Editing Jazz (section)

==== Syncopation ====
[[File:MortonBricktopRowCropMortonFace.jpg|thumb|upright=0.9|right|[[Jelly Roll Morton]], a [[Louisiana Creole people|Louisiana Creole]] jazz artist, {{Circa|1917}} or 1918]]
Cornetist Buddy Bolden played in New Orleans from 1895 to 1906. No recordings by him exist. His band is credited with creating the big four: the first syncopated bass drum pattern to deviate from the standard on-the-beat march.<ref>{{cite web|url=https://www.pbs.org/jazz/classroom/rhythmicinnovations.htm |title=Marsalis, Wynton (2000: DVD n.1). ''Jazz''. PBS |website=Pbs.org |access-date=October 2, 2013}}</ref> As the example below shows, the second half of the big four pattern is the habanera rhythm.

:<score override_audio="Big four Buddy Bolden.mid" lang="lilypond">
    \new Staff <<
       \relative c' {
           \clef percussion
           \time 4/4  
           \repeat volta 2 { g8 \xNote a' g, \xNote a' g, \xNote a'16. g,32 g8 <g \xNote a'> }
           \repeat volta 2 { r8 \xNote a'\noBeam g, \xNote a' g, \xNote a'16. g,32 g8 <g \xNote a'> }
       }
   >>
</score>

Afro-Creole pianist Jelly Roll Morton began his career in Storyville. Beginning in 1904, he toured with vaudeville shows to southern cities, Chicago, and New York City. In 1905, he composed "[[Jelly Roll Blues]]", which became the first jazz arrangement in print when it was published in 1915. It introduced more musicians to the New Orleans style.{{sfn|Cooke|1999|pp=38, 56}}

Morton considered the tresillo/habanera, which he called the [[Spanish tinge]], an essential ingredient of jazz.<ref>Roberts, John Storm 1979. ''The Latin Tinge: The impact of Latin American music on the United States''. Oxford.</ref> "Now in one of my earliest tunes, "New Orleans Blues," you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz."<ref name="ReferenceB"/>

An excerpt of "New Orleans Blues" is shown below. In the excerpt, the left hand plays the tresillo rhythm, while the right hand plays variations on cinquillo.

:<score override_audio="New orleans blues corrected.mid">
    {
      \new PianoStaff <<
        \new Staff <<
            \relative c'' {
                \clef treble \key bes \major \time 2/2
                f8 <f, f'> <g g'> <f~ cis'> <f d'> <f f'> <g d' g>4
                r8 <f f'> <g g'> <f~ cis'> <f d'> <f f'> <g d' g>4
                r8 <f d' f> <g d' g> <f~ cis'> <f d'> <f d' f> <g d' g> <f d' f>
                }
            >>
        \new Staff <<
            \relative c {
                \clef bass \key bes \major \time 2/2
                <bes bes'>4. <f' d'>8~ <f d'>4 <f, f'>4
                <bes f' bes>4. <f' d'>8~ <f d'>4 <f, f'>4
                <bes f' bes>4. <f' d'>8~ <f d'>4 <f, f'>4
                }
            >>
    >> }
</score>

Morton was a crucial innovator in the evolution from the early jazz form known as ragtime to [[jazz piano]], and could perform pieces in either style; in 1938, Morton made a series of recordings for the Library of Congress in which he demonstrated the difference between the two styles. Morton's solos, however, were still close to ragtime, and were not merely improvisations over chord changes as in later jazz, but his use of the blues was of equal importance.