Bebop soloists are usually more rhythmically advanced than swing soloists. The swing big band arrangements play more melodies, and the bebop ensembles are more chromatic. 5. This band is for an audience that likes to listen to music rather than dance like swing. Writing Assigment #3 1.
The music of the swing era was popular from the 1930’s to around the beginning of World War two when most of the Jazz musicians went off to fight in the war. Before the 1930s, however, small groups, usually consisting of a trumpet, trombone, clarinet, tuba or bass, banjo or piano, and drums, performed jazz. Each instrument had a specific role in the ensemble, aside from the melody. This sectionalized approach carried over into the big bands of swing music, which instead featured a section of three to four trumpet players; four trombone performers and five to six saxophonists. The number of Clarinet players were doubled and instead of a bassist they had a tuba player.
Differing greatly from swing music, bebop was music that was supposed to be enjoyed by listening to and not danced to. This made for an even more upbeat and challenging tempo, and allowed musicians to express themselves a lot more through their
Hard Bop Hard bop is a style of modern jazz developed by musicians in the late 1950’s. It is a very heavy, dark, and impassioned form of bebop and focuses mostly on the saxophone and drums who play in a more leading style. The foundation for this music was “bebop,” a style that became famous in the late 1940’s, which was known for its fast tempo, instrumental skill and improvisation. Hard bop was a type of music played mostly by town musicians originally from Detroit, Philadelphia and New York, which reflected an East Coast background. Hard bop differentiated with the West Coast's cooler, calmer response.
Dixieland jazz began in New Orleans and spread throughout the United States from 1917 to 1930. Dixieland is upbeat and loud with many jazz rhythms. Dixieland usually consisted of a lead trumpet, a clarinet, a saxophone, a trombone, a string bass, a piano and a drum. The bass and drum play on the down beats of one and three, while the piano plays fast chords and the clarinet, trumpet play melody and the saxophone and trombone play countermelody. Dixieland doesn’t generally use vocals, but is expressed through dynamics and rhythms.
The first change to be made was allowing the “imperfect” and “perfect” divisions of note values and the second divided the semibreve into minims allowing more rhythmic flexibility and new meters, creating for the first time syncopation. Mensuration signs were another advancement made in the notation indicating which combination of time and prolation to use. Noteshapes were used to show the time that remained unchanged by the notes around them. This made is easier for people to compose syncopation. Jacques de Liege objected to the Ars Nova and defended the “ancient art”.
They are slow paseo and fast paseo. Slow paseo is usually romantic while fast paseo is quicker and uses the accordion to light up the song. Many people cannot tell the difference between fast paseo and merengue because of the speed at which they are played. Another type of Vallenato rhythm is merengue. Merengue is usually faster than paseo and son and it sounds much happier.
Patrick Bissett Ajit Dhillon The Evolution of Prosthetics Since the beginning of time, people have encountered things along their lives that “got the best of them,” and in some cases, the “best of them” included a limb. After suffering such an injury, said person’s life would never be the same. The adaptation to a life without a limb would not only be strenuous on the body, but mentally exhausting as well. Luckily for these people, society figured out solution to this problem fairly early on in the course of history. Although easier in theory than in reality, the solution was that of simply attaching a replacement limb to account for some, if not all, of the functions lost.
With the decline in popularity of swing bands and the rise of singers as pop stars, many jazz musicians in the mid-1940s retreated to smaller groups of five or six instruments that were easier to organize, were cheaper to book in clubs, and provided more freedom for individual musicians to express themselves. The music that began to emerge from these small bands was a sharp break from Swing Era jazz: Unlike the smooth, pulsing flow of swing, these new melodies were typically jagged and uneven, designed to catch listeners off guard. Whereas swing seemed to offer a lighthearted escape from the hardships of the Depression, many listeners and critics saw bebop, as this new style came to be called, as a reflection of the anxiety and uncertainty faced by African Americans in the immediate postwar years.
The music that played in African American clubs was faster and wilder than the jazz played by the white dance halls, but even the jazz in the African American clubs was tame in comparison to the jazz of New Orleans. King Oliver is the best example of the shift in style that occurred when musicians moved from New Orleans to Chicago. King Oliver's Creole Jazz Band was highly successful in New Orleans. The early New York Jazz music was influenced by ragtime music, which had been popular there in the early 1900s. Scott Joplin had played in New York, and other great musicians followed in his footsteps.