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Swing designates a style direction of the jazz, which has its roots in the time of the 1920er to 1930er years in the USA. There formed from preceding style directions, as the Dixieland and Chicago jazz a new music direction out, which derived finally its large popularity from their dance barness and their full sound.
The spreading of the Swing is inseparably with the emergence of the Bigband connected, often also jazz orchestras called, what suggests the size of occupation. Up to then if musician formation was in the size of trios to Oktetts the rule, then the Bigband represented now an absolute new fact. From their size followed changes in the kind of making music, in addition, a broad pallet at new musical possibilities.
History
The Swing is considered as the probably most popular style direction of the jazz, which developed toward end of the 1920er years and between found 1935 and 1955 its high point. It was originally copied by Afroamerikanern developed, however soon by the “white ones” Americans, marketed commercially, and last also dominated. The era of the Swing is inseparably connected with the emergence of the musician formation typical for the Swing, the Big volume. The Big volume decreases/goes back in its occupation to the classical, siebenköpfige New Orleans Jazzband, whereby now the three wind instruments that were occupied several times volume (trombone, clarinet and trumpet and/or cornet). Further influences on the Big volume had also completely particularly in ending 19. and 20 beginning. To century in the Southern States of the USA Brassbands liked. As a founder of the “Urbigband” however generally the New Yorker pianist and Arrangeur Fletcher Henderson are seen, which as the first tried multiple occupation out within the range of the Bläser, whereby his “Bigband” had a tenor saxophone, a clarinet as well as the group of rhythms one trombone, two trumpets, an old and. The classical occupation of the Bigband (see below) became generally accepted only starting from 1930.
The Big volume as musician formation had its break-through end of the 1920er years. For the almost cometful ascent a simple explanation from the limitations can be found the time: After the world economic crisis from October 1929 many smaller ensembles were compelling to the dissolution. Now the unemployed persons musicians combined themselves into the “more economical” Big volume, in order to be able to deny at all again their living costs. This was the birth of the Bigband.
Off the centers of the music and record industry the so-called Territory of volume was responsible for the spreading and popularity of the Swing in the whole USA. They had usually a medium sized city as base, around them in One Nighters, thus appearances for only one evening, which „“in the periphery taped territory, whereby between these individual appearances several hundred miles could lie. This volume had to sometimes play still the opportunity for regional and for supraregional radio stations. This part of the development of the Swing is on plates hardly held, there this volume often no possibility got records to take up. Only in Kansas town center formed because of good possibilities for employment a center, at which the contribution of the Territory of volume was taken up to the Swing and national and internationally apparent became.
Big volume
The Big volume covers 17 musicians as well as the Bandleader in its classical occupation in the Swing. The internal organization that is characteristic volume in three sections and/or groups:
- The Reed or wood section is formed by one Baritonsaxophon (bs), two tenor saxophones (ts) and two old saxophones (as).
- The Brass or sheet metal section consists of in each case four trumpets (tp) and trombones (tb).
- The group of rhythms is to be understood as “engine” that volume: Piano (p), bass (B), Schlagzeug (DM) and partial guitar (g) form this group, with that the guitar the banjo, to which bass replaces the tuba and/or the Sousaphon of the old new Orleans Jazzband.
The extension of the ensemble around transverse flutes and clarinets enjoys at that time like today large popularity. Orchestrale of instruments such as horns, tubes and caper instruments could not become generally accepted however in the addition of the instrumentalen spectrum.
The size of the new formation of nevertheless up to 17 musicians drew inevitably a change in the kind of making music. As main difference for the music of the Dixieland, new Orleans or also Chicago jazz volume the written down, thus arrangement available in form of a score was established, since on other way the interaction of a so large number of musicians did not run any longer absolutely harmoniously. From it resulted a certain restriction of the individual freedom of the jazz musicians, which were accustomed to improvising which is based on some fixed harmonies so far. Now only various Soli offered area for improvisation within the numbers. Besides the noted arrangement note knowledge required of the musicians. The pieces through-arranged now permitted a substantial development to the harmonious basis, so that more complicated harmonies and harmony sequences could be arranged. From the reasons specified here it becomes evident why also to today still behind each successful Big volume a formed Arrangeur stands.
As a result of the allocation into different sections different tasks arose for the groups of instruments: In play practice the saxophones transfer frequently the melody voice, why the group of woods is called frequently also Melodysection. Likes is also an allocation of the melody between wood and Blechbläsern. Trombones form the harmonious basis. Clarinets and transverse flutes function frequently as solo instruments. A task of the trumpets is bringing in so-called shouts, rhythmic, short would throw in the respective harmony, which constitute a part of the Bigbandgrooves together with a capable Schlagzeuger. The piano has volume into the Big more melodische tasks, than in the new Orleans Jazzband the case had been, where it formed primarily a harmonious sound carpet for the Soli of the other instruments.
Altogether the character of the Swing is characterized by a larger harmony in the Intonation, contrary to the music of the Dixieland and/or new Orleans jazz, where primarily the rhythm, when drive was the center of attention designated, and was not measured out to the precise Intonation to so much meaning.
Which the individual musician in that had played still separately and improvising new Orleans volume, now in the arrangement to several musicians in the sentence was transferred, is called the actual melody got now several subordinated voices added. The taken place not according to the rules of European Harmonik, but according to principles of African Polyphonie - one calls this also parallel set. From it the ideal desired that the sentence formed from four or five musicians intoniert like only one instrument, thus klanglich balanced and precisely, results sounds.
Musical characteristics
The most important play way however, which lent years also its name to the style direction Swing in the middle of the 1930er, is a Swing movement form mentioned and rhythmic-dynamic of the jazz, which comes by the contrast of felt pulse (the basic impacts in each kind of clock) and smallest rhythmic deviations of the employments of the instruments. In the constant so-called Offbeat play of whole melody passages the swing phenomenon receives a special dominance. For the elucidation the following example may serve: The classical, also frequently rhythmic Swingschema marked by the Schlagzeuger is followed a Viertelnote of two (formal) eighth notes, on which again quarter follows and so on. Those volume both eighths straight, thus actually half as long as the quarters play (as it also usually is noted), that would not be Swing. Actually the first eighth is played somewhat longer than second, which again also on the speed depends, and produces such a springy, basic rhythm feeling. Metrically these are then identical swing eights to a Achteltriole, why one calls the phenomenon of the Swing also “Triolen Feeling”.
The musical elaboration of this circumstances as well as the Offbeat accentuation, thus the minimum shift of melody accents in relation to the basic impact, are incumbent on primarily the Schlagzeuger usually on its Snaredrum. At the same time it marks the pulse, thus the basic impact, with the Bigband Swing on its bass drum. Described above the rhythm figure of the Viertelnote with the following two eighths is usually played to the end on the Ridebecken as Ostinato more or less continuously. From the rhythmic point of view the bass the most important instrument that is regarded volume. The default of the speed and the creation of a solid, usually basic rhythm characterized by Viertelnoten on the basic impacts are incumbent on it as Timekeeper, on whose basis the remainder can put volume to that on.
The swingende play way, before only for the emphasis of certain melodischer passages used, was thus made now the style criterion.
Common also the “call and Response ” is procedures mentioned in the Swing: An instrument plays and another answers to it.
Effect
Benny Goodman and volume.
As the first white volume of this style the Casa Loma Orchestra began at end of the twenties-years with the popularization of the Swing. This style direction of the jazz became starting from center of the thirties-years a mass phenomenon, not least by spectacular successes that volume of the Klarinettisten Benny Goodman. Swing drew in particular the youth the time at that time into its spell, so that from the Swing dance fashions developed a number of savages. The employment of the broadcast, first in the USA, had relevant influence on the triumphant advance of the Swing where between December 1934 and May 1935 was country-wide radiated weekly a radio show with three of volume of different style direction, under it also the Goodman Orchestra, organized as advertising campaign of that national Biscuit company, over the broadcasting stations that national Broadcasting company. Also the radio stations in Europe contributed the their to the triumphant advance of the Swing. Only after the Second World War completely particularly Germany and Austria caught up, where the jazz had been forbidden during the time of the third realm as “degenerate music” in the broadcast, and which supporters of the Swingjugend had to count on heavy punishments. Over intermediaries of this new music direction were mainly the American troops in Europe. To mention is here Glenn Miller, who 1937 its Bigband with the typical “Glenn Miller sound” (four saxophones and prominent clarinet) created and fast large popularity enjoyed. Hits developed as also in The Mood, or Moonlight serenade, American Patrol, Chattanooga Choo Choo, Tuxedo Junction or Little Brown Jug. Glenn Miller joined the Army air Force and took over 1942 the line of the Army air Force volume. 1944 died Miller with a supply flight over the English Channel.
In the course of the time the Swing trained a double character. Thus Swing was used on the one hand as popular dance music, on the other hand one purely konzertante presentations took place. The Swing celebrated its triumph course however as dance music, and he attained a popularity been never there. From this also the commercial adjustment of the Swing was derived to the taste of the mass public. Thus now the Tin Pan Alley, to a New Yorker music mile, were written Swingnummern for the broad public at the current volume. This “mass production” and the increasing commercialization of the Swing music particularly through white of volume (e.g. Glenn Miller) removed this direction of the jazz however clearly from its afroamerikanischen roots. The musicians of the following directions of the jazz, the Bebop (starting from 1940) and that worked against that coolly jazz (starting from 1949/50). In club sessions and concerts they - first involuntarily supported by the Recording ban - relieved the jazz of its customs function as dance music.
Today the Swing enjoys again of increasing popularity. Like already into the 70ern new orchestras with young musicians are based. The Pasadena Roof Orchestra created into the 70ern is meanwhile just as legendary by its high musical quality as that of its models from and the 30's 20's.
Important albums
The soloists of the Swing
- Benny Carter: 1940-1941 (Classics)
- Coleman Hawkins: The Complete Coleman Hawkins (Mercury, 1944)
- Billie Holiday: The Quintessential Billie Holiday, volume 4 1937 (Columbia, 1937)
- Johnny Hodges: Everybody Knows Johnny Hodges (impulses! , 1964)
- Teddy Wilson: 1937, 1938 (Classics)
- Lester Young: The Complete Aladdin session (Blue note, 1942-47)
The Big of volume
- COUNT Basie: The original American Decca Recordings (MCA GRP 1937-39)
- Duke Ellington: The Duke RK fargo 1940 (Storyville, 1940)
- Duke Ellington: Black, Brown and beige (RCA, 1944-46)
- Benny Goodman: The Famous 1938 Carnegie resound to Concert (Columbia, 1938)
- Lionel Hampton: 1937-1938, 1938-1939, 1939-1940 (Classics)
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