Music for All Summer Symposium presented by Yamah Yamahaa
Jazz Trombone Trombone Master Class Ryan Hamilton
www.musicforall.org
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Jeff Rupert
Session 1 Jazz Improvisation is for all of us! Jazz is a musical language. Learn to use minutes of class time to effectively teach improvisation. Session I unlocks the fundamentals of teaching improvisation through call and response, and an aural/oral approach to chords. Integrated learning and performance for students and teachers! Introduction:
Since jazz musical language, then it makes most sense to learn jazz music like a language; by listening and speaking. While it's nothing new, the Aural/Oral approach to learning music is organic, and in the long run leads to success in the most expedient way. A friend of mine said we need to hear music with our eyes, and see music with our ears! Analytical vs. Aural/Oral approach : While there may be a lot of information on the next few pages, the best learning we can disseminate to our students is through listening, and repeating back phrases. The Aural/Oral approach frees us from delving into an analytical approach, which can be cumbersome and easily looses student's interest. First things first: rhythm in jazz
Michael Brecker told me that the most important thing in music is rhythm, and I believe that next to tone production, he was right. Articulation in jazz is a little different than in classical music, and here are a few principals of jazz articulation, demonstrated through rhythmic solfege 1 Downbeat quarter notes are generally short! 2. downbeat eight notes are generally legato, or tenuto. 3. The last note before rest will be accented, and/or short 4. Offbeats are accented. 5. Off beat quarter notes are accented, and short, unless otherwise notated.
^ & c œ & œ & bb ‰
dop
sho
^œ œ- œ. ‰ >œ J >œ œ >œ œ ^œ -œ >œ J J dop
be
du
du
dop
dat
be
dah
do
ba
doo
˙ >œ œ .œ .....
be
du
dat
Ó œ^ ^œ J
dat!
dat
Rhythmic solfege:
Notice that the short quarter notes have the syllable "dop" (dat is used alot, too.) Off beat eights are usually annuciated with "be" or "ba". Down beat eights (unaccented) can be annunciated with "shoo" (for an extreme legato sound), or "Du". © 2007 RUPE MUSIC PUBLISHING CO.
Session I -Jazz is for all of us! pg 2 Lets add some tones to the rhythm! Its actually a good idea to stay away from the blues scale at first. The blues scale is intrinsic to jazz, but doesnt convey the sound of melody through harmony. We are going to easily convey harmony through melody.
b& b
B
b
J
ww
œ œ œ œ
Bach and Bird would have been friends!
Jazz musicians understand something crucial to counterpoint.... Playing chord tones will convey the sound of a chord, especially if they happen on a downbeat. some jazz melodies:
b b& b œ œ œ œ ˙ B
J
b b& b ˙ B
J
œ œœ ˙
Ó
Now lets add a little chromatiscm. We can add chromatic tones, especially if they are on upbeats. What would the rhythmic solfege be for these melodies?
b œ b œ œ œ # œ # œ œ Œ & b Ó Œ ‰ J B
J
© 2007 RUPE MUSIC PUBLISHING CO.
Session I -Jazz is for all of us! pg 3
Minor Chords:
& bb ww
CÑ
œ A œ œ œ œ œ œ A œ
Minor chords in jazz are almost always ii chords, in other words, they are major scales starting on the second note of the major scale. Young students usually know their major scales, or at least some of them. This perspective on the derivation of minor chords really helps out beginning improvisors.
Minor Melodies:
> ^ b &b œ œ œ œ œ œ œ œ CÑ
What would the jazz rhythmic solfege be for these minor melodies?
> > &b œ œ œ œ œ œ œ œ ˙ Ó CÑ
Points to remember: 1.Music is art that happens in time, we need to always play in the medium of time! 2. Encourage your students to play by ear! I do it all the time with my students. Sometimes they are quicker than me, and that's ok- let them build confidence in themselves, and respect for their teacher. 3. Keep the jazz rhythmic solfege at the fore. Jimmy Lunceford's bands theme song was Rhythm is our Business!
© 2007 RUPE MUSIC PUBLISHING CO.
Jeff Rupert
Session II Jazz Improvisation is for all of us!
Learning and Incorporating scales and arpeggios in jazz
As you probably already know, chords are "every other note" of a scale. We can really convey the sound of a chord through melodies using scales, and arpeggios!
^ œ œ œ b œ œ Œ Ó & b c œ œ œ œ B
b
J
shoo
be
du
be
du
be
du
be
dat!
b > œ œ ^ œ œ b œ œ œ &b œ B
J
shoo
be
b b& b ww B
J
du
be
1
...
3
5
7
œ œ œ œ
Chromatism:
b& b Ó
be
b
du
dat
∑
^ j œ n œ œ œ # œ œ Œ ‰œ œœœ Œ Ó B
J
© 2007 RUPE MUSIC PUBLISHING CO.
Session II -Jazz is for all of us! pg 2
Minor chords:
b& b
CÑ
ww
A œ œ A œ œ
some jazz melodies:
^ > b œ œ Œ &b œ œ œ b œ b& œ œ œ œ >œ œ CÑ
CÑ
3 3
Now lets add a little chromatiscm. We can add chromatic tones, especially if they are on upbeats. What would the rhythmic solfeg be for these melodies?
b& b
œ œ A œ Œ Ó œ œ œ n œ œ œ
CÑ
> & bb œ œ œ œ œ œ œ n œ ˙ CÑ
Some tips: How does it sound? How is the jazz solfege? It is important to keep the "sound" in the music! Remember that minor chords are just major chords starting on the 2cnd note. Remember that chromatism is fine in jazz, especially if it happens on an "up beat".
© 2007 RUPE MUSIC PUBLISHING CO.
Ó
Jeff Rupert
Session III Jazz Improvisation is for all of us!
Building on skills acquired in the first two sessions. Improvising melodies and call and response on major, minor and dominant chords. The ii V7 I through the aural/oral approach. Session 3 concludes with improvisation on a standard song! The Democracy in Jazz: In his book Early Jazz,, Gunther Schuller refers to jazz as a democracy between all the eight notes in common
time. The downbeats maintain the harmonic rhythm, just as in classical, and especially baroque music. The upbeats in jazz, however get the rhythmic emphasis. Dominant chords:
b
B 7
b& b c b ww
b œ œ œ œ
using chord tones exclusively:
b
BJ
b œ œ œ œ œ œ b œ b& A œ shoo
be
du
be
...
be
du
dat
chromatic tones, scale tones, and chord tones: notice where the chord tones fall.
b
B 7
& bb ‰ # œ œ œ œ œ b œ œ œ œ œ Œ Œ 3rd and 7th interchange:
b
b
b
^ b œ > > > œ ˙ œ ˙ œ œ b œ œ b œ œ N œ œ œ œ œ Aœ œ &b Aœ B 7
E 7
B 7
3 3
shoo
be
do ba
...
shoo be
do
ba
....
do
be
© 2007 RUPE MUSIC PUBLISHING CO.
do
be
do
be
shoo boo dat!
Session III -Jazz is for all of us! pg 2 Hearing the ii V7 I progression with melodies! Resolving tones:
CÑ
b b & ˙w ˙ ˙w ˙ ? bb w w 7
9
6
4
b
BJ
F 7
3
10
11
7
6
7
˙w ˙ ˙w ˙ w w
6
12
can you identify the other chord tones in the previous 4 bars? Resolving tones in eight notes: 7 6 4
CÑ
3
7
6
b
7
6
B J
F 7
b& b œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ Take the A Train, and common tone relationships:
CJ
Dô
& œ œ œ œ œ œ œ œ ˙ Œ ‰ œJ œ # œ œ œ œ œ a œ œ ˙ Ó shoo b e do ba
.... be do bah
....
do
...
be
do
be
...
do
be
dah
Some tips: It is important to keep the "sound" in the music! Remember that dominant chords are major chords with a "flatted" seventh scale degree. Look for the common tones from chords, i.e. the ii V7 I progression, the blues, and tunes like "Take the A Train". Resolving tones are notes that help convey the sound of one chord to the next. How is the jazz solfege?
© 2007 RUPE MUSIC PUBLISHING CO.
...
Music For All Jazz Pedagogy Selected Bibliography, Discography, and internet resources for jazz styles and improvisation. Jeff Rupert
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The Chopmonster Series, By Shelly Berg, pub Alfred Music. The 88 “must have jazz records, published by WBGO, New Yorks NPR Jazz Station. http://wbgo.org/library/jazz88.php Outstanding video portraying the swing feel, as well as jazz drumming. Count Basie, “Corner Pocket” http://youtube.com/watch?v=M4-ZBQ_UYgM Louis Armstrong in the twenties. Outstanding footage portrays his abilities as an improviser, master of polyrhythm, jazz singer and trumpet virtuoso. http://youtube.com/watch?v=IAbbJBaJZ3E Excellent video showing different saxophone styles within on e performance. (Stan Getz, John Coltrane, Oscar Peterson, Jimmy Cobb, and Paul Chambers). http://youtube.com/watch?v=Z-2uBeMgV4I Excellent representation of the Swing guitar style, (The Django Reinhart Festival) http://youtube.com/watch?v=gZey9fRiH4w
Hard Bop example, Art Blakey’s Jazz Messengers perform “Moanin”. http://youtube.com/watch?v=4noNAphDFA8&feature=related Souljazz example, Dr. Lonnie Smith with Lou Donaldson. http://youtube.com/watch?v=nO8Ln1WXsWU Fusion example; Weather report performing “Birdland” http://youtube.com/watch?v=pqashW66D7o
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