Experiencing Jazz
Experiencing Jazz, Second Edition, is an integrated textbook with online resources for jazz appreciation and history courses. Through readings, illustrations, timelines, listening guides, and a streaming audio library, it immerses the reader in a journey through the history of jazz, while placing the music within a larger cultural and historical context. Designed to introduce the novice to jazz, Experiencing Jazz describes the elements of music, and the characteristics and roles of different instruments. Prominent artists and styles from the roots of jazz to present day are relayed in a story-telling prose. This new edition features expanded coverage of women in jazz, the rise of jazz as a world music, the influence of Afro-Cuban and Latin jazz, and streaming audio.
Features: • Important musical trends are placed within a broad cultural, social, political, and economic
context • Music fundamentals are treated as integral to the understanding of jazz, and concepts are
explained easily with graphic representations and audio examples • Comprehensive treatment chronicles the roots of jazz in African music to present day • Commonly overlooked styles, such as orchestral jazz, Cubop, and third-stream jazz are
included • Expanded and up-to-date coverage of women in jazz.
The media-rich companion website presents a comprehensive streaming audio library of key jazz recordings by leading artists integrated with interactive listening guides. Illustrated musical concepts with web-based tutorials and audio interviews of prominent musicians acquaint new listeners to the sounds, styles, and figures of jazz.
Richard J. Lawn recently retired as Dean of the College of Performing Arts at the University of the Arts in Philadelphia. You can see and hear him as saxophonist, composer, and bandleader for Power of Ten, playing in local clubs and on recordings.
Experiencing Jazz Second Edition
Richard J. Lawn Professor Emeritus, College of Performing Arts at the University of the Arts
Second edition published 2013 by Routledge 711 Third Avenue, New York, NY 10017
Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2013 Taylor & Francis
The right of Richard J. Lawn to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
First edition published 2007 by The McGraw-Hill Companies
Library of Congress Cataloging in Publication Data Lawn, Richard, author.
Experiencing jazz/Richard J. Lawn.—Second edition. pages cm Includes bibliographical references, discography, and videography. 1. Jazz—History and criticism. 2. Jazz—Analysis, appreciation. I. Title. ML3506.L39 2013 781.65—dc23 2012024753
ISBN: 978-0-415-65935-2 (pbk and online access card) ISBN: 978-0-415-69960-0 (pbk) ISBN: 978-0-415-83735-4 (online access card) ISBN: 978-0-203-37981-3 (ebk and online access card) ISBN: 978-0-203-37985-1 (ebk)
Typeset in Bembo, Helvetica Neue and Kabel by Florence Production Ltd, Stoodleigh, Devon, UK
Please visit the companion website at www.routledge.com/cw/Lawn
www.routledge.com/cw/Lawn
I am deeply indebted to my wife, Susan Lawn, for “putting her life on hold,” not once but twice, while helping immeasurably to make this book become a reality. In addition, thanks to the many students who served as its inspiration.
Contents
List of Photos xiv List of Examples xix List of Figures xxii Preface xxiii Acknowledgments xxviii
PART I UNDERSTANDING JAZZ 1
1 The Nature of Jazz 3
Experiencing Music . . . Experiencing Jazz 4 That Four-Letter Word 4 Defining Jazz 6 Chapter Summary 8 Study Questions 9
2 The Elements of Jazz 13
Rhythm 14 Meter and Tempo 15 Rhythmic Devices Important to Jazz 16 Swing as an Aspect of Jazz Rhythm 18
Melody 18 Harmony 20 Texture 21 Form 22 Improvisation 23
Something Borrowed—The European Tradition 23 Something New, Something Blue—The Jazz Tradition 24 Blues 24 Improvisation in Jazz 26
Chapter Summary 29 Key Terms 30 Study Questions 31
3 Listening to Jazz 33
Performance Practice 33 The Instruments of Jazz 34 The Drum Set and Swing 34 Orchestration and Instrumentation 36 Instrumental Techniques and Special Effects 37
Understanding the Whole Performance 39 Describing the Performance 41
Video Blues 42 Chapter Summary 43 Key Terms 43 Study Questions 44
4 The Roots of Jazz 45
Jazz in Perspective 45 The Significance of African Music to Jazz 46 African Musical Aesthetic 46 Elements of African Music 47 African Music as a Means of Communication 49
The Afro-Latin and Caribbean Tinge 49 Background 50 Early Fusions 52
Early American Vocal Music 54 The Innovators: Getting the Blues 56
Robert Johnson (1911–1938) 57 Bessie Smith (1894–1937) 59 W.C. Handy—“Father of the Blues” (1873–1958) 61
Ragtime 62 Brass and Military Bands 67 Milestones: Chronicle of Historic Events 68 Chapter Summary 70 Key Terms 70 Study Questions 71
PART II CLASSIC JAZZ 1917–1945 73
5 Jazz Takes Root 75
Jazz in Perspective 75 The Reception of Early Jazz 78 New Orleans—The Birthplace of Jazz 80
Dixieland Jazz Band Instrumentation 81 The Innovators: Early Jazz 83
Original Dixieland Jazz Band 83 Kid Ory (1890–1973) 86 Joe “King” Oliver (1885–1938) 86 Lilian Hardin 86
viii CONTENTS
Jelly Roll Morton (1890–1941) 89 Louis Armstrong (1901–1971) 91 Sidney Bechet (1897–1959) 94
Milestones: Chronicle of Historic Events 95 Chapter Summary 97 Key Terms 97 Study Questions 98
6 The Jazz Age: From Chicago to New York 99
Jazz in Perspective 99 South Side of Chicago 100 On the Other Side of Town 102 The Chicago Sound 103 The Innovators: A Few of the Many 104
New Orleans Rhythm Kings (NORK) 104 Bix Beiderbecke (1903–1931) 105 Frankie “Tram” Trumbauer (1901–1956) 106 Paul Whiteman (1890–1967) and Symphonic Jazz 108
Boogie-Woogie, Eight to the Bar 110 The Decline of the Chicago Era 111 Chicago Jazz in Retrospect 113 New York and the Harlem Renaissance 114
James P. Johnson (1891–1955) 115 Marketing Jazz 118 Milestones: Chronicle of Historic Events 120 Chapter Summary 121 Key Terms 122 Study Questions 122
7 The Swing Era: Jazz at Its Peak 125
Jazz in Perspective: The Depths of the Depression 126 The Country Recovers 127 The Anatomy of the Swing Era Jazz Band 127
Instrumentation 128 Repertoire and Arrangement 131
The Innovators: Swing on the East Coast 132 Fletcher Henderson (1897–1952) 133 Coleman Hawkins—“The Father of Jazz Tenor Saxophone” (1904–1969) 135 Duke Ellington (1899–1974): Music Was His Mistress 137 Benny Goodman—The “King of Swing” (1909–1986) 147
Popular White Swing Bands 151 Artie Shaw (Arthur Arshawsky) (1910–2005) 151
The Vocalists’ Rise to Fame 153 Ongoing Latin Influences 155 Chapter Summary 155 Key Terms 156 Study Questions 157
CONTENTS ix
8 Swinging Across the Country: The Bands, Singers, and Pianists 159
Jazz in Perspective 160 The Innovators: A Unique Kaycee Style 161
Benny Moten 161 William “Count” Basie (1904–1984) 162 Lester Young (1909–1959) 164
Territory Bands 167 Mary Lou Williams (1910–1981) 168
The Innovators: A Few of the Swing Era Singers and Pianists 170 Billie Holiday (1915–1959): “Lady Day” 170 Ella Fitzgerald (1918–1996): The “First Lady of Song” 172 Art Tatum (1909–1956) 174
Traditional Jazz Revival 177 Swing Era Success 177 Milestones: Chronicle of Historic Events 181 Chapter Summary 184 Key Terms 185 Study Questions 185
PART III MODERN JAZZ 187
9 The Bebop Revolution 189
Jazz in Perspective 189 The Lifestyle and Musical Characteristics 192 The Birth of Bebop: The First Recordings 194
Characteristics of the Style 196 Bebop Performance Practice and Instrumental Roles Redefined 197
The Innovators: Bop Stylists 199 John Birks “Dizzy” Gillespie (1917–1993) 199 Charlie Parker (1920–1955) 201 Bud Powell (1924–1966) 203 Dexter Gordon (1923–1990) 205 J.J. Johnson (1924–2001) 206
The Innovators: Bebop Rhythm-Section Players 207 Thelonious Sphere Monk (1917–1982) 207 Oscar Pettiford (1922–1960) 209 Kenny Clarke (1914–1985) 209 Max Roach (1924–2007) 210 Sarah Vaughan: “The Divine One” (1924–1990) 211
Modern Jazz Embraces the Afro-Cuban Spirit 213 Dizzy Gillespie and the Birth of Cubop 213
The Decline of Bebop 217 Milestones: Chronicle of Historic Events 217 Chapter Summary 219 Key Terms 220
x CONTENTS
Appendix 220 Study Questions 223
10 The 1950s and Early 1960s: Cool, Intellectual, and Abstract Jazz 225
Jazz in Perspective 225 Characteristics of Cool Jazz 228 The Innovators: The Cool Sound on the East and West Coasts 231
Miles Davis and Gil Evans: The Birth of the Cool 231 Modern Jazz Quartet 233 Gerry Mulligan (1927–1996) and Chet Baker (1929–1988) 233 Dave Brubeck (1920–2012) 235 Bill Evans (1929–1980) 238
The Brazilian Bossa Nova 241 Stan Getz (1927–1991) 243
Third-Stream Jazz 245 Lennie Tristano (1919–1978) 247
Who Was Popular 248 Milestones: Chronicle of Historic Events 249 Chapter Summary 250 Key Terms 251 Study Questions 252
PART IV POSTMODERN JAZZ 253
11 Tradition Meets the Avant-Garde: Moderns and Early Postmoderns Coexist 255
Jazz in Perspective 256 The Innovators: The Characteristics and Artists of Mainstream Hard Bop 256
Art Blakey (1919–1990) Carries the Message 258 Other Hard-Bop Messengers 260
More About Funky, Soul Jazz and the 1950s and 1960s 264 Organ Trios and the Guitar 265
Wes Montgomery (1923–1968) 265 Jimmy Smith (1925–2005) 266
Everlasting Big Bands 268 Defining Postmodernism 270
Ornette Coleman (1930–) and His Disciples 271 The Innovators: Postmodern Jazz Comes of Age 276
Charles Mingus (1922–1979)—The Underdog 276 The End of Modern Jazz Heralded by the Beginning of the Postmoderns 278 Milestones: Chronicle of Historic Events 280 Chapter Summary 282 Key Terms 283 Study Questions 283
CONTENTS xi
12 Miles and Miles of Miles: Miles Davis and His Sidemen Redefine Postmodern Jazz 285
Jazz in Perspective 286 The Music 287 The Early Miles 287 The First Great Quintet 289 Modal Jazz 290
Miles and Gil 294 The Second Great Quintet 296 The Electronic Jazz–Rock Fusion Period 300 Davis Sidemen Become Major Forces 305
John Coltrane (1926–1967) 306 Wayne Shorter (1933–) 312 Herbie Hancock (1940–) 313
Milestones: Chronicle of Historic Events 314 Chapter Summary 317 Key Terms 318 Study Questions 318
13 The Electric 1970s and 1980s 321
Jazz in Perspective 321 The Music 322 Jazz and Rock: The Two-Way Connection 323 The Innovators: Living Electric in the Shadow of Miles Davis 325
Weather Report 325 Herbie Hancock and the Head Hunters 329 John McLaughlin (1942–) and the Mahavishnu Orchestra 331 Chick Corea (1941–) 333
Soul and Pop Instrumental Jazz 336 David Sanborn (1945–) 336 The Brecker Brothers 336 Grover Washington, Jr. (1943–1999) 337 Chuck Mangione (1940–) 337
The Signs of the Times: New Technologies and Changing Business Models 338 Milestones: Chronicle of Historic Events 339 Chapter Summary 340 Key Terms 341 Study Questions 342
14 The Unplugged, Eclectic 1970s and 1980s 343
Long Live Acoustic Jazz 343 The ECM Sound 344 The Innovators: The Rebirth of Acoustic Jazz 345
Keith Jarrett (1945–) 345 Return of Expatriates Unleashes a Rebirth of Acoustic Jazz 349
xii CONTENTS
Wynton Marsalis (1961–) and the Young Lions 350 The Freedom Fighters Take Risks 352
Cecil Taylor (1929–) 354 Old Bottles, New Wines—Long Live Big Bands 356 The Changing Jazz Landscape as the Millennium Comes to a Close 357 Milestones: Chronicle of Historic Events 358 Chapter Summary 360 Key Terms 361 Study Questions 361
15 Jazz for a New Century 363
Jazz in Perspective 364 Trends in Contemporary Jazz 365 Established Artists Offer Seasoned Jazz 367
John Scofield (1951–) and Joe Lovano (1952) 367 Michael Brecker (1949–2007) and Pat Metheny (1954–) 367
Popular Music Influences 371 Tim Hagans (1954–) 372
Vocal Renaissance 374 Esperanza Spalding (1984–) 375
Contemporary Women Emerging as Innovators 377 Maria Schneider (1960–) 378
Jazz as a Global Music 382 Afro-Cuban and Latin Jazz 382 Danilo Pérez (1965–) 382
Jazz as an International Language 384 Rudresh Mahanthappa and Vijay Iyer 387
The New Innovators: 21st-Century Emerging Artists 389 Jason Moran (1975–) 390
Closing Thoughts 391 Milestones: Chronicle of Historic Events 392 Chapter Summary 396 Key Terms 397 Study Questions 397
Appendix I: Glossary of Terms 399 Appendix II: Suggested Jazz DVDs and Videos 411
Biographical 409 Historical Documentaries 410 Performance/Instructional 410 Important Feature Films 411
Appendix III: Chapter Notes and Additional Sources 415
Index 429
CONTENTS xiii
Photos
August Wilson Theatre (formerly Virginia Theatre)/Neil Simon Theatre 52nd Street, Manhattan, New York City. May 2007 xxiv
American bandleader James Reese Europe (1881–1919) poses (center, with baton) with members of his Clef Club Band, New York, 1914 3
Original Dixieland Jass Band promotional photo 5
Jazz singer Joe Williams 7
The World Saxophone Quartet performing in 1992 9
“Mother of the Blues” Ma Rainey on sheet-music cover 13
Old-style mechanical metronome 15
Gertrude “Ma” Rainey (1886–1939) and her Georgia Jazz Band, Chicago, 1923 25
American jazz musician Louis Armstrong (1901–1971) smiles as he poses on stage with a band for the WMSB radio station in New Orleans, Louisiana, 1920s 26
Jazz musicians performing in a nightclub 33
The typical jazz drum set 35
April 16, 1912: The front-page New York Times newspaper headline announces the sinking of The Titanic ocean liner 45
Map tracing Christopher Columbus’s voyages, which resemble slave-trade routes 51
Slaves returning from the cotton fields in South Carolina, c.1860 54
Fisk Jubilee Singers 55
Bessie Smith, “Empress of the Blues” 59
Promotional photo, c.1930, of W.C. Handy, “Father of the Blues” 61
1899 sheet-music cover of Scott Joplin’s “Maple Leaf Rag” 65
Portrait of American ragtime composer and pianist Scott Joplin (1868–1917), c.1910 66
Player piano roll of Scott Joplin’s “Maple Leaf Rag,” patented September 13, 1904 67
An American suffragette wears a sign proclaiming “Women! Use your vote,” c.1920 75
Portrait of the Buddy Bolden Band, New Orleans, Louisiana, c.1900 81
The Original Dixieland Jass Band 84
Pianist, composer, arranger, singer, and bandleader Lilian Hardin Armstrong 86
King Oliver’s Creole Jazz Band in the early 1920s 87
Composer and pianist Jelly Roll Morton at the piano 89
Louis Armstrong and his Hot Five 92
Sidney Bechet plays clarinet for a Blue Note Records session, June 8, 1939 94
Henry Ford and his son Edsel in front of their new model in New York in 1927–1933 99
Marathon dance competitions were part of the growing phenomenon of youth culture in the 1920s, Chicago 101
Bix Beiderbecke and the Wolverines in the Gennett Recording Studios, in 1924, in New York 103
Cornetist Bix Beiderbecke (1903–1931) poses for a portrait, c.1925 105
Frankie Trumbauer and unidentified guitarist 107
Paul Whiteman and his orchestra 109
A crowd of depositors outside the American Union Bank in New York, having failed to withdraw their savings before the bank collapsed 112
Exterior of the Renaissance Casino ballroom in Harlem, New York, late 1920s 114
James P. Johnson poses for a studio portrait in 1921 115
Corner of Lennox Avenue and 147th Street in Harlem showing the exterior of the M&S Douglas Theatre and a sign for the Cotton Club a few doors down, 1927 125
Jazz pianist Teddy Wilson playing with a quartet during the set break of Benny Goodman’s band, because racially mixed bands were not the rule in New York City at the “Madhattan Room” in the Hotel Pennsylvania 131
Bandleader, pianist, composer/arranger Fletcher Henderson 133
Coleman Hawkins, “the father of jazz tenor saxophone” 135
Duke Ellington and his band performing at the legendary Cotton Club 139
Dancers performing onstage at the Cotton Club 141
Composer Duke Ellington, singer Ivie Anderson, and drummer Sonny Greer pose for a portrait with the orchestra in 1943, in Los Angeles, California 143
Bandleader and clarinetist Benny Goodman (center) performs for a large crowd at Manhattan Beach, New York, August 11, 1938 148
The Benny Goodman Sextet 149
Guitarist Charlie Christian on stage with the Benny Goodman Orchestra, in New York, c.1940 150
Big-Band Leader Artie Shaw performs in 1945, Los Angeles, California 151
December 8, 1941: The front page of the New York World Telegram announces Japanese air attack at Pearl Harbor, commencing the U.S. entry into World War II 159
The Count Basie Orchestra performs on stage in Chicago in 1940 162
Count Basie with his “All American Rhythm Section” 163
PHOTOS xv
Tenor saxophonist Lester Young performs while holding his instrument in his classic sideways style 165
Pianist, composer, arranger Mary Lou Williams 168
Billie Holiday singing at a Decca recording session, c.1946 170
Ella Fitzgerald, the “First Lady of Song,” 1940 172
Art Tatum Trio 175
Special edition of Jazzmen, produced by the Armed Services and designed to fit in soldiers’ knapsacks 177
The ruins of a cinema stand stark against the rubble after the atomic bomb dropped on Hiroshima August 8, 1945, brought World War II to a close 189
The Onyx jazz club in New York, advertising singer Maxine Sullivan 193
The club named after Charlie Parker, located at 1678 Broadway, New York 195
Dizzy Gillespie, with characteristic puffed cheeks and upturned trumpet 200
Jay McShann Orchestra in New York, 1942 201
Charlie Parker, with Miles Davis, trumpet; Tommy Potter, bass 202
Pianist Earl “Bud” Powell 203
Tenor saxophonist Dexter Gordon in Los Angeles, 1947 205
Thelonious Monk at Minton’s Playhouse 207
Drummer Max Roach 210
Vocalist Sarah Vaughan 211
Latin jazz singer and bandleader Machito (Frank Raul Grillo) holding maracas, while leading his band 214
Saxophonist James Moody, Cuban conga player Chano Pozo, and trumpeter Dizzy Gillespie performing in 1948 215
Race riots and picketers in Birmingham, Alabama 225
Miles Davis recording in 1959 231
The Dave Brubeck Quartet, with Brubeck at the piano, Paul Desmond on saxophone, Eugene Wright on bass, and Joe Morello on drums, in 1959 236
Pianist Bill Evans 238
Stan Getz in a live performance 244
Pianist Lennie Tristano 247
American civil rights leader Dr. Martin Luther King Jr. (1929–1968) speaks at a rally held at the Robert Taylor Houses in Chicago, Illinois, 1960s 255
Art Blakey and the Jazz Messengers play at the Birdhouse, a Chicago jazz club, 1961 258
Clifford Brown at a recording session 262
Tenor saxophonist Sonny Rollins performs at the Berkshire Music Barn Jazz Festival in Lenox, MA, 1956 262
Guitarist Wes Montgomery, c.1960 266
Jimmy Smith sitting at the Hammond B3 organ 266
Contemporary bandleader Stan Kenton rehearses his jazz band in London, in preparation for a performance at the Royal Albert Hall 268
xvi PHOTOS
Saxophonist Ornette Coleman with trumpeter Don Cherry at the 5 Spot, New York City 272
Jazz bassist and composer Charles Mingus 276
Apollo 11, the first manned lunar-landing mission, was launched on July 16, 1969, and Neil Armstrong and Buzz Aldrin became the first and second men to walk on the moon 285
Miles Davis’s nonet in a recording studio for the sessions released as Birth of the Cool 288
John Coltrane, Cannonball Adderley, Miles Davis, and Bill Evans perform in the studio, New York, May 26, 1958 292
Trumpeter Miles Davis and producer/arranger Gil Evans record the album Quiet Nights in 1962 295
Miles Davis with Herbie Hancock, Ron Carter, and Wayne Shorter at the 1967 Newport Jazz Festival 297
Miles Davis performing in Copenhagen, 1973, wearing hip clothes of the day 304
John Coltrane performing on soprano saxophone with his quartet in West Germany, 1959 307
Demonstrators march up Avenue of Americas on their way to Central Park in New York as part of a rally against the Vietnam War, April 5, 1969 321
The rock band Blood, Sweat and Tears performs on stage at the Longhorn Jazz Festival, Dallas, Texas 324
Weather Report performs on stage at the Playboy Jazz Festival at the Hollywood Bowl, Los Angeles, June 1981 328
Herbie Hancock using a portable synthesizer keyboard 330
Guitarist John McLaughlin and violinist Jean-Luc Ponty from the Mahavishnu Orchestra perform in Amsterdam, the Netherlands, in 1974 332
Return To Forever performs in May 1977 335
Popular Philadelphia soulful saxophonist Grover Washington, Jr. 337
Chuck Mangione playing his signature flugelhorn 338
A demonstration outside the Whitehouse in support of the impeachment of President Nixon (1913–1994) following the watergate revelations 343
Jazz pianist Keith Jarrett, c.1975 346
Dexter Gordon and quartet performing in the UK 349
Trumpeter/composer Wynton Marsalis in 1982 351
Pianist Cecil Taylor performs at Ronnie Scott’s in London 354
Jazz pianist and composer Toshiko Akiyoshi conducts her orchestra, c.1977 357
U.S. President Bill Clinton plays a saxophone along with musician Everett Harp at the Arkansas inaugural ball 20 January 1993 363
Michael Brecker performing with the Brecker Brothers at the New Orleans Jazz & Heritage Festival 369
Contemporary guitarist Pat Metheny 369
Popular smooth-jazz artist Chris Botti 371
PHOTOS xvii
Trumpeter/composer Tim Hagans at the 2008 IAJE Conference in Toronto, Canada 372
Diana Krall performing in 2004 at the Mountain Winery, in Saratoga, California 374
Esperanza Spalding performs at the 4th Annual Roots Picnic at the Festival Pier, in Philadelphia, Pennsylvania, June 4, 2011 375
Maria Schneider conducts the Maria Schneider Orchestra on stage during the Festival Internacional de Jazz de Barcelona at Palau De La Musica, in Barcelona, Spain, 2011 379
Pianist Danilo Pérez 383
Jason Moran performs at Thelonious Monk Town Hall 50th Anniversary Celebration, 2009 390
xviii PHOTOS
Examples
2.1 Graphic representation of “Happy Birthday” 14 2.2 Illustration of a simple syncopation in measure 1 that results from handclaps on
off beats that create a tension between major beats represented by the foot tapping a steady pulse. By the second beat of the second measure, the handclaps are lined up precisely with the foot tapping on beats 2, 3, and 4, hence no syncopation and no tension 17
2.3 Using similar graphics, the following example illustrates a simple polyrhythm. In this case, the foot taps indicate a 3/4 meter and fundamental rhythm. The hand-clapping introduces a new rhythm in opposition to the foot tapping. If the foot tapping suddenly stops, the continuing handclaps give the illusion of 2/4 meter. The combined result when both are executed simultaneously is a polyrhythm 17
2.4 Two-octave C scale. Raised half-steps in between each scale note (black keys) are labeled above as sharps 19
2.5 Chord symbols in a typical progression that jazz musicians must learn to interpret 20
2.6 Visualization of monophonic texture. The light, horizontal, wavy line represents the melodic shape of a solo singer. There are no other layers present in this single-dimensional texture 21
2.7 Visualization of homophonic texture. The wavy, horizontal line represents the melodic shape of a solo singer. The vertical bars represent chords, with darker shades indicating major chords, and lighter shades representing minor chords 21
2.8 Visualization of polyphony. The light, horizontal, wavy lines represent the melodic shape of a solo singer and a second melodic voice complementing the primary vocal melody below it. The vertical bars represent chords, with darker shades indicating major chords, and lighter shades representing minor chords. Black dots represent a rising and falling bass line in counterpoint with the melody line. The entire texture, with multiple layers of activity, is described as polyphonic 21
2.9 Lowered third, fifth and seventh (E flat, G flat, B flat) are called “blue notes” and are indicated in the following keyboard example 24
2.10 Typical jazz chord progression illustrated by symbols 27 3.1 Swing ride cymbal pattern 36 3.2 Visual notations of special effects associated with jazz 38
4.1 The first line shows your foot tapping down and up, indicating 2 beats per measure. The second line adds handclaps that help to divide each beat in half, showing 1&2& 1&2&, corresponding to line 1. The third line adds handclaps to divide each measure of line 1 into triplets, or three pulses for every 2 foot taps. The last line shows handclaps dividing each beat in line 1 into groups of three, faster triplets than those line 3 47
4.2 African fundamental or ground pattern. Although many readers would likely not understand music notation, laymen can execute the following graphic representation of the pattern. The feet establish the pulse or basic beat, while the handclaps outline the specific ground rhythm pattern 48
4.3 The habanera rhythm is represented below in 4/4 meter for convenience, although it is usually found in 2/4 meter. Try to coordinate your hands and feet in a steady tempo. The handclap emphasizes the habanera rhythm, while the feet establish a basic tempo 52
4.4 Notice the close resemblance between this Charleston rhythm and the habanera at the middle of the measure 52
4.5 The clavé rhythm: The following illustrations are graphic representations of the 3–2 and 2–3 clavé patterns. The vertical line serves to delineate measures. You should try executing these rhythms with your hands and feet 53
4.6 Classic 12-bar blues. Each block represents 1 measure 57 4.7 Final rhythm from Stephen Foster’s “Camptown Races” 64 7.1 A graphic representation of 1 measure in 4/4 meter showing alternation
between a full quarter note of full value on beats 1 and 3, followed by even eighth-note divisions of beats 2 and 4. This rhythm pattern does not swing 129
7.2 A graphic representation of 1 measure in 4/4 meter showing the uneven division of beats 2 and 4, causing a feeling of anticipation of the following beats (3 and 1). This was the typical pattern played by the drummer on the cymbals, expressed below by the syllables. This rhythm helps to create the basis of the “swing” feel. Horn soloists and pianists would likely also swing in this uneven fashion 130
7.3 Contrast between arpeggiated and linear styles 136 9.1 Graphic representation of the jazz conga drum variation. Tap your left foot
in a steady tempo following the graphic while clapping the conga drum pattern 213
10.1 Eighth-note triplets 238 10.2 Quarter-note triplets 239 10.3 Samba rhythmic ostinato patterns; the foot image represents downward taps 242 10.4 Hand clapping syncopated bossa nova rhythm—syncopated tensions occur
when hand claps fall between the foot taps. There are numerous variations to the ostinato bossa nova rhythm patterns 243
11.1 Modern and postmodern jazz coexist 279 12.1 Piano with whole and chromatic half-steps indicated over two octaves,