Classifier Instance:

Anchor text: Charlie Parker
Target Entity: Charlie_Parker
Preceding Context: Bebop musicians employed several harmonic devices not typical of previous jazz, engaging in a more abstracted form of chord-based improvisation using "passing" chords, substitute chords, and altered chords. New forms of chromaticism and dissonance were introduced into jazz; the dissonant tritone (or "flatted fifth") interval became the "most important interval of bebop" Chord progressions for bebop tunes were often taken directly from popular swing-era songs and reused with a new and more complex melody, forming new compositions. This practice was already well-established in earlier jazz, but came to be central to the bebop style. Bebop made use of several relatively common chord progressions, such as blues (at base, I-IV-V, but infused with II-V motion) and 'rhythm changes' (I-VI-II-V, the chords to the 1930s pop standard "I Got Rhythm." Late bop also moved towards extended forms that represented a departure from pop and show tunes. The harmonic development in bebop, is often traced back to a transcendent moment experienced by
Succeeding Context: while performing "Cherokee" at Clark Monroe's Uptown House, New York, in early 1942.
Paragraph Title: null
Source Page: Jazz

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