
People say That for you to decide.
==Welcome== Hi and welcome to wikipedia. I noticed you had a blank talk page, so I decided to welcome you. I hope you like it and decide to stay. Here are some handy links for newcomers. *Wikipedia:Welcome, newcomers *Wikipedia:How to edit a page *Wikipedia:Tutorial *Wikipedia:Picture tutorial *Wikipedia:How to write a great article *Wikipedia:Naming conventions *Wikipedia:Manual of Style *Wikipedia:Help *Wikipedia:village pump *Wikipedia:help desk *Wikipedia:Wikiquette Also you can sign your name on talk pages and vote pages with three tildes like this~~~ , and your name with a time stamp with four like this ~~~~ . User:Howabout1 02:10, 29 May 2005 (UTC)
==Warning==
Stop disrupting wikipedia or you will be blocked. Use discussion pages, that's what they're there for. --User:Weyes(User talk:Weyes) 03:11, 2005 May 29 (UTC)
BeBop: You need to stop violating Wikipedia policy. If you disagree with how the speedy deletion mechanism works, that's fine. However, you must go through the proper channels. Do NOT remove the speedy deletion tag; this is vandalism. Also, do NOT revert the same article more than three times in a day. That's violating the WP:3RR. I suggest you follow the rules, or else you will find yourself banned. User:Linuxbeak | User_talk:Linuxbeak | User:Linuxbeak/Desk 18:55, May 29, 2005 (UTC)
:I'm afraid that Linuxbeak is wrong, as you're doubtless aware. You're perfectly entitled to remove a speedy delete tag if you think that it's incorrectly applied, or if you are going to improve the article.
:On the other hand, you should avoid using the template to explain matters to other users (as at User talk:Feydey) — their Talk pages then appear on :Category:Candidates for speedy deletion, which is a pain for admins trying to clear up speedies. User:Mel Etitis (Μελ_Ετητης)">User talk:Mel Etitis 19:32, 29 May 2005 (UTC)
== Don't create empty user pages ==
Please don't create empty user pages for other users. It should be up to them to decide when/if to create their user page. --User:CesarB 16:27, 29 May 2005 (UTC)
User pages, even their main page, are owned by the community. User:BeBop 18:11, 29 May 2005 (UTC)
:Yes, but it's a longstanding unwritten tradition of courtesy that, except for the User talk: pages, the User: pages should be edited only by their corresponding user. --User:CesarB 19:16, 29 May 2005 (UTC)
== Vandal ==
Please do not revert a page that is awaiting to be deleted. This is known as vandalism. User:Thorpe 17:44, 29 May 2005 (UTC)
: Those other comments on your Talk page back this up as well. User:Thorpe 19:28, 29 May 2005 (UTC)
==Adminship nomination==
I see you Wikipedia:Requests for adminship/AlistairMcMillan, but didn't think to notify him. Please bear in mind that if someone isn't told of their nomination there is no way they can accept it, and hence they cannot be promoted. In this case someone else had to sort out the formatting of the nomination, and tell the nominee they were actually up for a vote! — User:Trilobite (User_talk:Trilobite) 20:35, 29 May 2005 (UTC)
==purposeful deadend pages==
(from the village pump)
Now listen here, I have no problem with blank pages being deleted. However, In an effort to make Special:Wantedpages useful I have created some blank pages at places like User:Anthony DiPierro/warning because they appear high on the list of wanted pages. Lots of stale links point to this. The obvious solution is to fix Wanted Pages, but that is a long way coming. There are a ton of other userspace pages there that would do no harm in being blank, dead-end pages. I've been threatened as a vandal with being blocked for creating some of them. I'm being bold and these pages do no harm. In the case of making Wanted Pages useful it is helpful. If someone has a solution other than blank dead-end pages at these locations, WONDERFUL. Until that exists, can we leave these in place and stop the vandalism threats? User:BeBop 15:25, 29 May 2005 (UTC) *Creating empty pages doesn't solve anything. These links are on Most wanted pages, because they are linked to and need content. They will still be wanted if you create an empty page. Still, user pages are an special case here. User:Anthony DiPierro/warning, for example, probably had some sort of template on it Anthony used in his editing. The links are left, but his decision not to use it anymore should be respected. If you think this creates annoying redlinks you could ask Anthony to redirect it userpage himself. In general it's a smart thing to only create articles on this list and leave all the other links. If you want something changed in someone's userspace it's common courtesy to ask first. This will help people get a grip on your intentions and help prevent accusations of vandalism. They can only know what you're doing if you're telling them. I hope I've been somewhat helpful. User:MacGyverMagic|User talk:MacGyverMagic 13:23, May 30, 2005 (UTC)
Bebop or bop is a form of jazz characterized by fast tempos and improvisation based on harmonic structure rather than melody. It was developed in the early and mid-1940s. Hard bop later developed from bebop combined with blues and gospel music. ==History== The creation of the musical language of bebop is generally credited to Dizzy Gillespie, Charlie Parker, Thelonious Monk, Kenny Clarke, and others who took part in jams after finishing more formal gigs elsewhere. Minton's Playhouse in Harlem, and the many small jazz clubs on West 52nd Street in Manhattan were important areas where musicians were free to improvisation as they wished, free of what some considered the restrictions of an audience expecting smooth, danceable versions of popular songs. Several earlier swing music-era musicians are often cited as especially influential in the development of bebop, including saxophone players Coleman Hawkins and Lester Young, trumpeter Roy Eldridge, and guitarist Charlie Christian. Much of this development took place around 1943, during a recording ban caused by a labor dispute of the American Federation of Musicians. Consequently, bop emerged to the wider public somewhat fully-formed in 1945; and the reaction was, at least partly, incomprehension. Bebop never achieved the popularity of swing, and was criticized by some contemporaries for being too technical. (Cab Calloway opined famously that bebop was nonsensical "Chinese Music.") Gillespie was quoted as saying that this demanding technique was exactly his goal, to elevate the music to a level where only the most elite musicians could participate. Though, like many older jazz musicians, Louis Armstrong expressed a dislike for bebop, he was revered by many boppers, who sometimes "quoted" his musical phrases by incorporating fragments of Armstrong's recorded improvisations in their own songs. ==Style== Many bebop tunes were based on chord progressions (also called chord changes) from popular songs, which allowed recording artists to avoid paying copyright fees. The chord changes to the song "I Got Rhythm" by George Gershwin were so often used that they are often referred to simply as "Rhythm Changes." Jazz musicians had always improvised solos over chord changes, but writing entirely new compositions based on existing chord changes was an innovation. Bebop composers and improvisers, particularly Charlie Parker, stylistically employed frequent use of upper chord tones, i.e., ninths, elevenths, and thirteenths, creating a more colorful and rich harmonic sound than past jazz styles. As the bebop language developed, these "altered chords" were used less for coloration than as fundamental building blocks of new harmonic "spaces." The soloist's implied switch from an original to a reconstructed space created a narrative of "liberation." With the emergence of "hard bop" and "modal" jazz in the late 1950s and early 1960s, each altered chord was seen to imply a scale or mode. The capacity to improvise over a complex sequence of altered chords using only the implied scales requires a mental agility of a mathematical, problem-solving kind that is another hallmark of bebop. These techniques have moved from the avant-garde to become part of the mainstream language of jazz, a language each and every musician masters as a rite of passage. Bebop was also heavily characterized by the flatted fifth. The flatted fifth, one of the two strong dissonances on the diatonic scale, was a relatively new addition to popular music at the time. Although it had occasionally been used for passing chords or special harmonic effects in the 20s or 30s, and is an intrinsic member of the "blues" scale derived from African music, the feature had never played an integral role in the foundation of a style to the extent it does in bebop. After roughly a decade, the flatted fifth would become a “blue note” just as common as the undetermined thirds and sevenths in traditional blues (Brendt 15). This is related to the harmonic technique of tritone substitution. Here, the familiar series of perfect cadences is replaced by chromatic motion of the root. Thus, the standard "IIm7 - V7 - I" sequence, a building block of the 20th century popular song, is reconstructed as "IIm7 - bII7 - I". A bebop musician like Thelonious Monk, confronted with a chord marked as G7 (G dominant seventh) resolving to C, would spontaneously replace it with Db7 (Db dominant seventh). Bebop differed drastically from the highly organized compositions and “solid, yet springing 4/4 propulsion” of the swing era, and was instead characterized by fast tempos, complex harmonies, intricate melodies, and rhythm sections that laid down a steady beat only on the bass and the drummer’s ride cymbal (Rosenthal 12). The music itself was jarringly different to the ears of the public, who were used to the bouncy, organized, danceable tunes of those like Benny Goodman and Glenn Miller during the swing era. Instead, bebop appeared to sound racing, nervous, and often fragmented. Everything was condensed, and no notes except the absolutely necessary were added. As one bop musician said, “everything that is obvious is excluded” (Gitler 16), which often amounted in the music going above the heads of listeners. The style was also highly dependent on improvisations, which even include non-traditional solo instruments such as the drums. In the playing, a theme would be presented in unison at the beginning and the end of each piece, with improvisational solos making up the body of the work. The typical bebop combo consisted of bass, drums, and piano, with two horns. Perhaps the classic 1940s bebop combo was Charlie Parker on saxophone, Dizzy Gillespie on trumpet, Max Roach on drums, Percy Heath on Bass guitar, and Bud Powell on piano. Some Bebop scales emerged, including the Bebop Minor (I-II-bIII-III-IV-V-VI-bVII), the Bebop Dominant (I-II-III-IV-V-VI-bVII-VII), and the Bebop Half-Diminished (I-bII-bIII-IV-bV-bVI-VII). ==Etymology== The name ''bebop'' (also called rebop) is an onomatopoeia imitation of a characteristic quick two-note phrase that was played together by the lead instruments to introduce a solo or end a song. ==References== Berendt, Joachim E. ''The Jazz Book: From Ragtime to Fusion and Beyond''. Trans. Bredigkeit, H. and B. with Dan Morgenstern. Westport, CT: Lawrence Hill & Co., 1975. Gitler, Ira. ''Swing to Bop: An Oral History of the Transition of Jazz in the 1940s''. Oxford: Oxford University Press, 1987. Rosenthal, David. ''Hard bop: Jazz and Black Music, 1955-1965''. New York : Oxford University Press, 1992. ==Samples== *Media:Bird Of Paradise.ogg of "Bird of Paradise" by Charlie Parker from ''In a Soulful Mood'' *Media:Ruby My Dear.ogg of "Ruby My Dear" by Thelonius Monk *Media:Indian Summer.ogg of "Indian Summer" by Stan Getz *Media:I Can't Get Started.ogg of "I Can't Get Started" by Eddie Lockjaw Davis ==Bebop musicians== Other notable musicians identified with bebop: * Charlie Christian, guitar * Kenny Clarke, drums * Miles Davis, trumpet * Dexter Gordon, tenor sax * Wardell Gray, saxophone * Bud Powell, piano * Chano Pozo, conga * J.J. Johnson, trombone Jazz genres Bebop
{| width="80%" align="right" style="text-align:center; border:1px solid #ffc9c9; background-color:#FFFFF3;" |- padding:1em;padding-top:0.5em;" | |style="font-size: 85%"|This is a Wikipedia user page. If you find this page on any site other than Wikipedia, you are viewing a mirror site. Be aware that the page may be outdated, and that the user this page belongs to may have no personal affiliation with any site other than Wikipedia itself. The original page is located at http://en.wikipedia.org/wiki/:. |} ------------------- I'm hoping to catch up soon and go back and add more citations to my articles. == Articles == All Wikipedia main namespace article text or text edits produced by Bebop explicitly ''excluding all'' main talk edits, user pages, and user talk page comments are dual licensed as described below. Any other namespace (such as Wikipedia:, User:, Talk: or User Talk: ) is excluded. This license is retroactive, however, I reserve the right to cease using the dual license at any time by removing this notice from my page. The most recent notice shall have priority.
For an archive of discussions, see this page's history file, as well as User talk:Bebop/archive1 and its history file. I've been pruning this page frequently but it still gets so full that I plan to try to use it for current questions from me and current communications from others.
Jazz Jazz genres
See other meanings of words starting from letter:
Words begining with Bebop:
BeBop
BeBop
Bebop
Bebop
Bebop
Bebop
Bebop
Bebop/archive1
Bebop/monobook.css
Bebop_musicians
BeBop
People say That for you to decide.
BeBop
==Welcome== Hi and welcome to wikipedia. I noticed you had a blank talk page, so I decided to welcome you. I hope you like it and decide to stay. Here are some handy links for newcomers. *Wikipedia:Welcome, newcomers *Wikipedia:How to edit a page *Wikipedia:Tutorial *Wikipedia:Picture tutorial *Wikipedia:How to write a great article *Wikipedia:Naming conventions *Wikipedia:Manual of Style *Wikipedia:Help *Wikipedia:village pump *Wikipedia:help desk *Wikipedia:Wikiquette Also you can sign your name on talk pages and vote pages with three tildes like this
Now listen here, I have no problem with blank pages being deleted. However, In an effort to make Special:Wantedpages useful I have created some blank pages at places like User:Anthony DiPierro/warning because they appear high on the list of wanted pages. Lots of stale links point to this. The obvious solution is to fix Wanted Pages, but that is a long way coming. There are a ton of other userspace pages there that would do no harm in being blank, dead-end pages. I've been threatened as a vandal with being blocked for creating some of them. I'm being bold and these pages do no harm. In the case of making Wanted Pages useful it is helpful. If someone has a solution other than blank dead-end pages at these locations, WONDERFUL. Until that exists, can we leave these in place and stop the vandalism threats? User:BeBop 15:25, 29 May 2005 (UTC) *Creating empty pages doesn't solve anything. These links are on Most wanted pages, because they are linked to and need content. They will still be wanted if you create an empty page. Still, user pages are an special case here. User:Anthony DiPierro/warning, for example, probably had some sort of template on it Anthony used in his editing. The links are left, but his decision not to use it anymore should be respected. If you think this creates annoying redlinks you could ask Anthony to redirect it userpage himself. In general it's a smart thing to only create articles on this list and leave all the other links. If you want something changed in someone's userspace it's common courtesy to ask first. This will help people get a grip on your intentions and help prevent accusations of vandalism. They can only know what you're doing if you're telling them. I hope I've been somewhat helpful. User:MacGyverMagic|User talk:MacGyverMagic 13:23, May 30, 2005 (UTC)
Bebop
Bebop or bop is a form of jazz characterized by fast tempos and improvisation based on harmonic structure rather than melody. It was developed in the early and mid-1940s. Hard bop later developed from bebop combined with blues and gospel music. ==History== The creation of the musical language of bebop is generally credited to Dizzy Gillespie, Charlie Parker, Thelonious Monk, Kenny Clarke, and others who took part in jams after finishing more formal gigs elsewhere. Minton's Playhouse in Harlem, and the many small jazz clubs on West 52nd Street in Manhattan were important areas where musicians were free to improvisation as they wished, free of what some considered the restrictions of an audience expecting smooth, danceable versions of popular songs. Several earlier swing music-era musicians are often cited as especially influential in the development of bebop, including saxophone players Coleman Hawkins and Lester Young, trumpeter Roy Eldridge, and guitarist Charlie Christian. Much of this development took place around 1943, during a recording ban caused by a labor dispute of the American Federation of Musicians. Consequently, bop emerged to the wider public somewhat fully-formed in 1945; and the reaction was, at least partly, incomprehension. Bebop never achieved the popularity of swing, and was criticized by some contemporaries for being too technical. (Cab Calloway opined famously that bebop was nonsensical "Chinese Music.") Gillespie was quoted as saying that this demanding technique was exactly his goal, to elevate the music to a level where only the most elite musicians could participate. Though, like many older jazz musicians, Louis Armstrong expressed a dislike for bebop, he was revered by many boppers, who sometimes "quoted" his musical phrases by incorporating fragments of Armstrong's recorded improvisations in their own songs. ==Style== Many bebop tunes were based on chord progressions (also called chord changes) from popular songs, which allowed recording artists to avoid paying copyright fees. The chord changes to the song "I Got Rhythm" by George Gershwin were so often used that they are often referred to simply as "Rhythm Changes." Jazz musicians had always improvised solos over chord changes, but writing entirely new compositions based on existing chord changes was an innovation. Bebop composers and improvisers, particularly Charlie Parker, stylistically employed frequent use of upper chord tones, i.e., ninths, elevenths, and thirteenths, creating a more colorful and rich harmonic sound than past jazz styles. As the bebop language developed, these "altered chords" were used less for coloration than as fundamental building blocks of new harmonic "spaces." The soloist's implied switch from an original to a reconstructed space created a narrative of "liberation." With the emergence of "hard bop" and "modal" jazz in the late 1950s and early 1960s, each altered chord was seen to imply a scale or mode. The capacity to improvise over a complex sequence of altered chords using only the implied scales requires a mental agility of a mathematical, problem-solving kind that is another hallmark of bebop. These techniques have moved from the avant-garde to become part of the mainstream language of jazz, a language each and every musician masters as a rite of passage. Bebop was also heavily characterized by the flatted fifth. The flatted fifth, one of the two strong dissonances on the diatonic scale, was a relatively new addition to popular music at the time. Although it had occasionally been used for passing chords or special harmonic effects in the 20s or 30s, and is an intrinsic member of the "blues" scale derived from African music, the feature had never played an integral role in the foundation of a style to the extent it does in bebop. After roughly a decade, the flatted fifth would become a “blue note” just as common as the undetermined thirds and sevenths in traditional blues (Brendt 15). This is related to the harmonic technique of tritone substitution. Here, the familiar series of perfect cadences is replaced by chromatic motion of the root. Thus, the standard "IIm7 - V7 - I" sequence, a building block of the 20th century popular song, is reconstructed as "IIm7 - bII7 - I". A bebop musician like Thelonious Monk, confronted with a chord marked as G7 (G dominant seventh) resolving to C, would spontaneously replace it with Db7 (Db dominant seventh). Bebop differed drastically from the highly organized compositions and “solid, yet springing 4/4 propulsion” of the swing era, and was instead characterized by fast tempos, complex harmonies, intricate melodies, and rhythm sections that laid down a steady beat only on the bass and the drummer’s ride cymbal (Rosenthal 12). The music itself was jarringly different to the ears of the public, who were used to the bouncy, organized, danceable tunes of those like Benny Goodman and Glenn Miller during the swing era. Instead, bebop appeared to sound racing, nervous, and often fragmented. Everything was condensed, and no notes except the absolutely necessary were added. As one bop musician said, “everything that is obvious is excluded” (Gitler 16), which often amounted in the music going above the heads of listeners. The style was also highly dependent on improvisations, which even include non-traditional solo instruments such as the drums. In the playing, a theme would be presented in unison at the beginning and the end of each piece, with improvisational solos making up the body of the work. The typical bebop combo consisted of bass, drums, and piano, with two horns. Perhaps the classic 1940s bebop combo was Charlie Parker on saxophone, Dizzy Gillespie on trumpet, Max Roach on drums, Percy Heath on Bass guitar, and Bud Powell on piano. Some Bebop scales emerged, including the Bebop Minor (I-II-bIII-III-IV-V-VI-bVII), the Bebop Dominant (I-II-III-IV-V-VI-bVII-VII), and the Bebop Half-Diminished (I-bII-bIII-IV-bV-bVI-VII). ==Etymology== The name ''bebop'' (also called rebop) is an onomatopoeia imitation of a characteristic quick two-note phrase that was played together by the lead instruments to introduce a solo or end a song. ==References== Berendt, Joachim E. ''The Jazz Book: From Ragtime to Fusion and Beyond''. Trans. Bredigkeit, H. and B. with Dan Morgenstern. Westport, CT: Lawrence Hill & Co., 1975. Gitler, Ira. ''Swing to Bop: An Oral History of the Transition of Jazz in the 1940s''. Oxford: Oxford University Press, 1987. Rosenthal, David. ''Hard bop: Jazz and Black Music, 1955-1965''. New York : Oxford University Press, 1992. ==Samples== *Media:Bird Of Paradise.ogg of "Bird of Paradise" by Charlie Parker from ''In a Soulful Mood'' *Media:Ruby My Dear.ogg of "Ruby My Dear" by Thelonius Monk *Media:Indian Summer.ogg of "Indian Summer" by Stan Getz *Media:I Can't Get Started.ogg of "I Can't Get Started" by Eddie Lockjaw Davis ==Bebop musicians== Other notable musicians identified with bebop: * Charlie Christian, guitar * Kenny Clarke, drums * Miles Davis, trumpet * Dexter Gordon, tenor sax * Wardell Gray, saxophone * Bud Powell, piano * Chano Pozo, conga * J.J. Johnson, trombone Jazz genres Bebop
Bebop
Bebop
{| width="80%" align="right" style="text-align:center; border:1px solid #ffc9c9; background-color:#FFFFF3;" |- padding:1em;padding-top:0.5em;" | |style="font-size: 85%"|This is a Wikipedia user page. If you find this page on any site other than Wikipedia, you are viewing a mirror site. Be aware that the page may be outdated, and that the user this page belongs to may have no personal affiliation with any site other than Wikipedia itself. The original page is located at http://en.wikipedia.org/wiki/:. |} ------------------- I'm hoping to catch up soon and go back and add more citations to my articles. == Articles == All Wikipedia main namespace article text or text edits produced by Bebop explicitly ''excluding all'' main talk edits, user pages, and user talk page comments are dual licensed as described below. Any other namespace (such as Wikipedia:, User:, Talk: or User Talk: ) is excluded. This license is retroactive, however, I reserve the right to cease using the dual license at any time by removing this notice from my page. The most recent notice shall have priority.
Bebop
For an archive of discussions, see this page's history file, as well as User talk:Bebop/archive1 and its history file. I've been pruning this page frequently but it still gets so full that I plan to try to use it for current questions from me and current communications from others.
Bebop
Jazz Jazz genres
See other meanings of words starting from letter:
B
BA | BC | BD | BE | BF | BG | BH | BI | BJ | BK | BL | BM | BN | BO | BP | BR | BS | BT | BU | BW | BX | BY | BZ |Words begining with Bebop:
BeBop
BeBop
Bebop
Bebop
Bebop
Bebop
Bebop
Bebop/archive1
Bebop/monobook.css
Bebop_musicians
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