger of Rolling Stones. The Beatles rediscovered instrumental and vocal blues in the 1~60s by listening to B.B. King, Chuck Berry, Muddy Waters and many other blues performers. [play "Snake Drive" Side 1 Band 2 from Anthology of British Blues. Er ic Clapton - lead guitar plays melody. Jimmy Page - rhvthm .9:uitar- plays harmony.
Ask: How does this amplified gui tar example compare wi th the piano boogie-woogie exampl~ heard earlier?
Blues also influenced swing band arrangements and bop jazz styles which w~ll be heard in class at a later date.
POINTS FOR FURTHER DISCUSSION
Why was blues so popular with jazz and rock performers? (It provided definite structure for improvisation - infinite possibilities; also it is fun to play.)
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UNIT II - LESSON 7
':'II~ How did George Gershwin create a synthesis of European romantic music and Amer ican jazz?
PERFO~~NCE OBJECTIVES Students will be able to:
define the following terms: rhapsody, concerto, glissando, mute, opera, libretto, aria. identify various themes of Rhapsodv in Blue and Porgy and Bess. iist European and American components of Gershwin's style.
MorIVATION Play opening of Rhapsody in Blue (1924). Ask students to name the composer and the work, the instrument playing the glissando and the muted solo that follows. (Gershwin, Rhapsody in Blue, clarinet - glissando, trumpet - muted solo)
PROCEDURES
1. Give a brief biography of Gershwin (1898 - 1937): born in Brooklyn of Russian-Jewish parents; began his career as a Tin Pan Alley song plugger; he seriously studied classical composition; he had many successful Broadway shows and pop songs with his brother Ira as the lyricist. Rhapsody was performed by Gershwin playing piano accompanied by Paul w~iteman's band; strings were added later. This work was a milestone since it made jazz an accepted pprt of the "legitimate" concert scene and inspired other European and American classically trained composers to include jazz elements in their compositions. 2. Define: rhapsody - a composition of a free, fanciful or improvisatory character (for orchestra) concerto - a co~position and solo instrument glissando - a rapid Sliding change of pitch mute - a device for muffling or changing sound 3. Play other portions of Rhapsody in Blue especially second theme section. 4. Ask: What is jazzy about it? Not jazzy? 5. Mention other symphonic works of Gershwin such as American in Paris, Piano Concerto in F. 6. Gershwin was also famous for his songs. Ask class to name some of them such as: "Swanee," "Fascinating Rhythm," "The Man I Love," Funny Face," "Embraceable You," "I Got Rhythm," "Strike up the Band." Some of his shows were: Girl Crazy, Of Thee I Sing, Strike up the Band. 7. His most famous composition was a jazz folk opera Porgy and Bess, (1935) with a libretto by DuBose Heyward and lyrics by Ira Gershwin.
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80 Define: oper a - a dr ama with scen ery and acting wh ich is sung to orchestral accompaniment aria - a composition for solo voice with accompaniment libretto - the text of an opera (Place these terms on the board.) 9. Review story of Porgy and Bess and describe main characters. Elicit from class: Porgy (cr.ipple), Bess (prostitute), Crown (escaped convict) , Sportin' Life (heroin dealer). Ask: Who portrayed these characters in the movies? 10. [Play: "I Got Plenty of Nothin."] Ask: Why would these words have had such great significance during the Depression? 11. Also play "Summertime;" "Bess, You Is My Homan NOW"; "It Ain't Necessarily Soo" 12. Have students enter the following in their notebooks: George Gershwin composed the following: a) Rhapsody in Blue (starts with a glissando) b)American in Paris c)Piano Concerto in F d)Many Broadway show songs e)Porgy and Bess (a jazz folk opera)
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UNIT II - LESSON 8
_:"1:1HoW did popular music develop from 1930-1945?
?ERFORMANCE OBJECTIVES Students will be able to:
name major performing groups and personalities of the swing Era. discuss reasons for the popularity and decline of swing.
~arIVATION History of pop Music in America (filmstrip ~13)
PRCCEDURES 1. filmstr ip (list major items on the board) 2. from Dixieland to Swing syles (discuss instrumentation) 3. outstanding Performers -Benny Goodman -Earl Hines -Duke Ellington -Count Basie -Fletcher Henderson -Harry James -Lionel Hampton -Artie Shaw -TOmmy and Jimmy dorsey -Cab Cal_loway -Xavier Cuga t -Glenn Miller -Perry Como -Frank Sinatra 4. arrangements 5. ballrooms, movie theatres 6.- dance cr azes 7. radio and disc jockeys 8. Benny Goodman'S quintet 9. Decline of swing 10. Broadway musicals - Oklahoma - Richard Rodgers
POINTS FOR FURTHER DISCUSSION
wnich of the above are still popular today?
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UNIT II - LESSON 9
AI~ How did the big bands commercialize swing?
PERFORMANCE OBJECTIVES Students will be able to:
define the following terms: swing, arrangement, reed section, brass Section, rhythm section, break, and riff. differentiate between the "King" Benny Goodman, the "Count" Basie, and the "Duke" Ellington and their bands based on representative recorded examples.
MOTIVATION As class enters and attendance is being taken play "Let's Dance" (Record 11 - Side 1, Band 1) from The Great Benny Goodman. Ask class which band is playing? Mention that Benny Goodman was known as the "King of Swing.~ This song was the theme of his Benny Goodman radio show.
PROCEDURES
1. Play "King Porter Stomp" (1937), record 11 Side 1 Band 4 from The Great Benny Goodman. Ask students to listen for the instrumentation and soloists. The word "stompN came from the practice of the leader stomping his foot to set the tempo. - place these definitions on the board for class notes. Include all . . recordings, titles and artists. Add descriptions. Define: a) Brass sections - trumpets and trombones b) Reed section - saxophones (alto, tenor, baritone) c) Rhythm section - piano, guitar, bass, drums d) Arrangement - composition for dance band in which solo improvised passages are pr esented with in a predictable written framework (Fletcher) Henderson was a famous jazz arranger). e) Break - improvised solo passages f) Riff - ostinato ensemble pattern g) swing - dance music played by big jazz bands in the 1930s The Benny Goodman band featured famous soloists: Benny - clarinet Gene Krupa - drums Harry James - trumpet Lionel Hampton - vibraphone There is a strong call and response element in these arrangements.
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2. Count Basie's band featured an energetic, hard-driving, percussive style, featuring high trumpets, strong brass riffs and a style of jazz phrasing still used by jazz players today. Play "Jumoing at the Hoodside" (1938) from The Best of Basie (record 12 - Side 1, Band 1. The woodside was the hotel where the band performed. Count Basie on the piano sets the basic ostinato pattern of this blues-derived composition which features trumpet and tenor sax solos. (If time permits - "Swinqin' the Blues" (1938) (Side 2, Band 6) is also 'excellent. 3. Duke Ellingto.n has great talent for orchestration and tone color, beautiful melodies, adventurous harmonies, dynamic contrasts and artistic arrangements. In his later years he composed large symphonic and choral works. (Play "Take the "A" Train" (1941) (record 13 - Side 2, Band 6 of The Best of Duke Ellington), one of his most famous recordings. "Which swing band effects can we pick out in this composition?" [If time permits play Black and Tan Fantasy (1927) (Side 1, Band 2) for black speech inflections of the muted trumpet and trombone solos.} The dialogue ends with a quotation from Chopin's funeral march.
POINTS FOR FURTHER DISCUSSION:
Why did swing bands have such great commercial appeal? (danceab1e, outstanding soloists, good arrangements, disciplined ensemble playing, singable melodies, promoted commercially on radio, recordings, and movies)
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UNIT II - LESSON 10
AIM How did jazz change after World War II?
PERFORMANCE OBJECTIVES Students will be able_ to:
define the following terms: combo, scat singing, bopp cool, vibrato contrast and compare bop and cool styles and the musical and cultural philosophies they represented identify major performers of the above styles such as Dizzy Gillespie, Charlie "Bird" Parker, Bud Powell, Charles Mingus, Max Roach, Miles Davis, Gerrv Mulligan. List instrumentation used in the bop and cool examples heard in class.
MarI VAT ION Play Dizzy Gillespie Night In Tunisia (Side 1, Band 4) as attendance is being taken. (Some consider it the "bepop" anthem). Ask if any can identify the style and performer.
PROCEDURES
10 List these terms on the board and provide brief definitions as the terms appear in the lesson. Have students copy this for their class notes. combo - a small jazz group ~ - jazz style of the late 40s and 50s; listener oriented rather than dance mus ic • scat singing - vocal improvising on nonsense syllables cool - post bop jazz style; more intimate sound; much use of vibrato vibrato - a slight wavering of pitch used to increase the emotional quality of a tone 2. Mention that as swing grew more and more commercial and declined during worl~ War II, radical jazz musicians showed their disdain for corr~ercial success by reaching for new forms of artistic expression. Small combos
replaced the big bandso In ~ new rhythms replaced the older four and eight beat patterns, melodies became more florid and complex, harmonies more dissonant and strange. It became listener oriented rather than dance music. It developed in Harlem jazz clubs during world War II~ also was influenced by the Basie style. Bop was an aggressive rejection of middle class values, incorporating many aspects of lower class black ghetto culture and language. Boppers represented a sub-culture with its own distinctive dress: goatee, beret, "shades," zootsuit, and language ("cool cat," "dig," "hip," "bread," "split," "gig," "man."). a) Play "I'll Be Boppin' Too" (1948) (Side 2 Band 6) with Dizzy Gillespie on vocals and trumpet.
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b) [Play "Ool-Ya-Koo" (1947) (Side 2 Band 4) which features scat singing, a vocal improvising on nonsense ·syl1ables.] Oldec jazz styles also used this effect. Modern scat singecs include Ella Fitzgerald and Sarah Vaughn.]
Gillespie I s trumpet style featured a vir tuoso, highly flor id technique emphasizing the upper range of the instruments. While older jazz styles used mainly quarters and eighths, bop improvisation consisted of sixteenths and thirty-second notes. c) (Play "Salt Peanuts" (1953) from the The Greatest Jazz Concert Ever (Side ::..,Band 2).1 This sele<::tion features an a11-stac bop combo (small jazz ensemble) of: Charlie "Bird" Parker - alto saz (also considered the founder of bop) Dizzy Gillespie - trumpet Bud Powell - piano Charles Mingus - bass Max Roach - drums d) Parker announces this virtuoso display of bop improvisation in '"hich each takes turns improvising lengthy solos. e) Notice the verbal repartee and inside jokes among the performers. f) Roach's drum style featured a fast 4/4 played on the cide cymbal using the rest of the drum set for punctuation and accentuation. 3. Cool Jazz - post bop jazz style featuring a more intimate sound; a pure vibrato-less sound (vibrato - a slight wavering of pitch used to increase the emotional quality of a tone); novel instrumentation arranged in new sonorities; complex harmonies (9th, 11th, and 13th chords). Mood created was detached, serene, cerebral, and relaxed, almost an exact opposite from the frenetic energy of bop. Miles Davis was credited with originating this style. In this historic recording, he plays with a sophisticated group of highly educated jazz musicians. This integrated nine man combo, featured Miles Dav is on trumpet (then only 22 year sold); trumpet, trombone, French horn (Gunther Schuller), tuba; alto sax (Lee Konitz) baritone sax (Gerry Mulligan-only 21) piano (John Lewis, who founded the Modern Jazz Quintet), bass, and Max Roach (changing styles) on drums. a) (Play "Moon Dreams" (1950) from Birth of the Cool (Record 13 - Side 1 Band 3) .J Notice the chamber enserr~le effect of this organized composition with its novel harmonic effects and tone colors. Solos are short and integrated into the overall structure as opposed to bop which featured very lengthy solos. b) (Play (if time permits) "Deception" (1950) (Side 1, Band 6) for a Miles Davis solo {trumpet).J
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POINTS FOR FURTHER DISCUSSION
How do both these styles represent a revolt against the commer:cialism of swing? List the important artists and compositions. Add descriptions. ~ Be-bop Jazz Style Dizzy Gillespie: I'm Be-Bopcin' Too Ool-Ya-Koo Gillespie and Parker: Salt Peanuts Cool Jazz Style Miles Davis: Moon Dreams List instrumentation used in bop and cool recordings.
Bop Recordings Cool- Recordings t.r umpet trumpet al to saxophone ttombone piano French horn bass tuba drums al to saxophone piano bass drums
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UNIT II - LESSON 11
AI~ ~ow did jazz c~ange after 1950?
PERFO~~NCE OBJECTIVES Students will be able to:
define the following terms: progressive jazz, ternary form (ABA), rondo, 5/4 time, 9/8 time, avant-garde. discuss reasons for the decline of jazz as pcpular music.
MorIVATION
As attendance is taken play "Take Five" from Time cut by the Oave Brubeck quar tet (Side 1, Band 3) . Ask class to name the instruments used: -alto saxophone (Paul Desmond) -bass piano (Dave Brubeck -drums "What is peculiar about this piece?' -It is in 5/4 time. -Based on a single, piano ostinato pattern that is played throughout. Put this on the board and play it for the class (optional).
x
~ ~.,
-It is in ternary or A B A form (written in three sections) -"What for@s the B section?" (an extended drum improvisation) ?lay small sections again to reinforce concepts.
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PROCEDURES
1. List these teems on the boaed and define them as they appeae in the lessen. Students will copy them in G~eir class notes. -progressive jazz - popular in the 19S0s; combines cool jazz with formalism of European "classical" music -ternary form - (ABA) a song with t~ree sections or melodies indicated by the letters PillA -rondo form - (JIBACA) a song with a main melody (Al alternating with different melodies (B) and (C) ~5/4 time - in jazz the combining of 3/4 waltz time with 2/4 ragt.ime -9/8 time - a Turkish rhythm arranged (2-2-2-3) -avant garde - futuristic or "way-out" 2. Progressive jazz combines cool jazz with the formalism of European "classical" music, a style extremely popula(' with college audiences in the
1950so Dave Brubeck, a leading exponent of this style, began as a classical pianist. He liked to experiment with the use of odd mete('s in jazz, such as combining 1/4 waltz time with 2/4 ('agtime, and arranged his albums Time OUt and Ti~e Further Out around different time signatures. a) Another experiment in meter and form was Brubeck's "Blue Rondo a la Turk" (play Side 1 Band 1) which combines a Turkish 9/8 rhythm arranged (2-2-2-3), blues improvisation, and rondo form (ABACA). Put. this on the board and play it for the class (optional).
Theme
b) The title is an allusion to Mozart's ~do a la Tucca which is
well-known to all piano studentso 3. Avant-garde jazz - futu('istic, "way out" Play "Nebulae" and "Dancing in the Sun" f('om the Heliocentric worlds of Sun Ra and his Solar Arkestra, (Side B, Bands 3 & 4). a) "How can you descr ibe th is style?" Anarchy of a sort - free form - no recognizable melody, dissonant harmony, novel sonorities (electric celeste) see back of record jacket for ins trumen ts and poem. 4. List on the board the artists and compositions covered in the lesson. Add descr iptions.
P rogr ess ive Jazz Avant-Garde Jazz Dave Brubeck: "Take Five" Sun Ra: "Nebulae" "Blue Rondo a la Tur~- Doc. 0535B, p. 25 61 ?OINTS FOR FURTHER DISCUSSION w~ic~ factors led to the decline of jazz a pcpular music?n -Alienatation of jazz musicians towards commercial swing styles. They sought artistic expression through bop, cool, progressive, and avant-garde styles playing for sophisticated listeners rather than providing dance music. -The commercialization of a cruder form of jazz "rhythm and blues" -into a new style "rock and (011" aimed at the new youth market of the 19S0s. Do c. 0 5:3 5B, P . 26 62 REVIEW PLAN FOR MUSIC SURVEY EXAMS ~ UNIT II .'\I:-1 How did Afro-.l\merican music develop from 1890-o1965? ?ERFOR..MANCE OBJECTIVES St'..ldetsn w ill be able to: review 30 important terms learned during unit II. name 18 important performers and/or composers influenced by a variet.y of jazz styles. recognize recorded examples of the above. MOTIVATION Review for exam the next. day. PROCEDURES 1. Distribute review sheet. 2. Students will review terms for homework using their class notes. 3. Play excerpts of 12 selections to be included on exam. Ask students to name the style, composer or performer, and name of the composition. 4. Remind students to know pertinent facts dbout other compositions, using their class notes as a guide. 5. Review elements of African music that have influenced jazz and blues. 6. Review major technological inventions that helped to spread the popularity of jazz. 7. If time permits, mention definitions of terms and ask students to locate the matching term on their sheets_ Do c. 0535B, P c 27 63 REVIEW SHEET FOR UNIT II EXAM 1. TERMS - define 23. r:eed section l. responsorial singing 12. glissando 2. polyrhythms 13. pc1yfhony 24. rondo ternacy form 3. metronome 14. rhapsody 25. 4. tempo 15. spiritual 26. sca t sing ing 27. improvisation 5. syncopation 16. arrangemer.t singing 6. ostinato 17. mute 28. melismatic libretto 7 . cutting contest 18. riff 29. bongos, claves 8. technique 19. break 30. maracas, ethnomusico10gist 9. blues scale 20. rhythm section 3l. 10. blue note 2l. brass section 32. -opera acia 1l. progression 22. reed section 33. II. Name 3 elements of Afcican music. III. Name 3 technological inventions that pcpu1arized jazz. IV. Compostions: l. Herbie Hancock: Tell Everybodv 2. Sco!:t Joplin: The Entertainer Maple Leaf Rag 3. Fa ts \~aller: Handful of Keys 4. Leadbel1y: Good Morning Blues S. Bessie Smi th: Reckless Blues ,- o . Ray Charles: Driftin' Blues 7. Or ig inal Dixieland Jazz Band: Tiger Rag Livery Stable Blues 8. Ammons & Johnson Boogie-WOogie Man 0 Snake Dr ive J • Eric Clapton, Jimmy Page 10. George Gecshwin Rhapsody in Blue porgy & Bess ll. Benny G DO c. 0 53 5B, p. 28 64 MUSIC SURVEY EXAM 2: UNIT II TEST A NAME DATE: GAADE I. MATCHING QUESTIONS (30 pts.) 10 ______Lesponsorial sinqing Ao vocal im9(Ovisation on nonsense syllables B. finger dexterity on an instrument 2. --- metronome 3. ______syncopation C. a device foe changing or muffling tone D. studies ~~e music of a given culture 4. ----blue note 5. technique E. a device Eoe producing beats at ---- varying speeds 6. ---polyphony F. ABACA form 7. ____ p,cogress ion G. a lowered 3rd, 5th, or 7th note of the scale mute H. early religious hymns sung by southern --- blacks' 9. ---reed section T. simultaneous use of different rhythms 10. ____ combo J. simultaneous use of different melodies K. a leader answered by a chorus 11. ----scat singing 12. blues scale L. a series of harmonies such as I7 Iv7 I7 v7 I 130 rondo M. contains the lowered 3rd, 5th, and 7th --- steps of the major scale N. a small jazz group 14. ----ethnomusicologist 15. ___ spir itua1 o. shifting accents to weak beats and removing them from strong beats P. alto, tenor and baritone saxophones in a swing band Doc. 0 53 5 B , p. 2 '3 65 II. NAME 3 ELEMENTS OF AFRICAN MUSIC (6 pts.) A B. C. :II. MATCH the composer/perEorme: to the compcsition and description by placing the letter of the correct composition in Column A and the letter of the correct description in Column B. COTTIDOSition Descr iotion --A -B ComDOser/Performer ---- l. Bessie Smi th A. King Por ter N. stride piano Stonm.. 2. Herbie Hancock B. Rhapsody in O. country blues ---- Blue 3. Duke Ellington C. Co1-Ya-Koo P. city blues (Louis Arm- ---- strong played break) Q. cool jazz style ----- 4. George Gershwin D. Good Morning Blues be-bop scat singing ----- 5. Leadbelly E. Take the "A" R. Train 6. Scott Jopl in F. Livery Stable S. Afro-disco jaz z ---- Blues 7. Fats Waller G. Tell Everybody T. begins with clarinet glissando 8. Benny Goodman H. Reckless Blues U. Early piano jazz style popularized on the pianola 9. Dizzy Gillespie I. Moon Dreams v. uses barnyard imi tations 10. Sun-Ra J. Take Five W. Avant-garde jazz X. swing ---- ll. original Dixie- K. Maple Leaf Rag land Jazz Band ---- 12. Miles Davis L. Handful of Keys M. Nebulae Do c. 0 53 5B, p. 30 66 IV. LISTENING: NAME THE PERFO~~R, SELECTION AND STYLEo (16 ptso) (Selections will be chosen from III above.) Performer/Comooser Selection 1. 2. 3. 4. 5. Doc. 0 53 5B, po 3 1 67 MUSIC SURVEY EXN~ 2: UNIT II TEST B NAME DATE: GRADE I. MATCHING QUESTIONS (30 pts.) l. ___ polyr hythms A. an improvised jazz solo 2. ___ tempo B. African percussion instruments found in the Caribbean Islands 3. me1ismatic singing C. simultaneous use of different rhythm --- pa tter ns 4. ___ c.utting contest D. ABA as in Take Five 5. aria E. a drama with scenery and acting which --- is sung F. an ostinato pattern used in jazz 6. --- riff 7. --- break G. a repeated melodic or rhythmic pattern 8. ___ glissando H. trumpets and trombones in a swing band 9. ostinato I. piano competitions in rent parties in --- black neighborhoods 10. ___ rhythm section J. a sliding effect ll. br ass section K. the rate of speed of beats ---'-- 12. ___ opera L. simultaneous use of clashing sounds 13. ____ maracas, claves, M. compositions of a free or improvisatory bongos style 14. ___ rhapsody N. adding many notes to a syllable of text 15. ___ ternary form o. piano, bass,.guitar, and drums in a swing band P. a competition for solo voice wiG~ accoopaniment DOc. 0 53 5 B, p. 3 2 68 II. NAME 3 INVENTIONS BETWEEN 1890-1930 THAT HELPED TO SPREAD THE POPULARITY OF JAZZ. (6 pts.) A B. c. III. MATCH the composer/performer to the composition and description by placing the letter of the correct compositicn in Column A and the letter of the correct descr ipt:ion in Column B. A B Comooser/Performer Corrrcosition Descriotion L Count Bas ie A. Porgy and Bess N a ragtime 2. Fats Waller B. The Entertainer O. Afro-disco jazz 3. Scott Joplin C. Salt Peanuts P. progressive jazz 4. Herbie Hancock D. Nebulae Q. British guitar blues 5. Eric Clapton, E. Boogie-WOogie Man R. stride piano Jinuny Page 6. Ammons & Johnson F. Handful of Keys s. European jazz 7. Sun-Ra Go Black and Tan T. be-bop Fantasy 8. Miles Davis H. Snake Drive U. swing 9. Dave Brubeck I. Tell Everybody V. jazz folk opera 10. Benny Goodman J. King Porter Sto~ W. piano blues 11. George Gershwin K. Moon Dreams X. avant-garde jazz 12. Dizzy Gillespie La Jumpin' at Y. cool jazz & Charlie Parker the Woods ide M. Blue Rondo a 1a Turk Doc. 05358, p. 33 69 IV. LISTENING: NAME THE COMPOSER/PERFORMER, COMPOSITION AND STYLE. (16 pts.) (Selections will be chosen from III above.) Comooser/Performer Comoosition ~ 1. 2. 3. 4. 5. Doc. 05358, p. 34 70 ANSWERS TO MUSIC SURVEY EXAM 2: UNIT II TSST rl I. MATCHING QUESTIONS (30 pts.) 1. K 9. P 20 E 10. N 3. 0 II. A 4. G 120 M 5. B D. F 6. J 14. 0 70 L 150 H 8. C II. NAME 3 ELEMENTS OF AFRICAN MUSIC (6 pts.) l. impcov isation 5 • metronomic sense of tempo 2. responsocial singing 6 0 polyrhytllmic 3. melodic ostinato 7 • melismatic singing style L rhythmic ostinato III. ~ATCH the composer/performer to the composition and descripti?n by placing the letter of the correct composition in Column A and the letter of the correct descr iption in Column B. A-Compos ition B-Description A-Composition B-Descriotion I. H P 7. L N 2. G S 8. A X 3. E X 9. C R 4. B T 10. M W 5. D 0 1L F V 6. K U 12. r Q Doc. 0535B, p. 35 I I IV. LISTENING: NAME THE COMPOSER/PERFORMER, COMPOSITION AND STYLE. (16 pts.) (Selections will be chosen from III above.) Comooser/Perfocmer Composition Style 1. 2. 3. 4. 5. Doc. 0535B, p. 36 72 ANSWERS TO MUSIC SURVEY EXAL'1 2: UNIT II TEST A 10 MATCHING .QUESTIONS (30 pts.) l. C '3. G 2. K 10. 0 3. N 11. H 4. I 12 < E 5. p 13. B 6. F 14 • M 7. A 15. D 8. J II. NAME 3 INVENTIONS BETWEEN 1890~1930 THAT HELPED TO SPREAD THE POPULARITY OF JAZZ. (2 pts. each) 1. piano rolls 4. microphone 2. victrola (record player) 50 automobile 3. radio 6. talKing movies III. MATCH the composer/performer to the composition and description by placing the letter of ~~e correct composition in Column A and the letter of the correct description in Column B. A-Composition B-Descr iotion A-Composition B~Description 1. L U 7. D X 2. F R 8. K Y 3. B N 9. M P 4. I 0 10. J lJ 5. H Q 1l. A V 6. E W 12. C T Doc. 0535B, p. 37 IJ IV. LISTENING: NAME THE COMPOSER/PERFORMER, COMPOSITION AND STYLE. (16 pts.) (Selections will be chosen from Section III of the Exam. Selections 1 through 4 are 3 pcints each. Selection 5 is worth 4 pcints.) Composer/Performer Composition 1. 2. 3. 4. 5. Doc. 0535B, p. 38