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Middle School Jazz!

Steps for stylizing the

young ensemble

By Danielle Miller

Practical Application #3 Summer 2010

American Band College of Sam Houston State University

MiddleSchoolJazz!StepsforStylizingtheYoungEnsemblePA#3–ABCofSHSU

1

INTRODUCTIONWhileearningmyundergraduatedegreeattheUniversityofOregon,Ionlyhadtheopportunitytotakeonejazzclassduringmytimethereandhavesincefelttimidaboutteachingjazzeffectively.Ihavehadtorelyheavilyonmyownhighschooljazzexperience.Iwasfortunatetohavebeenapartofagoodprogramthatperformedqualityliterature,butIneededadditionalresources.Also,thatwas10yearsago!!Thisisthereasonforthisproject.Afterbeinghiredata5‐12bandprogramthispastyear,Iquicklyneededtolearnhowtoeffectivelyteachjazztoyoungerstudents.Itendedupbeingtrialbyfire,andIaskedalotofquestionsfromcolleagues.Ihadmanyquestions–whatliteraturedoIplaywithabandof13studentsofvaryinginstrumentation?HowdoImakeyoungstudentslikeSwingasmuchasRock?HowdoImakeyoungstudentsSwing?MygoalforthisprojectwasNOTtocreateamethodbook–thosehavealreadybeendoneandhavebeendonewell.Itwasmygoaltofillinthemissingpieces–youhavethejazzband–nowwhat?Thisisaresourceforyoungdirectorsthatknowverylittleaboutjazzbandstyleandarticulation.Includedarespecificwarmupsandrhythmexercisestobeusedwiththeband.AfterresearchingthistopicIknowthisnextyearwillgomuchmoresmoothlyforthemiddleschooljazzband.


2

RATIONALEFORJAZZEDUCATIONINTHESCHOOLS

“The only way to learn jazz is by playing and listening to those who can play.”

‐WyntonMarsalisJazzMusiccanhaveastrongimpactonstudentsbyexpandingtheirmusicalhorizonsoutsideoftheconcertbandsetting.JazzispartofAmerica’shistoryandit’simportantthatourstudentsunderstandtherootsofAmericanMusic.ManypeopleagreethatAmerica’smostsignificantmusicalimpactontheworldisjazz.JazzEducationismorethanjustteachingstyleandthenotesonthepage–italsoincludesteachingthecultureofjazz.In1987theCongressionalRecognitionforJazzwaspasseddesignatingjazz“arareandvaluableNationalAmericantreasure.”RepresentativeJohnCoyersJr.ofMichiganwasabletostresstheimportancethatjazzmusicianshadalwaysservedasambassadorstoenhancethiscountry’simagesincethebeginningoftheColdWar.

“Whereas, jazz has achieved preeminence throughout the world as anindigenousAmericanmusicandartform,bringingtothiscountryandtheworld a uniquely American musical synthesis and culture through theAfrican‐Americanexperienceand1.Makesevidenttotheworldanoutstandingartisticmodelofindividualexpressionanddemocraticcooperationwithinthecreativeprocess,thusfulfillingthehighestidealsandaspirationsofourrepublic,2. Is a unifying force, bridging cultural, religious, ethnic and agedifferencesinourdiversesociety,3.Isatruemusicofthepeople,findingitsinspirationintheculturesandmost personal experiences of the diverse peoples that constitute ourNation,4.Hasevolvedintoamultifacetedartformwhichcontinuestobirthandnurturenewstylisticidiomsandculturalfusions,5. Has had an historic, pervasive and continuing influence on othergenresofmusicbothhereandabroad,and6. Has become a true international language adopted by musiciansaroundtheworldasamusicbestabletoexpresscontemporaryrealitiesfromapersonalperspective;Whereas,thisgreatAmericanmusicalartformhasnotyetbeenproperlyrecognizednor accorded the institutional status commensuratewith itsvalueandimportance;Whereas, it is important for the youth of America to recognize andunderstand jazz as a significant part of their cultural and intellectualheritage;


3

Whereas, inasmuchas thereexistsnoeffectivenational infrastructuretosupportandpreservejazz;Whereas,documentationandarchival support requiredby suchagreatartformhasyettobesystematicallyappliedtothejazzfield;andWhereas,it isnowinthebestinterestofthenationalwelfareandallofour citizens to preserve and celebrate this unique art form; Now,thereforebeit

Resolved by the House of Representatives (the Senateconcurring), that it is the sense of the Congress that jazz is herebydesignated as a rare and valuable national American treasure towhichweshoulddevoteourattention,supportandresourcestomakecertainitispreserved,understoodandpromulgated.”

Jazz deserves a place in our classroom, and every student should have a chance toexperience playing this wonderful genre of music. It is a “rare and valuable nationalAmericanTreasuretowhichweshoulddevoteourattention,supportandresources.”

ABRIEFTIMELINEOFTHEJAZZGENRE:Ragtime–1896EarlyJazz–1917Swing–1930Bebop–1945CoolJazz–1949HardBop–1956FreeJazz–1960Fusion–1969SmoothJazz/Contemporary–1980Mainstream/Eclectic–1980LatinJazz‐2000

DIFFERENCESINSOUNDBETWEENJAZZANDWINDENSEMBLEThebigbandisaspecializedbandthatshouldonlyhaveoneonapart.Becauseofthis,eachplayerreallyneedstounderstandhisorherimportanceintheband.Thesizeof17players(5saxes,8brass,4rhythm)hasauniqueandmoretransparentsound.Theblendandbalancewillobviouslybedifferentwithonepersononapart.Thejazzwindplayerneedstohaveabiggerroundersound.Ialwaystellmywindbandtobalanceintoeachother’ssound,butitisnotthiswayinajazzband.Studentsshouldbalancetowardtheleadplayerandlistendowntothestringbass.


4

Thejazzdrumsetissmallerthanarockbanddrumset,andthecymbalsareusedtocutthroughtheensemble.Inswingmusic,cymbalsshoulddrivethesteadybeat.Inrockmusic,thebassdrumandsnaredrumshouldbemoreimportant.Thesaxophonesproducealargerandbrightersound(withspecializedmouthpieces)withmoreovertones.Iamconstantlytellingthesaxophonesinwindbandtobalancetotheclarinets–thisisobviouslynotthecaseinjazzband!Thebrassallshouldhaveabrighter,brassiersoundthaninawindensemble.Ithasbeenmyexperiencethattrombonesarenotusedtoplayingloudwithafullsound.Theyhavetogetusedtoplayingwiththissoundbecausethereareonlyplayersinabigband.Thesetupofthebandisobviouslyverydifferent.The“traditional”jazzsetuphasallinstrumentsfacingtheaudience,creatingabigwallofsound.

JAZZARTICULATIONSThereare5mainjazzarticulationsusedcommonlyinjazzmusic:


5

NOTELENGTHDIAGRAMIfastudentisprimarilyavisuallearner,thisdiagramishelpfulbecausetheycansee

howlongeachnoteshouldbeheld.


6

TOLSON’S12JAZZCOMMANDMENTS–THEJAZZER’SDOZENDr.TolsonisajazzpianistwhoteachesattheUniversityofLouisvilleandattheJameyAebersoldSummerWorkshop.Addedaretherhythmsthathedescribes.Thiswillbebeneficialtostudentstokeepintheirfolderforstylisticreference.1)Anyquarternoteoreighthnotefollowedbyarestisplayed(orsung)short.Ifnotfollowedbyarest,thentheyareplayedlongunlessthefollowingrulesapply:

2)Quarternotesthatoccurondownbeatsof1or3areusuallyplayedlong&3)Quarternotesthatoccurondownbeatsof2and4areusuallyplayedshort.

4)Quarternotes(ortheequivalentthereof)thatoccuronanupbeatbetweentwoeighthnotes(orrests)areplayedshort.

5)Allupbeatentrancesafterarestshouldbeanticipatedwithanaccent.

6)Asuccession(threeormore)ofquarternotes(orequivalent)onconsecutiveupbeatsareusuallyplayedtoolong.

7)Twoeighthnotesfollowedbyarestarearticulatewiththesyllablesdoo‐dot.


7

8)Inalineofeighthnotes,accentthehighestnoteandanywideleapchangesofdirection,andghost(swallow)thelowestnote.

9)Tripleteighthnotesareusuallyarticulatedbyslurringthefirsttwoandtonguingthelastone.

10)Anynotelongerthatadottedquarternotemovesdynamicallyupordownandisplayedlong.

11)Dynamicsinalineofeighthnotesusuallyfollowthedirectionoftheline.

12)Allthreenotesofaquarternotetripletareplayedlong.


8

TEACHINGSWINGTOTHEYOUNGJAZZBANDIhavefoundthatstudentsenjoyplayingtherockgenremorethanswingbecausestudentshavegrownupwiththatspecificsound.Theswinggenretakesmoretimetodevelop,simplybecausestudentshaven’tbeenaccustomedtovocalizingthistypeofgenre.ForthisreasonIteachtheswingstylefirst,andthentherocksongcanbea‘reward’.Studentswanttoplaywhattheyfeelcomfortablewith,andhopefullyweasdirectorscangetthemtofeelcomfortablewithswing.Referconstantlyto“Tolson’s12Commandments”ontheprevioustwopages,astheywillbepresentineveryswingchart.

HOWTOSTYLIZE

Theyonlywaythedirectorcanbegintofeelmorecomfortablewithjazzistoactuallysing,playandlearnwiththestudents.Singvariousfolksongsandmakethemjazzy!(AsfoundonthestudentSWINGworksheet.)Directorsmustchallengethemselvestofeelcomfortableinthelanguageinjazz.STEP1–LISTENTOAQUALITYSWINGRECORDING.Listeningisthemostimportantelementinjazz.Havestudentstaptheirfootalongwiththemusicsotheycanreallyidentifythesteadybeat.STEP2–ACHIEVINGSMOOTHEIGHTHNOTES.Thisiswhatstudentsseeintheirmusic:

Thisiswhattheyshouldplay:

PlayasimpleBbConcertScaleandhavethestudentstongueverylightlyoneacheighthnote.ThebiggestmistakeI’vefoundforyoungjazzgroupsisthattheycannotsmoothouttheireighthnotes.Theytendtoclip2ndoneresultingina“doo‐dit,doo‐dit”articulation.Encouragethemtomakethenoteslong!Alsoteachthestudentsthatthelastnoteinaphraseisplayedwithemphasis.STEP3–HANDOUTTHESWINGSHEET(ONNEXT2PAGES)


9

SWING! NAME DATE Swingmusic,alsoknownasbigbandmusic,becamepopularinthe1930’sasfundancemusic.ItsrootsbelongtotheclassicNewOrleansJazzStylethatprovidedagreatconnectiontothepeople.Individualmusicianshavethechancetoimprovisemelodiesinsongs.Swingdancingalsobecamepopularatthistime.Swingmusicisdifferentthanotherstylesyouhavehardbefore.Thenotesare“swung,”whichmeansthe1steighthnoteislongerthanthesecondandshouldberelaxedandbouncy:SimilarrhythmtoSwingmusic Hownotesshouldbefelt

Hownotesarewritteninyourmusic

Articulations! SingthefirstexampleofMaryhadaLittleLambandDONOTswingthemelody.Noticewheretheaccentsareplacedwhenwedonotswing:Theaccentsareon1and3whenwedonotswing.


10

Let’s Swing!!

Anotherwaytoseetheswingingbeatistowritethemelodyin12/8time.Thereare12‐8thnotespermeasure.Practicesingingthemelodywiththearticulationsthatarewritten:

NowwriteinaccentsforMaryHadaLittleLambin4/4time:

Playit!!(Remembertokeeptheeighthnotessmooth)

ThefollowingmelodyisBahBahBlackSheep–writeinalltheaccentsneededfitintheswingstyle:

NowPlayit!!

Great job! You’re on your way to becoming a jazz cat


11

STEP4–TRYDIFFERENTRHYTHMSINAVARIETYOFWAYS:Trythefollowingrhythms,eithersungorplayedonyourinstrumentonaconcertBb.Startbyhavingthedrummerplayasteadyswingbeatandsingthefirstrhythmwrittenbelow.Allstudents(includingthebassandpiano)shouldsingbackwithcorrectarticulation–includingthedrummer.Dothisasmanytimesasittakes!

Thesearejustastartingpointtomakingupyourownrhythms.Havefunwithit!!Whenthedrummerfeelsconfidentwiththeirswingbeat,havethemaddtheimprovisedrhythmonthesnaredrum.Anotherideaistogoaroundtheroomandhaveeachstudentmakeuptheirown1measurerhythmthatthebandwillsingbackandthenplay.Encouragethemtodothisbecausethisisasteppingstooltowardsimprovisation.StresstheimportancethatEVERYONEmustdoit.Conquertheirfearsatanearlytime,ortheywillneverwanttovolunteerforrhythms.STEP5–BbBLUESSCALEWARMUPIhavewrittenouttheBbBluesScaleandaccompanyingrhythmicelementsinordertolearnthescale,workonintonationthroughouttheensemble,andgetexposedtojazzrhythmsthattheywillseeintheirmusic.


12

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24

Trumpet and Clarinet

Swing q = 120

-4A11

-4 B19

C25

29

-3 D34

-339

-343

!!"



"

"

"

"

"

"

"

# #$ # #% # #$ # #$ # #%

#& #$ ' '$ ' '% ' '$ ' ! ( '& '$ ' '%

'& '$ ' !

( )* )

+$ )

*)+

% )* )+$ ', )* )+$ )

*)+

% )*& )

+$ '

,

)*),$ )

*),% )

+-. / ( )*),$ )

*& )

,% )

+-. / ( )*),$ )* )

,)+-. / ( )

*),$ )* )

,)+-. / (

) )% )& )$ )+-. / ( ) )% )& )$ )

+-. / ( ) )$ ) )% ) )$ )- ) )$ ) )% )& )$ )-

', ',

', 0 )- )*$ ), ) ( )- )*$ )

,) ( ) )% )& )$ )

+-. / ( )-& )

*$ )

,) (

)- )- )- ( )* ! )-1 0 )*$ )*

)*

)*$ ' / )

,!

) )$ ) )% ) )$ ) ) ) )% )& )$ ' ' / ),

! ' 0


25

Horn in F

Swing q = 120

-4A11

-4 B19

C25

29

-3 D34

-339

-343

!!"#



"#

"#

"#

"#

"#

"#

"#

$ $# $ $% $ $# $ $# $ $%

$# $# & &# & &% & &# & ! ' &% &# & &%

&# &# & !

' () (

*# () (*% () (*# &+ () (*# () (*% ()# (

*# &

+

()(+# () (+% (*,- . ' (

)(+# ()# (+% (*,- . ' () (+# () (+ (*,- . ' () (+# () (+ (*,- . '

( (% (# (# (*,/ . ' ( (% (# (# (

*,/ . ' ( (# ( (% ( (# (, ( (# ( (% (# (# (,

&+ &+

&+ 0 (, ()# (+ ( ' (, ()# (+ ( ' ( (% (# (# (

*,/ . ' (,% ()# (

+( '

(, (, (, ' () ! (,- 0 ()# () () ()# & . (+!

( (# ( (% ( (# ( ( ( (% (# (# & & . (+! & 0


26

Trombone

Swing q = 120

-4A11

-4 B19

C25

29

-3 D34

-339

-343

!!"##



"##

"##

"##

"##

"##

"##

"##

$ $# $ $% $ $# $ $# $ $%

$# $# & &# & &% & &# & ! ' &# &# & &%

&# &# & !' (

)(*# () (*% () (*# &+ () (*# () (*% ()# (*# &

+

() (+# () (+% (*,- . ' () (+# ()# (+% (*,- . ' () (+# () (+ (*,- . ' () (+# () (+ (*,- . '

( (% (# (# (*,/ . ' ( (% (# (# (

*,/ . ' ( (# ( (% ( (# (, ( (# ( (% (# (# (,

&+ &+

&+

0 (, ()# (+ ( ' (, ()# (+ ( ' ( (% (# (# (*,/ . ' (

,# (

)# (

+( '

(, (, (, ' () ! (,- 0 ()# () () ()# & . (+!

( (# ( (% ( (# ( ( ( (% (# (# && . (+! & 0


27

Piano

Swing q = 120

-4A11

-4 B19

C25

29

-3 D34

-339

-343

!!"##



"##

"##

"##

"##

"##

"##

"##

$ $# $ $% $ $# $ $# $ $%

$# $# & &# & &% & &# & ! ' &# &# & &%

&# &# & ! ' () (*# () (*% () (*# &+ () (*# () (*% ()# (*# &+

() (+# () (+% (*,- . ' () (+# ()# (+% (*,- . ' () (+# () (+ (*,- . ' () (+# () (+ (*,- . '

( (% (# (# (*,- . '( (% (# (# (*,- . ' ( (# ( (% ( (# (, ( (# ( (% (# (# (, &+ &+

&+ / (, ()# (+ ( ' (, ()# (+ ( ' ( (% (# (# (*,- . ' (,# ()# (+ ( '

(, (, (, ' () ! (,- / ()# () () ()# & . (+!

( (# ( (% ( (# ( ( ( (% (# (# & & . (+! & /


28

Bass

Swing q = 120

-4A11

-4 B19

C25

29

-3 D34

-339

-343

!!"##



"##

"##

"##

"##

"##

"##

"##

$ $# $ $% $ $# $ $# $ $%

$# $# & &# & &% & &# & ! ' &# &# & &%

&# &# & !' (

)(*# () (*% () (*# &+ () (*# () (*% ()# (*# &

+

() (+# () (+% (*,- . ' () (+# ()# (+% (*,- . ' () (+# () (+ (*,- . ' () (+# () (+ (*,- . '

( (% (# (# (*,/ . ' ( (% (# (# (

*,/ . ' ( (# ( (% ( (# (, ( (# ( (% (# (# (,

&+ &+

&+

0 (, ()# (+ ( ' (, ()# (+ ( ' ( (% (# (# (*,/ . ' (

,# (

)# (

+( '

(, (, (, ' () ! (,- 0 ()# () () ()# & . (+!

( (# ( (% ( (# ( ( ( (% (# (# && . (+! & 0


29

Drum Set

The wind part is written for youfill accordingly

Swing q = 120

-4

fill

A11

-4

fill

B19

fill fill fill fill

C25

fill fill

29

-3

fill create your own fills in the rests!

D34

-339

-343

!!"



"

"

"

"

"

"

"

#$ #$ #$ #% # #$ #$ #$ # #

#$ #$ &$ &$ &$ &% & &$ &$ !

'&$ &$ & &

&$ &$ &$ ! ' ()$ (*$ ()$ (*% () (*$ &+$ ()$ (*$ () (* ()$ (*$ &+$

()$ (+$ ()$ (+% (*,- . ' ()$ (+$ ()$ (+% (*,

- . ' () (+$ ()$ (+ (*,- . ' () (+$ ()$ (+ (*,

- . '

( ( ($ ($ (*,$-. ' ( (% ($ ($ (*

,$-. ' ($ ($ ($ (% ( ($ (,$ ($ ($ ( ( ($ ($ (,$ &+$

&+$

&+$ /(,$ ()$ (+ (

'(,$ ()$ (+ ( ' ( ( ($ ($ (*

,$-. ' (,$ ()$ (

+( '

(,$ (, (,'

()$ ! (,- /

()$ () ()$ ()$ &$ . (+!

($ ($ ($ (% ( ($ ($ ( ( ( ($ ($ &$&$

. (+!

&$ /


30

Example 1

Example 25

Example 39

Example 413

Example 517

Example 621

Example 725

!!

Daily Swing Rhythms

Play on your concert Bb D. Miller

3 3

3 3

3 3

33

" #$! #%&

' #( # # # #$

# #$! #%&

'

#( #) #( * #( # # #$

# * #( #) #( * #$! #%&

'

+ #$! #% #% #$ #( #% ' + #$! #% #% #( #% * '

#( #( #) #( #$ #( #% * #$ #( #% ' #( #( #) #( #$ #( #% * #$! #%&

'

, #( #( #) #%&

+ #( # # #$

# * #( #( #) #% + #$! #( #% * '

+ #$! #( #( #( #( #% * + #$! ' #( #( #) #( #$

, '

#$ #( #$ #% #% #( #( #) #( #$

# * ' #( #( #( , * + #%&


31

STEP6–HANDOUTTHEPIECEOFMUSIC1)Identifythestyle–isitswing,rock,aballad?Askstudentsiftheycanidentifycertaincharacteristicsofeachstyle.2)GoovertheroadmapofthepieceArethereanyrepeats?D.S.alCoda?Whowillplayatthesolosection?3)FindUnisonrhythmsSingandthenplaytheseonaConcertBb.Don’tmoveonuntilEVERYONEfeelscomfortableandconfidentwiththerhythms.4)Thedrummershouldonlyworkonkeepingasteadybeatforthefirstrunthrough.Fillswillcomewithtime.5)SoloSection–Writeoutthechordsymbolsforeveryinstrumentsoeveryonehasachancetosolo.6)Don’tbeafraidofwrongnotesinthefirstreadings.Focusonstyle,dynamics,andarticulation.

PHRASEMARKINGSWhatdoesthegiantslurmean??

Ihaveoftenbeenconfusedonslurmarkingsversusphrasemarkings.Itisuptothedirectortodecideonarticulationsthathappenunderabigphrasemark.Recordingscanhelptremendouslywhenmakingthesetypesofdecisions.Hereisanexampleofwhatwecommonlyseeinscores:Written:

Thisisanideaofwhatcouldbeplayed:

Yourstudentscanalsohelpdeterminearticulations.Playitinavarietyofwaystosee

whicharticulationfitsthebest.

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