A.   the stock market crash of 1929

B.   the armistice marking the end of World War I

C.   Hitler’s invasion of Poland

D.   the publication of Einstein’s Theory of Relativity

A.   war veterans

B.   teenagers

C.   urban professionals

D.   rural southerners

A.   Swing bands avoided songs that were heard in movies.

B.   Swing bands derived the majority of their repertoire from movies.

C.   Swing bands drew from the same repertoire of popular songs that was distributed via radio, movies, sheet music, and jukeboxes.

D.   Swing bands provided entertainment for an older population that was underserved by other popular styles.

A.   sight-read music efficiently

B.   dance during the band’s performance

C.   play their instrument flawlessly

D.   improvise convincingly

A.   tuba

B.   baritone saxophone

C.   guitar

D.   banjo

A.   semiclassical arrangements by William Grant Still and Eddie Sauter

B.   head arrangements by members of the band

C.   sweet arrangements by white arrangers such as Ferde Grofé

D.   hot arrangements by black arrangers including Fletcher Henderson and Benny Carter

A.   Norman Granz

B.   John Hammond

C.   Leonard Feather

D.   Joe Glaser

A.   Woody Shaw

B.   Artie Shaw

C.   Benny Goodman

D.   Glenn Miller

A.   Benny Goodman

B.   Glenn Miller

C.   Cab Calloway

D.   Lionel Hampton

A.   Clora Bryant

B.   Miriam McPartland

C.   Mary Lou Williams

D.   Valaida Snow

A.   International Sweethearts of Rhythm

B.   Sweethearts of Rhythm

C.   The Ingenues

D.   Coquettes

A.   distinguished by its driving ostinatos played by the pianist’s right hand

B.   blues piano style

C.   played by solo pianists in barrelhouses and speakeasies during the Swing Era

D.   includes percussive cross-rhythms between the pianist’s two hands

A.   Pennsylvania

B.   New Jersey

C.   New York

D.   Missouri

A.   the leader of each section is responsible for writing out the parts

B.   the written parts are very complicated and require a lot of thinking

C.   they are composed by the head of the ensemble

D.   the complete arrangements are stored in the heads of the band members

A.   increasing the national public profile of the best territory bands

B.   being a place to hear the most polished professional bands in the Southwest

C.   providing lucrative performance opportunities for up-and-coming musicians

D.   having songs that lasted well over an hour

A.   learning traditional dance band repertoire

B.   improving the band’s musical consistency

C.   refining a more reserved approach to swing

D.   expanding from nine musicians to fifteen

A.   He used visual images or scenes to stimulate the composition process.

B.   He involved the musicians in his orchestra in the composition process.

C.   He wrote down ideas wherever he was, including on the train.

D.   He worked primarily in isolation.

A.   Black and Tan Fantasy

B.   Black, Brown, and Beige

C.   Symphony in Black

D.   Diminuendo and Crescendo in Black

A.   a riff that Ellington scribbled on a napkin

B.   directions on how to get to Harlem

C.   Strayhorn’s childhood nickname

D.   an indicator of Strayhorn’s health

A.   Ben Webster

B.   Juan Tizol

C.   Cootie Williams

D.   Johnny Hodges

A.   A resurgence of interest in vaudeville required musicians to caricature their own sounds.

B.   Increased film opportunities led to stark musical branding.

C.   They were given short solo breaks and wanted to be sure that radio audiences could identify them quickly.

D.   Poor recording fidelity meant that subtle stylistic details were inaudible.

A.   occurred after hours

B.   eventually drew a large audience as formal, staged events

C.   provided an opportunity for musicians to experiment

D.   participation was expressly forbidden by many top bandleaders

A.   working on records

B.   playing on movie soundtracks

C.   playing in pit bands

D.   soloing with symphony orchestras

A.   By establishing a strong jazz style on the instrument, he ended its previously comic or novelty image.

B.   He was the first tenor saxophonist to play jazz.

C.   Every significant swing tenor player sounded like him.

D.   He was the first saxophonist to have success in Europe.

A.   repeated short notes

B.   long sustained notes

C.   scale passages

D.   arpeggios

A.   All of these

B.   It completely abandons the melodic foundation of the song, spinning variations based on the underlying harmonic structure.

C.   It blends improvisational spontaneity with compositional logic.

D.   It demonstrates a mastery of melodies formed with arpeggios.

A.   Johnny Hodges

B.   Ben Webster

C.   Lester Young

D.   Chu Berry

A.   performed throughout the Midwest with King Oliver and other leaders

B.   took part in Kansas City jam sessions

C.   played several instruments in a family band

D.   spent a long and successful time in the Fletcher Henderson band

A.   held his saxophone at an extreme horizontal angle

B.   spoke in a creative, personal slang

C.   wore a porkpie hat

D.   outgoing and brash in conversation

A.   conducting

B.   all of these

C.   voice

D.   trumpet

A.   “Oh! Lady Be Good”

B.   “Reckless Blues”

C.   “One Hour”

D.   “Strange Fruit”

A.   deep connection to the blues

B.   deft scat singing

C.   timbral punctuations including squeals and growls

D.   four-octave range

A.   He was the very first musician to perform on electric guitar.

B.   He revealed the broad expressive range and lyricism that the electric guitar could produce.

C.   He showed that the electric guitar could be played in exactly the same style as acoustic jazz guitar.

D.   He worked primarily as a soloist, rather than as an accompanist.

A.   John Hammond

B.   Fats Waller

C.   Mary Lou Williams

D.   Benny Goodman

A.   Milt Hinton

B.   Jimmy Blanton

C.   Walter Page

D.   Wellman Braud

A.   Chick Webb

B.   Jo Jones

C.   Gene Krupa

D.   Sid Catlett

A.   southern jive

B.   western swing

C.   rockabilly

D.   country gallup

A.   drums

B.   guitar

C.   banjo

D.   piano

A.   brief solos accompanied by the rest of the rhythm section

B.   solo introductions

C.   sparse accompaniment for horn soloists

D.   long unaccompanied solos

A.   fully blind

B.   fully deaf

C.   blind in one eye, very little in the other

D.   deaf in one ear, very little in the other

A.   master of stride technique

B.   primarily an ensemble pianist

C.   fast right-hand runs

D.   rich repertoire of harmonic substitutions

A.   Bebop was performed in smaller spaces.

B.   Bebop was more difficult for audiences to understand.

C.   Bebop demonstrated the virtues of harmonic simplicity.

D.   Bebop moved from the mainstream to become a music of outsiders.

A.   performing obscure, unpublished compositions

B.   playing tunes in unfamiliar keys

C.   modulating between different keys

D.   performing at incredibly fast tempos

A.   Savoy Ballroom

B.   Minton’s Playhouse

C.   Birdland

D.   Onyx Club

A.   shifting the pulse to the hi-hat cymbal and using the ride cymbal for accents

B.   shifting the pulse to the hi-hat cymbal and using the toms for accents

C.   shifting the pulse to the ride cymbal and using the bass drum for accents

D.   shifting the pulse to the bass drum and using the ride cymbal for accents

A.   gatling guns

B.   bombs

C.   blitzkriegs

D.   torpedoes

A.   They played on network radio shows.

B.   They took other jobs in service industries.

C.   They toured constantly.

D.   They produced and distributed their own recordings.

A.   developed the ability to play incredibly fast

B.   avoided alcohol and drugs

C.   publicly embarrassed by Jo Jones when he didn’t play well

D.   dedicated himself to practicing and improved quickly

A.   Cab Calloway’s

B.   Chick Webb’s

C.   Count Basie’s

D.   Duke Ellington’s

A.   chordal comping in the left hand, fast melodies in the right hand

B.   two-handed chords played in a steady four-beat pattern

C.   stride piano technique

D.   one-handed playing