Jazz Teaching -2

TEACHING

11'.i\<:IIING THE COURSES IN THE JAZZ CURRICULUM

THE COURSES IN THE JAZZ CURRICULUM

Miles Davis (from N. E. T.).

History of Jazz II[

I1I

Review of jazz history via recordings.

Text: Listening to Jazz (Coker) [,11

Week 1

Distribution procedure,

of course syllabus. Statement

of purpose,

policy. Nature of examinations.

Announce-

ments regarding

Overviews and glossary.

Final examination,

to cover Chapters

4- 5 only.

Hand-Guts/Supplements

Brief performance

',illt (' IllOSt of the recordings played in class will come from the

by

,jll"I~IIIIi.11ICollection, some students may wish to purchase same. In

teacher. Listening and discussion of materials contained in Chapter

1 of text.

Tape/slide

presentation

IIil' ',h 111,1 lisLC.:ninglist should be provided for all students taking the in the form of an accelerated

overview of jazz history. Introduction as contained

hnal examination.

for

public jazz concerts and recitals and

media (radio, TV) presentations.

Weeks 2-3

I

Preparation

~t

itlll

to the song forms li[l

in Chapter 2 of text, with in-class demon-

111111'

01' :lllditional Text Possibility: Jazz Styles (Mark Gridley)

strations of various song forms utilized by jazz perform-

Additional

ers. Listening and analysis of song forms on records, fol-

Teaching Suggestions

lowed by a brief quiz on the same topic. In-class concert of the songs of Duke Ellington. Weeks 4-6

Week 7

Lecture/discussion

of the functions

of the rhythm sec-

1[111,1'11IlltlSI of the students will be non-jazz and non-music

tion, as contained in Chapter 3 of text. Extensive listen-

i li~I""

ing to rhythm sections on record and the individual performers/soloists within them.

Ii111'1,

Mid-term examination, covering material of Chapters 1-3 of text, with a review of the examination results in the meeting following the test.

Weeks 8-9

Lecture/demonstrations (The Improvised

an introduction

how the improviser

for each type, and a brief concert illustrating

the vehicle-types

4 to

prepares

111.11

it

1I1 ..

I'..d 1IIII'i(':lcyis geared to avoid intimidation

of the non-jazz, non-

li'II~1i 1I!.1j1l1.Some programs, however, may choose to offer either a ~I'tI illn of the same course that is restricted to jazz majors, or

li~I\'[1 "11

!liI,'l,

IlIajors take the course along with the non-jazz,

non-

illwi, I'''I/0I'S, hut offer them a more difficult course at some later "11111

1"

"I('

('lIrriClIlllm.

by the teacher,

analysis of solos by six of the best

56

in jazz

I'ldlll'~lIldlll,diy, and historically, though the terminology and level of

in practice.

improvisers in jazz history. Presentation

majors.

)('Come better listeners. It still serves the jazz major aurally,

Weeks 11-13 Chapter 5 (Improviser's Hall of Fame) Extensive listening and guided

on the

11,'I Ill' rocus is upon helping them to become interested

IIltll

on the material of Chapter

Solo), including

the various vehicle-types,

l,yll:d)l'S and text shown for this course is predicated

1111

of video tape of 57

TEACHING


TI':ACHING


If

Jazz Theory

Chord Structures

(specific)

Text: The Jazz Theory Workbook (Baling) ~It()wnin Chord/Scale Compendium of Complete Method For I 'IJr(wisation (Coker).

11',

J Chord Structures

(general)

11

1\

()II,II'lal

A. Tertian

( I)

(1) structured in third intervals (major and minor) a) 1-3-5-7-9-11-13 (7 notes) b) triads, seventh, ete.

Cl) kit· band piano voicings (modal)

U) chord-type applications; i. c., -7, maj7, 7, 7sus.4, ete.

1) classical music uses mostly triads, V7, VII07, and secon-

( 'I IIII\.'mporary

dary dominants (V7 of V, V7 of VI, ete.) 2) triads are rare in jazz, leaning more toward extended chords (9ths, 11ths, 13ths, and altered chord notes) c) 9 = 2 11 = 4 13

=

II~ II~("(J in compositions of Ron Miller, Herbie Hancock, John 111111:111,

9ths, 11ths, and 13ths are used in any combination; that is,

1\

t

(1) structured in fourth intervals (usually perfect fourth intervals) a) generally stacked in groups of 3-5 notes; common examples: "So What" voicing and modal voicings. b) quartal voicings occur most often in modal tunes. C. Contemporary structured with more seconds (major and minor), clusters, polychords, and chords with special bass tones (often used as pedal point).

58

Chord/Scales

'1IiI,d/Scale Compendium (op. cit.) JII,III.II (modal) (I) 1H"lll:lconic scales (.~) I \"II':I(JS f.j) I

B. Quartal

ete.

IIf

6

for example, a 13th chord does not necessarily contain a 9th or an 11th.

What voicing

SO

j)

1

2 intervals

I)III~ 7-note scales ('IllporalY ('x,lIl1plesfrom Ron Miller, John Surman, ete.

(;11111

( I)

(.\) l,y"tlH;ticscales; i. \"" 'i1'cni (Embryo), Ron Miller (Wood Dance), Woody .lll.Iw(l.itdeRed's Fantasy, KatrinaBallerina, and others), David I,il·hll1:tn(Lookout Farm and others), ete.

59

TEACHING

TEACHING



\III'III;lle Text Possibilities:

IV. Chord Progressions (generally tertian)

"lJe Jazz Language (Dan Haerle) A. General tendencies

frIzz Theory (Andrew jaffi)

(1) cycle, chromatic, (2) common a)

minor third, and major second motions,

units (containing

r1HlIlgh not yet in print as of this date, The Jazz Theory Workbook

more than 2 chords)

k Bol ing is likely to be the book that will satisfy the needs of the r-.1.11

i. e.,II-V-I and extensions of same (such as #IV-VII-III-VIII-V-I), I-IV7, turnarounds sequence,

Rhythm

Montgomery (3) common

changes,

Confirmation

Sears Roebuck

bridge,

as shown in Appendix

VI

.Ill' in accord with respect to the objectives of the course, and the

111,11(omplete

manuscript

has been reviewed by this author.

Additional

patterns;

W i Ih the exception of Jazz History and Jazz Piano (classes), all

scale sequences;

(5) CESH (Contrapuntal


D of Improvising jazz (Coker)

i. e., 500 Miles High (Corea) as presented

and

Iillllllll.' given here. Bolinghas team-taught the course with this author,

Ward bridge.

modulation

(4) common-tone

(or turnbacks),

Elaboration

III "1'1'rOll rses in the jazz curriculum of Static Harmony);

in jazz Keyboard, Section 2 (Coker)

(6) tendencies of rock/pop as shown in Farber

music;

presented in Chapter 2 are likely

III IH' I akcn only by jazz majors, including Jazz Theory. Therefore, 11'1',l'l,hjccts of the second,

third,

and fourth

IOV is:.rion courses. The nomenclature 11111'

V Bebop Scale

years, especially the

and symbology, then, need

non-jazz and non-music-majors.

IIH'Y,·:hould be complete, realistic, and indicate alternate terminology II~Id I)y Olher authors, teachers, and practitioners

surrounding

taken from How 10 Play Bebop (Baker); tones (enclosures)

','hough

the definition

and application

'\llIld"

runction

the jazz students

in a progression,

common

11f'1'r1lohc :lssimilated, chord substitution A. Chord/Scale

indentification

(no ear training)

B. Chord Quality recognition C. Common

of chord/scales

might

need to be shown how progression

tendencies

principles learned, ete., and

11111111 or what is covered should be played by the students (i1IIII1I',11 pl'obably not improvised

in class

upon, the students assimilate facts

j r Ihey are involved with performing 111.111:1

Progression Units

of jazz,

11;I 1'%.ll'iIY form the core of the course content, other aspects must not [11011"II0l'l'd. For example,

VI Ear- Training (computer lab)

the

111111'11 ivl.:of the course is to prepare jazz majors for the more penetrat-

11111 Ill' loned down to accomodate

A. see hand-outs,

by

scales, chords, patterns,

III ), Hand-Guts/Supplements

Ikr:luse the course contains a multitude Itill"YI() be initially unfamiliarto

None needed, if Boling's book is used. 60

of information,

much of

the students, they should be given

1111111' I'll'quent testing, in the form of brief quizzes, so as to avoid the 61

TEACHING


'i'Fi\CHING


confusion of one fact with another. And if their test performances are weak, then the students should be reviewed over the material and

Jazz Piano 1

tested again. Unlike many courses, the goal of the Jazz Theory class

Text: Jazz Keyboard (Coker), pp. 1-36 and 41-51

needs to be 100% understanding, as opposed to simply achieving a passing score. Mter all, their later improvisations and arrangements cannot be successful if they are only 60% accurate! Art music is evaluated primarily on its artistic, aesthetic merit, with theoretical and

,ri, I

ries of course. Explanation of 1st performance assigntn(;nl, due at Week 2's meeting (all assignments will be explaillt:d

technical accuracy being merely a prerequisite for creation.

in the week prior to their due date). Reading assignmenl: pp. 1-14 of text.

Finally, because the ear plays such a crucial role in jazz performance, the ear-training aspects of the course are of utmost importance. Each and every new principle taken up should be heard often, played,

Distribution of syllabus. Discussion of purposes and acnvl

Perform Exercise 1 (p. 11) in G, Bb, and Db. Perform Figure 13 (p. 16) in 12 keys, playing only the 1'1 and V chords (omit the I chords). See Exercise 3, p. 19. Wc will

',:k:\

and committed to the ear. Any theoretical principle that is merely discussed, even understood (in the mind), but not transferred to the ear, is not really learned and is relatively useless to the student.

'xplain and play Progression 1 ("Tune-Up") on p. 21 in lass, though you needn't prepare it in advance, but do

Remember, music is sound, and this definition especially affects the creative, spontaneous practitioner of jazz music.

prepare Progressions 2 ("Pent-Up House") and 3 ("It's You r No One") for Week 4. Perform Figure 24 (p. 25) in 12 keys, including the I chord. Jlrogressions2 and 3 will be played. Progressions 4 and 5 ror Week 5. 1!'11 ')

't (1\

(~

Pt:rform Figure 23, p. 24 (II, V; I in minor). Progressions (p. 22) and 5 (p. 26) will be played.

I{

Progressions 6 and 7 (no graded exercise/performance for

Ihis meeting). Explanation of rootless voicings and introduction to the blues (pp. 30-33). Prepare blues in G ror Week 7. '-Id:

'I

Ilcrform blues in G (with minimal right-hand improvisaI ion). Progressions 8 and 9 (p. 27) will be played also.

Prepare blues in C, F, Bb, and Eb for Week 8.

62

'u·1i

H

Ibform blues in C, F, Bb, and Eb. Progressions 10 and] I (p. H) will be played also. Explanation and assignmenc or (:ESH (pp. 41-45).

, 1,1,

i)

Perform 3 CESH examples (your choice). Explanation and 63

TEACHING

I'I,'AC! 11NG THE COURSES IN THE JAZZ CURRICULUM


Jazz Piano II

assignment of the dominant seventh chord with a suspended fourth. Prepare the sus. 4 chord (pp. 45-46) in 12 keys for Week 10. Week 10 Perform sus. 4 chord in 4 keys (instructor's choice). Instructor will also provide several tunes to be played which utilize the sus. 4 chord extensively, for practice. Explanation and

Text: Jazz Keyboard (Coker), pp. 37-41 and 51-57) .-,,1:

I I)istribution of syllabus. Assign II - V - I progression in major, with rootless voicing, with 3rd on the bottom (Fig. p. .37) in 12 keys. Also read pp. 37-40. Perform II - V - I (major, 3rd on bottom) in 12 keys. Prepare

assignment of "So What" voicing (pp. 47-51). Week 11 Perform tune (your choice), using only "So What" voicings,

.38,

in a parallel fashion. Week 12 Review of Progressions 1-5 with accompaniment tracks (warning: most tempos will be faster than previously played in class).

V - I (in major), with 7th on the bottom, in 12 keys (Fig. 38) for Week 3. Also, prepare Progression 1 ("Tune-Up", p. 21) for next meeting. Perform II - V - I (major, 7th on bottom) in 12 keys. 11 -

'l'li.\

Progression 1 will be played also. Prepare II - V - I in minor (3rd on bottom) in 12 keys (pp. 40-41) for Week 4, along

Week 13 Review of Progressions 6, 7, IQ, and 11 with accompaniment tracks. Review of blues in C, F, Bb, and Eb with accompaniment tracks. Week 14 Play the tune you have selected to play on the final exami~ nation (1 - 7 - 3 - 5 voicings with added melody). This will not be graded, but is merely a chance to become accustomed to performing before others and to receive suggestions for improvement from the instructor. Week 15 Final examination, consisting of prepared tune, 2 choruses of the blues in one of the 5 keys assigned previously (my

In:1I Ij

with Progressions 2-4. Perform II - V - I (minor, 3rd on bottom) in 12 keys. Play

'1'1'1, ')

Progressions 2-4. Prepare II - V - I (minor, 7th on bottom) in 12 keys for Week 5, along with Progressions 5-7. Perform II - V - I (minor, 7th on bottom) in 12 keys. Play Progressions 5-7. No assignment for Week 6 other than to

I (·k

choice), and sightreading of a progression. Because Jazz Piano I and Jazz Piano II are sequential courses in the same subject, the syllabus for Jazz Piano II is presented next, without interruption, followed by the discussion of hand-outs, alternate text

prepare Progressions 8-11. (l Play Progressions 8-11. Distribution of hand-out with 2 blues comping exercises, to be performed at Week 7. Also, memorize and prepare first 2 Idiomatic Keyboard Vamps (IKV), "Watermelon Man" and "Cantaloupe Island" (p. 54).

7

Perform 2 blues comping exercises, and be ready to play first 2 IKV's (from memory). Prepare blues with bass line (handout) and IKV's "All Blues" and "Killer Joe."

ITk 8

Perform blues with bass line and play 2 assigned IKV's.

(·(·k

possibilities, and additional teaching suggestions that apply to both courses.

Prepare "I Got Rhythm" comping (hand-out) and IKV's "Coral Keys" and "What Was" for Week 9. 64

65

TEACHING

Week 9

Perform


"I Got Rhythm"

r'I':AClIING THE COURSES IN THE JAZZ CURRICULUM

t'XIIIISivcly.

corn ping and play 2 assigned

) '" III It' b:lsS and drum tracks from play-alongs,

quartal voicings (pp. 51-52) and suggest

IKV's. Introduce

Il'wd in class, on the blues, sus. 4 tunes, II-V and II-V-I exercises

ways to exercise. Prepare IKV's "What Was" and "Mahjong" for Week 10. Week 10 Practice quartal voicings (with side-slipping) paniment

I11I wcl vC keys from the Aebersold series, the eleven progressions 1I~I'din the text, and some modal tune tracks.

with accom-

tapes. Play two assigned IKV's. Prepare other keys

for quartal

voicings/improvisation,

1\

I)

hand-out)

(1t!l\ddilional

Week 11 Practice other keys with quartal voicings and play two assigned IKV's. Prepare (IKV's) for next time.

"Reach

Out"

kind-out

and "Senor

explaining how to arrange the 1-7-3-5 voicings Oazz

1'1.111() I) so as to be able to perform both chords and melodies on d \(' rlc:vcn tunes in the text.

plus IKV's "Maiden

Voyage" and "Nica's Dream" (on supplementary for Week 11.

Idiomatic

) ( lpt jon:t1: expanded

Blues"

111111 (' l'ontemporary

Chord Sym-

bols" (pp. 52-53). Prepare "Wood Dance" and "Como en Vietnam" for next time.

selected (your choice) for final examination

and class (not for grade).

of prepared

tune, quartal (modal)

about 4 of the 14 IKV's (my choice), either (your choice),

voicings, and bass lines (walking) for the left

1I11'W.lY) besides the text shown on the two syllabi. Nearly all of non-pianists

Consequently,

most of the other

for the non-pianist,

leaving out the sort

lOO demanding 1I~I~ \\,11111(11)('

III IIIIIIIII('S:llId methods I lllulll,llppkl11ents,

IiH

(2) Preferred inversions for the blues in each of the five assigned keys.

that produce

litis Icvel. Nevertheless,

11I1./,,1,11

contained

for jazz

i1iTd 1111''.11'11 10 L1sethe keyboard.

Hand-Guts/Supplements (1) Titles and melodies to the eleven tune progressions ill text.

Ihere exists a large number of books published

IiH'III .11" Wri IIen expressly for pianists excluding

"j

(rootless, lefthand only).

other books that might serve as

or service a jazz piano course for pianists would

Id •• ';Uod' Voicings For The Contemporary (I

Keyboard Player

',Ill 1llltde)

'fIdllll'I'/I1i'11 Piano Voicings (JameyAebersold) 1I

who

the quick results that are

11101,

1111111

M'II; Approach

Tb Jazz Improvisation,

(3) A few known progressions which use the suspended fourth chord 66

in bridge,

1'111111, lit IlIidly none of them address the specific needs of this course

il'n,

"Blues With Bass Line" or "I Got Rhythm" and sight-reading

substitutions

"I Got

(rootless voicIll""gh

Week 14 Play selected tune for instructor Discuss final.

with tri-tone

voicing,

Alternate Text Possibilities

ings, plus melody).

improvisation,

uses of the "So What"

110111(1.

Week 13 Play last 2 IKV's and review all 14 IKV's. Prepare tune

Week 15 Final exam, consisting

Keyboard Vamps (see end of Section 3 of

\1 HI),

Hllylilll1" study/voicings

Week 12 Play 2 assigned IKV's. Discuss "Contemporary

on tape, to be

67

Vo!. 1

TEACHING

11·1\(:111NG THE COURSES IN THE JAZZ CURRICULUM


Additional

Jazz Improvisation I


'Icxt: Complete Method For Improvisation (Coker)

Be prepared for the student who is intimidated by the piano. Perhaps it is better that a non-pianist teaches the course, to alleviate some of the fear shared by many non-pianists in the course. Don't lose

(Chapters 1-3)

II~I

finget speed, and other topics that serve pianists more than nonpianists. Make it seem easy. Be patient. Don't be surprised if, at first,

Distribution of syllabus. Bring instruments/amps to all future meetings. Distribution of hand-outs (5). Determine instrument keys for all class members to facilitate

they can only perform the exercises by working out a system of watching their hands and "moving this finger here and that finger there", instead of actually being aware of the identity of each chord,

rune hand-outs for second meeting, and take orders for ~IIplay-alongs needed for course. Begin playing scales (pp. 9-10) and digital patterns (hand-out) at second

key, note-of-chord, etc. That will come later, when their minds catch

meeting. Begin preparing "Essential Patterns and Licks" (hand-out) for Week 2. Read pp. 3-10 in text.

too much time teaching posture, fingerings, tone, reading (notation),

up with their fingers, but first they need to be able to play and build some confidence.

Apply digital patterns and "Essential Patterns" (1-4) to xercise tracks of play-alongs, "Giant Steps" and other tunes. This procedure will continue for several weeks, ntil patterns 1-17 are covered. ontinuance of pattern practice and application. Per-

Though the course is primarily designed for non-pianists, it will be found that the course will probably fill gaps and help the freshmen jazz pianists to a considerable degree. And the pianists who are not jazz majors certainly won't be getting the information contained in this course from their classical piano teachers, so don't expect them to become bored or cause the non-pianists to feel foolish.

LI

form melodies and improvise on all assigned Bebop and Standard vehicles (on handouts and practice tape).

When writing voicings on the chalkboard, get in the habit of using letters instead of conventional notation. It gets the job done and doesn't intimidate the students who read notation poorly, or have difficulty with reading both clefs.

H I

Example: (E-7)

(E-7)

B

G instead of

D

)

E

68

i I.~

I)

1 I

Learn and apply 7th-3rd resolution on II-V progression (pp. 29-33). Read pp. 11-46 in text. Playing examination on bebop tune, plus awritten midterm examination. Modal tunes, ''Aural Familiarization With All Scale 'Iones" (pp. 56-57). Pentatonic scales and fourth inter-

vals (pp. 49-50, 62, and hand-out), Intensity-building devices (pp. 60-61), Melodic development (pp. 57-60). Side-Slipping/Outside Playing (pp. 62-64). Perform melodies and improvise on all assigned modal tunes (hand-outs and tape). Read Chapter 2 (pp. 47-65), Ilh~ 12·ltl The Blues. Read Chapter 3 (pp. 66-74). Perform all 69

TEACHING

1'11\( ;111NG THE COURSES IN THE JAZZ CURlUCULUM


Jazz Improvisation 11

assigned blues tunes. Listening to good 'models' on record. Emphasis on uniqueness (p. 66), sttucture (67Week 15

Complete Method For Improvisation (Coker) (Chapters 4-6) The Music of Ron Miller (Miller)

'Texts:

70), and style (pp. 70-71, plus in-class listening). Playing examination on modal and blues vehicles, plus a written final examination. I(

I

Distribution of syllabus. Be sure to obtain Miller text in the key of your insttument. Read Chapter 4 (The Conlcmporary Vehicle, pp. 75-83). Learn the lydian-augI11cntedscale and its 5 applications (pp. 35-39), plus "Modes and Applications of the Ascending Melodic Minor Scale" hand-out). Begin applying scale and "Cry Mc A River" lick to II-V-I in minor. Distribute handOll

t tunes for course.

Play all tunes in Ron Miller play-along, plus other conI('m porary tunes on play-along provided by insttuctor. [h

I'I:lying examination on a contemporary tune, selected hy instructor. 'I 'ilL:Ballad Vehicle (Ch. 5, pp. 84-86). Hand-outs on

11

"Prctty: A Musical Definition of the Word" (with dClllonstrations by instructor) and "Ballad Playing."

1.\.1

I

Playing of 5 selected ballads (on hand-outs and play,.longs), with emphasis on improvisational aesthetics. '1'11(' hee Form Vehicle (Ch. 6, pp. 87-91. Practicing of t'X I

r:1-l11usicaldevices (p. 88). Listening to examples on

1'('(

ord. Playing of student designed free form "compo-

•.

»

~1I1()IlS.

IIi

70

1'1

Wri I cn final examiation. t

71

TEACHING

II'AClIING

THE COURSES IN THE JAZZ CURRlCULUM

Hand-Guts/Supplements

THE COURSES IN THE JAZZ CURJUCULUM

III [I I I111I i Ill',I() give them feedback on their solos and to demonstrate

(for both Improvisation I and 11)

111111IlIlilllS ror them on your instrument. Lead lines and progressions

111(11 IIII1I110 play the first solo of each 'round',

for all tunes to be played in course,

given to the students at the beginning

of the courses, so that they can

work ahead of the class activity at times. The provided lead sheets are for all tunes to be used in course, so students

practice improvising tude-setting

material

Good Jazz Improviser, Patterns

This gives them time

t' I;'1'1heir solos, gives their ears a more-eXperienced i!! III 1'11,11

interpre-

ItllHIIIIII ItI1r Ihc;ir solos, and often answers questions they might have !IIIII,,11111111,1 very efficient way. You may also want to play the original

in the key of their instrument. Play-alongs

It's a good idea for the

can

Ii i !lI,Jilll', of'

dllLilll', IIl1duly the amount

before and between meetings of the class. Atti(see sample,

Requirements

For Becoming

of student

playing time needed (The

HIdl i'l'." , ould be placed in the musiclibrary, llilclll~ 111Itlll'ir own time).

a

on following pages).

(see Essential Jazz Patterns

many of the tunes as possible, unless it seems to be

,IS

to be listened to by the

IIII~ .Il1lhor has found that play-alongs, even with the disadvan-

and Licks, on following

Ill. 1'1\'1~'I'ableto using too much class time trying to teach

pages).

11I1~illltilll"dlytlllTI section players how to play the accompaniment Alternate Text Possibility:

Illllill'ly, ll'Ii.lhly, and with good taste. In other words, it should be

iii

Creative Jazz Improvisation (Scott Reeves)

\11')11II~ .I Illl'lodic improvisation

class (solo improvisation),

rather

IlIiii !lillll!, I Olll'L:pt,The latter can be focused upon during ensemble There are many other books on improvisation,

including

others

!'tiv:lle lessons (for the pianists,

liflHll,dH.

guitarists,

bassists, and

by this author, but when a teacher selects a text, some emphasis needs

11"Ii1l1lilj~). ,lIld rh ythm section clinics or courses. This means thatthe

to be placed on the book's suitability

'i1lhli\'l~iIlIOIl cl:lss' pianists

Otherwise,

for day-to-day

sequencing,

even a vety fine book (such as Baker's Jazz Improvisation

and Advanced Improvisation, Russell's Lydian Chromatic Concept, Aebersold's A New Approach toJazz Improvisation, and Coker's Im-

provisingJazzor

Patternsfor Jazz) are really more suitable as 'roll up

your sleeves and play' methods,

rather than texts.

it

and guitarists

I~LI'1L IU'IIII1 pl:1yingwalkinglines, I

,1111

'I d

are not comping,

and drummers

the

should play piano

1111 It'li,

1'1.111 1111,'j(,:1(hstudent play each tune twice, perhaps on different I wtlllll' discovered that everyone tends to improvise about dlllll tilL:second try. Also, while the tune is in its first 'round' 11111 ill ItI;Iy i 11g), it might be advisable to keep the solos short, to

Additional Don't succumb


to making this course a course heavily-loaden

with lectures. The students have a text, copies of all the tunes, and playalongs for all of the tunes. They've taken a course in Jazz Theory, so there is no need to lecture excessively, especially about theoretical substance. Plan to have them play as much of the time as possible, only 72

Ii ~I"'IIIIIJ', ,lllll recuperation time between efforts, lengthening the Id 1111111 choruses as they seem ready for them. Along the same I I111,,1'1 d to ,he students, when playing fast-moving, llll~,

10

h:lvc; them alternate

difficult

in two, four, or eight-measure

11i111'yc:tn focus on smaller units for awhile. II~r, I till'

,dollg exercise tracks while the class warms

up on

111111" H'f',inning of class, so that they are constantly given the 73

TEACHING

opportunity


'I'EACHING

to make the aural association between a pattern and the

chord that accompanies

I '1111

it. Warm up to the tunes by playing the

patterns wherever possible, also. Patterns have to be ingrained if they are to occur to the player as an option during his/her solo. Even if the

1111\'

Id

(',

11

Y


for awhile, however, they won't accept wrong notes either.

will try to justifY their mistakes, saying that it was a deliberate

III III

play

'outside' or 'be more chromatic'.

In time they'll get their

II,!II' (' lil do things like that, even be urged by the instructor to do so,

pattern is not used during the solo, at least the student will be hearing

HII by 111l'n

(mentally)

illilwll('I'(, :lnd when it would be most effective.

something

that could work.

they'll have a better idea as to how to execute it effectively,

Don't be alarmed if some of the students lose or gain beats and measures here and there. It's a common problem at first, but fades away quickly without making an issue of it. Just be ready to pointto place, in case the problem

arises, without

interrupting

the right

the proceed-

mgs. In rendering feedback to individuals, with regard to their solos, be gentle and kind, always offer solutions,

remember

to compliment

them when they solve the problem, expect more of the better players, and when a better player plays something

especially choice, clever, or

resourceful, share it with the rest of the class by explaining it to them. For the first few weeks of the course (at least), focus on any and all inaccuracies

and correct them quickly, so that each student

comes to know that wrong notes are audible, (precisely),

and that they are ultimately

quicldy

that you hear them

unacceptable.

After a few

weeks, they will come to know that there is no point in trying to bluff their way through

something

they haven't practiced.

The problem

stems from the fact that they can't yet hear the difference beetween right and wrong notes, and so they naturally presume that it is unlikely that anyone else hears or cares. Of course this sort of feedback has to continue indefinitely, though less pronounced,

as each new harmonic

or scalar sound will tempt them to try to bluff their way through again, for the same reasons. Often a new chord or scale quality (such as diminished,

augmented,

whole-tone,

phrygian,

or synthetic

will simply sound strange or wierd to the uninitiated may get the notion that anything

scales)

ear, and so they

they choose to play that is 'strange

or wierd' will suffice, and no one will be the wiser. After they've played 74

75

TEACHING

I'I'I\CIII NG THE COURSES IN THE JAZZ CURRlCULUM

THE COURSES IN THE JAZZ CURRlCULUM

Requirements For Becoming a Good Jazz lmprovisor

J'llt'my Applied. 11y 1h (;0 I'y understood

(1) A Strong Desire. You must be more than mildly interested

to succeed. At some

point, perhaps even from the outset, the desire to improvise well should be obsessive!

(2) Attunement

in the mind but left unapplied

I"dllll'd, it will not appear in your improvisations,

is not

and it will soon

IOI'[.!,oten. In order for a theoretical principle to become useful,

IIC'

I

Illl'nLal unterstanding 1111'(',II'S:1nd hands.

1111'

must be transferred and/or extended to

(Ill I'h('oI'Y Challenged And Mastered.

To Style.

LOward speed, accuracy, control,

Listen to and assimilate the best of jazz on record, old and new.

\XlIII k

Listen hard and repeatedly! Attend

t1I1'OI'l"icaJ principles, patterns,

live performances,

ranging

and flexibility

of all

licks, scales, keys, ete.

from the jazz recitals ofyout classmates to concerts by touring jazz

III 1 nU'my Utilized.

greats. You cannot improvise in a vacuum.

I' ~.II!,gn:1tethe use of all new items by practicing

(3) Will.

l'IIIPI'i:1LCplay-along exercises (not tunes), but simulate creative

The human will can accomplish anything! If you fail to utilize the will, you risk accomplishing such characteristics

I'n IOI'lI1:lncemannerisms as well.

nothing. The will is responsible for

as perseverance,

patience,

and consistency.

11In', 'IH'ory Utilized In Consummate I'!.IY lil:lny appropriate

(4) Energy. Energy levels are affected by life-style, attitude, nutrition,

11

I'

health,

and a careful ordering of priorities. (5) Method. You must have a plan, if you are to reach your goals. The plan should be reasonable,

efficient, and thorough.

Understood.

The mind must thoroughly undertaken.

unterstand

76

Creativity.

tunes which contain

Ildlllloni(;s which accommodate

All music should contain some type of energy in performance.

(6) Theory

them with ap-

each musical principle

77

exaggerated

the theoretical

use of

principles taken

TEACHING

'II':ACHING

THE COURSES IN THE JAZZ CURRiCULUM

Essential Patterns And Licks

( 1lIIIIProvise

THE COURSES IN THE JAZZ CURRiCULUM

against

the exercise track, but lean toward

rather

IH'qll(;l'lt use of the patternllick; It has often been the case that students of improvisation the theoretical

aspects of the subject,

) 1'101\1 icc the pattern/lick

will learn

IIIOflic:t1lyappropriate

but are prone to sounding

against a play-along for many applications

simplistic, academic, sometimes aimless, with a noticeable absence of

1I,t1
what David Baker has termed 'the language of jazz' ... those patterns

',1A'), using only the pattern/lick

and licks which improvisers,

are continually

shared

as a part of the content

reasonable percentage

by virtually

lllllprovise

all the great

Noir"

of most solos will and should contain familiar

1',1

of that phrase (i.e"

in JA-lO, for applying

against a play-along

till' Iick (you can moderate

of their solos. In other words, a

tune that is hardiminished

whenever possible; and

tune, but exaggerate your use of its use, once it is sufficiently

,d flcd). Look for other play-along

in-

tunes to which the pattern/

jazz phrases, as they are an essential means of musical communication.

1111< 11I:1Y be applied. If you have an adjustable speed on your tape

All of the patterns

111011 hinc, play the tune(s)

commonplace,

and licks shown

in this study are extremely

practice will ingrain

in every possible way, as such

the phrase into the fingers, ears, mind,

memory. Play the lick in all keys, using different modulation (chromatic,

and

situations?

Does it sound well when played from

a different note of the chord? Is it effective when played backwards (retrograde)?

If it is an ascending

contour,

is there a descending

possibility (and vice versa)? Can it be connected pattern? Can it become a double-time potential

i

111111

iql I

IIIN/licks) and the unfamiliar

(new and/or original ideas). Learn-

illd illgraining these licks will not stifle your creativity. It will lend

III1I1II1I"ic:ltion to your solos, and serve as springboards

"111',11,,11, ','IIC one thing you cannot 1\

II~III V,ICllum.

smoothly to another

pattern, if need be? Does it have

ciently-ingrained

is extremely

important.

An insuffi-

lick will not occur to you in the 'heat of battle', and

even if it did, you'd probably be afraid to try it, because of the high risk of errors. Therefore

....

it would be wise to follow the format given here

to msure mgrammg: (1) practice pattern/lick,

alone, without

sequences, permutations, (2) play patternllick

accompaniment

(all keys,

etc.);

(only) against an appropriate

(i.e., a track from Aebersold's Volume

play-along exercise

1, 3, 16, 21, etc., not a

tune); 78

to original

.I, I~ VIII'" creativity will only be stifled if you never play anything

for sequences or side-slips?

The process of ingraining

your

1111 IIlht'r that you're trying to achieve a balance between the familiar

1',

patterns

cycle, etc.). Can it be altered slightly to enable it to fit

different harmonic

keys, to maximize

I ~p\'ricnce with playing the phrase.

yet effective and needed by all.

Be sure to practive each patternllick

in other

79

afford to do is to operate in a

TEACHING

11''.1\( :111 NG




II

A. Digital Patterns (1)

I t

(2)

(3)

12

A7

\

211

5765

(D-7)

CL'1

D-7

.

C7

D-7

I

C7

\

(I)

7)

CL'1

or E-7

(I'll

(16)

(17)

.-/

llilllllllshcd Patterns D-7

C7

(CL'1)

(8)

D-7

1'111

(9)

~. D-7 (CE.S.H.)

C7

CL'1

(10)

~ C. V7 -I Licks

"I'.III1'lIlcd Patterns CL'1

CL'1

(12)

~

(or

C-L'1) 1111

~

80

(D-7)

=-1

(I )//,,7)

C7

~

C7

A7

~r

11. ~lhll' Licks

B. II-V Licks D-7

I.icks

(11)

(4)

211


81

TEACHING


1'I1i\C!IING THE COURSES IN THE JAZZ CURRICULUM

111111:'11' 'I~xt Possibilities:

Analysis of Jazz Styles

11YI',()odcollection of transcribed solos, of which there are far too Texts:

28 Modern Jazz Trumpet Solos (Slone)

ItllIl\' ItI li~1 here, This author prefers collections which are of more

Modern Jazz Tenor Solos (Butler)

dillil 1111(',Inist, both to promote hl'll\'u

Weeks 1 - 2

Discussion

11

variety as to show commonality

,dl players.

of purpose and activities of course. Lecture

on the functions and potential of the ear in music, taken

Additional


from Chapter 2 of The Jazz Idiom (Coker). Weeks 3 - 4

Survey of methods

- techniques

analytical techniques,

for transcribing

solos,

and needed nomenclature,

taken

instructor's

i 1'11"ill1)"S~:lgesfrom TheJazz Idiom (Coker), namely a treatise on the

notes. Discussion

struments

of "Devices Commonly (bring in-

to class on that day).

In-class listening First transcription

Return

by instructor.

due.

of solos in Slone

d !I:III III IllIderstand the techniques,

Second

transcription

in class, with

the opportunity

to help

I1 illi lit'.~()Ios. Finally, they should be told that the choice of solo and

transcription/

I'hl'~ tlH'1I1lhe flexibility to select solos that are accessible to their level I"

papers to students,

last day.

,I,

Iwl,'p ment, Most should probably start by transcribing

I111,il11I1""llment, to take advantage of that instrumental 1_

2nd transcription/analysis

Hand-outs/Supplements

w,11

,'~

selecting

players that might

Solos, on succeeding pages).

have drawn

players of

attunement, them

to the

111'<1111111('111, initially, and might still be exerting considerable influence 1111dH\II'slyle.

!U

1IIIIqll('~ and analytical techniques

111111dl(' devices common List of the devices to be cited in analysis (see Devices Commonly

82

and

objectives, and short-curs in tran-

Jt'",l'iy in the course, also, should

Found In Improvised

2. Such a reading

1'11,\I I i,~lip to them, as well as the length they choose to tackle. This and non-tenor-

analysis)

Written final examination

IIII"lil'lIl. Next comes a collectively-done 11[1111' ill hand, which affords the instructor

and analysis (by student)

analysis due on last day of 14th week (2 solos, with comparitive

in Chapter

IIIII 1I'I~illll~cerns to make them more aware of the almost infinite (well

to, and analysis of, first 10 solos in texts.

and analysis of non-trumpet

solos, provided

JIIIIIIIII,t1 or the ear, contained

to do the work, by reading

III\ 111111 w hal they need to transcribe a solo) potential for the ear's de-

Weeks 9 - 12 Listening and analysis of remainder and Butler. Weeks 13 -14Listening

In-class solo

by entire class and instructor

(approximately)

Weeks 15

this author

III,L~ III fil'~t work on their confidence

transcription

Week 8

ofJazz Styles class are not sure

from The Jazz Idiom, Giants ofJazz series (Baker), and Found In Jazz Solos" (Coker), a hand-out.

Weeks 5 - 7

MtI.~1of the members oLinAnalysis

IIII \ II1\l II':lnscribe a solo. To combat their apprehension,

\" dll'lll,~~t.:dthoroughly, Illc

be a study of transcribing suggested by various authors.

to all players (see following pages) should to be sure everyone understands

Ult,1I h,(' e:lch device.

83

and can

TEACHING

An interesting


phenomenon


I >"/lices Commonly Found In Improvised Solos

takes place as the course progresses

into listening to solos from the text and citing all occurrences common

,"':i\<:IIING

of the

devices. At first the students tend to glean all their informa-

Analysis of Jazz Styles

tion by reading their copies of the solos (even that is difficult for some), but after awhile, they're hardly reading at all, because their ears begin to perceive the devices before their eyes and mind can decipher the written version! Also, as the course progresses, the commonly-used

devices are so

lll'hop Scale - the adding of a chromatic

lIill'

'H

.dl'. in order to align metric

accents.

In major scales the

'\IIIlIII.111l Slep occurs berween the 5th and 6th degrees, in dorian , d, ~ 11 VIII'Sbetween the 3 and 4, and between the 7th and root of CH

prevalent that there is very little left unmarked in each of the solos, which convinces the students that the list of devices is indeed a

1111'11\t1LIIIscales.

capsulization

of what is commonly

step to an otherwise 7-

1I.·hop Lick - very closely related to the bebop scale (see above), in

referred to as 'the language of jazz'

11111111 IIIVDlvl:sthe same added chromatic step. However, the bebop lick

At the end of the course, they should be urged to examine the list again

li~1I d vny specific melody. The bebop lick on a C7 chord, for

to determine how many of those devices have, as yet, become a part of

IIilllll' (.dso a G-7 chord), would be 'c-b-bb-d-a-g'.

their own improvisational

Less frequently

Ii Id'lIl.IPIll':irs with a 'c' or an if' in place of the id'. hH tosllrc (also referred to as Surrounding Tones) - an 'object

style.

111111(,"I1S011;1ntmember of a chord or scale) approached

I lid

11111(' .dlOve, then a semi-tone below, then the object tone (similar

III Iq'l'c I 1IIId lower 'neighboring

I

ill an enclosure

q '1"'111 j 111\ 1I11i1'N

tones'). Example: an object tone of

would result in a 3-tone series of'& -b-c'.

Scale - (structure:

1, b3, 4, #4, 5, b7) though

11" 111I11I'd11)1'use in the conventionalll-bar

li'l

first from a

specifically

blues, some players will

IlIlIy ,~p()r:tdically in the blues (plus the fact that some blues

1"111',11 '~~IOIIS:1re less than wholly traditional), and players will fre'1"1 IItI" W.\' 1he blues scale in a non-blues tune. It is one of the scales

1111.1"111I1y chosen for harmonic generalization (see below). 11.11111011

i

ic Generalization

- the practice oflumping

I d I hi 1111.\(cspecially closely-related I d,

together sev-

chords, like I1-V-I) with one

I 'IH' III:ljor scale and the blues scale are most commonly

till" 1"1'I'D,~t·,hut scales like harmonic

minor and diminished

used for can be

1't'L1I'd.ISwcll, along with still other possibilities. Clhllll\c-RlInning 111"II~Id 84

.c

- the practice of arpeggiating

progression in improvisation, 85

the individual

so that little else is occuring

TEACHING

(such as definable melodies). A fast harmonic reason for such practice, consistent

rhythmic

IIIADIING


rhythm

and one can generally

l'II"i11 (Contrapuntal

is usually the

expect to find a

.10 III IIlln\:$t, such as a long-running

level of 8th notes. Scales can also be a part of - closely related to change-running,

terns are small (usually 4-8 notes), well-organized

II.~l

digital pat-

notegroups

such as

by transposing

frequency

the patterns

are usually practiced Scales - (structure:

in other situations.

lilil

aside from and before actual 1,2,3,5,6

Uncommonly

generated by the use of a single pentatonic are often based on pentatonics. Side-Slipping

(or Outside

have been based on this

a player will superimpose

1Ilillllllic (I) minor chords. h L' nll'c Substitution - a harmonic

substitution

Ihll'_~"1

long phrases are often

might be synthetic

!,l1ll1lilli IIlI' :\n improvisor

does not

to be present in the accompani-

Often the side-slip

!I1llll 111111 \')

t ()

it is extremely

to play the 3rd of a dominant

lilllll, tlll:11IlIove directly or indirectly

(by including

seventh

the 5th and/or

the lowered 9th. Such motion permeates much of the

11111,11 .~ldl'''.IIlCCof a solo, especially on VI7 chords, and one will find

Scales - under the heading of unusual scales

scales (i.e. phrygian or locrian), harmonic

Less-common whole-tone,

It

I till' I11IVI'I ,·d 9th as the instances in which an upward motion is used. ". ',y

modal

Mc" River" Lick - a phrase which derives from a standard

11111" 11111 H'Sail)\: name. In its original context, the melody descended

major, gypsy minor, hindu

scales, and all symmetrical scales (chromatic,

I IIIIIIIIV\:I), 8(1), 5, b3,2,

diminished,

Sometimes a player will substitute one of these scales (or

Resolution

Db 7

dH11I1ll~ III,IIIYinstances of the 3rd moving down (3 half steps down)

scales (originally-devised).

equally unusual

dy W:\il for the subsitution

11'lIp,~ from the 3rd to a b9th - melodically,

scales are often present. The device is used to create tension

and avoid monotony. Unusual or Substitute

4th, or a

lih III 111/1111' Ilsing it.

scale. Side-slips (see below)

and returning.

a CESH

of a chord or

IHI [I I :'/. Ill' (;vcn Ab_7 Db7 for D-7 G7. An Improviser

is to a key or chord that is a half-step higher than the given one, and

another one.

and patterns

liltlilllNIH'd ')1 h) away from the given chord, such as substituting

of a major scale) most

Playing) - the practice of deliberately

leaving the given key, momentarily,

augmented).

~lIII1H'I'OUSmelodies

11tHlilllllll device, and frequently

to fit each passing chord.

found in modal and blues tunes, but also found with less

pentatonic

minor chord in which the

llilid~ lViii, h :lre a tri-tone (3 whole steps, or an augmented

performance. Pentatonic

- a har-

lIi.l"d \ III p.lIl'\:rn over a non-CESH harmony, especially II-V progres-

1-2-3-1, 1-2-3-5, 1-3-5-3, which are used to realize fast-moving chord

commonly

of Static Harmony)

I'" d, 'ill'llds in half steps, but the other parts of the chord remain in

Digital Patterns

Such patterns

Elaboration

1'"'111,III vi,'\, in which a chord of long duration has one moving voice

change- running.

progressions


1 (over a tonic minor chord). Although

III'IilIIVI~'I'"SlIse the phrase in this same setting sometimes,

it is even

illlllll tlllllll\()n to find them using the same melodic intervals in a

one) for a much simpler, more traditional

liiL:ICIII 1I.II'I1lonic setting, as follows: +9, b9, +5, 3, +9, b9 (still of 7th to 3rd - refers to the common

resolution

of

the seventh of a -7 chord (like II) to the 3rd of a 7 chord (like V) whose root is a fourth higher (or a fifth lower). For example, the resolution of 'c' to 'b' in a 0-7 to G7 progression.

Frequently

this resolution

present in the melodies and patterns of an improviser. 86

is

di'~lCIIIIIIII',)over a dominant

seventh chord with an augmented

5th

1111/11111'.1111'111<:<.1 9th added. !'(

;1I11t·

nil t Not Forgotten"

Lick -like the "Cry me a River" lick,

I It11t' 1'<1wl, kh derives from a standard tune of the same name ("Gone 1\11111111111l1'~Olten").ltis nearly always used over a minor chord, using 87

TEACHING

11'1\( :111NG THE COURSES IN THE JAZZ CURRICULUM


the digital formula, 9 (or 2) - b 3 - #7 - 9 -

1 -

C-,

5. Example: against

Il!il[_' (I,.\,1,),

the phrase would be 'd-eb -b-d-c-g'. Angularity

- the use of uncommonly

sation, very pronounced Thelonious

I'lill'llil',),

wide intervals in improvi-

in players like John Coltrane,

i IWil

Eric Dolphy,

- re-use of same or similar pattern

or melody over

several successive changes of harmony. Quotes

1;)1' possible \

Oil

:1 brass

about labelling a suspected error,

causes, such as split notes, hitting

instrument,

sometimes

ply because the improviser

as a humorous

touch,

sometimes

rcpeat a section, ete., all of which can happen to anyone, jlllt.~l:lrisalessontotheanalyzer.

sim-

hears that the quote is based on the same

setting as what he presently faces. In a few instances, players

have used quotes to be programmatic comment. Shifting

or to make a socio-political

of Bar Line - The delaying or anticipating

of the har-

monic or rhythm progress (especially the former) so that it is occuring (seemingly) in the wrong place. It is a deliberate (usually) and temporary distortion Inadvertent within

of the meter and/or bar structure. Repetition

- the unintentional

the same solo, often occuring

reiteration of a phrase

at the same spot within

a

successive chorus or repeated section (and nearly always on the same chord root and chord-type), rence by a considerable

therefore separated from its first occur-

length

of time. If the phrase is reiterated

immediately after the first occurrence, rather than accidental.

Inadvertent

then it is probably deliberate

repetition

usually indicates that

the phrase is a personal cliche; or simply reinforces the notion that all players are prone to hearing the same phrase at certain points within the tune's progression

(a natural aural phenomenon).

Error - an obvious mistake on the part of the improviser, dangerous

for the inexperienced

chord, for example, is

C-,

assume an error. However,

yet

student analyzer to cite. If the given

and the player plays an e-natural,

chord is a C 7 and the player plays a b-natural,

88

or the

it is relatively safe to

the analyzer must also consider

wrong

memory lapses, getting finger-tied,

illl(:,U 1IIIf', 10 ItiLl1

chords, bar-line shifts, or 'blue

It could even be aside-slip (or outside

- melodic fragments of other tunes or solos, woven into

an improvisation, harmonic

orb 7),forexample.

:IIlY event, be cautious

II1

IlIllk

Ii 11111111111

Monk, Woody Shaw, Benny Wallace, ete.

Sequences

!HI~~i1dljlj('8/11'$t, such as substitute

other 89

TEACHING

II'A<:I

THE COURSES IN THE JAZZ CURlUCULUM

liNG THE COURSES IN THE JAZZ CURRICULUM

Additional

Jazz Composition And Arranging


11\111lk'111s are to learn to tap their creativity and write attractive

Text: Jazz Arranging and Composing (Dobbins)

I, dll Y11I1Istfirstbe taughtto 11111',

Weeks 1-2

Rhythmic

Weeks 3-4 Weeks 5-6

Study of and listening to "46 Great Tunes" (instructor's

"I(.' 111111"~ ,~llccessful, learn how to write effective progressions IIldlll III~•. 1I1d practice composing

Notation

substitution.

and calligraphy.

techniques

Common

and techniques

Begin composing Composing

of chord

aspects of chord progressions

(drawn from Appendix D ofCoker's

Improvising]azz).

tunes.

and in-class performances

of original tunes

(approx.)

Study of small ensemble

arranging

Weeks 12-15 Original compositions/

arrangements

(Dob-

pii.dwl~.1 I:lpe of some of their currently favorite tunes and state why

"""'II'd

with the tune itself (a great tune can be can sound deceptively good).

'II It rt'spect to arranging (01'

being careful not to confuse

hadly and a mediocre or weak tune, with a good arrange-

till,III dllll/or performance

I,W ",'

a tune, the student

should be made

Iltt' options they have, with regard to writing for 2-5 voices

(,,"h,,"' .. OCl:lveS,thirds, sixths, fourths, stacked, open, drop 2, etc.),

"Il

played in class.

tklL each is a good tune,

1;'\·1

liI ""11'11'1'or arrangement

for various in-

by students, to be

etc.). In addition to studying the

I!!~i IIIIII'~provided by the instructor, each student should be asked to

ji,

bins), with short arranging assignments strumentation.

and

different kinds of tunes (standard,

hd'''II, lilOtLd, blues, contemporaty,

i1wl'

(graded). Weeks 9-11

never heard and/or analyzed and be shown what made

collection).

Re-harmonization

Weeks 7-8

it.1I!iI dll/vc

rewriting of various types of melodies.

learn more tunes, be exposed to great

\Ill 1I1.~ I<.:xturespossible (homophonic,

contrapuntal,

i i!ill,l.11.). ,Ine!ways to accomodatechromaticism

harmoniza-

in the melody. Keep

ts short at first, so that the students have more time to I hI' ·1\~jl',IIIil(.'n


I" I III 11"1'job with it, so that their assignments won't require as much Lead lines (melodies) rhythmic

rewriting,

more spontaneous

of standard

tunes which are in need of

for the purpose of adding syncopations sort of rhythmic

and a

11111~~i/',IiIll(.:ntscan be lengthened

phrasing.

Copies of choice tunes to be studied and analyzed for attributes. Hand-outs methods.

pertaining

to reharmonization

'1i1H 1.1 pl.IYand tape, and so they won't risk the possibility oflaboring '" " I I," I", :Issignment only to discover that it was all done incorrectly. later, when the students are more

"11 11111 It'.

11lit\' sludents are knowledgeable

and chord substitution

about MIDI and the university

IIII dll I.Il'ilil ics, much class time can be saved if the students prepared

Hand-out listing harmonic and melodic aspects of tunes that cause them to be attractive to the listener.

111111 d~"j",nmcnts on MIDI rather than having to read, rehearse, and 1'111

dll'lll in class. 1\1 1.11 h<.:rstrict about the mechanics

Alternate Text Possibilities:

Arranging And Composing For The Small Jazz Ensemble (Baker) 90

of arranging,

especially at

11,

I. ~IIl It .ISthe quality of the calligraphy, accuracy of transposition for

1\1

lilt! 1.:1, inSLruments (including the correct octave), numbers of beats 91

TEACHING

in measures, preparation

l'I':i\C1IING THE COURSES IN THE JAZZ CURRICULUM


and other basic skills that pertain of scores and parts. As it was mentioned

improvisers who need to understand

to the mechanical about beginning

that wrong notes are unaccept-

lId ~,dlll ions that were used by well-known

"111 it 111\

need to understand

11 I

essarily complicated

unnec-

(i.e., the inflated use of repeat signs, repeated

measures, multiple D.S. and D,e. markings, 3rd and 4th endings, and verbalized short-cuts,

11111,,(

you mentioned, I.

1'111

have been refused by pro-

/,/\,~\

even better than what the well-known

h'nsemble (Baker), and ImprovisingJazz

IIll1d'" "l'gments on melodic development.

like "play same changes as letter A and B, but

only"), or simply because the parts were, for calligraphic reasons, hard to read. The student must be made to understand that they must produce scores and parts which practically 'read themselves'. Joseph A. Artis, who was my teacher of classical piano, theory, and arranging when I was fifteen years old, used to say (repeatedly), "Remember, you for the other fellow's mistakes"! While

memory is once again revived, let me add another repeat often to composers

his

axiom he used to

and arrangers, this time relating to what

they might be chosing to write in their scores. He would say, "What does not sound well should not be written"! It's easy to see why the memory of him lingers for a lifetime, for those who were fortunate enough to study with him. His axioms, and there were many, were simple, true, and forever valid and helpful. When arranging students ask for assistance or feedback from you, don't simply tell them what you think they ought to do, as you want to protect yourself.

their creativity

somewhat,

On the other hand,

rather than create a clone of

don't send them away to re-do the

assignment without any new input from you. The best thing you can do for them is to trigger their own creativity by mentioning

a host or

options they may have overlooked, options which could be combined, 92

person

(David Baker), or Arranging And Composing For The

play an Ab 7 instead of the Db -7 in the third bar, and use the 3rd ending

are always responsible

of the

Il':lch ing melodic form, this author uses excerpts from Jazz

';"/'u//I/II/lion ,,It/II

one that is equal or

dun what you might have done, better than anyone

accuracy instead of a passing score, it is also true that young arrangers

fessional ensembles simply because the parts were inaccurate,

come back with yet another solution,

1I1,IY

1011111

Many good, even great arrangements

on

1IIIIIdilll;'~ they've heard. By merely triggering their innate creativity Jill~\

able, and jazz theory students who need to think in terms of 100% the gravity of accuracy in the score and parts.

composers/arrangers

93

(Coker), all of which

TEACHING

11',\( 'IIINC THE COURSES IN THE JAZZ CURRICULUM


!

Jazz Arranging II

1'l'ldi'ssionalArranger/Composer (Rusell Garcia)

111'

i.11H .ok is about thirry-five years old, but still a fine book for

"Ill

t

Text: Inside The Score (Wright)

It

I illf',illg tcchniques.

Sebesky's book is a fine book for putting

11'1, 1111IlloJ'(;-:Jdvanced writers. The books by Dick Grove and Weeks 1-5

1,11111 I )I,l.llIlont should also be investigated

(approx.) Study of the scores and large ensemble writi Ilj', techniques

Weeks 6-10

of Nestico, Jones, and Brookmeyer

(text).

Additional

(approx.) Study of the Clare Fischer scores on "Extcll sions" (provided by insttuctor).

Study (through

Students

select tunes, submit

scores, and copy parts for arrangements


lisltll

ing) of other arrangers, to include Charles Mingus, Evans, Ron Miller, and Coker. Weeks 11-15 (approx.)

as possible texts.

1111\1' i 1111\'will have to be spent with familiarizing

Cil

I1 IllIf\I~1 tn\llspositions,

and idiosyncracies

of the many instru-

'plans', writ(,

11jil. I,ll which they will be scoring and preparing

for large

lit

j:l'I.'/

the students parts. Special

I!, 1111.1"possible by brass mutings should also be investigated, as !! I1I1\111111 wi od doubling possibilities and the chairs to which those

ensemble, to be played and taped by the Jazz Ensembl\"

lildllil'.'l "Illlldd normally be assigned. Have them listen to some Gil

,il__, IIII~, wiil, their many hybrid combinations


(mixed mutings,

11\\IIllIlwlllds with brass, ete.) and challenge them to identifY those In this author's course, students are given copies of the scores frOll1 the album, Extensions, by Clare Fischer. Fischer's genius as a composn/ arranger (especially in the area of harmonies and voicings) are well known to some of us who write music (Herbie Hancock and Hill Dobbins,

for starters!). Because of a long, enduring

author was fortunate

enough

friendship,

Ihi

j~

t,.III1I\~' 1!1IIll(; same reason, and to identifY which instrument(s) 111\I ) 1I11·1\'.ld:tnd where that voice occurs within a stacked chord.

i

IIillIl~ st'ori ng possiblitities

to have received copies of ExtensiolJl,

!lIlhl"I",

from the many revelatory

aspects 01

Fischer's mastery of the idiom. However, as these scores are not ill published

form, the reader may have to substitute

.1

other scores that

~II ill:l1 they can refer to the list while they are scoring, to

III

11

II

j,~

1I!1,I\. 1IIIdlld

time to have their arrangements 111(;

students

li

I1 ,I1Ill' It.

not to judge themselves too harshly if

11)

what you were hearing as you wrote it, there is often

I' 111.1 t is not necessarily the arranger's fault. This author has

III 1""11 ,11 I,11l1',(;mentsbeing sight-read 1111111111',,',nulld was deplorable.

Alternate Text Possibilities:

The Contemporary Arranger (Don Sebesky) 94

played by an en-

dl. Ijljlllilll<.;dby what they hear. When you add the perform-

ti

III I,ll

merit careful investigation.

to keep a list of those

!l1I1I.!till III Ill' Ihcir many options.

So it was only natural that this material be placed in the hands OfYOllIIP, who could benefit

are taken up, in the text or from

iil 11111 111I',\Ilotes, urge the students

which, by the composer's own testimony, was some of his finest worl\, arrangers

I 1:1 vc them listen, also, to some of Duke Ellington's

ilhjlllllll'I~,

"',111,I i

111'1

W\TO

performance

by an ensemble in which

The student

has to learn to

problems and compositional

95

prob-

TEACHING


11

'1\( :111 NG

IN

THE JAZZ CURRICULUM

LQ'in-class performances'

.11111'Iillldllg

Advanced Improvisation

THE COURSES

).

I1 I Idill vkt's to be used with "I Got Rhythm" Text: Wilyne Shorter play-along

(Aebersold, Vat. 33)

"1111

•

I 11 11cs used for study of Coltrane

III

progression.

matrix.

"Ilil. III tll11es Llsed for 12-key study (such as "Stella By Starlight", Week 1

Distribution

of syllabus and hand-outs

In-Class Performances,

(4 pertaining

plus "Interval Patterns").

"Interval Patterns" (continuing

I

to

Begin

IlIld", :lI1d others).

loll

Iil 1'"1 tIII will need some ear-training

until all have been don" 1,[11111111'

in class) and the playing of melodies in 12 keys (meloDemonstration

of In-Class Performance

of good,

a project. Continuance

I i,l\1 I 11·IIIII:1n),or Volume 35 (Cedar Walton).

ofInterval

Patterns and various

Improvisation

Matrix

("Giant

of tunes

Steps," "Counl-

lit

in 12 keys (Blues, "Stella by Starlight," etc.). Ear training with improvisation

tapes). Begin work on In-Class Performance Study of "I Got Rhythm"

progression,

tape.

in 12 keys,

by each member

11pl.ly-:t1ongs (Quest-Standards)

Baker), Volume

19

if it was not

from Advance Music are fine

"iI~ pllrpose. Some instructors

may want to put

Improvisation,

IIdll iI dlll',~ ror the sophomore

improvisation

\llllIlIlgh

On),

course, and the new Liebman-

Ii'illlt,·,ill' lape for Advanced

:11

together

a

similar to what this courses.

no text book was specified for this course, a good

II!i~~11 tlllly I()I'that purpose would be Advanced Improvisation (David 11·i1II'I)

progression. Begin tempo study (ca. 180-320). Weeks 10-12 Perform tunes from Wayne Shorter play-along. In-Class Performances

10 (David

OfRon Miller would be very appropriate,

IlIvl'rcd in the sophomore

11,lt

in!

(on

various tempos, and with common devices used on that

Weeks 13-14 (approx.)

1/11' IIllIsic

"'I,d,

but difficult

Volume 4 (Movin'

HillllIl I) (Woody Shaw) , Volume

"Ladybird,"

Week 15

has a number

tunes, such as Aebersold's

followed by discussion of problems to be solved in such

using the Coltrane down," etc.).

Weeks 7-9

pl:ly-along which

IlIltllll'lIl.lry

by instructor,

melodies in 12 keys. Study and performance

Weeks 5-6

Possibilities:

"t'XI

"Y

dies selected by instructor). Weeks 2-4

tapes for use in class.

Additional

of'

class, plus 'post-mortem' discussion after each. Final examination (written).

\~ 11was described in Chapter 1"llIld



ita

/,.111111111',

2, the Advanced

ilS on topics which would

1111 j

Improvisation

have been too difficult

for

IIIprovisers, such as playing melodies and improvising in all

i·II,~,I.I~i 1('I11POstudy, improvising at sight on 'new tunes', learning to

illl'l

Interval Studies. Tempo Study (see following pages). Instructions For In-Class Performances, formance, And In-Class Performance 96

,llIlId ,~llbstitutions and special devices over blues and "I Got

1111""1111"

Preparing A Tune For Per

Evaluation

(see following pages.

it!

1\l11CS,interval studies, working with the Coltrane

1\ 1111'. IIVI'"

H 'id

11

I1I

V."

drones, more contemporary

matrix,

vehicles, and an emphasis on

IICS.The course also affords some time to quickly review 97

TEACHING

11AI


llIlli ' Ill' ' "\

IIUII!i IH /I'/II/lfl

1111', JAZZ

CURlUCULUM

Study

some aspects of the sop homo re course which were difficult enouglllll require considerable

self-application

during the ensuing year.

Since this course is possibly the last formal course the} Stlld~'1I1 will take in improvisation, opportunity

the instructor

needs to use it as .111

to fill gaps, eliminate weaknesses, re-check their theol

cal understanding,

set their attitudes

teach them how to troubleshoot

toward improvisation

their own problems

('11

for Ilfl ,

provide t1l('11I

with alist of still more things to be accomplished aftergraduation author's list is entitled, "Where Do We Go From Here?").

(1111

OS\('"~I\lh

llii_

tlllll)'

j~ 1111'.1111 to facilitate the playing of espe-

cially faSI \l 1I11'1Ie,. I \1 iWCVfl'j 1I1~1111 rinsically tied to several other facets of playin\" ,11'IIIY

\'111'pl:\yer must learn to identify his/her

1[11,\111

pwblem

1'''' "d y. it ,t., I" "1>1.-,,, is to b, solv
playing tCIl'1111~111;l (l) a bdt III 11l~III1I\1f'"lj" Il'chnique, in terms of fmger speed. AClll:\lIy. d\l, \11 rdlitivl Iy 1.11'<':, as evidenced by the ability of most plaYl'I" 1111'1('11111' I,\plllll ills, glissandi, and fall-offs with reasondll·Ir~S, one possibility; ab\<.:t'.I~I·.\1 I~,1111111 (2) difrtCllllY wldl IIIl 11,,11'1', I.:I10ugh attention provided hy dll dlllllllller caugh

I

11

on the pulse that is

and bassist, due (usually) to getting

pili d 11 11111 il :\Cics of improvising;

(3) inapprOpll.ll1

1,11/

ph,·:\sing, such as over-articulating

probkllH' wi d I I'l.lyill\\ swingy eighth-notes

or having

(i.e., playing dotted-

eighlhhixll'I'"lh, ills$;ad of something closer to a 12/8 feel). No onc call ,Ill \I.llly Idl you how to swing, though you might come close hy lI~jlll', ,hI: \ 2/8 feel, accenting

upbeats, and tongueing

upb,""

,,,,,I sl""'i,,~ into downbeats. But even mo" applied interprctations will only simulate the real thing. Listening to players who arc unanimously

felt to swing especially hard is

problably the best way to discover the swing feel. I:.ven if the player experiences no difficulty with any of the foregoing, II1$SIplayers have a breaking point, with respect to good pulse relation. I'\1.11is, although

they have the technique,

li~i\'l\ \0 their musical surroundings

1''',h""")

,rtC<

phrasing,

and ability to

(the latter possibly still part of the

a ce"ain point in the tempO spread, ca"ful l~"ning

11\\I'vl.;\1 that the player is no longer coinciding with the provided 11I11~lij '\'I,j, is more a problem of controlled technique, coordination, Ii 11\ I1\'11It nr I:X p<.:rienceplaying the fastertempos. And this is more the 99

98

TEACHING

1'1'1\(;111NG THE COURSES IN THE JAZZ CURRICULUM


problem being addressed in this study, though points 1-3 above must still be considered as contributing to the problem.

wlltI
~\.I.1'III Hth notes most of the time, using them as measuring

I1

first signs of a breakdown possibility

in pulse relation. The following

for such a play-along

require very little effort, harmonically,

I,) I 11',1" 111111'(; non-terminal

so that the concentration

may

[ \11",111111IOrecarefully to accompaniment Illtll' k-,~sabout solo content;

than usual, thinking

I dill

\',

Source

Title

((11'look) ahead more, concentrate

I ill illto

It"

I1

lOO

harder, and don't wilt or

many short, choppy phrases;

1ll',ilit'l1phrase units;

I 1,/11:'/11111(; chotuses before playing them, so you won't be dis-

190

In Case You Haven't Heard

JA-9

200

What Is This Thing Called Love

224 232

Impressions (slower version) Tenor Madness

JA -15 JA-28 JA-8

1111~IIIVI' 101'all emphatic feeling of swing and phrasing, for building I ~111'1l' 11('conviction and commitment;

240

F Blues with Bridge

JA-3

[I)

260

Mr. P.c.

JA-27 JA-17

284

Nutville

300

Impressions Lover

320

JA-28 RR-9

(fast version)

11111\ 'd hy the problems

of playing the instrument;

111111'0111('1" learning to play some drums or bass (it certainly worked 11111\ 1il«· Brecker, Randy Brecker, and Dave Liebman,

When the breaking point has been determined,

HilllI .\11111pr:lctice (when not using play-alongs), increase dramatiI 1111)' 111l'Il"mpos of 'heads', patterns,

note the tempo.

Then, using a copy of a tempo legend (ask me for one), back up aboul

10-15 'notches' on the tempo (selecting any tune you wish at that tempo), and slowly work your way back up to, and hopefully past, th'" tempo that first gave you problems.

Remember,

if you have a tape

player with variable speed, you can play the tune in a different key (and if the tune is not too difficult,

giving you some tempo

flexibility that can fill gaps where you don't own a listed play-along. Each half-step change in pitch alters the tempo by about 1~ notches. Finally, the following list is provided as a helpful set of guidelines, 100

among

1"IIII'il);

1111 11111111111(';.

tempo),

a

1I Iflll hl' tempo in 2, instead of 4, so as to minimize tension;

be placed on time-feel: Tempo

patterns, diatonic substance, more chro-

111.111\ i.~rn,'machine licks', and in general, less angularity;

list is a

sequence, focusing on tunes which

units

illl I hv pulse;

First the breaking point must be located, by selecting play-alongs that slowly climb the tempo scale, and listening carefully to detect the

with tempos:

101

scales, ete., perhaps using a

Jazz Teaching -2

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