The classic bebop combo consisted of saxophone, trumpet, double bass, drums and piano. Instrumentation Several bebop musicians headlining on 52nd Street, May 1948 The bebop musician or bopper became a stock character in jokes of the 1950s, overlapping with the beatnik. By 1945, the use of "bebop"/"rebop" as nonsense syllables was widespread in R&B music, for instance Lionel Hampton's " Hey! Ba-Ba-Re-Bop". At times, the terms "bebop" and "rebop" were used interchangeably. Dizzy Gillespie stated that the audiences coined the name after hearing him scat the then-nameless compositions to his players and the press ultimately picked it up, using it as an official term: "People, when they'd wanna ask for those numbers and didn't know the name, would ask for bebop." Another theory is that it derives from the cry of "Arriba! Arriba!" used by Latin American bandleaders of the period to encourage their bands. Some researchers speculate that it was a term used by Charlie Christian because it sounded like something he hummed along with his playing. Thelonious Monk claims that the original title "Bip Bop" for his composition " 52nd Street Theme", was the origin of the name bebop. The first, known print appearance also occurred in 1939, but the term was little-used subsequently until applied to the music now associated with it in the mid-1940s. A variation, "rebop", appears in several 1939 recordings. It appears again in a 1936 recording of "I'se a Muggin'" by Jack Teagarden. The term "bebop" is derived from nonsense syllables (vocables) used in scat singing the first known example of "bebop" being used was in McKinney's Cotton Pickers' "Four or Five Times", recorded in 1928. Some of the most influential bebop artists, who were typically composer-performers, are alto sax player Charlie Parker tenor sax players Dexter Gordon, Sonny Rollins, and James Moody clarinet player Buddy DeFranco trumpeters Fats Navarro, Clifford Brown, Miles Davis, and Dizzy Gillespie pianists Bud Powell and Thelonious Monk electric guitarist Charlie Christian and drummers Kenny Clarke, Max Roach, and Art Blakey.Įtymology "In spite of the explanations of the origins of these words, players actually did sing the words "bebop" and "rebop" to an early bop phrase as shown in the following example." Play ( help Rather than play heavily arranged music, bebop musicians typically played the melody of a composition (called the "head") with the accompaniment of the rhythm section, followed by a section in which each of the performers improvised a solo, then returned to the melody at the end of the composition. Whereas the key ensemble of the swing music era was the big band of up to fourteen pieces playing in an ensemble-based style, the classic bebop group was a small combo that consisted of saxophone (alto or tenor), trumpet, piano, guitar, double bass, and drums playing music in which the ensemble played a supportive role for soloists. Bebop groups used rhythm sections in a way that expanded their role. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, and intricate melodies. As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. The style features compositions characterized by a fast tempo (usually exceeding 200 bpm), complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.īebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing music-style with a new "musician's music" that was not as danceable and demanded close listening. Bebop or bop is a style of jazz developed in the early-to-mid-1940s in the United States.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |