What is the jazz and as to listen to it? Part 2
In the first part we considered the main questions necessary for listening of the jazz. In the second part we will continue consideration of other features of the jazz.
the Musical form
For full understanding that happens to a subject during execution, needs to get acquainted with a musical form.
Most often jazz execution from the point of view of the theory is a variation form. It is characteristic also of a folk music, and of classics. In the option applied in the jazz she assumes harmony preservation. Concerning a melody several different options can be accepted. Most often this outgaming of chords. In early forms of the jazz it was made by simple search of notes of chords in various combinations. Today there are different principles of the transfer of a chord to a melody. In each style there can be features.
There is also peculiar competition of performers. One performer begins the musical phrase, another finishes it. Then they change roles.
The composer jazz can represent any form, up to such large as the opera “ Porgi and Bess “ J. Gershwin. From this opera many performers take separate subjects for the performances.
After a subject statement performers in turn begin to be the soloist. Such solo can be either purely improvisational, or well prepared. Anyway the melody solo is under construction by the principles of the accepted style of execution. In everyone solo the quantity of steps and chords of a subject completely remains.
Often at construction the standard melodic courses are solo used. Such courses there is a huge number. Composers call all their variety jazz language (and is more true than it “ words “ as language includes also harmony). It is necessary to study them, listening solo to great performers.
Except standard the good performer thinks out also new “ words “. They quite can enter then in “ " dictionary; jazz. It, actually, and was formed.
In old forms of the traditional jazz there was a group improvisation when each performer in group beat chords in own way.
In certain cases the melodic course in solo can be the whole phrase taken from any standard. It is called the quote. At good knowledge of subjects such quotes are learned easily and quickly.
In the most exceptional case solo the result of so-called thematic work can represent the performer. This variation development of the subject. At the same time the subject can be split up for pieces and change under certain laws, related to classical music. There can be a shift of pieces of a subject on other positions, stretching in time and so forth
Sometimes is imperceptibly interwoven into such subject absolutely another. And it is not the quote any more. This development of a subject. Vpleteniye of such subject can aim to generate any associations at the listener, but not just to influence his emotions. The interwoven subject can be very far from the jazz. It can be the national song or a subject from Mozart. Everything depends on taste of the performer.
From all aforesaid is clear that the basic in understanding of the jazz is the knowledge of the executed subjects. But not the last role is played also by knowledge “ " language; jazz, its melodic courses and sequences of chords.
And of course, general musical culture. It is a little Mozart, Tchaikovsky, Debussy, Stravinsky. To read more about favourite authors and performers. To be able to distinguish voices of tools, to distinguish casts (small, big - bend, a symphonic orchestra).
Listen to more music, good music!