Table of Contents

Matsayin Kayan Waƙar Brass a Haihuwar Jazz da Big Band Music

Juyin halitta na jazz da kuma babban rukuni ba za a iya raba shi da mai motsi, mai iko sauti na kayan kida ba. Daga titunan New Orleans a cikin shekarun 1890 zuwa dakunan rawa na Swing Era, ƙaho, cornet, trombone, da tuba sun ba da ƙashin baya na juyin juya halin kiɗa. Kayan kida ba kayan aiki ne kawai na waƙa da jituwa ba; sun kasance muryar al'adu a motsi, suna haɗuwa da al'adun rhythmic na Afirka, tsarin jituwa na Turai, da kuma makamashi mai amfani da rayuwar Amurka. Fahimtar rawar da tagulla ke takawa a wannan tarihin kiɗa ya nuna yadda sauti, al'umma, da kirkire-kirkire suka haɗu don ƙirƙirar wasu daga cikin kiɗa mafi tasiri na karni na 20.

Labarin ya fara ne a New Orleans, wani birni na tashar jiragen ruwa inda al'adun Faransa, Mutanen Espanya, Afirka, da Caribbean suka haɗu. Ƙungiyoyin jan ƙarfe sun kasance wani ɓangare na rayuwar yau da kullun, suna wasa don farati, jana'iza, tarurruka na siyasa, da rawa na zamantakewa. Waɗannan ƙungiyoyin, waɗanda suka samo asali daga al'adun soja na Turai amma sun cika da haɗin kai da haɓaka na Afirka, sun zama filin horo ga ƙarni na farko na mawaƙa na jazz. A ƙarshen karni, kayan aikin jan ƙarfe waɗanda suka taɓa aiki a cikin ƙungiyoyin tafiya da ƙungiyar mawaƙa suna canzawa zuwa wani sabon abu gaba ɗaya: muryar jazz.

Kayan Waƙar Gidan Waƙoƙi da Suka Sa Aka Yi Wa Jazz na Farko

Ƙungiyoyin jazz na farko yawanci suna da layin farko na kayan kida na tagulla wanda ke da sashi na rhythm. Ƙararrawa, cornet, da trombone suna ɗaukar nauyin sauti da jituwa, yayin da tuba sau da yawa ke ba da layin bass. Zaɓin tagulla ba wani abu ne ba. Waɗannan kayan aikin sun ba da ƙarar da ƙirar da ake buƙata don yanke ta hanyar hayaniya ta tituna da ɗakunan rawa, kuma sassauƙinsu na fasaha ya ba da damar furta sautin da aka yi da kyau, ƙyama, da kuma kuka waɗanda suka zama cibiyar sauti na jazz.

Ƙararrawa da Ƙaho: Daga Bolden zuwa Armstrong

A farkon kwanakin jazz, cornet shine kayan aikin da aka fi so. Ƙananan ƙarami da taushi fiye da ƙaho, cornet ya fi sauƙi a riƙe da wasa na tsawon awanni, kuma sautinsa ya haɗu da kyau a cikin saitunan ƙungiyar. Buddy Bolden, wanda ake kira sarkin farko na jazz, mai kunna cornet ne wanda za'a iya jin sautinsa mai ƙarfi a cikin mil.

Canjin daga cornet zuwa trumpet ya hanzarta a cikin shekarun 1920, wanda yafi rinjaye ta hanyar mafi rinjaye mai kunnawa a tarihin jazz: Louis Armstrong. Armstrong ya fara a kan cornet amma ya canza zuwa trumpet a baya a cikin aikinsa. Kayan aikinsa na virtuosic, ƙirar magana, da kuma tashin hankali ya kafa sabon misali don wasa na gogewa. Rikodinsa na 1928 na “West End Blues” ya buɗe tare da trumpet cadenza wanda ya kasance ɗayan mafi kyawun lokutan tarihi a tarihin jazz. Armstrong ya nuna cewa trumpet zai iya tashi sama da ƙungiyar, ya ba da waƙoƙin waƙa, kuma ya shiga cikin haɓaka kai tsaye tare da tsabta da ruhu mara misaltuwa.

The Trombone: Tsarin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙ

Trombone ya mamaye wani wuri na musamman a farkon jazz. Tare da tsarin slide, trombone zai iya samar da santsi mai santsi da kuma mummunan lafazi wanda babu kayan aikin tagulla da aka yi wa bawul ɗin da zai iya sakewa. Wannan ya haifar da salon “tailgate”, wanda aka sanya wa sunan trombonist wanda ya zauna a bayan motar da ke tafiya tare da slide ɗin da ke rataye a saman tailgate.

Early jazz trombonists kamar Kid Ory da Honore Dutrey amfani da kayan aiki don cika da harmonic sarari tsakanin cornet melody da tuba bass line. Su sliding cika da groaning effects bai wa music a fili mutum, vocal quality. The trombone kuma ya yi aiki a matsayin gada tsakanin gaba line da rhythm sashe, samar da duka biyu da harmonic goyon baya da kuma rhythmic drive. Daga baya jazz trombonists kamar Jack Teagarden zai fadada kayan aiki solo damar, kawo wani santsi, blues-tinged lyricism ga trombone cewa rinjayi al'ummomin mawaƙa.

Tuba da kuma Tushen Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin

Kafin double bass ya zama na'urar jazz bass, tuba ta kafa sashin sautin. A cikin yanayin da ke da hayaniya na gangaren tituna na New Orleans, za a iya jin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin zurfin

Aikin tuba a farkon jazz ya fi kawai daidaitaccen ƙasa. Harshen bugun sa da ingancin bugun sa ya kara ma'anar rhythmic ga ƙungiyar. Canjin daga tuba zuwa bass na ƙusa ya fara a cikin shekarun 1920 yayin da ƙungiyoyi suka koma cikin gida kuma suka nemi mafi ƙarancin sauti mai ƙarfi. Duk da haka, tuba ya kasance muhimmin ɓangare na gargajiya jazz da ƙungiyar mawaƙa, kuma tasirinsa akan harshen rhythmic na jazz bass yana da banƙyama.

Inda Aka Haifi Jazz: Gidan Gidan Gida na New Orleans

New Orleans a farkon karni wani birni ne wanda ba kamar kowane birni a Amurka ba. Dokokinta sun ba da izinin haɗuwa da launin fata wanda ba shi da kyau a sauran Kudancin, kuma al'adun kiɗa sun samo asali ne daga wasan kwaikwayo na Faransa, waƙoƙin gargajiya na Mutanen Espanya, waƙoƙin Caribbean, da kuma ruhaniya na Afirka na Amurka. Ganguna na jan ƙarfe sun kasance a ko'ina, suna wasa a jana'izar, farati, piknik, da rawa. Yanayin gasa na waɗannan ƙungiyoyin ya tura 'yan wasa don haɓaka dabaru da keɓancewar su, suna shimfida tushe don halayen haɓaka jazz.

Storyville, unguwar doka ta birnin, ta samar da aiki mai kyau ga mawaƙa a cikin dakunan rawa da gidajen lalata. Kayan kwalliya sun dace da waɗannan ƙananan wuraren, sau da yawa cike da mutane, inda kai tsaye, sautin sauti na cornet ko trombone zai iya yankewa ta hanyar hayaniya.

Ƙungiyoyin da suka fi tasiri a farkon rukuni sun hada da Olympia Brass Band, Excelsior Brass Band, da Onward Brass Band. Wadannan kungiyoyin sun ƙunshi yawancin mawaƙa waɗanda suka bayyana rikodin farko na jazz a shekara ta 1917 ta Original Dixieland Jass Band. Ko da yake wannan rukuni yana da fari kuma salon sa sigar kasuwanci ce ta al'adun Afirka ta Amurka, rikodin ya nuna farkon jazz a matsayin nau'in fasaha da aka rubuta kuma ya nuna sauti na ƙungiyar da aka motsa ta hanyar tagulla wanda ya kasance yana ci gaba a New Orleans na shekarun da suka gabata.

Masu Waƙar Gidan Waƙoƙi na Tsohon Jazz

Tarihin jazz na farko shine tarihin basira na mutum. Kowane babban mutum ya kawo sabon tsarin zuwa kayan aiki, yana faɗaɗa fasaha da kuma nunawa na wasan basira yayin da yake tsara sautin kiɗa kanta.

Buddy Bolden: Muryar Farko ta Tarihi

Charles Bolden shine fatalwa a haihuwar jazz. Wani dan wasan cornet mai aiki daga tsakiyar shekarun 1890 har zuwa lokacin da ya rushe tunaninsa a 1907, Bolden ya shahara saboda ƙarfinsa da ƙarfin motsin zuciyarsa. Shaidu sun bayyana sautinsa a matsayin mai ƙarfi, raw, da zurfin launin blues.

Sarki Oliver: Jagoran Ƙungiya

Joseph King ya kasance babban mai kunnawa a farkon shekarun 1910 da 1920s. Ya jagoranci wani saurayi Louis Armstrong kuma ya jagoranci Creole Jazz Band, ɗayan ƙungiyoyi masu tasiri na zamanin. Oliver ya kasance masanin bebe, yana amfani da plunger da madaidaiciyar bebe don samar da tasirin murya. Yin wasa da shi ya fi sarrafawa da daidaitawa fiye da Bolden, yana mai da hankali kan ƙirƙirar layin haɗi da jituwa da sauran kayan kida.

Louis Armstrong: Mai Girma da Ya Canja Komai

Louis Armstrong shine mafi mahimmancin mutum a tarihin jazz brass. Masaninsa na fasaha na cornet da ƙaho ya haɗu da juyin juya halin ji na magana da sautin. Armstrong’s wasa ya saki daga salon haɓaka na jazz na New Orleans kuma ya kafa kayan kida na ƙarfe a matsayin kayan aiki don bayyana mutum. Saƙon sa tare da Hot Five da Hot Seven a cikin shekarun 1920, gami da “Potato Head Blues” da “Struttin’ tare da Wasu Barbecue,” sune manyan darussan wasan jazz trumpet.

Sauran masu wasan rawa na farko sun hada da cornetist Freddie Keppard, wanda ya ƙi damar yin rikodin jazz na farko kuma wanda yake da iko, salon tashin hankali ya rinjayi Chicago jazz; dan wasan trumpet Kid Ory, wanda wasan sa na baya ya bayyana salon New Orleans trombone; da trumpeter Bix Beiderbecke, wanda ya kasance mai ba da labari, mai zurfi, wanda ya wakilci wani zaɓi na musamman ga ƙwarewar Armstrong. Wadannan 'yan wasan sun kafa ɓangaren rawa a matsayin cibiyar motsin rai da tsarin jazz.

Ƙarfi na Babban Waƙar Kiɗa da Ƙarfafa Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙar

A cikin shekarun 1920, jazz ya samo asali daga ƙananan haɗin New Orleans zuwa manyan ƙungiyoyi da aka sani da manyan ƙungiyoyi. Wannan ci gaban ya kasance ta hanyar dalilai na tattalin arziki da zamantakewa: hauhawar ɗakunan rawa, shaharar rediyo, da buƙatar kiɗa wanda zai iya cika manyan wurare da kuzari da tashin hankali. Babban tsarin ƙungiyar yawanci yana da ƙaho uku zuwa huɗu, uku zuwa huɗu trombones, sashin ƙuƙwalwa na saxophones da clarinets, da sashin sautin. Wannan fadada ya ba masu shirya damar bincika hadaddiyar jituwa, bambance-bambance na sassan, da kuma tasirin wasan kwaikwayo wanda ba zai yiwu ba a ƙananan ƙungiyoyi.

Sashe na tagulla ya zama injin babban rukuni. Trumpets ya ba da sautunan waƙa da ban mamaki, trombones sun ba da wadataccen haɗin kai na tsakiya da bugun jini, kuma ƙarfin haɗin gwiwar tagulla zai iya samar da bango na sauti wanda ya burge masu rawa da masu sauraro. Zamanin swing na shekarun 1930 da 1940 shine shekarun zinariya na manyan ƙungiyoyi, kuma masu wasan tagulla sun kasance taurari na wasan kwaikwayon.

Duke Ellington: Jagora na Ƙungiyoyin Ƙungiyoyi

Babu wani shugaban ƙungiyar da ya fahimci yiwuwar launi na tagulla fiye da Duke Ellington. Ellington ya rubuta musamman don muryoyin mutum a sashin tagulla, ta amfani da trumpeter Cootie Williams da trombonist Joe “Tricky Sam” Nanton don ƙirƙirar bambancin ƙira mara misaltuwa. Williams ya shahara saboda fasahar sa ta murmushi, yayin da Nanton ya haɓaka salon saurin sauti na musamman wanda ya zama kusan ɗan adam.

Count Basie: Sashen Rhythm na Brass

Ƙungiyar Kansas City ta Count Basie ta haɓaka salon da ya samo asali daga blues kuma ya gina akan daidaito mai saurin sauti. Sashin lasifika a cikin ƙungiyar Basie ya shahara saboda tsauraran sahunsa da ƙarfinsa da kuma iyawar ta daɗa tare da sashin sautin. Masu busa ƙaho kamar Buck Clayton da Harry Edison sun yi wasa da nutsuwa, raɗaɗin raɗaɗi, yayin da sashin trombone ya ɗaure jituwa tare da dumi, sauti mai ɗorewa. Tsarin Basie’s sau da yawa yana amfani da sashin lasifika don kira da amsa tare da saxophones, yana haifar da makamashi na tattaunawa wanda ke kiyaye kiɗan sabo da ban sha'awa.

Fletcher Henderson: Mai Gidan Gidan Gida na Babban Gidan Gida

Fletcher Henderson ana kiransa mahaifin jazz na big band, kuma tsarinsa ya kafa samfurin don rubuta sassan lasifika. Henderson ya raba sassan lasifika zuwa sassan trumpet da trombone daban-daban, yana haifar da layin da aka daidaita da yawa da bambance-bambance masu ban mamaki tsakanin sassan. Aikinsa tare da trumpeter da mai shirya Don Redman ya inganta tsarin kira da amsa wanda ya zama misali ga jazz na big band. Henderson’s tsari ga ƙungiyar Benny Goodman a cikin 1930s ya taimaka wajen ƙaddamar da zamanin swing kuma ya nuna yadda za a iya amfani da kayan lasifika don duka iko da taushi.

Ƙungiyoyin Ƙungiyoyi a Babban Ƙungiya

Babban sashin lasifika ya haɓaka wasu fasahohi waɗanda suka bayyana nau'in kuma sun kasance a tsakiyar wasan kwaikwayo na yau. Waɗannan fasahohin suna amfani da halayen musamman na kayan kida: ikon su na samar da babban ƙarfin motsa jiki, ikon su na magana da kai, da kuma yiwuwar bambancin yanayi ta hanyar mutes da sauran na'urori.

Ƙungiyoyin Ƙungiyoyi

The shout chorus wani lokaci ne mai ban mamaki a cikin babban ƙungiyar ƙungiyar mawaƙa inda cikakken ɓangaren ƙarfe ke wasa a matsakaicin ƙarfi da ƙarfi. Wannan fasaha ta fara aiki ne ta masu shirya kamar Mary Lou Williams da Sy Oliver kuma ta zama alama ce ta ƙungiyoyin zamanin swing.

Kira da Amsa Tsakanin Sashen

A cikin manyan ƙungiyoyi, sashin ƙarfe sau da yawa yana shiga cikin kira da amsa tare da sashin reed ko tare da masu sauraro. Wannan fasaha tana haifar da sha'awa mai ban sha'awa da kuma saurin rhythmic. Ƙarfe na iya amsa kalmar saxophone tare da gajeren, riff, ko ƙaho da trombones na iya musayar jimloli gaba da gaba. Wannan ingancin tattaunawa yana da tushe a cikin al'adun kiɗa na Afirka na Amurka kuma yana ba da babban ƙungiyar jazz mai rai, mai ma'amala.

Solo tare da Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin Ƙarƙashin

Wani abu na kowa na manyan rukunin mawaƙa na mawaƙa shine amfani da bugun jini: sashin sautin ko cikakken ƙungiyar yana wasa da kaifi, sautin sautin a bayan mawaƙa. Waɗannan bugun jini suna ba da tallafi mai jituwa da sautin yayin ƙara tashin hankali da kuzari.

Yadda Za a Yi Shiru: Za a Iya Ƙara Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin

Babu tattaunawar tagulla a jazz ba cikakke ba tare da binciken shiru ba. Shiru na'urori ne da aka saka a cikin kararrawar kayan aikin tagulla don canza sautinta, kuma mawaƙa na jazz sun yi amfani da su da ƙwarewa mai ban mamaki. Mafi yawan shiru a jazz sun haɗa da shiru na gaskiya, wanda ke haifar da haske, murya mai zurfi; shiru na kofin, wanda ke ba da sautin mai laushi, mafi rufewa; da shiru na plunger, wanda ke haifar da tasirin wah-wah ta hanyar rufewa da bayyana ƙaho.

Masu busawa kamar Cootie Williams da Rex Stewart sun shahara saboda aikin su na shuru, suna amfani da plunger don samar da sauti wanda ya fara daga ban dariya zuwa baƙin ciki mai zurfi. Fasaha ta plunger tana bawa mai kunnawa damar kwaikwayon muryar mutum, yana haifar da ingancin tattaunawa wanda ke ƙara zurfin motsin rai ga kiɗa. Trombonists kuma sun yi amfani da silent sosai. Amfani da silent ya faɗaɗa kewayon kayan aikin lasifika kuma ya ba da gudummawa ga shahararren jazz a matsayin kiɗa na ƙarancin kirkirar lokaci.

An inganta fasahar tauta a duk lokacin swing kuma ya ci gaba da haɓaka a cikin salon jazz na baya. Miles Davis ya yi amfani da Harmon mute a cikin shekarun 1950 da 1960, yana ƙirƙirar taushi, sauti mai kyau wanda ya zama alamar salon sa.

Fasaha a cikin kayan aikin tagulla

Ci gaban fasaha na kayan aikin tagulla a ƙarshen ƙarni na 19 da farkon ƙarni na 20 ya yi tasiri kai tsaye kan jazz da kiɗan big band. Inganta tsarin bawul ya sa kayan aikin tagulla su kasance masu amsawa da daidaito, suna ba da damar saurin wucewa da ingantaccen sautin. Ingantaccen fasahar masana'antu ya samar da kayan aiki waɗanda suka fi daidaituwa a inganci da kuma mafi dorewa, wanda ya zama dole ga mawaƙa waɗanda ke kunna tsawon awanni a yanayi daban-daban.

Ci gaban muryar ƙaho na zamani kuma yana da mahimmanci. Kofuna masu zurfi da fadi da fadi sun ba da damar ƙwarewa da sauti mai wadata, yayin da zane-zane masu zurfi suka sauƙaƙa kunna ƙarar sauti. Masu ƙera kamar Vincent Bach, wanda ya fara yin murya a cikin shekarun 1920, sun kafa ƙa'idodi waɗanda har yanzu suna amfani da su a yau. Kamfanin Selmer a Faransa da kamfanonin Conn da Holton a Amurka sun samar da kayan aiki waɗanda suka zama kayan aikin zaɓi ga mawaƙa na jazz, kuma sababbin abubuwan da suka ƙirƙira sun taimaka wajen tsara sautin jazz.

Gabatar da bawul din juyawa da bawul din piston na Périnet a cikin kayan aikin tagulla ya inganta kunnawa kuma ya fadada damar jituwa ga masu kunna tagulla. Waɗannan sababbin abubuwa sun ba da damar kayan aikin tagulla don magance buƙatun chromatic da modulatory na jituwa ta jazz, yana ba wa masu kunnawa 'yanci don bincika ci gaba mai rikitarwa da daidaitawa zuwa maɓallan nesa da sauƙi.

Gidan Waƙoƙi a Jazz da Ƙari

Hanyoyin kayan kida na jazz da manyan rukuni suna wucewa fiye da nau'ikan kansu. Hanyoyin da masu wasan jazz suka haɓaka suna da yawa.

Al'adar tagulla a cikin jazz kuma tana ci gaba ta hanyar mawaƙa na zamani waɗanda ke ɗaukar gadon gaba. Trumpeters kamar Wynton Marsalis da Terence Blanchard sun faɗaɗa fasaha da fasaha na kayan aikin yayin da suke kasancewa cikin zurfin tushen al'adun jazz.

Babban kiɗa na ƙungiyar kanta ya kasance nau'i mai ban sha'awa na fasaha. Babban rukunin zamani da mawaƙa kamar Maria Schneider da Darcy James Argue ke jagoranta suna amfani da sassan tagulla a cikin sababbin hanyoyi, suna haɗa abubuwan kiɗa na zamani, kiɗa na duniya, da sautunan lantarki.

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Daya daga cikin dalilan da yasa kayan aikin tagulla suka kasance da mahimmanci ga jazz shine ikon su na sauti na mutum. Masu wasan jazz na jazz koyaushe suna neman yin koyi da halayen muryar mutum: maganganun sa na waƙa, jujjuyawar motsin zuciyarsa, ikon yin shiru ko ihu. Louis Armstrong's bayar da murya a kan kundin sa ya yi daidai da sa na ƙaho, yana haifar da haɗin kai tsakanin murya da kayan aiki. Wannan hanyar murya ga wasan ƙira ita ce ainihin furcin jazz.

Hanyoyi kamar yin kuka, rabin-valving, da kuma shiru na shiru duk dabaru ne don sa kayan aikin lasifika suyi magana da hali mai sauti. Trombone, tare da slide, na iya samar da glisando wanda ke nuna tashin hankali da faduwar magana. Amfani da sarrafa numfashi da vibrato yana bawa 'yan wasa damar tsara sautin a hanyar da ke jin kwayoyin halitta da na ɗan adam. Wannan ƙimar murya ita ce ke ba wa jazz lasifikan kai kai tsaye na motsin zuciyarsa da ikon haɗuwa da masu sauraro a zurfin, matakin ciki.

Ci Gaba da Juyin Halin Gidan Waƙoƙi a Wasan Jazz

Duk da yake zamanin swing na iya zama sanannen lokacin da aka fi sani da ƙarfe a cikin jazz, kayan aikin ya ci gaba da haɓaka a kowane salon da ya biyo baya. 'Yan ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin ƙwanƙolin

A cikin shekarun 1950 da 1960, masu wasan rawa sun ci gaba da bincika sababbin hanyoyi. Miles Davis ya yi amfani da ƙaho a cikin wani tsari, mai rikitarwa, yana mai da hankali kan sarari da ƙwarewa a kan sauri da iko.

A cikin shekarun 1970 da 1980, mawaƙa na rawa sun haɗa da tasirin rock, funk, da kiɗa na duniya. Trumpeter Freddie Hubbard da trombonist Bill Watrous sun haɗu da fasahar jazz tare da ƙarfin funk, yayin da ƙungiyoyin mawaƙa kamar Kanada Brass suka kawo jazz mai bayyanawa ga kundin gargajiya. A cikin shekarun 1990 da 2000, al'adun mawaƙa a cikin jazz sun ci gaba da bunƙasa ta hanyar aikin masu fasaha kamar trumpeter Dave Douglas, trombonist Roswell Rudd, da kuma ƙungiyar mawaƙa ta mawaƙa The Laddermen.

A yau, kayan kida na tagulla suna ci gaba da kasancewa a tsakiyar ilimin jazz da wasan kwaikwayon. Matasan masu wasa na tagulla suna nazarin rikodin masanan Armstrong, Eldridge, Gillespie, Davis kuma suna haɓaka muryarsu yayin da suke ci gaba da al'adar. Matsayin tagulla a cikin jazz ba kayan tarihi bane amma rayuwa ne mai ci gaba.

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Matsayin kayan kida a cikin haihuwar jazz da kiɗan big band yana da mahimmanci. Daga titunan New Orleans zuwa manyan ɗakunan rawa na zamanin swing, masu kida na ƙarfe sun haifar da sautin juyin juya halin Amurka. Kayan aikin su sun ba da ƙarar, launi, da kuma yanayin motsin zuciyarmu wanda ya sa jazz ya zama kiɗa na mutane da kuma manyan burin fasaha.

Al'adar tagulla a jazz al'ada ce ta bidi'a da kuma mutum. Kowane babban dan wasa ya kawo murya ta musamman ga kayan aiki, yana faɗaɗa abin da zai yiwu kuma ya ba da wahayi ga ƙarni na gaba. Gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan gidan

Yayin da jazz ke ci gaba da haɓaka, ɓangaren ƙarfe ya kasance muryarsa mafi ban mamaki da ƙarfi. Sautin ƙaho yana tashi sama da babban ƙungiyar, ƙwanƙwasawa na ƙwanƙwasawa mai shiru, zurfin tushe na tuba pulse; waɗannan sune sautunan da ke bayyana jazz da babban ƙungiyar kiɗa, kuma suna ci gaba da sautin masu sauraro a duk faɗin duniya.

  • Kayan kida na jan ƙarfe sun kasance muhimmiyar mahimmanci ga haihuwar jazz a New Orleans, suna ba da babbar murya a cikin ƙungiyoyin farko.
  • Masu wasan kwaikwayo na farko kamar Buddy Bolden, Sarki Oliver, da Louis Armstrong sun kafa kayan kida na lasifika a matsayin babban abin hawa don haɓaka da bayyana jazz.
  • Flattering na sashe na lasifika a cikin manyan ƙungiyoyi ya ba da damar rikitarwa mai rikitarwa, ƙarfin hali, da tasirin haɗin gwiwa mai ƙarfi. [ Masu shirya kamar Fletcher Henderson, Duke Ellington, da Count Basie sun yi amfani da sashe na lasifika don ƙirƙirar sautin sa hannu na zamanin swing.
  • Kayan fasaha da sababbin fasaha sun fadada damar yin amfani da kayan kida da kuma bayyanawa.
  • [1] Daga bebop zuwa manyan kungiyoyin zamani, al'adun ƙarfe sun kasance muhimmiyar mahimmanci kuma suna ci gaba da haɓaka a cikin yanayin jazz.

Fahimtar rawar da kayan kida na ƙarfe ke takawa wajen haihuwar jazz da kuma kiɗan big band yana zurfafa godiya ga waɗannan al'adun masu rai da kuma fasaha na mawaƙa da suka halicce su. Sautin ƙarfe shine sautin jazz kanta: mai ƙarfin hali, mai bayyanawa, mai ƙwarewa, da kuma mutum.