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Fine Arts Section III Jazz & Blues

Total questions: 82

Worksheet time: 41mins

Name
Class
Date
1.

Which label reflects the rural origins of the earliest blues-singing tradition?

a)

Country blues nickname

b)

Delta blues nickname

c)

Urban blues nickname

d)

Vaudeville blues nickname

2.

In early country blues, which accompaniment was commonly used by singers performing alone?

a)

Guitar or harmonica

b)

Brass band section

c)

String quartet

d)

Piano trio ensemble

3.

Which rhythmic feature is typical of country blues compared to classic blues?

a)

Polyrhythmic complexity

b)

Flexible twelve-bar use

c)

Frequent meter changes

d)

Strict twelve-bar adherence

4.

Which venues were associated with informal country-blues performances?

a)

University auditoriums

b)

Symphony halls

c)

Opera houses only

d)

Picnics and roadhouses

5.

Which early country-blues singer was better known as Lead Belly?

a)

W. C. Handy

b)

Huddie Ledbetter

c)

Bessie Smith

d)

Robert Johnson

6.

What myth helped fuel Robert Johnson’s following?

a)

Studying with a famous teacher

b)

Selling his guitar for fame

c)

Improved after selling his soul

d)

Winning a national contest

7.

Which term sometimes referred to the more urban version of blues?

a)

Field holler blues

b)

Classic blues style

c)

Pastoral blues style

d)

Frontier blues style

8.

In classic blues, what ensemble support was common for vocalists?

a)

Full symphony orchestra

b)

Solo banjo only

c)

Combo accompaniment

d)

Electronic backing tracks

9.

Compared with country blues, what did classic blues lyrics more often emphasize?

a)

Political protest themes

b)

Work songs and labor chants

c)

Autobiographical rural hardships

d)

Love and relationships

10.

Which publisher was among the earliest to release printed blues sheet music?

a)

Duke Ellington

b)

Louis Armstrong

c)

W. C. Handy

d)

Scott Joplin

11.

Who was dubbed the Empress of the Blues for her cast-iron voice and landmark recordings?

a)

Ma Rainey

b)

Bessie Smith

c)

Billie Holiday

d)

Ella Fitzgerald

12.

Which outcome followed Bessie Smith’s first Columbia releases in 1923?

a)

Minor sales and quick decline

b)

Six million sales over six years

c)

No radio play and failure

d)

Only regional popularity

13.

Which lyric structure commonly used in classic blues appears in 'Lost Your Head Blues'?

a)

ABB pattern with final refrain

b)

AAB pattern with repeated lines

c)

ABA pattern with repeated refrain

d)

ABC pattern with varied stanzas

14.

In this recording, what does a 'fill' by the cornet typically do after Bessie Smith’s sung phrase?

a)

Replace the vocal line completely

b)

Change the key signature abruptly

c)

Provide a call-and-response echo

d)

Introduce a new chorus section

15.

Which technique describes sliding quickly between pitches, heard on words like 'did' or 'I'?

a)

Melodic ostinato repetition

b)

Staccato tonguing articulation

c)

Syncopated cross-rhythm

d)

Glissando or slide motion

16.

What role does improvisation play in the performance?

a)

Eliminates all planned chord progressions

b)

Creates spontaneous vocal ornamentation

c)

Forces strict reading of written notation

d)

Prevents instrumental participation

17.

During the intro, which instruments establish the swing feel that supports the vocal?

a)

Piano and cornet ensemble

b)

Banjo and clarinet duo

c)

Violin and saxophone

d)

Guitar and tuba pairing

18.

When the chorus begins, what musical feature often follows the sung line?

a)

Silence to heighten tension

b)

Cornet response as a fill

c)

Unison singing by the band

d)

Meter change to triple time

19.

Which vocal embellishment is noted on the word 'gal' near 1:05?

a)

Melisma with several pitches

b)

Growl with rough timbre

c)

Vibrato with wide oscillation

d)

Falsetto leap upward

20.

In the later choruses, how is pitch bend used expressively on words like 'I' and 'long'?

a)

To flatten dynamics across phrases

b)

To articulate staccato syncopations

c)

To scoop into notes for emphasis

d)

To modulate to a distant key

21.

Which statement best describes the relationship between blues and early jazz highlighted here?

a)

Jazz replaced blues entirely by 1920

b)

Blues copied jazz notation practices

c)

Blues techniques became ingredients in jazz

d)

Distinct styles with no shared features

22.

Why did many New Orleans musicians head north to cities like Chicago in the early 1920s?

a)

To avoid recording technology

b)

To follow stricter classical training

c)

For better opportunities and audiences

d)

To abandon improvisation practices

23.

Which feature most distinguishes Chicago jazz from earlier New Orleans jazz in ensemble texture?

a)

Longer solos reducing collective improvisation

b)

Short solo breaks highlighting individual skill

c)

Continuous heterophony without planned sections

d)

Frequent collective improvisation throughout pieces

24.

What instrument did Joe "King" Oliver primarily play in his band?

a)

Clarinet

b)

Trombone

c)

Cornet

d)

Banjo

25.

Which recording company’s Indiana studio hosted Oliver’s April 1923 sessions despite difficult acoustics?

a)

OKeh

b)

Columbia

c)

Victor

d)

Gennett

26.

In the introduction of "Dippermouth Blues," what do the two cornets perform together?

a)

A descending eighth-note pattern in harmony

b)

A rising scale with syncopated accents

c)

A chromatic run ending on the tonic

d)

A sustained unison melody with tremolo

27.

Which player was allowed to take the lead cornet during Chorus 5 of "Dippermouth Blues"?

a)

Louis Armstrong

b)

Johnny Dodds

c)

Bill Johnson

d)

Honoré Dutrey

28.

During stop-time choruses, what role does the ensemble primarily take?

a)

Play short staccato chords on each downbeat

b)

Maintain continuous collective improvisation

c)

Sustain a pedal point under solos

d)

Drop out completely until the final tag

29.

What nickname refers to the ensemble’s loud, collective improvisation near the end of "Dippermouth Blues"?

a)

Intro chorus

b)

Sock-chorus

c)

Break chorus

d)

Tag chorus

30.

Which device did Oliver use to create the wah-wah effect in his featured choruses?

a)

Rubber plunger over the cornet bell

b)

Metal straight mute inside the cup

c)

Hand over the mouthpiece rim

d)

Bucket mute suspended on a stand

31.

Which musician shouted "Oh, play that thing!" during Chorus 9?

a)

Honoré Dutrey

b)

Lillian Hardin

c)

Baby Dodds

d)

Bill Johnson

32.

Why is "Dippermouth" a teasing reference connected to Louis Armstrong?

a)

Armstrong once wrote a tune titled "Big Dipper"

b)

Armstrong’s nickname "Satchmo" means small scoop

c)

Armstrong’s cornet tone resembled a ladle’s curve

d)

Armstrong’s mouth was said to be as big as a dipper

33.

Which statement best captures the hybrid nature of "Dippermouth Blues" structure?

a)

Uses twelve-bar blues repeatedly across choruses

b)

Alternates free jazz with classical rondo sections

c)

Employs through-composed variation without repeats

d)

Centers on a strophic verse–chorus pop form

34.

What likely caused Baby Dodds to miss the intended woodblock solo break at the end of Chorus 8?

a)

Instrument malfunction on the take

b)

Studio ban on percussion solos

c)

Recording confusion or miscommunication

d)

Tempo changes by the cornetist

35.

In the listening guide, which chorus features Oliver’s famous wah-wah mute solo?

a)

Chorus 1

b)

Chorus 8

c)

Chorus 3

d)

Chorus 6

36.

What change in jazz performance practice is associated with the move to Chicago?

a)

Solo breaks becoming shorter and more frequent

b)

Elimination of stop-time in favor of continuous rhythm

c)

Expanded use of collective improvisation across all sections

d)

Pre-planned homophony replacing raucous heterophony

37.

Which pianist helped drive Chicago’s jazz leadership after Oliver’s recording sessions and was dubbed the "Jazz Wonder Child"?

a)

Fats Waller

b)

Lillian Hardin

c)

Earl Hines

d)

Jelly Roll Morton

38.

Which musician persuaded a Chicago club manager to hire Louis Armstrong as a bandleader for $75 a week?

a)

Johnny Dodds persuaded the manager

b)

Lonnie Johnson persuaded the manager

c)

Lil Hardin persuaded the manager

d)

Kid Ory persuaded the manager

39.

What label offered the Hot Five $50 per player to make their first records in 1925?

a)

Okeh Records offered the fee

b)

Columbia Records offered the fee

c)

Victor Records offered the fee

d)

Bluebird Records offered the fee

40.

Who were the core instrumentalists in the original Hot Five lineup assembled by Louis Armstrong in 1925?

a)

Trumpet, trombone, clarinet, banjo, piano

b)

Trumpet, trombone, piano, guitar, tuba

c)

Trumpet, saxophone, tuba, guitar, drums

d)

Cornet, violin, clarinet, piano, drums

41.

Which early recording popularized scat singing for many listeners, according to Kid Ory’s account?

a)

Potato Head Blues recording

b)

Hotter Than That recording

c)

Heebie Jeebies recording

d)

West End Blues recording

42.

What is scat singing in jazz performance?

a)

Humming the main melody exactly

b)

Singing nonsense syllables as improvisation

c)

Reading lyrics from sheet music

d)

Whistling over a steady drone

43.

Which guitarist joined the Hot Five for the December 1927 sessions that included “Hotter Than That”?

a)

Django Reinhardt joined the band

b)

Charlie Christian joined the band

c)

Lonnie Johnson joined the band

d)

Eddie Lang joined the band

44.

Which bar form did Lil Hardin Armstrong adopt in “Hotter Than That” instead of a twelve-bar blues?

a)

Forty-bar form with extended coda

b)

Sixteen-bar form with repeated ostinato

c)

Twenty-four-bar form with walking bass

d)

Thirty-two-bar form split into segments

45.

In “Hotter Than That,” which famous chord changes underlie a section borrowed by Lil Hardin Armstrong?

a)

Giant Steps chord cycle

b)

Rhythm changes chord set

c)

Tiger Rag chord changes

d)

Blue Monk chord scheme

46.

What rhythmic feature creates the polymetric effect highlighted in Figure 2–2 from “Hotter Than That”?

a)

Alternating duple and compound meters

b)

Triplet groupings against common time

c)

Syncopated sixteenth-note hockets

d)

Straight quarter notes over a drone

47.

During the scat chorus of “Hotter Than That,” how does Armstrong’s phrasing interact with the guitar’s steady time?

a)

Shifts into quarter-note triplets

b)

Follows swung eighths strictly

c)

Locks to exact quarter beats

d)

Holds sustained whole notes

48.

Which performer delivers the trombone solo in Chorus 4 of “Hotter Than That,” according to the listening guide?

a)

Lonnie Johnson performs the solo

b)

Johnny Dodds performs the solo

c)

Johnny St. Cyr performs the solo

d)

Kid Ory performs the solo

49.

What texture frequently frames solos in “Hotter Than That,” as noted in the listening companion?

a)

Strict counterpoint throughout

b)

Heterophonic passages framing solos

c)

Homophonic chorale sections

d)

Unison riff figures only

50.

Which recorded moment famously features Armstrong hitting eleven syncopated high “C” pitches over the ensemble?

a)

The introductory fanfare

b)

The interlude piano solo

c)

The coda guitar ending

d)

The “sock chorus” section

51.

Which misconception is corrected by the material about scat singing in “Heebie Jeebies”?

a)

Scat singing was entirely new in 1926

b)

Scat singing required printed syllables

c)

Scat singing had never been recorded

d)

Scat singing was popularized by that record

52.

What role did Lil Hardin Armstrong play in advancing Louis Armstrong’s career after 1922?

a)

Encouraged him to leave Oliver’s band

b)

Stopped him from reading music

c)

Discouraged studio recordings

d)

Opposed him taking solos

53.

Which aspect of Fletcher Henderson’s arranging helped define the early big band sound?

a)

Minimal brass with small combos

b)

Sectional writing with call-and-response

c)

Unison melodies without sections

d)

Solo-driven improvisation throughout

54.

What does block voicing refer to in big band arranging?

a)

Layering unrelated riffs randomly

b)

Writing only for solo trumpet

c)

Using only piano to state themes

d)

Harmonizing a section as one unit

55.

Which musician served as Henderson’s key arranger who advanced sectional techniques?

a)

Count Basie, Kansas City bandleader

b)

Duke Ellington, early nightclub pianist

c)

Louis Armstrong, famed for long solos

d)

Don Redman, noted for structured writing

56.

In Henderson’s bands, how were exchanges across sections commonly organized?

a)

Call-and-response between sections

b)

Continuous tutti without breaks

c)

Solo cadenzas replacing riffs

d)

Randomized entrances without form

57.

Which term best describes a short, repeated motif used as an interlude before the next chorus?

a)

Vamp as a recurring interlude

b)

Ostinato as a full-length melody

c)

Bridge as a contrasting theme

d)

Tag as an extended ending

58.

Why was Henderson’s ensemble size crucial to the “big band” identity?

a)

Larger sections increased power

b)

Smaller groups enabled agility

c)

Soloists replaced written parts

d)

Rhythm only supported singers

59.

Which statement aligns with Leora Henderson’s description of the band’s difficulty?

a)

Music demanded high reading skill

b)

Charts were entirely improvised

c)

Players avoided written riffs

d)

Arrangements lacked structure

60.

Identify the feature heard in The Stampede’s introduction passed between sections.

a)

A free-tempo drum solo opening

b)

A repeated twelve-bar blues bass

c)

A long rubato clarinet cadenza

d)

A distinctive four-beat riff

61.

Which performance practice in The Stampede highlights early swing arranging?

a)

Continuous sax soli without breaks

b)

Solo guitar comping throughout

c)

Extended organ pedal points

d)

Block-chord responses by brass

62.

What musical role did Louis Armstrong have with Henderson in 1924–1925?

a)

Pianist leading rehearsals

b)

Band manager for tours

c)

Arranger of woodwind parts

d)

Cornet player inspiring style

63.

How does sectional writing shape texture in big band charts?

a)

Percussion-only thematic leads

b)

Woodwinds versus brass dialogue

c)

Strings doubling every melody

d)

Single instrument melodic focus

64.

Which timeline detail from The Stampede shows call-and-response at the ensemble level?

a)

Organ and choir antiphony

b)

Full band exchanges in chorus

c)

Solo flute echoing piano riff

d)

Unaccompanied bass feature

65.

Which term describes multiple musicians simultaneously creating independent lines within a shared structure?

a)

Solo break featuring a single virtuoso

b)

Collective improvisation among ensemble players

c)

Call-and-response between vocalist and band

d)

Block chords voiced in parallel motion

66.

Which rhythmic feel is characterized by a lengthening of the first note and shortening of the second in paired notes?

a)

Hemiola shifting metrical accents

b)

Polymeter alternating bar lengths

c)

Straight duple rhythm patterns

d)

Swing rhythm with uneven eighths

67.

What best describes melismatic text setting?

a)

Syllables stretched by instrumental breaks

b)

Spoken-word delivery without pitch

c)

One pitch per syllable of the text

d)

Multiple notes sung on a single syllable

68.

In jazz performance, what is a sock-chorus most closely associated with?

a)

Opening chorus establishing changes

b)

Middle chorus with stop-time effect

c)

Final chorus featuring busy heterophony

d)

Solo chorus using wah-wah mute

69.

Which practice is typical of early New Orleans jazz texture?

a)

Collective improvisation creating heterophony

b)

Solo breaks extending full choruses

c)

Homorhythmic tag ending every piece

d)

Strictly written counterpoint throughout

70.

Which feature commonly appears in a blues chorus rhyme scheme?

a)

Couplet followed by refrain line

b)

Four lines using abab quatrain

c)

Three lines with a b c form

d)

Two lines with a a b pattern

71.

Which device creates a dialogue between singer and band in some blues recordings?

a)

Call-and-response with short fills

b)

Unison block voicing throughout

c)

Stop-time with held ensemble note

d)

Wah-wah mute on the trumpet

72.

What effect does a wah-wah mute primarily produce on trumpet timbre?

a)

Wavering vowel-like color changes

b)

Bright piercing overtones projection

c)

Soft diffuse tone without core

d)

Metallic buzz resembling harmonica

73.

Which term refers to embellishing a vocal line with smooth pitch slides?

a)

Glissandos shaping phrase ends

b)

Staccato articulations between notes

c)

Vibrato added at sustained tones

d)

Blue notes lowering scale degrees

74.

What distinguishes a stop-time chorus?

a)

Rhythm section switches to double time

b)

Soloist trades fours with the drummer

c)

Ensemble plays a brief hit then rests

d)

Band sustains pedal point throughout

75.

In a classic blues performance setting, which ensemble is most likely featured?

a)

Male singer with full symphony orchestra

b)

Choir singing in strict homophony

c)

Female singer with piano or small combo

d)

Unaccompanied solo vocalist throughout

76.

Which approach to arranging treats instrument families as grouped voices moving in parallel?

a)

Ostinato layering under melody

b)

Open voicing spread across octaves

c)

Counterpoint with independent lines

d)

Block voicing or sectional writing

77.

Which term names a short, conclusive ending after the final chorus?

a)

Tag closing the performance

b)

Coda introducing new material

c)

Bridge connecting two sections

d)

Intro establishing the groove

78.

In early jazz, what function did brief solo breaks serve?

a)

Establishing the tune’s harmonic changes

b)

Replacing the need for collective texture

c)

Ending the form with a homorhythmic tag

d)

Spotlighting individual players momentarily

79.

Which feature helped Chicago jazz evolve from New Orleans style?

a)

Eliminating collective improvisation entirely

b)

Reduced instrumentation to solo banjo focus

c)

Longer written passages with sectional writing

d)

Abandoning swing for straight rhythms

80.

Which statement best defines blue notes within the blues style?

a)

Fast ornamental turns between pitches

b)

Notes strictly tuned to equal temperament

c)

Accents placed on offbeats only

d)

Lowered or inflected scale degrees

81.

What is the typical structural unit repeated in many jazz forms discussed?

a)

Recitative alternating spoken passages

b)

Cadenza inserted without meter

c)

Verse expanding free melodic ideas

d)

Chorus repeating a set of changes

82.

Which technique can produce a polymetric effect during scat singing?

a)

Layering patterns against the band’s meter

b)

Avoiding syncopation in vocal improvisation

c)

Maintaining strict alignment with the pulse

d)

Using only quarter-note syllables consistently