CH 07-11 Review Quiz

A  stride piano technique

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

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

D  one-handed playing

A  Cab Calloway’s

B  Chick Webb’s

C  Count Basie’s

D  Duke Ellington’s

A  developed the ability to play incredibly fast

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

C  avoided alcohol and drugs

D  dedicated himself to practicing and improved quickly

A  They took other jobs in service industries.

B  They played on network radio shows.

C  They toured constantly.

D  They produced and distributed their own recordings.

A  blitzkriegs

B  gatling guns

C  torpedoes

D  bombs

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

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

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

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

A  Birdland

B  Minton’s Playhouse

C  Onyx Club

D  Savoy Ballroom

A  performing at incredibly fast tempos

B  playing tunes in unfamiliar keys

C  performing obscure, unpublished compositions

D  modulating between different keys

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

B  Bebop was performed in smaller spaces.

C  Bebop demonstrated the virtues of harmonic simplicity.

D  Bebop was more difficult for audiences to understand.

A  master of stride technique

B  fast right-hand runs

C  rich repertoire of harmonic substitutions

D  primarily an ensemble pianist

A  fully deaf

B  deaf in one ear, very little in the other

C  fully blind

D  blind in one eye, very little in the other

A  long unaccompanied solos

B  solo introductions

C  brief solos accompanied by the rest of the rhythm section

D  sparse accompaniment for horn soloists

A  piano

B  drums

C  guitar

D  banjo

A  western swing

B  rockabilly

C  country gallup

D  southern jive

A  Gene Krupa

B  Jo Jones

C  Sid Catlett

D  Chick Webb

A  Jimmy Blanton

B  Walter Page

C  Wellman Braud

D  Milt Hinton

A  Benny Goodman

B  Fats Waller

C  Mary Lou Williams

D  John Hammond

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

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

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

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

A  four-octave range

B  deft scat singing

C  deep connection to the blues

D  timbral punctuations including squeals and growls

A  “One Hour”

B  “Strange Fruit”

C  “Reckless Blues”

D  “Oh! Lady Be Good”

A  conducting

B  trumpet

C  voice

D  all of these

A  spoke in a creative, personal slang

B  wore a porkpie hat

C  outgoing and brash in conversation

D  held his saxophone at an extreme horizontal angle

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

B  took part in Kansas City jam sessions

C  played several instruments in a family band

D  performed throughout the Midwest with King Oliver and other leaders

A  Lester Young

B  Chu Berry

C  Ben Webster

D  Johnny Hodges

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

B  It demonstrates a mastery of melodies formed with arpeggios.

C  It blends improvisational spontaneity with compositional logic.

D  All of these

A  repeated short notes

B  scale passages

C  arpeggios

D  long sustained notes

A  He was the first tenor saxophonist to play jazz.

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

C  Every significant swing tenor player sounded like him.

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

A  playing in pit bands

B  soloing with symphony orchestras

C  playing on movie soundtracks

D  working on records

A  eventually drew a large audience as formal, staged events

B  participation was expressly forbidden by many top bandleaders

C  occurred after hours

D  provided an opportunity for musicians to experiment

A  Increased film opportunities led to stark musical branding.

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

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

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

A  Ben Webster

B  Cootie Williams

C  Johnny Hodges

D  Juan Tizol

A  directions on how to get to Harlem

B  Strayhorn’s childhood nickname

C  an indicator of Strayhorn’s health

D  a riff that Ellington scribbled on a napkin

A  Symphony in Black

B  Black and Tan Fantasy

C  Black, Brown, and Beige

D  Diminuendo and Crescendo in Black

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

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

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

D  He worked primarily in isolation.

A  refining a more reserved approach to swing

B  expanding from nine musicians to fifteen

C  learning traditional dance band repertoire

D  improving the band’s musical consistency

A  increasing the national public profile of the best territory bands

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

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

D  having songs that lasted well over an hour

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

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

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

D  they are composed by the head of the ensemble

A  Pennsylvania

B  New Jersey

C  Missouri

D  New York

A  blues piano style

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

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

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

A  Sweethearts of Rhythm

B  Coquettes

C  The Ingenues

D  International Sweethearts of Rhythm

A  Clora Bryant

B  Valaida Snow

C  Miriam McPartland

D  Mary Lou Williams

A  Cab Calloway

B  Benny Goodman

C  Lionel Hampton

D  Glenn Miller

A  Glenn Miller

B  Benny Goodman

C  Woody Shaw

D  Artie Shaw

A  Norman Granz

B  Leonard Feather

C  Joe Glaser

D  John Hammond

A  head arrangements by members of the band

B  sweet arrangements by white arrangers such as Ferde Grofé

C  semiclassical arrangements by William Grant Still and Eddie Sauter

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

A  guitar

B  baritone saxophone

C  banjo

D  tuba

A  dance during the band’s performance

B  sight-read music efficiently

C  improvise convincingly

D  play their instrument flawlessly

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

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

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

D  Swing bands avoided songs that were heard in movies.

A  urban professionals

B  teenagers

C  war veterans

D  rural southerners

A  Hitler’s invasion of Poland

B  the stock market crash of 1929

C  the publication of Einstein’s Theory of Relativity

D  the armistice marking the end of World War I