Pub Date : 2019-07-25DOI: 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.
{"title":"High School Improvisation","authors":"M. Grace","doi":"10.1093/OSO/9780190462574.003.0012","DOIUrl":"https://doi.org/10.1093/OSO/9780190462574.003.0012","url":null,"abstract":"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.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117196079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-25DOI: 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.
{"title":"Teaching Jazz Standards","authors":"Nick Weiser","doi":"10.1093/OSO/9780190462574.003.0022","DOIUrl":"https://doi.org/10.1093/OSO/9780190462574.003.0022","url":null,"abstract":"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.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134165662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-25DOI: 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.
{"title":"Broad Landscape of School Jazz Education","authors":"C. West","doi":"10.1093/OSO/9780190462574.003.0002","DOIUrl":"https://doi.org/10.1093/OSO/9780190462574.003.0002","url":null,"abstract":"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.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115220417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-25DOI: 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。
{"title":"Jazz for Non-Jazzers","authors":"C. West","doi":"10.1093/OSO/9780190462574.003.0003","DOIUrl":"https://doi.org/10.1093/OSO/9780190462574.003.0003","url":null,"abstract":"“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.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122810620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-25DOI: 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.
{"title":"Beginning Woodwinds and Brass","authors":"Bruce Dalby","doi":"10.1093/OSO/9780190462574.003.0007","DOIUrl":"https://doi.org/10.1093/OSO/9780190462574.003.0007","url":null,"abstract":"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.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114696537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-25DOI: 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.
{"title":"High School Rhythm Section","authors":"Daniela Fabricius","doi":"10.1093/OSO/9780190462574.003.0011","DOIUrl":"https://doi.org/10.1093/OSO/9780190462574.003.0011","url":null,"abstract":"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.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123498743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-25DOI: 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.
{"title":"High School Woodwinds and Brass","authors":"A. Goodrich","doi":"10.1093/OSO/9780190462574.003.0010","DOIUrl":"https://doi.org/10.1093/OSO/9780190462574.003.0010","url":null,"abstract":"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.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134542382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-25DOI: 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.
{"title":"Social Language of Jazz","authors":"A. Goodrich","doi":"10.1093/oso/9780190462574.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780190462574.003.0004","url":null,"abstract":"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.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125009134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-25DOI: 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.
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Pub Date : 2019-07-25DOI: 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.
{"title":"Choosing Jazz Literature","authors":"Daniela Fabricius","doi":"10.1093/OSO/9780190462574.003.0021","DOIUrl":"https://doi.org/10.1093/OSO/9780190462574.003.0021","url":null,"abstract":"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.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"09 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128994145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}