Instrumental Jazz 15

LOCALLY DEVELOPED COURSE

INSTRUMENTAL JAZZ 15, 25, 35

Calgary Board of Education

2007

ACKNOWLEDGEMENTS: Produced for the Calgary Board of Education by: Jonathan Bell, Teacher, Dr. E.P. Scarlett High School Sherry Martens, Specialist, Curriculum Support Ross McIntyre, Teacher, Lord Beaverbrook High School Mike Sakatch, Fine Arts Curriculum Leader, Lord Beaverbrook High School © 1998 Calgary Board of Education © 2007- Revised Permission for reproduction of any portion of this document for any purpose must be obtained in writing from the Calgary Board of Education.

TABLE OF CONTENTS

Board Motion............................................................................................................... 1

Implementation Date ................................................................................................. 1

Philosophy and Rationale........................................................................................ 1

Credit Allocation/ Instructional Hours: ................................................................ 1

Pre-requisite:............................................................................................................... 1

Learner Outcomes: .................................................................................................... 2

General Learner Outcomes ..................................................................................... 2

Specific Learner Outcomes..................................................................................... 2

Facilities or Equipment Necessary ....................................................................... 8

Identification of Controversial or Sensitive Course Components................ 8

Teacher Qualifications.............................................................................................. 8

Learning Resources .................................................................................................. 8

Projected Enrolment ............................................................................................... 27

Significant Overlap with Provincial Curriculum .............................................. 27

Assessment Standards .......................................................................................... 27

Course Evaluation and Monitoring ..................................................................... 32

© Calgary Board of Education All Rights Reserved 1

Instrumental Jazz 15, 25, 35

Board Motion

The Board of Trustees approved this course for use in Calgary Board of Education by Board Motion on May 15, 2007. (Attachment I) Implementation Date September 1998 Revised for implementation September 2007 Philosophy and Rationale The High School Instrumental Jazz program is a specific discipline worthy of study and is an integral part of the Fine Arts program which is process driven culminating with public performance opportunities. Instrumental Jazz offers students the opportunity to study music as a performance based course. This unique area of study gives the student the opportunity to focus their learning by exploring and experiencing skills necessary to understand, communicate and perform publicly. Jazz music has an aural history that has been passed down through the generations since its inception in North America in the early 1900’s. Jazz is recognized as a true North American musical style. Through the exploration of the jazz idiom, students gain insight into the creative world of improvisation, in addition to the practical art of performing within traditional jazz styles. Through the performance of selected repertoire, students experience the many historical periods and styles characterized through master composers and arrangers. This genre is extremely demanding in that it provides an opportunity for students to work independently as critical thinkers, performers, and artists. Students engage in the study of complex harmonies, chordal progressions and rhythms only associated with this form of music. Credit Allocation/ Instructional Hours: 3 credit /75 Hours, 5 credit/125 Hours Pre-requisite: Music 10 is a pre- or co-requisite for Instrumental Jazz 15 Instrumental Jazz 15 is a pre-requisite for Instrumental Jazz 25 Music 20 is a pre- or co-requisite for Instrumental Jazz 25 Instrumental Jazz 25 is a pre-requisite for Instrumental Jazz 35 Music 30 is a pre-or co-requisite for Instrumental Jazz 35


Learner Outcomes:

General Learner Outcomes Teachers need to attend to the development phase of learning and expect that students will move from development to the acquiring of the specific outcomes as they progress throughout studies in Jazz. 1. Listening: To develop the ability to make intellectual and aesthetic decisions aurally. 2. Theoretical: To develop an understanding and awareness of rhythmic patterns, chordal textures and harmonies that are specific to the jazz genre. 3. Improvisation: To develop additional avenues of self-expression through interpretation, improvisation, arranging, composing. 4. Musicianship: To develop, discover and evaluate their talents and abilities in musical performance through the establishment and extension of skills as they apply to the jazz idiom.

Specific Learner Outcomes

In a five(5) credit course, the area of study will include no less than five styles (genres) and/or skill-sets with an emphasis on jazz performances. In a three (3) credit course the area of study will include no less than three styles (genres) and/or skill-sets with an emphasis on jazz performance. Styles will be selected based on expertise, student needs and ability. Please note that skill-sets may be introduced in the Music 10-20-30 courses, but will be specifically addressed within a jazz ensemble setting when studied in this course.

Styles (Genres) (may include but not limited to):

• Blues • Dixieland • Swing

• Bebop • Cool • Funk

• Fusion • Latin • Rock

Skill-sets (may include but are not limited to):

• Improvisation • Composition • Arranging • Concert/recording critiques

• Professionalism • Leadership and

Employability Skills


General Learner outcome #1: Listening: To develop the ability to make intellectual and aesthetic decisions aurally. Music as a curriculum is complex and spiralling in nature. The detail and specific demands required of students increases at each grade level. It requires prior knowledge to be connected as new skills are introduce and applied. As well, the literature studied also becomes increasingly more challenging, requiring more comprehensive understanding and involving higher thought processes. At the 15 level, concepts are initially introduced. At the 25 level students are expected to show a practical understanding and knowledge through the demonstration of their skills on their instrument. At the 35 level, students will inherently apply concepts, skills, and knowledge through performance. Specific Outcomes (The Student will…)

15

25

35 Recognize a basic 12-bar Blues progression.

►

Identify aurally from a recorded example a basic 12 bar blues progression ►

►

Recognize a swing eighth note pattern ►

Identify the difference between Dixieland and Swing ►

Identify the difference between Rock and Latin ►

Identify the difference between rock, funk and fusion ►

►

Identify the difference between cool and bebop ► ►

Gain an aural understanding of articulations (eg doos, dots, dits etc.) as they apply to contrasting styles

►

►

►

Identify different genres/styles from recorded examples ►

►

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Identify aurally AABA form ► ► Identify aurally “Rhythm Changes” form

►

Recognize basic jazz chords aurally including Major, Major 7th, Dominant 7th, Minor, Minor 7th

► ►


General Learner Outcome #2:

Theoretical: To develop an understanding and awareness of rhythmic patterns, chordal textures and harmonies that are specific to the jazz genre. Music as a curriculum is complex and spiralling in nature. The detail and specific demands required of students increases at each grade level. It requires prior knowledge to be connected as new skills are introduce and applied. As well, the literature studied also becomes increasingly more challenging, requiring more comprehensive understanding and involving higher thought processes.

At the 15 level, concepts are initially introduced. At the 25 level students are expected to show a practical understanding and knowledge through the demonstration of their skills on their instrument. At the 35 level, students will inherently apply concepts, skills, and knowledge through performance. Specific Outcomes (The Student will…)

15

25

35 Recognize rhythmic notation of jazz in triplet feel

►

Demonstrate an understanding of rhythmic notation in triplet feel ► ► Apply rhythmic notation of jazz in triplet feel ► ► Recognize rhythmic notation of jazz in straight eighth note feel ► Demonstrate an understanding of rhythmic notation in straight eighth note feel

► ►

Apply rhythmic notation of jazz in straight eighth note feel ► ► Demonstrate the blues scale (1, b3, 4, #4, 5, b7) ►

Recognize blues scale (1, b3, 4, #4, 5, b7) ► ►

Apply blues scale (1, b3, 4, #4, 5, b7)

► ►

Recognize basic modes (Ionian, Dorian, Mixolydian) ► ►

Demonstrate basic modes (Ionian, Dorian, Mixolydian) ► ►

Apply basic modes (Ionian, Dorian, Mixolydian) ► ►

Recognize Major, Major 7th, Dominant 7th, Minor, Minor 7th

chords ► ►

Demonstrate an understanding of Major, Major 7th, Dominant 7th, Minor, Minor 7th

chords

► ►

Apply Major, Major 7th, Dominant 7th, Minor, Minor 7th

Chords ►


General Learner Outcome #3:

Improvisation: To develop additional avenues of self-expression through interpretation, improvisation, arranging, composing. Music as a curriculum is complex and spiralling in nature. The detail and specific demands required of students increases at each grade level. It requires prior knowledge to be connected as new skills are introduce and applied. As well, the literature studied also becomes increasingly more challenging, requiring more comprehensive understanding and involving higher thought processes. At the 15 level, concepts are initially introduced. At the 25 level students are expected to show a practical understanding and knowledge through the demonstration of their skills on their instrument. At the 35 level, students will inherently apply concepts, skills, and knowledge through performance. Specific Outcomes (The Student will…)

15

25

35 Recognize a basic twelve bar blues progression: I chord X 4 bars IV chord X 2 bars I chord X 2 bars V chord X 2 bars I chord X 2 bars

►

Demonstrate an understanding of the basic twelve bar blues progression: I chord X 4 bars IV chord X 2 bars I chord X 2 bars V chord X 2 bars I chord X 2 bars

►

Improvise over the basic 12 bar blues progression: I chord X 4 bars IV chord X 2 bars I chord X 2 bars V chord X 2 bars I chord X 2 bars

►

Recognize a intermediate level twelve bar blues progression (7th chords): I chord X 4 bars IV chord X 2 bars I chord X 2 bars ii chord X 1 bar V chord X 1 bar I chord X 2 bars

►

Demonstrate an understanding of the intermediate twelve bar blues progression: I chord X 4 bars IV chord X 2 bars I chord X 2 bars

►


Specific Outcomes (The Student will…) 15

25

35

ii chord X 1 bar V chord X 1 bar I chord X 2 bars Improvise over the intermediate level 12 bar blues progression: I chord X 4 bars IV chord X 2 bars I chord X 2 bars ii chord X 1 bar V chord X 1 bar I chord X 2 bars

►

Recognize a complex twelve bar blues progression (7th chords): I chord X 1 bar IV chord X 1 bar I chord X 2 bars IV chord X 1 bar #IV dim chord X 1 bar I chord X 1 bar VI chord X 1 bar ii chord X 1 bar V chord X 1 bar I/VI chords X 1 bar ii/V chords X 1 bar

►

Demonstrate an understanding of the complex twelve bar blues progression: I chord X 1 bar IV chord X 1 bar I chord X 2 bars IV chord X 1 bar #IV dim chord X 1 bar I chord X 1 bar VI chord X 1 bar ii chord X 1 bar V chord X 1 bar I/VI chords X 1 bar

►

Improvise over the complex 12 bar blues progression: I chord X 1 bar IV chord X 1 bar I chord X 2 bars IV chord X 1 bar #IV dim chord X 1 bar I chord X 1 bar VI chord X 1 bar ii chord X 1 bar V chord X 1 bar I/VI chords X 1 bar

►


Specific Outcomes (The Student will…) 15

25

35

Recognize scale knowledge over a ii - V7 – I chord progression ►

Demonstrate scale knowledge over a ii - V7 – I chord progression ►

Apply scale knowledge over a ii - V7 – I chord progression ►

General Outcome #4:

Musicianship: To develop, discover and evaluate their talents and abilities in musical performance through the establishment and extension of skills as they apply to the jazz idiom. Music as a curriculum is complex and spiralling in nature. The detail and specific demands required of students increases at each grade level. It requires prior knowledge to be connected as new skills are introduce and applied. As well, the literature studied also becomes increasingly more challenging, requiring more comprehensive understanding and involving higher thought processes. Students will have a general understanding of specific employability skills as they relate to jazz inclusive of performance expectations and professionalism within the music industry. At the 15 level, concepts are initially introduced. At the 25 level students are expected to show a practical understanding and knowledge through the demonstration of their skills on their instrument. At the 35 level, students will inherently apply concepts, skills, and knowledge through performance. Specific Outcomes (The Student will…)

15

25

35 Recognize characteristic tone production specific to jazz

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Demonstrate characteristic tone production ► ► Apply characteristic tone production ► ► Recognize characteristic balance within like instrumental sections ► Demonstrate characteristic balance within like instrumental sections ► ► Apply characteristic balance within like instrumental sections ► ► Recognize characteristic articulations ► Demonstrate characteristic articulations ► ► Apply characteristic articulations ► ► Recognize proper intonation ► ► ► Demonstrate proper intonation ► ► ► Apply proper intonation ► ► ►

Facilities or Equipment Necessary Facility large enough to accommodate a twenty member ensemble complete with Drum Set, Piano/Amplifier, Bass/Amplifier, Guitar/Amplifier, Auxiliary percussion, Trumpet Risers (4 feet X 12 feet X 12 inches high minimum). Sound system including mixing board, cd player, main speakers/stands, monitors X 2, and microphones/stands X 5, SLR cables and speaker cable. In addition, instrument specific mutes inclusive of cup, harmony, straight and bucket would be valuable. Identification of Controversial or Sensitive Course Components There are no controversial or sensitive components to this course. Teacher Qualifications Beyond the requirement of the School Act for a Certified Teacher, it is essential that this course be taught by a teacher qualified to teach music. This is defined as an individual with a Bachelor of Music degree concentrating in secondary music. Learning Resources

Aebersold, J. A New Approach to Jazz Improvisation. New Albany: Aebersold

Inc., 1993. Aebersold, J. jazz Aids Handbook. New Albany. Baker, D. How to Play Bebop. Van Nuys: Alfred Publishing Inc (Vols. 1, 2, 3). Baker, D. Jazz Improvisation. Baker, D. Jazz Pedagogy for Teachers and Students. Baker, D. Techniques of Improvisation (Vols. 1, 2, 3). Barte, S. The Source. Milwaukee: T.H.C.P.C., 1986. Boyd, B. Chord Voicing. Winona: Hal Leonard Publishing Corp., 1986. Brown, Roy and Steve. An Introduction to Jazz Improvisation. Creative World

Pub. Burkhart, C. Anthology for Musical Analysis. New York- Holt, Rinehart and

Winston Inc., 1964. Coker, J. Improvising Jazz. Englewood Cliffs: Prentice Hall, Inc., 1964. Coker, J., Casale, J., Campbell, G. Green, J. Patterns for Jazz. Lebanon: Studio

RR., 1970. Coker, J. Listening to Jazz. Englewood Cliffs: Prentice Hall Inc., 1978. Croker, R.L. A History of Musical Style. New York: Dover Publications, Inc.,

1986. Ferguson/ Feldstein. The jazz Rock Ensemble. New York: Alfred Publishing.


Dallin, L. Listeners Guide to Musical Understanding. Dubuque: Wm. C. Brown Co. Publishers, 1974.

Gillespie, J. The Musical Experience. Belmont: Wadsworth Publishing Company, Inc,. 1969.

Green, D.M. Form In Touch Music. New York: Holt, Rinehart and Winston, Inc., 1965.

Grout, D.J. A History of Western Music. New York: W.W. Norton and Company Inc., 1960.

Haerle, D. Scales for jazz Improvisation. Miami: The Belwin Corp., 1975. Hoeffer, C.R. The Understanding of Music. Belmont: Wadsworth Publishing Co.,

Inc., 1981. Kohs, E.B. Musical Form: Studies in Analysis and Synthesis. Boston: Hougton

Mifflin Co., 1976. Lawn, Richard. The jazz Ensemble Director's Manual. Oskaloosa: Barnhouse. Machlis, J. The Enjoyment of Music. New York: W.W. Norton and Company Inc.,

1963. Oliver, P. The Meaning of the Blues. New York: Collier Books, 1966. Pancari, E. Encyclopedia of Pentatonic Scales. New York: Pancani Publishing

Inc., 1981. Phillips, Alan. Jazz Improvisation and Harmony. New York: Robbins Music

Publishing. Stearns, M. The Story of Jazz. New York: Oxford University Press, 1958. Torres, Richard. The ABCs of Jazz Improvisation. Creative World Inc. Voxman, H., Merriman, L. Woodwind Ensemble Music Guide. Evanston: The

Instrumentalist Col, 1973. Williams, M. Jazz: A History (The Smithsonian Collection of Classic jazz). New

York: W.W. Norton Inc. Wise, L. Bebop Bible. Seattle: Reh Publications.

Suggested Learning Resources

General Method Books Jazz Improvisation Hal Sherman Jazz Phrasing and Interpretation J. Guiffre - Associated Music Publishers Total Musicianship Frank Bencriscutto and Hal Freese - Kjos, Music Scales for jazz Hearle - J. Aebersold Basic Jazz Improvisation L. Levey - Shawnee Press Jazz Improvisation D. Baker - J. Aebersold


Improvising Jazz J. Coker - J. Aebersold Ear Training for Jazz Musicians D. Baker - J. Aebersold The Drum Set: A Musical Approach Ed Soph and Horace Arnold - Yamaha The Contemporary Keyboardist John Nevello - Source Pub Rhythm Studies for Piano/Guitar/Bass/Drums Berklee Press Jazz Improvisation Series: Blues and the Basics Dominic Spera - Hal Leonard Jazz Improvisation Series: Making the Changes Dominic Spera - Hal Leonard Voicings for Jazz Keyboard Frank Mantooth - Hal Leonard

Specific Method Books There are many materials that deal with specific jazz instruments. The jazz Ensemble Director's Manual (Lawn: 1981) has a very detailed and specific list (pages 88-92).

Saxophone Beginning

Huffnagle, Harry. Streamline Etudes, Books I and Il. New York, N.Y: Gate Music Co. A series of swing etudes written in the improvised style. Each etude indicates chord symbols.

Niehaus, Lennie. Jazz Conception for Saxophones, Basic Volume. Hollywood, California: Professional Drum Shop, Inc. Book I in a three volume series of etudes in an improvised style.

Niehaus, Lennie. Jazz Conception for Saxophone, Intermediate Volume. Hollywood, California: Professional Drum Shop Inc. A basic/intermediate level collection of etudes in the improvised style. Etudes are designed to improve jazz interpretation and phrasing. Includes chord symbols.

Paisner, Ben. 30 Studies in Swing. New York, N.Y: Gate Music Co. The easiest in the Gate Music series edited by David Gornston. These swing etudes are excellent supplemental material particularly for developing sight reading and jazz phrasing skills.

Paisner, Ben. 19 Streamlined Etudes. New York, N.Y: P Gate Music Co. The most difficult volume in the Gate Music etude series. Includes chord symbols.

Intermediate Bowers, Bugs. Bop Duets. New York, N.Y: Charles Colin. Excellent duets in

the bebop style. Second part is as demanding as the first.

Niehaus, Lennie. Jazz Conception for Saxophone. Hollywood, California: Professional Drum Shop Inc. Book 3 in the series of jazz etudes. Intermediate/advanced level.


Parker, Charlie. Bebop for Alto Sax. New York, N.Y: Criterion Music Corp. Four Parker originals including solo transcriptions from Dial recordings. Includes simple piano accompaniments.

Parker, Charlie. Charlie Parker Sketch-Orks. New York, N.Y: Criterion Music Corp Includes 30 Parker originals. Chord symbols and counter melodies are included. Original record label, title and number included.

Parker, Charlie. Charlie "Bird" Parker. Edited by W. Dorsey Stuart. New York, N.Y: Charles Colin Music Corporation. Four Parker tunes transcribed from Roost Records recordings. Includes transpositions for C, Bb and Eb instruments.

Advanced Coltrane, John. The Works of John Coltrane, Vols. 1-10. Edited by Andrew

White. Washington, D.C.: Andrew's Music. Collection contains 421 transcription taken from over 100 albums.

Henderson, Joe. Joe Henderson Transcribed Sax Solos. New York, N.Y: Times Square Music Publications.

Miedema, Harry Jazz Styles and Analysis for Alto Sax. Edited by David Baker. Chicago, Ill.: Down Beat Music Workshop Publications. A vast collection of solo transcriptions by a host of artists. Brief biography and discography of each player included. Analysis is brief and undetailed.

Nelson, Oliver. Patterns for Improvisation. New York, N.Y.: Times Square Music Publications. Useful etudes and improvisational patterns. Student must have theory background to realize and apply the patterns to appropriate chord symbols as they are not provided.

Parker, Charlie. The Charlie Parker Collection, Vols. 104. Edited by Andrew White. Washington D.C.: Andrew's Music. Over 300 transcribed Parker solos from Savoy, Dial, Verve and live sessions.

Viola, Joe. The Technique of The Saxophone, Vol. II-Chord Studies. Boston, Mass.: Berklee Free Publications. Explores melo-harmonic relationships in all keys. Includes improvisational patterns and sequences. Intermediate/advanced level.

Viola, Joe. The Technique of The Saxophone, Vol. III-Rhythm Studies. Boston, Mass.: Berklee Press publications. Includes traditional and contemporary exercises, duets, and etudes drilling the student on all aspects of rhythm. Intermediate/advanced level.

Trumpet Beginning

LaPorta, John. Guide to Improvisation for Trumpet. Boston, Mass.: Berklee Press Publications. Includes text and 7" LP.

Terry, Clark and Rizzo, Phil. Let's Talk Trumpet, Volume 1. Bowie, Md.: Creative Jazz Composers, Inc. Exercises in triads, simple triadic patterns and etudes exploring jazz rhythm and articulations.


Wiskirchen, Rev. George. A Manual for The Stage or Dance Band Trumpet Player. Boston, Mass.: Berklee Press Publications. Exercises in tone production, intonation, phrasing, articulation, vibrato, etc. Includes trumpet section excerpts from charts with interpretive guide.

Intermediate Kotwica, Raymond, and Viola, Joe. Chord Studies For Trumpet. Boston,

Mass.: Berklee Press Publications. Improvisational chord studies on all chord structures in all keys. Good technique builder for intermediate/advanced player.

Martin, Bob. Jazz Duets for Trumpet. Boston, Mass.: Berkless Press Publications. Twenty duets for the intermediate/advanced student. Aimed at developing the big band lead player. May be used in conjunction with the trombone volume entitled Jazz Duets for Trombone.

McNeil, John. Jazz Trumpet Techniques for Developing Articulation and Fast Fingers. Lebanon, Ind.: Studio PR. Inc Deals with jazz articulation and valve technique.

Ralph, Alan. Dance Band Reading and Interpretation. New York, N.Y.: Sam Fox Publishing Co. A series of exercises and etudes for bass and treble clef instruments aimed at developing a firm understanding of dance and jazz rhythm patterns. All keys are stressed.

Terry, Clark and Rizzo, Phil. Let's Talk Trumpet, Vol. 2. Bowie, Md.: Creative jazz Composers, Inc. This extension of Volume I includes solo transcriptions and analysis, scale/chord exercises and patterns, jazz inflections, triad embellishment, etc.

Advanced Davis, Miles. Miles Davis Transcribed Solos. New York, N.Y: Times Square

Music Publications.

Gillespie, Dizzy. Dizzy Gillespie: A jazz Master. Melvill, N.Y: MCA Music. Fourteen bebop tunes and solo transcriptions for trumpet and piano accompaniment. C instrument part also included.

Sloane, Ken. 28 Modem Jazz Trumpet Solos. Lebano, Ind.: Studio PR, Inc. Solo transcriptions and recording information by Freddie Hubbard, Miles Davis, Clark Terry, Clifford Brown and others.

Trombone Beginning

Paisner, Ben. Studies in Swing. New York, N.Y: Gate Music. Collection of swing etudes.

Intermediate Hartzell, Doug. Ten jazz Duos and Solos. Delaware Water Gap, Pa.:

Shawnee Press Inc. Ten works in a wing style.

Huffnagle, Harry. Streamlined Etudes Books I and 2. New York, N.Y: Gate Music. Logically follows 30 Studies in Swing.


Martin, Bob. Jazz Duets for Trombone, Volume 1. Boston, Mass.: Berklee Press Publications. Twenty duets including phrasing suggestions for the advanced intermediate player.

Pederson, Tommy. Elementary Etudes for Tenor Trombone. Hollywood, California: Date Music, Inc. Etudes for the intermediate or advanced beginner.

Peterson, Tommy. Intermediate Etudes for Tenor Trombone. Hollywood, California. Fifteen etudes in tenor and brass cleff for the advanced intermediate student. Written in various tempos and meters.

Wilson, Phil and Joe Viola. Chord Studies for Trombone. Boston, Mass.: Berklee Press Publication. A wealth of chord and scale exercises in all keys and arranged in the circle of 5ths A standard text.

Advanced Baker, David. Jazz Styles and Analysis for Trombone. Chicago, Ill.: Down

Beat Music Workshop Publications. 157 transcribed solos trace the history of jazz trombone. Record information is included. This valuable collection may also be used by the intermediate player.

Malone, Tom. Alternate Position System for Trombone. New York, N.Y: Synthesis Publications. Charts and exercises to develop alternate position technique.

Marsteller, Robert. Advanced Slide Technique. San Antonio, Tex.: Southern Music Co. Features exercises in bass and tenor clef. A standard text for the advanced student.

Piano Beginning

Chihak, Charles. Keep on Compin'. Iowa City, Iowa: Phantom Music. Good basic primer for the beginning jazz pianist.

Danko, Harold. Beginning Jazz Improviser's Illustrated Keyboard Series, Book 1. Lebanon, Ind.; Studio PR, Inc. A simple and logical approach for the beginner.

Danko, Harold. Beginning Jazz Improviser's Illustrated Keyboard Series, Book 2. Lebanon, Ind.; Studio PR, Inc. A beginning/intermediate manual for teachers and students.

Dobbins, Bill. The Contemporary Jazz Pianist: Jazz Harmony and The Improvised Line. Jamestown, R.I.: GAMT Music Press. Excellent presentation of left hand technique, harmonic substitution, comping, chord/scale relationships, etc. Good text for all instrumentalists.

Haerle, Dan. Jazz Improvisation for Keyboard Players, Book 1. Lebanon, Ind.: Studio PR, Inc. Deals with left hand voicings, creating melodies, and various chord progressions.

Hearle, Dan. Jazz/Rock Voicings for the Contemporary Keyboard Player. Lebanon, Ind.: Studio PR, Inc. A standard text for the beginning to


intermediate student desiring information in a multitude of voicing possibilities.

Sandole, Adolph. Jazz Piano Left Hand. New York, N.Y.: Adolph Sandole. Excellent brief text on left hand comping technique. Good text for non-keyboard players desiring insight into jazz harmonies.

Intermediate

Dobbins, Bill. The Contemporary Jazz Pianist: The Harmonic Structures and Forms of jazz from the Blues to the Avante-Garde. Jamestown, R.I.: GAMT Music Press. Volume 2 in the Dobbins' series is a logical sequel to Volume 1 listed under basic texts. This volume deals with two hand voicings, melodic line, and harmony in all styles. Intermediate/advanced.

Haerle, Dan. Jazz Improvisation for Keyboard Players, Book 2. Lebanon, Ind.: Studio PR, Inc. A logical extension of Book 1 including ii/V/I exercises, scale/chord relationships, left hand technique and melodic improvisation.

Mehegan, John. Famous Jazz Style Piano Folio. New York, N.Y.: Hansen House. A collection of 17 tunes arranged in an improvised style. Figured bass included may be confusing at first. Also includes brief history of jazz piano voicing chart, explanation of jazz harmony., and some solo analysis.

Mehegan, John. Studies for the jazz Pianist, Volumes 1 and 2. New York, N.Y.: Carl Fischer. Volume 1 emphasizes left hand styles and covers the rhythm School - Bud Powell, Horace Silver, etc. Volumes 2 and 3 cover the Harmonic School - Shearing, Evans, Peterson, etc.

Mehegan, John. Studies in Jazz Harmony. New York, N.Y.: Carl Fischer.

Progis, James. A Modern Method for Keyboard Study, Volumes. 1-4. Boston, Mass.: Berklee Press Publications. A comprehensive method series covering all aspects of piano playing. May be used as a class text.

Advanced Brubeck, Dave. Brubeck Plays Brubeck. Delaware Water Gap, Pa.:

Shawnee Press Inc. This collection available in two volumes contains solo transcriptions from recordings done in the early 1950s.

Danko, Harold. Beginning Jazz Improviser's Illustrated Series, Book 3. Lebanon, hid.: Studio PR Inc. The most advanced book of the three volume set.

Evans, Bill. Bill Evans Plays. New York, N.Y: Ludlow Music Inc. Transcriptions of recorded works by Evans. Left hand voicings and solo lines are indicated.

Mehegan, John. Jazz Improvisation Series, Volume 1. Hyperion Press. Sixty standard tunes written in styles of great artists.

Mehegan, John. Jazz Improvisation Series, Volume 2. Hyperion Press. Deals in rhythm and the improvised line. Includes 29 solo transcriptions by various artists 1923-1958.


Mehegan, John. Jazz Improvisation Series, Volume 3 and 4. Hyperion Press. Covers the evolution of jazz piano styles from 1936-1963.

Guitar Beginning

Pizarelli, Bucky. Modern Guitar Technique-"A Touch of Class". Saddle River, N.J.: Famous Solo Enterprises. First section is devoted to Freddie Greene comping style using three note voicings. Chord melody solos, tunes and progressions also included. Excellent book for the serious basic/intermediate student.

Roberts, Howard. The Howard Roberts Guitar Book. North Hollywood, California: Playback Music Pub. Co. Features good comping section on various styles. Basic/intermediate.

Intermediate

Berle, Arnie. Modern Chords and Progressions for Guitar. New York, N.Y: Amsco Music Pub. Co. A rhythm guitar method using four note voicings and standard progressions as exercises.

Carter, Rich. jazz Guitar Masterpieces. Hollywood, California: Flat Five pub. A collection of solo transcriptions by 21 artists. No titles are included.

Khan, Steve. The Wes Montgomery Guitar Folio. New York, N.Y: Gopam Enterprises Inc. A collection of solo transcriptions including block chord voicing diagrams for each solo.

Pass, Joe. Joe Pass Guitar Chords, Books I and 2. Sherman Oaks, California: Gwyn Pub. Co. Intermediate/advanced text.

Pass, Joe. Joe Pass Chord Solos. Sherman Oaks, California: Gwyn Pub. Co.

Pass, Joe. Joe Pass Guitar Solos. Sherman Oaks, California: Gwyn Pub. Co.

Roberts, Howard. Howard Roberts Guitar Manual-Sight Reading. North Hollywood, California: Playback Music Pub. Co. A logical approach to developing sight reading skills for the intermediate/advanced player.

Advanced May, Tim. Creative Scale Dimensions. North Hollywood, California:

Playback Music Pub. Co. Includes fingerings, major, minor, pentatomic, whole tone and diminished scales and scale/chord relationships. Text assumes student is familiar with modes.

Montgomery, Wes. Wes Montgomery Jazz Guitar Method. Robbins Music Corp. Discusses chord soloing, melodies in octaves. Primarily a solo transcription test.

Pass, Joe and Bill Thraser. Joe Pass Guitar Style. Sherman Oaks, California: Gwyn Pub. Co. Sections devoted to harmony, substitutions,


and melodic improvisation. Also includes improvisational exercises and patterns and 8th note solo examples on blues and rhythm changes.

Roberts, Howard. Howard Roberts Guitar Manual-Melody. North Hollywood, California: Playback Music Pub. C. Detailed example of how to harmonize a melody. Student must have strong theory background.

Bass Beginning

Kaye, Carol. How To Play Electric Bass. Sherman Oaks, California: Gwyn Pub. Co. Deals in bass line construction and includes a recording.

Kaye, Carol. Electric Bass Lines Books 1-4. Sherman Oaks, California: Gwyn Pub. Co.

Kaye, Carol. Personally Yours. Sherman Oaks, California: Gwyn Pub. Co.

Kaye, Carol. Easy Electric Bass. Sherman Oaks, California: Gwyn Pub. Co.

Kaye, Carol. Carol Kaye Electric Bass Cassette Course. Sherman Oaks, California: Gwyn Pub. Co.

Montgomery, Monk. The Monk Montgomery Electric Bass Method. Edited by David Baker. Lebanon, Ind.: Studio PR, Inc. Takes the beginning electric bass student from the first day through solo and ensemble approaches.

Intermediate

Carter, Ron. Comprehensive Bass Method. New York, N.Y.: Hansen House. For the serious intermediate/advanced string bass student.

Davis, Richard. Walking on Chords: For String Bass and Tuba. Sympatico Music Pub. A collection of 20 etudes emphasizing the walking bass technique. No explanations are provided leaving the student to learn by doing.

Reid, Rufus. The Evolving Bassist. Lebanon, Ind.: Studio PR, Inc. A text for symphonic and jazz players. Deals with styles, positions, improvisation, acoustic and electric instruments, and instrument care. An excellent standard text.

Wright, Eugene. Jazz Giants/Modern Music for Bass. New York, N.Y.: Hansen House. 27 jazz tunes arranged for piano and bass. Includes written out bass lines and symbols.

Advanced Reid, Rufus. Evolving Upward-Bass Book 2. Studio PR, Inc. A logical

extension of book 1 which aims at developing thumb position technique and extending range on acoustic bass.


Drums Beginning

Coffin, Jim. Performing Percussionist, Volume 2. Oskaloosa, Ia.: C.L. Barnhouse Co. A short drum set section appears in the back of the text.

Cusatis, Joe. Rudimental Patterns for the Modern Drummer. Rockville Center, N.Y: Belwin/Mills Pub. Corp. Approach to set playing based on rudiments and their variations. For beginning-intermediate student.

Perry, Charles. Introduction To the Drum Set. New York, N.Y: Adler/Belwin. Basic jazz beats and time patterns are explained in addition to brush work and basic fills. Available in two volumes.

Rothman, Joel. Basic Rock Beats. New York, N.Y: J.R. Pub. Good book for the beginning student.

Rothman, Joel. Beats and Variations. New York, N.Y: J.R. Pub. Covers basic beat patterns from Greek and Turkish to Latin styles. For the advanced beginner.

Rothman, Joel. Big Band Breaks. New York, N.Y: J.R. Pub. Deals with big band setups and short fills. For the advanced beginner.

Intermediate Appice, Carmine. Realistic Rock. New York, N.Y: Robbins Music. More

difficult patterns and exercises for the intermediate/advanced student.

Chapin, Jim. Advanced Technique for the Modern Drummer, Volume 1. New York, N.Y: Jim Chapin. Contains a graduated progression of studies aimed at developing total independence. intermediate/advanced

Chapin, Jim. For Drummers Only. New York, N.Y: Music Minus One. A big band recording featuring Chapin as drummer on one side. Other side is minus drum track. Drummer may invent his own part based on sketch or read transcribed Caphin part provided. Excellent.

Dawson, Alan and Don DeMichael. A Manual for the Modern Drummer. Boston, Mass.: Berklee Press Pub. A standard text for the reading drummer who wants to learn set approaches. Features big band techniques, transcribed solos and brief history of set playing. Excellent.

Fink, Ron. Drum Set Reading. Port Washington, N.Y: Alfred Pub. Co. A good text for the drummer already familiar with different styles.

Humphrey, Ralph. Even In the Odds. Oskaloosa, La. C.L. Barnhouse Co. A detailed book of instructional material and exercises dealing with odd meters. For the intermediate and advanced level drummer.

Jones, Philly Joe. Brush Artistry. England: Premier. 12 written out brush patterns with accompanying diagram and pictures. Excellent for the intermediate/advanced student.

Lewis, Mel and Clem DeRose. It's Time for the Big Band Drummer. Lebanon, Ind.: Studio PR, Inc. A valuable new text.

Rothman, Joel. Rock Bible. New York, N.Y: J.R. Pub.


Advanced Chapin, Jim. Advanced Technique for the Modern Drummer, Volume 2. New

York, N.Y: Jim Chapin. An excellent book featuring an inexhaustible supply of exercises in jazz, Latin and rock styles.

Dahlgren, Marv and Elliot Fine. Four Way Coordination. Rockville Center, N.Y.: Belwin/Mills. Difficult coordination exercises to develop independence of all four limbs.

Mintz, Billy. Different Drummers. New York, N.Y.: Amsco Music Pub. Co. Solo transcriptions in the styles of Roach, E. Jones, P.J. Jones, Blakey and others. Each solo is preceded by exercises in the style.

The list of selected reference is by no means complete. However, it does include those recommended texts familiar to the author [Richard Lawn] and respected colleagues. Many of the texts are not suitable for self-instruction, although the advanced, self-motivated student might be capable of learning with only a book as a guide.

Suggested Listening Jazz Artists (Aebersold, p. 23)

Trumpet

Freddie Hubbard, Clifford Brown, Miles Davis, Dizzy Gillespie, Woody Shaw, Lee Morgan, Blue Mitchell, Clark Terry, Kenny Dorham, Roy Eldridge, Don Cherry, Fats Navarro, Johnny Coles, Chet Baker, Virgil Jones, John McNeil, Tom Harrell, Wynton Marsalis, Terumaso Hino, Wallace Roney, Phillip Harper, Ingrid Jensen, Randy Brecker, Arnie Chycoski, Kenny Wheeler, Roy Hargrove

Alto Sax Charlie Parker, Sonny Stitt, Lou Donaldson, Phil Woods, Cannonball Adderly, Charlie Mariano, Lee Konitz, Paul Desmond, Jackie McLean, Ornetter Coleman, Roscoe Mitchell, Eric Dolphy, Herb Geller, Art Pepper, Lennie Niehaus, Bud Shank, Lanny Morgan, Richie Cole, Eric Kloss, Bunky Green, Bobby Watson, Kenny Garrett, Greg Osby, Frank Morgan, Sonny Red, Paquito D’ Rivera, John Jenkins, Eric Marienthal, David Sandborn, Moe Koffman

Tenor Sax Lester Young, Coleman Hawkins, Stan Getz, John Coltrane, Sonny Rollins, Gene Ammons, Joe Henderson, Wayne Shorter, George Coleman, Harold Land, Azar Lawrence, Dewey Redman, Steve Grossman, John Klemmer, Dave Liebman, Pharoah Sanders, Ben Webster, Benny Golson, Dexter Gordon, Wayne Marsh, Zoot Sims, Charles Lloyd, Hank Mobley, Sonny Stitt, Bob Berg, Billy Pierce, Joe Farrell, Michael Brecker, Archie Shepp, Bud Freeman, Von Freeman, Chico Freeman, Clifford Jordon, Rick Margitza, Branford Marsalis, Jerry Bergonzi, Bob Mintzer


Baritone Sax Gerry Mulligan, Pepper Adams, Harry Carney, Sahib Shihab, Serge Chaloff, Gary Smulyan, Ronnie Cuber, Nick Brignola

Trombone Milt Bernhardt, Jimmy Cleveland, Jack Teagarden, Bill Harris, Phil Wilson, J.J. Johnson, Kai Winding, Frank Rosalino Carl Fontana, Curtis Fuller, Grachan Moncur, Garnett Brown, Bill Watrous, Roswell Rudd, Steve Turre, Robin Eubanks, Hal Crook, Ian McDougall, Rob McConnell, Hugh Fraser

Flute Hubert Laws, James Moody, Herbie Mann, Frank Wess, Jeremy Steig, Roland Kirk, Yusef Lateef, David Liebman

Clarinet

Benny Goodman, Artie Shaw, Tony Scott, Buddy DeFranco, Woody Herman, Pee Wee Russell, Jimmy Guiffre, Eric Dolphy (Bass Clarinet), Russell Procope, Eddie Daniels, Paquito D’ Rivera, Phil Woods

Guitar

Charlie Christian, Django Reinhardt, West Montgomery, Kenny Burrell, Barney Kessel, Herb Ellis, Joe Pass, Jim Hall, Tal Farlow, Attila Zoller, Pat Martino, Mick Goodrick, Larry Coryell, John McLaughlin, Grant Green, George Benson, Jerry Hahn, Jimmy Raney, Doug Raney, Emily Remler, Earl Klugh, Freddie Green, Ed Bickert, Pat Methany, Bill Frisell, John Scofield

Piano

Bill Evans, Chick Corea, Herbie Hancock, Oscar Peterson, Lennie Tristano, Mulgrew Miller, James Williams, Mary Lou Williams, Thelonious Monk, Hampton Hawes, Roland Hanna, Al Haig, Art Tatum, Oscar Peterson, Joe Zawinul, Victor Feldman, McCoy Tyner, Keith Jarrett, Paul Bley, Wynton Kelly, Red Garland, George Cables, George Duke, Denny Zeitlin, Bud Powell, Phineas Newborn Jr., Ahmad Jamal, Kenny Drew, Tommy Flanagan, Horace Silver, Kenny Barron, John Lewis, Michel Petrucciani, Ronnie Mathews, Makoto Ozone, Michel Camilo, Cedar Walton

Bass Ray Brown, Scott LaFaro, Oscar Pettiford, Charles Mingus, Paul Chambers, Richard Davis, Ron Carter, Rufus Reid, Eddie Gomez, Monk Montgomery, Chuck Rainey, Miroslav Vitous, George Mraz, Stanley Clarke, Bob Cranshaw, Jimmy Garrison, Percy Heath, Steve Swallow, Buster Williams, Cecil McBee, Jimmy Blanton, Red Mitchell, Mike Moore, Sam Jones, Israel Crosby, Jaco Pastorius, Milt Hinton, Slam Stewart, George Duvivier, Todd Coleman, Dave Holland, John Patitucci, Christian McBride

Drums

Elvin Jones, Max Roach, Tony Williams, Philly Joe Jones, Kenny Clarke, Art Blakey, Connie Kay, Jack DeJohnette, Roy Haynes, Paul Motian, Billy Higgins,


Billy Cobham, Louis Bellson, Buddy Rich, Grady Tate, Micky Roker, Ed Blackwell, Bobby Moses, Joe Chambers, Alphonse Mouzon, Shelly Manne, Stan Levy, Danny Richmond, Billy Hart, Lenny White, Al Foster, Terri Lyne Carrington, Ed Soph, Dave Weckel, Dennis Chambers, Peter Erskine

Vibes Milt Jackson, Gary Burton, Dave Friedman, David Samuels, Roy Ayers, Lynn Blessing, Lionel Hampton, Red Norvo, Bobby Hutcherson, Steve Nelson, Cal Tjader, Terry Gibbs, Dave Pike, Jay Hoggard

Organ Jimmy Smith, Larry Young, Jack McDuff, Richard "Groove" Holmes, Jimmy McGriff, John Patton, Joey De Francesco

Big Bands

Duke Ellington, Count Basie, Woody Herman, Stan Kenton, Buddy Rich, Don Ellis, Gerald Wilson, Thad Jones-Mel Lewis, Bill Watrous, Francy Boland, Tito Puente Louis Bellson, Gil Evans, Rob McConnell, Maynard Ferguson, Bob Mintzer, Maria Schneider, Mingus Dynasty Big Band,

Vocalists

Jon Lucien, Roy Kral, Frank Sinatra, Mel Tormé, Lou Rawles, Ray Charles, Mose Allison, Billy Eckstine, Leon Thomas, Grady Tate, Joe Williams, Sarah Vaughn, Carmen McCrae, Peggy Lee, Rosemary Clooney, Billie Holiday, Ella Fitzgerald, Dinah Washington, Jackie Cain, Dakota Staton, Johnny Hartman, Chris Connor, June Christy, Anita O'Day, Betty Carter, Diana Krall, Harry Connick Jr., Betty Carter

Violin Joe Venuti, Stuff Smith, Ray Mance, Jean-Luc Ponty, Stephane Grappelli, Michael White, Jerry Goodman, John Blake, Randy Sabien

Essential Discography Listening is one of the most important elements of learning and playing jazz. Throughout the history of music, the ear represents your best teacher and learning device. The following list represents a small but important sample of the great recorded jazz history. Although LP record numbers are listed here, many of these are available on CD and cassette. (* = outstanding) Cannonball Adderley * Something Else w/Miles Davis BST 81595 * Takes Charge w/W. Kelly, P. Chambers, J. Cobb Landmark 1306 At The Lighthouse w/Nat Adderley, Sam Jones, V. Feldman, L. Hayes Landmark1305

Chet Baker The Touch of Your Lips w/Doug Raney, N.H.O. Pederson Steeplechase 1122

Art Blakey * Jazz Messengers w/D. Byrd, H. Mobley, H. Silver, D. Watkins Columbia PC

37021


* Night At Birdland w/C.Brown, Lou Donaldson, H. Silver, C. Russell (Vol. 2) Blue Note 81522

Clifford Brown Clifford Brown With Strings Emarcy 1011 * Study In Brown w/Harold Land, Max Roach Emarcy 1008 * Brown & Roach Inc. w/Sonny Rollins, Max Roach Emarcy 1010 Brownie Eyes Blue Note LA 267-G

Ray Brown Bam, Bam, Bam w/Gene Harris, Jeff Hamilton Concord 375 Don't Forget The Blues w/Al Grey, Gene Harris, Grady Tate, Ron Eschete Concord 293

Ornett Coleman Town Hall Concert w/Izenzohn, Moffett and strings ESP 1006 * Something Else! w/Don Cherry, Walter Norris OJC 163 This Is Our Music w/Cherry, Haden, Blackwell AtI. 1353

John Coltrane Live At Birdland w/M. Tyner, J. Garrison, Elvin Jones MCA 29015 Impressions w/M. Tyner, J. Garrison, Elvin Jones MCA 5887 A Love Supreme w/M. Tyner, J. Garrison, Elvin Jones MCA 29017 * Crescent w/M. Tyner, J. Garrison, Elvin Jones MCA 5889 * Blue Train w/C. Fuller, Lee Morgan, Philly Joe Jones Blue Note 81577 * Giant Steps w/Tommy Flanagan, P. Chambers, A. Taylor Atlantic 1311 More Lasting Than Bronze (2 records) Prestige 24014

Miles Davis Jazz At The Plaza w/Coltrane, Adderley, Bill Evans Columbia 32470 * My Funny Valentine w/G. Coleman, R. Carter, H. Hancock Columbia 9106 * Milestones w/Coltrane, Adderley, Paul Chambers Columbia 40837 Seven Steps To Heaven w/Hancock, Carter, T. Williams Columbia CS8851 * Miles Davis (excellent 2-record set from 1956-57) Prestige 24001 Nefertiti w/W. Shorter, R. Carter, T. Williams, H. Hancock Columbia CS9594 * Kind Of Blue w/Coltrane, Adderley, W. Kelly, P. Chambers Columbia 40579

Chick Corea. * Light At A Feather w /Joe Farrell, Stan Clarke, Airto Polydor 5525 Now He Sings, Now He Sobs w/ Roy Haynes, M. Vitous BI 90055

Herbie Hancock The Best of Herbie Hancock (2 records) BI 91142 * Maiden Voyage w/F. Hubbard, R. Carter, T. Williams Blue Note 84195 Empyrean Isles w/Freddie Hubbard, R. Carter, T. Williams Blue Note 84175 The Prisoner w/Joe Henderson, Johnny Coles Blue Note 84321

Freddie Hubbard Hub of Hubbard w/E. Daniels, R. Hanna MPS 15267 Sky Dive CTI 6018 Keep Your Soul Together CTI 6036 * Ready For Freddie w/W. Shorter, Elvin Jones, M. Tyner Blue Note 84085

Joe Henderson * Live In Japan (this is a must for Joe Henderson fans!) Milestone 9047 Power To The People w/H. Hancock, R. Carter, J. De JohnetteMilestone 9024 Inner Urge w/Elvin Jones, M. Tyner, B. Cranshaw Blue Note 84189

Milt Jackson Bags Meets Wes! w/ Wes Montgomery, W. Kelly, S. Jones, Philly Joe Jones OJC234

J. J. Johnson * The Eminent J. J. Vol. 1 & 2 w/C. Brown, H. Mobley Blue Note 81505 & 81506 The Trombone Master w/T. Flanagan, P. Chambers, M. Roach Columbia CJ44443

Elvin Jones Live At The Lighthouse w/Liebman & Grossman Blue Note LA015-G2


Live At Village Vanguard Enja 2036

Wynton Marsalis Standard Time w/M. Roberts, Bob Hurst, Jeff Watts Columbia FC 40461

Roscoe Mitchell Congliptious (excellent free jazz) Nessa - 2

Thelonius Monk * Monk & Trane Milestone 47011

Wes Montgomery * Trio w/Melvin Rhyne, Paul Parker OJC 034 * Full House w/Johnny Griffin, W. Kelly, P. Chambers OJC 106 * The Small Group Recordings - Live w/W. Kelly, P. ChambersVerve 833-555-1

Lee Morgan * Cornbread w/H. Hancock, J. McLean, H. Mobley Blue Note 84222

Oliver Nelson * Blues & The Abstract Truth MCA 5659

Charlie Parker * Jazz At Massey Hall w/M. Roach, B. Powell, Dizzy Gillespie Prestige 24024 The Verve Years - Four Small Groups Verve 827-154-1 * Now's The Time (outstanding playing!) Verve 8005 * The Savoy Recordings (30 songs) Savoy 2201

Sonny Rollins The Bridge w/Jim Hall, B. Cranshaw RCA2527 * Newk's Time w/W. Kelly, D. Watkins, Philly Joe Jones Blue Note 84001 Now's The Time w/Ron Carter, Herbie Hancock QJ 25241 * Saxophone Collosous & More w/C. Brown, M. Roach (excellent) Prestige 24050 Sonny Rollins w /John Coltrane (2 LPs - excellent) Prestige 24004

Wayne Shorter Speak No Evil w/ Freddie Hubbard, H. Hancock, E. Jones Blue Note 84194

Horace Silver * Song For My Father w/Carmel Jones, Joe Henderson Blue Note 84185 The Cape Verdean Blues w/J. J. Johnson, W. Shaw, J. Henderson Blue Note 84220 * Blowin' The Blues Away w/B. Mitchell, Jr. Cook Blue Note 84017

Sonny Stitt * The Stitt/Rollins Session w/Dizzy Gillespie Verve 833-558-1 Constellation w /Barry Harris, Sam Jones, Ray Brooks Muse 5323

McCoy Tyner * The Real McCoy w/Joe Henderson, R. Carter, E. Jones Blue Note 84264 Enlightenment (award-winning 2-record set) Milestone 55001 Reevaluation: The Impulse Years (2-record set) MCA 204156 The Early Trios (excellent 2-record set) MCA 204157

Phil Woods Bouquet w/Tom Harrell, Hal Galper, S. Gilmore, B. Goodwin Concord 377

Larry Young Unity w/Woody Shaw, E. Jones, Joe Henderson Blue Note 84221


Recommended Literature

Level 3 (Junior - Easy)

Swing Title Composer/Arranger Publisher

Captain Easy Niehaus Barnhouse Don't Rush The Count Matteson Nice 'n Easy Taylor Wm. Allen Say What Niehaus Barnhouse You Too Taylor Wm. Allen

Latin Title Composer/Arranger Publisher

Amigo Clark Barnhouse Island Girl Chattaway Wm. Allen Samba Pacifica Lowden Barnhouse Sombrero Chattaway Wm. Allen Summertime Pemberton

Jazz Title Composer/Arranger Publisher

Alto Soliliquy Seibert Late Bloomer Lowden Barnhouse Swingin' Low Gingery Wm. Allen

Jazz-Rock Title Composer/Arranger Publisher

Clean It Up Clark Crab Legs Chattaway Wm. Allen Eclipse Taylor Wm. Allen Fire and Brimstone Gingery Wm. Allen Free Spirit Nestico Sneaker Chattaway Wm. Allen Soul Squeeze Gingery Wm. Allen

Ballad Title Composer/Arranger Publisher

Here's That Rainy Day Lowden Barnhouse Little Girl Blue Warrington My Funny Valentine Warrington Nice 'n Easy (see Swing) Night Winds Chattaway Wm. Allen She's Gone Away Gingery Wm. Allen Through The Years Wolpe Vangie Taylor Wm. Allen


Level 4 (Intermediate - Medium)


After You've Gone Holman Sierra Basie - Straight Ahead Nestico Kendor Be-bop Sha-bam Lawn Barnhouse Great Shark Hunt McGrath POP (CPP Belwin) Groove Merchant Barduhn Hal Leonard In Full Swing Niehaus Barnhouse Out Behind The Barn Clark Barnhouse Peaches and T Coulman POP (CPP Belwin) The Queen Bee Nestico Kendor Shiny Stockings Nestico Hal Leonard Swing It Like Ya Mean It Black Barnhouse To Be Or Not To Bop Niehaus Barnhouse Walkin' Shoes Mulligan Sierra


Caught In The Act Niehaus Barnhouse Color Me Warm Nestico, Kendor Floatation. Hooper Barnhouse Glidin' In Stride Coulman POP (CPP Belwin) Nimbus Cumow Sierra Salsa Amigo Coulman CPP Belwin Sunnyside Rowe Barnhouse Tijuana Dance Clark Barnhouse Travellin' Coulman POP (CPP Belwin) Your Sister's Samba Mantooth Barnhouse


Aboard On Four Niehaus Barnhouse Ain't It Right Svarda Badger Blues Curnow Sierra Blues In Hoss, Flat Taylor Hal Leonard Groovin' Easy Nestico Kansas City Taylor Hal Leonard Pleasin' Nestico Kendor Song For Sam Niehaus Barnhouse Switch In Time Nestico Kendor Where The Buffalo Roam Mantooth Barnhouse



Afterburner Taylor Hal Leonard Beefsteak Charlies Coulman POP (CPP Belwin) Birdland Kerchner Hal Leonard Corazon Stapleton POP (Hal Leonard) Carnaby Street Nestico Engine No. 9 Hooper Barnhouse Firebreak Clark Barnhouse Flying Shutack Doug Beach Funk 0 Matic Mintzer Kendor Movin' Simpson Nimbus (see Latin) Raisin' The Roof Hooper Barnhouse


Angelika Mantooth Another Dream McGrath POP (CPP Belwin) Belgrade Hangover Mantooth Kendor Brotherhood Mintzer Kendor Dreamscape Curnow Sierra Farewell Tatgenhorst Barnhouse Here's That Rainy Day Curnow Sierra If I Could Metheny Sierra In Her Family Metheny Sierra In Retrospect Mantooth Barnhouse Katy Nestico Kendor L'il Darlin' Hefti POP (WB/HL) My Romance Taylor Hal Leonard 'Round Midnight Barduhn Hal Leonard Song For A Lovely Lady Coulman. POP (CPP Belwin)

Level 5 (Senior - Difficult)


Blues Machine Nestico Hal Leonard Brotherhood Of Man Klatka Hal Leonard The Check's In The Mail Goodwin Cherokee Mantooth Barnhouse Cowabunga Goodwin Hal Leonard Crusin' For A Bluesin' Weiner Hal Leonard Doin' Basie's Thing Nestico, Kendor Don't Get Around Much Any More Nestico Hal Leonard Four Brothers Guiffre Hal Leonard Gold Rush Clark Barnhouse Hay Burner Nestico Kendor


Title Composer/Arranger Publisher

Humbug Sebesky Sierra Lost In The Shuffle Hooper Sierra Pressure Cooker Nestico, Hal Leonard Pressure Cooker Tatgenhorst Barnhouse Satin Doll Nestico, Hal Leonard Six Pack Shuffle McGrath POP (CPP Belwin) Take The "A" Train Sebesky Kendor Tall Cotton Nestico Hal Leonard A Warm Breeze Nestico, Kendor Wind Machine Nestico Hal Leonard


Bellavia Mangione POP (Warner Bros.) Cabeza De Carne Harris Kendor Dam That Dream McConnell Hal Leonard El Gato Berry First Run Off Coulman POP (CPP Belwin) Granada Smoothie Taylor Hal Leonard Incredible Journey Mintzer Kendor Marguerite Nestico Hal Leonard Mira Mira Harris Kendor No More Blues McConnell St. Thomas Rollins


Basie's Buddy B LaBarbera Kendor Be Bop Charlie Florence Walrus Blues For A Sunday Morning Beach Doug Beach Blues For Poland Klatka POP (Hal Leonard) Bunch Of Blues Hooper Sierra Central Park North Jones Kendor Cherry Juice Jones Kendor Freedom Jazz Dance Stapleton POP (Hal Leonard) The Groove Merchant Jones Kendor Lazy Bird Stapleton POP (Hal Leonard) On Green Dolphin Street Hooper On Green Dolphin Street Leach


Alone Again, Naturally Broadbent POP (Hal Leonard) Are We There Yet Mays Sierra Brass Machine Taylor Hal Leonard Chameleon Chattaway


Everybody Knows One Tait POP (CPP Belwin)

Title Composer/Arranger Publisher

The Groovemaster Mintzer Barnhouse Hip Hop Mintzer Kendor If The Shew Fits Mantooth Kendor Incommunicato McGrath POP (CPP Belwin) Jazzman Palmer POP (Hal Leonard) Last Time Around Coulman CPP Belwin Live And Let Die Curnow Sierra Mercy, Mercy, Mercy Zawinul Procrastinatin' McGrath POP (CPP Belwin) Scam and Eggs Mantooth Kendor


Ballad For A Rough Year Mantooth Central Park West Fedchock Kendor Chelsea Bridge Nestico A Child Is Born Jones Kendor Consumation Jones Kendor The End of a Love Affair Niehaus Sierra Just Once Mantooth My One and Only Love Taylor Hal Leonard Samantha Nestico Hal Leonard Skylark Brookmeyer Kendor Soft Touch Hooper Sierra Willow Weep For Me Lieb Willow Weep For Me McDougall

Projected Enrolment: 500 students Significant Overlap with Provincial Curriculum There is no significant overlap with provincial curriculum. (Attachment) Assessment Standards The purpose of evaluation of students is to inform both the learner and the parents of progress, as well as to inform the teacher of their practice. This provides motivation for both student and teacher learning and improvement. Eisner (1993) suggests eight criteria for designing approaches for assessment. The assessment tasks that we design for students should: • reflect the tasks students will encounter in the world outside of school • reveal how students go about solving a problem, not just the solution formulated • reflect the values of the intellect community from which they are derived


• provide opportunities for students to perform with others, not always alone • allow for more than one acceptable response to a problem or question • have curricular relevance, but allow for flexible transfer and modification of

knowledge and skills to situations outside the classroom • require students to display sensitivity to configurations or wholes, not just discreet

parts • allow students to select an appropriate form of representation to demonstrate learning Teachers should create a multi-dimensional approach to assessment that is both formative and summative. During each unit of instruction, the students’ theoretical as well as practical comprehension of the objectives needs to be assessed. Student engagement also influences their technical development and should also be assessed. It is suggested that rubrics that are both teacher and student generated be used in the assessment process. This ensures that learners understand expectations as well as have a voice in their learning. Teachers can create a balanced assessment by using a variety of tools including but not limited to: • observation check-lists • analytic responses • peer-evaluation • journals, logs, and diaries • portfolios • tape and video recordings • multi-media presentations • group evaluation The students’ ability to accept and respond to suggestions and constructive criticism is an important part of the evaluation process; it is a reflection of their effort and attitude. The evaluation of students’ effort and attitude can be made more objective by assessing observable behaviours. The following is a partial list of behaviours that can be evaluated. The student demonstrated the ability to: • challenge and extend oneself intellectually • challenge and extend oneself artistically • share ideas with others • concentrate on the task at hand • effectively use and manage time • accept suggestions and corrections from others • offer suggestions and corrections to others


The descriptors used in the following rubrics are taken from, Assessing and Communicating Student Achievement of Quality Learning Outcomes, CBE.

QUALITY LEARNING OUTCOME: CRITICAL/CREATIVE THINKER

CONSTRUCTS MEANING

K e Connects learning to life Understands and explains relationships among ideas Applies knowledge in new situations

Distinguished Level Leading

Consistently makes and shares insightful connections between previous

experiences and new learning understands complex relationships among ideas and explains

them effectively takes initiative to apply knowledge in a wide variety of situations

Proficient Level Maturing

Usually makes and shares thoughtful connections between previous

experiences and new learning understands significant relationships among ideas and

explains them appropriately takes initiative to apply knowledge in new situations

Competent Level Developing

In familiar situations makes and shares relevant connections between previous

experiences and new learning understands common-place relationships among ideas and

explains them effectively applies knowledge

Apprentice Level Emerging

With some support is able to make and share some relevant connections between

previous experiences and new learning understands common-place relationships among ideas applies knowledge in familiar situations

Novice Level Beginning

Perf

orm

ance

Lev

els

With consistent support may make and share relevant connections between previous

experiences and new learning may understand common-place relationships among ideas may apply knowledge in familiar situations



Testing Rubrics – Instrumental Playing Tests

Student Name___________________Date________________Mark___________

SUPERIOR EXCELLENT GOOD FAIR 10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Tone

Quality: Excellent tone achieved throughout the entire performance. Tone uniform, consistent & well controlled despite dynamic and range extremes.

Excellent tone achieved most of the time. Faults & problems infrequent. Minor problems quickly corrected. Range extremes caused some distortion.

Strong basic approach demonstrated. Harshness & distortion at upper dynamics & registers. Fuzziness &/or lack of resonance at softer dynamics.

Basic understanding of tonal quality concepts not yet developed. Dynamics & register extremes not well controlled, often harsh.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Rhythm/ Tempo: Rhythmic accuracy &

precision are exact. Tempo obviously under complete control. Rhythmic interpretations & variations appropriate for the selection

Rhythmic accuracy & precision excellent. Tempo under control most of the time. Faults infrequent & only occur in difficult passages. Rhythmic interpretation/variations appropriate with only minor inconsistencies.

Rhythmic accuracy & precision good most of the time. Demonstrate good awareness of pulse & tempo although occasional problems occur. Rhythmic interpretation/ variations appropriate most of the time.

Basic rhythmic accuracy demonstrated in simple passages, although rapid & complex passages are weak. Tempo not always controlled.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Technique: (Articulation & Facility)

Dexterity excellent; flexibility excellent. Difficult passages played without any noticeable stress. Demonstrates thorough knowledge of articulation/bowing styles.

Dexterity excellent; flexibility quite good. Difficult passages played with only minor flaws. Demonstrates excellent knowledge of articulation/ bowing styles.

Technical facility good most of the time. Problems & breakdowns occur during difficult passages. Correct technique demonstrated most of the time.

Technical facility fair. Faster, more complex passages force player(s) beyond ability. Good technique demonstrated some of the time.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Dynamics:Excellent use of dynamics throughout. Full dynamic range "pp" - "ff" demonstrated.

Good use of dynamics throughout, with some lack of dynamic control. Good "pp" - "ff" most of the time.

Some successful attempts at basic dynamic variation though limited in scope & range.

Some attempts at altering dynamics but with limited range. .

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Pitch/ Harmony: Instrument(s) well

tuned. Melodic & harmonic intonation without fault throughout the entire selection.

Instrument well tuned. Melodic & harmonic intonation very good. Problems sometimes occur in extremely difficult passages but quickly corrected.

Instrument(s) relatively well tuned. Intonation often good but inconsistent. Difficult passages performed with partial success. Attempted to correct obvious problems.

Instrument(s) somewhat in tune. Melodic & harmonic intonation inconsistent. Difficult passages caused major intonational weaknesses. Intonation problems seldom corrected.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Style: STYLISTICALLY

ACCURATE & CONSISTENT

THROUGHOUT. SELDOM RIGID OR

MECHANICAL. EXCELLENT & MEANINGFUL

INTERPRETATION. Musical phrasing is obvious throughout the performance.

Stylistically accurate & consistent most of the time. Some passages may lack stylistic interpretation but do not detract from the performance. Musical phrasing is natural most of the time.

Stylistic accuracy demonstrated some of the time. Stylistic interpretation demonstrated some of the time, but often rigid & mechanical. Musical phrasing is basic but not always consistent.

Very little meaningful stylistic interpretation of musical passages. Style is undeveloped & inconsistent. Musical phrasing is mostly mechanical & non-musical.


Testing Rubrics – Performance/Rehearsal Skills Evaluation

Student Name____________________________Date_______________Mark

SUPERIOR EXCELLENT GOOD FAIR 10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Attendance:Attends all rehearsals and performances unless ill or excused for valid reason (medical appointment, negotiated athletic practice etc.)

Attends all rehearsals and performances. Occasionally forgets to advise of illness, appointment or negotiate conflict with another activity.

Attends all performances. Has missed a small number of rehearsals (unexcused). Occasionally forgets to advise of illness, appointment or negotiate conflict with another activity.

Attends all performances. Has missed a number of rehearsals.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Punctuality:Is on time for all rehearsals and performance call times.

Is on time for almost all rehearsals and performance call times.

Is on time for most rehearsals and performance call times.

Is on time for some rehearsals and performance call times.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Preparedness: Is fully prepared for

each rehearsal and performance with all required materials, including, but not limited to, such things as music, pencil, stand, reeds, spray bottle, mutes, valve oil etc. Is physically, mentally and emotionally ready to perform.

Is fully prepared for most rehearsals and performances with all required materials, including, but not limited to, such things as music, pencil, stand, reeds, spray bottle, mutes, valve oil etc. Is physically, mentally and emotionally ready to perform.

Is fully prepared for some rehearsals and performances with all required materials, including, but not limited to, such things as music, pencil, stand, reeds, spray bottle, mutes, valve oil etc. Needs to be more consistent at being physically, mentally and emotionally ready to perform.

Is occasionally fully prepared for rehearsals and performances with all required materials, including, but not limited to, such things as music, pencil, stand, reeds, spray bottle, mutes, valve oil etc. Is often not physically, mentally and emotionally ready to perform.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Discipline/ Deportment: Maintains a

consistently high level of concentration at all rehearsals and in performance. Utilizes appropriate methods of communication when required to enhance the success and quality of the rehearsal/performance. Responds efficiently to feedback from the conductor and other performers (uses a pencil etc.).

Maintains a consistently high level of concentration at most rehearsals and all performances. Utilizes appropriate methods of communication when required to enhance the success and quality of the rehearsal/performance. Usually responds efficiently to feedback from the conductor and other performers (uses a pencil etc.).

Maintains a relatively high level of concentration at all rehearsals and in performance. Utilizes appropriate methods of communication when required to enhance the success and quality of the rehearsal/performance. Often responds efficiently to feedback from the conductor and other performers (uses a pencil etc.).

Level of concentration at rehearsals is inconsistent. Sometimes communicates inappropriately in rehearsal, reducing the success and quality of the rehearsal. Does not respond efficiently to feedback from the conductor and other performers.


Suggested Assessment: It is suggested that student evaluation be broken down as follows: 75% skill and aptitude 25% student engagement Course Evaluation and Monitoring The school’s principal will ensure the objectives of the course are being met. The teachers will ensure that they are meeting the guidelines under which the course was intended. Curriculum Support will regularly review the course

Instrumental Jazz 15

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Transcript of Instrumental Jazz 15