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Paper Instructions:

Identify your selected film, including writer, director, year of release, and genre.
Briefly summarize the film in which you apply your knowledge of the difference between the film’s story and its plot.
Describe one of the broad theories you have learned about in class (auteur theory, genre theory, formalist theory) and analyze your selected film through that lens.
Evaluate the use of three specific techniques and design elements employed in the film as they contribute to the overarching narrative and theme of the film. This can include elements of mise-en-scène (e.g., lighting, sound, composition of frame, costuming, etc.) and editing (e.g., cuts and transitions, shots used, angles, etc.).
Describe the connection between this film and society (i.e., politically or culturally, positive or negative) and draw conclusions about its impact.


I have uploaded a previous paper so that you can see my tone. For the final paper, we are allowed to use our previous paper if it is based on the same movie

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General Instructions: and full instruction will send to the writer

Your assignment is to write a 4-6-page long research paper, which does not include any cover you choose to attach to the assignment, on one of the following:

(1) Select a director who directed more than three feature-length movies in the period 1950-2000.

(2) Select one feature-length film made in the period 1970–2000.

(3) Select a topic involved with the craft, distribution, or exhibition of movies and write a short research paper on its development

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Paper Instructions:

Discuss how Krakauer portrays the story of Christopher McCandless Into The Wild. Evaluate the author′s use of writing techniques and rhetorical strategies (compare and contrast, narration, empirical evidence, pathos/emotion, ethos/character, logos/logic, etc). Include an analysis of how Penn′s film represents McCandless in comparison to Krakauer′s book. Focus on the techniques used in the film (cinematography, soundtrack, character, tone). You must include direct evidence (quotes) to support your analysis. For the essay you may use the lyrics from the soundtrack and Krakauer′s book. You may also use a dictionary. Keep in mind that your essay must be guided by your analysis of the book. Your discussion of the film must compliment your analysis of the book, and not the other way around. Your 750-word essay must be analytical and should use a formal, academic tone. Your essay should be free of grammatical and spelling errors. Follow MLA guidelines for format and citation style.

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Share a thought, observation or insight about some aspect of the film. It can be something that you appreciated, found revelatory, learned about, or anything else that relates your own experience or to something that is happening in the world today. In your response, you must clearly identify which film (or films) you are commenting on. You are also required to read your classmates responses and briefly comment on one of them (but may respond to multiple comments if so inclined.)

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Paper Instructions:

-Pick a horror movie of your choice and turn it into a short story with your own modifications and ideas. You can write it from a different character’s point of view, you can kill off characters, keep characters, add / remove characters, write a prequel or a sequel. The sky is the limit.
-Your short story should be a minimum of 1500 words and your rationale a minimum of 500 words. You must include the word count at the end of each part.
-Double-spaced using font size 11 or 12. 
-Give your story an original title.
-Put your first and last name and page number in the header at the top right corner for both the short story and the rationale.
-In the rationale, don’t summarize your story. Explain your choices.
-Your project is worth 100 points: 75 for the story and 25 for the rationale.

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Paper Instructions:

My instructions were: Your assignment is to write a 1,000-word analytical movie review over a movie on the AFI's Top 100 Inspirational Films.  
In the introduction, provide the production facts of the movie, such as when it was produced; producer & director; major actors; awards; financial success; screenwriter.  Provide a brief plot summary in 4-5 sentences.  Conclude the introduction with a thesis statement, revealing two or three characteristics of the film that create its inspirational quality.
In the body, develop two or three major sections of thought and in each of these discuss the element that increased the inspirational value of the movie, such as the plot; casting; acting; musical score; cinematography; based on true story; theme.  Give examples from the movie of points of inspiration.  If you did not find the film inspirational, you can discuss what is lacking in the movie.
In the conclusion, provide a "pitch" for audience to see or not see the film.  
You may write this essay in first person.  
I chose Forrest Gump as my movie.

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Paper Instructions:

8 short answer questions
1.In the movie "Hot Coffee", please discuss the implications of tort reform in each of the four stories portrayed.  Give specific examples.

2. In the movie “Inside Job”, many examples of unethical business behavior exist. Please state at least five (5) types of unethical behaviors shown in this film. Discuss how you would have approached each of the situations where the unethical behavior was exhibited differently


3. In the short video regarding protests at Berkley, what were the arguments put forth by students who wanted to limit conservative speakers from giving talks on campus? How did these students address the First Amendment?




4List and discuss the protections afforded criminal defendants by the Bill of Rights.


5What are the types of legal fees that can be charged in civil litigation. Describe each type of fee arrangement. Give pros and cons for each type of fee arrangement.



6What are the advantages to alternative dispute resolution over civil litigation in the courts? Describe four types of alternative dispute resolution and give at least two pros and two cons to each type.


7Briefly describe the Article I branch of the federal government’s powers as provided by the U.S. Constitution including the checks and balances that Article I has over the other branches of government.

8What are the guidelines for ethical decision making in business according to the textbook? Please provide a list of all guidelines.

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Paper Instructions:

1. Using insights from the two assigned essays by Sarah Jewett and the essay by Amber Epp and Linda Price, conduct an analysis of the personal situation of Xavier in the French film Chinese Puzzle.  Give concrete example directly drawn from the film to justify your answer and views: For example, how does the film explore the theme of the individual’s loss of a concrete/fixed/stable identity in our contemporary time? How does the film illustrate that the main character defines himself against “traditional” identity markers and anchors/bearings? How does it show that he seeks resolution to his dilemma (i.e. he seeks to unify his fragmented identity) by telling his story and creating his own reality?  What are the root causes of Xavier’s struggles and unhappiness and how does he define for himself the conditions of personal happiness?  Describe his relationship with other characters, with his family.  Describe his relationship with France vs. his relationship with the U.S.
   
   
   
   2. Describe the kinds of struggles do students face at school in the film The Class, by addressing the following: What is the cause of those struggles? What challenges do teachers face? What factors contribute to those challenges? How is the figure of the teacher portrayed in this film?  How does the school experience of the students mirror larger social issues that affect contemporary French society.  Consider in your response how the media/the press evaluated the film’s interest and the significance of the themes it explores.Given specific and relevant examples from the film to support your answer.
   
   3. Using insights from essay “Family Identity” by Amber Epp and Linda Price to discuss the thematic significance of the film title What’s in a name?  How is the film plot connected to the film title? In what ways does it explore the theme of human identity and its foundation(s)?  Give specific examples directly from the film to illustrate the idea that personal identity is born out of decisions, actions, conventions that affirm one’s belonging to a family.  Compare the setting of this film to that of Chinese Puzzle: how are they different and what is the significance of that difference in their setting (i.e. where the story takes place and unfolds).
   
   
   
   4. By giving specific and relevant examples from the film to support your answer, discuss the portrayal of the main two characters of the film The Intouchables by considering the following: 
   
   How does the film signal differences that exist between them? How do those differences reflect social realities in France?
   How are the main character’s differences bridged? i.e. How does the film portray the ways they come to form meaningful connections and bonding experiences despite their differences?
   How does the film challenge perceptions/social definitions that reduce the identity of the main characters to labels and stereotypical images?

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Paper Instructions:

Review for one of those
The 400 Blows, Day for Night, Jules and Jim, Breathless
2 full pages!

Your task is to write a 2 page review of the film.  You are to explain what you got out of watching the film without writing about the plot  Your review should tell a story with an intro, body and conclusion.  Two full pages, Times Roman 12 Point Font, Double Spaced submitted as either a PDF or a Word Document.  No other format is acceptable. Never use the word "I".  Please Review your syllabus for more instructions.

When reviewing the film, imagine
we just sat down and watched it together and now you are going to open your computer
and explain to me what you got out of the film. How does it tie to the unit we are
covering? What is significant about the film? How is it different from other films you've
watched. I don’t care about whether or not you liked the film, I want to know what you
learned. DO NOT SUMMARIZE the film! Please do not submit rough drafts, I will be
grading content, punctuation, grammar and style.
Grammar errors -5-15 points
Use of “I” -20 points
Multiple spelling errors -5-15 points
Information in the paper comes from a source but is not cited in the text -10
Sources in text but no Works Cited page -10 points
Rotten Tomatoes -50 points
Wikipedia -25 points
Paper is the plot of the film -65 points
65 points each, Film Reviews are due as noted on the calendar. 390 total.

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Paper Instructions:

Find a film and watch it actively not passively. The film will be "Crazy rich Asian".  The best way to do this accurately, and a good starting point, is to watch it carefully and observantly and to take notes while watching it and to watch it more than once. In short, analyzing a film requires you to take a careful look at the setting, plot, characters, dialogue, symbols, metaphors, archetypes, Burke’s Pentad elements, and critical readings; as well as, those factors that have an influence on the film, such as the social, historical, and political context in which the film was created.

STEPS FOR CONDUCTING A SEMIOTIC ANALYSIS OF A FILMDespite the differences between movies and advertisements, the goal of a semiotic analysis of a film is nonetheless the same as a semiotic analysis of an advertisement, namely to determine its current social significance. With than in mind, here is an expanded and modified version of the steps for conducting a semiotic analysis, tailored specifically to film:
1.)  Establish the film to decoded 
2.)  Set aside your opinion; your task is to analyze the current social significance (This assignment is NOT a review of the film!!)
3.)  Determine what the sign means (analysis of Burke’s Pentad)
4.)  Discuss how the film represents its topic
5.)  Sketch the overall context (historical, cultural, and political) in which the sign appears
6.)  Develop a list of questions, concerns, and/or issues that will guide your analysis
7.)  Develop a thesis statement

After completing the steps, your paper should include the following:
1.)  An attention grabber/hook and a thesis statement (implicit) 
2.)  A short but detailed description of the film (brief summary) 
3.)  An analysis of the film that includes some of the details/discoveries that you made while completing the steps (NOTE: You may NOT use first person pronouns in this essay-“I”, “me”, “my”, or personal statements such as “I believe”, “I feel”, “I think” etc.)
4.)  Include connections from the assigned readings 
5.)  Include at least two reviews of the film quoted and cited properly in MLA format
6.)  Works Cited page (MLA format) 

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Paper Instructions:

Watch the film Tough Guise 2 on Kanopy [https://neiu.kanopy.com/video/tough-guise-2]. (This film is an updated version of the original Tough Guise, released in 1999.] Note that there are three versions: the original, the “Clean” edition, and the “Abridged” edition. The original version has a substantial amount of violence and sexual imagery. If this is upsetting to you, I recommend you watch one of the other versions. The content is substantially the same

The following are some questions you might consider for your paper. DO NOT ATTEMPT TO ANSWER ALL OF THESE QUESTIONS. In many cases, ONE question would provide you with enough material for a full paper.

What connections or empathy did you feel with the experiences presented in the film? What are your unique experiences? 

What are some of the potential effects on boys and men of trying to live up to our culture’s ideal of physical size and strength? Emotional effects? Health effects? 

Do you believe that the media simply reflect changes in society, or do they in some way inspire change? For example, note how both male heroes and weapons have grown so much larger in media presentations. How and why do you think individuals are susceptible to media influence? 

What do you think about the increasing presence of overtly sexualized male bodies in advertising, posed in provocative, at times submissive, ways? Could this increased visibility of the male body as a sexualized object – rather than as a powerful agent – be a response to shifting attitudes in the culture about masculinity?

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Paper Instructions:

Discussion Board #5

Be sure to read the assigned online lesson before reading this discussion board.

Since each group will be participating in only one discussion board, every participant will have time to craft a thoughtful initial post of about 300 to 350 words in length. Think of the discussion board as an opportunity to write a mini-essay. We recommend that you prepare your post as a Word document, so that you can polish your writing before posting it. (You can then copy and paste your text into the discussion board.) These discussion boards are more about quality than quantity.

Discussion Board #5: Jazz-Rock Fusion; Chick Corea, Keith Jarrett

Posting and Responding Group: Group Swing

While Group Swing members will be the only ones posting and responding on this discussion board, everyone is expected to listen to the ten recordings under consideration, and to read all the posts and responses on this discussion board.

Listen to the ten Recordings and Information for Discussion Board #5.  There may be a few related listening questions on the Lesson Quiz.  NOTE: It is recommended that you open this link in a new tab.  To do this, right click on the link, and select "Open Link in New Tab" from the drop down menu. This will allow you to toggle between the discussion board and the recordings. 

Read the introductory information relating to the ten recordings, and then listen to each of the ten recordings.  Read the two question topics associated with each recording.  Consider which recordings interest you most.  

Before making your own initial post, be sure to read any posts on the discussion board that your groupmates have already made.  When possible, select a recording that has not yet been addressed, so that all ten recordings are addressed.  With approximately twenty members on each group, there should be no more than two group members addressing the same recording.  And if you are the second one to write about a particular recording, select the topic that the first writer did not choose.  In all cases, strive not to repeat those things that have already been stated in others' posts; strive to offer fresh observations.  There is an abundance of musical material to allow this!

Use the recording title, followed by either Topic 1 or Topic 2, as the title of your post (e.g., Bitches Brew, Topic 1).  Specifically, the ten recordings are:

1."Bitches Brew"  (Listening List) ***
2."Sivad"
3."Birdland"  (Listening List) ***
4."This Is This"
5."Steps - What Was"  (Listening List) ***
6."Now He Sings, Now He Sobs"
7."Spain"
8."Sly"
9."Landscape for Future Earth"
10."All the Things You Are"

Recordings and Information for Discussion Board #5
On the first two pieces in this discussion board, we hear a host of great jazz-rock fusion players performing with Miles Davis, notably: Wayne Shorter, Bennie Maupin, Joe Zawinul, Chick Corea, John McLaughlin, Dave Holland, Jack DeJohnette, Keith Jarrett, and Airto Moreira.  The next two pieces are from the fusion band Weather Report, led by Joe Zawinul and Wayne Shorter.  With them are such stellar players as Jaco Pastoius and Carlos Santana.

In the next three recordings, we hear Chick Corea as leader in both acoustic and fusion settings.  Then we hear an early and influential fusion piece from Herbie Hancock.  Finally we hear two recordings from Keith Jarrett, first as soloist, and then as leader of his most long-lived acoustic trio, with Gary Peacock and Jack DeJohnette.

1: Miles Davis, “Bitches Brew” (Miles Davis), New York, August 19, 1969.  Miles Davis, trumpet; Wayne Shorter, soprano sax; Bennie Maupin, bass clarinet; Joe Zawinul, elec. piano (left); Chick Corea, elec. piano (right); John McLaughlin, guitar; Dave Holland, bass; Harvey Brooks, elec. bass; Lenny White, drums (left); Jack DeJohnette, drums (right); Don Alias, congas; Jumma Santos (a.k.a. Jim Riley), shakers.  [Original release: Columbia GP-26]

Topic 1:  Miles Davis’ “Bitches Brew” is a groundbreaking fusion recording.  We encourage you to listen to the 27-minute recording.  For this topic, we'll focus on three excerpts of the piece.  Listen closely to 00:00 to 06:20, 12:43 to 15:57 and 24:00 to the end.  How many soloists are featured in these excerpts?  Please list them by name and instrument.  Now listen closely to what the keyboard is playing during these 3 excerpts.  Do you hear similarities in the keyboard parts between these excerpts?  Describe Davis’ phrasing in these sections.  Does he always sound like he is improvising or does any of his playing sound planned.  Does Davis use any effects on his trumpet?  Describe the other accompanying musicians during these sections.  Does their accompaniment have rock elements?  Is there a hypnotic pulse?  Does the bass line function as a pedal point?  Do the bass and other accompanying instruments give this piece a modal quality?  What characteristics of Davis’ fusion solos in “Bitches Brew” are different from other Davis solos you have heard with his earlier (pre-fusion) jazz groups?  What aspects of his fusion solo are similar to his previous solos?

Topic 2:  Miles Davis’ “Bitches Brew” is a groundbreaking fusion recording.  We encourage you to listen to the 27-minute recording.  For this topic, we'll focus on three excerpts of the piece.  Listen closely to 00:00 to 06:20, 12:43 to 15:57 and 24:00 to the end.  How many sections do you count in these excerpts?  Provide counter numbers for the beginning of each section.  Does this piece have a melody like other jazz pieces you have heard?  Do you hear any musical material that is repeated between the three excerpts?  “Bitches Brew” presents examples of the jazz-rock fusion style such as: 1) the use of electrified instruments, 2) straight rock beats instead of swing and the swung 8th note, 3) repetitive funk-style riffs, 4) highly dissonant, multi-layered textures, 5) hypnotic pulse.  Listen to these excerpts and provide counter numbers where all five of these aspects can be heard.  Describe in detail how these aspects support the different sections of the excerpts.  How does this piece end?  Does this piece sound composed?  Are the musicians in this group playing written parts as it was traditionally done in earlier jazz ensembles?  Describe how these musicians collectively created this piece.  How does Davis lead the musicians in this group as they play collectively?

2.Miles Davis, “Sivad” (Miles Davis), Live at The Cellar Door, Washington, DC, December 19, 1970.  Miles Davis, trumpet (t); Gary Bartz, soprano and alto saxophones (ss/as); John McLaughlin, guitar (g); Keith Jarrett, electric piano and organ (ep/o); Michael Henderson, electric bass (eb); Jack DeJohnette, drums (d); Airto Moreira, percussion (per)
Topic 1:  This piece was performed by many of the musicians that performed on Miles Davis’ “Bitches Brew.”  How many soloists are there in this piece?  Please list them by name and instrument.  Now listen closely to Miles Davis who solos at various sections in the piece.  Where do these sections occur?  Provide counter numbers.  Now listen where Davis first enters at 00:50.  What does his trumpet sound like?  Is it a guitar?  Jimi Hendrix was very influential with his use of a wah-wah electronic effect on his electric guitar.  Davis adopted this effect with his trumpet.  He also uses the wah-wah effect from 05:04 to 07:58.  Describe Davis’ phrasing in this section.  Describe the other accompanying musicians during this section.  Does their accompaniment have rock elements?  Is there a hypnotic pulse?  Does the bass line function as a pedal point?  Do the bass and other accompanying instruments give this piece a modal quality?  What happens to Davis’ trumpet sound at 08:06?  What characteristics of Davis’ fusion solo in “Sivad” are different from other Davis solos you have heard with his earlier (pre-fusion) jazz groups?  What aspects of his fusion solo are similar to his previous solos?

Topic 2:  This piece was performed by many of the musicians that performed on Miles Davis’ “Bitches Brew.”  How many sections do you count in this piece?  Provide counter numbers for the beginning of each section.  Does this piece have a melody like other jazz pieces you have heard?  This piece is a good example of Miles Davis’ first experimentation in the fusion style of jazz.  “Sivad” presents examples of the jazz-rock fusion style such as: 1) the use of electrified instruments, 2) straight rock beats instead of swing and the swung 8th note, 3) repetitive funk-style riffs, 4) highly dissonant, multi-layered textures, 5) hypnotic pulse.  Listen to the piece and provide counter numbers where all five of these aspects can be heard.  Describe in detail how these aspects support the different sections and form of the piece.  How does this piece end?  Does this piece sound composed?  Are the musicians in this group playing written parts as it was traditionally done in earlier jazz ensembles?  Describe how these musicians collectively created this piece.  How does Davis lead the musicians in this group as they play collectively?

3.Weather Report, “Birdland” (Joe Zawinul), Hollywood, 1976.  Wayne Shorter, soprano and tenor saxes; Joe Zawinul, keyboards, piano, vocal, melodica; Jaco Pastorius, elec. bass, mando-cello, vocal; Alex Acuna, drums; Manolo Badrena, tambourine.  [First issue: Heavy Weather, Columbia CK 34418]
Topic 1:  “Birdland” is a famous jazz-rock fusion piece by Weather Report.  The order of solos in this piece are:  Zawinul, Shorter, Zawinul.  Regarding the solos of Shorter and Zawinul (his keyboard solo after Shorter):  Listen to the recording and provide counter numbers for the beginning and end of these two solos.  Provide detail of how they phrase or create musical lines.  What is your impression of this piece?  Describe the keyboard and piano accompaniment during Shorter’s solo.  How would you compare/contrast the solo style of Shorter in “Birdland” with his tenor solo in “E.S.P.” from the Lesson 11 Supplementary Recordings?  How would you compare/contrast the solo style of Zawinul in “Birdland” with that of Herbie Hancock in “E.S.P” from the Lesson 11 Supplementary Recordings?  Briefly describe the general differences between the solos in “Birdland” with the solos in Davis’ “Bitches Brew.” Do these jazz rock-fusion soloists of “Birdland” have any ties to the hard bop style or the free style of jazz?

Topic 2:  This piece begins with a keyboard introduction by Zawinul.  How many bars is this intro?  The melody, or “head,” begins at 00:18 and ends at 02:46.  How many sections are in this melody?  Use letters to designate the sections.  How does this group arrange the melody?  Which instrument has the melody in each of the sections?  Now listen to Zawinul’s first keyboard solo from 02:47 to 03:08.  Does his solo occur over the form of the piece?  Describe the vamp or repeated pattern that is played under his solo.  Now listen to Shorter's tenor sax solo.  Does his solo occur on the form of the piece?  Describe the riffs that are played in the keyboard and sax, starting at 03:36 and ending at 4:59.  Zawinul begins to solo again at 05:00.  Describe Pastorius’ bass line during this solo?  Does it sound like a repeated pattern?  Briefly compare and contrast this jazz-rock fusion piece with that of Davis’ “Bitches Brew.”  What are the general characteristics of this piece that are different from the hard bop and free groups you have heard?

4: Weather Report, “This is This” (Josef Zawinul), Los Angeles, CA, 1986.  Josef Zawinul, keyboards (kb); Wayne Shorter, saxophones (s); Victor Bailey, bass (b); Mino Cinelu, percussion and vocals (p/vc); Peter Erskine, drums (d); Carlos Santana, guitars (g); Marva Barnes, Colleen Coil, D. Siedah Garrett and Darryl Phinnessee, vocals (vc)

Topic 1:  See “Weather Report” and “Birdland” in the online Lesson on Jazz-Rock Fusion to help you describe “This is This.”  Carlos Santana is the only soloist.  Santana solos at various points in the piece.  Provide counter numbers for the sections where he solos.  Describe his solo style.  How does he phrase with the rhythm section?  Is Santana regarded as a jazz musician?  What style of music does he bring to Weather Report in his performance?  Describe Santana’s solos when he plays with Zawinul’s keyboard parts at 02:43, 03:29 and 04:52.  Do the keyboard parts sound improvised or written?  How do the bass/drums/percussion support Santana during his solos?  Does their accompaniment have rock elements?  Is there a hypnotic pulse during the piece?  Does the bass line function as a pedal point?  Do the bass and other accompanying instruments give this piece a modal quality?  What characteristics of Santana’s solo in “This is This” is different from soloists you have heard in other jazz styles such as hard bop, modal and free?  What aspects of his solo are similar (to hard bop, modal and free)?

Topic 2:  There is no introduction in this piece.  The melody, or “head,” begins at 00:00 and ends at 02:12.  What is the form?  Use letters and counter numbers to designate the sections.  Hint: the melody is made up of funk-based riffs.  Describe how this group arranges the melody.  What instrument plays most of the melody?  Listen closely to the keyboard and bass parts during the melody.  What role do the drums have?  Are the musicians playing written parts during the melody?  Describe the keyboard parts that are played during Santana’s guitar solo.  Do these keyboard parts sound like any part of the beginning melody?  This piece is one of Weather Report’s later compositions in the fusion style of jazz in 1986.  “This is This” presents examples of the jazz-rock fusion style such as: 1) the use of electrified instruments, 2) straight rock beats instead of swing and the swung 8th note, 3) repetitive funk-style riffs, 4) highly dissonant, multi-layered textures, 5) hypnotic pulse.  Listen to the piece and provide counter numbers where all five of these aspects can be heard.  Describe in detail how these aspects support both the melody and the solo by Santana.  How does this piece end?  What are the similarities between the overall organization of “This is This” and that of earlier bop and hard bop ensembles?  What is the most striking difference?

5:Chick Corea, “Steps – What Was” (Chick Corea), New York, March 1968.  Chick Corea, piano; Miroslav Vitous, bass; Roy Haynes, drums.  [Original issue: Now He Sings, Now He Sobs, Solid State SS 18039]



Topic 1:  The order of solos in this piece is:  Corea, Haynes, Vitous.  Listen to the recording and provide counter numbers for the beginning and end of Corea’s solo and Vitous’ solo.  Describe their solo styles.  Listen to how they phrase or create musical lines over the chord changes.  Try to include some detail.  How do their solos change and develop over the course of their particular solo?  Briefly describe what Vitous plays during Corea’s solo?  Is he walking in a traditional way?  How does he play bass with the drummer Haynes?  Is there a “floating pulse?”  Does Corea phrase across the bar lines?  Vitous solos after Haynes’ drum solo.  Describe his technique on the bass.  Does he phrase his solo as other bass players you have heard, such as Scott LaFaro?  Is his soloing like that of a horn player?  Would you describe the style of these soloists as: hard bop, cool, free or elements of more than one style?  Explain using what you’ve learned from the Lessons about these particular styles.

Topic 2: This piece begins with a piano introduction.  The melody, or “head,” is played twice, beginning at 00:47 and ending at 01:05.  What is the form?  Use letters and counter numbers to designate the sections.  Hint: the form of this piece has 4 short equal sections.  Describe how this trio phrases the melody together.  What are the bass and drums playing during the melody?  Does is sound written?  How many choruses does Corea solo?  Give your best guess based upon the length of the melody.  What happens at 04:33?  Briefly describe what is played from 07:32 until the beginning of Vitous’ solo?  Is this a new section in the piece?  How many choruses does Vitous solo?  How is the melody played at the end of the piece?  What style or styles would you say characterize this piece: hard bop, cool, or free?  Explain in detail using what you’ve learned from the Lessons about these particular styles.


6:Chick Corea, “Now He Sings, Now He Sobs” (Chick Corea), New York, March 14, 19 and 27, 1968.  Chick Corea, piano (p); Miroslav Vitous, bass (b); Roy Haynes, drums (d)

Topic 1:  The order of solos in this piece is:  Corea, Miroslav.  Listen to the recording and provide counter numbers for the beginning and end of these two solos.  Describe their solo styles.  Listen to how they phrase or create musical lines over the chord changes.  Try to include some detail.  How do their solos change and develop over the course of their particular solo?  Describe what Miroslav plays during Corea’s solo?  Is he walking in a traditional way?  Does he clearly play the downbeats?  Are Corea and Miroslav in a “conversation” during Corea’s solo?  Miroslav solos after Corea.  Describe his technique on the bass.  Does he phrase like other bass players you have heard solo, such as Scott LaFaro?  Is his soloing like that of a horn player?  Describe the feel of drummer Haynes during the solos.  Compare and contrast Corea’s soloing with Bill Evans. Would you describe the style of these soloists as bop, hard bop, cool, modal, free or elements of more than one style?  Explain in detail using what you’ve learned from the Lessons about these particular styles.

Topic 2:  The melody, or “head,” begins at 00:00 and ends at 01:23.  What is the form?  Use letters and counter numbers to designate the sections.  Hint: this piece does not have a traditional form.  Listen for changes in melody and feel to mark the beginning and end of the sections. Also, the melody is played twice.  Does any part of the melody sound modal with a pedal point in the bass?  Describe how this trio phrases the melody together.  Describe how Corea uses chords to support the melody.  Does is sound written?  Is it harmonized?  Is the trio unified? Describe what Miroslav plays during the melody.  Is he just keeping time? After the melody Corea begins his solo at 01:24 and then Miroslav plays his solo at 04:30.  Does it sound like they are soloing on  the form of the melody or set of chord changes?  How is the melody played at the end of the piece?  Compare the feel of this Corea trio with the Evans trio that is featured in the piece “Gloria’s Step.” What style or styles would you say characterize this piece: bop, hard bop, cool, or modal?  Explain in detail using what you’ve learned from the Lessons about these particular styles.

7:Return to Forever, “Spain” (Chick Corea), London, October 1972.  Chick Corea, elec. piano; Stanley Clarke, bass; Joe Farrell, flute; Flora Purim, vocals, percussion; Airto Moreira, drums.  [Original issue: Light As a Feather, Polydor]



Topic 1:  “Spain” is a famous piece by Corea’s Return to Forever that is a mix of jazz-rock fusion and Latin jazz.  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.  Briefly compare and contrast the fusion style soloists of “Spain” with the soloists of Weather Reports’ “Birdland.”

Topic 2: “Spain” is a famous piece by Corea’s Return to Forever that is a mix of jazz-rock fusion and Latin jazz.  There is an introduction by Corea.  Are there elements of the melody in this intro?  The melody, or “head,” begins at 01:14 and ends at 02:45.  How many sections are in the melody?  What is the form?  Use letters and counter numbers to designate the sections.  How is the melody arranged?  Is it harmonized?  Who is featured playing the melody?  Describe the sound of the flute and the voice.  Farrell is the first to solo.  Is he soloing over the entire form or just a section of the form?  Describe how Corea comps for his solo with the electric piano.  What happens in the section at 04:33?  What could you call this section that is between Farrell’s solo and Corea’s solo? Describe the two sections that occur between 06:57 and Clarke’s bass solo.  How is the melody played at the end?  What are the general characteristics of this piece that are different from the hard bop and free groups that we have heard?  Compare/contrast the overall fusion style of “Spain” with that of Weather Reports’ “Birdland.”

8:Herbie Hancock, “Sly” (Herbie Hancock), San Francisco, CA, Fall, 1973.  Herbie Hancock, piano/Fender Rhodes (p/FR); Bennie Maupin, soprano and tenor saxophones, saxello, bass clarinet, alto flute (ss/ts/saxello/bcl/af); Paul Jackson, electric bass, marimbula (eb); Bill Summers, Congas, Shekere, Balafon, Agogo, Cabasa, Hindewho, Tambourine, Log drum, Surdo, Gankogui, Beer Bottle (per); Harvey Mason, Yamaha drums

Topic 1:  This piece was released by Herbie Hancock’s fusion band The Head Hunters on their self-entitled album “Head Hunters.”  See “Acid Jazz and Jazz-Hip-Hop Fusion” in the on-line Lesson on Jazz Rock Fusion to help you describe “Sly.”  How many soloists are there in this piece?  Please list them by name and instrument.  Now listen closely to Bennie Maupin who solos on the soprano sax at 02:26.  Describe his solo style.  How does he phrase with the rhythm section?  Describe what happens to the feel and tempo just before he solos at 02:03.  What happens at 05:20 just before Hancock’s solo?  Describe how Hancock’s playing of an electric piano is different from an acoustic piano.  How do the other musicians support him?  Does their accompaniment have rock elements?  Is there a hypnotic pulse during the solos? Does the bass line function as a pedal point?  Do the bass and other accompanying instruments give this piece a modal quality?  What characteristics of these fusion soloists in “Sly” are different from soloists you have heard in other jazz styles such as hard bop, modal and free?  What aspects of these fusion soloists are similar (to hard bop, modal and free)?

Topic 2:  There is no introduction in this piece.  The melody, or “head,” begins at 00:00 and ends at 02:02.  What is the form?  Use letters and counter numbers to designate the sections.  Hint: the melody is made up of four sections, the third of which is an abbreviated restatement of the first section. Describe how this group arranges the melody.  What instrument plays most of the melody?  What role do the bass and drums have?  Are the musicians playing written parts during the melody?  This piece is one of Herbie Hancock’s first compositions in the fusion style of jazz.  “Sly” presents examples of the jazz-rock fusion style such as: 1) the use of electrified instruments, 2) straight rock beats instead of swing and the swung 8th note, 3) repetitive funk-style riffs, 4) highly dissonant, multi-layered textures, 5) hypnotic pulse.  Listen to the piece and provide counter numbers where all five of these aspects can be heard.  Describe in detail how these aspects support both the melody and the two solos by Maupin and Hancock.  How does this piece end? What are the similarities between the overall organization of “Sly” and that of earlier bop and hard bop ensembles?  What is the most striking difference?

9: Keith Jarrett, “Landscape For Future Earth” (Keith Jarrett), Oslo, Norway, November, 1971.  Keith Jarrett, piano (p)

Topic 1:  This is a solo piece by Keith Jarrett.  Where in the piece does Jarrett seem to begin his solo?  Listen to the recording and provide counter numbers for the beginning and end of his solo.  Note: Jarrett’s solo starts when he begins to sing along with his right hand phrasing.  Describe his solo style.  Listen to how he phrases or creates musical lines over the chord changes.  Try to include some detail.  How does his solo change and develop over the course of the piece?  What elements of his solo sound “classical?”  What elements sound like “pop” music?  Describe and give counter numbers.  Describe Jarrett’s technique in his right hand.  Does he phrase in a traditional “swing” style as earlier pianists?  Compare and contrast Jarrett’s phrasing to that of Evans and Hancock.  Give some detail.  Would you describe the style of Jarrett as bop, hard bop, cool, modal or elements of more than one style?  Explain in detail using what you’ve learned from the Lessons about these particular styles.

Topic 2:  The melody, or “head,” begins at 00:00 and ends at 01:08.  What is the form?  Use letters and counter numbers to designate the sections.  Hint: this piece does not have a traditional form.  Listen for changes in melody and feel to mark the beginning and end of the sections.  Note: Some sections of this piece are not clearly marked because Jarrett improvises much of this piece.  However, he does present a melodic section followed by a solo section.  Describe how Jarrett phrases the melody.  Describe how he uses chords to support the melody.  Does is sound written?  Is it harmonized?  After the melody Jarrett begins his solo at 01:09.  Does he solo on the form of the melodic section?  How is the melody played at the end of the piece?  Is it played the same way at the end as it is in the beginning?  What style or styles would you characterize this piece: bop, hard bop, cool, modal or free?  Explain in detail using what you’ve learned from the Lessons about these particular styles.

10:Keith Jarrett, “All The Things You Are” (J. Kern/O. Hammerstein), New York, January 1983.  Keith Jarrett, piano (p); Gary Peacock, bass (b); Jack DeJohnette, drums (d)

Topic 1:  The order of solos in this piece is:  Jarrett, Peacock.  Listen to the recording and provide counter numbers for the beginning and end of these two solos.  Describe their solo styles.  Listen to how they phrase or create musical lines over the chord changes.  Try to include some detail.  How do their solos change and develop over the course of their particular solo?  Describe what Peacock plays during Jarrett’s solo?  Are the bass and drums keeping time in a traditional way?  Describe Jarrett’s phrasing at 02:31.  Is he phrasing across the bar lines?  Describe.  Peacock solos after Jarrett.  Describe his technique on the bass.  Does he phrase as other bass players you have heard solo, such as Scott LaFaro?  Is his soloing like that of a horn player?  Describe the feel of drummer Motian during the solos.  Compare the feel of this Jarrett trio with the Corea trio featured in the piece “Now He Sings, Now He Sobs.” Would you describe the style of these soloists as bop, hard bop, cool or elements of more than one style?  Explain in detail using what you’ve learned from the Lessons about these particular styles.



Topic 2:  This piece has an introduction.  How many bars is it?  This intro begins on the B section of the form.  The melody, or “head,” in its entirety begins at 00:19 and ends at 00:52.  What is the form?  Use letters and counter numbers to designate the sections.  Hint: “All The Things You Are” is a modified AABA song form.  Describe how this trio phrases the melody together.  Describe how Jarrett uses chords to support the melody.  Does is sound written?  Is it harmonized?  Is the trio unified? Describe what Peacock plays during the melody.  Is he just keeping time? After the melody Jarrett begins his solo at 00:53.  How many choruses does Jarrett solo?  How many choruses does Peacock play?  How is the melody played at the end of the piece?  Compare the feel of this Jarrett trio with the Corea trio featured in the piece “Now He Sings, Now He Sobs.” What style or styles would you characterize this piece; bop, hard bop, cool, or modal?  Explain in detail using what you’ve learned from the Lessons about these particular styles.