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jazzess_Chapter_11.

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Chapter 11: Bebop MULTIPLE CHOICE 1. In support of the view of bebop as a revolution, the textbook quotes the saxophonist __________ as saying that bebop was something “entirely separate and apar ... t” from the jazz that had preceded it. a. Dexter Gordon c. Charlie Parker b. Coleman Hawkins d. Don Byas ANS: C PTS: 1 DIF: 1 REF: pp. 207–8 TOP: Bebop 2. Today, jazz historians tend to view bebop as: a. a revolution against swing c. a rebirth of New Orleans style b. a subcategory of swing d. an evolution from swing ANS: D PTS: 1 DIF: 1 REF: p. 208 TOP: Bebop 3. All of the following are ways that jam-session players made inexperienced musicians feel unwelcome EXCEPT: a. playing the tune at a very fast tempo b. playing the tune in an unfamiliar key c. modulating up a half step with every chorus d. asking inexperienced horn players to take a turn at the drums ANS: D PTS: 1 DIF: 1 REF: p. 208 TOP: Bebop 4. Kenny Clarke is credited with the drumming innovation of shifting the time-keeping: a. from the ride cymbal to the bass drum b. from the bass drum to the high-hat cymbal c. from the bass drum to the ride cymbal d. from the ride cymbal to the tom-toms ANS: C PTS: 1 DIF: 1 REF: p. 209 TOP: Bebop 5. Which World War II–era term was applied to Kenny Clarke’s powerful bass drum accents? a. firing torpedoes c. laying landmines b. dropping bombs ANS: B PTS: 1 DIF: 1 REF: p. 209 TOP: Bebop 6. Over the new drumming style, bebop soloists used __________ rhythms. a. long, flowing streams of sixteenth notes b. disorienting and unpredictable rhythms c. frequent on-the-beat quarter notes ANS: B PTS: 1 DIF: 1 REF: p. 209 TOP: Bebop 7. How did pianists accompany bebop improvisations? [Show More]

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