FRONTLINE: RECORDING DRUMMER

TRUMPET, HORN &

CLARINET, HIERARCHICAL
AS A
TROMBONE SYSTEM SOLOIST

RHYTHM BANJOS
SECTION: BECAME
PIANO, BANJO, OUTDATED
BOMBS
DRUMS
 GUITAR INSTRUMENTALISTS
FAST, INTENSE
WERE BETTER
REPLACED THE EQUIPPED AND MORE VIRTUOSIC
BANJO ‘TECHNICALLY
SOLOS
TRAINED’

TUBA WAS SECTIONS OF RAPID TWISTS &

SOMETIMES USED TURNS IN
FOR THE BASS LINE FRONTLINE MELODIES
DUE TO RECORDING INSTRUMENTS (COMPLEX &
RESTRAINTS. ANGULAR)
TIME-KEEPING PIANO PLAYERS WIDE USE OF
BRINGING BACK
ROLE FOR THE INSTRUMENTS
THE STRIDE
DRUMS TECHNIQUE – RANGE &
TECHNIQUES

GROWING
PRE-
IMPORTANCE OF
PERCUSSIVE PIANO THE DRUMMER. ARRANGED
MORE USE OF HI- SECTIONS
HAT FOR SWING
RHYTHMS.
 DU-WAH – FAST
SUCCESSION OF
WALKING
COMPING OPEN & CLOSED BASS
PLUNGER MUTE

YA-YA
VOCALGROWLS &
SYNCOPATION USE OF PLUNGER NON-COMMERCIAL
MUTES AND FIXED
PIXIE MUTES
 COLLECTIVE THE
IMPROVISATION
OR ‘NEW ORLEANS
‘ELLINGTON
EFFECT’ CHARLIE PARKER
POLYPHONY’

DIZZY
HEAD
12-BAR BLUES ARRANGEMENT GILLESPIE
32-BAR SONG DUKE
FORM (AABA) ELLINGTON MILES DAVIS

SMEARS, FALL- USE OF PRE-

OFFS, RIPS, COUNT EXISTING
SCOOPS, MATERIAL
SHAKES, etc. BASIE
STEMMED
FROM WWII COOL JAZZ
RAGTIME

STRIDE SMALLER
GROUPS CHICAGO
PIANO
 BIRTH OF LARGER LOS
VIRTUOSIC GROUPS ANGELES
PLAYERS

SCAT BEBOP NEW

SINGING
YORK
 LOUIS SOFTER
ARMSTRONG SWING TONES, QUIET
&
UNDERSTATED

MEANT FOR NEW INCORPORATES

DANCING TO ELEMENTS OF
IN LARGE
ORLEANS CLASSICAL
BALLROOMS MUSIC
 WHITE- LIGHT & LYRICAL
WRITTEN WITH GENTLE,
DOMINATED
ARRANGEMENTS FLOWING
RHYTHMS

FIRST USE OF WHISPERY

SAXOPHONES INTRICATE SAXOPHONES
ARRANGEMENTS
& MUTED
TRUMPETS
 PIZZICATO DOUBLE IMPROVISATION &
BASS USED AS A BASS
CONTROLLED
GROUP
INSTRUMENT DUE TO
INTERACTION
USE OF
IMPROVING
RECORDING VIBRATO
EQUIPMENT

RCA RIBBON AFM TERMINAL

MICROPHONE RECORDING
VIBRATO
BAN
 USE OF FIRST USE OF TAILGATE
ORCHESTRAL SESSION
INSTRUMENTS MUSICIANS
STYLE

PARAPHRASE
IMPROVISATION RIFFS
STOP TIME
ANTIPHONAL
SON CUBOP
CLAVE

CROSS- PLAYING
HALF-VALVING AWAY FROM
RHYTHMS THE CHORD
 CHORD
SUBSTITUTION HARMON MUTE
GUAJEOS

STRAIGHT- JUNGLE
VAMPS
EIGHTS STYLE
 VALVE CHASE SHOUT
TROMBONE
CHORUS CHORUS

USE OF
BRUSHES
 ECONOMICAL
PLAYING – USE OF
MIDDLE
BRASS
SILENCES & RANGES DOMINATED
AVOIDANCE OF
DOUBLE TIME

‘HOT’ FLEXIBLE FORMULAIC

RHYTHMS SENSE OF IMPROVISATION

TIMING