Pub Date : 2019-07-25DOI: 10.1093/OSO/9780190462574.003.0023
Matthew Clauhs
School music teachers have a unique opportunity to cultivate creativity, yet teachers often report spending little time on composing, improvising, and arranging music. This chapter demystifies the process of writing for a school jazz ensemble so that arranging becomes a part of the culture in a school music program. Jazz arranging in a school setting can foster an intrinsic desire among students to create music, allow for a variety of instrumentation best suited for the school, accommodate nontraditional learners, differentiate for the strengths and weaknesses of the ensemble, allow the teacher to assess knowledge through performance-based activities, and increase the school’s library of repertoire without breaking the budget. This chapter explores (a) considerations before arranging, (b) writing for rhythm sections, (c) writing for winds, and (d) basic harmonization techniques.
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Pub Date : 2019-07-25DOI: 10.1093/OSO/9780190462574.003.0006
Mike Titlebaum
Perhaps the most important aspect of jazz is that it absolutely requires inner hearing—audiation—to perform it effectively. The performer must hear the music inside her head at the moment of producing it; to only hear the music after it comes out of the horn is a recipe for certain disaster. This chapter presents exercises for developing beginning through advanced students’ rhythmic and tonal audiation skills in jazz. It provides a progression of rhythmic groove exercises that jazz teachers can use to improve the rhythmic feel of ensembles of any age. Methods for teaching head charts (arrangements taught by ear and memorized for performance) are presented as a valuable way for getting students’ heads out from behind the music stands and setting them on the way to becoming more active listeners as well as more tonally and rhythmically independent performers.
{"title":"Internal Language of Jazz","authors":"Mike Titlebaum","doi":"10.1093/OSO/9780190462574.003.0006","DOIUrl":"https://doi.org/10.1093/OSO/9780190462574.003.0006","url":null,"abstract":"Perhaps the most important aspect of jazz is that it absolutely requires inner hearing—audiation—to perform it effectively. The performer must hear the music inside her head at the moment of producing it; to only hear the music after it comes out of the horn is a recipe for certain disaster. This chapter presents exercises for developing beginning through advanced students’ rhythmic and tonal audiation skills in jazz. It provides a progression of rhythmic groove exercises that jazz teachers can use to improve the rhythmic feel of ensembles of any age. Methods for teaching head charts (arrangements taught by ear and memorized for performance) are presented as a valuable way for getting students’ heads out from behind the music stands and setting them on the way to becoming more active listeners as well as more tonally and rhythmically independent performers.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"13 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":"126154229","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/9780190462574.003.0005
Russell A. Schmidt
The pedagogy of jazz continues to evolve. Changes in the art form itself, the gradual development of jazz education resources and techniques, the ubiquitous availability of historically significant recordings in the digital age, and other factors play roles in this continued evolution. However, many longstanding pedagogical theories of what constitutes effective instruction are shown to be true for generation after generation of music students. This chapter outlines practical, effective teaching techniques applied to twenty-first-century jazz ensemble instruction. Topics explored in this chapter include rehearsal plan development; effective communication skills; techniques to ensure student engagement; rehearsal technique; the value of role modeling; and strategies for offering direction and teacher feedback in a manner that will be best received by today’s students, through use of specific language in one’s critiques.
{"title":"Pedagogical Language of Jazz","authors":"Russell A. Schmidt","doi":"10.1093/OSO/9780190462574.003.0005","DOIUrl":"https://doi.org/10.1093/OSO/9780190462574.003.0005","url":null,"abstract":"The pedagogy of jazz continues to evolve. Changes in the art form itself, the gradual development of jazz education resources and techniques, the ubiquitous availability of historically significant recordings in the digital age, and other factors play roles in this continued evolution. However, many longstanding pedagogical theories of what constitutes effective instruction are shown to be true for generation after generation of music students. This chapter outlines practical, effective teaching techniques applied to twenty-first-century jazz ensemble instruction. Topics explored in this chapter include rehearsal plan development; effective communication skills; techniques to ensure student engagement; rehearsal technique; the value of role modeling; and strategies for offering direction and teacher feedback in a manner that will be best received by today’s students, through use of specific language in one’s critiques.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"219 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113949214","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 : 2019-07-18DOI: 10.1093/oso/9780190462574.003.0016
Christopher Buckholz
Regardless of the genre, there are numerous shared aspects of trombone playing: beautiful, stylistic sound quality; technical solidity; accurate, flexible intonation; and the ability to demonstrate sound musical judgment. Listening and imitation are especially crucial for young trombonists because the trombone is a technically difficult instrument to master, and that cannot be done without good models. The embouchure is relatively easy to form and develop, but the slide takes far more work to play in tune and without glissando. More than any other wind instrument, the trombone requires a player with an excellent ear. This chapter deals with the parts of the big band trombone section and its functions as a unit, followed by a discussion of trombone technical challenges in jazz (particularly with articulation), equipment, and important recordings.
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Pub Date : 2019-07-18DOI: 10.1093/oso/9780190462574.003.0017
Bob Sneider
Throughout the history of jazz, the guitar has been an omnipresent voice as a rhythm section instrument and a solo voice. Having a strong guitarist in any jazz ensemble is a benefit and significantly increases the breadth of material that an ensemble can effectively perform. Taking a student with limited notational staff reading and chord vocabulary on the journey toward being a well-functioning guitarist in a jazz ensemble is no small feat! By understanding guitar function in jazz and melodic technique best practices, school music teachers can have a positive impact on young guitarists. This chapter addresses the technical possibilities/limitations of the guitar, diagnoses the needs and strengths of a young guitarist, recommends best practices, and provides a hands-on demonstration of learning through notated melodic and chordal examples.
{"title":"Jazz Guitar","authors":"Bob Sneider","doi":"10.1093/oso/9780190462574.003.0017","DOIUrl":"https://doi.org/10.1093/oso/9780190462574.003.0017","url":null,"abstract":"Throughout the history of jazz, the guitar has been an omnipresent voice as a rhythm section instrument and a solo voice. Having a strong guitarist in any jazz ensemble is a benefit and significantly increases the breadth of material that an ensemble can effectively perform. Taking a student with limited notational staff reading and chord vocabulary on the journey toward being a well-functioning guitarist in a jazz ensemble is no small feat! By understanding guitar function in jazz and melodic technique best practices, school music teachers can have a positive impact on young guitarists. This chapter addresses the technical possibilities/limitations of the guitar, diagnoses the needs and strengths of a young guitarist, recommends best practices, and provides a hands-on demonstration of learning through notated melodic and chordal examples.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116298833","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 : 2019-07-18DOI: 10.1093/oso/9780190462574.003.0020
Gregory Evans
It is no secret that music educators are faced with unique challenges when engaging young musicians who play drum sets. Many educators aren’t drummers themselves, which can create fear and uncertainty and ultimately lead them to avoid, rather than embrace, the wonderful and exciting world of jazz percussion. This chapter provides conceptual and technical approaches to understanding the role each component of the drum set contributes to the ensemble, as well as the role of the drum set in its entirety. It also touches on how dynamics can change the function and style of a groove as well as creative ways to encourage students to move beyond pattern playing. In particular, discussion and examples are provided regarding setup, sound sources, keeping time, functioning within the rhythm section, transitioning from timekeeping to improvising, and various rhythms and grooves.
{"title":"Jazz Drums","authors":"Gregory Evans","doi":"10.1093/oso/9780190462574.003.0020","DOIUrl":"https://doi.org/10.1093/oso/9780190462574.003.0020","url":null,"abstract":"It is no secret that music educators are faced with unique challenges when engaging young musicians who play drum sets. Many educators aren’t drummers themselves, which can create fear and uncertainty and ultimately lead them to avoid, rather than embrace, the wonderful and exciting world of jazz percussion. This chapter provides conceptual and technical approaches to understanding the role each component of the drum set contributes to the ensemble, as well as the role of the drum set in its entirety. It also touches on how dynamics can change the function and style of a groove as well as creative ways to encourage students to move beyond pattern playing. In particular, discussion and examples are provided regarding setup, sound sources, keeping time, functioning within the rhythm section, transitioning from timekeeping to improvising, and various rhythms and grooves.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130750101","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 : 2019-07-18DOI: 10.1093/oso/9780190462574.003.0014
Mike Titlebaum
The saxophone is the most iconic instrument in jazz. Ask random people which instrument comes to mind when they think of jazz music, and it would surely be the saxophone. Saxophones play throughout charts and are required to navigate a variety of textures and roles, including beautiful unison melodies, technical harmonized solis, chordal comping, and slow-moving background chords, as well as to fill out the body of the band during full ensemble tuttis. This chapter introduces techniques and articulations specific to jazz saxophone style. Jazz-specific techniques such as subtone, tongue stopping, and half-tonguing are presented alongside teaching strategies and exercises. Other techniques discussed include methods of decorating or personalizing notes with scoops, fall offs, and terminal vibrato. Jazz saxophone pedagogical materials are presented in addition to a listening list of great historical saxophonists. The chapter concludes with a debate on the merits of mouthpieces, reeds, and saxophones marketed as jazz-specific items.
{"title":"Jazz Saxophone","authors":"Mike Titlebaum","doi":"10.1093/oso/9780190462574.003.0014","DOIUrl":"https://doi.org/10.1093/oso/9780190462574.003.0014","url":null,"abstract":"The saxophone is the most iconic instrument in jazz. Ask random people which instrument comes to mind when they think of jazz music, and it would surely be the saxophone. Saxophones play throughout charts and are required to navigate a variety of textures and roles, including beautiful unison melodies, technical harmonized solis, chordal comping, and slow-moving background chords, as well as to fill out the body of the band during full ensemble tuttis. This chapter introduces techniques and articulations specific to jazz saxophone style. Jazz-specific techniques such as subtone, tongue stopping, and half-tonguing are presented alongside teaching strategies and exercises. Other techniques discussed include methods of decorating or personalizing notes with scoops, fall offs, and terminal vibrato. Jazz saxophone pedagogical materials are presented in addition to a listening list of great historical saxophonists. The chapter concludes with a debate on the merits of mouthpieces, reeds, and saxophones marketed as jazz-specific items.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127857468","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 : 2019-07-18DOI: 10.1093/oso/9780190462574.003.0013
C. Gale
Vocal techniques in classical and jazz have much in common; however, even experienced vocalists need to learn the aspects of jazz singing that make it unique. This chapter aims to dispel the myth that jazz singing is completely different from classical singing while pointing out the subtle differences between them. Similarly, aspiring jazz singers need to study all the things that instrumental jazz musicians do and then incorporate words. Topics covered in this chapter include (a) teaching the differences in timbre and vibrato that create the unique jazz vocal sound; (b) centering jazz vocal intonation; (c) avoiding some of the most common pitfalls of jazz diction; and (d) a progressive discussion of types of vocal improvisation, from strategic variation in rhythms and melodies to scat singing. The chapter concludes with a list of important classic jazz standards that have lyrics, including suggestions for teaching those standards according to age and experience.
{"title":"Jazz Vocal","authors":"C. Gale","doi":"10.1093/oso/9780190462574.003.0013","DOIUrl":"https://doi.org/10.1093/oso/9780190462574.003.0013","url":null,"abstract":"Vocal techniques in classical and jazz have much in common; however, even experienced vocalists need to learn the aspects of jazz singing that make it unique. This chapter aims to dispel the myth that jazz singing is completely different from classical singing while pointing out the subtle differences between them. Similarly, aspiring jazz singers need to study all the things that instrumental jazz musicians do and then incorporate words. Topics covered in this chapter include (a) teaching the differences in timbre and vibrato that create the unique jazz vocal sound; (b) centering jazz vocal intonation; (c) avoiding some of the most common pitfalls of jazz diction; and (d) a progressive discussion of types of vocal improvisation, from strategic variation in rhythms and melodies to scat singing. The chapter concludes with a list of important classic jazz standards that have lyrics, including suggestions for teaching those standards according to age and experience.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115474318","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 : 2019-07-18DOI: 10.1093/oso/9780190462574.003.0015
F. Campos
Ensembles of all kinds call upon the trumpets for excitement and fireworks. The strength and quality of the trumpet section is a top concern for any jazz, show, salsa, and commercial music ensemble. A gifted lead or solo trumpeter is a jewel of any group, and a strong trumpet section can elevate a band to greatness. The first part of this chapter provides an overview of the physical and musical challenges that jazz trumpeters face, and offers solutions to some of the most common problems, including exercises that improve range, endurance, and sound. The second part of the chapter discusses time feel, the jazz trumpet sound, and jazz articulation and phrasing. The final portion of the chapter covers the lead player, the jazz player, playing in a trumpet section, equipment choices, using mutes, and the flugelhorn.
{"title":"Jazz Trumpet","authors":"F. Campos","doi":"10.1093/oso/9780190462574.003.0015","DOIUrl":"https://doi.org/10.1093/oso/9780190462574.003.0015","url":null,"abstract":"Ensembles of all kinds call upon the trumpets for excitement and fireworks. The strength and quality of the trumpet section is a top concern for any jazz, show, salsa, and commercial music ensemble. A gifted lead or solo trumpeter is a jewel of any group, and a strong trumpet section can elevate a band to greatness. The first part of this chapter provides an overview of the physical and musical challenges that jazz trumpeters face, and offers solutions to some of the most common problems, including exercises that improve range, endurance, and sound. The second part of the chapter discusses time feel, the jazz trumpet sound, and jazz articulation and phrasing. The final portion of the chapter covers the lead player, the jazz player, playing in a trumpet section, equipment choices, using mutes, and the flugelhorn.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"137 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133238367","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 : 2019-07-18DOI: 10.1093/oso/9780190462574.003.0009
Michael R. Treat
An improvised jazz solo is constructed from rhythmic and harmonic vocabulary. It requires the player to have an internal sense of melody, harmony and form that he or she relies on to create musical ideas in real time. This chapter outlines an approach to teaching beginning improvisors that can develop these concepts. It articulates principles of improvisation that students must learn before progressing to advanced theoretical concepts, which include communication; phrasing; tension and release; and the ability to simultaneously create, perform, and respond to music. Throughout the chapter, exercises, activities, and repertoire are provided that effectively lay the groundwork for learning to improvise in the jazz idiom.
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