A.   Hitler’s invasion of Poland

B.   the armistice marking the end of World War I

C.   the stock market crash of 1929

D.   the publication of Einstein’s Theory of Relativity

A.   rural southerners

B.   teenagers

C.   war veterans

D.   urban professionals

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

B.   Swing bands avoided songs that were heard in 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.   improvise convincingly

B.   dance during the band’s performance

C.   play their instrument flawlessly

D.   sight-read music efficiently

A.   guitar

B.   baritone saxophone

C.   banjo

D.   tuba

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

B.   sweet arrangements by white arrangers such as Ferde Grofé

C.   head arrangements by members of the band

D.   semiclassical arrangements by William Grant Still and Eddie Sauter

A.   Norman Granz

B.   Leonard Feather

C.   John Hammond

D.   Joe Glaser

A.   Artie Shaw

B.   Glenn Miller

C.   Benny Goodman

D.   Woody Shaw

A.   Cab Calloway

B.   Benny Goodman

C.   Lionel Hampton

D.   Glenn Miller

A.   Mary Lou Williams

B.   Miriam McPartland

C.   Valaida Snow

D.   Clora Bryant

A.   International Sweethearts of Rhythm

B.   The Ingenues

C.   Sweethearts of Rhythm

D.   Coquettes

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

B.   blues piano style

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

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 leader of each section is responsible for writing out the parts

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

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

D.   they are composed by the head of the ensemble

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

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

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

D.   having songs that lasted well over an hour

A.   learning traditional dance band repertoire

B.   expanding from nine musicians to fifteen

C.   refining a more reserved approach to swing

D.   improving the band’s musical consistency

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

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

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

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.   Strayhorn’s childhood nickname

B.   a riff that Ellington scribbled on a napkin

C.   directions on how to get to Harlem

D.   an indicator of Strayhorn’s health

A.   Juan Tizol

B.   Johnny Hodges

C.   Cootie Williams

D.   Ben Webster

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

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.   Increased film opportunities led to stark musical branding.

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

B.   provided an opportunity for musicians to experiment

C.   occurred after hours

D.   participation was expressly forbidden by many top bandleaders

A.   working on records

B.   playing on movie soundtracks

C.   soloing with symphony orchestras

D.   playing in pit bands

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

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

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

D.   Every significant swing tenor player sounded like him.

A.   scale passages

B.   repeated short notes

C.   arpeggios

D.   long sustained notes

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.   It blends improvisational spontaneity with compositional logic.

D.   All of these

A.   Lester Young

B.   Johnny Hodges

C.   Ben Webster

D.   Chu Berry

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.   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.   all of these

B.   trumpet

C.   conducting

D.   voice

A.   “One Hour”

B.   “Reckless Blues”

C.   “Strange Fruit”

D.   “Oh! Lady Be Good”

A.   timbral punctuations including squeals and growls

B.   deft scat singing

C.   four-octave range

D.   deep connection to the blues

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

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

A.   Mary Lou Williams

B.   John Hammond

C.   Benny Goodman

D.   Fats Waller

A.   Wellman Braud

B.   Jimmy Blanton

C.   Walter Page

D.   Milt Hinton

A.   Jo Jones

B.   Chick Webb

C.   Sid Catlett

D.   Gene Krupa

A.   rockabilly

B.   southern jive

C.   western swing

D.   country gallup

A.   piano

B.   drums

C.   banjo

D.   guitar

A.   solo introductions

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

C.   long unaccompanied solos

D.   sparse accompaniment for horn soloists

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.   primarily an ensemble pianist

B.   fast right-hand runs

C.   rich repertoire of harmonic substitutions

D.   master of stride technique

A.   Bebop demonstrated the virtues of harmonic simplicity.

B.   Bebop was performed in smaller spaces.

C.   Bebop was more difficult for audiences to understand.

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

A.   performing at incredibly fast tempos

B.   performing obscure, unpublished compositions

C.   playing tunes in unfamiliar keys

D.   modulating between different keys

A.   Onyx Club

B.   Savoy Ballroom

C.   Minton’s Playhouse

D.   Birdland

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

B.   shifting the pulse to the hi-hat cymbal and using the ride cymbal 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.   blitzkriegs

B.   gatling guns

C.   bombs

D.   torpedoes

A.   They played on network radio shows.

B.   They produced and distributed their own recordings.

C.   They took other jobs in service industries.

D.   They toured constantly.

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

B.   dedicated himself to practicing and improved quickly

C.   developed the ability to play incredibly fast

D.   avoided alcohol and drugs

A.   Chick Webb’s

B.   Count Basie’s

C.   Duke Ellington’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