Swing                                            Bebop
Big bands in large dance halls            Small combos in small clubs
Music for dancing                             Music for listening (faster tempos)
Melody, popular song, arrangements Bebop melodies ("heads"), solo improvisation
Commercial success                         Artistic ambition; rise in black consciousness

Aspects of Swing carried over to Bebop:
Instrumentation of horns plus rhythm section
Performance structure of head-solos-head
Improvisation based on:
 32-bar Tin Pan Alley standards
 12-bar blues
 "rhythm changes"
 eighth note melodic lines

Elements of Bebop style:
Recomposition: creation of new tunes based on chord changes of another tune
 Recomposed melodies resembled the style of improvised bebop solos
 Performers and record companies do not have to pay royalties
Extended chord tones: ninths, elevenths, thirteenths
Reharmonization: substitution of chords in standard tunes
Rhythm section:
 Drums - moved the pulse to the ride cymbal; bass drum and snare used for accents
 Piano "comping" - lost stride style in favor of LH syncopated chords; RH melodic lines
 Bass - linear "walking" on all four beats; higher register soloistic style develops

Historical Origins of Bebop:
 Early 1940s: Jamming at Minton's and Monroe's
 American Federation of Musicians Strike in 1942
 Big Bands in the Early 1940s
 Jazz moves to 52nd Street

The Architects of Bebop:
 Charlie Parker
 Dizzy Gillespie
 Bud Powell
 Thelonious Monk

Other Bebop Artists:
 J. J. Johnson
 Dexter Gordon

Bop-Style Big Bands in the Late 1940s:
 Woody Herman
 Claude Thornhill