We can work on Bebop

Tenor saxophonist Dexter Gordon was a leading figure in bebop, drawing upon the styles of both of Count Basie’s tenor players, Lester Young and Herschel Evans, to forge his own style in the bebop idiom. His composition Bikini exhibits an interesting and unique hybrid form.

Listen attentively to Bikini performed by Dexter Gordon, tenor saxophone (ts); Jimmy Bunn, piano (p); Red Callender, bass (b); and Chuck Thompson, drums (d); and address the following questions:

  1. The order of solos in this piece is: Gordon, Bunn, Callender, and Thompson (at end). Provide counter numbers for the beginnings and ends of all four solos.
  2. 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.
  3. How many choruses does each of them take? Note: This piece is a 44-bar hybrid AABA song form in which each A section is a 12-bar blues chord progression, while the B section (the bridge) is a standard 8-bar section. The first chorus is 00:11 to 01:00.
  4. What is your impression of this piece? How do these bebop soloists differ from the swing soloists that you have heard? Does the bebop ensemble treat or arrange the melody differently from the swing big band arrangements (of melody) that you have heard? If so, how?
  5. Generally speaking, this band would have performed for what type of audience?

Sample Solution

As indicated by George E. Moore, moral cases all worry human direct while philosophical morals eventually frets about information on what “great” is. Moore additionally accepts philosophical morals should worry about what is acceptable instrumentally, or great as a methods as opposed to great as an end, as a property. As indicated by Moore, what is characteristically acceptable, or the property of “goodness” isn’t an analyzable property. For Moore, what “great” is, or “goodness”, as an individual property, is “unanalyzable”, or, undefinable. In this manner, any case which gives a meaning of “goodness” is ascribing goodness to an option that is, as opposed to recognizing what goodness itself, as a property, is. Moore blames the individuals who make this blunder for submitting the “naturalistic deception”. He accepts that ethical naturalists — scholars who keep up that ethical properties exist and can be dispassionately considered, through science and sciences — are essentially answerable for this slip-up. Moore thought logicians submitted the naturalistic misrepresentation when endeavoring to characterize “great” by moving from one case that a thing is “acceptable” to the case that “great” is that thing. Moore figured one couldn’t distinguish “great” with a thing one accepts is “acceptable”. So as to test and decide if an endeavor at characterizing “great” is right and not a hid task is the thing that Moore called the “open inquiry contention.” Moore recommended that on the off chance that “decency” is a characteristic property, at that point there is some right clarification of which regular property it is. For instance, perhaps “goodness” is a similar property as “agreeableness”, or a similar property as being “alluring”. Further, a right property must be recognized to fill in a personality explanation of the structure “goodness = __________”, or, “what is acceptable is _________”. This sort of character explanation can be right just if the two terms on either side of the personality sign are equivalent words for capable speakers who comprehend the two terms. Synonymy of the two terms is then tried through substitution of a term. Moore’s thought is that substitution of equivalent words for each other jelly the first recommendation that a sentence communicates. For instance, utilizing the sentence: “what is acceptable is charming.” For this to finish Moore’s assessment, the sentence would need to communicate a similar thing as “what is lovely is wonderful.” Moore trusted clearly t>

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