Chuck Wayne (February 27, 1923 – July 29, 1997) was an American jazz guitarist . He came to prominence in the 1940s, and was among the earliest jazz guitarists to play in the bebop style . Wayne was a member of Woody Herman 's First Herd, the first guitarist in the George Shearing quintet, and Tony Bennett 's music director and accompanist. He developed a systematic method for playing jazz guitar.
100-547: Wayne was known for a bebop style influenced by saxophone players of his time, especially Charlie Parker and Coleman Hawkins . In an era when many guitarists used four-square, mandolin-style picking, with rigid up-down stroke articulation, Wayne developed a technique not widely adopted by others until decades later. He also developed a comprehensive approach to guitar chords and arpeggios – based on generic tetrad forms spanning all possible inversions , in varying degrees of open voicing . This highly analytic approach to
200-611: A Roy Eldridge -influenced trumpet player who, like Parker, was exploring ideas based on upper chord intervals, beyond the seventh chords that had traditionally defined jazz harmony. While Gillespie was with Cab Calloway , he practiced with bassist Milt Hinton and developed some of the key harmonic and chordal innovations that would be the cornerstones of the new music; Parker did the same with bassist Gene Ramey while with McShann's group. Guitarist Charlie Christian , who had arrived in New York in 1939 was, like Parker, an innovator extending
300-583: A "Chuck Wayne style pick-guard" or more accurately as a "finger rest." Some guitarists have referred to consecutive/alternative picking as "spray picking", although Wayne disliked this term. Wayne was an exponent of the use of the right-hand fingers in combination with the pick. He synthesized plectrum and classical guitar technique . The pick is held in the normal way, but the remaining three fingers are used to play chords and counterpoint. Wayne often surprised audiences by using this method to play difficult Bach fugues and other pieces from classical music. His use of
400-502: A 1991 move to New Jersey). He changed his musical style after hearing Charlie Parker , recording with Dizzy Gillespie in 1945. Bill Crow writes that Wayne was one of the first jazz guitarists to learn bebop . Two examples are " Groovin' High " and " Blue 'n' Boogie " recorded with Dizzy Gillespie. Wayne was a member of Woody Herman 's First Herd and worked with Coleman Hawkins , Red Norvo , Bud Powell , Jack Teagarden , George Shearing , Lester Young , and Barbara Carroll . During
500-807: A Riff, Now's the Time, Billie's Bounce, Thriving on a Riff, Ko-Ko, Meandering ). After appearing as a sideman in the R&;B-oriented Cootie Williams Orchestra through 1944, Bud Powell was in bebop sessions led by Frankie Socolow on May 2, 1945 for the Duke label ( The Man I Love, Reverse the Charges, Blue Fantasy, September in the Rain ), then Dexter Gordon on January 29, 1946 for the Savoy label ( Long Tall Dexter, Dexter Rides Again, I Can't Escape From You, Dexter Digs In ). The growth of bebop through 1945
600-563: A Woman Do, I'd Rather Have a Memory Than a Dream, Mean to Me ). Parker and Gillespie appeared in a session under vibraphonist Red Norvo dated June 6, 1945, later released under the Dial label ( Hallelujah, Get Happy, Slam Slam Blues, Congo Blues ). Sir Charles Thompson's all-star session of September 4, 1945 for the Apollo label ( Takin' Off, If I Had You, Twentieth Century Blues, The Street Beat ) featured Parker and Gordon. Gordon led his first session for
700-405: A jazz guitarist who played with Charlie Parker , describes how Parker would listen to the music of Béla Bartók , a leading 20th century classical composer. Raney describes Parker's knowledge of Bartók and Arnold Schoenberg , in particular Schoenberg's Pierrot Lunaire , and says that a section from Bartók's Fifth Quartet sounded a lot like some of Parker's jazz improvisation . Bebop grew out of
800-475: A particular form in a given situation. Surprisingly, Wayne's approach reveals many chord forms that are comfortable to play but rarely seen, except in classical guitar fingerings. This is particularly true of inversions that begin on the third or sixth/seventh, and also of certain split and spread voicings. In Wayne's heyday, experienced guitarists were often puzzled to watch him playing chord shapes that they didn't even recognize, chords with subtle differences from
900-416: A recorded jam session hosted by Billy Eckstine on February 15, 1943, and Parker at another Eckstine jam session on February 28, 1943 (Stash ST-260; ST-CD-535). Formal recording of bebop was first performed for small specialty labels, who were less concerned with mass-market appeal than the major labels, in 1944. On February 16, 1944, Coleman Hawkins led a session including Dizzy Gillespie and Don Byas, with
1000-673: A rhythm section consisting of Clyde Hart (piano), Oscar Pettiford (bass) and Max Roach (drums) that recorded " Woody'n You " ( Apollo 751), the first formal recording of bebop. Charlie Parker and Clyde Hart were recorded in a quintet led by guitarist Tiny Grimes for the Savoy label on September 15, 1944 ( Tiny's Tempo, I'll Always Love You Just the Same, Romance Without Finance, Red Cross ). Hawkins led another bebop-influenced recording session on October 19, 1944, this time with Thelonious Monk on piano, Edward Robinson on bass, and Denzil Best on drums ( On
1100-940: A session including Parker, Gillespie, and Don Byas recorded for the Continental label ( What's the Matter Now, I Want Every Bit of It, That's the Blues, G.I. Blues, Dream of You, Seventh Avenue, Sorta Kinda, Ooh Ooh, My My, Ooh Ooh ). Gillespie recorded his first session as a leader on January 9, 1945, for the Manor label, with Don Byas on tenor, Trummy Young on trombone, Clyde Hart on Piano, Oscar Pettiford on bass, and Irv Kluger on drums. The session recorded I Can't Get Started, Good Bait, Be-bop (Dizzy's Fingers) , and Salt Peanuts (which Manor wrongly named "Salted Peanuts"). Thereafter, Gillespie would record bebop prolifically and gain recognition as one of its leading figures. Gillespie featured Gordon as
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#17330857368011200-643: A sideman in a session recorded on February 9, 1945 for the Guild label ( Groovin' High, Blue 'n' Boogie ). Parker appeared in Gillespie-led sessions dated February 28 ( Groovin' High, All the Things You Are, Dizzy Atmosphere ) and May 11, 1945 ( Salt Peanuts, Shaw 'Nuff, Lover Man, Hothouse ) for the Guild label. Parker and Gillespie were sidemen with Sarah Vaughan on May 25, 1945, for the Continental label ( What More Can
1300-484: A single string, the guitarist alternates strokes (or uses a slur, depending on the phrasing). This technique eliminates the "plinka-plinka" of traditional alternate picking and allows smooth, rapid playing. In rapid passages, the right hand is typically anchored, lightly, by touching the pinky fingernail to the pick guard, which itself should be placed near and slightly below the first string. A narrow pick guard for this use, usually of ebony, became known among luthiers as
1400-441: A single structure that can be applied to a variety of scale forms. The simple rule for transverse diatonic, melodic minor, and harmonic minor scales is: 2-3-3-3-2-2, where each number represents the number of notes to play on each string, from low E to high E strings. The simple rule for his extended fingering is: 3-3-3-3-3 (five strings). Wayne provides many other fingering patterns in his "Scales" method book. The idea behind all of
1500-425: A sociological movement as well as a musical one. With the imminent demise of the big swing bands, bebop had become the dynamic focus of the jazz world, with a broad-based "progressive jazz" movement seeking to emulate and adapt its devices. It was to be the most influential foundation of jazz for a generation of jazz musicians. By 1950, bebop musicians such as Clifford Brown and Sonny Stitt began to smooth out
1600-495: A sophisticated harmonic exploration of the composition, with implied passing chords. Hawkins would eventually go on to lead the first formal recording of the bebop style in early 1944. As the 1930s turned to the 1940s, Parker went to New York as a featured player in the Jay McShann Orchestra . In New York he found other musicians who were exploring the harmonic and melodic limits of their music, including Dizzy Gillespie ,
1700-458: A southwestern style. Christian's major influence was in the realm of rhythmic phrasing . Christian commonly emphasized weak beats and off beats and often ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style. Bud Powell was pushing forward with a rhythmically streamlined, harmonically sophisticated, virtuosic piano style and Thelonious Monk
1800-446: A theme (a "head," often the main melody of a pop or jazz standard of the swing era) would be presented together at the beginning and the end of each piece, with improvisational solos based on the chords of the compositions. Thus, the majority of a piece in bebop style would be improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section . Sometimes improvisation included references to
1900-501: A throwback to some and offended some purists ("too much grinning" according to Miles Davis), but it was laced with a subversive sense of humor that gave a glimpse of attitudes on racial matters that black musicians had previously kept away from the public at large. Before the Civil Rights Movement, Gillespie was confronting the racial divide by lampooning it. The intellectual subculture that surrounded bebop made it something of
2000-658: A trio for Tapestry (1963) and Morning Mist ( Original Jazz Classics , 1964) and in a duo with Joe Puma on Interactions (Choice, 1973). He recorded an album of banjo jazz in 1963. He loved the crisp, hornlike sound that was possible with the banjo, and he predicted there would be a resurgence of interest in the banjo. Chuck Wayne invented a system of playing jazz guitar that emulated the style of Charlie Parker. His system included consecutive-alternate picking , chords, scales, and arpeggios. The following summary reflects material in Wayne's method books. In Wayne's technique, movement of
2100-454: A way that expanded their role. Whereas the key ensemble of the swing music era was the big band of up to fourteen pieces playing in an ensemble-based style, the classic bebop group was a small combo that consisted of saxophone (alto or tenor), trumpet , piano , guitar , double bass , and drums playing music in which the ensemble played a supportive role for soloists. Rather than play heavily arranged music, bebop musicians typically played
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#17330857368012200-545: Is also documented in informal live recordings. By 1946 bebop was established as a broad-based movement among New York jazz musicians, including trumpeters Fats Navarro and Kenny Dorham , trombonists J. J. Johnson and Kai Winding , alto saxophonist Sonny Stitt , tenor saxophonist James Moody , baritone saxophonists Leo Parker and Serge Chaloff , vibraphonist Milt Jackson , pianists Erroll Garner and Al Haig , bassist Slam Stewart , and others who would contribute to what would become known as "modern jazz". The new music
2300-449: Is derived from nonsense syllables (vocables) used in scat singing ; the first known example of "bebop" being used was in McKinney's Cotton Pickers ' "Four or Five Times", recorded in 1928. It appears again in a 1936 recording of "I'se a Muggin'" by Jack Teagarden . A variation, "rebop", appears in several 1939 recordings. The first known print appearance also occurred in 1939, but the term
2400-591: The fretboard was later documented in a series of theory books, some released posthumously. Chuck Wayne was born Charles Jagelka in New York City to a Czechoslovakian family. As a boy, he learned banjo , mandolin , and balalaika . In the early 1940s he began playing in jazz bands on 52nd Street . After two years in the Army, he returned to New York City, joined Joe Marsala 's band, and settled in Staten Island (until
2500-589: The "normal" guitar chords in these keys have very different sonorities. Wayne tried to describe the "complete" scope of harmonic possibilities available on the fretboard, in all voicings, given conventional guitar tuning and a human left hand. In Wayne's system, a generic chord has four different notes. This includes chords like dominant sevenths, major sixths, and minor ninths, but not major or minor triads, or other "specific" triadic forms, which Wayne concluded were rarely useful for jazz. For chords containing five or more notes, such as thirteenths and ninths, Wayne removed
2600-893: The 1950s, he worked with Tony Bennett , Gil Evans , Brew Moore , Zoot Sims , and George Wallington . He was employed as staff guitarist for CBS in the 1960s. For the next two decades, he played on Broadway, accompanied vocalists, and performed in guitar duos with Joe Puma and Tal Farlow . Wayne wrote "Sonny" in honor of Sonny Berman . Years later, Miles Davis took the song, renamed it " Solar ", and claimed he wrote it. Wayne's "Butterfingers" and "Prospecting" have been incorrectly attributed to Zoot Sims. He died of emphysema in Jackson, New Jersey , aged 74. Wayne recorded his debut 10"LP (reissued on The Jazz Guitarist , Savoy ) in 1953 with Zoot Sims and Brew Moore which Fresh Sounds has since reissued along with sessions by Lou Mecca and Bill DeArango as Three Swinging Guitar Sessions. He recorded in
2700-587: The African legacy in [Parker's] life, reconfirmed by the experience of the blues tonal system, a sound world at odds with the Western diatonic chord categories. Bebop musicians eliminated Western-style functional harmony in their music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices." Samuel Floyd states that blues were both the bedrock and propelling force of bebop, bringing about three main developments: Some of
2800-664: The Bean, Recollections, Flyin' Hawk, Driftin' on a Reed ; reissue, Prestige PRCD-24124-2). Parker, Gillespie, and others working the bebop idiom joined the Earl Hines Orchestra in 1943, then followed vocalist Billy Eckstine out of the band into the Billy Eckstine Orchestra in 1944. The Eckstine band was recorded on V-discs , which were broadcast over the Armed Forces Radio Network and gained popularity for
2900-523: The Blues Away, Opus X, I'll Wait and Pray, The Real Thing Happened to Me ), bebop recording sessions grew more frequent. Parker had left the band by that date, but it still included Gillespie along with Dexter Gordon and Gene Ammons on tenor, Leo Parker on baritone, Tommy Potter on bass, Art Blakey on drums, and Sarah Vaughan on vocals. Blowing the Blues Away featured a tenor saxophone duel between Gordon and Ammons. On January 4, 1945, Clyde Hart led
3000-497: The Latin dance music craze of the late 1940s and early 1950s. Gillespie, with his extroverted personality and humor, glasses, lip beard and beret, would become the most visible symbol of the new music and new jazz culture in popular consciousness. That of course slighted the contributions of others with whom he had developed the music over the preceding years. His show style, influenced by black vaudeville circuit entertainers, seemed like
3100-438: The Savoy label on October 30, 1945, with Sadik Hakim (Argonne Thornton) on piano, Gene Ramey on bass, and Eddie Nicholson on drums ( Blow Mr Dexter, Dexter's Deck, Dexter's Cuttin' Out, Dexter's Minor Mad ). Parker's first session as a leader was on November 26, 1945, for the Savoy label, with Miles Davis and Gillespie on trumpet, Hakim/Thornton and Gillespie on piano, Curley Russell on bass and Max Roach on drums ( Warming Up
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3200-433: The approach used with Basie's big band. The small band format lent itself to more impromptu experimentation and more extended solos than did the bigger, more highly arranged bands. The 1939 recording of " Body and Soul " by Coleman Hawkins with a small band featured an extended saxophone solo with minimal reference to the theme that was unique in recorded jazz, and which would become characteristic of bebop. That solo showed
3300-470: The audiences coined the name after hearing him scat the then-nameless compositions to his players and the press ultimately picked it up, using it as an official term: "People, when they'd wanna ask for those numbers and didn't know the name, would ask for bebop." Another theory is that it derives from the cry of "Arriba! Arriba!" used by Latin American bandleaders of the period to encourage their bands. At times,
3400-555: The band showcasing the new bebop style. The format of the Eckstine band, featuring vocalists and entertaining banter, would later be emulated by Gillespie and others leading bebop-oriented big bands in a style that might be termed "popular bebop". Starting with the Eckstine band's session for the De Luxe label on December 5, 1944 ( If That's the Way You Feel, I Want to Talk About You, Blowing
3500-427: The bar. While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble. The kindred spirits developing the new music gravitated to sessions at Minton's Playhouse , where Monk and Clarke were in the house band, and Monroe's Uptown House , where Max Roach was in the house band. Part of the atmosphere created at jams like the ones found at Minton's Playhouse
3600-455: The basic scales that correspond to one another in Chuck Wayne's "complete system" of jazz guitar. The vertical bar on the left of the chart(s) marks the tonic on the low E. Notice that the minor 9 framework does not have a tonic (root), since the first note is the 9th. [REDACTED] With George Shearing With others Bebop Bebop or bop is a style of jazz developed in
3700-575: The basis of intense competition. Swing-era jam sessions and "cutting contests" in Kansas City became legendary. The Kansas City approach to swing was epitomized by the Count Basie Orchestra , which came to national prominence in 1937. Bebop wasn't developed in any deliberate way. One young admirer of the Basie orchestra in Kansas City was a teenage alto saxophone player named Charlie Parker . He
3800-472: The bebop movement itself. " Progressive jazz " was a broad category of music that included bebop-influenced "art music" arrangements used by big bands such as those led by Boyd Raeburn , Charlie Ventura , Claude Thornhill , and Stan Kenton , and the cerebral harmonic explorations of smaller groups such as those led by pianists Lennie Tristano and Dave Brubeck . Voicing experiments based on bebop harmonic devices were used by Miles Davis and Gil Evans for
3900-431: The bebop style. The style made use of several relatively common chord progressions, such as blues (at base, I-IV-V, but infused with II-V motion) and "rhythm changes" (I-VI-II-V, the chords to the 1930s pop standard " I Got Rhythm "). Late bop also moved towards extended forms that represented a departure from pop and show compositions. Bebop chord voicings often dispensed with the root and fifth tones, instead basing them on
4000-516: The best source for diagrams and details.] Jazz musicians are very much attuned to how "open" a chord sounds; generally, the more open the voicing, the less chance of conflict between the chord and melody or improvisation. For this reason, while comping , Wayne especially used the spread and split voicings, which have the most "open" sound in his system. The other forms, being more "closed", are often chosen in arrangements using counterpoint and melody. However, there are no hard-and-fast rules for choosing
4100-668: The city's status as a center of the new music. Gillespie landed the first recording date with a major label for the new music, with the RCA Bluebird label recording Dizzy Gillespie And his Orchestra on February 22, 1946 ( 52nd Street Theme, A Night in Tunisia, Ol' Man Rebop, Anthropology ). Later Afro-Cuban styled recordings for Bluebird in collaboration with Cuban rumberos Chano Pozo and Sabu Martinez , and arrangers Gil Fuller and George Russell ( Manteca, Cubana Be, Cubana Bop, Guarache Guaro ) would be among his most popular, giving rise to
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4200-446: The close voicing normally used on pianos – i.e. where an entire chord is played within the same octave – is not usually practical on the guitar. He found that the most useful generic fingerings could be obtained by raising or lowering one or more of the four notes by an octave. [The following descriptions cover the main elements of Wayne's chord system; but these may be hard to visualize. Wayne's method books, listed below, are
4300-497: The commercial potential of the new music. It did not attract the attention of major record labels nor was it intended to. Some of the early bebop was recorded informally. Some sessions at Minton's in 1941 were recorded, with Thelonious Monk alongside an assortment of musicians including Joe Guy , Hot Lips Page , Roy Eldridge, Don Byas, and Charlie Christian. Christian is featured in recordings from May 12, 1941 (Esoteric ES 548). Charlie Parker and Dizzy Gillespie were both participants at
4400-688: The complex, syncopated rhythm guitar patterns found in death metal require a good alternate picking technique to play fast and accurately. On the other hand, large arpeggios (especially those spanning more than one octave ) are very difficult to play using pure alternate picking and almost impossible to play at great speeds, which is why many guitarists choose to employ sweep picking to play these arpeggios (e.g. Glenn Tipton , K. K. Downing , Frank Gambale & Mario Parga ). Similarly, some kinds of licks are easier when played using such specialized techniques as legato, economy picking (a hybrid of alternate and sweep picking) or tapping . Despite some of
4500-440: The correct fingering for each tetradic inversion of choice. Arpeggios are revealed in two octaves. The starting note of an ascending arpeggio is either a note on the 6th string or a note on the 5th string, each voicing spanning five strings. The arpeggiated voicing is equivalent to the closed voicing on the piano. There is a close relationship between Wayne's chord system and his arpeggio forms. A major milestone for Wayne's students
4600-479: The creative possibilities of jazz beyond the popular, dance-oriented swing music -style with a new "musician's music" that was not as danceable and demanded close listening. As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation , altered chords , extended chords , chord substitutions, asymmetrical phrasing, and intricate melodies. Bebop groups used rhythm sections in
4700-579: The culmination of trends that had been occurring within swing music since the mid-1930s: less explicit timekeeping by the drummer, with the primary rhythmic pulse moving from the bass drum to the ride cymbal; a changing role for the piano away from rhythmic density towards accents and fills; less ornate horn section arrangements, trending towards riffs and more support for the underlying rhythm; more emphasis on freedom for soloists; and increasing harmonic sophistication in arrangements used by some bands. The path towards rhythmically streamlined, solo-oriented swing
4800-407: The development of post-bop . Around that same time, a move towards structural simplification of bebop occurred among musicians such as Horace Silver and Art Blakey , leading to the movement known as hard bop . Development of jazz would occur through the interplay of bebop, cool, post-bop, and hard bop styles through the 1950s. The musical devices developed with bebop were influential far beyond
4900-471: The dress and mannerisms of bebop musicians and followers, in particular the beret and lip beard of Dizzy Gillespie and the patter and bongo drumming of guitarist Slim Gaillard . The bebop subculture, defined as a non-conformist group expressing its values through musical communion, would echo in the attitude of the psychedelia-era hippies of the 1960s. Fans of bebop were not restricted to the United States;
5000-445: The early to mid-1940s in the United States. The style features compositions characterized by a fast tempo (usually exceeding 200 bpm), complex chord progressions with rapid chord changes and numerous changes of key , instrumental virtuosity, and improvisation based on a combination of harmonic structure , the use of scales and occasional references to the melody . Bebop developed as the younger generation of jazz musicians expanded
5100-519: The fingerings that show the chord in alternative inversions and voicings , generally having little in common other than a shared set of notes. The guitarist memorises the forms, learning a few different ways to play each chord. Over time, through practical experience, the guitarist learns or decides when to use each form. When playing in Bb, such a guitarist will inevitably play with a very different set of voicings from what would be used in F or Eb, simply because
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#17330857368015200-556: The first tenor saxophone player to fully assimilate the new bebop style in his playing. In 1944 the crew of innovators was joined by Dexter Gordon , a tenor saxophone player from the west coast in New York with the Louis Armstrong band, and a young trumpet player attending the Juilliard School of Music , Miles Davis . Bebop originated as "musicians' music," played by musicians with other money-making gigs who did not care about
5300-501: The flat ninth, sharp ninth or the sharp eleventh/ tritone . This unprecedented harmonic development which took place in bebop is often traced back to a transcendent moment experienced by Charlie Parker while performing " Cherokee " at Clark Monroe's Uptown House, New York, in early 1942. As described by Parker: I'd been getting bored with the stereotyped changes that were being used ... and I kept thinking there's bound to be something else. I could hear it sometimes. I couldn't play it.... I
5400-565: The free jazz and fusion eras. Bebop style also influenced the Beat Generation whose spoken-word style drew on African-American "jive" dialog, jazz rhythms, and whose poets often employed jazz musicians to accompany them. Jack Kerouac would describe his writing in On the Road as a literary translation of the improvisations of Charlie Parker and Lester Young. The "beatnik" stereotype borrowed heavily from
5500-402: The goal is to play melodic lines that sound the best on the instrument. Wayne taught many other arpeggio fingerings beginning with close chord form: 1-1-1-1 for one octave. Others for one octave are: 1-1-2, 1-2-1, 2-1-1, and 2-2. The 2-1-2-1-2 pattern above is derived from combining the 2-1-1 fingering for one octave and the 1-1-2 fingering for one octave. Another dimension of Chuck Wayne's style
5600-465: The groundbreaking " Birth of the Cool " sessions in 1949 and 1950. Musicians who followed the stylistic doors opened by Davis, Evans, Tristano, and Brubeck formed the core of the cool jazz and " west coast jazz " movements of the early 1950s. By the mid-1950s musicians began to be influenced by music theory proposed by George Russell . Those who incorporated Russell's ideas into the bebop foundation defined
5700-450: The guitarist the harmonic vocabulary and flexibility available to pianists. Since there are four different notes in each of Wayne's chords, there are four possible starting notes or inversions. (When such a chord contains the root , it is an inversion in the traditional sense; otherwise, it is a revoicing. For convenience, Wayne calls all such transformations "inversions".) The remaining notes are then arranged above it. Wayne realized that
5800-432: The harmonic innovations in bebop appear similar to innovations in Western "serious" music, from Claude Debussy to Arnold Schoenberg , although bebop has few direct borrowings from classical music and appears to largely revive tonal-harmonic ideas taken from the blues in a basically non-Western approach rooted in African traditions. However, bebop probably drew on many sources. An insightful YouTube video with Jimmy Raney ,
5900-418: The harp-like sound as "sweep" although Chuck Wayne disliked this term since it refers to a broom. The word arpeggio is a derivative of the word harp. The genius of the rule 2-1-2-1-2 manifests the harp-like lines and also allows the player to discover and play any arpeggio without the burden of questioning the awkward fret board fingering possibilities. The fingering is known, so it is up to the player to deploy
6000-422: The hip-hop compendium. Alternate picking Alternate picking is a guitar playing technique that employs alternating downward and upward strokes in a continuous fashion. If the technique is performed at high speed on a single string or course voicing the same note, it may be referred to as " tremolo picking" or "double picking". Alternate picking involves a continuous down-up or up-down motion of
6100-410: The index finger for the low note and the fourth finger for the upper note. Regarding two octave spans, to keep the left hand in position, the fourth finger is used to play the lower note and the first finger is used to play the upper note using the "skip two" (strings) form. The figure below depicts the major 7th tetrads (and the minor 9th equivalent) for the spread voicings as well as the arpeggios and
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#17330857368016200-519: The leading intervals that defined the tonality of the chord. That opened up creative possibilities for harmonic improvisation such as tritone substitutions and use of diminished scale based improvised lines that could resolve to the key center in numerous and surprising ways. Bebop musicians also employed several harmonic devices not typical of previous jazz. Complicated harmonic substitutions for more basic chords became commonplace. These substitutions often emphasized certain dissonant intervals such as
6300-725: The melody of a composition (called the "head") with the accompaniment of the rhythm section, followed by a section in which each of the performers improvised a solo, then returned to the melody at the end of the composition. Some of the most influential bebop artists, who were typically composer-performers, are alto sax player Charlie Parker ; tenor sax players Dexter Gordon , Sonny Rollins , and James Moody ; clarinet player Buddy DeFranco ; trumpeters Fats Navarro , Clifford Brown , Miles Davis , and Dizzy Gillespie ; pianists Bud Powell , Barry Harris and Thelonious Monk ; electric guitarist Charlie Christian ; and drummers Kenny Clarke , Max Roach , and Art Blakey . The term "bebop"
6400-474: The middle of picked phrases. The technique has many advantages and some disadvantages, largely depending on the licks the guitarist is attempting to play. For example, during fast passages, alternate picking is necessary in keeping the picking arm from tiring out. At very high tempos , alternate picking is essentially required, since techniques like downpicking are made not feasible. Most scalar runs are most easily played using alternate picking. Similarly,
6500-443: The movement is exaggerated with slow, deliberate strokes, allowing the pick to stop on the adjacent string. When moving between adjacent strings, the guitarist continues a single up stroke or down stroke to play consecutive notes on two strings. Thus, when moving to a higher string (higher in pitch), the down stroke continues over two strings; when moving to a lower string, the up stroke continues. When more than two notes are played on
6600-676: The music also gained cult status in France and Japan. More recently, hip-hop artists ( A Tribe Called Quest , Guru ) have cited bebop as an influence on their rapping and rhythmic style. As early as 1983, Shawn Brown rapped the phrase "Rebop, bebop, Scooby-Doo" toward the end of the hit " Rappin' Duke ". Bassist Ron Carter collaborated with A Tribe Called Quest on 1991's The Low End Theory , and vibraphonist Roy Ayers and trumpeter Donald Byrd were featured on Guru's Jazzmatazz, Vol. 1 in 1993. Bebop samples, especially bass lines, ride cymbal swing clips, and horn and piano riffs are found throughout
6700-472: The music) began exploring advanced harmonies, complex syncopation, altered chords and chord substitutions. The bop musicians advanced these techniques with a more freewheeling, intricate and often arcane approach. Bop improvisers built upon the phrasing ideas first brought to attention by Lester Young's soloing style. They would often deploy phrases over an odd number of bars and overlap their phrases across bar lines and across major harmonic cadences. Christian and
6800-475: The music, rather than something springing from it at intervals suggested by the ensemble sound. When the Basie orchestra burst onto the national scene with its 1937 recordings and widely broadcast New York engagements, it gained a national following, with legions of saxophone players striving to imitate Young, drummers striving to imitate Jo Jones , piano players striving to imitate Basie, and trumpet players striving to imitate Buck Clayton . Parker played along with
6900-605: The new Basie recordings on a Victrola until he could play Young's solos note for note. In the late 1930s the Duke Ellington Orchestra and the Jimmie Lunceford Orchestra were exposing the music world to harmonically sophisticated musical arrangements by Billy Strayhorn and Sy Oliver , respectively, which implied chords as much as they spelled them out. That understatement of harmonically sophisticated chords would soon be used by young musicians exploring
7000-425: The new music was being developed. The new style of drumming supported and responded to soloists with accents and fills, almost like a shifting call and response . This change increased the importance of the string bass. Now, the bass not only maintained the music's harmonic foundation, but also became responsible for establishing a metronomic rhythmic foundation by playing a "walking" bass line of four quarter notes to
7100-419: The new musical language of bebop. The brilliant technique and harmonic sophistication of pianist Art Tatum inspired young musicians including Charlie Parker and Bud Powell . In his early days in New York, Parker held a job washing dishes at an establishment where Tatum had a regular gig. One of the divergent trends of the swing era was a resurgence of small ensembles playing "head" arrangements, following
7200-464: The norm. Wayne's novel strategy gave him an exceptionally wide harmonic palette, helping him avoid the sameness often found in the playing of guitarists – even some great ones. Wayne's scale fingerings were designed to maximize use of consecutive/alternate picking, and thus to provide a legato feel. His basic scale fingerings are simple, although he also created various extended forms. Like his analytic approach to chords, his scale fingerings provide
7300-455: The original melody or to other well-known melodic lines ("quotes," "licks" or "riffs"). Sometimes they were entirely original, spontaneous melodies from start to finish. Chord progressions for bebop compositions were often taken directly from popular swing-era compositions and reused with a new and more complex melody, forming new compositions (see contrafact ). This practice was already well-established in earlier jazz, but came to be central to
7400-411: The other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. This momentary dissonance creates a strong sense of forward motion in the improvisation. The sessions also attracted top musicians in the swing idiom such as Coleman Hawkins , Lester Young , Ben Webster , Roy Eldridge , and Don Byas . Byas became
7500-408: The pick comes mostly from the joints of the first finger and thumb, not the wrist, hand, or arm. The pick is not held rigidly; its angle changes slightly as it passes over the string. The tip of the pick drags slightly during each stroke so that the tip points up during a down stroke and down during an up stroke. This resembles the apoyando , or rest stroke, used by classical guitarists, particularly if
7600-446: The picking hand, even when not picking a note (except when the gap lasts longer than one full up-down motion). In this manner, an up-beat (such as an even-numbered eighth note or, at faster tempos, sixteenth note ) will always be played with an upward picking stroke, while the down-beats are always played with downward picking strokes. This allows for fluid incorporation of legato -based notes such as hammer-ons and/or pull-offs in
7700-420: The post-bop movement that later incorporated modal jazz into its musical language. Hard bop was a simplified derivative of bebop introduced by Horace Silver and Art Blakey in the mid-1950s. It became a major influence until the late 1960s when free jazz and fusion jazz gained ascendancy. The neo-bop movement of the 1980s and 1990s revived the influence of bebop, post-bop, and hard bop styles after
7800-501: The rest of the band left, performing and recording together for six months before Parker suffered an addiction-related breakdown in July. Parker was again active in Los Angeles in early 1947. Parker and Thompson's tenures in Los Angeles, the arrival of Dexter Gordon and Wardell Gray later in 1946, and the promotional efforts of Ross Russell , Norman Granz , and Gene Norman helped solidify
7900-460: The rhythmic eccentricities of early bebop. Instead of using jagged phrasing to create rhythmic interest, as the early boppers had, these musicians constructed their improvised lines out of long strings of eighth notes and simply accented certain notes in the line to create rhythmic variety. The early 1950s also saw some smoothing in Charlie Parker's style. During the early 1950s bebop remained at
8000-412: The root, and other notes if necessary, to preserve the generic four-note form. Wayne's focus on four-note generic chords reflects the realities of left hand fingering on a six-string guitar. Four-note chords can be comfortably played in many different voicings and fingerings, but five- or six-note chords work only in specific situations and defeat the purpose of a generic approach. Wayne was trying to give
8100-432: The rule for each two-octave arpeggio: 2-1-2-1-2 (five strings) for playing the tetrad (4 notes) harmonic forms of Chuck Waynes' chordal voicings. Unlike other ad-hoc arpeggio fingerings, the two notes per string followed by one note per string rule provides the characteristic legato sound of Chuck Wayne. Combined with the consecutive-alternate picking, the arpeggios resemble harp-like flows. Present day jazz guitarists refer to
8200-436: The swing era. Bebop differed drastically from the straightforward compositions of the swing era and was instead characterized by fast tempos, asymmetrical phrasing, intricate melodies , and rhythm sections that expanded on their role as tempo-keepers. The music itself seemed jarringly different to the ears of the public, who were used to the bouncy, organized, danceable compositions of Benny Goodman and Glenn Miller during
8300-406: The swing era. Instead, bebop appeared to sound racing, nervous, erratic and often fragmented. "Bebop" was a label that certain journalists later gave it, but we never labeled the music. It was just modern music, we would call it. We wouldn't call it anything, really, just music. While swing music tended to feature orchestrated big band arrangements, bebop music highlighted improvisation. Typically,
8400-406: The technique for contrapuntal improvisation was an innovation. Wayne's chord system is based on "generic" chord forms, forms that have the same sonority in all keys, and that do not rely on open strings or guitaristic peculiarities. Wayne observed that most guitar chords in common use do not have these properties and that the way most guitarists play a G7 chord, for example, sounds different from
8500-551: The terms "bebop" and "rebop" were used interchangeably. (Although rebop differed from bebop with its more impressionist use of discordant chords.) By 1945, the use of "bebop"/"rebop" as nonsense syllables was widespread in R&;B music, for instance Lionel Hampton 's " Hey! Ba-Ba-Re-Bop ". The bebop musician or bopper became a stock character in jokes of the 1950s, overlapping with the beatnik . The classic bebop combo consisted of saxophone, trumpet, double bass, drums and piano. This
8600-425: The top of awareness of jazz, while its harmonic devices were adapted to the new "cool" school of jazz led by Miles Davis and others. It continued to attract young musicians such as Jackie McLean , Sonny Rollins , and John Coltrane . As musicians and composers began to work with expanded music theory during the mid-1950s, its adaptation by musicians who worked it into the basic dynamic approach of bebop would lead to
8700-503: The various fingerings is that the student will be able to quickly learn the fretboard. In this way the player can create melodic lines that sound the best. The fingering patterns are practice exercises. However, by generally playing three notes per string, consecutive picking across adjacent strings occurs frequently throughout the scale when forming a melodic line. The arpeggios in Chuck Wayne's system were explained in his book with his student, Ralph Patt . His arpeggios are derived from
8800-477: The way they play a C7 or an E7 due to the different arrangements of notes. The common ("cowboy") chords are popular because they simplify fingering, but they constrict musical options. Wayne avoided this problem. (He did also use "specific" chord forms when appropriate, but his system concentrated on chords with universal applications.) Most chord books have diagrams organized by chord name (A13, Gm7b5) or type (thirteenth, minor seven-flat-five). Under each heading are
8900-601: The well-known disadvantages of the technique, some guitarists (such as Al Di Meola , Steve Morse ) emphasize the near-exclusive use of alternate picking, even in situations where another technique would be easier, claiming that pure alternate picking leads to a more consistent sound and allows for greater control of tone. Alternate picking can be heard in almost all styles of picked guitar music, from jazz and bluegrass , to heavy metal . Victor Wooten uses his thumb for alternate picking, as displayed on his DVD Super Bass Solo Technique . This article relating to guitars
9000-406: Was a format used (and popularized) by both Parker (alto sax) and Gillespie (trumpet) in their 1940s groups and recordings, sometimes augmented by an extra saxophonist or guitar (electric or acoustic), occasionally adding other horns (often a trombone) or other strings (usually violin) or dropping an instrument and leaving only a quartet. This was in stark contrast to the large ensembles favoured during
9100-463: Was adapting the new harmonic ideas to his style that was rooted in Harlem stride piano playing. Drummers such as Kenny Clarke and Max Roach were extending the path set by Jo Jones, adding the ride cymbal to the high hat cymbal as a primary timekeeper and reserving the bass drum for accents. Bass drum accents were colloquially termed "bombs", which referenced events in the world outside of New York as
9200-426: Was an air of exclusivity: the "regular" musicians would often reharmonize the standards, add complex rhythmic and phrasing devices into their melodies, or "heads", and play them at breakneck tempos in order to exclude those whom they considered outsiders or simply weaker players. These pioneers of the new music (which would later be termed bebop or bop , although Parker himself never used the term, feeling it demeaned
9300-427: Was blazed by the territory bands of the southwest with Kansas City as their musical capital; their music was based on blues and other simple chord changes, riff-based in its approach to melodic lines and solo accompaniment, and expressing an approach adding melody and harmony to swing rather than the other way around. Ability to play sustained, high energy, and creative solos was highly valued for this newer style and
9400-479: Was especially enthralled by their tenor saxophone player Lester Young , who played long flowing melodic lines that wove in and out of the chordal structure of the composition but somehow always made musical sense. Young was equally daring with his rhythm and phrasing as with his approach to harmonic structures in his solos. He would frequently repeat simple two or three note figures, with shifting rhythmic accents expressed by volume, articulation, or tone. His phrasing
9500-401: Was far removed from the two or four bar phrases that horn players had used until then. They would often be extended to an odd number of measures, overlapping the musical stanzas suggested by the harmonic structure. He would take a breath in the middle of a phrase, using the pause, or "free space", as a creative device. The overall effect was that his solos were something floating above the rest of
9600-827: Was gaining radio exposure with broadcasts such as those hosted by "Symphony Sid" Torin . Bebop was taking root in Los Angeles as well, among such modernists as trumpeters Howard McGhee and Art Farmer , alto players Sonny Criss and Frank Morgan , tenor players Teddy Edwards and Lucky Thompson , trombonist Melba Liston , pianists Dodo Marmarosa , Jimmy Bunn and Hampton Hawes , guitarist Barney Kessel , bassists Charles Mingus and Red Callender , and drummers Roy Porter and Connie Kay . Gillespie's "Rebop Six" (with Parker on alto, Lucky Thompson on tenor, Al Haig on piano, Milt Jackson on vibes, Ray Brown on bass, and Stan Levey on drums) started an engagement in Los Angeles in December 1945. Parker and Thompson remained in Los Angeles after
9700-406: Was his method of playing octaves . Since Chuck Wayne was an advanced classic guitarist as well as a plectrum player, he combined the two forms to play octaves. His right hand held the pick between the first finger and thumb to play the low note of the octave. His middle finger and ring finger alternated to play the upper note of the octave. His left hand used the "skip one" string form, which is using
9800-411: Was little used subsequently until applied to the music now associated with it in the mid-1940s. Thelonious Monk claims that the original title "Bip Bop" for his composition " 52nd Street Theme ", was the origin of the name "bebop." Some researchers speculate that it was a term used by Charlie Christian because it sounded like something he hummed along with his playing. Dizzy Gillespie stated that
9900-399: Was to experience a mental synthesis of his chord system and the arpeggio structures – revealing the internal relationships that link families of chords. Reaching this plateau would "unlock the fretboard", transforming it into something that could be approached more like a piano keyboard. This happens because Wayne's tetrad chord shapes are contained within the 2-1-2-1-2 fingerings. Again
10000-477: Was working over "Cherokee", and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. It came alive. Gerhard Kubik postulates that the harmonic development in bebop sprang from the blues , and other African-related tonal sensibilities, rather than twentieth century Western art music, as some have suggested. Kubik states: "Auditory inclinations were
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