Bebop Research Papaer

Bebop music was the next evolutionary change of Jazz music that succeeded swing music. This paper’s aim is look at musicians who impacted this era, exploring more in depth Dizzy Gillespie and Charlie Parker. In the early 1940’s, the swing bands began to all sound the same as well as work along predictable chord changes.1 The music was now not used for dancing. Some people believed that this would let the music go away from the elite social groups, and now be for everybody. Also just because a musician could play swing music well, there was no guarantee that the same musician would be able to perform Bebop. This new style of music was defined through adventurous soloists such as Dizzy Gillespie. Although swing music did have some creativity, in Bebop the chorus was done once at the beginning and once at the end, the middle was mostly up to the soloist’s creativity and inventiveness. Bebop music really took hold during the years of American involvement in WWII. During this time there was a major strike from the Musicians Union because they wanted more money from labels because of money lost on free radio.2 The strike led to musicians jamming with each other and not being able to record. Since there was a lack of recorded material for the music, when recording started again, and people heard Bebop they were very taken

1 Scott Yanow, Bebop, San Francisco: 2000, Miller Freeman Books, 1
2 Yanow, 1
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aback. They had no warning that this new style of music was being created, let alone how different it was from swing.
The musical style itself differed quite a lot from anything that had ever been done in Jazz up until this point. Along with the chorus only being repeated at the end of a musical number, there were fast tempos, asymmetrical phrasing, and intricate melodies.
The only things that held Bebop together were underlying harmonies that were played by the rhythm section. Other then this, most of the music ended up being improvisational as