Jazz Combo Course Design
1. Situational Factors Specific Context
Number of students in class:8 to 15 1st and 2nd year students 3 hour class once a week Delivered via live classroom instruction
Expectation of external groups
Curricular goals of department that affect the course: ? Professional accreditation requirements that affect the goals of the course: none General societal expectations on students with regard to this course: students should be able to competently perform in public
Nature of the Subject
Divergent subject matter, working toward multiple, equally valid interpretations Primarily cognitive, but physical skills are necessary The field of study (jazz improvisation) is always changing. Students need to assess results based on musical results rather than convention. That being said, conventions are built into the course in the form of resources (scales, arpeggios, etc.), and stylistic conventions. Students are encouraged to use these resources and stylistic conventions how they see fit. They are encouraged to listen closely to the musical results they are producing. They are asked to understand the conventions, and directed to move beyond them. This requires critical and creative thinking skills.
Characteristics of the learners – the following can be ascertained by questionnaire during the first class, observing foip guidelines
Full-time, part-time? Working? Reasons for enrolling? Prior knowledge or skills? Professional goals? Learning styles?
Pedagogical challenge for this course
Balancing lecture and doing – is the lecture material usable in practical application; how are in-class activities related to lecture and out-of class reading; are the students able to understand the relevance of the lectures to playing in bands while the lecture is happening?
2. Learning Goals 1. Foundational Knowledge
Remember techniques and theory for improvisation Scales Arpeggios Guide tones and targeting Motif construction (melodic and rhythmic) Comping Listening Roman numeral analysis
Understand rehearsal process How to use time efficiently; when to play, when to talk and how much Need for a leader What to work on Where to start
Creating arrangements How to use various techniques for creating form Understand texture – who plays when and why How to create clarity Role of dynamics
Jazz History Remember different eras of jazz history Remember major figures
2. Application Be able to create melody spontaneously using improvisation techniques, responding to the demands of the moment (skill in use of technique and listening) Be able to efficiently use rehearsal time for maximum benefit (practical thinking) Be able to create a simple arrangement of a pre-existing tune (creative thinking, critical thinking) and create lead sheet arrangement (skill) Be able to read a lead sheet
Project: create entire show Two sets at the Redstone
3. Integration Relate improvisation to common life experiences (resource: Freeplay, S, Nachmoninoff) Relate improvisation to collaborating with others (listening/responding skills) Relate improvisation to arranging (experimentation, risk-taking, new ideas) Relate jazz history and theory to other classes dedicated to those subjects Relate theory to improvisation 4. Human Dimension – What can students learn about themselves and others? Students see themselves as confident enough to be able to create spontaneously in public Students connect with how they improvise in daily situations (ie. use it as a thinking tool) Students recognize and empathize with other students, learn how to collaborate/communicate with different people Students are able to accept and make use of mistakes 5. Caring
Students broaden their idea of what jazz and improvisation is Students recognize improvisational spirit in other music Students understand improvisation’s role in effective performance in any genre Students value other’s opinions; accept different approaches
6. Learning how to learn Being a good student: working constructively with others; able to accept and work with criticism Learn how to engage in inquiry and construct knowledge, think critically. Be able to create variety from limited topics How to be a self-directed learner; able to find resources
3. Feedback and Assessment Assessment will be forward-looking – students are asked to imagine real situations relating to the topic and whether they could use the knowledge presented in those situations. Assignments: a. Are realistic b. Require judgement and innovation and use knowledge and skills to complete c. Explore and work with knowledge within the discipline, not simply restating information d. Replicate context where adults are tested in the workplace e. Assess ability to perform complex task f. Allow opportunities to practice, consult resources and get feedback
Criteria 1. Rehearsing Working constructively with others Allowing expression of all ideas before deciding Using time efficiently 2. Improvisation Melody creation Listening Comping 3. Arranging Use of arranging technique Use of creative thinking Collaborative skills Performance quality
4. Course Structure and Overall Scheme of Learning Activities These activities do not include rehearsal, performance, and coaching which will be part of each class. This list of activities is arranged according to the criteria above. Following will be the sequence in which it will occur during the term.
1. Rehearsing 1. Ongoing throughout course – Student bands are asked to demonstrate their first rehearsal in front of the class. They are presented with a piece and they are to work through the rehearsal process. Each group is given a limited time period and instructed to set goals for that time period. Students observers and teacher take notes on what they see and report observations at the end of the process. The first time through the process is not assessed formally (ie. not graded). The following standards are with increasing rigour each subsequent time through the process. Standards for assessment 5. Able to achieve stated goal for rehearsal in optimum time (quicker than stated time) while constructively sharing ideas 4. Able to achieve stated goal in stated time while constructively sharing ideas 3. Able to achieve stated goal using more than stated time while constructively sharing ideas 2. Able to achieve stated goal using more than stated time 1. Unable to achieve stated goal; unable to constructively share ideas
2. Improvisation 1. Arpeggios I: Triad construction and relationship to a lead sheet with 7th chords (ie. how do triads relate to 7th chords) In-class: lecture and handout – triad construction and improvisation Out-of class: assigned reading and exercise writing triads for 8 bar progression; students learn exercise on their instrument and play in class In-class: 1. quiz; building triads – mark quiz and review in class 2. students use triad exercise to improvise with rhythm section; discuss results Standards for assessment 5. Able to both perform exercise flawlessly and improvise effectively* on its structure 4. Able to perform exercise flawlessly and improvise adequately on its structure 3. Performs exercise with some mistakes and improvises adequately on its structure 2. Performs exercise with many mistakes; improvisation demonstrates inadequate understanding 1. Unable to perform exercise or improvise adequately
*Effective improvisation is defined as having coherent ideas/motifs and phrases (defined by balanced use of notes and rests), use of repetition. Expectations in this area rise as the class proceeds. 2. Arpeggios II: 7th chord construction As above with 7th chords Standards for assessment 5. Able to both perform exercise flawlessly and improvise effectively on its structure 4. Able to perform exercise flawlessly and improvise adequately on its structure 3. Performs exercise with some mistakes and improvises adequately on its structure 2. Performs exercise with many mistakes; improvisation demonstrates inadequate understanding 1. Unable to perform exercise or improvise adequately 3. Guide tones and targeting In-class: discussion and playing of triads and 7th chords focusing on the relative importance of each chord tone, using 3 and 7 as targets for phrase endings Out-of-class: students learn 16 bar progression, defining the guide tones of each chord In-class: students play assignments and are asked to improvise with the focus placed on ending their phrases on written guide tones Standards for assessment 5. Able to accurately play chosen chord tones at the end of one and two bar phrases; must be able to do this at least 90% of the time 4. Able to accurately play chosen chord tones at the end of one and two bar phrases; able to do this at least 80% of the time 3. Able to accurately play chosen chord tones at the end of one and two bar phrases; able to do this at least 60% of the time 2. Able to accurately play chosen chord tones at the end of one and two bar phrases; able to do this at least 40% of the time 1. Able to accurately play chosen chord tones at the end of one and two bar phrases; able to do this at least 20% of the time
4. The Major Scale In-class: lecture and handout – major scale and melodic construction Out-of-class: create melody on 8 bar jazz progression using the major scale Play constructed melody and improvise in class; discuss results
Standards for assessment 5. Able to both perform exercise flawlessly and improvise effectively using the major scale; must play diatonically 4. Able to both perform exercise flawlessly and improvise adequately using the major scale; must play diatonically 3. Performs exercise with some mistakes and improvises adequately on its structure 2. Performs exercise with many mistakes; improvisation demonstrates inadequate understanding 1. Unable to perform exercise or improvise adequately 5. Motif construction I - melody In-class: lecture and handout – melodic motifs, variation Out-of-class: create 2 to 4 note motif with variations and use it in class on 16 bar jazz progression
Standards for assessment 5. Demonstrates excellent understanding of concept and is able to use invented motifs effectively in improvisation 4. Demonstrates good understanding of concept and is able to use invented motifs effectively in improvisation 3. Demonstrates adequate understanding of concept but has difficulty using invented motifs in improvisation 2. Demonstrates some understanding of concept but is unable to use invented motifs adequately in improvisation 1. Little understanding of concept, unable to use invented motifs in improvisation 6. Motif construction II – rhythm In-class: lecture and handout – rhythmic motifs and variation Out-of-class: create rhythmic motif with variations and use it in class on 12 bar jazz progression
Standards for assessment 5. Demonstrates excellent understanding of concept and is able to use invented motifs effectively in improvisation 4. Demonstrates good understanding of concept and is able to use invented motifs effectively in improvisation 3. Demonstrates adequate understanding of concept but has difficulty using invented motifs in improvisation 2. Demonstrates some understanding of concept but is unable to use invented motifs adequately in improvisation
1. Little understanding of concept, unable to use invented motifs in improvisation 7. Sequences In-class: explanation and demonstration of sequences Out-of-class: reading assignment and writing of sequences In-class: performance of sequences in assigned bands, and discussion of sequences Standards for assessment 5. Demonstrates excellent understanding of concept and is able to use sequences effectively in improvisation 4. Demonstrates good understanding of concept and is able to use sequences effectively in improvisation 3. Demonstrates adequate understanding of concept but has difficulty using sequences in improvisation 2. Demonstrates some understanding of concept but is unable to use sequences adequately in improvisation 1. Little understanding of concept, unable to use sequences in improvisation
8. Roman Numeral Analysis In class: lecture and handout Out-of-class reading and assignment In-class marking and discussion of assignment Standards for assessment – determined by assignment
The following three listening exercises are self-assessed in class. They are not part of a final mark. 9. Listening I In-class activity: pass the idea – form a line of players; first player plays and idea, second player mimic first player, third player mimics second player, etc. First player must remember initial idea and play it after all have played . 10. Listening II In-class: Form duos; one player improvises, the other accompanies a simple progression. Instructor randomly asks improviser to stop and play back the last five notes he/she has played Continue exercise with assigned groups
11. Listening III In-class: Using a simple progression, each band improvises rhythmic motifs, listening to each other, and playing back what they hear. Do same with simple melodic motifs.
12. Comping I As above, but players assume roles of soloist and accompanists. The activity focuses on accompanists supporting the soloist, drawing inspiration from the soloist for what they play This is done in the context of the piece that they’re working on Standards for assessment 5. Able to support soloist with strong sense of pulse and high quality of response 4. Able to support soloist with strong sense of pulse and medium quality of response 3. Medium sense of pulse and medium quality of response 2. Sense of pulse or quality of response is weak 1. Both sense of pulse and quality of response are weak 13. Comping II Accompanists focus on providing the soloist with ideas. Soloist must demonstrate use of the ideas provided by accompanist Assessment based on quality of response Standards for assessment 5. Effectively demonstrates ability to listen to and respond consistently to accompanist when the accompanist provides obvious ideas 4. Demonstrates ability to listen to and respond to accompanist 80% of the time 3. Demonstrates ability to listen to and respond to accompanist 60% of the time 2. Demonstrates ability to listen to and respond to accompanist 40% of the time 1. Demonstrates ability to listen to and respond to accompanist 20% of the time
3. Arrangement 14. Intros and outros In-class: lecture/discussion/creation of intros and outros Out-of-class: reading on intros and outros; compose intro and outro for assigned jazz piece In-class group activity: review and discuss ideas; create new intro and outro
Standards for assessment – this is an in-class workshop involving self-assessment. It is not part of a final mark. 15. Reharmonization I In-class: introduce simple chord reharmonization – iii or vi for ; I for iii or vi. Out-of-class assignment: reharmonize jazz piece that the group is working on In-class: perform reharmonizations Standards for assessment – based on assignment 16. Reharmonization II In-class: introduce tritone substitution Out-of-class assignment: reharmonize jazz piece that the group is working on chosen jazz piece In-class: perform reharmonizations Standards for assessment – based on assignment 17. Reharmonization III In-class: introduce backcycling Out-of-class assignment: reharmonize jazz piece that the group is working on In-class: perform reharmonizations Standards for assessment – based on assignment .
18. Feel/style I - Latin In-class: discuss, demonstrate, and listen/analyse bossa and samba; bands play non-latin tune as a latin tune Standards for assessment 5. Able to accurately play four assigned rhythms with proper feel and to vary them in performance 4. Able to accurately play four assigned rhythms with proper feel 3. Able to accurately play three of four assigned rhythms with proper feel 2. Able to accurately play two of four assigned rhythms with proper feel 1. Able to accurately play one of four assigned rhythms with proper feel
19. Feel/style II - Funk In-class: discuss, demonstrate, and listen/analyse funk; bands play nonfunk tune as a funk tune Out-of-class: create funk rhythms based on variations of 16th note rhythms Standards for assessment 5. Able to accurately play assigned 16th note rhythm exercise with proper feel and to vary them in performance 4. Able to accurately play assigned 16th note rhythm exercise with proper feel 3. Able to accurately play 80% of 16th note rhythm exercise three of four assigned rhythms with proper feel 2. Able to accurately play 60% of 16th note rhythm exercise three of four assigned rhythms with proper feel 1. Able to accurately play 40% of 16th note rhythm exercise three of four assigned rhythms with proper feel 20. Feel/style III - Swing In-class: discuss, demonstrate, and listen/analyse swing; bands play nonswing tune as a swing tune 21. Feel/style IV – Straight 8th Rock In-class: discuss, demonstrate, and listen/analyse rock; bands play nonrock tune as a rock tune Swing and straight 8th rock are assessed in-class as a class activity. Discussion centers of overall feel rather than easily defined technical ability as in latin and funk. This balances consideration of the more ambiguous idea of “feel” in music with more precise ideas concerning use of rhythmic patterns.
Jazz History Presented as a series of readings and short quizzes on the different eras of jazz history. Given the nature of the course, this is not intended to be comprehensive, but to simply give students a basic overview of jazz history Listening tests Students are tested three times per term. They are asked to listen to a number of pieces associated with a particular style of jazz and to identify chosen pieces played in class.
5. Integration of the four primary components Are there presumptions about student knowledge that are not valid? Is the structure of the course consistent with my beliefs and values about teaching? Are there any conflicts between student goals and teacher goals?
6. Teaching Strategy The teaching strategy for this course is largely determined by the type of course that it is. Since the course necessarily involves performance in small bands, the strategy becomes one of a team-based approach. The team-based approach requires that the team work through a sequence of activities. The majority of assignments are designed with this approach in mind.
7. Grading System Individual Activities a. Arrangement b. Improvisation
60 (6 assignments worth 10 each) 100 (10 assignments worth 10 each)
Listening tests
60
(6 tests worth 10 each)
History quizzes
20
(4 tests worth 5 each)
Rehearsal workshops
60
(participation: 10 each)
300
The following 2 pages describe the sequence of learning activities for two terms.
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