upon various African matrices." Samuel Floyd states that blues were both the bedrock and propelling force of bebop, bringing about three main developments: A new harmonic conception, using extended chord structures that led to unprecedented harmonic and melodic variety. A developed and even more highly syncopated, linear rhythmic complexity and a melodic angularity in which the blue note of the fifth degree was established as an important melodic-harmonic device. The reestablishment of the blues as the music's primary organizing and functional principle. Some of the harmonic innovations in bebop appear similar to innovations in Western "serious" music, from Claude Debussy to Arnold Schoenberg, although bebop has few direct borrowings from classical music and appears to largely revive tonal-harmonic ideas taken from the blues in a basically non-Western approach rooted in African traditions. However, bebop probably drew on many sources. An insightful YouTube video with Jimmy Raney, a jazz guitarist who played with Charlie Parker, describes how Parker would listen to the music of Béla Bartók, a leading 20th century classical composer. Raney describes Parker's knowledge of Bartók and Arnold Schoenberg, in particular Schoenberg's Pierrot Lunaire, and says that a section from Bartók's Fifth Quartet sounded a lot like some of Parker's jazz improvisation. History Swing era influences Bebop grew out of the culmination of trends that had been occurring within swing music since the mid-1930s: less explicit timekeeping by the drummer, with the primary rhythmic pulse moving from the bass drum to the ride cymbal; a changing role for the piano away from rhythmic density towards accents and fills; less ornate horn section arrangements, trending towards riffs and more support for the underlying rhythm; more emphasis on freedom for soloists; and increasing harmonic sophistication in arrangements used by some bands. The path towards rhythmically streamlined, solo-oriented swing was blazed by the territory bands of the southwest with Kansas City as their musical capital; their music was based on blues and other simple chord changes, riff-based in its approach to melodic lines and solo accompaniment, and expressing an approach adding melody and harmony to swing rather than the other way around. Ability to play sustained, high energy, and creative solos was highly valued for this newer style and the basis of intense competition. Swing-era jam sessions and "cutting contests" in Kansas City became legendary. The Kansas City approach to swing was epitomized by the Count Basie Orchestra, which came to national