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High School Improvisation 高中即兴表演
Pub Date : 2019-07-25 DOI: 10.1093/OSO/9780190462574.003.0012
M. Grace
What is the essence of jazz improvisation? Performing jazz musicians will answer in many ways, but there is one guiding principle, which is widely accepted, especially when teaching beginners: express the tonality of the piece. Tonality includes the basic key, and any other keys in the composition, and the chords within those keys, which need to be addressed in a recognizably tonal fashion. The active process of improvisation is tonicization. To tonicize a piece with improvisation is to play closely related scale tones, chord tones, and melodic and harmonic structures which amplify those chord progressions and express the form of the composition. This chapter outlines a sequential process whereby jazz teachers can provide students with the tools to successfully express the tonality of compositions that use II min7 → V7 → I Maj7 (II-7 V7 I∆7) chord changes and their alterations with major, minor, dominant, bebop scales and chord tones. Exercises for learning these scales and chord tones are presented, as well as a step-by-step process for showing students how to apply those scales, chord tones, and bebop permutations appropriately to II-7 V7 I∆7 chord progressions and 12-bar blues progressions with increasing levels of sophistication.
爵士即兴演奏的精髓是什么?演奏爵士乐的音乐家可以从很多方面回答这个问题,但有一个指导原则是被广泛接受的,尤其是在教授初学者的时候:表达作品的调性。调性包括基本的音调,乐曲中的任何其他音调,以及这些音调中的和弦,这些和弦需要以一种可识别的调性方式来处理。即兴创作的主动过程是强音化。用即兴演奏来强化一首曲子就是演奏密切相关的音阶音调、和弦音调以及旋律和和声结构,以放大这些和弦的进行并表达乐曲的形式。本章概述了一个循序渐进的过程,爵士乐教师可以为学生提供工具,使他们成功地表达使用II min7→V7→I Maj7 (II-7 V7 I∆7)和弦变化及其随大调、小调、主音、bebop音阶和和弦音调的变化的作品的调性。介绍了学习这些音阶和和弦音调的练习,以及一个循序渐进的过程,向学生展示如何将这些音阶、和弦音调和bebop排列适当地应用于II-7 V7 I∆7和弦进行和12小节蓝调进行,其复杂程度越来越高。
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引用次数: 0
Teaching Jazz Standards 爵士乐教学标准
Pub Date : 2019-07-25 DOI: 10.1093/OSO/9780190462574.003.0022
Nick Weiser
The issue of teaching jazz standards is fraught with questions. What are “standards?” What makes a composition a standard? Why do jazz musicians use them as vehicles for improvisation? How are greater standards distinguished from lesser standards? How does one select particular standards to suit the needs of students? This chapter provides strategies for learning and internalizing the core jazz repertoire. It provides historical context to the development and evolution of the jazz standard canon, looking to the songbook folios of the great American tunesmiths and to original and seminal recordings as sources for the study of this music. Emphasis is given to the practical issues of selecting age- and skill-level-appropriate tunes; memorizing melodies, chord progressions, and lyrics (as applicable) in multiple keys; and devising improvisational exercises specific to individual compositions.
教授爵士乐标准的问题充满了疑问。什么是“标准”?是什么使一篇作文成为标准?为什么爵士音乐家用它们作为即兴创作的工具?如何区分高标准和低标准?如何选择特定的标准来满足学生的需求?本章提供了学习和内化核心爵士乐曲目的策略。它提供了爵士乐标准佳能的发展和演变的历史背景,寻找伟大的美国调音师的歌曲集和原始和开创性的录音作为研究这种音乐的来源。重点是选择适合年龄和技能水平的曲调的实际问题;记忆旋律,和弦进行和歌词(如适用)在多个键;并设计针对个人作品的即兴练习。
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引用次数: 0
Broad Landscape of School Jazz Education 学校爵士乐教育的广阔前景
Pub Date : 2019-07-25 DOI: 10.1093/OSO/9780190462574.003.0002
C. West
Previous research has shown what school jazz educators spend their time teaching, but not how they teach those things or why. Certain instructional strategies are correlated with high student achievement in jazz, but it is not known whether school jazz teachers are utilizing them or what those strategies look like when they do. Teaching School Jazz: Perspectives, Principles, and Strategies introduces the reader to two expert, yet very different, school jazz educators, whose case studies are inserted in chapters throughout the book. Bruce considers himself an experienced music teacher who happens to also teach jazz, rather than a professional jazz musician. Emily, on the other hand, considers herself both an experienced music teacher and a professional jazz musician. This chapter describes differing thoughts about and approaches to teaching school jazz to help paint a picture of what school jazz looks like.
之前的研究显示了学校爵士乐教育家花时间教什么,但没有显示他们如何教这些东西或为什么教。某些教学策略与学生在爵士乐方面的高成绩相关,但不知道学校的爵士教师是否在使用这些策略,或者当他们使用时这些策略是什么样子的。《教授学校爵士乐:观点、原则和策略》向读者介绍了两位专家,但非常不同的学校爵士乐教育家,他们的案例研究贯穿全书的各个章节。布鲁斯认为自己是一个经验丰富的音乐老师,碰巧也教爵士乐,而不是一个专业的爵士音乐家。另一方面,艾米丽认为自己既是一位经验丰富的音乐教师,又是一位专业的爵士音乐家。本章描述了关于学校爵士乐教学的不同想法和方法,以帮助描绘出学校爵士乐的样子。
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引用次数: 0
Jazz for Non-Jazzers 非爵士爱好者的爵士乐
Pub Date : 2019-07-25 DOI: 10.1093/OSO/9780190462574.003.0003
C. West
“It just goes like this, ‘doo ba doo bop’. You dig?” Historically, this was the way jazz was learned, informally, and for many early aspiring jazz musicians—they dug. Others need a little more guidance. This chapter is based on a presentation its author often delivers to introduce teachers to teaching jazz. After this presentation, members from the audience often tell the author: “This is not all that different from the musicianship skills I already have.” This chapter provides a basic overview of (a) styles such as swing, Latin, bop, and blues; (b) rhythmic solfège; (c) articulation; (d) ornamentation; (e) improvisation; (f) intricacies of the rhythm section; and (g) rehearsal and stage setup of the beginning jazz band. The remaining chapters in this book presume some basic and foundational knowledge about jazz as a point of departure, so this chapter serves as that starting point.
“就像这样,‘doo ba doo bop’。你挖?”从历史上看,这是学习爵士乐的方式,非正式的,对许多早期有抱负的爵士音乐家来说,他们挖掘。其他人则需要更多的指导。这一章是基于它的作者经常提供介绍教师教学爵士乐的演讲。演讲结束后,听众经常告诉作者:“这与我已经拥有的音乐技能并没有什么不同。”这一章提供了一个基本的概述(a)风格,如摇摆,拉丁,bop和布鲁斯;(b)节奏性演唱;(c)清晰度;(d)装饰;(e)即兴创作;(f)节奏部分的复杂性;(g)开场爵士乐队的排练和舞台布置。在本书的其余章节假设一些基本的和基础的知识,爵士乐作为一个出发点,所以本章作为起点。
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引用次数: 0
Beginning Woodwinds and Brass 开始木管乐器和铜管乐器
Pub Date : 2019-07-25 DOI: 10.1093/OSO/9780190462574.003.0007
Bruce Dalby
Many school jazz programs in North America do an impressive job of developing their members’ technical and music-notation-reading skills, necessary to perform jazz big band literature with polish and precision. However, many school jazz students are as dependent on notation as they are in the concert band. Although the young jazzer may take improvised solos in jazz band performances, he may be unable to negotiate chord changes or incorporate characteristic jazz vocabulary. In light of this, this chapter covers concepts and skills relevant to beginning jazz instruction for wind instrumentalists. Specifically, it identifies three foundational topics for the reader to consider in fashioning an authentic and effective jazz curriculum: (1) establishing a listening foundation, (2) developing ear-playing ability, and (3) developing a personal repertoire of jazz tunes. Following these sections the text addresses (4) style and articulation and (5) rhythm.
北美许多学校的爵士课程在培养成员的技术和乐谱阅读能力方面做得非常出色,这是演奏爵士大乐队作品的必要条件。然而,许多学校的爵士学生依赖于符号,就像他们在音乐会乐队一样。虽然年轻的爵士乐手可能会在爵士乐队的表演中即兴独奏,但他可能无法协调和弦的变化或融入特有的爵士词汇。鉴于此,本章涵盖了与管乐器演奏者开始爵士乐教学相关的概念和技能。具体来说,它确定了读者在塑造一个真实有效的爵士课程时要考虑的三个基本主题:(1)建立听力基础,(2)发展耳朵演奏能力,(3)发展个人爵士曲调曲目。在这些部分之后,本文讨论了(4)风格和发音以及(5)节奏。
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引用次数: 0
High School Rhythm Section 高中节奏组
Pub Date : 2019-07-25 DOI: 10.1093/OSO/9780190462574.003.0011
Daniela Fabricius
Today, music educators and students have many resources available to study the specifics of playing any instrument. However, as educators it should be our job to guide students to use their ears along with all of the other resources. This chapter focuses on ways that the jazz ensemble conductor can coach high-school-level rhythm section players to make rehearsals more beneficial to all and to attain more authentic performances. The chapter includes details on various jazz styles, instrument-specific tips, and remedies for common issues within the rhythm section. It is divided into six main sections: (a) player profiles, (b) teaching jazz ensemble concepts, (c) awareness of other players, (d) improvisation, (e) chart reading, and (f) self-directed learning. Readers should find the information in this chapter helpful in developing their own rehearsal techniques that will fit their specific teaching situations.
今天,音乐教育工作者和学生有许多可用的资源来学习演奏任何乐器的细节。然而,作为教育工作者,我们的工作应该是引导学生在使用所有其他资源的同时使用他们的耳朵。本章的重点是爵士乐团指挥如何指导高中水平的节奏部分演奏者,使排练更有利于所有人,并获得更真实的表演。本章包括各种爵士风格的细节,特定乐器的技巧,以及在节奏部分常见问题的补救措施。它分为六个主要部分:(a)演奏者简介,(b)教授爵士合奏概念,(c)了解其他演奏者,(d)即兴演奏,(e)图表阅读,(f)自主学习。读者应该发现本章的信息有助于发展自己的排练技巧,以适应他们的具体教学情况。
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引用次数: 0
High School Woodwinds and Brass 高中木管乐队和铜管乐队
Pub Date : 2019-07-25 DOI: 10.1093/OSO/9780190462574.003.0010
A. Goodrich
When rehearsing the high school jazz ensemble, it is important to guide high school students toward becoming musicians who can make independent musical decisions. Doing so will ultimately make the jazz ensemble experience more enjoyable for both the students and the director. This chapter provides the jazz ensemble director with musical exercises, teaching strategies, and a discussion of the roles of each section within the jazz ensemble. The musical exercises and teaching strategies will assist directors with enhancing the listening skills of their students. Exercises include how to teach, improve, and maintain intonation, groove, balance, blend, and articulations. Strategies include teaching students to understand how to listen to themselves, within their respective sections, and to other sections in the ensemble—including how to interact with and connect to the rhythm section.
在排练高中爵士乐团时,引导高中生成为能够独立做出音乐决定的音乐家是很重要的。这样做最终将使爵士乐团的体验对学生和导演来说都更加愉快。本章为爵士乐团的指挥提供了音乐练习,教学策略,并讨论了爵士乐团中每个部分的角色。音乐练习和教学策略将帮助导演提高学生的听力技能。练习包括如何教授、提高和保持语调、韵律、平衡、混合和发音。策略包括教学生了解如何在各自的部分和合奏中的其他部分中倾听自己的声音,包括如何与节奏部分互动和连接。
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引用次数: 0
Social Language of Jazz 爵士乐的社会语言
Pub Date : 2019-07-25 DOI: 10.1093/oso/9780190462574.003.0004
A. Goodrich
Interactions among students can provide the basis for them to learn from each other, even when directors still maintain control of the ensemble rehearsals. In addition to teacher-directed instruction, mentoring can build strong social connections among students and elevate the performance level of the jazz ensemble. This chapter draws connections between historical jazz mentoring practices and how directors can incorporate them into the school jazz ensemble. The types of mentoring discussed are (a) adult mentoring, in which teachers receive mentoring from jazz musicians and jazz educators; (b) teachers providing mentoring to students; and (c) peer mentoring, in which teachers guide and instruct their students in how to mentor each other in the areas of teaching, learning, leadership, and social connections. This chapter includes directives for teachers regarding implementing and maintaining a peer mentoring system in the school jazz ensemble.
学生之间的互动可以为他们提供相互学习的基础,即使导演仍然控制着集体排练。除了教师指导外,师徒关系还能在学生之间建立强大的社会联系,提高爵士乐团的演奏水平。本章描绘了历史上爵士指导实践之间的联系,以及导演如何将它们纳入学校爵士乐团。所讨论的指导类型有:(a)成人指导,即教师接受爵士音乐家和爵士教育家的指导;(b)为学生提供辅导的教师;本章包括关于在学校爵士乐团中实施和维护同伴指导系统的教师的指示。
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引用次数: 0
Beginning Rhythm Section 开始节奏部分
Pub Date : 2019-07-25 DOI: 10.1093/OSO/9780190462574.003.0008
C. West, C. M. Palmer, M. Grace, Daniela Fabricius
How does one take a concert band snare drummer, classically trained pianist, orchestral bass player, and self-taught guitar player and turn them into a jazz rhythm section? The drummer has never had so many drums and cymbals to worry about, the pianist may be playing with a group for the very first time, the bass player has to learn to “walk” a bass line, and the guitar player has to play in foreign keys. This chapter addresses the teaching of the rhythm section with regard to (a) rhythm section notation, (b) bass, (c) piano, (d) guitar, (e) drum set, (f) auxiliary instruments, and (g) rhythm section rehearsal strategies. It presents a sequential approach to teaching the beginning rhythm section: (a) walking bass lines, (b) voicing chords, (c) comping patterns, (d) playing setups and fills, and (e) interpreting and realizing instrument-specific rhythm section notation markings.
一个人如何把一个音乐会乐队的军鼓、受过古典训练的钢琴家、管弦乐贝斯手和自学成才的吉他手变成一个爵士节奏部分?鼓手从来没有这么多的鼓和钹要担心,钢琴家可能是第一次和一个团体一起演奏,贝斯手必须学会“走”贝斯线,吉他手必须用外国调演奏。本章讨论了节奏部分的教学,包括(a)节奏部分的符号,(b)贝斯,(c)钢琴,(d)吉他,(e)鼓组,(f)辅助乐器,以及(g)节奏部分的排练策略。它提出了一个循序渐进的方法来教授开始节奏部分:(a)行走低音线,(b)发声和弦,(c)对比模式,(d)演奏设置和填充,以及(e)解释和实现乐器特定节奏部分的符号标记。
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引用次数: 0
Choosing Jazz Literature 选择爵士文学
Pub Date : 2019-07-25 DOI: 10.1093/OSO/9780190462574.003.0021
Daniela Fabricius
Most music educators can probably remember several moments as young musicians when they realized they had just played or heard an amazing composition. Educators must recall how playing amazing music affected them as young musicians and then seek to provide the same experiences for their students. This chapter discusses the selection of appropriate literature for jazz ensemble study and performance. Finding a great combination of program selections is a fun challenge, and readers will find ways to research the many choices available. The chapter includes helpful information regarding many facets of literature selection, including narrowing the search, using resources to research possible selections, realistically evaluating the teaching situation, selecting music to match the band, selecting repertoire to represent a variety of styles, instrumentation and doubling considerations, and budget considerations.
大多数音乐教育工作者可能都记得年轻时意识到自己刚刚演奏或听到了一首令人惊叹的作品的时刻。教育工作者必须回忆起演奏令人惊叹的音乐是如何影响他们作为年轻音乐家的,然后设法为他们的学生提供同样的体验。本章讨论了为爵士乐团学习和演奏选择合适的文献。找到一个很好的节目选择组合是一个有趣的挑战,读者将找到方法来研究许多可用的选择。本章包含了关于文献选择的许多方面的有用信息,包括缩小搜索范围,利用资源研究可能的选择,现实地评估教学情况,选择音乐以匹配乐队,选择曲目以代表各种风格,乐器和加倍考虑,以及预算考虑。
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引用次数: 0
期刊
Teaching School Jazz
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