The Duke Ellington Experience

introduction

2008-04-21T19:49:00.004-04:00

The Duke Ellington Experience will teach you to recognize:

Introduction Poll

Duke's music when played
how he used the piano
how he conducted the orchestra
his accompanist style

You will also be able to describe:

How Duke provided contrast between instruments
The "Ellington Effect"

Finally you will demonstrate how to musically create and experiment like the Duke.

Let's get started! Click on the Biography link.

Background

2008-04-17T22:45:00.019-04:00

April 29, 1899 – May 24, 1974

Edward Kennedy “Duke” Ellington is widely recognized, both in his life and posthumously, as one of the most influential figures in jazz music. Born in Washington, D.C. to James Edward Ellington (a blueprint maker for the U.S. Navy) and Daisy Kennedy Ellington, Ellington acquired the nickname “Duke” from childhood friends who were impressed with his elegant dress and graceful manner. Ellington began studying piano at age 7. In the summer of 1914, Ellington wrote his first composition Poodle Dog Rag while working as a soda jerk at the Poodle Dog Café. Over the following nine years, Ellington worked to establish himself as a successful ragtime, jazz, and society pianist and band leader in Washington, D.C.

Ellington moved to New York in 1923 with fellow musicians Sonny Greer and Otto Hardwick and began playing as the Washingtonians at the Hollywood Club in Manhattan. Developing his signature style at the height of the Harlem Renaissance, Ellington released seven albums in 1923. He received composing credit for three of these albums including Choo Choo.

Ellington launched the Duke Ellington Orchestra as the house band for the Cotton Club (the preeminent Harlem speakeasy) in 1927. The Cotton Club and its weekly radio broadcasts gave Ellington massive exposure for the next ten years. During this time, Ellington composed some of his most recognizable works Concerto for Cootie, Koko, Cotton Tail, In a Sentimental Mood and Jump for Joy. In 1932, Ellington scored a Top Ten hit with one of his best-known songs, It Don't Mean a Thing (If It Ain't Got That Swing), a song that helped give the period of Swing music (which began three years later) its name. In 1933 he traveled with his 14-piece band on their first tour of England and Europe. Ellington maintained a near-constant touring schedule for the next 40 years, broken only by temporary residencies at clubs in New York, Chicago, Los Angeles, London, and Paris. Working sometimes twenty hours a day he was referred to as “the busiest man in show business.”

It is difficult to capture the scope of Ellington’s contribution to music, both because of his exhaustive body of work and because of the essentially collaborative nature of his musical gift. Ellington’s true instrument was his orchestra, and Ellington was able to absorb and reinvent different musical styles through his genius for arrangement. Although he was an extremely talented pianist he rarely featured himself as a soloist. He produced pieces that were both sophisticated and broadly accessible. Ellington balanced his mastery of the three-minute song (the limits or 78 recordings) with his ambition to compose larger set pieces and multi-piece suites that were often built around a specific theme in African-American life. In so doing, he forced the critical world to deal with jazz music as a serious art form.

Ellington recorded and performed extensively till the end of life and is remembered for his ceaseless innovation in jazz music composition. He composed over 3,000 original and orchestral compositions. Ellington received many accolades throughout his career including honorary doctorates from Howard and Yale Universities, membership in the American Institute of Arts and Letters, election as the first jazz musician member of the Royal Music Academy in Stockholm, and the Presidential Medal of Freedom.

User Assessment Rubric

2008-04-14T20:21:00.033-04:00

Purpose: The purpose of this rubric is to help assess your knowledge of Duke Ellington and his music.

Instructions: Assign yourself a score after reading each of the categories and the associated skill level. Click on the table to fill out your own rubric. Or respond using the discussion feature below.

Comprehension	Strongly Agree	Somewhat Agree	Neither Agree or Disagree	Somewhat Disagree	Strongly Disagree
I can recognize Dukes music when played
I recognize how Duke used the piano
I can identify the Stride style
I recognize how Duke conducted the orchestra
I can recognize Duke's accompanist style
I can describe how Duke Ellington provided contrast
I can describe how Duke painted with music How is painting different from contrast?
I can create and experiment like Duke

Contrasts / Composer

2008-04-13T22:04:00.014-04:00

Watch Johnny Hodges in All of Me

Smaller groups within the whole
The challenge for Duke Ellington was to create a workable balance between his ceaseless artistic exploration and the popular requirements of that era. In collaboration with his players, Ellington worked out a series of solo voices that arose out of the orchestra and functioned like regular characters on a situation comedy.

Ellington employed two innovations:

> He made recordings for smaller groups (sextets, octets, and nonets) drawn from his then 15-man orchestra.

> He composed pieces that were concerto-like and focused on a specific instrumentalist, as with Jeep's Blues for Johnny Hodges and Yearning for Love with Lawrence Brown.

Different types of voices
Ellington used a technique called vocalizing, having instruments sound as close to the human voice as possible, and voices sound as close to instruments.

In On A Turquoise Cloud, the two primary "voices" are singer Kay Davis, who emits wordless "vocalese" that sounds exactly like an extra-human instrument, and a trombonist, whose solo that could easily be mistaken for a human voice.

Listen (0:30) >

In It Don't Mean A Thing (If It Ain't Got That Swing),Ivie Anderson scats over Wellman Braud's slapping bass in the intro. Trombonist Joe Nanton's very-vocal muted solo states the famous melody with antiphonous call-and-response patterns with the wah-wah-ing ensemble already written in.

Listen to the different "voices" (0:30) >

Use the comment section below to respond:

Can you think of examples of music today in which musicians switch "voices" with instruments?

Take the Composer Quiz >

Music & Education / Bio

2008-04-13T20:26:00.004-04:00

In this section you will get more into the details of the music and educational life of Duke Ellington.

It is difficult to capture the scope of Ellington’s contribution to music, both because of his exhaustive body of work and because of the essentially collaborative nature of his musical gift. Ellington’s true instrument was his orchestra, and Ellington was able to absorb and reinvent different musical styles through his genius for arrangement. Although he was an extremely talented pianist he rarely featured himself as a soloist. He produced pieces that were both sophisticated and broadly accessible. Ellington balanced his mastery of the three-minute song (the limits or 78 recordings) with his ambition to compose larger set pieces and multi-piece suites that were often built around a specific theme in African-American life. In so doing, he forced the critical world to deal with jazz music as a serious art form.

Ellington recorded and performed extensively till the end of life and is remembered for his ceaseless innovation in jazz music composition. He composed over 3,000 original and orchestral compositions. Ellington received many accolades throughout his career including honorary doctorates from Howard and Yale Universities, membership in the American Institute of Arts and Letters, election as the first jazz musician member of the Royal Music Academy in Stockholm, and the Presidential Medal of Freedom.

Use the comment section below to respond:

The State department sent Duke Ellington on a Jazz and music tour all over the world, who else that you know about had a similar impact on the US in particular and the world in general?
Based on the musicians you know, who else broke new ground in music that revealed worldwide similar to that of Duke Ellington?

Duke's Band

2008-04-13T20:19:00.006-04:00

In this section you will learn more about Duke Ellington and how he established his band.

Ellington launched the Duke Ellington Orchestra as the house band for the Cotton Club (the preeminent Harlem speakeasy) in 1927. The Cotton Club and its weekly radio broadcasts gave Ellington massive exposure for the next 10 years. During this time, Ellington composed some of his most recognizable works “Concerto for Cootie,” “Koko,” “Cotton Tail,” “In a Sentimental Mood” and “Jump for Joy.”

In 1932, Ellington scored a Top Ten hit with one of his best-known songs, "It Don't Mean a Thing (If It Ain't Got That Swing),” a song that helped give the period of Swing music (which began three years later) its name. In 1933 he traveled with his 14-piece band on their first tour of England and Europe. Ellington maintained a near-constant touring schedule for the next 40 years, broken only by temporary residencies at clubs in New York, Chicago, Los Angeles, London, and Paris. Working sometimes 20 hours a day he was referred to as “the busiest man in show business.”

Experimenting with ternary forms, “call and response” techniques and classic symphonic devices, Ellington was able to achieve mood and nuance in his arrangements. He was sensitive to the variations in tone of his different soloists (Johnny Hodges, Bubber Miley, Joe 'Tricky Sam' Nanton, Barney Bigard, Ben Webster, Harry Carney, Sonny Greer, Otto Hardwicke and Wellman Braud), and used his knowledge of their characteristic sounds to blend individual and ensemble contribution.

These arrangements featured tonal experiments such as trumpet screams, wah-wahs, and growling saxophones, Ellington was able to retain these musicians while touring or in residence by paying each musician well, keeping the band “on tap” upwards of 52 weeks a year while traveling lavishly on two railroad cars.

Use the comment section below to respond:

What was the most distinguished issue about Duke and his band?
Why was Duke Ellington referred to as the busiest man in the show business?

“Playing” with the band / Composer

2008-04-09T23:07:00.024-04:00

While he was an excellent pianist, Ellington "played" his orchestra. He attracted, recruited and retained the best musicians, who stayed with the band because it offered more freedom than anywhere else.

Listen to this interview by NPR Radio (0:20) >

Ellington's music was so tailored to his musicians that their names frequently appeared in his scores, in place of generic notations for specific instrumental parts.

Smaller groups within the whole
The challenge for Duke Ellington was to create a workable balance between his ceaseless artistic exploration and the popular requirements of that era. In collaboration with his players, Ellington worked out a series of solo voices that arose out of the orchestra and functioned like regular characters on a situation comedy.

Ellington employed two innovations:

> He made recordings for smaller groups (sextets, octets, and nonets) drawn from his then 15-man orchestra.

> He composed pieces that were concerto-like and focused on a specific instrumentalist, as with Jeep's Blues for Johnny Hodges and Yearning for Love with Lawrence Brown.

Different types of voices
Ellington used a technique called vocalizing, having instruments sound as close to the human voice as possible, and voices sound as close to instruments.

He often composed specifically for the style and skills of these individuals, such as Jeep’s Blues for Johnny Hodges, Concerto for Cootie for Cootie Williams, The Mooche for Tricky Sam Nanton. In turn, he also recorded songs written by his bandsmen.

He studied and emphasized the players and their personalities, and was able to “play” them where they worked best in the music. Nurtured his musicians, often working to bring out performances they didn't even know they could do.

Listen to this interview by NPR Radio (1:20) >

Paul Gonsalves

He cultivated the "Ellington Effect" with his trombone section, which achieved but one of the band's many distinctive timbres – the full "Ellington Effect" combined his orchestra’s tone coloring from the unique sound qualities of the group’s individual players.

At the 1956 Newport Jazz Festival, Ellington told tenor saxophonist Paul Gonsalves to blow as long as he wanted during Diminuendo and Crescendo in Blue. In what has since become jazz folklore, Gonsalves almost created a riot as he played a solo for 27 choruses that stirred the crowd into a frenzy.

Use the comment section below to respond:

Gonsalves' solo enthralled the Newport crowd because it was unexpected and had no natural ending – would he ever stop?

Why do you think music has the ability to move people emotionally?

Go to Colors >

Colors / Composer

2008-04-09T21:53:00.011-04:00

Colors often described Ellington's music, color helped define the orchestrations, and color communicated the social and racial tensions of the day. He more resembled a painter and crafter of three-dimensional jigsaw puzzles than he did a conventional dance band arranger.

Mood Indigo

He went along with the soon-cemented breakdown of brass, reeds (replacing the strings of classical and earlier pop music orchestras) and rhythm section, but for Ellington this was only a starting point and hardly the final destination. He introduced exotic sounds from Africa, Far East and New Orleans.

How do you “paint” colors in music? Ellington provided contrast, such as beginning in a minor key and modulating to a major key in Black and Tan Fantasie.

Listen to Black and Tan Fantasie (0:00) >

Rhythmic drive is more than just a musical element. The colorful, insistent rhythms define Ellington's music as much as the colors of his arrangements. Ellington's musicians played from a chart, a printed score or hand-written manuscript with notes and meter – all the elements of a classical score.

But the chart might only be the frame of the painting, allowing jazz musicians to do what they do so well – improvise.

Mood Indigo makes a permanent mark in music history because of its novel combination of instruments – and more specifically which instruments take the high notes and which ones play the low. Here Ellington displays his artistic ability to paint with sound in a way no one else was able to at this time.

Listen to Mood Indigo (0:00) >

Use the comment section below to respond:

Can you think of other examples of creating working in multimedia, like Duke Ellington did when he meshed work in groups of musicians with live audiences and film?

Go to Contrasts >

As Accompaniest

2008-04-09T20:58:00.002-04:00

While Ellington’s work as a composer and bandleader spurred his development as a pianist, he would also achieve renown as one of the greatest accompanists. He recorded magnificent duets.

Here is one with with trumpeter Louis Armstrong (4:00)

Another with saxophonist Johnny Hodges (4:35)

Listen (0:30) to trumpeter Wynton Marsalis describe Ellington's gift as an accompanying pianist.

Use the comment section below to respond:

What does Wynton mean when he says, Duke knew how to "lay out and "not overplay"? Listen to the youtube videos again. How would you describe what Duke is doing on the piano?

Piano Means to an End / Pianist

2008-04-09T20:32:00.007-04:00

For Ellington, the piano was usually a means to an end. His playing was integral to his rhythm section, and he used it to galvanize his band. At his piano, Ellington would set tempos, signal band members, and often establish the tone and color of the next piece with one of his marvelous introductions.

Drummer Louis Bellson and trombonist John Sanders recall how Ellington used the piano for conducting the orchestra.
Listen (1:14)

Use the comment section below to respond:

How did Duke conduct the orchestra with the piano?
What did Duke do with his piano to get his band ready to play?

Go to As Accompanist >

The Stride Style / Pianist

2008-04-09T20:07:00.013-04:00

Though he took lessons from the age of 5, Ellington’s interest in playing piano surged during his early teenage years, as he became acquainted with the “stride” style.

He hung around great stride players like:

Willie “the Lion” Smith (7:00)

Fats Waller (2:43)

Click twice to watch the full size, once for the small size screen

Stride Defined
Stride is a musical language using many idioms, varied harmonics and rhythms, such as 2 against 3. It must be studied over a period of years so that the performer no longer has to think about each left hand alternation but can program ahead several bars. As all jazz, it is impossible to play properly by reading sheet music, and when younger pianists try to play a Waller or Johnson piece note for note from a written transcriptions, the special swing and feeling of the style are completely lost and they often sound mechanical, like piano rolls or at a Disneyland Pizza joint.

More info on Stride

Use the comment section below to respond:

Describe how the pianist is playing.
Why do you think the piano style is called Stride?

Take the Pianist Quiz >

Heart and Soul / Pianist

2008-04-07T22:46:00.033-04:00

The piano was at the heart and soul of Duke Ellington’s approach to making music. In addition to his supreme musical gifts as a bandleader, composer and arranger, showman and entertainer, Ellington also left an indelible mark as one of the seminal pianists in jazz.

Listen to biographer John Edward Hasse, flutist James Newton and trumpeter Wynton Marsalis reflect on Duke's piano playing.
Play (1:00) >

Use the comment section below to respond:

What does the speaker mean by the word voicings?
How did Duke play the piano as an instrument?

Go to The Stride Style >

Help Desk

2008-04-07T21:46:00.006-04:00

For the full Duke Ellington Experience, you may needs some additional applications and plug-ins. You can find them here:

Browsers
Internet Explorer
Firefox
Opera

Plug-ins
Adobe Flash Player
Adobe Acrobat

Tools
youTube
Flickr
de.licio.us
Blogspot

Staff
Charles Gluck
Lama Hamdan
Tom Sakell

Project Advisor
Dr. Shahron van Rooij, George Mason University

Peer Review

2008-04-02T23:43:00.007-04:00

For middle- and high-school educators to comment and respond to The Duke Ellington Experience.

In the comments section please respond to 4-5 questions below that really stick out as sore points or good points:

Module Design

Is it obvious what students are supposed to learn?
Is content chunked well?
Is content logical?
Do you think the visual and auditory stimuli would motivate students?

Interaction and Collaboration

Does this site support a sense of community?
Do you see students becoming engaged and posting their comments/thoughts?
Do you see clearly defined statements of how students can interact with each other

Technology

Would you say the tools and technologies are used well?
Do you think we used the right technology?
Would something else have worked better for this content?

Assessment

Do you think the interactive features are clearly aligned with stated objectives/outcomes
Do you think there are enough opportunities for students to apply what they have learned?

Tour Guide

2008-04-02T23:07:00.013-04:00

In The Duke Ellington Experience, you’ll see learn about Duke through audio, images and interactive exhibits.
Allow me to explain how to use each feature:

Audio
This is easy – just click on the link and you’ll be able to hear the music. If you need an audio player, check the Help Desk.
Video
The video files in The Experience are actually hosted on youtube.com. Just click and play.
Browsers
The Experience is optimized for Internet Explorer 6.0 and higher, and Mozilla Firefox 1.0.
Images
The photos you see in The Experience are hosted on blogger.com.

Would you like to contribute a photo to The Experience? Go to Tributes to The Duke, and you’ll see how to post a photo on Flickr.com.
Want to add to the conversation?
Each of the interactive lessons in The Experience have space at the bottom of each page for your comments. Click on Comments, and speak your mind.
Bookmarks
Want to save The Experience in your browser’s Bookmarks or Favorites? > Bookmark now

If you want to bookmark The Experience in http://del.icio.us/, you can tag the bookmark and share it with your friends — and the world.
Stay current
If you subscribe to our RSS feed, you’ll receive alerts when we post new content. > Subscribe now

Now let’s go learn all about Duke Ellington!
> Introduction

For Educators

2008-04-02T21:14:00.000-04:00

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Composer

2008-03-22T09:44:00.101-04:00

You will learn how Duke Ellington worked as a painter with music, painting colors and patterns with musicians.

Duke Ellington was among the most prolific musical composers in American music, regardless of genre. He was a master in jazz, played blues in an orchestra and evolved into swing.

In this video of Take the A Train, watch how the band interacts with, and follows the direction of, Duke Ellington.

"Jazz is music; swing is business," said Ellington. His strength was mood, nuance, and richness of composition. He wrote music constantly, creating 1,500 compositions over 50 years.

Drawing from the life around, the compositions reflected sounds of the cars, trains, streets, and bustling city life. Harlem Airshaft conveys the life clustered around the backs of Harlem tenement buildings, an area that Ellington referred to as "one big loudspeaker."

Listen (3:17) >

"To listen to jazz without any knowledge of its history is to miss much of its charm," wrote Ellington.

Through endless touring, Ellington’s was able to compose music, play it before an audience and adjust what he had written. Although he used all instrumental groupings from his solo piano and trios to full symphonic orchestras, he wrote nearly all of his music for the conventional 16-piece dance band format.

He called his work, “American Music.”

Use the comment section below to respond:

Can you provides some examples of "American Music" in the today's music?

Go to "Playing" with the band >

Biography

2008-03-22T09:44:00.099-04:00

Edward Kennedy “Duke” Ellington (April 29, 1899 – May 24 1974)

He had style
He acquired the nickname “Duke” from childhood friends who were impressed with his elegant dress and graceful manner.

He was creative
In the summer of 1914, at age 15, Ellington wrote his first composition, Poodle Dog Rag, while working as a soda jerk at the Poodle Dog Café.
Learner will listen to audio example here

How would you play Duke's music?
> Try the Experiment

He worked hard
For nine years Ellington worked to establish himself as a successful ragtime, jazz, and society pianist and band leader in Washington, D.C.

He took risks
When he was 21 he moved to New York in 1923 with fellow musicians Sonny Greer and Otto Hardwick and began playing as the Washingtonians at the Hollywood Club in Manhattan.

He took chances
Ellington launched the Duke Ellington Orchestra as the house band for the Cotton Club (the preeminent Harlem speakeasy) in 1927.

He experimented with music
Experimenting with ternary forms, “call and response” techniques, and classic symphonic devices, Ellington was able to achieve mood and nuance in his arrangements. He was sensitive to the variations in tone of his different soloists (Johnny Hodges, Bubber Miley, Joe 'Tricky Sam' Nanton, Barney Bigard, Ben Webster, Harry Carney, Sonny Greer, Otto Hardwicke, and Wellman Braud), and used his knowledge of their characteristic sounds to blend individual and ensemble contribution, These arrangements featured tonal experiments such as trumpet screams, wah-wahs, and growling saxophones,
Learner will listen to audio example here of trumpet screams, wah-wahs, and growling saxophones

Continue to Pianist >

Introduction

2008-03-22T09:44:00.089-04:00

The Duke Ellington Experience will teach you to recognize:

Introduction Poll

Duke's music when played
how he used the piano
how he conducted the orchestra
his accompanist style

You will also be able to describe:

How Duke provided contrast between instruments
The "Ellington Effect"

Finally you will demonstrate how to musically create and experiment like the Duke.

Let's get started! Click on the Biography link.

Pianist

2008-03-22T09:44:00.088-04:00

Your goal is to recognize Duke Ellington's piano when you hear it. Test yourself now and take this quiz.

Otherwise you'll need to know:

How Duke played the piano
What the Stride style is
How Duke used the piano
How Duke rarely played solo but was a great accompanist

After going to visiting these links take the quiz again and see if you do better.

Go to Heart and Soul >

Tributes to The Duke

2008-03-22T09:43:00.012-04:00

Do you have a video, sound clip or audio to contribute to the Duke Ellington Experience? Please post below.

View a video response made by Bill Bailey in April 2008.

Your reaction

2008-03-22T09:43:00.011-04:00

Please describe your emotional reaction to the Duke Ellington Experience in this presentation.

How does Duke strike you? Does he impress you? Are you blown away? Is he no big thing? Include your first name and state.

Post below:

Credits

2008-03-22T09:38:00.008-04:00

Following are the sources for information on The Duke Ellington Experience:

Tour Guide
photos: kohm.org/blog/?p=2299, http://needsmorecowbell.blogstream.com/v1/pid/163841.html, blogcritics.org/archives/2007/10/09/101445.php, http://yedda.com/questions/Whats_song_heard_music_1496127125794/

Biography
content:www.dukeellington.com, http://en.wikipedia.org/wiki/Duke_Ellington, http://museum.media.org/duke, www.schirmer.com/composers/ellington_bio.html

Pianist
audio: http://www.youtube.com/
video:http://www.youtube.com/
content:http://www.npr.org/programs/jazzprofiles/archive/ellington_d1.html

Composer
photos: http://www.jerryjazzmusician.com/mainHTML.cfm?page=giddins-underrated1.html
audio: http://www.npr.com
video: http://www.youtube.com
content: http://www.dukeellington.org, http://www.npr.org, http://www.pbs.org/ellingtonsdc, http://www.dellington.org

Resources

2008-03-22T09:38:00.002-04:00

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User's Assessment

2008-03-22T09:36:00.003-04:00

I forget how this page is different from the reaction page? Charles