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MCY 124 Evolution of Jazz: 2 lectures of Notes

by: Bailey Souaid

MCY 124 Evolution of Jazz: 2 lectures of Notes MCY 124

Marketplace > University of Miami > Musicology > MCY 124 > MCY 124 Evolution of Jazz 2 lectures of Notes
Bailey Souaid
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2 lectures of notes Evolution of Jazz MCY 124
The Evolution of Jazz
Charles Bergeron
Class Notes




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This 3 page Class Notes was uploaded by Bailey Souaid on Thursday February 11, 2016. The Class Notes belongs to MCY 124 at University of Miami taught by Charles Bergeron in Fall 2015. Since its upload, it has received 34 views. For similar materials see The Evolution of Jazz in Musicology at University of Miami.


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Date Created: 02/11/16
Evolution of Jazz   Tues. 9 Feb Mardi Gras: Green­ fate, Purple­ justice, Gold­ power Louis Armstrong (cont.) ­ Career lasts many decades  ­ Jazz evolves but Armstrong’s style remains constant and eventually becomes passé  ­  Accused of “tomming” the audience (sucking up to whites for special treatment)  ­ Miles Davis said “No him no me.” ­ Song “Ain’t Misbehavin’” in 1960s (when television was median)  ­ Song “Hello Dolly” 1964 in Major Key (also Broadway musical)  ­ Song “What a Wonderful World”  Cotton Club  ­ Elite and exclusive speakeasy  ­ New York//Harlem  ­ 1929 (illegal) 1933 (appealed and legal)  Duke Ellington  ­ Most influential and important composer  ­ Classically trained  ­ Same era as Louis Armstrong  ­ Ragtime piano evolves to stride (large movement by left hand)  ­ Applied improvisation, syncopated rhythm  ­ Composes with classical format= level of sophistication  Duke Ellington’s Contributions to the Art form  1. Stride piano player  2. Musical director at the Cotton Club  3. Incredibly prolific composer wrote over 2000 pieces (opera, etc.)  4. Same era as Louis Armstrong; born 1899, died 1974  5. Wrote specifically for each band member  6. Incredibly experimental  nd 7. Considered 2  greatest ambassador of the American cultural art form  Evolution of Jazz   Thurs. 11 Feb Duke Ellington Big band ensembles: 4 sections  ­ 4 Trumpets ­ 4 Trombones ­ 5 or 6 Saxophones (different sizes)  ­ Rhythm section   Piano  Bass   Drums   Guitar  Dance Halls  ­ 1933=no more prohibition  ­ Large dance halls for large band ensembles  Duke Ellington ­ Song: “Things ain’t what they used to be”  ­ Song: “Prelude to a Kiss” feat. Johnny Hodges   Johnny Hodges: alto sax  ­ **Song: “Cotton Tail”  ­ Ellington transcribes the “Major Scale”  ­ Major role in evolution of Jazz  Cootie Williams  ­ Trumpet  ­ Song: “Concerto for Cootie”  Count Basie ­ Kansas City  ­ Big band ensembles in the Mid­West  ­ “Boogie­Woogie” was his piano playing style (rather than stride)  ­ “Riff­oriented”: short melodic fragments put together in orchestration  ­ Song: “1 o’clock Jump”  ­ **Song: “Splanky”  Duke Ellington and Count Basie are equally important to composure and evolution of Jazz.  Duke Ellington  Count Basie  ­New York  ­Kansas City  ­Stride Piano  ­Boogie­Woogie ­Through Composer  ­Riff­oriented   


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