MUH 214 1st Edition Lecture 15Ragtime-Syncopated piano style that evolved from banjo styles-Initially for Solo Piano (later brass bands/orchestras)-1st financially successful black music-Entertainment in Brothels-Preserved-on piano rolls-1st copyright 1883 (Turpin-Harlem Rag)-1st publ. 1897 (Krell-Mississippi Rag)-Centered in Midwest (St Louis, Sedalia, and Memphis) and N.O.-John Stark – major publisherRagtime Styles-Folk (Jig Piano)- Improvised- Used folk songs for material - Used in honky tonks, juke joints, saloons- Simple harmonic language- Variable form-Commercial - Notated/Published- Symmetrical phrases- Embellished harmony- Distinct sections often in different keys/modes-Classic- Highly sophisticated- Intricate, varied motives with more melodic development- More textural variety- More counterpoint- Chromatic harmony, modulations- Unique chord progressionsCharacteristics-Fully composed /notated-2/4 or 4/4 meter-Rigid tempo-Left hand – Boom Chuck (alternation of bass note and chords)-Right hand – Syncopated 16th note melody-Recurring syncopation patterns-Standardized form similar to marches – AABB(A)CCDD with each section 16 barsPerformers-Scott Joplin -James Scott-Tom Turpin-Joseph Lamb-William Krell-Eubie Blake-Jelly Roll MortonThe BluesCharacteristics-Visceral, earthy-Spontaneous, often improvised on spot-Personal expression-Commentary on real-life-Express contradictions of black life-Artistic liberation from immediate troubles-Affirm secular black existenceTopics-Love-Sexuality -Jealousy-Travel-Urban Life-Freedom-Alcohol/drugs-Job/unemploymentLyric Devices-Personalized-Use of metaphor-Symbolism-Use of double entendreForm-AAB lyric/melodic form-One complete idea-Call and response-12 bar form-Three chord progression (I, IV, V)-Use of blues scaleStyles-Country Blues – solo performers self-accompanied - Mississippi Delta *Sparse style using bottle neck guitar technique- Carolina (AKA Piedmont)*Elaborate finger picking style- Texas*Swing orientated style using jazz improvisation and single string accompaniment and licks-Venues- Jook Joints- Honkey Tonks- Barrelhouses-Urban Blues (AKA City Blues) – typically female singers accompanied by multiple instruments-Venues - Nightclubs- Saloons- BordellosPerformers-Country- Blind Lemon Jefferson (C)- Leadbelly (Hudie Ledbetter) (MD)- Robert Johnson (MD)- Lightin’ Hopkins (T)The History of Jazz in Sight and SoundOrigins of Word “Jazz”-French Verb “Jaser” – to chatter-Bantu word “Jaja” – to dance, play music-Creole dialect “Dinza” “Jizz” – to speed things up-African word “Jaiza” – sound of far-off drums-American colloquialisms “Gism” “Jasm” – spirit, energy, enthusiasm-Euphemism for various sexual referencesWord Usage-1st use in print (1913) about San Francisco baseball team-Pseudonym for “pep”, “virility”, “courage”-Jasbo Brown’s band “Give me that Jas”-1st references to music Chicago (1915)-Referred to any kind of popular or dance music with a lively beat-Originally referred to music in “Negro Style”- Lively beat - Ragged melody- Embellishments-Also associated with commercial music of Tin Pan AlleyDefinitions – Lewis Porter-A type of music developed by African Americans in and around New Orleans in the early years of the 20th c. and since practiced all over the world, and in which improvisation is central, a certain type of “Swinging” rhythm is typical (but not essential), and (in which) expressive characteristics of Africa American music generally are important to the generic sound.Improvisation-Use of patterns standard (licks) and otherwise constructed from preexisting elements that are reorganizedat the moment they are performed.Ultimate Criteria -No one single element (syncopation, improvisation, swing, blue notes, etc.) is necessary, and no single element is sufficient. Origins of Jazz; The Afro-Euro-American TriangleAfrican Traditions-Rhythm - Layers- Polyrhythm -Melody (Pentatonic)-Timbre (Bending notes)-Call and response-ImprovisationEuropean Traditions-Melody-Instruments-Harmony -FormAmerican Traditions-Caribbean Influences-Spirituals-Work Songs-Minstrel Songs-Military Songs-Dance Music Orchestras-Brass Bands-Slave conditionsWhy Jazz Began-Social Conditions-Social Atmosphere-Industrialization-Creoles of color-Practice of taking liberties with melodies and accompaniments during performance-Practice of taking liberties with tone qualities-Ragtime- Syncopated rhythms- Tunes-Blues- Rhythmic displacement- Blue notesStyles of Jazz -Dixieland – 1900-1930-Swing – 1930-1945-Bebop – 1940-1950-Cool – 1950-1960-Hard Bop – 1955-1965-AvanteGarde (Free Jazz) – 1960-1970-Fusion – 1970-1980-Neo Traditional – 1980-Present-Smooth – 1980-PresentDixieland; New Orleans 1900-1920, Chicago 1920-1930New Orleans Style- 1.Collective Improvisation- 2.Short Solos- 3.Use of novelty items- A. Mutes- B. Cowbell/WoodblockInstrumentation-1.Frontline - A. Trumpet – melody- B. Clarinet – obbligato- C. Trombone – harmony -2. Backline- A. Banjo – chords- B. Tuba – bass line- C. Drums/Percussion –rhythm *Usually 2 playersStyle-1. Layered effect-2. Polyrhythmic texture-3. Extensive Syncopation -4. Call and response-5. Cross rhythms-6. HabaneraPersonnel-Buddy Bolden – 1st Jazz Musician-Freddie Keppard – trumpet-Joe “King” Oliver – trumpet-Jelly Roll Morton – piano-Kid Ory – trombone-Sidney Bechet – soprano sax-Johnny Dodds – clarinet-Louis Armstrong – trumpet-Lil Hardin Armstrong – pianoBands-Red Hot Peppers (Morton)-Original Dixieland Jass Band (ODJB) (LaRocca)-Creole Jazz Band (Oliver)-Hot Five/Hot Seven (Armstrong)Migration to Chicago -Closing of Storyville (1917)-Great Migration-Prohibition-Women’s suffrage-Speakeasies-Rent Parties-Chicago North side vs South Side- South side – “Levee” vice district- Black and Trans – catered to mixed audiences- Lincoln Gardens – “King” Oliver- North side – dance halls with primarily white clienteleChicago Style -1. 2 beat rhythmic feel – emphasis on 2 and 4-2. Emphasis on individual solos-3. More virtuosity-4. Longer solosInstrumentation-1. Frontline- A. 2 trumpets*Trumpet 1 – ragged melody*Trumpet 2 – harmonized melody/solos- B. Saxophone instead of or in addiction to clarinet- C. Trombone-2. Backline- A. Guitar- B. Piano- C. String Bass- D. Drum SetChicago Players-Transplanted Black New Orleans musicians-Transplanted white New Orleans