CH 07-11 Review Quiz

A  one-handed playing

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

C  stride piano technique

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

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  developed the ability to play incredibly fast

C  avoided alcohol and drugs

D  dedicated himself to practicing and improved quickly

A  They toured constantly.

B  They took other jobs in service industries.

C  They produced and distributed their own recordings.

D  They played on network radio shows.

A  gatling guns

B  torpedoes

C  bombs

D  blitzkriegs

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

A  Savoy Ballroom

B  Birdland

C  Onyx Club

D  Minton’s Playhouse

A  performing obscure, unpublished compositions

B  modulating between different keys

C  playing tunes in unfamiliar keys

D  performing at incredibly fast tempos

A  Bebop demonstrated the virtues of harmonic simplicity.

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

C  Bebop was performed in smaller spaces.

D  Bebop was more difficult for audiences to understand.

A  master of stride technique

B  rich repertoire of harmonic substitutions

C  primarily an ensemble pianist

D  fast right-hand runs

A  deaf in one ear, very little in the other

B  fully deaf

C  fully blind

D  blind in one eye, very little in the other

A  long unaccompanied solos

B  sparse accompaniment for horn soloists

C  solo introductions

D  brief solos accompanied by the rest of the rhythm section

A  banjo

B  piano

C  guitar

D  drums

A  southern jive

B  rockabilly

C  country gallup

D  western swing

A  Chick Webb

B  Gene Krupa

C  Jo Jones

D  Sid Catlett

A  Jimmy Blanton

B  Wellman Braud

C  Walter Page

D  Milt Hinton

A  Fats Waller

B  John Hammond

C  Benny Goodman

D  Mary Lou Williams

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  timbral punctuations including squeals and growls

B  deft scat singing

C  four-octave range

D  deep connection to the blues

A  “Oh! Lady Be Good”

B  “Strange Fruit”

C  “One Hour”

D  “Reckless Blues”

A  voice

B  all of these

C  conducting

D  trumpet

A  wore a porkpie hat

B  outgoing and brash in conversation

C  held his saxophone at an extreme horizontal angle

D  spoke in a creative, personal slang

A  performed throughout the Midwest with King Oliver and other leaders

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

C  played several instruments in a family band

D  took part in Kansas City jam sessions

A  Ben Webster

B  Lester Young

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  All of these

C  It demonstrates a mastery of melodies formed with arpeggios.

D  It blends improvisational spontaneity with compositional logic.

A  arpeggios

B  scale passages

C  repeated short notes

D  long sustained notes

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

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

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 on movie soundtracks

C  playing in pit bands

D  working on records

A  participation was expressly forbidden by many top bandleaders

B  occurred after hours

C  provided an opportunity for musicians to experiment

D  eventually drew a large audience as formal, staged events

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

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

C  Increased film opportunities led to stark musical branding.

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

A  Johnny Hodges

B  Juan Tizol

C  Ben Webster

D  Cootie Williams

A  a riff that Ellington scribbled on a napkin

B  an indicator of Strayhorn’s health

C  directions on how to get to Harlem

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 worked primarily in isolation.

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

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

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

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  having songs that lasted well over an hour

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  providing lucrative performance opportunities for up-and-coming musicians

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

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 complete arrangements are stored in the heads of the band members

A  Pennsylvania

B  New York

C  New Jersey

D  Missouri

A  blues piano style

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

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

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

A  The Ingenues

B  Coquettes

C  International Sweethearts of Rhythm

D  Sweethearts of Rhythm

A  Valaida Snow

B  Miriam McPartland

C  Clora Bryant

D  Mary Lou Williams

A  Cab Calloway

B  Glenn Miller

C  Lionel Hampton

D  Benny Goodman

A  Artie Shaw

B  Benny Goodman

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  sweet arrangements by white arrangers such as Ferde Grofé

C  semiclassical arrangements by William Grant Still and Eddie Sauter

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

A  banjo

B  guitar

C  baritone saxophone

D  tuba

A  sight-read music efficiently

B  improvise convincingly

C  play their instrument flawlessly

D  dance during the band’s performance

A  Swing bands avoided songs that were heard in movies.

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

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  teenagers

B  urban professionals

C  war veterans

D  rural southerners

A  the publication of Einstein’s Theory of Relativity

B  the armistice marking the end of World War I

C  the stock market crash of 1929

D  Hitler’s invasion of Poland