how is bebop different from swing quizlet

One example of this is Charlie Parkers Ornithology, which is based on the changes from How High the Moon, a popular show tune in the 1940s. Striking a group of adjacent keys on a piano with the fist or forearm will result in. Bebop or bop is a style of jazz developed in the early-to-mid-1940s in the United States. Gordon led his first session for the Savoy label on October 30, 1945, with Sadik Hakim (Argonne Thornton) on piano, Gene Ramey on bass, and Eddie Nicholson on drums (Blow Mr Dexter, Dexter's Deck, Dexter's Cuttin' Out, Dexter's Minor Mad). Parker appeared in Gillespie-led sessions dated February 28 (Groovin' High, All the Things You Are, Dizzy Atmosphere) and May 11, 1945 (Salt Peanuts, Shaw 'Nuff, Lover Man, Hothouse) for the Guild label. Bebop musicians eliminated Western-style functional harmony in their music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices. Stylistic aspect. Bebop, because of its intensity and complexity, did not have the mass appeal of the Swing (Big Band) Era. It proved to be a profoundly influential recording for aspiring saxophonists. If you continue to use this site we will assume that you are happy with it. a tone cluster. More emphasis was put on virtuosity. In the hands of bebop musicians, jazz became more blues-oriented and riff-based too; and because Parker and Gillespie were able to marry their supreme technical ability with their knowledge of advanced music theory, what resulted was a new type of jazz defined by extended solos and whose harmonic language was denser and richer than ever before. Always seek the advice of your doctor with any questions you may have regarding your medical condition. Swing is pretty straighforward, with danceable tempos--meaning medium tempos for the most part. A developed and even more highly syncopated, linear rhythmic complexity and a melodic angularity in which the. [15], As the 1930s turned to the 1940s, Parker went to New York as a featured player in the Jay McShann Orchestra. For information on ordering The Instrumental History of Jazz 2-CD set, click here. He recorded some singles across 1949 and 50 that eventually became an album called The Birth Of The Cool. World War II brought an end to the heyday of swing and saw the beginnings of bebop. Complicated harmonic substitutions for more basic chords became commonplace. Bebop musicians improvise far more complex solos than those of the Swing Era. It used simpler melodies that were easier to sing, a slower tempo, a strong backbeat, a solid bluesy groove, all of which made it very danceable and thus popularised Jazz again. [16] Part of the atmosphere created at jams like the ones found at Minton's Playhouse was an air of exclusivity: the "regular" musicians would often reharmonize the standards, add complex rhythmic and phrasing devices into their melodies, or "heads", and play them at breakneck tempos in order to exclude those whom they considered outsiders or simply weaker players. Whereas bebop was hot, i.e., loud, exciting, and loose, cool jazz was cool, i.e., soft, more reserved, and controlled. Accompaniment rhythms were more varied in bop. Gillespie recorded his first session as a leader on January 9, 1945, for the Manor label, with Don Byas on tenor, Trummy Young on trombone, Clyde Hart on Piano, Oscar Pettiford on bass, and Irv Kluger on drums. [citation needed] The bebop musician or bopper became a stock character in jokes of the 1950s, overlapping with the beatnik.[8]. Bop improvisers built upon the phrasing ideas first brought to attention by Lester Young's soloing style. I was working over "Cherokee", and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. Points Awarded: 1/1. were able to do? (Critical essay) Black Music Research Journal 22 Mar 2005. Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing music-style with a new "musician's music" that was not as danceable and demanded close listening. What's the difference between swing and bebop? Classical music rather than American popular music, False - less visual appeal, scarcity of singers, more complicated and unpredictable, long solos made difficult to follow. It was just modern music, we would call it. Articles from Britannica Encyclopedias for elementary and high school students. Swing is a style within the genre of music called jazz. His show style, influenced by black vaudeville circuit entertainers, seemed like a throwback to some and offended some purists ("too much grinning" according to Miles Davis), but it was laced with a subversive sense of humor that gave a glimpse of attitudes on racial matters that black musicians had previously kept away from the public at large. The term "bebop" is derived from nonsense syllables (vocables) used in scat singing; the first known example of "bebop" being used was in McKinney's Cotton Pickers' "Four or Five Times", recorded in 1928. The neo-bop movement of the 1980s and 1990s revived the influence of bebop, post-bop, and hard bop styles after the free jazz and fusion eras. How is Bebop Different from Swing? Jazz was everybodys music, right from the start. One can nitpick Warings article or appreciate the fact that he provides a starting place for the uninitiated uninitiated to the genius of an era that propelled jazz to a new frontier. It is important to learn the difference so that you can identify and appreciate each one in its own right. 'Bebop' was a label that certain journalists later gave it, but we never labeled the music. Some sessions at Minton's in 1941 were recorded, with Thelonious Monk alongside an assortment of musicians including Joe Guy, Hot Lips Page, Roy Eldridge, Don Byas, and Charlie Christian. Bebop was primarily played by small groups (combos). Bebop musicians improvise far more complex solos than those of the Swing Era. Formal recording of bebop was first performed for small specialty labels, who were less concerned with mass-market appeal than the major labels, in 1944. An early bebop drummer who played the house drums at Monroe's when that club served as a proving ground for the emerging style of bebop. accompany and compliment. Stylistic aspect. Indeed, bebop, with its improvisatory ethos and demand for virtuosity, insisted upon being perceived as an art form. Lester was most masterful with ballads, also, especially in recordings made with combos that were backing Billie Holliday. Whereas bebop bands were usually a quartet or quintet and were comprised of saxophone and/or trumpet and rhythm section, cool jazz groups had a wider variety of size and instrumentation. In bebop, though, the rhythmic emphasis was switched from the bass drum to the more subtle hi-hat and ride cymbal, which allowed greater rhythmic fluidity (drummers Kenny Clarke and Max Roach were the chief instigators of this new approach). The melody of bebop has a lot of improvisation and complex rhythms that do not repeat. Inspired by the more harmonically and rhythmically experimental players from the swing erasuch as Coleman Hawkins, Lester Young, Art Tatum, and Roy Eldridgebebop musicians expanded the palette of musical devices. Raney describes Parker's knowledge of Bartk and Arnold Schoenberg, in particular Schoenberg's Pierrot Lunaire, and says that a section from Bartk's Fifth Quartet sounded a lot like some of Parker's jazz improvisation. By the middle of that decade, there emerged a variant of bebop called hard bop, which was characterized by dominant blues and gospel elements, and may have rendered those still wondering what is bebop even more confused. Dave Brubeck and other cool jazz artists brought jazz to college campuses in the 1950s, finding a new audience for jazz (before this, jazz was mostly played in nightclubs and dance halls). Swing Era big band jazz had been popular. "[6] Another theory is that it derives from the cry of "Arriba! Stylistic aspect. This meant that soloists really had to be sharp-witted, well-prepared, and know their scales inside out, especially when the chord changes came thick and fast (as was the norm with bebop). The bop musicians advanced these techniques with a more freewheeling, intricate and often arcane approach. Whereas Big Band Swing was considered entertainment (i.e., dance music), Bebop was considered art music (like classical music, bebop was for listening only); Bebop musicians considered themselves artists, not merely entertainers. Gillespie's "Rebop Six" (with Parker on alto, Lucky Thompson on tenor, Al Haig on piano, Milt Jackson on vibes, Ray Brown on bass, and Stan Levey on drums) started an engagement in Los Angeles in December 1945. [citation needed], "Bebop wasn't developed in any deliberate way. The path towards rhythmically streamlined, solo-oriented swing was blazed by the territory bands of the southwest with Kansas City as their musical capital; their music was based on blues and other simple chord changes, riff-based in its approach to melodic lines and solo accompaniment, and expressing an approach adding melody and harmony to swing rather than the other way around. [3] Thelonious Monk claims that the original title "Bip Bop" for his composition "52nd Street Theme", was the origin of the name bebop. I suppose you could draw a comparison with rap music. The word is an onomatopoeic rendering of a staccato two-tone phrase distinctive in this type of music. Byas became the first tenor saxophone player to fully assimilate the new bebop style in his playing. Cannonball Adderley and Art Blakey led other hard bop combos. So what is bebop? The drum styles used less "four on the floor" and kept time more on the ride cymbal. The small band format lent itself to more impromptu experimentation and more extended solos than did the bigger, more highly arranged bands. A chord made of tones only a half step or a whole step apart is known as. On the other hand, swing tends to have simple rhythm and melodies, which usually repeat themselves over a long period of time. Bebop chord voicings often dispensed with the root and fifth tones, instead basing them on the leading intervals that defined the tonality of the chord. To break away from the white influence, bebop altered the style of swing to suit the authentic African-American art form. He performed on such notable recordings as "Koko" and "Klactovestedstene." Max Roach. Guitarist Charlie Christian, who had arrived in New York in 1939 was, like Parker, an innovator extending a southwestern style. Save my name, email, and website in this browser for the next time I comment. Chord progressions for bebop compositions were often taken directly from popular swing-era compositions and reused with a new and more complex melody, forming new compositions (see contrafact). [5] Dizzy Gillespie stated that the audiences coined the name after hearing him scat the then-nameless compositions to his players and the press ultimately picked it up, using it as an official term: "People, when they'd wanna ask for those numbers and didn't know the name, would ask for bebop. Bebop samples, especially bass lines, ride cymbal swing clips, and horn and piano riffs are found throughout the hip-hop compendium. Christian is featured in recordings from May 12, 1941 (Esoteric ES 548).

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