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 apart” from the jazz that
...
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 apart” 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?
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