MUSC 120 SJSU Maiden Voyage by Herbie Hancock Discussion For Each Discussion 1-2 paragraph long Discussion #1: Listen to Herbie Hancock’s Maiden Voyage p

MUSC 120 SJSU Maiden Voyage by Herbie Hancock Discussion For Each Discussion 1-2 paragraph long

Discussion #1:

Listen to Herbie Hancock’s Maiden Voyage performed by Herbie Hancock, and consider the following questions:

There is an introduction to this piece, how many bars is it? The melody (or head) begins at 00:16 and ends at 01:20. What is the form? How many bars is it? Hint: this piece is a modal take on a form you know well.
How is the melody played by Coleman and Hubbard? How does this group arrange the melody?
Describe the pulse and repeated rhythm that is played by the piano, bass and drums during the melody.
Coleman begins his solo at 01:20. How many choruses does he take? How many choruses does Hubbard solo? How many choruses does Hancock solo?
Briefly describe how the accompaniment of Hancock/Carter/Williams changes over course of George Coleman’s solo. How are they different from other rhythm sections that you have heard? How does this piece end?

Discussion #2:

Spain, a mix of jazz-rock fusion and Latin jazz, is a famous piece by Chick Corea’s Return to Forever. Let’s listen and consider the following questions:

The order of solos in this piece is: Farrell, Corea, Clarke. Regarding the solos of Farrell and Corea: Listen to the recording and provide counter numbers for the beginning and end of these two solos. Compare and contrast the solo styles, and describe them. Listen to how they phrase or create musical lines over the chord changes. Try to include some detail.
How would you compare/contrast the flute solo style of Farrell with that of a hard bop alto saxophonist such as Cannonball Adderley? Does it sound like he has elements of a hard bop style?
How would you compare/contrast the electric piano style of Corea in this piece with his piano solo style in Steps – What Was?
Describe the Latin feel of the bass/ drums and percussion during the solos.

Discussion #3:

POSTMODERNISM VS. NEOCLASSICISM

The music of Anthony Braxton, Roscoe Mitchell, David Murray, and John Zorn is arguably representative of a variety of postmodern approaches to jazz. How does this postmodern approach distinguish itself from the neoclassical approach exemplified in the music of Wynton Marsalis? Along the philosophical spectrum of jazz, where do you stand? Which points made by either of these two philosophic camps do you support? Which points do you oppose?

Discussion #4:

LATIN JAZZ

Listen to Royal “T”. This piece by Tito Puente is a good example of his Afro-Cuban approach to composing and percussion. See the “Latin Jazz” and “Tito Puente” pages in this lesson to help you describe the style of Royal “T” and the style of Puente’s group, and consider the following questions:

The order of solos in this piece is: Burtis/Velasco trading eights, Burtis, Rodriguez/Lujan trading eights. Listen to the recording and provide counter numbers for the beginning and end of these solos. Describe their solo styles.
Compare the style of this piece to that of Dizzy Gillespie’s Manteca.
The melody (or head) begins at 00:00 and ends at 01:28. How many sections does the melody have? Use letters and counter numbers to designate the sections.
Describe the Afro-Cuban aspects to the melody? What is “traditional” about the style of the soloists? What is “fresh” and new about their style of soloing? What style of jazz do these soloists most sound like: Latin and/or hard bop?