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A Level Music
Jazz Scores and Workbook
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Jazz Overview
You will study two pieces by three different artists. These pieces will form links
across the genres to help you better answer the Section C questions. The
general vocabulary and terms you need to know to help you answer the Section
A questions.
Louis
Armstrong
Charlie Parker Miles Davis
Genre Traditional Jazz Bebop Hard-bop
Jazz Standard Piece
When The Saints -1938 Decca
Records
Moose The Mooche (based on
I Got Rhythm) – 1946 Dial Records
My Funny Valentine – 1956
Prestige Records
Blues Piece St. Louis Blues–
1929 Okeh Records
Blues For Alice –
1951 Verve Records
Freddie
Freeloader – 1959 Columbia Records
The Blues
Half of the pieces you will study are based on 12-bar blues:
Bar 1 Bar 2 Bar 3 Bar 4
I I I I
Bar 5 Bar 6 Bar 7 Bar 8
IV IV I I
Bar 9 Bar 10 Bar 11 Bar 12
V IV I I or V
Write out the chords for a 12-bar blues in Bb Major:
Bar 1 Bar 2 Bar 3 Bar 4
Bar 5 Bar 6 Bar 7 Bar 8
Bar 9 Bar 10 Bar 11 Bar 12
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JazzharmonyPartofthegreatappealofjazzisitspiquant,spicyharmony.Chordsareoftenmorecomplexwithvariousoptionsforadditionalnotestothethreenotesofastandardtriad.
Theseareoftensignifiedbyacombinationoflettername(fortherootofthechord)andnumbers(representingintervalsabovetherootnote).Forexample:
Thedefaultadditionsassumeaflattened(minor)7th:
Thismeansthatachordwithamajor7thhastobesignifiedeitherby‘maj’or‘Δ’:
Wherethe3rd(andthereforethewholechord)isminor,themostcommonchordnotationis:
The5thcanalsobeflattened,mostcommonlyinthechordofthehalf-diminished7th:
Thefulldiminished7th:
Onthemorecomplexchords(11thand13th)itisusualtoomitsomeofthelower notesinthechord:forinstance,the3rdisftenomittedinachordofthe11th.
TESTYOURSELFNowit’syourturn!Workoutthechordsrequiredinthisprogression.Youcandothisatthepiano,oronmanuscriptpaper…orboth!
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LouisArmstrong
TheartistandhiscontextLouisArmstrongisoneofthemostinfluentialfiguresinthehistoryofjazz.The grandsonofslaves,hewasbornintoapoorfamilyinLouisianain1901and grewupinpoverty,spendingmuchofhisfreetimelisteningtobandsinthe brothelsanddancehalls.Mostnotableamongthesewasthebandleaderand cornetplayerJoe‘King’Oliver.
Inaraciallypunitivesociety,Armstrongdevelopedhistrumpetskillsplayinginthe bandoftheNewOrleansHomeforColoredWaifs.Laterheplayedinbrassbands andthenontheriverboatsontheRiverMississippiinFateMarable’sBand,an experiencehelaterdescribedasbeinghisuniversity.Herehelearnedtoreadmusic andbecameoneofthefirstmusicianstobefeaturedinextendedtrumpetsolos.This gavehimtheopportunitytoinjecthisowncharismaticpersonalityintoperformances whichcanbeheardnotjustinhisuniquetrumpetsound,butalsoasavocalist.
In1922ArmstrongleftNewOrleansforthethrivingcityofChicago.Herehe foundedhisband,TheHotFive,in1925;inadditiontoArmstrong’strumpet,this includedclarinet,trombone,banjoandpiano.Theadditionoftubaanddrums sometimesledtoa‘HotSeven’.Amongthegroup’searlyrecordingsare‘Cornet ChopSuey’and‘Hotterthanthat’whichbothfeatureprominentArmstrongsolos,the latter both on trumpet and with scat singing.
Scat was a new jazz way of using the singer’s voice often associated with Ella Fitzgerald – ‘The First Lady of Song’ – using nonsensical syllables in vocal improvisation. In the 1950s Fitzgerald and Armstrong made three albums together.Armstrong enjoyed a long career, playing and touring globally under the sponsorship of the US State Department, until just before before his death in 1971, only a month shy of his 70th birthday. In the first part of his career, the recordings were all singles; from 1951 he released 27 albums.Louis Armstrong was affectionately nicknamed ‘Satchmo’, an abbreviation of‘satchel mouth’, because of his particularly flexible facial muscles when playing the trumpet. His distinctive gravelly voice is a hallmark of his style, and is very easy to identify.
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When The Saints Go Marching In - Louis Armstrong
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‘St.LouisBlues’‘St.LouisBlues’(1925)wasinitiallypublishedasapieceofmusicin1914and wascomposedbythe‘FatheroftheBlues’WilliamChristopherHandy.Ithas beenperformedandrecordedbymanydifferentjazzartistsincludingGlenn MillerandCountBasie,thoughitwasthe1925versionrecordedbyLouis ArmstrongandBessieSmithwhicharguablybroughtittohighacclaim.This musicalsofeaturedinthe1929filmofthesametitlewithBessieSmithina starringrole.
Thesonghasan8-barverse(repeated)inGminor,andarefraininGmajorwhich followsasimple12-barblueschordpattern:
Therearevariantstothisbasicpattern,whichoffersomealternativesandmorechordchanges.
Hereisthevocalline:
InHandy’soriginal,recordedin1922asaninstrumentalversion,thetempoisquitebrisk.Youcanhearthebrassinstrumentstothefore;therearemultipleinfluencesincludingthehabanerarhythm,repeatingtriadsreminiscentoftango,andafewtouchesofragtime.
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Listenout,too,fortheclarinet,whichbringsmuchoftheso-calledDixielandstyletothetrack.Notetheflattened7thinthefinaltonicchord–adistinctive‘blue’sound.Hereisalinktothisinstrumentaloriginal:http://bit.ly/StLouisBlues
TheLouisArmstrong/BessieSmithversionin1925ismuchslower,givingamore lugubrious,soulfulfeel.Therearevariouschangestomelodyandlyrics,andthe trackbeginswiththerefrainsection,allowingArmstrongtomakeacolourful contribution from the start, improvising melodic fills in the fourth bar of each phrase. The verse is then a minor key middle section.
In addition to Bessie Smith’s rich-toned singing and Armstrong’s florid trumpet playing, the harmonic aspect of the accompaniment is provided by Fred Longshaw on the harmonium – a type of reed organ often found in chapels.
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The artist and his context
Alto saxophonist Charlie Parker – famously nicknamed ‘Yardbird’ or just‘Bird’ – was one of the most influential jazz artists in the mid-20th century. He was a leading figure in the development of a new concept or style in jazz called bebop,characterisedbyfasttempos,anadvancedharmonicvocabularyand dazzlingimprovisation.
ParkerwasborninKansasCity,Kansas,in1920;in1927hisparentsmovedtothe cityofthesamenameinMissouri,animportantcentreforAfricanAmericanmusic atthetime.Hetookupthesaxophoneattheageof11,oncesayingthathespentthe nextfouryearspractisingforupto15hoursaday.
ParkermovedtoNewYorkin1939and,frustratedbythestereotypedharmonic patternsofthemusichefoundthere,developednewideasabouttheharmonic underpinningtohisimprovisations.In1942hejoinedEarlHines’sbigbandwhere hefirstmettrumpeterDizzyGillespie.Afterhours,ParkerandGillespiewould indulgeinjamsessionsatMinton’sPlayhousewithotherprodigiousyoungtalents suchaspianistTheloniousMonkanddrummerKennyClark.Itwassaidthatthese youngmusiciansweresearchingfor‘amusicthattheycouldn’tplay’;‘they’being thewhitebandleaderswhohadprofitedfromadoptingbig-bandmusic.
Forawhilethedevelopmentshappenedundertheradar:astrikebytheAmerican FederationofMusiciansin1942–1944causedlittlerecordingtohappen.When Parkerenteredarecordingstudioon26November1945withMilesDavisandDizzy Gillespieandothersitledto‘thegreatestjazzsessionever’accordingtothe marketingteamattherecordlabel,Savoy.Amongthetracksrecordedwerehis versionof‘Ko-Ko’and‘Now’stheTime’.
Theperiod1947–1951wasthehighpointofParker’scareer.Overhalfofhis recordedlegacywasproducedintheseyears.Heworkedfornightclubs,radio,live concertsandrecordingstudios,andcollaboratedwithastringorchestra,Afro-Cuban bandsandhisownsmallensembles.HetwicetouredEurope.Hewasakeenstudent ofclassicalmusic,inparticulartheinnovationsofIgorStravinsky.
AddictiontoheroinandalcoholwasParker’snemesis.Itcausedhimtomiss performances,andheevenpawnedhisinstrumentsinordertobuydrugs.Inthe Fiftieshewasconsideredbysometobeunemployable,andhewasbadlyindebt.He twiceattemptedsuicide.HisfinalperformancewasatBirdland–aNewYorknight clubnamedinhishonour–on5March1955.Hediedaweeklater.
MilesDavissaidthatthehistoryofjazzcouldbetoldinfourwords:‘Louis Armstrong.CharlieParker.’
Musicalideas
HarmonyParkeroftenaddednewmelodiestoanexistingchordprogression.Forexample,
CharlieParker
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‘Ornithology’(withitspunningtitle)buildsanewmelodyoverthechordprogressionofthejazzstandard‘Howhighthemoon.‘Thisprocessisknownascontrafact.
Somepieces–including‘Now’stheTime’,‘Billie’sBounce’,‘Bloomdido’and‘CoolBlues’–arebasedonstandardpatternsofthe12-barbluespattern.‘Barbados’isastandard12-barbluesinamamborhythm.
Chordpatternsyoumightencounter(definedinCmajor)include:
BEPREPAREDResearchothervariantsofthe12-barbluespatternandmakechordchartsofthedifferentoptions.Ifyouplaythepianoorguitar,tryplayingthemandinarangeofdifferentkeys!
Parkerdevelopedafarmoreelaborate12-barpatternwhichoftenincludesapairofchordsinasinglebarthatfollow a ii-V pattern.Chordii7b inaminorcontextthen appearsasahalf-diminished7th.
Thisenhancedprogressionisknownas‘BirdChanges’andappearsinvarioustracks including‘BluesforAlice’,‘LairdBaird’and‘SiSi’.
Thefollowingchartindicatesthechordsfor‘BirdChanges’:
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MelodicpitchandrhythmThisfast-movingharmonicpaletteallowedParkertohaveafarwidervocabularyfor hismelodicimprovisations.Inaddition,hesawpotentialforallchordstobe extendedbeyondthecustomary7thofearlierjazz.Inparticular,hemadeuseofthe flattened9thandraised11th;healsointerchangedmajor,minor,augmentedand diminishedchords,andcouldanticipateorprolongchordsoftheprogressionwithin themelodicline.
TherhythmicdetailinParker’simprovisationscanrelateonlyobliquelytothe fundamentalsofpulseandmetre.Coupledwiththeoftenrapidtempo,theeffectcan beveryexcitingandairborne.
Parkerwasfondofusingquoteswithinhismelodicimprovisation.Therangeof sourcesincludepopularsongsandheavyweightclassicalcomposersincluding WagnerandBizet,aswellasjazzartistssuchasLouisArmstrong.
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;,---- -�- Vt. 1/ !·····, __ _ 61946 ATLANTIC MUSIC CORP. 6 Renewed and assigne<l 1974 ATLANTIC �1USIC CORP. 6 1978 ATLANTIC MUSIC CORP. All Rights Reserved. \V.W. C. PARKER 407
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32-bar Song Structure and Rhythm Changes
Moose The Mooche is based on I Got Rhythm by George Gershwin, which
he original wrote for his music Girl Crazy (this musical was reworks as
Crazy For You in the 90s).
32-bar song structure follows this pattern:
Section A – 8 bars
Section A – 8 bars
Section B – 8 bars
Section A – 8 bars
Here are the chords for Section A in I Got Rhythm:
Bar 1 Bar 2 Bar 3 Bar 4
Bb Gm Cm F7 Bb Gm Cm F7
Bar 5 Bar 6 Bar 7 Bar 8
Bb Bb7 Eb Ebm Bb F7 Bb
In the grid below write out the roman numerals that represent these
chords:
Bar 1 Bar 2 Bar 3 Bar 4
Bar 5 Bar 6 Bar 7 Bar 8
Here are the chords for Section B in I Got Rhythm:
Bar 1 Bar 2 Bar 3 Bar 4
D7 D7 G7 G7
Bar 5 Bar 6 Bar 7 Bar 8
C7 C7 F7 F7
What do you notice about the chords in Section B?
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13gtff!Q· p s
F- Bb7 E-
E- A7 D
19
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Bird Changes
To create more of a bebop sound Parker often used his own version of a
12-bar blues using numerous chord substitutions to add in additional ii-V
patterns.
In the grid below write out a standard 12-bar blues in D Major:
Bar 1 Bar 2 Bar 3 Bar 4
Bar 5 Bar 6 Bar 7 Bar 8
Bar 9 Bar 10 Bar 11 Bar 12
Here are the Bird changes in D Major. Write in where you spot a ii-V
pattern using roman numerals:
Bar 1 Bar 2 Bar 3 Bar 4
D C#m7b5 F#7 Bm E7 Am D7
Bar 5 Bar 6 Bar 7 Bar 8
G7 Gm C7 F#m Fm Bb7
Bar 9 Bar 10 Bar 11 Bar 12
Em A7 D7 Em A7
In which bars do the Bird Changes have a chromatic shift and why?
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MilesDavis
TheartistandhiscontextTrumpeterandcomposerMilesDavis(1926–1991)isknownasoneofthemostinfluentialjazzmusiciansofalltime.Hismusicevolvedintandemwithmanykeychangeswhichoccurredin20th-centuryjazz,butmostnotablyhewasattheforefrontofthedevelopmentofthestyleknownasbebopandimportanttrendswhichfollowed,includingcooljazzandhardbop.
DaviswasborninIllinois,USAtoaffluentAfricanAmericanparents(hisfatherwasadentist).Hisearliestmusicalinfluencewasthegospelmusicsunginchurch.Helearnedtrumpetfromtheageof13withateacher,ElwoodBuchanan,whoinsistedonplayingwithoutthewidevibratothatwasinfashion.In1944theBillyEckstineBand,whichatthetimeincludedCharlieParkerandDizzyGillespie,playedinDavis’shometown;Daviswasinvitedtoplaythirdtrumpetwiththem.LaterthatyearheenrolledattheJuilliardSchoolofMusicinNewYork.
DavissoonlefttheJuilliard,preferringtodevelophisplayinginlate-nightjamsessionsinHarlemwherehefoundhisidol,Parker.IntheFortiesandFiftiesjazzchangedanddevelopedatarapidrate.Bebop,avirtuosicandcomplexstyleofjazz,movedawayfromswing,whichwaspopularfordancingandwasoftenrhythmicallypredictable.Amoremodernkindofjazzbegantoevolve,wherechromaticismanddissonancewerewidelyexplored.Tonalstructuresbecamemoredenseandcomplex,withmusiciansmakinguseofextendedharmonictechniques.
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WiththedeathofCharlieParkerin1945,theeraofbebopdeclined.In1948Davis beganacollaborationwithCanadiancomposerGilEvans.ItledtoDavisaspiringto playwithatonesimilartothehumanvoiceinmuchmorelaid-backsolos,astyle subsequentlycalledcooljazz.Cooljazzhadembeddedwithinitsomeracialand politicalimplicationsinthatbothblackandwhitemusiciansworkedtogethermore frequently.Thisinevitablyhadanimpactonthewaythestyleevolved.Cooljazz tendedtosteerawayfromthecomplexharmoniesofbebopandwasalighterstyleof jazz.AleadingwhitemusicianincooljazzwasDaveBrubeck.
Theearly1950swasadifficulttimeforDavisthatincludeddepressionandabattle withheroinaddiction(whichheovercame).Itwasalsoatimewhenhisstyle developedagainintoastyleknownashardbop,whichinvolvesslowertemposthan bebop,butstrongerbeatsthanfoundincooljazz,andmoreinfluencefromtheblues.
In1955DavisformedagroupnowreferredtoashisFirstGreatQuintetwithJohn Coltraneontenorsax.In1959hebroughtpianistBillEvansintothegroupandmade thealbumKindofBlue,possiblythemostsuccessfuljazzalbumofalltime.A SecondGreatQuintetwasfoundedin1964withHerbieHancockatthepiano.
Davis’s music then became more influenced by rock and funk artists such as James Brown and Jimi Hendrix. A fusion period using electronic instruments followed, starting with the album In a Silent Way in 1969.
Miles Davis retired in 1975, but re-emerged in 1979 to make further albums starting with The Man with the Horn in 1981. His final album, Doo-Bop, featuring hip-hop influences, was released after his death on 28 September 1991.
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Modes
Later in his career Miles Davis started to create true modal jazz. This style of jazz has an
ambiguous tonal centre and is based on the ideas laid out in George Russel’s book ‘The
Lydian Chromatic Concept of Tonal Organization’.
However, in his Hard-bop phase Davis did experiment with the use of modes in his
improvisation, to move away from the usual scalic and arpeggio based improvisation of
Bebop.
Dominant Modes
In Davis’s early improvisation he uses modes over the dominant chords to emphasise the
dominant 7th. In major keys this is the mixolydian mode and in minor keys this is the dorian
mode.
The mixolydian mode is the fifth mode and can be worked out by playing all the white notes
from G-G. The difference between this and the normal major scale is that the seventh is
flattened giving the dominant (minor) seventh:
G Major G A B C D E F# G
G Mixolydian G A B C D E F G
The dorian mode is the second mode, D-D and is the same as the ascending melodic minor
scale, with a flattened seventh:
D Melodic
Minor (Asc) D E F G A B C# D
D Dorian D E F G A B C D
Another way to think of this is the natural minor with a sharpened 6th.
Write out the notes in the following modes:
C Mixolydian
D Mixolydian
Bb Mixolydian
A Mixolydian
G Dorain
A Dorian
C Dorian
B Dorian
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Glossary
Word Definition 12-Bar Blues
Added Note Chord/Extended
Chord
Altissimo Register
Bebop
Bird ‘Parker’ Blues
Blue Note
Chalumeau
Register
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Cool
Dorian Mode
Front Line
Harmon Mute
Head
Hot
ii-V
Improvisation
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Jazz Standard
Lydian Mode
Mixolydian Mode
Polyphonic Improvisation
Post-Bop/Hard-Bop
Rhythm Section
Scat Singing
Solo
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Straight
Substitution
Chord
Swung
Traditional Jazz/Trad
Jazz/Dixieland
Turnaround
Virtuosic