3 years, 1 month ago
What are the characteristics of Bebop Jazz? What separates it from other forms of Jazz?
Also, who were some of the biggest names in the Bebop style?
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M$1 Answer
1. Complex harmonic ideas
2. Longer melodic phrases using odd intervals built on the extension of chords (9ths, 11ths, 13ths, etc.) .
3. Harmony gained equal footing with melody and rhythm (western influence).
4. A sound instrumental technique was mandatory.
5. A good ear and a quick mind were indispensible.
6. Eighth notes and sixteenth notes became the basic units of time.
7. Horns aimed for clean, piano-like execution.
8. Players followed the trend toward the vibratoless sound (reducing the latitude and flexibility of sound production is another western concept). As a practical consideration, virtuosity demands an unencumbered sound.
9. The emphasis was more on content than on sound.
10. Complex chords provided the soloist with a broader harmonic base, consequently making possible a greater variety of note choices and a higher incidence of chromaticism.
11. Chords served as the improvisational referential rather than the melody.
12. Hot improvisation (fast, intense, impassioned) was the rule.
13. Collective improvisation was exclusively between the soloist and the rhythm section.
14. Bebop was primarily a small band music, but found some expression in a few select big bands.
15. A broadened concept of chord substitution came into being; this helped to provide a broader harmonic base.
16. The music moved ever closer to western european music because of its emphasis on harmony and instrumental facility and its increasing use of other western musical devices.
17. The entire language of jazz was questioned, subtracted from, added to, purged, and reaffirmed.
18. Polyrhythm became an important factor again.
19. Bebop tended to codify all that had gone before; it is considered the common practice period in jazz.
20. Unison melody statements were the rule of thumb because the increasing harmonic complexities made counterpoint and secondary lines less feasible.
21. The break as a structural device regained popularity.
22. Bebop players made liberal use of "quotes" or interpolations from other
Tunes.
23. Bebop reduced melody to its essentials. There were few backgrounds,
Some brief introductions and endings, and some unison interludes.
24. Melodic lines were scalar rather than chordal.
25. More sophisticated scales were introduced into the language; one example is the diminished scale
26. There was more effort to make the solo lines cohesive by linking them
Together with turnbacks, cycles, and other musical adhesive devices.
27. Piano became the center of the new expression.
28. Assymetrical solo construction became a fact.
From another site:
1. smaller groups
2. three to six players (combo)
3. fast improvisation
4. bass drum provides irregular beats
5. use of complex chords (9th and 13th)
6. use of the flatted fifth
7. use of the high hat cymbal to supply the basic beat
Artists: trumpeter Dizzy Gillespie, pianist Thelonious Monk, and saxophonist Charlie Parker
Also: Miles Davis, Cone Candoli, Clark Terry Bud Powell, Max Roach, Oscar Pettiford, Stan Getz, Kenny Clarke, Ray Brown, Gene Ammons, Al Haig, Don Lamond, Eddie Safranski, Flip Phillips, George Shearing, Joe Harris, Tommy Potter, Charlie Ventura, Oscar Peterson, Tiny Kahn, Curly Russell, Sonny Rollins, Tadd Dameron, Billy Taylor
2. Longer melodic phrases using odd intervals built on the extension of chords (9ths, 11ths, 13ths, etc.) .
3. Harmony gained equal footing with melody and rhythm (western influence).
4. A sound instrumental technique was mandatory.
5. A good ear and a quick mind were indispensible.
6. Eighth notes and sixteenth notes became the basic units of time.
7. Horns aimed for clean, piano-like execution.
8. Players followed the trend toward the vibratoless sound (reducing the latitude and flexibility of sound production is another western concept). As a practical consideration, virtuosity demands an unencumbered sound.
9. The emphasis was more on content than on sound.
10. Complex chords provided the soloist with a broader harmonic base, consequently making possible a greater variety of note choices and a higher incidence of chromaticism.
11. Chords served as the improvisational referential rather than the melody.
12. Hot improvisation (fast, intense, impassioned) was the rule.
13. Collective improvisation was exclusively between the soloist and the rhythm section.
14. Bebop was primarily a small band music, but found some expression in a few select big bands.
15. A broadened concept of chord substitution came into being; this helped to provide a broader harmonic base.
16. The music moved ever closer to western european music because of its emphasis on harmony and instrumental facility and its increasing use of other western musical devices.
17. The entire language of jazz was questioned, subtracted from, added to, purged, and reaffirmed.
18. Polyrhythm became an important factor again.
19. Bebop tended to codify all that had gone before; it is considered the common practice period in jazz.
20. Unison melody statements were the rule of thumb because the increasing harmonic complexities made counterpoint and secondary lines less feasible.
21. The break as a structural device regained popularity.
22. Bebop players made liberal use of "quotes" or interpolations from other
Tunes.
23. Bebop reduced melody to its essentials. There were few backgrounds,
Some brief introductions and endings, and some unison interludes.
24. Melodic lines were scalar rather than chordal.
25. More sophisticated scales were introduced into the language; one example is the diminished scale
26. There was more effort to make the solo lines cohesive by linking them
Together with turnbacks, cycles, and other musical adhesive devices.
27. Piano became the center of the new expression.
28. Assymetrical solo construction became a fact.
From another site:
1. smaller groups
2. three to six players (combo)
3. fast improvisation
4. bass drum provides irregular beats
5. use of complex chords (9th and 13th)
6. use of the flatted fifth
7. use of the high hat cymbal to supply the basic beat
Artists: trumpeter Dizzy Gillespie, pianist Thelonious Monk, and saxophonist Charlie Parker
Also: Miles Davis, Cone Candoli, Clark Terry Bud Powell, Max Roach, Oscar Pettiford, Stan Getz, Kenny Clarke, Ray Brown, Gene Ammons, Al Haig, Don Lamond, Eddie Safranski, Flip Phillips, George Shearing, Joe Harris, Tommy Potter, Charlie Ventura, Oscar Peterson, Tiny Kahn, Curly Russell, Sonny Rollins, Tadd Dameron, Billy Taylor
You can leave an optional "tip" with Mahalo's virtual currency, Mahalo Dollars. If you are asking a difficult question that might require some research, or if you'd like a wide variety of feedback, a higher tip often leads to more answers to your question.
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