Bebop Jazz

Bebop Jazz

After the age of the swing, the jazz was known and appreciated in the whole world, it admitted enclosed by classic composers of the size of Stravinsky. Nevertheless, the term swing was enjoying bad reputation between the musicians: it was considered that only the professionals of less talent were devoting themselves to this type of commercial music, so that the most “serious” musicians – like Duke Ellington – were moving away from the style. The slope of the big bands of swing gave place to a new type of radically different music, whose only features together were consisting of a similar instrumentation and of the interest in improvisation.

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Dixieland Jazz

Dixieland Jazz

To little of the XXth century began, the white persons and poor Creoles of the Delta of the Mississippi began to be interested by the Hot and its influence produced some changes in the way of touching of the bands of New Orleans: more improvisations developed, the tempos sped up and. looked for less “African” rhythmic structures The new style was “less expressive, but with major technical resources”, with more polished melodies and armonias you “clean”. Also, the piano and the saxophone interfered, and there developed new instrumental skills, like the style tailgate of the trombonists.

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New Orleans Jazz

New Orleans Jazz

Although in the period that goes from the end of the War of Secession up to the end of the XIXth century, already there existed some bands that were touching something similar to a rudimentary jazz, like those of the cornetistas Sam Thomas, Louis Ned, James L. Harris or Robert Baker or the band that was usually touching in Kelly’s Stables of New Orleans, is considered to be usually to Buddy Bolden as the first big figure and the initiator of the first definite style of jazz.

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Ragtime

Ragtime

In the last third of the XIXth century, and due to a series of factors of social and economic type very similar to those who would give place to the birth of the jazz in New Orleans, a musical style developed in the city of San Luis, Missouri, usually considered as piano, that one knew like jig piano style and, later, from, ragtime, that is to say, broken rhythm or sincopado. Your consideration as music for piano derives from the scores published from, which were edited for this instrument, and of the fact from which, in an epoch in which recordings were still not realized, the pianola rolls were allowing to gather the piano interpretations.

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Blues

Blues

The roots of the blues have similarities in the instruments, music and social functions with the griots of Savanna.
The blues is a musical genre that appeared in the second half of the XIXth century in the cities of the south of the United States, straight derived from the hollers or shouts and the work songs of the cotton plantations. It is a music, then, of African origin and social character, but unlike the ancient songs of work or field screams full of rhythm and discipline, she represents the relief of the interpreter, who was allowing to show its pain, oppression, desires, etc. It has led to some authors, to considering the blues to be the first music of African origin, entirely jacket.

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The jazz

it is a born musical genre at the end of the XIXth century in the United States, which expanded of global form throughout the whole XXth century.

Between many attempts of delimiting and of describing the complex phenomenon of the jazz, the critic and German student Joachim-Ernst Berendt, in its classic work Jazz: Of New Orleans to the Jazz Rock, he says to us:

The jazz is a form of musical art that originated in the United States by means of the confrontation of the blacks with the European music. The instrumentation, melody and harmony of the jazz stem principally from the musical Occident tradition. The rhythm, the phrasing and the production of sound, and the elements of harmony of blues stem from the African music and from the musical concept of afroamericans.

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