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Short listening and assignment

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Short listening The of the song is One O’clock Jump written by Count Basie. The following is a list of all the instruments visible in the video.
i. Trumpets
ii. Trombones
iii. Saxophones
iv. Clarinets
v. Piano
vi. Guitar
vii. String bass
viii. Drums
The jazz performance in this video would be placed in the Swing Era because of the swing anthem in its chorus. A group technique used in the jazz performance is riff. A riff adjunct is performed below soloists in the fourth chorus. The instrumental role of the piano in the jazz performance in the video is a stride piano. Stride piano reveals the piano-like features of soloists playing the bass. Basie’s piano appears as if it is practicing some modest type of piano expression (Ventnor43 2012). The instrumental role of the base is a ride pattern. The bass resonates more like a duo with bassist Walter Page who walks the bass just about the chorus line, interrupted by Basies high register harmonies. The instrumental roles of the drums are to provide brushes on the drums. Drums are beating out a categorical beat periodically as the performance ends (Ventnor43 2012).
The following is a list showing the sequence of events from the start to the close of the performance.
i. Introduction-The opening ten seconds have Basie playing a riff for 8 bars, with Jo Jones softly beating drums in the background (Ventnor43 2012).
ii. Melody statements-Melody assertions in the performance have a head arrangement. The head arrangement originates from the lateral thinking around the 12-bar blue sample that encourages the same. In the 2nd chorus, Basie controls this chorus line with a head arrangement that commences with a two-chorus icebreaker (Ventnor43 2012).
iii. Solos-The following is a list of solos in the performance
3rd Chorus: Herschel Evans comes into his solo on a saxophone escorted by riffs from the brass division.
4th Chorus: George Hunt comes into his solo on a trombone and the timbral distinction changes from the 3rd chorus so that the brass is soloing forthright and the reeds go together with the background (Ventnor43 2012).
7th Chorus: Bill Basie comes back at this chorus line for what is referred to as a piano solo.
iv. Trading between soloists
4th Chorus: At this chorus, it is obvious that regardless of how well the soloist is forthright, the saxophone riffs in the back are starting to stress (Ventnor43 2012).
v. Ending – The performance ends with an awareness and entertaining piece discovered in the whole set of Basie’s soundtracks.
The name of the solo to be analyzed is the third chorus performance. This solo engages Herschel Evans coming into his solo on a saxophone escorted by riffs from the brass division. The solo was successful because it was such a popular tune and so simply accepted (Ventnor43 2012).
Emotional response
My emotional response is that the solo was normal for big band swingers. The solo was normal between the soloing reed tone and the brass supplement. I liked the timbres because they were distinct and utilized to start out one chorus from the next. Even though Basie is not the only black artist to have endured pain this way, One O’clock Jump pulls it out the best (Ventnor43 2012).
Works cited
Ventnor43. One O’clock Jump – Count Basie. Retrieved from http://www.youtube.com/watch?v=08jyOwx96Ig on November 4th, 2012.