What is Jazz?
What
(h)wʌt
is
iz
jazz?
ʤæ'z
Now,
náu
anyone
éniwʌ`n
hearing
hí(ə)riŋ
this
ðís
music,
mjú:zik
anyone
éniwʌ`n
on
ɑ'n
any
éni
civilized
sívəlàizd
part
pɑ':rt
of
əv
this
ðís
earth,
ə':rθ
East
í:st
or
ɔ':r
West,
wést
pole
póul
to
tə
pole,
póul
would
wəd
immediately
imí:diətli
say
séi
“that
ðət
is
iz
jazz”.
ʤæ'z
We
wi
are
ɑ':r
going
góuiŋ
to
tə
try
trái
to
tə
investigate
invéstəgèit
jazz.
ʤæ'z
Not
nɑ't
through
θrú:
the
ðə
usual
jú:ʒuəl
historical
histɔ':rikəl
approach
əpróuʧ
of
əv
up
ʌ'p
the
ðə
river
rívər
from
frʌ'm
New
n(j)ú:
Orleans,
ɔ':rliənz
etc.
itsétərə
but
bʌ't
through
θrú:
approaching
əpróuʧiŋ
the
ðə
music
mjú:zik
itself.
itsélf
We
wi
are
ɑ':r
going
góuiŋ
to
tə
examine
igzæ'min
the
ðə
musical
mjú:zikəl
intimate
íntəmət
of
əv
jazz
ʤæ'z
to
tə
find
fáind
out
áut
once
wʌ'ns
and
ənd
for
fɔ':r
all
ɔ':l
what
(h)wʌt
it
ít
is
iz
that
ðət
sets
séts
it
ít
apart
əpɑ':rt
from
frʌ'm
all
ɔ':l
other
ʌ'ðər
music.
mjú:zik
Jazz
ʤæ'z
is
iz
a
ə
very
véri
big
bíg
word.
wə':rd
It
ít
covers
kʌ'vərz
a
ə
multitude
mʌ'ltət(j)ù:d
of
əv
sounds,
saundz
all
ɔ':l
the
ðə
way
wéi
from
frʌ'm
the
ðə
earliest
ə':rliist
blues
blú:z
*
to
tə
Dixieland
díksilæ`nd
bands
bændz
*
to
tə
Charleston
ʧɑ':rlztən
bands
bændz
*
to
tə
swing
swíŋ
bands
bændz
*
to
tə
boogie
búgi
woogie
wú:gi
*
to
tə
crazy
kréizi
bop
bɑ'p
*
to
tə
cool
kú:l
bop
bɑ'p
*
to
tə
mambo
mɑ':mbou
*
and
ənd
much
mʌ'ʧ
more.
mɔ':r
It
ít
is
iz
all
ɔ':l
jazz
ʤæ'z
and
ənd
I
ái
love
lʌ'v
it
ít
all.
ɔ':l
I
ái
love
lʌ'v
jazz
ʤæ'z
because
bikɔ':z
of
əv
his
híz
humor.
hjú:mər
Jazz
ʤæ'z
really
rí:əli
plays
pleiz
around
əráund
with
wíð
notes
nóuts
in
ín
a
ə
way
wéi
that
ðət
other
ʌ'ðər
music
mjú:zik
doesn’t
dʌ'z(ə)nt
always.
ɔ':lweiz
We
wi
usually
jú:ʒuəli
say
séi
“playing
pleiŋ
music,
mjú:zik
playing
pleiŋ
piano,
piæ'nou
guitar…”.
We
wi
usually
jú:ʒuəli
use
jú:z
the
ðə
word
wə':rd
“play”
pléi
to
tə
refer
rifə':r
to
tə
handle
hæ'ndl
a
ə
musical
mjú:zikəl
instrument
ínstrəmənt
usually.
jú:ʒuəli
But
bʌ't
jazz
ʤæ'z
has
hæ'z
some
sʌ'm
of
əv
the
ði
amusement
əmjú:zmənt
connotations
kɑ`nətéiʃ(ə)nz
of
əv
the
ðə
word
wə':rd
“play”.
pléi
Jazz
ʤæ'z
has
hæ'z
fun
fú:n
with
wíð
notes.
nóuts
It
ít
is
iz
entertainment
èntərtéinmənt
in
ín
its
íts
truest
tru:ist
sense.
séns
But
bʌ't
the
ðə
thing
θíŋ
I
ái
like
láik
best
bést
about
əbáut
jazz
ʤæ'z
is
iz
that
ðət
it
ít
is
iz
an
ən
original
əríʤənl
form
fɔ':rm
of
əv
emotional
imóuʃənl
expression.
ikspréʃən
It’s
its
unique.
ju:ní:k
It
ít
is
iz
never
névər
completely
kəmplí:tli
sad
sæ'd
or
ɔ':r
completely
kəmplí:tli
happy.
hæ'pi
For
fɔ':r
instance
ínstəns
even
í:vən
the
ðə
deepest
di:pist
blues…….
(All
ɔ':l
music
mjú:zik
comes
kʌmz
from
frʌ'm
folk
fóuk
music
mjú:zik
and
ənd
folk
fóuk
music
mjú:zik
comes
kʌmz
from
frʌ'm
the
ði
earth.
ə':rθ
Jazz
ʤæ'z
is
iz
almost
ɔ':lmoust
completely
kəmplí:tli
a
ə
players
pléiərz
art,
ɑ':rt
depending
dipéndiŋ
on
ɑ'n
improvisation
imprɑ`vəzéiʃən
rather
ræ'ðər
than
ðæ'n
composition.
kɑ`mpəzíʃən
This
ðís
means
mi:nz
that
ðət
the
ðə
player
pléiər
of
əv
jazz
ʤæ'z
is
iz
himself
himsélf
the
ðə
real
rí:əl
composer)
kəmpóuzər
We
wi
have
hæ'v
to
tə
know
nóu
what
(h)wʌt
it
ít
is.
iz
I
ái
propose
prəpóuz
to
tə
share
ʃéər
with
wíð
you
jú:
some
sʌ'm
of
əv
the
ðə
things
θiŋz
I
ái
know
nóu
and
ənd
love
lʌ'v
about
əbáut
jazz
ʤæ'z
What
(h)wʌt
are
ɑ':r
the
ði
elements
élimənts
that
ðət
make
méik
that
ðət
jazz?
ʤæ'z
Let’s
léts
take
téik
this
ðís
blues
blú:z
(we
wi
heard
hə':rd
before)
bifɔ':r
and
ənd
find
fáind
out
áut
what
(h)wʌt
it
ít
is
iz
made
méid
of.
əv
Now,
náu
what
(h)wʌt
are
ɑ':r
the
ði
elements
élimənts
that
ðət
make
méik
that
ðət
jazz?
ʤæ'z
First
fə':rst
of
əv
all,
ɔ':l
there
ðéər
is
iz
the
ði
element
éləmənt
of
əv
MELODY:
mélədi
Western
wéstərn
music,
mjú:zik
in
ín
general,
ʤén(ə)rəl
is
iz
based
beist
melodically
məlɑ':dik(ə)li
speaking
spí:kiŋ
on
ɑ'n
scales:
skeilz
major
méiʤər
and
ənd
minor,
máinər
mainly.
méinli
But
bʌ't
there
ðéər
is
iz
a
ə
special
spéʃəl
scale
skéil
for
fɔ':r
jazz
ʤæ'z
which
(h)wiʧ
is
iz
a
ə
variation
vè(ə)riéiʃən
of
əv
the
ðə
major
méiʤər
scale.
skéil
In
ín
jazz,
ʤæ'z
this
ðís
scale
skéil
gets
gets
modified
mɑ'difaid
two
tú:
different
díf(ə)rənt
times:
tàimz
the
ðə
third
θə':rd
and
ənd
the
ðə
fifth
fífθ
notes
nóuts
get
gét
lowered.
laurd
Those
ðóuz
two
tú:
changed
ʧeinʤd
notes
nóuts
are
ɑ':r
referred
rifə':rd
to
tə
as
əz
BLUE
blú:
NOTES.
nóuts
So
sóu
instead
instéd
of
əv
a
ə
phrase
fréiz
which
(h)wiʧ
ordinarily
ɔ`:rd(ə)né(ə)rəli
would
wəd
go
góu
something
sʌ'mθiŋ
like
láik
this
ðís
*,
which
(h)wiʧ
is
iz
not
nɑ't
particularly
pərtíkjulərli
jazzy,
ʤæ'zi
we
wi
would
wəd
get,
gét
using
ju:ziŋ
blue
blú:
notes,
nóuts
this
ðís
phrase
fréiz
*
which
(h)wiʧ
begins
bigínz
to
tə
show
ʃóu
jazz
ʤæ'z
quality.
kwɑ'ləti
But
bʌ't
this
ðís
called
kɔ:ld
jazz
ʤæ'z
scale
skéil
is
iz
used
jú:st
only
óunli
melodically,
məlɑ':dik(ə)li
in
ín
the
ðə
harmony,
hɑ':rməni
underneath,
ʌ`ndərní:θ
we
wi
still
stíl
use
jú:z
our
áuər
old
óuld
unflattened
ən-flæ't(ə)nd
notes.
nóuts
And
ənd
that
ðət
causes
kɔ:ziz
a
ə
dissonance
dísənəns
that
ðət
happens
hæ'p(ə)nz
between
bitwí:n
the
ðə
tune
t(j)ú:n
and
ənd
the
ðə
chords,
kɔ:rdz
which
(h)wiʧ
provides
prəváidz
a
ə
true
trú:
jazz
ʤæ'z
sound.
sáund
Jazz
ʤæ'z
musicians
mju:zíʃ(ə)nz
are
ɑ':r
always
ɔ':lweiz
using
ju:ziŋ
these
ðí:z
two
tú:
dissonant
dísənənt
notes
nóuts
together
təgéðər
and
ənd
there
ðéər
is
iz
a
ə
reason.
rí:zn
They
ðéi
are
ɑ':r
really
rí:əli
searching
sə':rʧiŋ
for
fɔ':r
a
ə
note
nóut
that
ðət
there
ðéər
isn’t
íz(ə)nt
at
ət
all.
ɔ':l
One
wʌ'n
that
ðət
lies
laiz
somewhere
sʌ'm(h)wer
between
bitwí:n
the
ðə
two
tú:
notes
nóuts
and
ənd
the
ðə
note
nóut
is
iz
called
kɔ:ld
a
ə
quarter
kwɔ':rtər
tone.
tóun
The
ðə
quarter
kwɔ':rtər
tone
tóun
comes
kʌmz
straight
stréit
from
frʌ'm
Africa,
æ'frikə
which
(h)wiʧ
is
iz
the
ðə
cradle
kréidl
of
əv
jazz
ʤæ'z
and
ənd
where
(h)wer
quarter
kwɔ':rtər
tones
tounz
are
ɑ':r
every
évri
day’s
deíz
staff.
stæ'f
As
əz
far
fɑ':r
as
əz
we
wi
can’t
kænt
produce
prəd(j)ú:s
it
ít
with
wíð
our
áuər
instruments
ín(t)strəmənts
we
wi
have
hæ'v
to
tə
approximate
əprɑ'ksəmət
it
ít
by
bái
playing
pleiŋ
together
təgéðər
the
ðə
two
tú:
notes
nóuts
on
ɑ'n
each
í:ʧ
side
sáid
of
əv
it.
ít
The
ðə
real
rí:əl
note
nóut
is
iz
somewhere
sʌ'm(h)wer
between
bitwí:n
them.
ðém
Now,
náu
just
ʤʌ'st
to
tə
show
ʃóu
how
háu
important
impɔ':rt(ə)nt
these
ðí:z
so
sóu
cold
kóuld
blue
blú:
notes
nóuts
are
ɑ':r
to
tə
jazz
ʤæ'z
let
lét
’s
hear
híər
the
ðə
same
séim
blues
blú:z
played
pleid
without
wiðáut
them,
ðém
using
ju:ziŋ
only
óunli
the
ðə
plain
pléin
notes
nóuts
of
əv
the
ðə
major
méiʤər
scale.
skéil
There
ðéər
is
iz
something
sʌ'mθiŋ
missing,
mísiŋ
isn’t
íz(ə)nt
there?
ðéər
But
bʌ't
even
í:vən
more
mɔ':r
important
impɔ':rt(ə)nt
than
ðæ'n
melody
mélədi
in
ín
jazz
ʤæ'z
is
iz
the
ði
element
éləmənt
of
əv
rhythm.
ríðm
Rhythm
ríðm
is
iz
the
ðə
first
fə':rst
thing
θíŋ
you
jú:
associate
əsóuʃièit
with
wíð
the
ðə
word
wə':rd
jazz,
ʤæ'z
after
æ'ftər
all.
ɔ':l
There
ðéər
are
ɑ':r
two
tú:
aspects
æ'spekts
to
tə
this
ðís
point,
pɔ'int
the
ðə
first
fə':rst
being
bí:iŋ
the
ðə
BEAT.
bí:t
The
ðə
beat
bí:t
is
iz
what
(h)wʌt
you
jú:
hear
híər
when
(h)wen
the
ðə
drummer
drʌ'mər
plays
pleiz
the
ðə
bass
bæ's
drum
drʌ'm
or
ɔ':r
when
(h)wen
the
ðə
bass
bæ's
player
pléiər
plays
pleiz
his
híz
bass.
bæ's
The
ðə
beat
bí:t
goes
góuz
on
ɑ'n
from
frʌ'm
the
ðə
beginning
bigíniŋ
to
tə
the
ði
end
énd
of
əv
any
éni
song,
sɑ:ŋ
two
tú:
or
ɔ':r
four
fɔ':r
of
əv
them
ðém
to
tə
a
ə
bar.
bɑ':r
But
bʌ't
more
mɔ':r
interesting
ínt(ə)rəstiŋ
is
iz
the
ðə
rhythm
ríðm
going
góuiŋ
on
ɑ'n
over
óuvər
the
ðə
beat,
bí:t
rhythmic
ríðmik
figures
fígjərz
which
(h)wiʧ
depend
dipénd
on
ɑ'n
something
sʌ'mθiŋ
called
kɔ:ld
SYNCOPATION.
sìŋkəpéiʃən
(A
ə
good
gúd
way
wéi
to
tə
understand
ʌ`ndərstæ'nd
syncopation
sìŋkəpéiʃən
is
iz
thinking
θíŋkiŋ
a
ə
hard
hɑ':rd
beat
bí:t
that
ðət
goes
góuz
along
əlɔ':ŋ
and
ənd
at
ət
a
ə
moment
móumənt
of
əv
shock
ʃɑ'k
misses
misiz
the
ðə
beat
bí:t
and
ənd
causes
kɔ:ziz
a
ə
physical
fízikəl
reaction).
riæ'kʃən
Technically,
téknik(ə)li
syncopation
sìŋkəpéiʃən
means
mi:nz
the
ðə
removal
rimú:vəl
of
əv
an
ən
accent
æ'ksent
where
(h)wer
you
jú:
expect
ikspékt
one
wʌ'n
or
ɔ':r
the
ðə
placing
pléisiŋ
of
əv
an
ən
accent
æ'ksent
where
(h)wer
you
jú:
least
lí:st
expect
ikspékt
one.
wʌ'n
In
ín
either
í:ðər
case,
kéis
there
ðéər
is
iz
the
ði
element
éləmənt
of
əv
surprise
sərpráiz
and
ənd
shock.
ʃɑ'k
The
ðə
body
bɑ'di
responds
rispɑ':ndz
to
tə
this
ðís
shock
ʃɑ'k
either
í:ðər
by
bái
compensating
kɑ':mpənseitiŋ
for
fɔ':r
the
ðə
missing
mísiŋ
accent
æ'ksent
or
ɔ':r
by
bái
reacting
riæ'ktiŋ
to
tə
the
ði
unexpected
ʌ`nikspéktid
one.
wʌ'n
Now,
náu
where
(h)wer
do
du
we
wi
expect
ikspékt
accents?
æ'ksents
Always
ɔ':lweiz
on
ɑ'n
the
ðə
first
fə':rst
beat
bí:t
of
əv
a
ə
bar,
bɑ':r
on
ɑ'n
the
ðə
downbeat.
dáunbi:t
If
íf
there
ðéər
are
ɑ':r
two
tú:
beats
bi:ts
on
ɑ'n
a
ə
bar,
bɑ':r
one
wʌ'n
is
iz
going
góuiŋ
to
tə
be
bí:
strong
strɔ':ŋ
and
ənd
one
wʌ'n
is
iz
going
góuiŋ
to
tə
be
bí:
weak,
wí:k
exactly
igzæ'ktli
as
əz
in
ín
marching:
mɑ:rʧiŋ
LEFT
léft
right,
ráit
LEFT
léft
right…
even
í:vən
if
íf
there
ðéər
are
ɑ':r
four
fɔ':r
beats
bi:ts
on
ɑ'n
a
ə
bar
bɑ':r
is
iz
still
stíl
like
láik
marching:
mɑ:rʧiŋ
HOP
hɑ'p
two
tú:
three
θrí:
four,
fɔ':r
HOP
hɑ'p
two
tú:
three
θrí:
four…
There
ðéər
is
iz
always
ɔ':lweiz
this
ðís
natural
næ'ʧ(ə)rəl
accent
æ'ksent
on
ɑ'n
one.
wʌ'n
Take
téik
it
ít
away
əwéi
and
ənd
there
ðéər
is
iz
a
ə
simple
símpl
syncopation.
sìŋkəpéiʃən
ONE
wʌ'n
two
tú:
three
θrí:
four,
fɔ':r
un
ən
two
tú:
three
θrí:
four,
fɔ':r
un
ən
two
tú:
three
θrí:
four.
fɔ':r
This
ðís
missing
mísiŋ
accent
æ'ksent
of
əv
the
ðə
beat
bí:t
evokes
ivóuks
a
ə
body
bɑ'di
responds.
rispɑ':ndz
Now
náu
the
ði
other
ʌ'ðər
way
wéi
to
tə
make
méik
a
ə
syncopation
sìŋkəpéiʃən
is
iz
exactly
igzæ'ktli
the
ðə
reverse:
rivə':rs
put
pút
an
ən
accent
æ'ksent
on
ɑ'n
a
ə
weak
wí:k
beat,
bí:t
the
ðə
second
sékənd
or
ɔ':r
the
ðə
fourth,
fɔ':rθ
where
(h)wer
it
ít
does
dʌ'z
not
nɑ't
belong,
bilɔ':ŋ
like
láik
this:
ðís
one
wʌ'n
TWO
tú:
three
θrí:
FOUR,
fɔ':r
one
wʌ'n
TWO
tú:
three
θrí:
FOUR,
fɔ':r
one
wʌ'n
TWO
tú:
three
θrí:
FOUR.
fɔ':r
This
ðís
is
iz
what
(h)wʌt
we
wi
all
ɔ':l
do
du
when
(h)wen
we
wi
listen
lísn
to
tə
jazz,
ʤæ'z
clapping
klæpiŋ
our
áuər
hands
hæ'nz
or
ɔ':r
snapping
snæpiŋ
our
áuər
fingers
fíŋgərz
on
ɑ'n
the
ði
off
ɔ':f
beat:
bí:t
one
wʌ'n
TWO
tú:
three
θrí:
FOUR.
fɔ':r
(chase)
ʧéis
(Between
bitwí:n
one
wʌ'n
beat
bí:t
and
ənd
another
ənʌ'ðər
there
ðéər
are
ɑ':r
shorter
ʃɔ':rtər
and
ənd
weaker
wi:kər
beats,
bi:ts
and
ənd
when
(h)wen
these
ðí:z
get
gét
accents,
æ'ksents
the
ðə
shock
ʃɑ'k
is
iz
correspondingly
kɑ`rispɑ'ndiŋli
greater.
gréitər
Since
síns
the
ðə
weaker
wi:kər
the
ðə
beat
bí:t
you
jú:
accentuate,
æksénʧuèit
the
ðə
greater
gréitər
the
ðə
surprise.
sərpráiz
Let’s
léts
take
téik
eight
éit
of
əv
these
ðí:z
beats
bi:ts
in
ín
a
ə
bar:
bɑ':r
ONE
wʌ'n
two
tú:
three
θrí:
four
fɔ':r
five
fáiv
sex
séks
seven
sévn
eight.
éit
The
ðə
normal
nɔ':rməl
accent
æ'ksent
would
wəd
fall
fɔ':l
on
ɑ'n
one
wʌ'n
and
ənd
five:
fáiv
ONE
wʌ'n
two
tú:
three
θrí:
four
fɔ':r
FIVE
fáiv
sex
séks
seven
sévn
eight.
éit
Instead,
instéd
let’s
léts
put
pút
a
ə
big
bíg
accent
æ'ksent
in
ín
a
ə
really
rí:əli
weak
wí:k
one
wʌ'n
which
(h)wiʧ
is
iz
the
ðə
fourth:
fɔ':rθ
ONE
wʌ'n
two
tú:
three
θrí:
FOUR
fɔ':r
five
fáiv
six
síks
seven
sévn
eight.)
éit
Of
əv
course,
kɔ':rs
the
ðə
strongest
strɑ:ŋgist
syncopation
sìŋkəpéiʃən
would
wəd
be
bí:
obtained
əbtéind
by
bái
doing
dú:iŋ
both
bóuθ
things
θiŋz
at
ət
once:
wʌ'ns
putting
pʌ'tiŋ
an
ən
accent
æ'ksent
on
ɑ'n
a
ə
weak
wí:k
beat
bí:t
and
ənd
taking
téikiŋ
away
əwéi
the
ði
accent
æ'ksent
from
frʌ'm
the
ðə
strong
strɔ':ŋ
fight
fáit
beat
bí:t
entirely
intáiərli
(led
léd
zeppelin).
zépəlin
Now
náu
that
ðət
you’ve
juv
heard
hə':rd
what
(h)wʌt
syncopation
sìŋkəpéiʃən
is
iz
like
láik
let’s
léts
see
sí:
how
háu
the
ðə
same
séim
blues
blú:z
we
wi
heard
hə':rd
before
bifɔ':r
would
wəd
sound
sáund
without
wiðáut
it
ít
*
It
ít
sounds
saundz
squared,
skwerd
doesn’t
dʌ'z(ə)nt
it?
ít
Jazz
ʤæ'z
would
wəd
not
nɑ't
be
bí:
jazz
ʤæ'z
without
wiðáut
its
íts
special
spéʃəl
tonal
tóunl
colors.
kʌ'lərz
These
ðí:z
colors
kʌ'lərz
are
ɑ':r
many,
méni
but
bʌ't
they
ðéi
mainly
méinli
come
kʌ'm
from
frʌ'm
the
ðə
quality
kwɑ'ləti
of
əv
the
ðə
negro
néigrou
singing
siŋiŋ
voice.
vɔ'is
For
fɔ':r
instance,
ínstəns
when
(h)wen
Louis
lú:is
Armstrong
ɑ':rmstrɔ`:ŋ
plays
pleiz
his
híz
trumpet,
trʌ'mpit
he
hí:
is
iz
only
óunli
doing
dú:iŋ
another
ənʌ'ðər
version
və':rʒən
of
əv
his
híz
own
óun
voice.
vɔ'is
The
ði
instruments
ín(t)strəmənts
imitating
ímiteiteiŋ
the
ðə
voice
vɔ'is
is
iz
the
ði
essence
ésns
of
əv
improvisation.
imprɑ`vəzéiʃən
Improvisations
ìmprəvaizéiʃ(ə)nz
develop
divéləp
from
frʌ'm
this
ðís
kind
káind
of
əv
voice
vɔ'is
imitation.
ìmətéiʃən
You
jú:
have
hæ'v
certainly
sə':rtnli
heard
hə':rd
jazz
ʤæ'z
played
pleid
by
bái
nonjazz
nɑ'n-ʤæ'z
orchestras
ɔ':rkistrəz
and
ənd
wondered
wʌ'ndərd
what
(h)wʌt
was
wʌ'z
missing:
mísiŋ
the
ðə
coloration.
kʌ`ləréiʃən
Well,
wél
there
ðéər
you
jú:
have
hæ'v
it:
ít
melody,
mélədi
rhythm,
ríðm
tonal
tóunl
color,
kʌ'lər
harmony.
hɑ':rməni
In
ín
each
í:ʧ
department,
dipɑ':rtmənt
there
ðéər
are
ɑ':r
special
spéʃəl
features
fí:ʧərz
that
ðət
make
méik
music
mjú:zik
sound
sáund
jazzy.
ʤæ'zi
Let’s
léts
now
náu
put
pút
them
ðém
all
ɔ':l
together
təgéðər
IMPROVISATION:
imprɑ`vəzéiʃən
a
ə
song
sɑ:ŋ
doesn’t
dʌ'z(ə)nt
become
bikʌ'm
jazz
ʤæ'z
until
əntíl
it
ít
is
iz
improvised.
ímprəvàizd
And
ənd
here
híər
you
jú:
have
hæ'v
the
ðə
real
rí:əl
core
kɔ':r
of
əv
all
ɔ':l
jazz:
ʤæ'z
improvisation.
imprɑ`vəzéiʃən
Do
du
you
jú:
remember
rimémbər
I
ái
said
séd
Jazz
ʤæ'z
is
iz
a
ə
players
pléiərz
art,
ɑ':rt
rather
ræ'ðər
than
ðæ'n
composers?.
kəmpóuzərz
This
ðís
is
iz
the
ðə
key:
kí:
it
ít
is
iz
the
ðə
player
pléiər
who
hú:
by
bái
improvising
ímprəvaiziŋ
makes
meiks
jazz.
ʤæ'z
What
(h)wʌt
does
dʌ'z
improvising
ímprəvaiziŋ
mean?
mí:n
It
ít
means
mi:nz
that
ðət
you
jú:
take
téik
a
ə
tune,
t(j)ú:n
keep
kí:p
it
ít
in
ín
mind
máind
with
wíð
his
híz
melody
mélədi
and
ənd
harmony
hɑ':rməni
and
ənd
then
ðén
you
jú:
make
méik
it
ít
up
ʌ'p
(go
góu
to
tə
town)
táun
by
bái
adding
æ'diŋ
ornaments
ɔ':rnəmənts
or
ɔ':r
figurations
or
ɔ':r
by
bái
making
méikiŋ
variations.
væ`rriéiʃ(ə)nz
This
ðís
stuff
stʌ'f
of
əv
improvising
ímprəvaiziŋ
together
təgéðər
gives
givz
rise
ráiz
to
tə
the
ðə
style
stáil
called
kɔ:ld
Dixieland,
díksilæ`nd
where
(h)wer
everyone
évriwʌ`n
is
iz
improvising
ímprəvaiziŋ
together.
təgéðər
You
jú:
see
sí:
how
háu
exciting
iksáitiŋ
this
ðís
can
kæ'n
be.
bí:
Here
híər
in
ín
jazz
ʤæ'z
are
ɑ':r
the
ðə
beginnings
bigíniŋz
of
əv
serious
sí(ə)riəs
North
nɔ':rθ
American
əmérikən
music.
mjú:zik
JAZZ
ʤæ'z
IN
ín
THE
ðə
CONCERT
kɑ'nsə:rt
HALL
hɔ':l
American
əmérikən
composers
kəmpóuzərz
begin
bigín
trying
tráiiŋ
to
tə
get
gét
some
sʌ'm
of
əv
the
ði
excitement
iksáitmənt
of
əv
jazz
ʤæ'z
feeling,
fí:liŋ
American
əmérikən
feeling
fí:liŋ
into
ìntə
the
ðə
symphonic
simfɑ'nik
music.
mjú:zik
JOURNEY
ʤə':rni
INTO
ìntə
JAZZ
ʤæ'z
PIONEERS
pàiənírz
OF
əv
AMERICAN
əmérikən
MUSIC
mjú:zik
THERE
ðéər
WAS
wʌ'z
A
ə
BIG
bíg
SHOCK
ʃɑ'k
IN
ín
THE
ði
AIR
éər
GEORGE
ʤɔ':rʤ
GERSHWIN,
gə':rʃwin
LEONARD
lénərd
BERNSTEIN
bə':rnstain
(AIN)
æ'ŋ
2.
QUE
kjú:
ES
és
LA
èléi
MÚSICA
mjú:zikə
AMERICANA
əmèrikæ'nə
We
wi
are
ɑ':r
going
góuiŋ
to
tə
talk
tɔ':k
about
əbáut
WHAT
(h)wʌt
MAKES
meiks
AMERICAN
əmérikən
MUSIC
mjú:zik
SOUNDS
saundz
AMERICAN?
əmérikən
And
ənd
just
ʤʌ'st
to
tə
start
stɑ':rt
with,
wíð
let’s
léts
hear
híər
American
əmérikən
music
mjú:zik
I
ái
don’t
dount
think
θíŋk
there
ðéər
is
iz
anybody
énibɑ`di
in
ín
this
ðís
class
klæ's
who
hú:
wouldn’t
wúd(ə)nt
know
nóu
that
ðət
music
mjú:zik
is
iz
American
əmérikən
music.
mjú:zik
Not
nɑ't
only
óunli
is
iz
the
ðə
title
táitl
clear,
klíər
which
(h)wiʧ
as
əz
you
jú:
know
nóu
is
iz
“……”
and
ənd
not
nɑ't
because
bikɔ':z
the
ðə
composer,
kəmpóuzər
“…”
was
wʌ'z
American.
əmérikən
But
bʌ't
is
iz
in
ín
the
ðə
music
mjú:zik
itself:
itsélf
it
ít
sounds
saundz
American,
əmérikən
it
ít
smells
smelz
American,
əmérikən
it
ít
makes
meiks
you
jú:
feel
fí:l
American
əmérikən
when
(h)wen
you
jú:
hear
híər
it.
ít
Now,
náu
WHY
(h)wai
IS
iz
THAT?
ðət
What
(h)wʌt
makes
meiks
the
ðə
certain
sə':rtn
music
mjú:zik
seem
sí:m
to
tə
belong
bilɔ':ŋ
to
tə
America.
əmérikə
That’s
ðæ'ts
what
(h)wʌt
we
wi
are
ɑ':r
going
góuiŋ
to
tə
try
trái
it
ít
today.
tədéi
Almost
ɔ':lmoust
every
évri
country
kʌ'ntri
or
ɔ':r
nation
néiʃən
has
hæ'z
some
sʌ'm
kind
káind
of
əv
music
mjú:zik
that
ðət
belongs
bilɑ':ŋz
to
tə
it
ít
and
ənd
sounds
saundz
right
ráit
natural
næ'ʧ(ə)rəl
for
fɔ':r
its
íts
people.
pí:pl
So,
sóu
when
(h)wen
a
ə
nation
néiʃən
has
hæ'z
its
íts
own
óun
kind
káind
of
əv
music,
mjú:zik
we
wi
call
kɔ':l
that
ðət
music
mjú:zik
NATIONALISTIC.
næ`ʃ(ə)n(ə)lístik
Sometimes
sʌ'mtàimz
it
ít
is
iz
just
ʤʌ'st
FOLK
fóuk
MUSIC,
mjú:zik
very
véri
simple
símpl
songs,
sɑ:ŋz
or
ɔ':r
sometimes
sʌ'mtàimz
nor
nɔ':r
even
í:vən
songs
sɑ:ŋz
but
bʌ't
just
ʤʌ'st
“invocations
ìnvəkéiʃ(ə)nz
for
fɔ':r
rain”
réin
or
ɔ':r
sorts
sɔ:rts
of
əv
primitive
prímətiv
chantings:
tarantella
tæ`rəntélə
from
frʌ'm
Italy,
ít(ə)li
a
ə
reel
rí:l
from
frʌ'm
Ireland.
áiərlənd
So,
sóu
the
ðə
moment
móumənt
you
jú:
hear
híər
at
ət
that
ðət
music,
mjú:zik
you
jú:
know
nóu
it
ít
is
iz
Irish,
ái(ə)riʃ
Italian,
itæ'ljən
and
ənd
so
sóu
on.
ɑ'n
Now,
náu
can
kæ'n
you
jú:
tell
tél
me
mí:
what
(h)wʌt
country
kʌ'ntri
makes
meiks
this
ðís
music
mjú:zik
youo
think
θíŋk
of?
əv
What
(h)wʌt
country
kʌ'ntri
is
iz
that?
ðət
Right!
ráit
You
jú:
are
ɑ':r
so
sóu
smart
smɑ':rt
today!
tədéi
It
ít
has
hæ'z
a
ə
folk
fóuk
song
sɑ:ŋ
in
ín
it.
ít
When
(h)wen
this
ðís
music
mjú:zik
is
iz
played
pleid
in
ín
the
ðə
country
kʌ'ntri
it
ít
belongs
bilɑ':ŋz
to,
tə
all
ɔ':l
the
ðə
people
pí:pl
listening
lís(ə)niŋ
to
tə
it
ít
feel
fí:l
that
ðət
it
ít
belongs
bilɑ':ŋz
to
tə
them.
ðém
What
(h)wʌt
about
əbáut
America?
əmérikə
That’s
ðæ'ts
a
ə
problem,
prɑ'bləm
because
bikɔ':z
They
ðéi
have
hæ'v
different
díf(ə)rənt
kinds
kaindz
of
əv
ancestors
æ'nsestərz
(forefathers)
fɔ':rfɑ`:ðərz
MELTING
méltiŋ
POT:
pɑ't
BRITISH,
brítiʃ
ITALIANS,
itæ'liənz
JEWISH,
ʤú:iʃ
DUTCH,
dʌ'ʧ
SPANISH,
spæ'niʃ
SWEDISH
swí:diʃ
NORTH
nɔ':rθ
AMERICANS
əmérikənz
COME
kʌ'm
FROM
frʌ'm
EVERYWHERE.
évri(h)wèər
SO,
sóu
WITH
wíð
ALL
ɔ':l
THOSE
ðóuz
DIFFERENTS
FOREFATHERS
fɔ':rfɑ`:ðərz
THEY
ðéi
HAVE.
hæ'v
WHAT
(h)wʌt
IS
iz
IT
ít
THAT
ðət
THEY
ðéi
ALL
ɔ':l
AMERICANS
əmérikənz
HAVE
hæ'v
IN
ín
COMMON?
kɑ'mən
WHAT
(h)wʌt
CAN
kæ'n
THEY
ðéi
CALL
kɔ':l
THEIR
ðéər
AMERICAN
əmérikən
FOLK
fóuk
MUSIC?
mjú:zik
North
nɔ':rθ
American
əmérikən
is
iz
a
ə
very
véri
young
jʌ'ŋ
country
kʌ'ntri
compared
kəmperd
with
wíð
the
ðə
European
jù(ə)rəpí:ən
countries.
kʌ'ntriz
So
sóu
their
ðéər
folk
fóuk
music
mjú:zik
is
iz
still
stíl
very
véri
young
jʌ'ŋ
compared
kəmperd
Actually,
æ'kʧuəli
their
ðéər
authentic
ɔ:θéntik
American
əmérikən
Music
mjú:zik
begins
bigínz
at
ət
the
ðə
middle
mídl
late
léit
XIX
century.
sénʧəri
Until
əntíl
then,
ðén
most
mòust
music
mjú:zik
imitated
ímiteiteid
European
jù(ə)rəpí:ən
music.
mjú:zik
However,
hauévər
they
ðéi
wanted
wɑ'ntid
to
tə
find
fáind
their
ðéər
own
óun
music
mjú:zik
and
ənd
writing
ráitiŋ
their
ðéər
own
óun
American
əmérikən
music
mjú:zik
A
ə
Czechoslovakian
ʧèkouslouvæ'kiən
composer
kəmpóuzər
named
néimd
Dvorak
dvɔ':ræk
visited
vízitid
the
ðə
USA
jù:eséi
and
ənd
was
wʌ'z
amazed
əméizd
(surprised)
sərpráizd
to
tə
find
fáind
all
ɔ':l
the
ði
American
əmérikən
composers
kəmpóuzərz
wrote
róut
the
ðə
same
séim
kind
káind
of
əv
music
mjú:zik
he
hí:
did.
díd
So
sóu
he
hí:
told
tóuld
them:
ðém
why
(h)wai
don’t
dount
you
jú:
use
jú:z
your
júər
folk
fóuk
music
mjú:zik
when
(h)wen
you
jú:
write?
ráit
Indian
índiən
music.
mjú:zik
So,
sóu
in
ín
order
ɔ':rdər
to
tə
show
ʃóu
them
ðém
how
háu
it
ít
could
kúd
be
bí:
done,
dʌn
Dvorak
dvɔ':ræk
made
méid
up
ʌ'p
some
sʌ'm
Indian
índiən
themes
θi:mz
and
ənd
negro
néigrou
themes
θi:mz
and
ənd
wrote
róut
a
ə
symphony
símfəni
called
kɔ:ld
“New
n(j)ú:
World
wə':rld
Symphony”.
símfəni
But
bʌ't
he
hí:
was
wʌ'z
forgetting
fərgétiŋ
the
ðə
most
mòust
important
impɔ':rt(ə)nt
thing:
θíŋ
that
ðət
Indian
índiən
music
mjú:zik
has
hæ'z
nothing
nʌ'θiŋ
to
tə
do
du
with
wíð
most
mòust
of
əv
them.
ðém
Their
ðéər
forefathers
fɔ':rfɑ`:ðərz
were
wə':r
not
nɑ't
Indians.
índiənz
The
ðə
problem
prɑ'bləm
is
iz
that
ðət
it
ít
doesn’t
dʌ'z(ə)nt
sound
sáund
American,
əmérikən
it
ít
sounds
saundz
Czech.
ʧék
I’m
aim
sure
ʃúər
you
jú:
all
ɔ':l
know
nóu
the
ðə
second
sékənd
movement
mú:vmənt
of
əv
the
ðə
symphony,
símfəni
which
(h)wiʧ
is
iz
the
ðə
most
mòust
famous
féiməs
part.
pɑ':rt
In
ín
spite
spáit
of
əv
that,
ðət
Dvorak
dvɔ':ræk
made
méid
an
ən
important
impɔ':rt(ə)nt
impression
impréʃən
on
ɑ'n
the
ði
American
əmérikən
composers
kəmpóuzərz
and
ənd
started
stɑ':rtid
writing
ráitiŋ
this
ðís
way.
wéi
After
æ'ftər
the
ðə
First
fə':rst
World
wə':rld
War,
wɑ':r
something
sʌ'mθiŋ
very
véri
special
spéʃəl
came
kéim
into
ìntə
American
əmérikən
music.
mjú:zik
Do
du
you
jú:
know
nóu
what
(h)wʌt
it
ít
is?
iz
Jazz
ʤæ'z
was
wʌ'z
born
bɔ':rn
and
ənd
it
ít
changed
ʧeinʤd
everything
évriθìŋ
because,
bikɔ':z
finally,
fáinəli
there
ðéər
was
wʌ'z
an
ən
American
əmérikən
folk
fóuk
music
mjú:zik
that
ðət
belonged
bilɑ':ŋd
to
tə
all
ɔ':l
Americans.
əmérikənz
Jazz
ʤæ'z
was
wʌ'z
everybody’s
évribɑ`diz
music.
mjú:zik
At
ət
last,
læ'st
there
ðéər
was
wʌ'z
something
sʌ'mθiŋ
like
láik
American
əmérikən
folk
fóuk
music
mjú:zik
that
ðət
everybody
évribɑ`di
understood.
ʌ`ndərstúd
Jazz
ʤæ'z
influence
ínfluəns
became
bikéim
a
ə
part
pɑ':rt
of
əv
their
ðéər
lives:
láivz
everybody
évribɑ`di
used
jú:st
to
tə
dance
dæ'ns
the
ðə
foxtrot
fɑ'kstrɑ`t
back
bæ'k
in
ín
the
ðə
twenties,
twéntiz
etc.
itsétərə
NOW
náu
LET’S
léts
SEE
sí:
HOW
háu
THIS
ðís
CHANGE
ʧéinʤ
TOOK
túk
PLACE:
pléis
For
fɔ':r
instance,
ínstəns
take
téik
the
ðə
rhythms
ríð(ə)mz
of
əv
jazz.
ʤæ'z
The
ðə
thing
θíŋ
that
ðət
makes
meiks
jazz
ʤæ'z
rhythm
ríðm
so
sóu
special
spéʃəl
is
iz
something
sʌ'mθiŋ
called
kɔ:ld
syncopation,
sìŋkəpéiʃən
which
(h)wiʧ
means
mi:nz
getting
gétiŋ
an
ən
accent
æ'ksent
where
(h)wer
you
jú:
don’t
dount
expect
ikspékt
one,
wʌ'n
getting
gétiŋ
a
ə
strong
strɔ':ŋ
beat
bí:t
where
(h)wer
you
jú:
have
hæ'v
a
ə
weak
wí:k
beat.
bí:t
Let’s
léts
try
trái
and
ənd
see
sí:
if
íf
we
wi
can
kæ'n
do
du
syncopation
sìŋkəpéiʃən
together:
təgéðər
we
wi
are
ɑ':r
all
ɔ':l
going
góuiŋ
to
tə
clap
klæ'p
together,
təgéðər
regular
régjulər
beats.
bi:ts
1
wʌ'n
2
tú:
3
θrí:
4,
fɔ':r
1
wʌ'n
2
tú:
3
θrí:
4…
without
wiðáut
getting
gétiŋ
faster,
fæstər
without
wiðáut
getting
gétiŋ
slower,
slouər
just
ʤʌ'st
keep
kí:p
it
ít
steady.
stédi
While
(h)wáil
you
jú:
do
du
that,
ðət
I’m
aim
going
góuiŋ
to
tə
play
pléi
a
ə
syncopated
síŋkəpèitid
charleston
ʧɑ':rlztən
rhythm
ríðm
with
wíð
accents
æ'ksents
in
ín
the
ði
unexpected
ʌ`nikspéktid
places,
pleisiz
between
bitwí:n
the
ðə
right
ráit
places.
pleisiz
Let’s
léts
try
trái
again.
əgén
Have
hæ'v
you
jú:
heard
hə':rd
this
ðís
syncopated
síŋkəpèitid
rhythm?
ríðm
That
ðət
was
wʌ'z
the
ðə
Charleston
ʧɑ':rlztən
in
ín
the
ðə
twenties
twéntiz
Now,
náu
let’s
léts
change
ʧéinʤ
the
ðə
whole
hóul
thing:
θíŋ
I’ll
ail
do
du
the
ðə
regular
régjulər
steady
stédi
beat
bí:t
while
(h)wáil
you
jú:
do
du
the
ðə
Charleston.
ʧɑ':rlztən
(let’s
léts
see
sí:
how
háu
we’re
wir
gonna
gɔ':nə
do
du
it).
ít
Wonderful!
wʌ'ndərfəl
I
ái
could
kúd
feel
fí:l
the
ðə
jazz
ʤæ'z
everywhere.
évri(h)wèər
There
ðéər
are
ɑ':r
many
méni
sides
saidz
in
ín
American
əmérikən
music
mjú:zik
as
əz
many
méni
different
díf(ə)rənt
people
pí:pl
are:
ɑ':r
all
ɔ':l
those
ðóuz
ethnic
éθnik
groups
gru:ps
and
ənd
personalities
pə`:s(ə)næ'lətiz
from
frʌ'm
all
ɔ':l
over
óuvər
the
ðə
world
wə':rld
that
ðət
makeup
meíkʌ`p
USA.
jù:eséi
Heritages.
héritiʤiz
Is
iz
like
láik
those
ðóuz
different
díf(ə)rənt
accents
æ'ksents
there
ðéər
are
ɑ':r
in
ín
a
ə
speech.
spí:ʧ
（Conversion to phonetic symbols）
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