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Charlie Parker - Ko-Ko (ocr AS Level Music)

Notes on the piece.

Thomas Davies

on 25 April 2012

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Transcript of Charlie Parker - Ko-Ko (ocr AS Level Music)

Ko-Ko - CharlieParker 'Cherokee' by Ray Noble - performed by the Charlie Barnet band High Society - written and performed by Alphonse Picoe Life of 'Bird' Structure Bebop Recorded music put a dent in big band live music WWII meant less people and resources for big bands Musicians started to form smaller groups small groups Fast virtuoso solos (trumpet or sax) wide ranging melodies featuring twists and turns Large improv. sections with rehearsed 'head' time kept by walking bass and high hat + cymbal irregular phrasing and unpredictable off-beat accents (bombs) Dissonant flat 5ths Chord substitutions Ko-Ko based on same chords as Cherokee Includes cycle of fifths 32 64 64 27 28 received
Audiences were confused at first music to be listened to intellectual V different to big band When/Where/Who Charlie parker - alto sax
Dizzie Gillespie - Trumpet & Piano
Bass - Curly Russell
Drums - Max roach New York 1945 Quotes 'High society' Mixed phrase legnths rapid movement, large range (the bit quoted is the solo just less than half way in!) Parker's solo playing A1 Very High bass Descending piano (chromatic) A2 more strange phrases regular accompaniment B Descending arpeggios 4+2
Rapid descending scales More active drum part A3 Similar to A1 in Chorus 1
Bass in higher register 'Woody Woodpecker' Mixed phrase legnths Odd phrase legnths A1 High bass Vamping piano A2 Starts the same as A1 More 'bombs' morphene addiction - heroin addiction pawned sax seferal times no talent, then practised Questions! Describe briefly the texture of the music in this extract [20] Describe the music that follows directly after this extract Describe the circumstances which lead up to the recording of this track Structure Articulation Rhythm Melody Instrumentaion Texture Traditional structure of solos (64 bar AABA) Repetition of ideas (I.e. A1 and A2 in Chrous 1) Mixture of long smoth phrases and short 'Bebop' endings Mainly quavers Very fast (c. 300bbm) - Virtuosic Falling arpeggios in Chorus 2 happen on synchopated beats solo doesn't really interact with the texture except
some interplay with the drums and piano 'bombs' Alto sax Uses full range of the instrument Unusual phrase lengths Phrases end on unusual beats (i.e. not last beat) Formulaic improvisation Using small licks/melody fragments which can be played in any key Quotes 'High Life' Picoult tune from very early 20th century - though to be one of the first 'true' Jazz improvs Harmony Plays in many 'remote' keys throughout section B (cycle of fifths) Melody uses arpeggios following the chords of cherokee Arpeggio chords include 7ths 9ths and 11ths as well as usual triads Harmony of solo suggests sometimes of substitution chords Question drills Discuss the role of the soloist in jazz, what would be expected
of them? In what ways did the role change over time? Compare and contrast the musical textures of two of the Jazz pieces you have studied Comment on the changes in instrumentation which took place in Jazz from 1920-1960 Explain the circumstances which led to the creation of Koko and how it reflects society at the time Compare the use of chord structure in the jazz pieces you have studied It Ain't Necessarily so I got plenty of Nothin' Summertime George Gershwin Kind of blue (1:44)
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