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The Roots of Rock

Explore the roots of rock music through ragtime and jazz, tracing the emergence of syncopated rhythms, blues influences, and the innovative styles of iconic musicians like Scott Joplin, Louis Armstrong, and Count Basie. Learn about the distinctive characteristics of ragtime piano, the improvisational nature of New Orleans Jazz, and the ensemble virtuosity of Swing and Big Band Jazz.

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The Roots of Rock

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  1. Ragtime and Jazz The Roots of Rock

  2. Ragtime • Emerges from mix of influences c. 1880 • Piano style, named for ragged melody line

  3. Ragtime • Emphasis on cross-rhythms • Left hand establishes steady beat • “walking bass” - primarily arpeggios • “stride bass” - single note on beats 1 and 3, chord on 2 and 4 • Right hand plays complex, syncopated melody

  4. Maple Leaf Rag - Scott Joplin • Four strains (= sections), each repeated • A strain returns in middle of piece • Form: A A B B A C C D D

  5. Syncopated dance music • Ragtime spreads to instrumental ensembles • Ex. Copenhagen - Fletcher Henderson • Syncopated, like ragtime melody • Banjo and tuba alternate between bass note and backbeat = two-beat rhythm • Popular for fox-trot and other “animal dances”

  6. New Orleans Jazz • Solid beat - not “raggy” • Extensive syncopation • Collective improvisation • Musicians “making up” parts according to carefully defined rules • Rhythm section: tuba, banjo, percussion

  7. New Orleans Jazz • Influence from the blues • Blue notes: lowering of certain pitches for emotional effect • Particularly 3rd, 5th, 7th notes of scale • four-beat style beat: strong accent on each beat of bar

  8. Dippermouth Blues - King Oliver • Blue notes • Thick texture • Blues form (but no words) • King Oliver solo: wah-wah mute

  9. Louis Armstrong (1900-1971) • Most influential jazz trumpeter ever • Also had great impact as singer • Scat singing: vocalizing on nonsense syllables, singing without words • Instrumental quality to singing • Ex. - I Got A Right To Sing the Blues

  10. Swing or Big Band Jazz • Popular c. 1930-1946 • Based in ensemble virtuosity, rather than individual solos • Dense textures • Riff-based

  11. Count Basie, Jumpin’ at the Woodside • Cymbal clearly states four beat rhythm • Riffs in trombones, trumpets • Syncopated melodies • Number of rhythmic layers • Cymbal • Riffs • Soloist • Other rhythm instruments

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