Jazz, wanda aka haifa a cikin ferment na al'adu na farkon karni na 20 na New Orleans, ya samo asali ne ta hanyar jerin salon canzawa, kowannensu ya sake tsara fasahar sake fasalin salon. Daga titunan polyphonic na Storyville zuwa ɗakunan gwaji na biranen zamani, jazz improvisation yana nuna duka ikon fasaha da zurfin motsin zuciyar masu yinsa. Fahimtar ci gaban waɗannan salon tare da fasahar saurin sa na musamman yana haskaka ruhun kirkirar jazz da tattaunawar da ke gudana tare da kiɗan duniya, fasaha, da canjin zamantakewa.

Jazz na Farko da New Orleans Style

New Orleans a farkon karni ya kasance mai ƙonawa na al'adun kiɗa: blues, ragtime, gangamin tagulla, ruhaniya, da kuma waƙoƙin Caribbean. Sauraron jazz na farko daga kusa da 1917 sun kama wani nau'in kiɗa wanda aka gina akan haɓaka ta yau da kullun, inda cornet, clarinet, da trombone suka yi layi na lokaci guda a kusa da tushe mai saurin sauti. Wannan rubutun polyphonic sau da yawa ana kiran "mai zafi" yana buƙatar sauraro mai mahimmanci da kuma saurin kai tsakanin mawaƙa waɗanda ba sa rubuta waƙoƙin. Majagaba kamar Buddy Bolden, King Oliver, da Jelly Roll Morton sun tsara wannan sauti, tare da Morton da aka sani da cewa ya "haɗa jazz".

Ƙididdigar Ƙididdiga a cikin Ƙarfafa Jazz na Farko

  • A cikin tsohuwar New Orleans frontline (cornet, clarinet, trombone), kowane kayan aiki yana da wani ma'ana rawar da cornet ya ɗauka waƙa, clarinet ya yi kusa da shi, trombone ya buga sliding harmonies ƙirƙirar hadaddun, kai tsaye counterpoint.
  • Kayan waƙa da bambancin: 'Yan kida za su ɗauki sautin mai sauƙi kamar "Lokacin da Saints suka shiga" kuma su canza sautinsa, ƙara sautin blue, ko karya shi zuwa ɓangarori, suna gina solo daga waƙar kanta maimakon canje-canje a cikin akwatin.
  • Kiran da amsa: An karɓa daga waƙoƙin aiki da kiɗan coci, wannan fasaha ta ƙunshi "kira" ta hanyar sauraron sauraron sauraron (ko wani mai sauraron sauraro), yana haifar da tashin hankali da sakin yanayi.
  • A cikin yanayin solo ko ƙananan rukuni, pianists sunyi amfani da siffofin hagu na hagu (ƙaddamar da goma da octaves) yayin da suke haɓaka waƙoƙin hannun dama, fasaha wanda daga baya ya rinjayi mawaƙa masu rawar jiki kamar Fats Waller.

Wannan salon farko ya jaddada kerawa ta al'umma fiye da gwaninta na mutum, yana saita yanayin jazz a matsayin tattaunawa tsakanin 'yan wasa. Tasirin kalmomin blues, murmushi, da kuma motsa jiki na yau da kullun sun riga sun mamaye waɗannan wasan kwaikwayon, suna sa jazz ya gane ta hanyar sautin "ƙazanta" da kuma jin daɗin motsawa.

Zamanin Swing da Ƙarfafawa a Ƙungiya Mai Girma

A cikin shekarun 1930, jazz ya koma daga ƙananan haɗin New Orleans zuwa ɗakunan rawa na Chicago, New York, da Kansas City, inda manyan ƙungiyoyi na mawaƙa goma zuwa goma sha shida suka mamaye. Swing Era (kimanin 19351945) ya kawo jazz ga masu sauraro ta hanyar rediyo, rikodi, da watsa shirye-shirye kai tsaye daga wurare kamar Savoy Ballroom. Shugabannin kamar Duke Ellington, Count Basie, da Benny Goodman sun daidaita sassan rubutu da aka tsara tare da solo masu tayar da hankali, suna haifar da motsi wanda ya burge masu rawa da masu sauraro.

Ƙarfafawa a Yanayin Big Band

  • [1] [2] [3] [4] [4] [5] [5] [5] [5] [5] [5] [6] [6] [6] [6] [6] [7] [7] [7] [7] [7] [7] [7] [7] [7] [7] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [8] [9] [9] [9] [9] [9] [9] [9] [9] [9] [9] [9] [9] [9] [9] [9] [9] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10] [10]
  • Riff-based improvisation: A cikin ƙungiyar Basie da sauransu, masu waƙar mawaƙa sun gina layin daga sauƙaƙe, maimaita kalmomi (riffs) waɗanda ƙungiyar za ta iya wasa a bayan su, ƙirƙirar kira da amsa sakamako. Wannan hanyar ta sa solo ya zama mai sauƙi da rawa yayin da ke kula da saurin kai.
  • Blues da pentatonic scales: [1] Swing soloists sun dogara sosai a kan blues sikelin (tare da ta flatted uku da bakwai) da kuma pentatonic alamu don kera m, ƙasa solos. Hawkins ta 1939 rikodi "Jiki da Soul" nuna yadda wani solo iya ci gaba da wani melodic baka a kan chord canje-canje, rinjayar daga baya bebop.
  • Rubutun sashe a matsayin mai haɓaka haɓaka: Duke Ellington ya rubuta sassa waɗanda suka kwaikwayi maganganun da aka yi wa kwalliya, suna ɓoye layin tsakanin abun da ke ciki da haɓaka.

A lokacin Swing Era kuma an ga karuwar ƙananan ƙungiyoyi a cikin manyan ƙungiyoyi (misali, Benny Goodman's trio ko quartet), wanda ya ba da damar haɓaka mafi kyau.

Bebop: Haɗin Haɗin Kai da Ingantaccen Ingantawa

A farkon shekarun 1940, ƙungiyar matasa masu kida Charlie Parker (alto sax), Dizzy Gillespie (trumpet), Thelonious Monk (piano), da Kenny Clarke (drums) sun fara tura jazz cikin sabon shugabanci. Bebop ya ƙi waƙoƙin swing da ke da alaƙa da rawa don saurin gudu, da waƙoƙi masu rikitarwa, da kuma gwaji na jituwa mai zurfi. Wannan kiɗa ne don sauraron gaske, wanda aka buga a cikin ƙananan haɗuwa (quintets ko quartet) inda soloists zasu iya shimfiɗawa. Sashin sautin (piano, bass, drum) ya taka rawa mai ma'amala, tare da tafiya da rike lokaci yayin da mai piano ya "yi wasa" da muryoyin bugun jini.

Fasaha mai mahimmanci na improvisation

  • Fitar da sauti mai kyau: Masu kida na Bebop sukan maye gurbin daidaitattun sauti tare da canzawa ko maye gurbin sauti (misali, maye gurbin tritone don madaidaicin sauti), yana haifar da hanyoyin haɗin kai masu wadata. Solo na Parker a kan waƙoƙi kamar "Ornithology" suna taƙaita ta hanyar ci gaba mai rikitarwa wanda ke buƙatar lissafin haɗin kai na ainihi.
  • A cikin FLT:0, 'yan wasan suna amfani da sautunan wucewa na chromatic don yin niyya ga sautunan kirtani, suna gina tashin hankali wanda ya warware ba zato ba tsammani. "babba mai girma" babban sikelin tare da sautin wucewa na chromatic tsakanin digiri na biyar da shida ya zama kayan aiki na yau da kullun.
  • Tons na shimfidawa (9th, 11th, 13th): maimakon kawai tsara triads ko bakwai chords, soloists na bebop sun jaddada tsawo, suna ba wa waƙoƙi zamani, sauti mai ban sha'awa. Solos Dizzy Gillespie sau da yawa suna amfani da haɓaka 11th da flat 9th don jin "a waje".
  • Saurin, layin waƙa mai rikitarwa: Layin takwas yana gudana a saurin sauri, galibi yana haɗa da arpeggios da jerin abubuwa, yana buƙatar fasaha mai ban mamaki. Shahararren salon "Bird" na Parker ya ƙunshi dogon, maganganu masu gudana waɗanda suka yi kama da ƙalubalanci layin sanduna, suna haifar da gudanawar ra'ayoyi.
  • Fitarwa da daidaitawa: Max Roach, mai buga drum din Bebop, ya kirkiro wani salon da ke saurin motsawa ya ci gaba da motsawa yayin da bass drum da tarko suka kara da layin rubutu, sau da yawa suna jaddada bugun 2 da 4 ko karya lokacin lokaci. Soloists za su yi wasa a fadin bugun jini, suna ƙirƙirar yadudduka na rhythmic.

Bebop ya canza jazz daga nishaɗin jama'a zuwa nau'in fasaha na fasaha. Ingantawa ya buƙaci zurfin fahimtar ka'idar sanin sikelin, kwararru, da siffofi (sau da yawa dangane da tsarin waƙoƙin da aka fi so kamar "canjin sautin") da kuma kirkira nan take. Tasirin salon yana ci gaba a cikin ilimin jazz a yau, yayin da ɗalibai ke nazarin solo da aka fassara kuma suna yin "cika canje-canje".

Hard Bop da Jazz na Soul: Tushen Bluesy da Sha'awar Bishara

Yayin da rikitarwa ta bebop wani lokaci ta ware masu sauraro, wani martani a cikin shekarun 1950 ya dawo da jazz zuwa tushen blues da bishara. Hard bop, wanda mawaƙa kamar Art Blakey, Horace Silver, da Cannonball Adderley suka fara, sun kiyaye ƙwarewar harmonica ta bebop amma sun ba da shi da sautin ƙasa, kira da amsa, da tasirin modal. Soul jazz, wani salon da aka danganta da shi wanda masu kida kamar Jimmy Smith suka jagoranci, ya jaddada sahun da sauƙi, sahun zuciya.

Ingantawa a Hard Bop da Soul Jazz

  • Fassara da kuma waƙoƙin pentatonic da suka danganci blues: [1] Soloists sun dogara sosai akan ƙimar blues da kuma karkatar da bayanan, sau da yawa suna buga sautunan "ƙazanta" waɗanda ke kwaikwayon muryar ɗan adam.
  • A cikin Blakey's Jazz Messengers, ƙahoni za su amsa ga kalmomin mawaƙa tare da wani ƙaho mai kaifi, ƙirƙirar ma'amala mai ƙarfi. Wannan fasaha ta kiyaye kiɗa nan da nan mai sadarwa.
  • FLT:0]]Groove-oriented improvisation: Soul jazz players sau da yawa kulle a cikin zurfi, maimaitawa groove, kyale su su bincika tsawo solo da hankali gina. Organist Jimmy Smith amfani da Hammond B-3 ta ci gaba bass pedals da kuma tururi Leslie magana don ƙirƙirar wani hypnotic bango ga blued-drinked Lines.
  • FLT:0]]Modal da solowa bisa sikelin: [1] Duk da cewa ba su da mahimmanci kamar jazz na modal, masu wasan solo na hard bop suna amfani da yanayin (musamman Dorian da Mixolydian) don yin kwalliya a kan vamps masu tsayayya, fasaha da ta yi hasashen juyin juya halin modal.

Hard bop da kuma jazz na ruhu sun sa yin amfani da improvisation ya kasance mai sauƙi kuma kai tsaye, ba tare da yin hadaya da sababbin sababbin abubuwa na bebop ba. Wannan salon ya kasance sananne a cikin shekarun 1960 kuma ya rinjayi funk da R & B na baya.

Jazz na Musamman: 'Yanci Ta hanyar Scale

A ƙarshen shekarun 1950 an ga canjin tsari tare da zuwan jazz na modal, mafi shahararren abin da aka fahimta a cikin Miles Davis na 1959 album Kind of Blue. Modal jazz ya rage canje-canje masu sauri a cikin daidaituwa a kan sikelin guda ɗaya ko yanayin na tsawon lokaci, yana 'yantar da masu sauraro daga ƙuntatawa na canzawa koyaushe. Ayyukan John Coltrane na baya, musamman a kan kundin kamar My Favorite Things da A Love Supreme, ya tura ingantaccen haɓaka, yana amfani da shi azaman matattarar don bayyana ruhaniya da binciken fasaha.

Hanyoyin Ingantawa na Modal

  • FLT:0]]Scalar bincike da kuma sautin sautin:A maimakon tsara sautin, masu sauraro sun gina sautin daga sautin yanayi guda ɗaya (misali, Dorian, Phrygian, ko Lydian). Coltrane a kan "So What" yana wasa da tsawo, kalmomin da aka haɗa da su waɗanda ke hawa ta hanyar sautin Dorian, suna haifar da tunani, mai gudana.
  • FLT:0]]Furushi, kalmomin lyrical: Ba tare da matsin lamba na sauye-sauyen sautin sautin ba, masu haɓaka zasu iya haɓaka tsawo, ƙarin layin murya. Miles Davis' murmushi ƙaho a kan "Flamenco Sketches" yana amfani da kalmomi masu laushi, masu numfashi waɗanda ke ginawa a hankali.
  • Rhythmic da kuma motsi bambance-bambancen: [1] Modal sassan sau da yawa dogara a kan wani m bugun jini (sau da yawa a biyu-beat ji ko wani m swing), wanda damar soloists don amfani da rhythmic motsawa, shiru, da kuma m swells ga motsi tasiri. Coltrane ta "My Favourite Things" yana amfani da wani tuki waltz rhythm da modal soloing cewa gina zuwa exstatic climaxes.
  • A cikin yanayin, masu amfani da piano suna amfani da matakan pentatonic da blues: har ma a cikin yanayin yanayin, masu sauraro suna nutsewa cikin jujjuyawar blues don ƙara ƙasa. Solos na piano na Bill Evans akan Kind of Blue suna haɗuwa da tsarkakakkiyar yanayin tare da sautunan wucewa na chromatic da fifths na bluesy.
  • Fadada zuwa sikelin da ba na Yammacin Turai ba: Modal jazz ya buɗe ƙofar sikelin daga ragas na Indiya, maqams na Larabawa, da pentatonics na Afirka, daga baya Coltrane da sauransu suka yi amfani da su sosai.

Jazz na zamani ya wakilci 'yanci daga rikitarwa ta harmonic na bebop, yana ba masu haɓaka damar mai da hankali kan waƙa, yanayi, da kuma hulɗa ta gama gari.

Free Jazz da Avant-Garde

A farkon shekarun 1960, an sami wani ƙaura mai mahimmanci: free jazz, wanda yafi kasancewa na farko da saxophonist Ornette Coleman da pianist Cecil Taylor. Free jazz ya ƙi mahimman abubuwan da aka gina na gargajiya jazz gyarawa sautin canzawa, sautin yau da kullun, har ma da jituwa a cikin fa'ida ga haɓakawar gama gari wanda ya kasance gaba ɗaya kai tsaye. Wannan ba rikici bane, amma sabon tsari na ƙungiya dangane da haɓaka motsi, ma'amala ta rubutu, da ƙarfin ƙungiya. Albums kamar Coleman's Free Jazz: A Collective Improvisation FLT:1 (1961) da John Coltrane's Ascension FLT:3]] (1965) sun tura haɓaka zuwa iyakarsa.

Hanyoyin Ingantaccen Jazz

  • A maimakon farawa tare da waƙa ko ci gaban kide-kide, mawaƙa suna farawa da sautin, sautin, ko matakin kuzari, sannan su haɓaka rafin hankali.
  • A cikin quartet na jazz kyauta ko quartet na biyu, duk 'yan wasa suna yin wasa a lokaci guda, suna ƙirƙirar ƙirar ƙira. Sauraro ya zama mahimmanci yayin da mawaƙa ke amsa wa juna, gina tashin hankali, ƙarancin, da saki.
  • Fitar da fasahar kayan aiki: 'Yan wasa sun yi amfani da busawa, multiphonics (samar da sautin biyu a lokaci guda), danna maɓalli, da kuma yatsun hannu marasa daidaituwa don ƙirƙirar sababbin sauti. John Coltrane's sheets of soundrapid, chromatic runs that blur into a harmonic cloudamisalin wannan hanyar.
  • Free tempo da kuma metric sauya: Babu wani m bugun jini da aka kiyaye; music iya hanzarta, jinkirta, ko tsaya gaba daya dangane da rukuni da hankali. Drums sau da yawa taka coloristic, karya lokaci maimakon swing.
  • Ci gaban motsi a matsayin ka'idar tsarawa: Duk da bayyanar rashin daidaito, free jazz galibi yana dogaro da maimaitawa da canji na ƙananan ƙwayoyin waƙa ko na yau da kullun (motifs) waɗanda ke haɗa aikin. Solos na Coleman sau da yawa suna komawa zuwa mai sauƙi, magana mai launin shuɗi a tsakiyar ma'ana.

Free jazz ya kasance sanarwa ta zamantakewa kamar yadda yake a cikin kiɗa. Ya kalubalanci wariyar launin fata, ka'idoji na cibiyoyin, da kuma cinikin fasaha. Harshen saurin sa ya shafi ba kawai jazz na baya ba har ma da kiɗa na zamani da na gwaji.

Ƙungiyar Jazz-Rock da Ƙari

A ƙarshen shekarun 1960 da 1970, mawaƙa na jazz sun fara haɗa abubuwa na rock, funk, da kayan aikin lantarki, suna haifar da haɗuwa. Ƙungiyoyi kamar na lantarki na Miles Davis (FLT:0) (In a Silent Way (FLT: 1), FLT: 2 Bitches Brew (FLT: 3), Weather Report, da Return to Forever sun haɗu da haɓaka jazz tare da sautin rock, kayan aikin da aka haɓaka, da tasirin studio. Wannan zamanin ya ga tashin hankalin soul-jazz da acid jazz a cikin shekarun 1990, kuma daga ƙarshe nau'ikan zamani na jazz.

Hadin Kai da Fasaha ta Ingantawa ta Yau

  • Kayan lantarki da tasirin: [1] 'Yan guitar kamar John McLaughlin da Pat Metheny sunyi amfani da karkatarwa, wah-wah, da jinkirin jinkirin don tsara solo.
  • Fusion sau da yawa amfani funk backbeats, m mita (5/4, 7/8), da kuma polyrhythms samu daga duniya music. Drummer Tony Williams buga da wani rock-kamar makamashi, tura da rhythmic ji. Metal da lantarki dance music rhythms sun kuma hade.
  • FlT:0 Hybrid sikelin da yanayin: FlT: 1 Fusion improvisers sun haɗu da sikelin bebop tare da blues, pentatonic, da kuma sikelin ban mamaki (misali, Hungary minor, Japan pentatonic).
  • Gwaninta mai tushe: FLT:1]] Yawancin mawaƙa masu haɗuwa suna kulle cikin layin bass ko sautin maimaitawa kuma suna gina solo mai tsawo a kan wannan dandamali, ta amfani da maimaitawa don sakamako. Wannan hanyar tana da mahimmanci ga al'adun "jam band" (Medeski Martin & Wood, The Bad Plus).
  • Haɗuwa da fasaha: Loopers, samfur triggers, da kuma lantarki mai rai suna ba da damar masu haɓaka zamani su sanya sauti a cikin lokaci na ainihi, suna ƙirƙirar ƙarancin, haɓaka ƙira. Masu fasaha kamar Robert Glasper da Kamasi Washington sun haɗu da haɓaka jazz mai sauti tare da buga hip-hop da samar da lantarki.

Jazz na zamani kuma ya haɗa da haɗin gwiwar tsakanin nau'ikan: Esperanza Spalding ya haɗa da sautin Brazil da nau'ikan gargajiya; Vijay Iyer yana amfani da sake zagayowar sautin daga kiɗan Indiya; Christian Scott aTunde Adjuah ya haɗa da sautin tarko da tasirin Mardi Gras na Indiya. Ingantawa ya kasance babban mahimmanci, amma ƙamus ya faɗaɗa don haɗa da abubuwan duniya da na lantarki.

Ruhun Da Ba Ya Ƙarewa na Ƙaƙƙarfan Ƙwarewa

Daga tarin polyphony na farkon jazz na New Orleans zuwa yanayin lantarki na haɗuwa na yau, haɓaka koyaushe ya kasance fasalin jazz. Kowane salon bebop ta haɗakarwa, 'yancin lyrical na modal jazz, ɗaukar haɗarin' yanci na free jazz ya ƙara sabbin kayan aiki, dabaru, da falsafanci ga kayan aikin mai haɓaka. Ga mawaƙa, koyon waɗannan salon ba game da kwaikwayon bane amma game da shan ƙamus don haɓaka muryar mutum. Ga masu sauraro, fahimtar juyin halitta yana wadatar da ƙwarewar jin solo wanda ba a taɓa ganewa ba.

Don cikakken bayyani game da tarihin jazz, bincika tarihin All About Jazz. Ka zurfafa fahimtarka game da takamaiman fasahohi ta hanyar FLT:4 The Jazz Piano Site da kuma FLT:6 Jazz Advice. Don ra'ayoyin ilimi, duba FLT:8 Oxford Bibliographies on Jazz.