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"Hot Cross Buns"

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The period from the end of the First World War until the start of the Depression in 1929 is known as the "Jazz Age". Jazz had become popular music in America, although older generations considered the music immoral and threatening to old cultural values.Dances such as the Charleston and the Black Bottom were very popular during the period, and jazz bands typically consisted of seven to twelve musicians. Important orchestras in New York were led by Fletcher Henderson, Paul Whiteman and Duke Ellington. Many New Orleans jazzmen had moved to Chicago during the late 1910s in search of employment; among others, the New Orleans Rhythm Kings, King Oliver's Creole Jazz Band and Jelly Roll Morton recorded in the city. However, Chicago's importance as a center of jazz music started to diminish toward the end of the 1920s in favor of New York.

In the early years of jazz, record companies were often eager to decide what songs were to be recorded by their artists. Popular numbers in the 1920s were pop hits such as "Sweet Georgia Brown", "Dinah" and "Bye Bye Blackbird". The first jazz artist to be given some liberty in choosing his material was Louis Armstrong, whose band helped popularize many of the early standards in the 1920s and 1930s.

Some compositions written by jazz artists have endured as standards, including Fats Waller's "Honeysuckle Rose" and "Ain't Misbehavin'". The most recorded 1920s standard is Hoagy Carmichael and Mitchell Parish's "Stardust".Several songs written by Broadway composers in the 1920s have become standards, such as George and Ira Gershwin's "The Man I Love" (1924), Irving Berlin's "Blue Skies" (1927) and Cole Porter's "What Is This Thing Called Love?" (1929). However, it was not until the 1930s that musicians became comfortable with the harmonic and melodic sophistication of Broadway tunes and started including them regularly in their repertoire.

In 1920, the jazz age was underway and was indirectly fueled by prohibition of alcohol. In Chicago, the jazz scene was developing rapidly, aided by the immigration of over 40 prominent New Orleans jazzmen to the city, continuous throughout much of the 1920s, including The New Orleans Rhythm Kings who began playing at Friar's Inn.However, in 1920, the cabaret business began in New York City and the growing number of speakeasies developing in the cellars of New York City provided many aspiring jazz musicians with new venues which gradually saw many musicians who had moved to Chicago ending up in on the east coast. It is important to note that Classic Blues became very prominent from 1920 after Mamie Smith recorded Crazy Blues and grew in popularity along with jazz.

In 1920, Paul Whiteman and his band recorded Whispering in New York City, in a subgenre known as symphonic jazz. Meanwhile, in New York City Adrian Rollini began playing bass saxophone with the California Ramblers and would later in the decade play with Bix Beiderbecke. Duke Ellington had developed in a successful band leader and Louis Armstrong began to amaze audiences with New Orleans Jazz.

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The "Roaring 20s" that followed the end of World War I was a period of prosperity for most Americans. As the economy grew, stock prices soared. By the end of the decade, as many as 25 million Americans had placed money in the stock market in order to share in the wealth. The best part of the process was that you didn't need a lot of cash to join the party. You could buy your stock on margin. That is, borrow the money for your stock purchase using the value of the stock itself as collateral. It is estimated that by 1929, the total amount of debt amassed by the practice had reached six billion dollars. It was a house of cards that remained erect as long as stocks continued to increase in value. However, if stock prices plummeted, the whole rickety structure could collapse.

Variety's headline after the Crash
The tremors that would eventually destroy this flimsy economic edifice made their first rumblings in September 1929. The market dropped sharply at the beginning of the month but rose again only to drop and rise again. The rollercoaster ride continued in October as the beginning of the month saw another drop followed by another burst of strength. Then came Black Thursday – October 24 – when a drop in stock prices triggered a burst of panic-selling so frantic that it overwhelmed the Stock Exchange's ability to keep track of the transactions.

Wall Street financers were able to reverse the downward plunge only by buying as many shares of stock as they could over the next two days. It was a temporary victory. Monday's opening bell unleashed a frenzy of selling that soon turned into an uncontrolled panic that continued for the rest of the trading day. The following day – Black Tuesday, October 29 – saw the previous day's panic turn into bedlam on the trading floor.

According to one observer, traders "hollered and screamed, they clawed at one another's collars. It was like a bunch of crazy men. Every once in a while, when Radio or Steel or Auburn would take another tumble, you'd see some poor devil collapse and fall to the floor." This was the Crash, although few could see it at the time. The Market continued its decline but never as dramatic. Thirty billion dollars had been lost - more than twice the national debt. The nation reeled, and slipped into the depths of the Great Depression.

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Conceptual:
1. Following are some of the main “harmonic cliches” :

Tonic/dominant harmony: As with nearly all forms of European-derived music, the basic harmonic force is V (tension) moving towards I (resolution).

II V I in major or minor: In common-practice classical music, V is often preceded by various “dominant preparation” chords. Our “streamlined” harmony often prepares V with II, creating the familiar II V I progression. In the key of C major, this would be Dm7 G7 Cmaj7. In the key of C minor, II V I appears as Dm7b5 G7b9 Cm6.

Secondary dominants: Any chord may be preceded by its V. For example, one common progression is D7 G7 Cmaj7. Here the D7 is a secondary dominant, called “V of V.”

Local key centers: Composers may use progressions that set up brief, temporary changes of key. This is often accomplished with a II V I sequence. For example, a song in the key of C major might include the sequence Fm7 Bb7 Ebmaj7, causing the listener to perceive a temporary shift to the key of Eb major.

Circle of dominants: This is another device that is common in classical music. An example would be D7 G7 C7 F7. Each dominant chord resolves into the next; roots move up a perfect fourth with each change, following the “circle of fourths.” This is also called a “chain of dominants.”

Circle within a key: This is a related device. Roots move up by fourth, but the notes stay entirely within a key. In C major, this would be: Cmaj7 Fmaj7 Bm7b5 Em7 Am7 Dm7 G7 Cmaj7 (In roman numerals: I IV VII III VI II V I). Note that to stay within the key, one of the root movements (IV to VII) has to be by augmented fourth rather than by perfect fourth. In actual practice, you will usually see sections of this circle, rather than the whole sequence.

IVm and/or bVII7: You may see these chords used in a major key context - for example, Fm6, Fm7, or Bb7, in the key of C. The purpose is to import notes, especially the b6 of the key, from the parallel minor key (in the key of C, b6 would be the note Ab, borrowed from the key of C minor). The effect is to add color, often accentuating an emotional moment in the song. Occasionally, bVII7 may also be used as a substitute for V.

Turnarounds: A turnaround is a I VI II V sequence, or some variation, often used at the end of a section to set up a repeat to the I chord.

Blues chords: These are chords that harmonize a blue note (b3, b5, b7) in the melody. Examples are IV7, bVI7, bVII7 (in the key of C these would be F7, Ab7, Bb7). This is a uniquely American device, developed in the 1910s-1940s. In a sense, these chords are borrowed from the parallel minor, since they import minor-related notes.

Tritone substitution: Where a V7 would go, a dominant seventh chord built on the b2 scale degree may be substituted (Db7 would be used in place of G7). This is another device that was developed in the “Golden Age.” Tritone substitution became a basic jazz technique beginning in the bebop years.

Jazz musicians don’t syncopate ALL the time (if they did it would be monotonous). Instead, jazz music involves both syncopated and non-syncopated notes -- just which ones to syncopate is up to the player and, once they get good enough, they do this intuitively (that is, without having to think about it; just like fluctuating your voice when talking so you don’t talk in a monotone).
2. A great composition and a great solo have the same musical qualities: a well-crafted melody, interesting rhythmic content, and a logical flow of harmonic motion. Refining these musical devices and sounds through composition will directly translate to your playing the next time you take a solo.
Scales and chords made sense on paper, but when it came to improvising that knowledge just wasn’t cutting it. An intellectual understanding of music theory is one thing, but when you have to put these tools to use creating melodies and harmonies you need an in-depth knowledge.

3. At the most basic level melody, harmony, and rhythm must be combined with the sounds that you’re hearing in your head to create music. It’s as simple as that. Composing is improvising and improvising is composing. And logically, studying and improving at one will greatly benefit the other.
4. A common misconception about Jazz improvisation is that it's invented out of the air. This notion may exist because many small Jazz groups do not read music when they perform. Jazz players will choose phrases that seem to be preordained so you intuitively know where they are going, even though it's being created at the instant you are hearing it. The musicians are actually spontaneously creating a very intricate form of theme and variation; they all know the tune and the role of their instrument. The guitar, piano, bass and drums, while all able to solo, basically provide the rhythm and harmony over which the soloist will create improvised variations. The structure is flexible so that the soloist may venture in various directions depending on the inspiration of the moment. A Jazz musician is creating spontaneous art every time he or she plays music. In fact, spontaneity has always characterized Jazz music's finest improvisers.
5. A sharp note can be defined as a raised pitch, or more specifically, a natural pitch that is raised to the next consecutive pitch. The 'Jaws Theme Song' makes great use of sharp notes since it continually starts on a pitch, then is raised to the next closest pitch. The sharp symbol looks something like a number sign or like a Twitter hashtag. The sharp symbol notifies us of a change in the usual condition of things.
A flat note is basically the opposite of a sharp note, in that it is a lowered pitch, or more specifically, a natural pitch that is lowered to the next consecutive pitch. Much like a flat tire, a flatted note goes down. The flat symbol looks like a pointy lower-case letter B or almost like an arrow pointing down.
There is one exception to the rule of accidentals within a measure. A sharp or flat can be canceled out by a special symbol called the natural sign. If we add a natural sign to the last note of our previous example, it would look like this. This would mean that the last note would be played as B natural because the flat sign is no longer in effect.
6.  By providing the brain with an
artificial environment, and forcing it through that environment in
controlled ways, music imparts the means of experiencing relations far
deeper than those we encounter in our everyday lives.  When music is
written with genius, every event is carefully selected to to build the
substructure for for exceptionally deep relations.  No resource is
wasted, no distractions are allowed.  Thus, however briefly, we attain a
greater grasp of the world (or at least a small part of it), as if
rising from the ground to look down upon the confining maze of ordinary
existence.
7. The treble clef is also called the G clef because it

Looks like a (very) stylized G.

Circles around the second staff line which (not coincidentally) represents the note G.

Your left hand typically plays the lower notes on the keyboard, which are also called bass notes.
8. Jazz is a music genre that originated in African American communities of New Orleans, United States,]in the late 19th and early 20th centuries, and developed from roots in blues and ragtime. Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression. It then emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African American and European American musical parentage with a performance orientation.Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms and improvisation. Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the black experience of the United States, different cultures have contributed their own experience and styles to the art form as well. Intellectuals around the world have hailed jazz as "one of America's original art forms".

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Factual:
1. Saxophone, Guitar, Piano, Upright bass, Percussion, Trumpets, Trombones, Sousaphone, Bass drums, Cymbals,Bongo,Banjo.
2.Duke Ellington, Herbie Hancock, John Coltrane,Max Roach.
3. A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chord's root.
In music theory, a ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass.
In music theory, an eleventh chord is a chord that contains the tertian extension of the eleventh. Typically found in jazz, an eleventh chord also usually includes the seventh and ninth, and elements of the basic triad structure.
4. Jazz musicians use the term "lead" or "head" to refer to the main melody, which is used as a starting point for improvisation.
5. Take Five- Dave Brubeck
What a Wonderful World- Louis Armstrong
Strange Fruit- Nina Simone
So What- Miles Davis
6. Early Jazz:
The lead instruments were normally the trumpet or cornet, the clarinet, and the trombone. The rhythm and harmonic structure was provided by guitar or banjo, a tuba or Sousaphone, and drums. When the music passed from the streets to the dance halls and drinking clubs where it flourished, this supporting function might be provided by piano and double string bass.

The essence of traditional jazz is that a lead instrument will play the melody of a tune, and then improvise on it, whilst other instruments in the ‘front line’ will play variations or paraphrases of it at the same time. This creates a polyphonic effect. which is sustained whilst other instruments take their turn to improvise their solos.

Modern Jazz:
Instrumentation retained what had become the classic quintet format of piano, bass, drums, and two lead horns. And the approach to musical content remained focussed on playing a melody, then improvising on its harmonies.

However, around this time some musicians started to use modal concepts of harmony, which meant using scales rather than a sequence of chords. Two of the main exponents of this approach were Miles Davis and John Coltrane. The video that follows features one of the earliest compositions of this klind – So What. In the years that followed, both musicians went on to develop this approach much further.
7. Jazz musicians use the term "lead" or "head" to refer to the main melody, which is used as a starting point for improvisation.
For a big band (10 or more instruments), the structure is similar, but because there are so many players, more of the music must be written out ahead of time to keep everybody organized. In jazz, when portions of the music are composed ahead of time, it is called an arrangement.
Jazz rhythms can range from simple to extremely complex.
8.9. 10. Jazz traditionally applies the following tempo markings:

slow | 48 -60 bpm
medium slow | 60-90
medium | 90-140
medium fast | 140-180
fast | 180-240
up-tempo | 240 - 340
The following are some of the expression marks which occur most frequently in music :

ff FORTISSIMO. Very loud.

f FORTE. Loud.

mf MEZZOFORTE. Medium loud.

Sf SFORZANDO. Indicating that a note is to be played –
with great force, also indicated by this sign

p PIANO. Soft.

pp PIANISSIMO. Very soft. Cresc.

CRESCENDO. Gradually getting louder, is also expressed by this sign

Decresc. DECRESCENDO. Gradually getting softer, is also expressed by this sign

Ped. So-called loud PEDAL the one to the right side. A star indicates that the foot should be removed from it.

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"Silver Moonlight

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"Merrily We Roll Along"

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Once upon a time...
I picked up a flute...
And the rest is history.