Style
Jazz emerged in the late 19th century and early 20th century. There are many different styles of jazz including New Orleans jazz, Chicago jazz, and Be-bop. The genres origin lies in African-American culture, combined with European settlers culture, which produced new styles of music, including blues and ragtime alongside jazz. Jazz in it's traditional form first emerged in New Orleans, however the genre soon spread and different cities developed local takes on jazz, most namely alongside New Orleans jazz - Chicago jazz, the general difference between the 2 being that in Chicago jazz the band tends to be bigger; differences between types of jazz can be very subtle.
Example of New Orleans Jazz: Example of Chicago jazz:
(Original New Orleans Jazz Band, 1918) (Louis Armstrong, 1929 [remastered])
Example of New Orleans Jazz: Example of Chicago jazz:
(Original New Orleans Jazz Band, 1918) (Louis Armstrong, 1929 [remastered])
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Throughout the 20th century other forms of jazz developed, including the introduction of jazz orchestras and Be-bop in the 50's (defining differences of Be-bop are complex harmonies and fast improvisation). However the instrumentation largely remains throughout all jazz genres with core instruments being double bass (though in newer jazz it is often an electric not double bass), drum kit, piano, saxophone and trumpet.
Example of Be-bop: Example of jazz orchestra:
(Charlie Parker, 1951) (Tim Brymn and his Black Devils Orchestra, 1921)
Example of Be-bop: Example of jazz orchestra:
(Charlie Parker, 1951) (Tim Brymn and his Black Devils Orchestra, 1921)
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Harmony
Jazz music is usually tonal, and typically builds on 4-note chords, namely 7th chords (built of: tonic, mediant, dominant, leading note). 9ths, 11ths and 13ths are frequently added and notes within chords omitted which tends to create some interesting harmonies. The added 7ths, 9ths, 11ths, and 13ths can serve to make certain moments in a piece of music stand out, or can just be used as decoration, and thus are recognized as a fundamental characteristic of the genre due to how commonly they are used.
The most frequently used chord progression in jazz is ll-V-l. It can often be well disguised by different chord qualities such as inversions, but is almost always featured. It is usually built with the before mentioned 7ths, 9ths, 11ths, and 13ths included to give the jazz feel. The V-l creates a resolve to the ll-V which creates tension. For this reason the progression is varied by being left unresolved (ll-V) which sustains the tension and let some interesting 4-note chords and dissonances have more of an impact which further creates the jazzy style. Another commonly used chord progression is the 12-bar blues. This is due to jazz and blues rising at around the same time. The most basic 12-bar blues progression consists of 3 chords with 4 bars assigned to each (usually l-lV-V). Within this there are blue notes - notes flattened by a semitone or 'bent' by an interval smaller than a semitone, and are often found on the 3rd, 5th or 7th degree in a chord. Again, these create interesting jazzy dissonances. |
Demonstration of the 2-5-1 chord progression, using 4-note chords:
Demonstration of the 12-bar blues chord progression and variations:
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rhythm
There are 3 fundamental rhythmic features in jazz music: emphasis on offbeats, syncopation and swing.
Offbeats: The emphasis in a bar in jazz music tends to stress the offbeats or backbeats. For example, in 4/4 (emphasized beats in bold) '1 2 3 4' and in 2/4 '1 and 2 and'. In other words, the strong beats are felt internally and the weak beats are accented. E.g. 1st picture on the right shows offbeats in 4/4 Syncopation: "A temporary momentary contradiction of the prevailing meter or pulse" - The Havard Dictionary of Music Syncopation is created by accents creating emphasis on certain beats and/or notes extending over beats or starting between beats. E.g. 2nd picture on the right Swing: Swing is created using triplets, and because it's jazz it is often with a subtle accent on the last note of the triplet. E.g. 3rd picture on the right (notation is in 4/4) These 3 rhythmic qualities are present in much of jazz music. They are not unique to jazz, but the combination of the 3 defines the jazz rhythmic style. They create rhythmic energy that captures the listener's attention, and create an instant connection to the genre of jazz as a whole. |
structure
In jazz the classic structure is: intro, head (1), solo section, head (2), and possibly a coda. The intro will create the mood, head (1) establishes the main melody, the solo section consists of soloists improvising on the melody and/or chord progress of the piece and head (2) will be a restatement of the main melody. A coda an outro, which brings the whole piece to a close, and will usually conclude the mood of the piece created in the intro or any new mood introduced within the body of the piece.
Not every jazz piece will follow this structure, however much of jazz stays close to it. The improvisation aspect of the structure is perhaps one of the most important aspects of jazz. It is the act of spontaneously creating melodies over a chord sequence (usually held by the rhythm section of a jazz band with a soloist improvising over the tip).
There are 3 main methods of jazz improvisation:
1) Melodic - recreating head in a new and interesting way, using devices such as slurs, alternate notes and syncopation
2) Harmonic - employing rhythm sections chords and tone centers to inspire a new melody
3) Motivic - redefining motives, phrases, and statements in the music to base the new melody on
The best jazz improvisers will use a combination of all 3 of these methods, however they are just guides, and the true value of the music comes from the individuals creativity and expression. Improvisation therefore tends to be a defining term within jazz, as it is where much of the creativity and expression of the music lies. This is easily heard when listening to a piece of jazz music, particularly when it is live, as due to its spontaneity some of the motivation behind the improvisation may come from the soloists surroundings including the mood of the audience as well as the mood and chordal surroundings of the song, which is both captivating and intimate for the listeners.
Example of jazz improvisation:
(Pascal Wintz, 2012)
Not every jazz piece will follow this structure, however much of jazz stays close to it. The improvisation aspect of the structure is perhaps one of the most important aspects of jazz. It is the act of spontaneously creating melodies over a chord sequence (usually held by the rhythm section of a jazz band with a soloist improvising over the tip).
There are 3 main methods of jazz improvisation:
1) Melodic - recreating head in a new and interesting way, using devices such as slurs, alternate notes and syncopation
2) Harmonic - employing rhythm sections chords and tone centers to inspire a new melody
3) Motivic - redefining motives, phrases, and statements in the music to base the new melody on
The best jazz improvisers will use a combination of all 3 of these methods, however they are just guides, and the true value of the music comes from the individuals creativity and expression. Improvisation therefore tends to be a defining term within jazz, as it is where much of the creativity and expression of the music lies. This is easily heard when listening to a piece of jazz music, particularly when it is live, as due to its spontaneity some of the motivation behind the improvisation may come from the soloists surroundings including the mood of the audience as well as the mood and chordal surroundings of the song, which is both captivating and intimate for the listeners.
Example of jazz improvisation:
(Pascal Wintz, 2012)
case study - all blues by miles davis
STYLE
Miles Davis (1962-1991) was an American composer and jazz trumpeter. He started out playing be-bop professionally after dropping out of the Julliard School of Music in New York, and later played in the more laid-back style of cool jazz, before turning to another new style of jazz which was introduced in the 50's known as 'modal jazz'. Modal jazz is based on modes rather than chords; a modal key consists of pitches without sharps or flats. In the 60's he introduced an electric bass and an electric piano into his band which created a new style which fused modal jazz and rock. The track 'All Blues' is off the album 'Kind of Blue', which was released in 1959.
Miles Davis (1962-1991) was an American composer and jazz trumpeter. He started out playing be-bop professionally after dropping out of the Julliard School of Music in New York, and later played in the more laid-back style of cool jazz, before turning to another new style of jazz which was introduced in the 50's known as 'modal jazz'. Modal jazz is based on modes rather than chords; a modal key consists of pitches without sharps or flats. In the 60's he introduced an electric bass and an electric piano into his band which created a new style which fused modal jazz and rock. The track 'All Blues' is off the album 'Kind of Blue', which was released in 1959.
HARMONY
As mentioned before Miles Davis played a lot of modal jazz and 'all blues' is no exception! The music is in the Mixolydian mode (G-A-B-C-D-E-F) and as suggested in the title uses the 12-bar blues as it's chordal basis. The chords in 'all blues' are as follows:
G7-G7-G7-G7-Gm7-Gm7-G7-G7-D7-Eb7-Fb-Fb
Minor sevenths are added to most of the chords and some chords use blue notes e.g. the first two Gm7 chords use a flattened 3rd (blue note). Other chords use chromaticism (notes outside the key - adds color to chords) e.g. the final Fb chord has an added 6th. This is all very typical of jazz music, and serves to make the chords have more color than they otherwise would have. This harmony is repeated throughout which gives a continuity to the piece with the melody's played and explored over the top.
RHYTHM
'All blues' is in 6/4 so that the chord sequence falls into 12 bars. It has a waltz like feel to it due to the time signature which is carried in the drum beat, but is also played in a swing rhythm which ensures that the piece feels jazzy. Because the piece is fairly slow and the brass solo melody's have gaps between each phrase with a lot of free improvisation, it keeps the whole thing very relaxed which is a characteristic of cool jazz/modal jazz.
STRUCTURE
'All blues' uses a sextet with players playing the trumpet, saxophone, tenor saxophone, piano, bass and drums. It is said that Miles Davis gave the players a brief outline of the scales and melodies they would improvise on, and the track was recorded on the second take! Typical of jazz, the piece was therefore largely improvised, however as mentioned in the title, is based on the 12-bar blues chord structure and the use of blue notes. The overall structure is as follows:
- 4-bar intro
- 4-bar riff
- Head
- Riff and head repeated
- 4 12-bar choruses for trumpet
- 4 12-bar choruses for alto sax
- 4 12-bar choruses for tenor sax
- 2 choruses for piano
- 1 chorus for all
- Head
-Coda
This is a complex version of the classic jazz structure. It ensures that all instruments get a solo, except the drums and bass which keep the rhythm throughout.
As mentioned before Miles Davis played a lot of modal jazz and 'all blues' is no exception! The music is in the Mixolydian mode (G-A-B-C-D-E-F) and as suggested in the title uses the 12-bar blues as it's chordal basis. The chords in 'all blues' are as follows:
G7-G7-G7-G7-Gm7-Gm7-G7-G7-D7-Eb7-Fb-Fb
Minor sevenths are added to most of the chords and some chords use blue notes e.g. the first two Gm7 chords use a flattened 3rd (blue note). Other chords use chromaticism (notes outside the key - adds color to chords) e.g. the final Fb chord has an added 6th. This is all very typical of jazz music, and serves to make the chords have more color than they otherwise would have. This harmony is repeated throughout which gives a continuity to the piece with the melody's played and explored over the top.
RHYTHM
'All blues' is in 6/4 so that the chord sequence falls into 12 bars. It has a waltz like feel to it due to the time signature which is carried in the drum beat, but is also played in a swing rhythm which ensures that the piece feels jazzy. Because the piece is fairly slow and the brass solo melody's have gaps between each phrase with a lot of free improvisation, it keeps the whole thing very relaxed which is a characteristic of cool jazz/modal jazz.
STRUCTURE
'All blues' uses a sextet with players playing the trumpet, saxophone, tenor saxophone, piano, bass and drums. It is said that Miles Davis gave the players a brief outline of the scales and melodies they would improvise on, and the track was recorded on the second take! Typical of jazz, the piece was therefore largely improvised, however as mentioned in the title, is based on the 12-bar blues chord structure and the use of blue notes. The overall structure is as follows:
- 4-bar intro
- 4-bar riff
- Head
- Riff and head repeated
- 4 12-bar choruses for trumpet
- 4 12-bar choruses for alto sax
- 4 12-bar choruses for tenor sax
- 2 choruses for piano
- 1 chorus for all
- Head
-Coda
This is a complex version of the classic jazz structure. It ensures that all instruments get a solo, except the drums and bass which keep the rhythm throughout.