Search
Search titles only
By:
Search titles only
By:
Home
Forums
New posts
Search forums
What's new
New posts
Latest activity
Members
Current visitors
Κανονισμός Λειτουργίας
Σωματείο AVClub
Log in
Register
Search
Search titles only
By:
Search titles only
By:
New posts
Search forums
Menu
Install the app
Install
Reply to thread
Home
Forums
Μουσική - Κινηματογράφος - Τηλεόραση - Πολιτισμός
Μουσική
Παρουσιάσεις δίσκων - Aφιερώματα
Η Ιστορία της Jazz
JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an
alternative browser
.
Message
<blockquote data-quote="AFam" data-source="post: 120289" data-attributes="member: 1316"><p>.................</p><p></p><p>Quality: The character of a chord given by its third, fifth, and seventh. The qualities are major, dominant, minor, tonic minor, half-diminished and diminished. In theory augmented major and augmented (dominant) would also be 'qualities' but they are usually just considered alterations.</p><p></p><p>Quartal: Based on fourths. Chords built up of fourths were, famously, developed by McCoy Tyner in the John Coltrane Quartet in the 60s.</p><p></p><p>Quote: A snatch of some other well-known tune thrown into a solo. A good quote is unexpected, incongruous and yet seems to fit perfectly. Some quotes are clichιs, as 'Grand Canyon Suite' in 'All the Things You Are'.</p><p></p><p>Remote key: A key distant on the circle of fifths from the original one, such as E major compared to C major.</p><p></p><p>Riff: (1) A relatively simple, catchy repeated phrase. May be played behind a soloist or as part of a head. Often in a bluesy style. Riff tunes are made up of riffs, characteristic of the black bands of the 30s. (2) A pre-packaged phrase used by an improviser when he can't think of anything else, especially one which is especially catchy.</p><p></p><p>Root: The fundamental pitch on which a chord is based, from which the chord takes its name, and to which the other tones of the chord are referred to intervallically the third, seventh, and so on, regardless of their actual intervallic relationship in an actual keyboard voicing. Note that the root is often absent in Jazz piano, both in voicings and in r.h. patterns and lines. This avoidance of the obvious is part of the character of Jazz.</p><p></p><p>Rhythm Changes: The chords to 'I Got Rhythm' (Gershwin), somewhat modified and simplified. Many Jazz tunes use these changes and every player must know them. There are several variations.</p><p></p><p>Rhythm Section: The piano, bass and drums in a combo, those who play throughout the tune, behind the soloists. Might also include guitar or vibes, or there might be no piano.</p><p></p><p>Run: A rapid descending, or ascending, usually right-hand passage on the piano in the form of a continuous scale, or a scale with variations.</p><p></p><p>Scale: (1) A selection of tones in the octave, arranged in ascending or descending order, usually but not always using intervals of half- or whole-steps, and using the same notes in every successive octave. One tone is usually thought of as being the root, but it need not be the first note played. Most scales have 5, 6, 7 or 8 notes to the octave but any number from 2 to 12 is possible. (2) The same group of tones regarded abstractly as a 'pool' of available notes. In this sense, scale really means the same as chord. There is a maxim: 'Scales are chords and chords are scales.' (3) A section of melody in the form of a scale.</p><p></p><p>Shed: Short for Woodshed, to practice diligently.</p><p></p><p>Shell: A two-note structure in the left hand, consisting of the root and one other note, usually the 7th, the 3rd or 10th, or the 6th. A simple, open left-hand style, used by Bud Powell and many of his imitators and followers.</p><p></p><p>Shout chorus: A special, complete, through-composed chorus played just before the final out-chorus. Used in classic (20s) Jazz, some bebop, and a few modern compositions, such as Wayne Shorter's This Is For Albert.</p><p></p><p>Side-slipping: To play a passage, a melody or chord, a half-step up or down from its expected place or in relation to the given harmony.</p><p></p><p>Solo: Any one player's improvisation over one or more choruses of the tune (occasionally, especially in ballads, less than one chorus). A sharp distinction is made between soloing, and playing the head.</p><p></p><p>Song form: A musical form with two contrasting themes A and B, thus-- A (8 bars); A repeated; B (8 bars); A repeated. The three A's have slightly different endings (turnarounds). Another common form may be called song form also, ABAB' (the second B starting like the first but ending differently). Most older standards are in song form.</p><p></p><p>Stand: The bandstand or stage.</p><p></p><p>Standard: A tune universally accepted and played by many Jazz musicians. Many standards are tin pan alley and Broadway songs from the 30s, 40s and 50s. Others are strictly Jazz compositions. A professional Jazz musician is expected to know many, many standards.</p><p></p><p>Stop time: A rhythm where certain beats aren't played, e.g. 1 2 3 (rest) 1 2 3 (rest).</p><p></p><p>Straight 8s: With equal, even 8th notes. Same as 'Latin'.</p><p></p><p>Stride: The typical piano style of the 30s, tending towards virtuosity. The left hand plays alternating low-register bass notes (or octaves, fifths or tenths) and middle register rootless voicings, giving an 'oom-pah' effect, interspersed with step-wise parallel tenths. The right hand often employs busy runs, arpeggios and octaves or full chords. Suggestions of stride remain in the technique of many of today's players.</p><p></p><p>Stroll: Omit the piano. A soloist (playing a horn) strolls when he plays for a time with bass and drums only (or maybe the pianist strolls outside to have a smoke).</p><p></p><p>Substitution: A chord put in the place of a different chord. A substitution can be made throughout a tune, or just ad lib at a particular moment. Usually the operative idea is that the root of the chord is changed, while the other voices are common to both chords. Typical examples bII 7 for V7, and iii for I.</p><p></p><p>Swing: (1) The style of the 30s, when the big band was the dominant form of Jazz. The style implies certain types of harmony (use of added 6ths rather than 7ths in major and minor chords, of un-embellished diminished chords, frequent use of the augmented 5th and little use of the augmented 11th, etc.) and a rhythmic organization that states the beat explicitly, puts more weight on 1 and 3 and tends to obey the bar-line phrasing. (2) A rhythmic manner, unique to Jazz, in which the first of a pair of written 8th notes is played longer than the second, even twice as long, while the second tends to receive a slight accent, though the distribution of accents is irregular and syncopated. (The degree of this effect depends on the overall tempo, and is modified by the requirements of expression and phrasing.) (3) As a direction in a chart, played with a swing feel, as opposed to latin. (4) A mysterious, unexplainable quality in any music, but especially Jazz, which makes one 'feel that shit all up in your body' (Miles Davis).</p><p></p><p>Syncopation: The process of displacing 'expected' beats by anticipation or delay of one-half a beat. The natural melodic accent which would fall, in 'square' music, on the beat, is thus heard on the off-beat. This adds a flavor of ambiguity as to where the beat is (not an actual ambiguity, only a flavor).</p><p></p><p>Tenor: The voice above the bass, often that played by the thumb of the left hand. Not a Jazz term.</p><p></p><p>Tetrachord: A four-note portion of a scale. For example, the diminished scale is composed of two tetrachords with identical interval constructions.</p><p></p><p>Third stream: A term coined by Gunther Schuller in the early 50s. The supposed confluence of Jazz and classical music.</p><p></p><p>Thumb line: The Jazz term for 'tenor' (q.v.). A line played by the pianist's left thumb.</p><p></p><p>Timbre: [pronounced tamb'r] Tone quality, characteristic instrumental sound. Not especially a Jazz term, but note that timbre is one of the basic dimensions of music along with rhythm, melody and harmony. Students sometimes have trouble developing a real Jazz timbre. For the piano the word 'touch' is more usual.</p><p></p><p>Time feel: (1) The subjective impression of which time unit constitutes one beat and how long a bar is. May or may not correspond to the written music. (2) The emotional quality of the rhythm.</p><p></p><p>Tonic minor: A scale / chord with a minor 3rd and a major 6th and 7th, generally used for the tonic or home chord in minor keys. Distinguished from other minor chord functions.</p><p></p><p>Top: The beginning point of each chorus, the first beat of the first measure.</p><p></p><p>Trad: (Traditional) the Jazz style of the of the early 1900s, known retrospectively as Dixieland. Used a marked 4/4 beat, triadic harmony, 'sectional' tunes (with numerous separate sections), simultaneous improvisation, largely I - IV - V type harmonies, etc.</p><p></p><p>Trading 4s (or 8s, 2s): A form of discontinuous drum solo in which 4 measure sections are alternately played solo by the drummer, and by the band with another soloist (who goes first). The latter can be one particular soloist throughout, or it can cycle through the different instruments. Also, two different instrumental soloists can trade 4s with each other, such as the trumpet and the sax. This is called a chase. Trading 4s usually goes on for one or two choruses.</p><p></p><p>Tranpose: To write or perform (a composition) in a key other than the original or given key, most often to accomodate the range of a vocalist or another instrument.</p><p></p><p>Triad: (1) Concretely, a chord of three notes - the root, 3rd and 5th - played together in close position in one of the three inversions. (2) Abstractly, a chord with a root, 3rd and 5th but no 7th. Might be decorated with the 6th or 9th. Triadic harmony is characteristic of Dixieland and rock.</p><p></p><p>Tritone: The interval of three whole steps, i.e. an augmented 4th or diminished 5th.</p><p></p><p>Tritone substitution: See 'Substitution'. The substitution of a chord whose root is a tritone away. In turnarounds it's common to do this for any of the chords.</p><p></p><p>Tune: A single Jazz composition or Jazz performance, a piece. The word 'song' is frowned on.</p><p></p><p>Turnaround: A sequence of chords, or the portion of a tune that they occupy, that forms a cadence at the end of a section of a tune, definitively establishes the tonic key and leads back to the opening chord of the next section, or to the top. Typically the turnaround chords are I - VI - ii - V, with half a measure apiece. With possible substitutions and alterations, the variations are infinite. There are also entirely different progressions possible. If the opening chord of the next section is not a I chord, the turnaround must be suitable. Learning to negotiate turnarounds is essential to making a coherent solo. It's often effective to play a phrase that starts partway through a turnaround and continues past the beginning of the next section.</p><p></p><p>Up: In a fast tempo.</p><p></p><p>Upper structure: A triad used in the upper register over a chord of a different root, such as an A major triad over a C7 chord. From the standpoint of C7, the A triad consists of the 13th, the flat 9th, and the 3rd; at the same time it has the unified sound of a major triad.</p><p></p><p>Vamp: A simple section like a riff, designed to be repeated as often as necessary, especially one at the beginning of a tune. Also a constantly repeated bass line over which a solo is played.</p><p></p><p>Verse: In many older standard songs, an introductory section, often rubato, that leads up to the 'chorus' or main strain, which is the tune as generally recognized. Jazz players (and fakebooks) usually omit the verse, though singers like to use them.</p><p></p><p>Voice: Any one of the melodic lines formed by the flow of the music. The bass line and the melody form the two outer voices, and the tones in between may, to a greater or lesser extent, form melodic lines of their own called inner voices.</p><p></p><p>Voice-leading: Getting the succession of harmonic tones in the inner voices to form coherent melodic lines of their own, or, at least, to move in a smooth, mainly step-wise motion. The perfection of voice-leading was in Bach, where 4 or more independent melodies can mesh to form perfect chordal harmony.</p><p></p><p>Voicing: A particular arrangement of the notes of a chord in which chosen harmonies color the tone.</p><p></p><p>Walk: In bass playing, to play mostly one note per beat, making a smooth, continuous quarter-note line. A fulfillment of the time-keeping function of bass playing, which many bass players have transcended since around 1960. The pianist can also walk with his left hand.</p><p></p><p>West Coast School: A much criticized label for the 'Cool' style (q.v.) as it was taken up in California in the early 50s by mostly white players, like Dave Brubeck, Gerry Mulligan, Chet Baker and many lesser figures like pianist Russ Freeman. In addition to the typical features of cool Jazz, the style experimented with 'classical' instruments and complex counterpoint.</p><p></p><p>Whole-tone: A 6-note scale, of which there are two, made up entirely of whole-step intervals, or the harmonies derived from it. Used by Debussy and suggestive of 'impressionism'. In Jazz, associated with Thelonious Monk and explored in a number of hard bop originals.</p><p></p><p>Woodshed: To practice diligently. Also 'shed'.</p><p></p><p>X: 'Time'. Thus ' 4X ' on a chart means '[play] four times'</p></blockquote><p></p>
[QUOTE="AFam, post: 120289, member: 1316"] ................. Quality: The character of a chord given by its third, fifth, and seventh. The qualities are major, dominant, minor, tonic minor, half-diminished and diminished. In theory augmented major and augmented (dominant) would also be 'qualities' but they are usually just considered alterations. Quartal: Based on fourths. Chords built up of fourths were, famously, developed by McCoy Tyner in the John Coltrane Quartet in the 60s. Quote: A snatch of some other well-known tune thrown into a solo. A good quote is unexpected, incongruous and yet seems to fit perfectly. Some quotes are clichιs, as 'Grand Canyon Suite' in 'All the Things You Are'. Remote key: A key distant on the circle of fifths from the original one, such as E major compared to C major. Riff: (1) A relatively simple, catchy repeated phrase. May be played behind a soloist or as part of a head. Often in a bluesy style. Riff tunes are made up of riffs, characteristic of the black bands of the 30s. (2) A pre-packaged phrase used by an improviser when he can't think of anything else, especially one which is especially catchy. Root: The fundamental pitch on which a chord is based, from which the chord takes its name, and to which the other tones of the chord are referred to intervallically the third, seventh, and so on, regardless of their actual intervallic relationship in an actual keyboard voicing. Note that the root is often absent in Jazz piano, both in voicings and in r.h. patterns and lines. This avoidance of the obvious is part of the character of Jazz. Rhythm Changes: The chords to 'I Got Rhythm' (Gershwin), somewhat modified and simplified. Many Jazz tunes use these changes and every player must know them. There are several variations. Rhythm Section: The piano, bass and drums in a combo, those who play throughout the tune, behind the soloists. Might also include guitar or vibes, or there might be no piano. Run: A rapid descending, or ascending, usually right-hand passage on the piano in the form of a continuous scale, or a scale with variations. Scale: (1) A selection of tones in the octave, arranged in ascending or descending order, usually but not always using intervals of half- or whole-steps, and using the same notes in every successive octave. One tone is usually thought of as being the root, but it need not be the first note played. Most scales have 5, 6, 7 or 8 notes to the octave but any number from 2 to 12 is possible. (2) The same group of tones regarded abstractly as a 'pool' of available notes. In this sense, scale really means the same as chord. There is a maxim: 'Scales are chords and chords are scales.' (3) A section of melody in the form of a scale. Shed: Short for Woodshed, to practice diligently. Shell: A two-note structure in the left hand, consisting of the root and one other note, usually the 7th, the 3rd or 10th, or the 6th. A simple, open left-hand style, used by Bud Powell and many of his imitators and followers. Shout chorus: A special, complete, through-composed chorus played just before the final out-chorus. Used in classic (20s) Jazz, some bebop, and a few modern compositions, such as Wayne Shorter's This Is For Albert. Side-slipping: To play a passage, a melody or chord, a half-step up or down from its expected place or in relation to the given harmony. Solo: Any one player's improvisation over one or more choruses of the tune (occasionally, especially in ballads, less than one chorus). A sharp distinction is made between soloing, and playing the head. Song form: A musical form with two contrasting themes A and B, thus-- A (8 bars); A repeated; B (8 bars); A repeated. The three A's have slightly different endings (turnarounds). Another common form may be called song form also, ABAB' (the second B starting like the first but ending differently). Most older standards are in song form. Stand: The bandstand or stage. Standard: A tune universally accepted and played by many Jazz musicians. Many standards are tin pan alley and Broadway songs from the 30s, 40s and 50s. Others are strictly Jazz compositions. A professional Jazz musician is expected to know many, many standards. Stop time: A rhythm where certain beats aren't played, e.g. 1 2 3 (rest) 1 2 3 (rest). Straight 8s: With equal, even 8th notes. Same as 'Latin'. Stride: The typical piano style of the 30s, tending towards virtuosity. The left hand plays alternating low-register bass notes (or octaves, fifths or tenths) and middle register rootless voicings, giving an 'oom-pah' effect, interspersed with step-wise parallel tenths. The right hand often employs busy runs, arpeggios and octaves or full chords. Suggestions of stride remain in the technique of many of today's players. Stroll: Omit the piano. A soloist (playing a horn) strolls when he plays for a time with bass and drums only (or maybe the pianist strolls outside to have a smoke). Substitution: A chord put in the place of a different chord. A substitution can be made throughout a tune, or just ad lib at a particular moment. Usually the operative idea is that the root of the chord is changed, while the other voices are common to both chords. Typical examples bII 7 for V7, and iii for I. Swing: (1) The style of the 30s, when the big band was the dominant form of Jazz. The style implies certain types of harmony (use of added 6ths rather than 7ths in major and minor chords, of un-embellished diminished chords, frequent use of the augmented 5th and little use of the augmented 11th, etc.) and a rhythmic organization that states the beat explicitly, puts more weight on 1 and 3 and tends to obey the bar-line phrasing. (2) A rhythmic manner, unique to Jazz, in which the first of a pair of written 8th notes is played longer than the second, even twice as long, while the second tends to receive a slight accent, though the distribution of accents is irregular and syncopated. (The degree of this effect depends on the overall tempo, and is modified by the requirements of expression and phrasing.) (3) As a direction in a chart, played with a swing feel, as opposed to latin. (4) A mysterious, unexplainable quality in any music, but especially Jazz, which makes one 'feel that shit all up in your body' (Miles Davis). Syncopation: The process of displacing 'expected' beats by anticipation or delay of one-half a beat. The natural melodic accent which would fall, in 'square' music, on the beat, is thus heard on the off-beat. This adds a flavor of ambiguity as to where the beat is (not an actual ambiguity, only a flavor). Tenor: The voice above the bass, often that played by the thumb of the left hand. Not a Jazz term. Tetrachord: A four-note portion of a scale. For example, the diminished scale is composed of two tetrachords with identical interval constructions. Third stream: A term coined by Gunther Schuller in the early 50s. The supposed confluence of Jazz and classical music. Thumb line: The Jazz term for 'tenor' (q.v.). A line played by the pianist's left thumb. Timbre: [pronounced tamb'r] Tone quality, characteristic instrumental sound. Not especially a Jazz term, but note that timbre is one of the basic dimensions of music along with rhythm, melody and harmony. Students sometimes have trouble developing a real Jazz timbre. For the piano the word 'touch' is more usual. Time feel: (1) The subjective impression of which time unit constitutes one beat and how long a bar is. May or may not correspond to the written music. (2) The emotional quality of the rhythm. Tonic minor: A scale / chord with a minor 3rd and a major 6th and 7th, generally used for the tonic or home chord in minor keys. Distinguished from other minor chord functions. Top: The beginning point of each chorus, the first beat of the first measure. Trad: (Traditional) the Jazz style of the of the early 1900s, known retrospectively as Dixieland. Used a marked 4/4 beat, triadic harmony, 'sectional' tunes (with numerous separate sections), simultaneous improvisation, largely I - IV - V type harmonies, etc. Trading 4s (or 8s, 2s): A form of discontinuous drum solo in which 4 measure sections are alternately played solo by the drummer, and by the band with another soloist (who goes first). The latter can be one particular soloist throughout, or it can cycle through the different instruments. Also, two different instrumental soloists can trade 4s with each other, such as the trumpet and the sax. This is called a chase. Trading 4s usually goes on for one or two choruses. Tranpose: To write or perform (a composition) in a key other than the original or given key, most often to accomodate the range of a vocalist or another instrument. Triad: (1) Concretely, a chord of three notes - the root, 3rd and 5th - played together in close position in one of the three inversions. (2) Abstractly, a chord with a root, 3rd and 5th but no 7th. Might be decorated with the 6th or 9th. Triadic harmony is characteristic of Dixieland and rock. Tritone: The interval of three whole steps, i.e. an augmented 4th or diminished 5th. Tritone substitution: See 'Substitution'. The substitution of a chord whose root is a tritone away. In turnarounds it's common to do this for any of the chords. Tune: A single Jazz composition or Jazz performance, a piece. The word 'song' is frowned on. Turnaround: A sequence of chords, or the portion of a tune that they occupy, that forms a cadence at the end of a section of a tune, definitively establishes the tonic key and leads back to the opening chord of the next section, or to the top. Typically the turnaround chords are I - VI - ii - V, with half a measure apiece. With possible substitutions and alterations, the variations are infinite. There are also entirely different progressions possible. If the opening chord of the next section is not a I chord, the turnaround must be suitable. Learning to negotiate turnarounds is essential to making a coherent solo. It's often effective to play a phrase that starts partway through a turnaround and continues past the beginning of the next section. Up: In a fast tempo. Upper structure: A triad used in the upper register over a chord of a different root, such as an A major triad over a C7 chord. From the standpoint of C7, the A triad consists of the 13th, the flat 9th, and the 3rd; at the same time it has the unified sound of a major triad. Vamp: A simple section like a riff, designed to be repeated as often as necessary, especially one at the beginning of a tune. Also a constantly repeated bass line over which a solo is played. Verse: In many older standard songs, an introductory section, often rubato, that leads up to the 'chorus' or main strain, which is the tune as generally recognized. Jazz players (and fakebooks) usually omit the verse, though singers like to use them. Voice: Any one of the melodic lines formed by the flow of the music. The bass line and the melody form the two outer voices, and the tones in between may, to a greater or lesser extent, form melodic lines of their own called inner voices. Voice-leading: Getting the succession of harmonic tones in the inner voices to form coherent melodic lines of their own, or, at least, to move in a smooth, mainly step-wise motion. The perfection of voice-leading was in Bach, where 4 or more independent melodies can mesh to form perfect chordal harmony. Voicing: A particular arrangement of the notes of a chord in which chosen harmonies color the tone. Walk: In bass playing, to play mostly one note per beat, making a smooth, continuous quarter-note line. A fulfillment of the time-keeping function of bass playing, which many bass players have transcended since around 1960. The pianist can also walk with his left hand. West Coast School: A much criticized label for the 'Cool' style (q.v.) as it was taken up in California in the early 50s by mostly white players, like Dave Brubeck, Gerry Mulligan, Chet Baker and many lesser figures like pianist Russ Freeman. In addition to the typical features of cool Jazz, the style experimented with 'classical' instruments and complex counterpoint. Whole-tone: A 6-note scale, of which there are two, made up entirely of whole-step intervals, or the harmonies derived from it. Used by Debussy and suggestive of 'impressionism'. In Jazz, associated with Thelonious Monk and explored in a number of hard bop originals. Woodshed: To practice diligently. Also 'shed'. X: 'Time'. Thus ' 4X ' on a chart means '[play] four times' [/QUOTE]
Verification
Post reply
Home
Forums
Μουσική - Κινηματογράφος - Τηλεόραση - Πολιτισμός
Μουσική
Παρουσιάσεις δίσκων - Aφιερώματα
Η Ιστορία της Jazz
Top
Bottom
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
By continuing to use this site, you are consenting to our use of cookies.
Accept
Learn more…