MUSIC 007
EXAM # 3
Dr. Paul Fehrenbach
NAME _____________________________
MULTIPLE CHOICE
Circle the letter that best completes the statement
1. The one pianist reflecting Tristano's impact who has, in turn, affected many other pianists is:
a. Bud Powell
b. Red Garland
c. Oscar Peterson
d. Bill Evans
2. The baritone saxophonist-composer who epitomizes cool jazz is:
a. Harry Carney
b. Nick Brignola
c. Pepper Adams
d. Gerry Mulligan
3. The modern jazz pianist, composer, and bandleader whose music presented an alternative to bop in the late 1940s was:
a. Bud Powell
b. Al Haig
c. Lennie Tristano
d. Oscar Peterson
4. Which of the following fails to qualify as a COOL pianist?
a. Lennie Tristano
b. Bud Powell
c. Bill Evans
d. Dave Brubeck
5. Unusual for a 1940s big band was Claude Thornhill's and Gill Evan's inclusion
of . . . . . . . . and . . . . . . . .
a. French horn; tuba
b. clarinets; baritone sax
c. guitar; electric piano
d. trumpet; alto sax
6. The Gerry Mulligan quartet of 1952-53 was unusual because:
a. it did not have a saxophone
b. it included a tuba
c. it included a French horn
d. it did not have a piano
7. The composer-arranger who wrote for Claude Thornhill, Miles Davis, and Stan Kenton was:
a. Gerry Mulligan
b. Lennie Tristano
c. Jimmy Giuffre
d. Shorty Rogers
8. Albums such as TIME OUT and TIME FURTHER OUT that experimented with meters unusual to jazz were recorded by:
a. Lennie Tristano
b. Chet Baker
c. Dave Brubeck
d. Chico Hamilton
9. The leading bassists in hard bop were:
a. Sam Jones and Paul Chambers
b. Jimmy Garrison and Ron Carter
c. Jaco Pastorius and Jimmy Blanton
d. Scott LaFaro and Ray Brown
THE EVOLUTION OF JAZZ
10. Those few hard bop pieces to win popular recognition tended to be characterized by:
a. much repetition and long improvisations
b. funky, catchy melodies
c. great simplicity within harmony but complexity in rhythm
d. highly complex melodies and harmonies
11. The two cities contributing the greatest number of significant hard bop players to jazz were:
a. Indianapolis and Philadelphia
b. Los Angeles and Chicago
c. New York and Los Angeles
d. Philadelphia and Detroit
12. Aside from John Coltrane, the most respected tenor saxophonist of the hard bop era of the 1950s was:
a. Stan Getz
b. Sonny Rollins
c. Harold Land
d. Albert Ayler
13. The most prolific hard bop composer was:
a. Chet Baker
b. Art Blakey
c. Max Roach
d. Horace Silver
14. A trumpeter of the 1960s-70s who employed double-time and lip trills is:
a. Jo Jones
b. Miles Davis
c. Lee Morgan
d. Freddie Hubbard
15. Stan Getz and . . . . . . . . were said to be the most popular tenor saxophonists of the 1950s.
a. Paul Chambers
b. Earl Hines
c. Lester Young
d. Sonny Rollins
16. Wes Montgomery is known for melodic lines voiced in:
a. fourths
b. octaves
c. unisons
d. fifths
17. The Miles Davis band rosters read like a Who's Who of saxophonists because:
a. Lester Young, Coleman Hawkins, Johnny Hodges and many other guests regularly recorded with him
b. Sonny Rollins, John Coltrane, Wayne Shorter, and many other greats worked with him
c. Ornette Coleman, Albert Ayler, Archie Shepp, and many other greats toured with him
d. John Klemmer, Grover Washington, Dave Sanborn, and others recorded with him
18. The principal organizer of harmonies for the KIND OF BLUE album was:
a. Joe Zawinul
b. Miles Davis
c. Gil Evans
d. Bill Evans
19. Which is most true about Wayne Shorter's sax style?
a. it derived mostly from Charlie Parker.
b. it derived mostly from Sonny Rollins.
c. it derived mostly from Lester Young.
d. it is mostly an original approach.
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20. The Miles Davis-Gil Evans collaboration SKETCHES OF SPAIN is closest to which style?
a. improvisational jazz
b. classical music
c. jazz-rock fusion
d. Third Stream
21. Two non-Bebop-derived approaches Coltrane took in the 1960s include FREE and:
a. Third Stream
b. cool
c. jazz-rock
d. modal
22. Coltrane's densely-packed late-1950s solos were described as:
a. giant steps
b. free jazz
c. sheets of sound
d. pentatonics
23. Which is the most true statement about Dexter Gordon and John Coltrane?
a. They represent two independent and influential styles of alto sax playing.
b. Both men were influenced by Lester Young.
c. Both men had an influence on the sax style of Johnny Hodges.
d. Neither had roots in swing era styles.
24. Gerry Mulligan played sax as well as arranged music for:
a. Duke Ellington.
b. Dizzy Gillespie.
c. Louis Armstrong.
d. Miles Davis.
25. Drummers in ………….. were more intrusive and louder than in …………...
a. swing ; cool jazz
b. hard bop ;. bop
c. dixieland ; hard bop.
d. none of these.
26. Funky jazz is characterized by:
a. odd harmonies and dissonance.
b. distorted and disjunct original melodies.
c. bluesy inflections of pitch and gospelish harmonies.
d. swing style orchestrations using modal scales .
27. Gerry Mulligan, Dave Brubeck, and Shorty Rogers were all prominent West Coast:
a. bandleaders.
b. pianists.
c. baritone sax players.
d. trumpeters.
28. Wayne Shorter was influential in his compositional use of:
a. the interval of a fourth.
b. sustained tones and silences in melody lines.
c. chord sequences that were previously unusual or unheard of in jazz.
d. all of these.
29. Herbie Hancock was a:
a. pianist.
b. trumpeter.
c. sax player.
d. drummer.
30. The Sweep was a compositional departure from:
a. explicit statements of the strong down beats for each measure.
b. accompaniment styles in which chords changed frequently.
c. dependence on simple ride rhythms and walking bass patterns.
d. all of these.
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COMPLETION
Please fill in the blank with the most appropriate response to each item.
1. Precedent-setting "free" collective improvisations were recorded in 1949 by ________________.
2. Lennie Tristano's leading students of the 1940s were guitarist Billy Bauer, tenor saxophonist Warne Marsh, and alto saxophonist
________________.
3. What Cool Jazz big band leader referred to his music as PROGRESSIVE JAZZ?
________________
4. Paul Desmond came to fame in the quartet led by ________________.
5. The influential trumpeter of the 1960s and 1970s who emphasized double-time and lip trills is ________________.
6. Miles Davis is most associated with using a ________________ mute.
7. Miles Davis recorded compositions using ________________ instead of traditional major and minor scales.
8. A bassist used by Miles Davis was _______________.
9. A pianist with a Miles Davis group was _____________.
10. One of Miles Davis' drummers was ________________ .
11. Coltrane's devoloped a popular type of composing using _______________ which are notes and chords that are repeated over and
over not changing while the improvisations do.
12. Two non-bop derived approaches Coltrane took in the 1960s include FREE and: ________________ jazz.
TRUE/FALSE
Please circle the appropriate response to each item.
1. True or False: J. S. Bach was an influence upon Lennie Tristano.
2. True or False: "Cool jazz" and "West Coast" jazz are interchangeable terms.
3. True or False: Many West Coast cool musicians came to Los Angeles with the big bands of Woody Herman and Stan Kenton.
4. True or False: Stan Kenton's big band featured larger-than-usual brass sections.
5. True or False: Dave Brubeck was trained as a classical pianist.
6. True or False: Guitarists were popular and more plentiful in cool jazz as opposed to bop.
7. True or False: Philly Joe Jones and Jo Jones were influential hard bop drummers.
8. True or False: Sonny Rollins recorded with Clifford Brown, the Rolling Stones, and Miles Davis.
9. True or False: Thad Jones' big band writing is characterized in part by funky melodic lines and use of silence.
10. True or False: Like Duke Ellington, Gil Evans liked to voice across sections.
11. True or False: "Flamenco Sketches" was based on a classical violin concerto.
12. True or False: In his playing with Weather Report, Wayne Shorter was more of an ensemble improviser than a solo improvisor.
13. True or False: Coltrane's 1960s playing included modal and free jazz approaches.
14. True or False: In the 1960s, Coltrane popularized the alto sax, an instrument uncommon in modern jazz.
15. True or False: Sonny Rollins made jazz recordings well before John Coltrane, but was actually the younger of the two players.
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ESSAY
Thoroughly discuss three (3) of the following questions. Put your essays on pages 6,7 and 8 of this document. One (1) essay
per page. Make sure you identify the essays you pick with the appropriate number.
1. Does cool jazz differ from bop? If so, compare and contrast the two styles. What limitations, if any, do these terms have? Illustrate
your points by citing artists who are easy or difficult to categorize using these two terms. Can you think of better labels to use
in classifying these styles?
2. Outline the similarities and differences between the hard bop style and the cool jazz style. Highlight your discussion with
examples of songs, composers, or artists of the styles.
3. Discuss the evolution of Coltrane's music in terms of the three style periods mentioned in your text, including aspects of harmony,
melody, and rhythm you feel are relevant. Also include a representative Coltrane performance illustrative of each style,
period.Briefly compare and contrast the tone, melodic, and rhythmic approaches of John Coltrane and Sonny Rollins.
4. Discuss the characteristic techniques and performance practices of the hard bop style. Illustrate your points by citing the most
prominent hard bop performers, their origins, and most representative compositions.
5. Miles Davis has made many contributions to jazz as a trumpeter. Discuss his collection of trumpet techniques and performance
practices and how they may have changed over time. Consider Davis in terms of tone quality, rhythmic and melodic concepts,
plus any other facets of his playing you find relevant.
6. Discuss the similarities and differences between cool jazz and bop. Use examples of compositions and/or artists in your answer.
LISTENING ESSAY
Answer on the back of pages 9,10 and 11 of this document. The pages are labeled Listening Essay # 1. 2 and 3.
1.
Discuss the style, form, and instrumentation of this piece. Include an educated guess as to who the soloists might be. Outline the
structure of the song. What style is this song?
2.
Discuss the form and instrumentation of this hard bop composition. Outline the structure of the song. Also indicate what features
suggest that it is hard bop as opposed to cool jazz or bop.
3.
Discuss this composition by Miles Davis. Using specific melodic, chordal, or instrumentation elements that you can pick out
explain why it is typical Miles Davis. Make suggestions as to whom some of his back-up musicians might be.
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LISTENING ESSAY # 1
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LISTENING ESSAY # 2
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LISTENING ESSAY # 3
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