A.   the armistice marking the end of World War I

B.   the stock market crash of 1929

C.   Hitler’s invasion of Poland

D.   the publication of Einstein’s Theory of Relativity

A.   urban professionals

B.   teenagers

C.   war veterans

D.   rural southerners

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

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

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

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

A.   play their instrument flawlessly

B.   dance during the band’s performance

C.   sight-read music efficiently

D.   improvise convincingly

A.   guitar

B.   tuba

C.   banjo

D.   baritone saxophone

A.   semiclassical arrangements by William Grant Still and Eddie Sauter

B.   sweet arrangements by white arrangers such as Ferde Grofé

C.   head arrangements by members of the band

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

A.   Norman Granz

B.   John Hammond

C.   Joe Glaser

D.   Leonard Feather

A.   Benny Goodman

B.   Artie Shaw

C.   Woody Shaw

D.   Glenn Miller

A.   Cab Calloway

B.   Glenn Miller

C.   Benny Goodman

D.   Lionel Hampton

A.   Clora Bryant

B.   Valaida Snow

C.   Miriam McPartland

D.   Mary Lou Williams

A.   Sweethearts of Rhythm

B.   Coquettes

C.   The Ingenues

D.   International Sweethearts of Rhythm

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

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

C.   blues piano style

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

A.   Pennsylvania

B.   New Jersey

C.   New York

D.   Missouri

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

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 leader of each section is responsible for writing out the parts

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

B.   having songs that lasted well over an hour

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

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

A.   learning traditional dance band repertoire

B.   improving the band’s musical consistency

C.   expanding from nine musicians to fifteen

D.   refining a more reserved approach to swing

A.   He worked primarily in isolation.

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

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

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

A.   Symphony in Black

B.   Diminuendo and Crescendo in Black

C.   Black and Tan Fantasy

D.   Black, Brown, and Beige

A.   directions on how to get to Harlem

B.   a riff that Ellington scribbled on a napkin

C.   Strayhorn’s childhood nickname

D.   an indicator of Strayhorn’s health

A.   Ben Webster

B.   Johnny Hodges

C.   Juan Tizol

D.   Cootie Williams

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

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

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

D.   Increased film opportunities led to stark musical branding.

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

B.   participation was expressly forbidden by many top bandleaders

C.   occurred after hours

D.   provided an opportunity for musicians to experiment

A.   playing on movie soundtracks

B.   working on records

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 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.   scale passages

B.   arpeggios

C.   long sustained notes

D.   repeated short notes

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.   Chu Berry

B.   Johnny Hodges

C.   Ben Webster

D.   Lester Young

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

B.   played several instruments in a family band

C.   took part in Kansas City jam sessions

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

A.   spoke in a creative, personal slang

B.   wore a porkpie hat

C.   outgoing and brash in conversation

D.   held his saxophone at an extreme horizontal angle

A.   voice

B.   all of these

C.   conducting

D.   trumpet

A.   “Oh! Lady Be Good”

B.   “One Hour”

C.   “Strange Fruit”

D.   “Reckless Blues”

A.   deft scat singing

B.   deep connection to the blues

C.   four-octave range

D.   timbral punctuations including squeals and growls

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

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

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

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

A.   Mary Lou Williams

B.   John Hammond

C.   Fats Waller

D.   Benny Goodman

A.   Milt Hinton

B.   Wellman Braud

C.   Jimmy Blanton

D.   Walter Page

A.   Gene Krupa

B.   Sid Catlett

C.   Chick Webb

D.   Jo Jones

A.   country gallup

B.   rockabilly

C.   southern jive

D.   western swing

A.   drums

B.   piano

C.   banjo

D.   guitar

A.   sparse accompaniment for horn soloists

B.   long unaccompanied solos

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

D.   solo introductions

A.   fully blind

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

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

D.   fully deaf

A.   master of stride technique

B.   rich repertoire of harmonic substitutions

C.   fast right-hand runs

D.   primarily an ensemble pianist

A.   Bebop was performed in smaller spaces.

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

C.   Bebop demonstrated the virtues of harmonic simplicity.

D.   Bebop was more difficult for audiences to understand.

A.   playing tunes in unfamiliar keys

B.   performing at incredibly fast tempos

C.   performing obscure, unpublished compositions

D.   modulating between different keys

A.   Savoy Ballroom

B.   Birdland

C.   Onyx Club

D.   Minton’s Playhouse

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.   bombs

C.   torpedoes

D.   gatling guns

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

C.   developed the ability to play incredibly fast

D.   dedicated himself to practicing and improved quickly

A.   Chick Webb’s

B.   Duke Ellington’s

C.   Cab Calloway’s

D.   Count Basie’s

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

B.   stride piano technique

C.   one-handed playing

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