Glenn Miller - In The Mood | Colorized (1941)

Glenn Miller (1904년 3월 1일 출생 , 미국 아이오와주 클라린다 -1944년 12월 16일 런던에서 파리로 가는 도중 바다에서 사망), 미국의 빅 밴드 리더, 편곡가, 작곡가, 제2차 세계 대전 세대 의 최고의 음악적 상징으로 여겨지는 트롬본 연주자 .

Miller는 Boulder에 있는 University of Colorado 에서 공부를 시작했지만 음악가로 일하기 위해 떠났습니다. 그는 1920년대 중반 Ben Pollack의 오케스트라에서 트롬본 연주자로 고용되기 전에 여러 밴드에서 연주했습니다. 1928년부터 1936년까지 Miller는 프리랜서 음악가로 일하면서 Red Nichols, Dorsey 형제 , Benny Goodman , Ray Noble 및 Smith Ballew 의 밴드에 편곡과 트롬본 연주를 제공했습니다. 1935년에 그는 음악 과 함께 공부했습니다.이론가 Joseph Schillinger는 밀러가 나중에 성공하는 데 중요한 요소가 된 도구 개발에 영향력이 있음을 입증했습니다. Miller는 1937년에 첫 번째 밴드를 결성했습니다. 거의 주목을 받지 못지만 녹음 중 일부, 특히 Miller의 "I Got Rhythm '은 카운터멜로디와 여러 개의 거짓 엔딩을 사용했다.

밀러는 1938년 초에 첫 번째 오케스트라를 해체하고 즉시 새 오케스트라를 구성했습니다. 이 그룹과 함께 Miller는 그에게 지속적인 명성을 가져다 줄 사운드를 발견했습니다. “밴드는 자신만의 사운드를 가져야 합니다. 성격이 있어야합니다.”라고 그는 한 번 말했습니다. 그의 공식은 멜로디를 연주하는 클라리넷 , 한 옥타브 낮게 연주하는 테너 색소폰, 하모닉 지원에서 다른 색소폰으로 두 배로 구성되었습니다 . 재즈 역사가Gunther Schuller는 "아주 독특한 소리를 가진 사람을 생각하기 어렵다"고 썼습니다.

 

스폰서 콘텐츠

스윙 , 음악 에서 재즈 음악 의 리드미컬한 추진력 과 1935년경에서 1940년대 중반 사이에 두드러진 특정 재즈 관용구( 때때로 스윙 시대라고 함). 스윙 음악은 고정된 비트와 관련하여 뮤지션의 어택과 악센트에서 비롯된 강력한 추진력을 가지고 있습니다. 스윙 리듬은 협소한 정의를 거부하며 음악은 정확히 표기된 적이 없습니다.

 

Swing is sometimes considered a partial dilution of the jazz tradition because it organized musicians into larger groups (commonly 12 to 16 players) and required them to play a far higher proportion of written music than had been thought compatible with the fundamentally improvisatory character of jazz. Nevertheless, it was the first jazz idiom that proved commercially successful. The swing era also brought respectability to jazz, moving into the ballrooms of America a music that until that time had been associated with the brothels of New Orleans and the Prohibition-era gin mills of Chicago.

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Fletcher Henderson and his band

The big swing bands organized their players into sections of brass, woodwinds, and rhythm and hired skilled orchestrators to write music for them. This structure encouraged a relatively simple compositional technique: sections were played off against each other, sometimes in counterpoint, sometimes in musical dialogue. A popular device was the riff, a simple musical phrase reiterated by a band or by a section in counterpoint with other sections’ riffing until, by sheer power of repetition, it became almost hypnotic. The bands led by the Black pianist Fletcher Henderson in the 1920s were especially important in disseminating these musical ideas, which were then picked up by white orchestras riding the later tide of swing’s popularity. Henderson and his brother Horace remained among the most influential swing arrangers of the following decade. Equally as important was Duke Ellington, whose music was infused with a unique range of harmonies and sound colours.

 

As the wind basses and banjos characteristic of earlier jazz were replaced in the swing band of the 1930s by stringed basses and guitars, the effect of the rhythm section became lighter, and musicians accustomed to playing in 2/2 metre adapted to 4/4 metre. The flowing, evenly accented metres of Count Basie’s band proved especially influential in this regard.

The swing era was in many ways an exercise in public relations. To succeed on a national scale, a band—especially its leader—had to be commercially exploitable, and in this period of American history this meant that its leader and members had to be white. Although several Black orchestras—e.g., those of Basie, Ellington, Chick Webb, and Jimmie Lunceford—became famous during the period, the swing era was in the main a white preserve whose outstanding bandleaders included Benny Goodman, Harry James, Tommy and Jimmy Dorsey, and Glenn Miller. Although Goodman was billed as the “King of Swing,” the best band was that of Ellington, and Basie’s was perhaps next.

 

Coleman Hawkins

Concurrent with the big-band craze came a flowering of the solo art among both small-group musicians, such as pianists Fats Waller and Art Tatum and guitarist Django Reinhardt, and big-band players with after-hours careers. The great virtuosos of the second category included saxophonists Lester Young, Johnny Hodges, Benny Carter, Coleman Hawkins, and Ben Webster; trumpeters Roy Eldridge, Buck Clayton, Henry (“Red”) Allen, and Cootie Williams; pianists Teddy Wilson and Earl Hines; guitarist Charlie Christian; bassists Walter Page and Jimmy Blanton; trombonists Jack Teagarden and Dicky Wells; and singer Billie Holiday.

 

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The swing era was the last great flowering of jazz before its period of harmonic experimentation. At its best, swing achieved an art of improvisation in which current harmonic conventions counterbalanced the stylistic individubands in general. But when singers who began as swing stylists, such as Frank Sinatra, Nat King Cole, Peggy Lee, and Sarah Vaughan, became more popular than the swing bands they sang with, the swing era came to an end. The harmonic experimentation of the late swing era, evident in, for example, the Woody Herman and 1940년대 초반의 Charlie Barnet 밴드는 재즈의 다음 발전인 bop 또는 bebop을 예고했습니다 .

브리태니커 백과사전의 편집자이 문서는 Pat Bauer 가 가장 최근에 수정하고