CH 07-11 Review Quiz

A  one-handed playing

B  stride piano technique

C  chordal comping in the left hand, fast melodies in the right hand

D  two-handed chords played in a steady four-beat pattern

A  Cab Calloway’s

B  Chick Webb’s

C  Count Basie’s

D  Duke Ellington’s

A  dedicated himself to practicing and improved quickly

B  developed the ability to play incredibly fast

C  avoided alcohol and drugs

D  publicly embarrassed by Jo Jones when he didn’t play well

A  They played on network radio shows.

B  They toured constantly.

C  They took other jobs in service industries.

D  They produced and distributed their own recordings.

A  blitzkriegs

B  torpedoes

C  gatling guns

D  bombs

A  shifting the pulse to the ride cymbal and using the bass drum for accents

B  shifting the pulse to the hi-hat cymbal and using the ride cymbal for accents

C  shifting the pulse to the hi-hat cymbal and using the toms for accents

D  shifting the pulse to the bass drum and using the ride cymbal for accents

A  Onyx Club

B  Savoy Ballroom

C  Birdland

D  Minton’s Playhouse

A  performing at incredibly fast tempos

B  performing obscure, unpublished compositions

C  modulating between different keys

D  playing tunes in unfamiliar keys

A  Bebop was more difficult for audiences to understand.

B  Bebop demonstrated the virtues of harmonic simplicity.

C  Bebop was performed in smaller spaces.

D  Bebop moved from the mainstream to become a music of outsiders.

A  master of stride technique

B  fast right-hand runs

C  primarily an ensemble pianist

D  rich repertoire of harmonic substitutions

A  fully blind

B  fully deaf

C  blind in one eye, very little in the other

D  deaf in one ear, very little in the other

A  brief solos accompanied by the rest of the rhythm section

B  long unaccompanied solos

C  solo introductions

D  sparse accompaniment for horn soloists

A  guitar

B  banjo

C  drums

D  piano

A  rockabilly

B  western swing

C  country gallup

D  southern jive

A  Sid Catlett

B  Chick Webb

C  Gene Krupa

D  Jo Jones

A  Jimmy Blanton

B  Wellman Braud

C  Walter Page

D  Milt Hinton

A  John Hammond

B  Mary Lou Williams

C  Fats Waller

D  Benny Goodman

A  He worked primarily as a soloist, rather than as an accompanist.

B  He showed that the electric guitar could be played in exactly the same style as acoustic jazz guitar.

C  He revealed the broad expressive range and lyricism that the electric guitar could produce.

D  He was the very first musician to perform on electric guitar.

A  four-octave range

B  timbral punctuations including squeals and growls

C  deep connection to the blues

D  deft scat singing

A  “Strange Fruit”

B  “Reckless Blues”

C  “One Hour”

D  “Oh! Lady Be Good”

A  voice

B  all of these

C  conducting

D  trumpet

A  held his saxophone at an extreme horizontal angle

B  wore a porkpie hat

C  outgoing and brash in conversation

D  spoke in a creative, personal slang

A  performed throughout the Midwest with King Oliver and other leaders

B  took part in Kansas City jam sessions

C  spent a long and successful time in the Fletcher Henderson band

D  played several instruments in a family band

A  Lester Young

B  Chu Berry

C  Ben Webster

D  Johnny Hodges

A  It blends improvisational spontaneity with compositional logic.

B  It demonstrates a mastery of melodies formed with arpeggios.

C  All of these

D  It completely abandons the melodic foundation of the song, spinning variations based on the underlying harmonic structure.

A  arpeggios

B  long sustained notes

C  repeated short notes

D  scale passages

A  He was the first tenor saxophonist to play jazz.

B  By establishing a strong jazz style on the instrument, he ended its previously comic or novelty image.

C  He was the first saxophonist to have success in Europe.

D  Every significant swing tenor player sounded like him.

A  playing on movie soundtracks

B  soloing with symphony orchestras

C  playing in pit bands

D  working on records

A  eventually drew a large audience as formal, staged events

B  participation was expressly forbidden by many top bandleaders

C  provided an opportunity for musicians to experiment

D  occurred after hours

A  Poor recording fidelity meant that subtle stylistic details were inaudible.

B  Increased film opportunities led to stark musical branding.

C  A resurgence of interest in vaudeville required musicians to caricature their own sounds.

D  They were given short solo breaks and wanted to be sure that radio audiences could identify them quickly.

A  Johnny Hodges

B  Cootie Williams

C  Ben Webster

D  Juan Tizol

A  an indicator of Strayhorn’s health

B  a riff that Ellington scribbled on a napkin

C  directions on how to get to Harlem

D  Strayhorn’s childhood nickname

A  Symphony in Black

B  Black, Brown, and Beige

C  Black and Tan Fantasy

D  Diminuendo and Crescendo in Black

A  He used visual images or scenes to stimulate the composition process.

B  He involved the musicians in his orchestra in the composition process.

C  He worked primarily in isolation.

D  He wrote down ideas wherever he was, including on the train.

A  expanding from nine musicians to fifteen

B  learning traditional dance band repertoire

C  improving the band’s musical consistency

D  refining a more reserved approach to swing

A  providing lucrative performance opportunities for up-and-coming musicians

B  being a place to hear the most polished professional bands in the Southwest

C  having songs that lasted well over an hour

D  increasing the national public profile of the best territory bands

A  the complete arrangements are stored in the heads of the band members

B  the written parts are very complicated and require a lot of thinking

C  the leader of each section is responsible for writing out the parts

D  they are composed by the head of the ensemble

A  New York

B  Missouri

C  Pennsylvania

D  New Jersey

A  distinguished by its driving ostinatos played by the pianist’s right hand

B  blues piano style

C  includes percussive cross-rhythms between the pianist’s two hands

D  played by solo pianists in barrelhouses and speakeasies during the Swing Era

A  The Ingenues

B  Sweethearts of Rhythm

C  International Sweethearts of Rhythm

D  Coquettes

A  Clora Bryant

B  Mary Lou Williams

C  Miriam McPartland

D  Valaida Snow

A  Lionel Hampton

B  Cab Calloway

C  Benny Goodman

D  Glenn Miller

A  Benny Goodman

B  Glenn Miller

C  Artie Shaw

D  Woody Shaw

A  Joe Glaser

B  John Hammond

C  Leonard Feather

D  Norman Granz

A  sweet arrangements by white arrangers such as Ferde Grofé

B  hot arrangements by black arrangers including Fletcher Henderson and Benny Carter

C  semiclassical arrangements by William Grant Still and Eddie Sauter

D  head arrangements by members of the band

A  tuba

B  baritone saxophone

C  guitar

D  banjo

A  sight-read music efficiently

B  improvise convincingly

C  play their instrument flawlessly

D  dance during the band’s performance

A  Swing bands derived the majority of their repertoire from movies.

B  Swing bands avoided songs that were heard in movies.

C  Swing bands provided entertainment for an older population that was underserved by other popular styles.

D  Swing bands drew from the same repertoire of popular songs that was distributed via radio, movies, sheet music, and jukeboxes.

A  war veterans

B  teenagers

C  rural southerners

D  urban professionals

A  the stock market crash of 1929

B  Hitler’s invasion of Poland

C  the publication of Einstein’s Theory of Relativity

D  the armistice marking the end of World War I