CH 07-11 Review Quiz

A  stride piano technique

B  one-handed playing

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  Count Basie’s

B  Cab Calloway’s

C  Duke Ellington’s

D  Chick Webb’s

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

B  avoided alcohol and drugs

C  developed the ability to play incredibly fast

D  dedicated himself to practicing and improved quickly

A  They produced and distributed their own recordings.

B  They took other jobs in service industries.

C  They toured constantly.

D  They played on network radio shows.

A  gatling guns

B  blitzkriegs

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 ride cymbal and using the bass drum for accents

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

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

A  Savoy Ballroom

B  Birdland

C  Minton’s Playhouse

D  Onyx Club

A  performing at incredibly fast tempos

B  playing tunes in unfamiliar keys

C  modulating between different keys

D  performing obscure, unpublished compositions

A  Bebop was more difficult for audiences to understand.

B  Bebop demonstrated the virtues of harmonic simplicity.

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

D  Bebop was performed in smaller spaces.

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  deaf in one ear, very little in the other

C  blind in one eye, very little in the other

D  fully deaf

A  sparse accompaniment for horn soloists

B  brief solos accompanied by the rest of the rhythm section

C  long unaccompanied solos

D  solo introductions

A  banjo

B  guitar

C  piano

D  drums

A  southern jive

B  country gallup

C  rockabilly

D  western swing

A  Sid Catlett

B  Gene Krupa

C  Chick Webb

D  Jo Jones

A  Milt Hinton

B  Wellman Braud

C  Walter Page

D  Jimmy Blanton

A  Fats Waller

B  Mary Lou Williams

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

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  deft scat singing

B  deep connection to the blues

C  four-octave range

D  timbral punctuations including squeals and growls

A  “Strange Fruit”

B  “Reckless Blues”

C  “One Hour”

D  “Oh! Lady Be Good”

A  conducting

B  all of these

C  trumpet

D  voice

A  held his saxophone at an extreme horizontal angle

B  spoke in a creative, personal slang

C  wore a porkpie hat

D  outgoing and brash in conversation

A  performed throughout the Midwest with King Oliver and other leaders

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

C  took part in Kansas City jam sessions

D  played several instruments in a family band

A  Lester Young

B  Ben Webster

C  Johnny Hodges

D  Chu Berry

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  All of these

D  It blends improvisational spontaneity with compositional logic.

A  arpeggios

B  long sustained notes

C  repeated short notes

D  scale passages

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

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

C  Every significant swing tenor player sounded like him.

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  participation was expressly forbidden by many top bandleaders

B  occurred after hours

C  eventually drew a large audience as formal, staged events

D  provided an opportunity for musicians to experiment

A  Increased film opportunities led to stark musical branding.

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

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  Juan Tizol

B  Cootie Williams

C  Johnny Hodges

D  Ben Webster

A  an indicator of Strayhorn’s health

B  a riff that Ellington scribbled on a napkin

C  Strayhorn’s childhood nickname

D  directions on how to get to Harlem

A  Symphony in Black

B  Black and Tan Fantasy

C  Diminuendo and Crescendo in Black

D  Black, Brown, and Beige

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  expanding from nine musicians to fifteen

B  refining a more reserved approach to swing

C  improving the band’s musical consistency

D  learning traditional dance band repertoire

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 leader of each section is responsible for writing out the parts

B  they are composed by the head of the ensemble

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

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

A  New Jersey

B  Pennsylvania

C  New York

D  Missouri

A  blues piano style

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

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

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

A  The Ingenues

B  Coquettes

C  Sweethearts of Rhythm

D  International Sweethearts of Rhythm

A  Mary Lou Williams

B  Miriam McPartland

C  Valaida Snow

D  Clora Bryant

A  Glenn Miller

B  Lionel Hampton

C  Benny Goodman

D  Cab Calloway

A  Woody Shaw

B  Glenn Miller

C  Benny Goodman

D  Artie Shaw

A  Leonard Feather

B  Norman Granz

C  Joe Glaser

D  John Hammond

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  banjo

B  baritone saxophone

C  guitar

D  tuba

A  improvise convincingly

B  play their instrument flawlessly

C  sight-read music efficiently

D  dance during the band’s performance

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

B  Swing bands avoided songs that were heard in movies.

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

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

A  rural southerners

B  war veterans

C  urban professionals

D  teenagers

A  the armistice marking the end of World War I

B  the publication of Einstein’s Theory of Relativity

C  the stock market crash of 1929

D  Hitler’s invasion of Poland