| Jazz is a musical art form that
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| | essentially improvisational musical
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| originated in New Orleans, Louisiana,
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| | styles of jazz.
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| United States at around the start of the
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| | Jazz as a genre is often difficult to
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| 20th century. Born out of a blend of
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| | define, but improvisation is a key
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| African American musical styles with
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| | element of the form. Improvisation has
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| Western music technique and theory, jazz
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| | been an essential element in African and
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| uses blue notes, syncopation, swing, call
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| | African-American music since early forms
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| and response, polyrhythms, and
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| | of the music developed, and is closely
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| improvisation among its many stylistic
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| | related to the use of call and response
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| markers.
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| | in West African and African-American
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| Jazz has roots in the combination of West
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| | cultural expression.
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| African and Western music traditions,
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| | The form of improvisation has changed
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| including spirituals, blues and ragtime,
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| | over time. Early folk blues music often
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| stemming from West Africa, western Sahel,
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| | was based around a call and response
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| and New England's religious hymns,
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| | pattern, and improvisation would factor
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| hillbilly music, and European military
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| | in the lyrics, the melody, or both. In
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| band music. After originating in African
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| | Dixieland jazz, musicians take turns
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| American communities near the beginning
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| | playing the melody while the others
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| of the 20th century, jazz styles spread
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| | improvise countermelodies. In contrast to
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| in the 1920s, influencing other musical
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| | the classical form, where performers try
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| styles. The origins of the word jazz are
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| | to play the piece exactly as the author
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| uncertain. The word is rooted in American
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| | envisioned it, the goal in jazz is often
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| slang, and various derivations have been
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| | to create a new interpretation, changing
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| suggested. For the origin and history of
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| | the melody, harmonies, even the time
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| the word jazz, see Origin of the word
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| | signature. If classical music is the
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| jazz.
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| | composer's medium, jazz is able to stand
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| Jazz is rooted in the blues, the folk
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| | up for the rights of the performer too,
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| music of former enslaved Africans in the
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| | to 'adroitly weigh the respective claims
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| U.S. South and their descendants, which
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| | of the composer and the improviser' .
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| is influenced by West African cultural
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| | By the Swing era, big bands played using
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| and musical traditions that evolved as
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| | arranged sheet music, but individual
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| black musicians migrated to the cities.
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| | soloists would perform improvised solos
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| Jazz musician Wynton Marsalis states that
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| | within these compositions. In bebop,
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| "Jazz is something Negroes invented...the
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| | however, the focus shifted from arranging
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| nobility of the race put into sound ...
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| | to improvisation over the form; musicians
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| jazz has all the elements, from the spare
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| | paid less attention to the composed
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| and penetrating to the complex and
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| | melody, or "head," which was played at
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| enveloping.
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| | the beginning and the end of the tune's
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| The instruments used in marching bands
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| | performance with improvised sections in
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| and dance band music at the turn of
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| | between.
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| century became the basic instruments of
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| | As previously noted, later styles of
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| jazz: brass, reeds, and drums, using the
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| | jazz, such as modal jazz, abandoned the
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| Western 12-tone scale. A "...black
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| | strict notion of a chord progression,
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| musical spirit (involving rhythm and
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| | allowing the individual musicians to
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| melody) was bursting out of the confines
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| | improvise more freely within the context
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| of European musical tradition [of the
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| | of a given scale or mode (e.g., the Miles
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| marching bands], even though the
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| | Davis album Kind of Blue). The
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| performers were using European styled
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| | avant-garde and free jazz idioms permit,
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| instruments."
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| | even call for, rhythmic variety as well.
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| Small bands of black musicians, mostly
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| | When a pianist, guitarist or other
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| self taught, who led funeral processions
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| | chord-playing instrumentalist improvises
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| in New Orleans played a seminal role in
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| | an accompaniment while a soloist is
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| the articulation and dissemination of
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| | playing, it is called comping (a
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| early jazz, traveling throughout black
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| | contraction of the word "accompanying").
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| communities in the Deep South and to
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| | "Vamping" is a mode of comping that is
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| northern cities.
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| | usually restricted to a few repeating
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| The postbellum network of
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| | chords or bars, as opposed to comping on
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| black-established schools, as well as
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| | the chord structure of the entire
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| civic societies and widening mainstream
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| | composition. Most often, vamping is used
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| opportunities for education, produced
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| | as a simple way to extend the very
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| more formally trained African-American
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| | beginning or end of a piece, or to set up
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| musicians. Lorenzo Tio and Scott Joplin
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| | a segue.
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| were schooled in classical European
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| | In some modern jazz compositions where
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| musical forms. Joplin, the son of a
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| | the underlying chords of the composition
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| former slave and a free-born woman of
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| | are particularly complex or fast moving,
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| color, was largely self-taught until age
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| | the composer or performer may create a
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| 11, when he received lessons in the
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| | set of "blowing changes," which is a
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| fundamentals of music theory. Black
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| | simplified set of chords better suited
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| musicians with formal music skills helped
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| | for comping and solo improvisation.
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| to preserve and disseminate the
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