characteristics commontomuch South African jazz,such as short repetitive motivic melodies, basslines and drum grooves.

What separates mbaqangafrom previous styles is the straight beat. Previously urban black music was rhythmically swung in general.

How did jazz develop in South Africa?

As Chapter One pointed out, ‘South African jazz’ derives from the amalgamation of transnational (mainly American) jazz and indigenous South African musics. Although this stylehas many ‘dialects’, there is some conceptual consensus regarding elements that historically came to signify a South African jazz sound. These include marabi (with its distinctive I-IV-V chord progression), mbaqanga (this was especially felt in the importance of the rhythmical drive and interest and repeating harmonic progressions, rather than the other formal attributes Stellenbosch University https://scholar.sun.ac.za85 of mbaqanga itself), ghoema or indlamu, amongst others. One of the ways in which Shepherd, Dyer and Makhathini connect with the South African lineage of jazz, and a sense of place therefore registers in th eir work, is through the incorporation of these elements in certain songs or tracks

Apart from mbaqanga and marabi, other styles also developed due to the amalgamation of local styles and American jazz. One of these is Cape jazz, which Coplan (2013) describes as follows: I use the term ‘Cape jazz’ knowingly, because the Mother City has its own characteristic style, strongly indebted to the American tradition starting with African-American minstrelsy, but mixed with old indigenous rhythms and melodies, mission Stellenbosch University https://scholar.sun.ac.za12 hymnody, ‘Malaysian’ choral music, and Afrikaans Coloured ghoema parade band music. (Coplan, 2013:56)Cape jazz also bears influences from moppies (up- beat Malay choirs) and langarm, as well as music played by bands from the Muslim community (Ansell, 2005:70). A telling characteristic of Cape jazz is the ghoema beat (see Figure 1.3), which Johannes (2010:35) describes as:a low pitch on every beat within the bar of music which gives the music its driving quality with the higher pitch playing a syncopated pattern to complement the singing and prevailing syncopation of ghoema music (Johannes, 2010:35).Figure 1.3Ghoema beat(from Johannes, 2010:35)This influence is more noticeable in the music of Cape Townian musicians such as Abdullah Ibrahim or Robbie Jansen, although it is also regarded as an important element of jazz in South Africa. Marabi, mbaqangaand ghoema rhythms are markers in the broad style known as South African jazz

Like that of its antecedents, the harmonic base of mbaqanga is the cyclical repetition of four primary chords. Short melodies, usually the length of the harmonic cycle, are repeated and alternated with slight variations, and call-and-response generally occurs between solo and chorus parts. The characteristics that differentiate mbaqanga from previous styles are a driving, straight beat, rather than swung rhythms; melodic independence between instrumental parts, the bass and lead guitars providing particularly strong contrapuntal lines; and electric rather than acoustic guitars and bass guitar

The music style Marabi was characterized by a repeating, ostinato accompaniment, usually in the harmonic pattern I–IV–I64–V, upon which potentially endlessly melodies were improvised.

Marabi

Modern Jazz Theory

Chapter 31 Introduction to Jazz Theory

VI. Jazz

The History of Jazz

Mbaqanga

South African Jazz

Sound of Soweto

ii–V–I

Jazz Chord Progressions

Jazz Genres

Colonialism

maskanda, often marketed as “Zulu blues.”

antshrike Aug 14, 2017ReportEdited 5 years agoreferencing There Goes The Neighborhood! (CD, Album) CCD79506Wow, did Gary Bartz unwittingly predict 9/11?The title of this is "There Goes The Neighborhood!"…the cover photo shows Bartz with the World Trade Center looming in the background…and the very last piece is titled "Flight Path"…eerie...