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  Duke Ellington’s

B  Count Basie’s

C  Cab Calloway’s

D  Chick Webb’s

A  developed the ability to play incredibly fast

B  avoided alcohol and drugs

C  dedicated himself to practicing and improved quickly

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

A  They produced and distributed their own recordings.

B  They played on network radio shows.

C  They toured constantly.

D  They took other jobs in service industries.

A  torpedoes

B  blitzkriegs

C  bombs

D  gatling guns

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  Onyx Club

B  Minton’s Playhouse

C  Savoy Ballroom

D  Birdland

A  modulating between different keys

B  performing at incredibly fast tempos

C  playing tunes in unfamiliar keys

D  performing obscure, unpublished compositions

A  Bebop was performed in smaller spaces.

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

C  Bebop demonstrated the virtues of harmonic simplicity.

D  Bebop was more difficult for audiences to understand.

A  fast right-hand runs

B  primarily an ensemble pianist

C  master of stride technique

D  rich repertoire of harmonic substitutions

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  long unaccompanied solos

B  brief solos accompanied by the rest of the rhythm section

C  solo introductions

D  sparse accompaniment for horn soloists

A  guitar

B  drums

C  banjo

D  piano

A  country gallup

B  southern jive

C  western swing

D  rockabilly

A  Chick Webb

B  Gene Krupa

C  Jo Jones

D  Sid Catlett

A  Milt Hinton

B  Wellman Braud

C  Walter Page

D  Jimmy Blanton

A  John Hammond

B  Fats Waller

C  Mary Lou Williams

D  Benny Goodman

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

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

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  four-octave range

B  timbral punctuations including squeals and growls

C  deep connection to the blues

D  deft scat singing

A  “Oh! Lady Be Good”

B  “Strange Fruit”

C  “Reckless Blues”

D  “One Hour”

A  conducting

B  voice

C  trumpet

D  all of these

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  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  Chu Berry

B  Lester Young

C  Johnny Hodges

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  long sustained notes

B  arpeggios

C  scale passages

D  repeated short notes

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

B  He was the first tenor saxophonist to play jazz.

C  Every significant swing tenor player sounded like him.

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

A  working on records

B  soloing with symphony orchestras

C  playing in pit bands

D  playing on movie soundtracks

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  Cootie Williams

B  Johnny Hodges

C  Juan Tizol

D  Ben Webster

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  Diminuendo and Crescendo in Black

B  Black, Brown, and Beige

C  Symphony in Black

D  Black and Tan Fantasy

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 involved the musicians in his orchestra in the composition process.

D  He worked primarily in isolation.

A  learning traditional dance band repertoire

B  expanding from nine musicians to fifteen

C  refining a more reserved approach to swing

D  improving the band’s musical consistency

A  increasing the national public profile of the best territory bands

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

C  having songs that lasted well over an hour

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

A  they are composed by the head of the ensemble

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

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

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

A  Missouri

B  New York

C  New Jersey

D  Pennsylvania

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  Coquettes

B  The Ingenues

C  International Sweethearts of Rhythm

D  Sweethearts of Rhythm

A  Valaida Snow

B  Mary Lou Williams

C  Miriam McPartland

D  Clora Bryant

A  Cab Calloway

B  Glenn Miller

C  Benny Goodman

D  Lionel Hampton

A  Benny Goodman

B  Glenn Miller

C  Artie Shaw

D  Woody Shaw

A  John Hammond

B  Norman Granz

C  Leonard Feather

D  Joe Glaser

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

B  head arrangements by members of the band

C  semiclassical arrangements by William Grant Still and Eddie Sauter

D  sweet arrangements by white arrangers such as Ferde Grofé

A  baritone saxophone

B  guitar

C  tuba

D  banjo

A  dance during the band’s performance

B  play their instrument flawlessly

C  improvise convincingly

D  sight-read music efficiently

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  urban professionals

C  teenagers

D  rural southerners

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