Lab Assignments

The class ID for is 8375293 and the password is music8.


Lab 1 (8/25)

Go to Jazz Concepts on the StudySpace for chapter one and listen to the following audio/video clips listed below.  You will see an audio icon for each set of terms.  The first one is brass.  Under the brass section on page 9, you’ll see the instruments and other concepts in bold.  Most of them are listed on the “Jazz Concepts” page.

Example:  on the “Jazz Concepts” page, click on trumpet (under instruments) and you’ll be taken to another page with the following links for terms listed in the book.  Find half-valve, straight  mute, cup mute, etc.

Study the following sections.

Brass – Reeds – Rhythm Section


Lab 2 (9/2) –   In the Studyspace for chapter 1, listen to the following audio excerpts:  Meter, duple meter, swing rhythm, swing 8th notes, octave,  vibes major and minor scales,  bluesy playing, polyphonic texture and cadence.  All of the terms are talked about in Chapter 1.

Lab 3 (9/8)

Reckless Blues – Bessie Smith – Page 22 – See if you can hear the 12 bars.

West End Blues – Louis Armstrong – Page 22-23 – See if you can hear the harmony changing to the I, IV and V chords.  The outline in the book is off by a second, but it’s close enough to follow.

Now’s the Time – Charlie Parker – Page 23-24 – This is more difficult to hear, but it’s still a blues.  See if you can hear when each new chorus starts.

A Sailboat in the Moonlight – Page 27-28 – This form is AABA and is one of the most widely used forms in pop and jazz music from the 1930’s until around the 1960’s.  It’s pretty easy to hear the B (bridge) because the melody and chords change.

So What – Miles Davis – Page 28 – This is also AABA, but it’s a little trickier to hear because the B section is the same as A except it moves up a half step.  Notice the “call and response” between the bass and band.  The bass plays a melody and is answered by the band.  When Miles (trumpet) starts improvising, the AABA starts over.

Lab 4 (9/15)

Buzzard Lope – Bessie Jones – page 43-44

Work Songs – Recorded by Alan Lomax


Robert Johnson – Country Blues – Robert Johnson

Ma Rainey – “Mother of the Blues”

Bessie Smith – “Reckless Blues” – page 48-49

Lab 5 (9/22)

James Reece Europe (page 51) and another one

Stars and Stripes Forever – (page 52)  See if you can hear the form AABBCCC.  The march was a precursor to ragtime.

A pretty good presentation of what ragtime is.

Maple Leaf Rag – Scott Joplin (page 53)

The Entertainer – Scott Joplin – From the movie “The Sting”

Down Home Rag – Wilbur Sweatman (page 54)

Lab 6 (9/29)

 Original Dixieland Jazz Band – “Livery Stable Blues” – First jazz recording in 1917

Freddie Keppard – “Stockyard Strut” – 1926

Jelly Roll Morton – “Dead Man Blues” – 1926  – Collective improvisation is clear.  Page 66-67.

King Oliver’s Creole Band – “Dippermouth Blues” – 1923  Another great piece showing collective improvisation.

King Oliver’s Creole Band – “Snake Rag” – 1923 Page 70-71  Listen for the breaks.

Louis Armstrong – “West End Blues” – Listen to the incredible intro by Armstrong.  Can you hear that this is a 12 bar blues?

Louis Armstrong and Earl “Fatha” Hines – “Weather Bird”  Listen to the incredible stride piano from Hines.  This duo is one of the most famous early jazz recordings.  It shows off the musical genius of two great early jazz artists.

Sidney Bechet – “Wild Cat Blues” – 1923


Lab 7 (10/6)

Paul Whiteman – “Changes” – 1928 – This is a pretty elaborate arrangement.  Notice there is no collective improv, but there is still a two-beat feel New Orleans style.  The solo sounds like a Dixieland player.

Fletcher Henderson – “Sugar Foot Stomp” – 1925 – The piece has a New Orleans style, but there are more arranged sections.  The players would have had music to read.

James P. Johnson – “You’ve Got To Be Modernistic” – 1930 – Stride piano – page 87 listening guide.

Fats Waller – “A Handful of Keys”  – One of the most underrated stride pianists.  He sang, acted and was very funny.  Some didn’t take him seriously as a musician because of his clowning around.

Fats Waller – “Aint Misbehavin” – Although he clowns around, his stride playing is great.

Duke Ellington – “Black and Tan Fantasy” – 1927 – page 92

Lab 8 (10/13)

Count Basie – “One O’clock Jump” – Page 149

Count Basie – “Swingin the Blues”

Duke Ellington – “Conga Brava” – Page 157

Duke Ellington – “Take the A Train” – Ellington made it famous, but Billy Strayhorn composed the tune.

Duke Ellington – “Ko Ko”

Duke Ellington and others – Documentary part 1  Documentary Part 2   Documentary Part 3

Lab 9 (10/20)  – Continue listening to music from the last two labs.

Lab 10 (10/27)

Coleman Hawkins – “Body and Soul” page 168

Lester Young – “Oh, Lady Be Good” page 173

Django Reinhardt – “Nuages”

Billie Holiday – “A Sailboat in the Moonlight – page 179

Ella Fitzgerald – “Blue Skies” – page 182


Lab 11 (11/3)

Charlie Parker – “Ko Ko” – Page 216

Charlie Parker – “Now’s the Time” – Page 219

Bud Powell – “Tempus Fugue – It” – Page 224

Dexter Gordon – “Long Tall Dexter” – Page 228

Charlie Parker – “Salt Peanuts”

Funny Video of a guy playing the roles of two people having a dispute.  The different instruments represent different people.  The music is Charlie Parker and Dizzy Gillespie.

Lab 12 11/10

Short Documentary on Bebop

Bio on Charlie Parker – Watch 30 minutes

Lab 13 (11/17)

Review Labs 10 through 12

No lab the week of November 24th – Happy Thanksgiving!


Lab 14 (12/1)

Miles Davis – “Moon Dreams” – Page 240

Gerry Mulligan – “My Funny Valentine”  –  Notice the absence of piano.  This was very unusual for the time.

Dave Brubeck – “Blue Rondo Alla Turk”

Dave Brubeck – “Take Five”

Art Blakey – “Moanin”

Clifford Brown – “A Night In Tunisia” – Page 249

Lab 15 (12/8)

Thelonious Monk – “Rhythm-a-ning” – Page 263

Charles Mingus – “Boogie Stop Shuffle” – Page 267

George Russell – “Concerto For Billy the Kid” – Page 272

Miles Davis – “So What” – Page 284

John Coltrane – “Acknowledgement” – Page 290

No lab the week of 12/8 – You should continue to listen to Labs 14 and 15 – those pieces will be on the listening final.