CH 07-11 Review Quiz

A  one-handed playing

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  stride piano technique

A  Chick Webb’s

B  Duke Ellington’s

C  Cab Calloway’s

D  Count Basie’s

A  avoided alcohol and drugs

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

C  developed the ability to play incredibly fast

D  dedicated himself to practicing and improved quickly

A  They took other jobs in service industries.

B  They toured constantly.

C  They produced and distributed their own recordings.

D  They played on network radio shows.

A  torpedoes

B  gatling guns

C  bombs

D  blitzkriegs

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

A  Savoy Ballroom

B  Onyx Club

C  Birdland

D  Minton’s Playhouse

A  performing at incredibly fast tempos

B  modulating between different keys

C  performing obscure, unpublished compositions

D  playing tunes in unfamiliar keys

A  Bebop was performed in smaller spaces.

B  Bebop was more difficult for audiences to understand.

C  Bebop demonstrated the virtues of harmonic simplicity.

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

A  primarily an ensemble pianist

B  fast right-hand runs

C  rich repertoire of harmonic substitutions

D  master of stride technique

A  fully blind

B  blind in one eye, very little in the other

C  fully deaf

D  deaf in one ear, very little in the other

A  solo introductions

B  sparse accompaniment for horn soloists

C  long unaccompanied solos

D  brief solos accompanied by the rest of the rhythm section

A  guitar

B  piano

C  drums

D  banjo

A  rockabilly

B  southern jive

C  western swing

D  country gallup

A  Jo Jones

B  Chick Webb

C  Gene Krupa

D  Sid Catlett

A  Milt Hinton

B  Wellman Braud

C  Jimmy Blanton

D  Walter Page

A  John Hammond

B  Benny Goodman

C  Mary Lou Williams

D  Fats Waller

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

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

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

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

A  deft scat singing

B  deep connection to the blues

C  four-octave range

D  timbral punctuations including squeals and growls

A  “Reckless Blues”

B  “Strange Fruit”

C  “One Hour”

D  “Oh! Lady Be Good”

A  all of these

B  conducting

C  trumpet

D  voice

A  spoke in a creative, personal slang

B  outgoing and brash in conversation

C  held his saxophone at an extreme horizontal angle

D  wore a porkpie hat

A  played several instruments in a family band

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

C  performed throughout the Midwest with King Oliver and other leaders

D  took part in Kansas City jam sessions

A  Johnny Hodges

B  Lester Young

C  Chu Berry

D  Ben Webster

A  It blends improvisational spontaneity with compositional logic.

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

C  It demonstrates a mastery of melodies formed with arpeggios.

D  All of these

A  scale passages

B  repeated short notes

C  long sustained notes

D  arpeggios

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  soloing with symphony orchestras

B  playing in pit bands

C  playing on movie soundtracks

D  working on records

A  occurred after hours

B  eventually drew a large audience as formal, staged events

C  participation was expressly forbidden by many top bandleaders

D  provided an opportunity for musicians to experiment

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

B  Increased film opportunities led to stark musical branding.

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

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

A  Cootie Williams

B  Ben Webster

C  Juan Tizol

D  Johnny Hodges

A  directions on how to get to Harlem

B  a riff that Ellington scribbled on a napkin

C  an indicator of Strayhorn’s health

D  Strayhorn’s childhood nickname

A  Black, Brown, and Beige

B  Black and Tan Fantasy

C  Diminuendo and Crescendo in Black

D  Symphony in Black

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

B  He worked primarily in isolation.

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

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

A  improving the band’s musical consistency

B  expanding from nine musicians to fifteen

C  learning traditional dance band repertoire

D  refining a more reserved approach to swing

A  having songs that lasted well over an hour

B  increasing the national public profile of the best territory bands

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

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

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  Pennsylvania

B  New Jersey

C  Missouri

D  New York

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

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

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

D  blues piano style

A  Coquettes

B  Sweethearts of Rhythm

C  The Ingenues

D  International Sweethearts of Rhythm

A  Valaida Snow

B  Mary Lou Williams

C  Clora Bryant

D  Miriam McPartland

A  Glenn Miller

B  Lionel Hampton

C  Benny Goodman

D  Cab Calloway

A  Benny Goodman

B  Artie Shaw

C  Woody Shaw

D  Glenn Miller

A  Norman Granz

B  John Hammond

C  Leonard Feather

D  Joe Glaser

A  head arrangements by members of the band

B  semiclassical arrangements by William Grant Still and Eddie Sauter

C  sweet arrangements by white arrangers such as Ferde Grofé

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

A  guitar

B  banjo

C  tuba

D  baritone saxophone

A  sight-read music efficiently

B  play their instrument flawlessly

C  improvise convincingly

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  urban professionals

B  teenagers

C  war veterans

D  rural southerners

A  the stock market crash of 1929

B  the publication of Einstein’s Theory of Relativity

C  Hitler’s invasion of Poland

D  the armistice marking the end of World War I