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.   rural southerners

B.   urban professionals

C.   war veterans

D.   teenagers

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

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

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

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

A.   sight-read music efficiently

B.   play their instrument flawlessly

C.   dance during the band’s performance

D.   improvise convincingly

A.   baritone saxophone

B.   guitar

C.   tuba

D.   banjo

A.   semiclassical arrangements by William Grant Still and Eddie Sauter

B.   sweet arrangements by white arrangers such as Ferde Grofé

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

D.   head arrangements by members of the band

A.   Norman Granz

B.   Joe Glaser

C.   John Hammond

D.   Leonard Feather

A.   Artie Shaw

B.   Woody Shaw

C.   Glenn Miller

D.   Benny Goodman

A.   Benny Goodman

B.   Glenn Miller

C.   Lionel Hampton

D.   Cab Calloway

A.   Valaida Snow

B.   Mary Lou Williams

C.   Miriam McPartland

D.   Clora Bryant

A.   International Sweethearts of Rhythm

B.   The Ingenues

C.   Coquettes

D.   Sweethearts of Rhythm

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

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

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

D.   blues piano style

A.   New Jersey

B.   Missouri

C.   New York

D.   Pennsylvania

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

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

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

D.   they are composed by the head of the ensemble

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

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

C.   having songs that lasted well over an hour

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

A.   refining a more reserved approach to swing

B.   improving the band’s musical consistency

C.   expanding from nine musicians to fifteen

D.   learning traditional dance band repertoire

A.   He worked primarily in isolation.

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

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

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

A.   Symphony in Black

B.   Black and Tan Fantasy

C.   Diminuendo and Crescendo in Black

D.   Black, Brown, and Beige

A.   an indicator of Strayhorn’s health

B.   Strayhorn’s childhood nickname

C.   directions on how to get to Harlem

D.   a riff that Ellington scribbled on a napkin

A.   Ben Webster

B.   Johnny Hodges

C.   Cootie Williams

D.   Juan Tizol

A.   Increased film opportunities led to stark musical branding.

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

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.   participation was expressly forbidden by many top bandleaders

C.   provided an opportunity for musicians to experiment

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

A.   working on records

B.   playing in pit bands

C.   playing on movie soundtracks

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 saxophonist to have success in Europe.

C.   Every significant swing tenor player sounded like him.

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

A.   repeated short notes

B.   arpeggios

C.   long sustained notes

D.   scale passages

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

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

C.   All of these

D.   It blends improvisational spontaneity with compositional logic.

A.   Johnny Hodges

B.   Chu Berry

C.   Lester Young

D.   Ben Webster

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

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

C.   played several instruments in a family band

D.   took part in Kansas City jam sessions

A.   spoke in a creative, personal slang

B.   held his saxophone at an extreme horizontal angle

C.   wore a porkpie hat

D.   outgoing and brash in conversation

A.   trumpet

B.   all of these

C.   conducting

D.   voice

A.   “Reckless Blues”

B.   “Strange Fruit”

C.   “One Hour”

D.   “Oh! Lady Be Good”

A.   deep connection to the blues

B.   deft scat singing

C.   timbral punctuations including squeals and growls

D.   four-octave range

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

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

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.   Benny Goodman

B.   John Hammond

C.   Fats Waller

D.   Mary Lou Williams

A.   Milt Hinton

B.   Wellman Braud

C.   Walter Page

D.   Jimmy Blanton

A.   Jo Jones

B.   Chick Webb

C.   Sid Catlett

D.   Gene Krupa

A.   western swing

B.   rockabilly

C.   southern jive

D.   country gallup

A.   guitar

B.   drums

C.   piano

D.   banjo

A.   sparse accompaniment for horn soloists

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

C.   solo introductions

D.   long unaccompanied solos

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

B.   fully deaf

C.   fully blind

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

A.   rich repertoire of harmonic substitutions

B.   master of stride technique

C.   fast right-hand runs

D.   primarily an ensemble pianist

A.   Bebop was more difficult for audiences to understand.

B.   Bebop was performed in smaller spaces.

C.   Bebop demonstrated the virtues of harmonic simplicity.

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

A.   modulating between different keys

B.   performing at incredibly fast tempos

C.   performing obscure, unpublished compositions

D.   playing tunes in unfamiliar keys

A.   Onyx Club

B.   Birdland

C.   Minton’s Playhouse

D.   Savoy Ballroom

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

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

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

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

A.   torpedoes

B.   bombs

C.   blitzkriegs

D.   gatling guns

A.   They took other jobs in service industries.

B.   They produced and distributed their own recordings.

C.   They toured constantly.

D.   They played on network radio shows.

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

B.   avoided alcohol and drugs

C.   developed the ability to play incredibly fast

D.   dedicated himself to practicing and improved quickly

A.   Count Basie’s

B.   Duke Ellington’s

C.   Chick Webb’s

D.   Cab Calloway’s

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

B.   one-handed playing

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

D.   stride piano technique