CH 07-11 Review Quiz

A  one-handed playing

B  stride piano technique

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

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

A  Chick Webb’s

B  Cab Calloway’s

C  Duke Ellington’s

D  Count Basie’s

A  avoided alcohol and drugs

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

C  dedicated himself to practicing and improved quickly

D  developed the ability to play incredibly fast

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  blitzkriegs

C  gatling guns

D  bombs

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

B  shifting the pulse to the hi-hat cymbal and using the toms 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  Onyx Club

D  Minton’s Playhouse

A  modulating between different keys

B  performing at incredibly fast tempos

C  playing tunes in unfamiliar keys

D  performing obscure, unpublished compositions

A  Bebop demonstrated the virtues of harmonic simplicity.

B  Bebop was performed in smaller spaces.

C  Bebop was more difficult for audiences to understand.

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

A  primarily an ensemble pianist

B  master of stride technique

C  fast right-hand runs

D  rich repertoire of harmonic substitutions

A  blind in one eye, very little in the other

B  fully deaf

C  fully blind

D  deaf in one ear, very little in the other

A  sparse accompaniment for horn soloists

B  long unaccompanied solos

C  brief solos accompanied by the rest of the rhythm section

D  solo introductions

A  banjo

B  piano

C  drums

D  guitar

A  rockabilly

B  southern jive

C  country gallup

D  western swing

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  Benny Goodman

C  John Hammond

D  Fats Waller

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

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

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

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

A  deft scat singing

B  timbral punctuations including squeals and growls

C  four-octave range

D  deep connection to the blues

A  “One Hour”

B  “Reckless Blues”

C  “Oh! Lady Be Good”

D  “Strange Fruit”

A  conducting

B  trumpet

C  voice

D  all of these

A  spoke in a creative, personal slang

B  held his saxophone at an extreme horizontal angle

C  wore a porkpie hat

D  outgoing and brash in conversation

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

B  played several instruments in a family band

C  performed throughout the Midwest with King Oliver and other leaders

D  took part in Kansas City jam sessions

A  Chu Berry

B  Ben Webster

C  Johnny Hodges

D  Lester Young

A  All of these

B  It blends improvisational spontaneity with compositional logic.

C  It demonstrates a mastery of melodies formed with arpeggios.

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

A  long sustained notes

B  scale passages

C  arpeggios

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 saxophonist to have success in Europe.

C  He was the first tenor saxophonist to play jazz.

D  Every significant swing tenor player sounded like him.

A  working on records

B  playing on movie soundtracks

C  playing in pit bands

D  soloing with symphony orchestras

A  provided an opportunity for musicians to experiment

B  participation was expressly forbidden by many top bandleaders

C  eventually drew a large audience as formal, staged events

D  occurred after hours

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  Poor recording fidelity meant that subtle stylistic details were inaudible.

D  Increased film opportunities led to stark musical branding.

A  Ben Webster

B  Juan Tizol

C  Johnny Hodges

D  Cootie Williams

A  an indicator of Strayhorn’s health

B  Strayhorn’s childhood nickname

C  directions on how to get to Harlem

D  a riff that Ellington scribbled on a napkin

A  Symphony in Black

B  Diminuendo and Crescendo in Black

C  Black and Tan Fantasy

D  Black, Brown, and Beige

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

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

C  He worked primarily in isolation.

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

A  improving the band’s musical consistency

B  expanding from nine musicians to fifteen

C  refining a more reserved approach to swing

D  learning traditional dance band repertoire

A  having songs that lasted well over an hour

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

C  increasing the national public profile of the best territory bands

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

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

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

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

D  they are composed by the head of the ensemble

A  Missouri

B  New Jersey

C  New York

D  Pennsylvania

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

B  blues piano style

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  International Sweethearts of Rhythm

C  Coquettes

D  Sweethearts of Rhythm

A  Valaida Snow

B  Miriam McPartland

C  Mary Lou Williams

D  Clora Bryant

A  Lionel Hampton

B  Benny Goodman

C  Glenn Miller

D  Cab Calloway

A  Benny Goodman

B  Glenn Miller

C  Woody Shaw

D  Artie Shaw

A  Norman Granz

B  John Hammond

C  Leonard Feather

D  Joe Glaser

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  tuba

B  banjo

C  guitar

D  baritone saxophone

A  improvise convincingly

B  sight-read music efficiently

C  play their instrument flawlessly

D  dance during the band’s performance

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

B  Swing bands avoided songs that were heard in movies.

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

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

A  war veterans

B  teenagers

C  urban professionals

D  rural southerners

A  the stock market crash of 1929

B  Hitler’s invasion of Poland

C  the publication of Einstein’s Theory of Relativity

D  the armistice marking the end of World War I