CH 07-11 Review Quiz

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

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

C  one-handed playing

D  stride piano technique

A  Chick Webb’s

B  Cab Calloway’s

C  Count Basie’s

D  Duke Ellington’s

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

B  dedicated himself to practicing and improved quickly

C  avoided alcohol and drugs

D  developed the ability to play incredibly fast

A  They produced and distributed their own recordings.

B  They took other jobs in service industries.

C  They played on network radio shows.

D  They toured constantly.

A  torpedoes

B  gatling guns

C  bombs

D  blitzkriegs

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

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

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

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

A  Birdland

B  Minton’s Playhouse

C  Savoy Ballroom

D  Onyx Club

A  performing obscure, unpublished compositions

B  playing tunes in unfamiliar keys

C  modulating between different keys

D  performing at incredibly fast tempos

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  fast right-hand runs

B  primarily an ensemble pianist

C  rich repertoire of harmonic substitutions

D  master of stride technique

A  fully deaf

B  fully blind

C  blind in one eye, very little in the other

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  banjo

B  drums

C  guitar

D  piano

A  southern jive

B  western swing

C  country gallup

D  rockabilly

A  Gene Krupa

B  Jo Jones

C  Sid Catlett

D  Chick Webb

A  Milt Hinton

B  Jimmy Blanton

C  Wellman Braud

D  Walter Page

A  Mary Lou Williams

B  Fats Waller

C  Benny Goodman

D  John Hammond

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

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

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

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

A  four-octave range

B  deep connection to the blues

C  timbral punctuations including squeals and growls

D  deft scat singing

A  “Strange Fruit”

B  “Reckless Blues”

C  “One Hour”

D  “Oh! Lady Be Good”

A  all of these

B  trumpet

C  voice

D  conducting

A  wore a porkpie hat

B  spoke in a creative, personal slang

C  outgoing and brash in conversation

D  held his saxophone at an extreme horizontal angle

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  Johnny Hodges

C  Chu Berry

D  Ben Webster

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

B  It blends improvisational spontaneity with compositional logic.

C  All of these

D  It demonstrates a mastery of melodies formed with arpeggios.

A  scale passages

B  long sustained notes

C  arpeggios

D  repeated short notes

A  Every significant swing tenor player sounded like him.

B  He was the first tenor saxophonist to play jazz.

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

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

A  working on records

B  playing in pit bands

C  playing on movie soundtracks

D  soloing with symphony orchestras

A  participation was expressly forbidden by many top bandleaders

B  provided an opportunity for musicians to experiment

C  occurred after hours

D  eventually drew a large audience as formal, staged events

A  Increased film opportunities led to stark musical branding.

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

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  Johnny Hodges

B  Juan Tizol

C  Ben Webster

D  Cootie Williams

A  an indicator of Strayhorn’s health

B  directions on how to get to Harlem

C  a riff that Ellington scribbled on a napkin

D  Strayhorn’s childhood nickname

A  Black and Tan Fantasy

B  Black, Brown, and Beige

C  Symphony in Black

D  Diminuendo and Crescendo in Black

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  expanding from nine musicians to fifteen

C  improving the band’s musical consistency

D  learning traditional dance band repertoire

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

B  increasing the national public profile of the best territory bands

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 complete arrangements are stored in the heads of the band members

B  they are composed by the head of the ensemble

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

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

A  Pennsylvania

B  Missouri

C  New Jersey

D  New York

A  blues piano style

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

A  Coquettes

B  The Ingenues

C  Sweethearts of Rhythm

D  International Sweethearts of Rhythm

A  Valaida Snow

B  Miriam McPartland

C  Mary Lou Williams

D  Clora Bryant

A  Glenn Miller

B  Lionel Hampton

C  Cab Calloway

D  Benny Goodman

A  Woody Shaw

B  Glenn Miller

C  Artie Shaw

D  Benny Goodman

A  Joe Glaser

B  John Hammond

C  Norman Granz

D  Leonard Feather

A  sweet arrangements by white arrangers such as Ferde Grofé

B  semiclassical arrangements by William Grant Still and Eddie Sauter

C  head arrangements by members of the band

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

A  banjo

B  guitar

C  baritone saxophone

D  tuba

A  play their instrument flawlessly

B  dance during the band’s performance

C  sight-read music efficiently

D  improvise convincingly

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

B  Swing bands avoided songs that were heard in movies.

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

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

A  war veterans

B  rural southerners

C  urban professionals

D  teenagers

A  Hitler’s invasion of Poland

B  the armistice marking the end of World War I

C  the stock market crash of 1929

D  the publication of Einstein’s Theory of Relativity