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比波普爵士乐，自由爵士和混合音乐的文章

首先，比波普爵士乐，冷爵士乐，狂热的博普爵士乐，自由爵士和混合爵士，在风格上有各种各样的差异。比波普爵士乐好像是最复杂的，它有着不稳定的节奏。然而，冷爵士乐是最令人心灵宽慰的和让人放松的。另一方面，狂热的博普爵士乐演奏着它的喇叭，小号，节奏乐器组，是最刺耳的和最有活力的。然而，自由爵士是最不受限制的。自由爵士展示是没有边界的，没有形式的，没有最新的成规的规则。混合爵士是爵士乐和摇滚乐的结合，换句话说，混合爵士展示最大程度的电子的使用，效果器和合成器，除了爵士乐的要素。

比波普爵士乐把爵士乐从时尚的舞蹈音乐改造成富有创造性的艺术音乐。在20世纪40年代前期，比波普爵士乐好像是突然出现的，但是它实际上发展起来经过了好几年。当亚特派柏，一个中音萨克斯演奏家，最初听到一个比波普爵士乐的唱片，它完全使他受宠若惊。一个典型的比波普爵士乐音乐作品的音符是快的，有技术的，很煞费苦心的，强节奏的。比波普爵士乐的特征不但包括不稳定的节奏，重配和声和和弦替换，而且任意的旋律。比波普爵士乐着重于广泛的，即兴的独奏。

曼特卡，一个唱片是由迪兹吉莱斯皮和他的管弦乐队编造的，包含一些比波普爵士乐的特征。然而，曼特卡的速度既不过分的快也不是很慢。在这部唱片中，吉莱斯皮创造了与加诺波佐，一个古巴康茄舞的打击乐器乐手差不多的古巴黑人风格。曼卡特包含惊人的，即兴的喇叭独奏，大声的喊但是里面也夹杂着曼特卡这个词微妙的和音。曼特卡在这个唱片中各种各样胡乱的部分让人十分有趣。介绍中，多种乐器开始一致的奏乐迎入，比如贝斯，小对鼓，萨克斯和铜管乐器。特别的是，小对鼓听起来让人很有兴趣，音调也很高的。迪兹?吉莱斯皮的喇叭独奏是十分奇特的。显然，在管弦乐器部分和另外的乐器之间有呼应。

Bebop And Free Jazz And Fusion Music Essay

First of all, there are various differences between the styles of bebop, cool, hard bop, free jazz, and fusion. Bebop seems to be the most intricate with its erratic tempos, while cool is the most soothing and relaxing. On the other hand, hard bop is the most brassy and dynamic with its horns, trumpets, and rhythm section, while free jazz is the less restricted. Free jazz exhibits no boundaries, no form, and no newly established rles. Fusion is a combination between jazz and rock, in other words, fusion exhibits extreme electronic use, effects, and synthesizers, in addition to jazz elements.

Bebop transformed jazz from fashionable dance music to creative art music. In the early 1940s, bebop seemed to have emerged all of a sudden, but it had actually been developing for several years. When Art Pepper, an alto saxophonist, initially heard a bop recording, it completely overwhelmed him. The notes of a typical bebop piece are quick, technical, more elaborative, and swung. The characteristics of bebop include erratic tempos, reharmonization and chord substitution, as well as arbitrary melodies. Bebop put more emphasis on extensive, improvised solos.

Manteca, a recording by Dizzy Gillespie and His Orchestra, contains a few characteristics of bebop. However, the tempos of Manteca are not excessively fast or too slow. In this recording, Gillespie created the Afro-Cuban style alongside Chano Pozo, a Cuban percussionist of the conga. Manteca contains phenomenal improvised trumpet solos and shout-like but subtle vocals of the word 'Manteca'. The 'Manteca' shouting in various random parts of the recording is quite amusing. In the introduction, multiple instruments begin its playing in unison, such as the bass, bongos, saxes, and brass. In particular, the bongos sound very intriguing and high-pitched. Dizzy Gillespie's trumpet solos are exceptionally fantastic. Evidently, there is call-and-response between the brass section and other instruments. There are improvised solos in the connection to each chorus. This recording sounds blissful, jungle-like, and jubilant. The arrangement in Manteca is quite spectacular. Manteca sounds Cuban-like, fiery, and passionate.

Another bebop recording, Koko, by Charlie Parker's Reboppers is regarded as one of the first bebop recording. The recording, Koko is baffling and aggressive, in which displays attributes and chords that are built on a swing recording called Cherokee. Like a typical bebop recording, Koko displays significant improvised solos. The arrangements are straightforward