The 1930s was the glory days for big band swing jazz. It was also hugely successful commercially to the extent that almost every products and media had a name including the term ‘Swing.’ Due to the rise of swing centering on dance clubs, it became to have more characteristics of dance music rather t...
The 1930s was the glory days for big band swing jazz. It was also hugely successful commercially to the extent that almost every products and media had a name including the term ‘Swing.’ Due to the rise of swing centering on dance clubs, it became to have more characteristics of dance music rather than musical appreciation, and up to 16 instruments were played at the same toe to create louder sound. For this reason, big band swing jazz prioritized harmony in group rather than individual skills, playing arranged scores. Piano continued to be played focusing on the rhythm part and chord accompaniment, and the importance of improvisation had declined. Against such swing music, bebop was born in the 1940s. Going against the commercialization and standardization of swing jazz and big band played in arranged scores instead of by improvisation, bebop has scales progressing at fast tempos, complicated chords, and dramatic improvisation. Passing the era of bebop in the 1940s and entering the 1950s, the era of cool jazz, a type of music that goes easy on the fever of bebop and boasts delicate and flexible sound emerged. In particular, Bill Evans is one of the most representative jazz pianists in the era of modern jazz who suggested a new direction with the mode performance based on classical music and his own delicate emotions; he distinguished himself in the era of modern jazz, going beyond the limitations of piano performance.
In this research, “Autumn Leaves,” which is one of the most typical standard jazz published in his most popular album, “Portrait in Jazz,” was selected to study on the head performance and 5 different solo performances by dividing into two areas of voicing and scales.
Prior to this research, his lifetime, the musical characteristics and background of the period he was active, and his major albums were investigated to explore the characteristics of his performance, and the voicing and scales that he frequently used in his performance were studied, although they were not limited to his performance.
As a result, he used fourth, spread, drop 2, upper structure, etc. in his performance for voicing, and scales such as major, minor, mode, chromatic, pentatonic, diminished, altered, whole tone scale, etc. were mainly used. In particular, he used a wide range for voicing, performing with different chords using tensions rather than chord accompaniment. As for the right hand, melodic lines centering on chord scales were played with his unique emotions based on mode.
Based on the results of this analysis, it was considered that his academic and enquiring performance techniques are well worth a careful study. It is expected that the analysis on his performance will be used in many works to develop more creative and novel performance.
The 1930s was the glory days for big band swing jazz. It was also hugely successful commercially to the extent that almost every products and media had a name including the term ‘Swing.’ Due to the rise of swing centering on dance clubs, it became to have more characteristics of dance music rather than musical appreciation, and up to 16 instruments were played at the same toe to create louder sound. For this reason, big band swing jazz prioritized harmony in group rather than individual skills, playing arranged scores. Piano continued to be played focusing on the rhythm part and chord accompaniment, and the importance of improvisation had declined. Against such swing music, bebop was born in the 1940s. Going against the commercialization and standardization of swing jazz and big band played in arranged scores instead of by improvisation, bebop has scales progressing at fast tempos, complicated chords, and dramatic improvisation. Passing the era of bebop in the 1940s and entering the 1950s, the era of cool jazz, a type of music that goes easy on the fever of bebop and boasts delicate and flexible sound emerged. In particular, Bill Evans is one of the most representative jazz pianists in the era of modern jazz who suggested a new direction with the mode performance based on classical music and his own delicate emotions; he distinguished himself in the era of modern jazz, going beyond the limitations of piano performance.
In this research, “Autumn Leaves,” which is one of the most typical standard jazz published in his most popular album, “Portrait in Jazz,” was selected to study on the head performance and 5 different solo performances by dividing into two areas of voicing and scales.
Prior to this research, his lifetime, the musical characteristics and background of the period he was active, and his major albums were investigated to explore the characteristics of his performance, and the voicing and scales that he frequently used in his performance were studied, although they were not limited to his performance.
As a result, he used fourth, spread, drop 2, upper structure, etc. in his performance for voicing, and scales such as major, minor, mode, chromatic, pentatonic, diminished, altered, whole tone scale, etc. were mainly used. In particular, he used a wide range for voicing, performing with different chords using tensions rather than chord accompaniment. As for the right hand, melodic lines centering on chord scales were played with his unique emotions based on mode.
Based on the results of this analysis, it was considered that his academic and enquiring performance techniques are well worth a careful study. It is expected that the analysis on his performance will be used in many works to develop more creative and novel performance.
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