Jazz Essay Music Class MYP
Jazz Essay Music Class MYP
Introduction
Jazz is a diverse and dynamic genre of music which can be hard to define as it holds a
variety of styles. Because of its numerous subgenres that spread all across the world. When
people think of jazz, they generally envision the big band swing of the 30s or the bebop of the
40’s. But in reality, jazz is a much more complex genre of music that shouldn’t be so easily
categorized. For instance, there’s jazz fusion of the 80s which is a mixture of jazz, rock, and
funk, that utilizes every instrument from saxophone to synthesizers. Latin jazz like the Bossa
Nova which is a relaxed style of jazz from Brazil, or even the Samba, an uptempo, faster
predecessor to the Bossa Nova. When it comes to learning music, it is important to study jazz
because it not only develops your ears to be able to hear melodies, chord progressions, and
intervals, but it also provides every tool necessary to be able to play all styles of music. The
world of jazz continues to expand as even in the present day, new subgenres are being created.
But what makes jazz, jazz? To understand the genre better, this paper will explore the history of
jazz with its development in the US, its three core elements, and a specific piece analysis.
History
The birthplace of jazz is in New Orleans, Louisiana. Being a port city, New Orleans was
home to many different cultures, each of them having their own unique styles of music and
sounds. New Orleans had great traditions of celebrations seen with opera, military marching
bands, folk music, blues, different types of church music, ragtime and traditional African music;
when these sounds came together, jazz was born. As early as 1904, a bold and innovative
cornette player named Buddy Bolden started mixing elements of blues and ragtime music, and is
today regarded as the initiator of jazz music. Even from a young age, Louis Armstrong can recall
him listening to Bolden’s blues and ragtime music. Saying, “He was just a one-man genius that
was ahead of them all … too good for his time.” When the roaring 20’s came around, jazz
became more widestream, catching the attention of radio stations and spreading to cities like
New York and Chicago. It was New York that established jazz as a touchstone of American
culture and as jazz grew larger, so did the bands. Big bands were led by bandleaders like Duke
Ellington and Fletcher Henderson performing for nightclub audiences. The 40’s were a dark time
for jazz as WWII started, causing these big bands to get broken up and separated. Post-big band,
having fewer moving parts to worry about timing and cues meant creative freedom was restored
to the genre. Soon after, musicians like Charlie Parker, Dizzy Gillespie, Bud Powell, and Art
Blakey developed a new subgenre of jazz called bebop which really pushed the genre to evolve
Elements
and what isn’t jazz. But the genre can be defined by three major core elements, the first and most
allowing musicians to express their creativity and emotions without following sheet music. To
visualize how expressive improversation is, jazz musician and educator Dave Frank said “With
jazz improvisation, instead of playing Beethoven, you are Beethoven.” The second core element
between musicians during live performances, this is where improvisation and call-and-response
creates a dynamic and expressive exchange of ideas. Lastly, the third core element in jazz is its
complex harmony which refers to the use of intricate chord structures and progressions, often
incorporating extended chords, altered tones, and unconventional scales that make up the genre's
unique characteristics.
Piece Analysis
In 1956, jazz musicians who were sponsored by the US State Department were sent out
internationally to places like Eastern Europe, the Middle East, central and southern Asia and
Africa to tour as part of cultural diplomacy initiatives to promote American values globally. In
1958, Dave Brubeck went on a jazz ambassador tour to the Middle East which would change the
course of jazz. Listening to Turkish folk music on his trip, Brubeck discovered for the first time
the use of 9/8 time signatures, when asked the musicians “what is this rhythm?” they respond
with “This rhythm is to us, what the blues is to you.” A year later, Brubeck would release an
album called “Time Out” with novel time signatures as the guiding concept. The song from
“Time Out” that I will be analyzing is the album's centerpiece which is “Take Five.”
soon after, a piano vamp gets added on and repeated. This smooth groove of drums and piano
stays repeating for the first 22 seconds until a pair of saxophone melodies gets added on top. The
saxophone is smooth and almost doesn’t sound like it’s being played in 5/4 time. The saxophone
solo plays, changing the pattern of notes fluently until 1 minute and 50 seconds when only the
piano and drum play their familiar groove. While the piano stays the same, the drums slowly
switches into a solo still playing in 5/4 time but experimentes with choppy snares that intercuts
the complex cymbal. Eventually the cymbal stops completely and a pattern of growing rolls
begins to repeat. This Drum solo lasts for 2 minutes and 27 seconds until the song hits 4 minutes
and 22 seconds when the saxophone gets reintroduced and the song replays the solo from the
first half. Near the end the instruments change to a slower pace before the saxophone finishes its
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