A.   the stock market crash of 1929

B.   Hitler’s invasion of Poland

C.   the publication of Einstein’s Theory of Relativity

D.   the armistice marking the end of World War I

A.   war veterans

B.   rural southerners

C.   teenagers

D.   urban professionals

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

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

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

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

A.   play their instrument flawlessly

B.   dance during the band’s performance

C.   sight-read music efficiently

D.   improvise convincingly

A.   banjo

B.   tuba

C.   baritone saxophone

D.   guitar

A.   head arrangements by members of the band

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

C.   semiclassical arrangements by William Grant Still and Eddie Sauter

D.   sweet arrangements by white arrangers such as Ferde Grofé

A.   Joe Glaser

B.   John Hammond

C.   Leonard Feather

D.   Norman Granz

A.   Benny Goodman

B.   Woody Shaw

C.   Glenn Miller

D.   Artie Shaw

A.   Glenn Miller

B.   Lionel Hampton

C.   Benny Goodman

D.   Cab Calloway

A.   Clora Bryant

B.   Miriam McPartland

C.   Valaida Snow

D.   Mary Lou Williams

A.   International Sweethearts of Rhythm

B.   Sweethearts of Rhythm

C.   The Ingenues

D.   Coquettes

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

B.   blues piano style

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

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

A.   Pennsylvania

B.   Missouri

C.   New York

D.   New Jersey

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

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

C.   they are composed by the head of the ensemble

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

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

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

C.   having songs that lasted well over an hour

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

A.   refining a more reserved approach to swing

B.   improving the band’s musical consistency

C.   learning traditional dance band repertoire

D.   expanding from nine musicians to fifteen

A.   He worked primarily in isolation.

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 used visual images or scenes to stimulate the composition process.

A.   Black and Tan Fantasy

B.   Black, Brown, and Beige

C.   Diminuendo and Crescendo in Black

D.   Symphony in Black

A.   an indicator of Strayhorn’s health

B.   Strayhorn’s childhood nickname

C.   a riff that Ellington scribbled on a napkin

D.   directions on how to get to Harlem

A.   Ben Webster

B.   Johnny Hodges

C.   Cootie Williams

D.   Juan Tizol

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

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

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

D.   Increased film opportunities led to stark musical branding.

A.   provided an opportunity for musicians to experiment

B.   occurred after hours

C.   participation was expressly forbidden by many top bandleaders

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

A.   playing in pit bands

B.   playing on movie soundtracks

C.   soloing with symphony orchestras

D.   working on records

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

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

C.   Every significant swing tenor player sounded like him.

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

A.   scale passages

B.   arpeggios

C.   repeated short notes

D.   long sustained notes

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

B.   It blends improvisational spontaneity with compositional logic.

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

D.   All of these

A.   Ben Webster

B.   Chu Berry

C.   Lester Young

D.   Johnny Hodges

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

B.   took part in Kansas City jam sessions

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

D.   played several instruments in a family band

A.   outgoing and brash in conversation

B.   wore a porkpie hat

C.   spoke in a creative, personal slang

D.   held his saxophone at an extreme horizontal angle

A.   voice

B.   conducting

C.   all of these

D.   trumpet

A.   “One Hour”

B.   “Oh! Lady Be Good”

C.   “Reckless Blues”

D.   “Strange Fruit”

A.   deep connection to the blues

B.   four-octave range

C.   timbral punctuations including squeals and growls

D.   deft scat singing

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

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

C.   He was the very first musician to perform on electric 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.   Jimmy Blanton

B.   Wellman Braud

C.   Walter Page

D.   Milt Hinton

A.   Jo Jones

B.   Gene Krupa

C.   Chick Webb

D.   Sid Catlett

A.   rockabilly

B.   southern jive

C.   country gallup

D.   western swing

A.   banjo

B.   piano

C.   guitar

D.   drums

A.   sparse accompaniment for horn soloists

B.   solo introductions

C.   long unaccompanied solos

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

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

B.   fully blind

C.   fully deaf

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

A.   master of stride technique

B.   rich repertoire of harmonic substitutions

C.   fast right-hand runs

D.   primarily an ensemble pianist

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

B.   Bebop demonstrated the virtues of harmonic simplicity.

C.   Bebop was more difficult for audiences to understand.

D.   Bebop was performed in smaller spaces.

A.   performing at incredibly fast tempos

B.   performing obscure, unpublished compositions

C.   modulating between different keys

D.   playing tunes in unfamiliar keys

A.   Onyx Club

B.   Minton’s Playhouse

C.   Birdland

D.   Savoy Ballroom

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 bass drum and using the ride cymbal for accents

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

A.   blitzkriegs

B.   torpedoes

C.   gatling guns

D.   bombs

A.   They played on network radio shows.

B.   They toured constantly.

C.   They produced and distributed their own recordings.

D.   They took other jobs in service industries.

A.   avoided alcohol and drugs

B.   dedicated himself to practicing and improved quickly

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

D.   developed the ability to play incredibly fast

A.   Count Basie’s

B.   Cab Calloway’s

C.   Duke Ellington’s

D.   Chick Webb’s

A.   one-handed playing

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

C.   stride piano technique

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