CH 07-11 Review Quiz

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

B  one-handed playing

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

D  stride piano technique

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

D  avoided alcohol and drugs

A  They played on network radio shows.

B  They took other jobs in service industries.

C  They toured constantly.

D  They produced and distributed their own recordings.

A  torpedoes

B  bombs

C  gatling guns

D  blitzkriegs

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

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

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

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

A  Onyx Club

B  Savoy Ballroom

C  Minton’s Playhouse

D  Birdland

A  playing tunes in unfamiliar keys

B  modulating between different keys

C  performing obscure, unpublished compositions

D  performing at incredibly fast tempos

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

B  Bebop demonstrated the virtues of harmonic simplicity.

C  Bebop was performed in smaller spaces.

D  Bebop was more difficult for audiences to understand.

A  rich repertoire of harmonic substitutions

B  master of stride technique

C  primarily an ensemble pianist

D  fast right-hand runs

A  fully blind

B  blind in one eye, very little in the other

C  deaf in one ear, very little in the other

D  fully deaf

A  sparse accompaniment for horn soloists

B  solo introductions

C  long unaccompanied solos

D  brief solos accompanied by the rest of the rhythm section

A  drums

B  banjo

C  guitar

D  piano

A  western swing

B  country gallup

C  rockabilly

D  southern jive

A  Sid Catlett

B  Gene Krupa

C  Chick Webb

D  Jo Jones

A  Jimmy Blanton

B  Wellman Braud

C  Walter Page

D  Milt Hinton

A  John Hammond

B  Benny Goodman

C  Fats Waller

D  Mary Lou Williams

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  deft scat singing

B  four-octave range

C  deep connection to the blues

D  timbral punctuations including squeals and growls

A  “Strange Fruit”

B  “One Hour”

C  “Oh! Lady Be Good”

D  “Reckless Blues”

A  conducting

B  all of these

C  trumpet

D  voice

A  held his saxophone at an extreme horizontal angle

B  outgoing and brash in conversation

C  spoke in a creative, personal slang

D  wore a porkpie hat

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

B  played several instruments in a family band

C  performed throughout the Midwest with King Oliver and other leaders

D  took part in Kansas City jam sessions

A  Ben Webster

B  Lester Young

C  Johnny Hodges

D  Chu Berry

A  It demonstrates a mastery of melodies formed with arpeggios.

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

C  It blends improvisational spontaneity with compositional logic.

D  All of these

A  arpeggios

B  scale passages

C  long sustained notes

D  repeated short notes

A  Every significant swing tenor player sounded like him.

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  He was the first tenor saxophonist to play jazz.

A  working on records

B  playing in pit bands

C  playing on movie soundtracks

D  soloing with symphony orchestras

A  eventually drew a large audience as formal, staged events

B  provided an opportunity for musicians to experiment

C  occurred after hours

D  participation was expressly forbidden by many top bandleaders

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

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  Increased film opportunities led to stark musical branding.

A  Cootie Williams

B  Ben Webster

C  Johnny Hodges

D  Juan Tizol

A  Strayhorn’s childhood nickname

B  a riff that Ellington scribbled on a napkin

C  directions on how to get to Harlem

D  an indicator of Strayhorn’s health

A  Symphony in Black

B  Diminuendo and Crescendo in Black

C  Black and Tan Fantasy

D  Black, Brown, and Beige

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

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

C  He worked primarily in isolation.

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

A  refining a more reserved approach to swing

B  learning traditional dance band repertoire

C  improving the band’s musical consistency

D  expanding from nine musicians to fifteen

A  increasing the national public profile of the best territory bands

B  having songs that lasted well over an hour

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

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

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

B  they are composed by the head of the ensemble

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

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

A  Missouri

B  New York

C  Pennsylvania

D  New Jersey

A  blues piano style

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

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

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

A  Sweethearts of Rhythm

B  Coquettes

C  International Sweethearts of Rhythm

D  The Ingenues

A  Mary Lou Williams

B  Miriam McPartland

C  Clora Bryant

D  Valaida Snow

A  Lionel Hampton

B  Benny Goodman

C  Cab Calloway

D  Glenn Miller

A  Glenn Miller

B  Woody Shaw

C  Benny Goodman

D  Artie Shaw

A  Leonard Feather

B  Norman Granz

C  John Hammond

D  Joe Glaser

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

B  head arrangements by members of the band

C  sweet arrangements by white arrangers such as Ferde Grofé

D  semiclassical arrangements by William Grant Still and Eddie Sauter

A  banjo

B  tuba

C  baritone saxophone

D  guitar

A  dance during the band’s performance

B  improvise convincingly

C  sight-read music efficiently

D  play their instrument flawlessly

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

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

C  Swing bands avoided songs that were heard in movies.

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

A  urban professionals

B  rural southerners

C  war veterans

D  teenagers

A  the armistice marking the end of World War I

B  the stock market crash of 1929

C  Hitler’s invasion of Poland

D  the publication of Einstein’s Theory of Relativity