newsletter no 5 - jeiowa.org · bill watrous, kimball recital hall, lincoln, ne 9:30 pm uni jazz...
TRANSCRIPT
FOR JAZZ EDUCATORS www.jeiowa.org
A Word From The President
JEI President’s Message
I hope this newsletter finds you well and prepared for the next few months leading up to IBA.
I’m encouraged to hear of more and more programs now emphasizing Jazz related study and performance throughout the year and beyond the traditional “Jazz season”. This trend is positively impacting your student’s lives and helps to satisfy our collective goal of developing performers and consumers of Jazz music and culture.
As we all prepare for festival performances, make sure to integrate time in your rehearsals for listening to Jazz. Many of the stylistic elements that I address when presenting clinics, deal with basic aural concepts which can only be addressed by listening to the music. Developing a library of accessible resources, both video and audio, is easier now than ever before. By encouraging/ modeling the importance of listening to jazz and watching professional jazz musicians, you stand the best chance of ensuring a personal connection to the music for not only your students but yourself as well.
I recently attended the national Jazz Educator Network Conference in Louisville, Kentucky and would like to share a couple of “take aways” that were reinforced in virtually every conversation and clinic I participated in…
1- Listening to jazz in the classroom is imperative.
2- Personal practice and study of improvisation by the teacher is the best model we can provide for our students to explore and take chances.
Michael Wolff – Faculty at The New School in New York, former pianist for Cal Tjader, Cannonball Adderley and Sonny Rollins presented a clinic on V-I Concepts of Tension and Release. One fact he shared left a lasting impression. When hanging out and discussing music, these jazz Giants never once spoke about scales or theory but moreover spoke in terms of “make your sound your best friend”, “experiment in sounds and regions not chords”, “be as wrong and rebellious as you feel at the moment”, “enjoy the game and feeling of improvising”. Their greatest collective concern centered on themselves and their sidemen consistently playing with soul and conviction… all quite telling, in my humble opinion.
In speaking about JEN I wish to congratulate JEN Office Manager, Registration Coordinator and Iowa’s own Larry Green who received the 2012 JEN President’s Service Award. This recognition is for “devoting tireless hours and effort into the development of JEN and for vision, perseverance and dedication to the Jazz Education Network”. Take a moment to read the full article in the latest JazzEd publication Click Here . Also, take time to watch this video -JEN Video- that summarizes the 2012 JEN conference and more importantly, explains clearly the philosophy and direction that JEN has chosen. JEN is a valuable resource that warrants your personal consideration for membership. Congratulations as well to Jayson Gerth and the Southeast Polk Jazz Ensemble on being selected to perform at this year’s conference. I am sure that his students came away from the experience with a deeper understanding of what it all means – nice work Jayson!
JEI BOARD
PRESIDENTRODNEY PIERSON
PRESIDENT-ELECTCHRIS MERZ
VICE-PRESIDENTPATRICK KEARNEY
PAST PRESIDENTSTEVE SHANLEY
SECRETARYJEFF SCHAFER
TREASURERMYRON PETERSON
JEI NEWSLETTER NO. 5 FEBRUARY 2012
PROVIDING JAZZ RESOURCESFOR IOWA’S EDUCATORS
Join us on
Listen to Jazz
Learn more
FOR JAZZ EDUCATORS www.jeiowa.org
Please note- All State Jazz Ensemble audition materials are currently under review and our plan is to distribute the results in early March. Thanks to all of you who participated in this year’s process. We are fortunate to have the same auditors involved again - thus ensuring a quality experience. As stated before, not everyone will be selected but having your students prepare for these recordings has no doubt benefited everyone involved! Read more about the Iowa All State Jazz Ensembles at www.jeiowa.org
Thanks for supporting jazz in your community and best wishes for a productive 2012!
RodRod PiersonPresident Jazz Educators of [email protected]
News from the
President-ElectSubmitted by Chris Merz
Spotlight on Campus
There’s a lot of high quality jazz happening on college campuses statewide this spring; major guest artists in residence, premieres of new student and faculty compositions and arrangements, and continued exploration of new as well as classic repertoire. This quarter’s performance calendar focuses on the many great jazz concerts being put on by Iowa Universities and colleges, many of which are free. Also, now is the time to think seriously about camps. Following the performance calendar links, you will find information about several camps happening this summer. Many will fill up quickly, so encourage your students to register early.
February
29 (WE) 7:30 pm Doc Severinsen, Schaller Memorial Chapel, Buena Vista University, Storm Lake http://www.bvu.edu/about/campus-calendar/detail.dot?id=1a71799b-8413-4c1f-aceb-7c09f7c419cb&crumbTitle=Signature%20ACES%20Event:%20%20Doc%20Severinsen
7:30 pm ISU Jazz Combos, Martha Ellen-Tye Recital Hall, Ames
March
1 (TH) 7pm UI Johnson County Landmark and Jazz Repertory Ensemble, the Mill, Iowa City
7pm Johnston High School/Drake Jazz I Concert, Turner Jazz Center, Des Moines
3 (SA) 5pm UI Johnson County Landmark at SEIBA, West HS, Iowa City
4 (SU) 3 pm Jazz I with Central Iowa Symphony, Ames City Auditorium
7 (WE) 7pm Drake Jazz Combo Forum, Turner Jazz Center, Des Moines
9 (FR) 5 pm Jazz After 5 with Eric Thompson and the Talented 10th, the Mill, Iowa City
16 (FR) 5 pm Jazz After 5 with Equilateral, the Mill, Iowa City
19 (MO) 7 pm Reggie Schive Big Band, El Fredo’s Pizza, Sioux City
20 (TU) 7 pm LeMars Gehlen Catholic Jazz Festival with guest clinician Doug Beach
21(WE) 7 pm LeMars Gehlen Catholic Jazz Festival with guest clinician Doug Beach
27 (TU) 7:30 pm Simpson College Jazz Ensemble, Great Hall, Indianola
7:30 pm UNL Faculty Jazz Septet with Guest Bill Watrous, Kimball Recital Hall, Lincoln, NE
28 (WE) 7:30 pm UNL Jazz Combos, Westbrook Recital Hall, Lincoln, NE
29 (TH) 7:30 pm UNL Jazz Orchestra and UNL Big Band with Guest Bill Watrous, Kimball Recital Hall, Lincoln, NE
9:30 pm UNI Jazz Band One, Jazz Panthers (Jazz II), and Inglorious Jazzers (Jazz III), the HuB, Cedar Falls
April
3 (TU) 7:30 pm UNI Jazz Panthers (Jazz II) with guest artist Matt Harris, Bengtson Auditorium, Cedar Falls
4 (WE) 7 pm Drake Jazz Combo Forum, Turner Jazz Center, Des Moines
5 (TH) 7pm UI Latin Jazz Ensemble at the Mill 5 (TH) 7:30 Dave Pietro, the Englert Theater, Iowa City
6 (FR) 7:30 PM, UNI Jazz Band One, Bengtson Auditorium, Cedar Falls
7 (SA) 8 pm Oddbar Trio, Café Paridiso, Fairfield
11 (WE) 7:30 pm Drake Jazz I featuring guest artist Matt Harris, Turner Jazz Center, Des Moines Ticketed ($5 general admission/$3 student rush; email mailto:[email protected] to reserve tickets)
7:30 pm ISU Jazz Combos, Martha Ellen-Tye Recital Hall, Ames
9 pm UNI Combos, the HuB, Cedar Falls
12 (TH) 7pm UI Guitar Ensemble, the Mill, Iowa City 13 (FR) 5 pm Jazz After 5 with the Oddbar Trio, the Mill, Iowa City
7:30 pm UI Johnson County Landmark with guest artist Peter Apfelbaum, at the Englert Theater, Iowa City
14 (SA) 7:30 pm Wartburg Knightlighters, McCaskey Lyceum, Waverly
15 (SU) 3 pm UI Latin Jazz Ensemble at Riverside Recital Hall, Iowa City
16 (MO) 7 pm Reggie Schive Big Band, El Fredo’s Pizza, Sioux City
17 (TU) 7:30 pm UNL Jazz Orchestra and UNL Big Band, Kimball Recital Hall, Lincoln, NE
18 (WE) 7 pm Luther College Jazz Band, Center for Faith and Life main hall, Decorah
7:30 pm ISU Jazz Bands, Martha Ellen-Tye Recital Hall, Ames
9 pm UNI Combos, the HuB, Cedar Falls 19 (TH) 7pm UI Jazz Repertory Ensemble, the Mill, Iowa City
7:30 pm Drake Jazz II Concert, Turner Jazz Center, Des Moines
20 (FR) 7:30 pm Grinnell College Jazz Ensemble and Oratorio Society present Duke Ellington’s Sacred Concert, Sebring-Lewis Hall, Grinnell
JEI NEWSLETTER NO. 5 FEBRUARY 2012
FOR JAZZ EDUCATORS www.jeiowa.org
22 (SU) 4 pm Grinnell College Jazz Ensemble and Oratorio Society present Duke Ellington’s Sacred Concert, St. John’s Lutheran Church, Des Moines
24 (TU) 7:30 pm UNI Inglorious Jazzers (Jazz III), Bengtson Auditorium, Cedar Falls
26 (TH) 7:30 pm UI Jazz Repertory Ensemble at Riverside Recital Hall, Iowa City
7:30 pm Luther College Jazz Orchestra concert, Center for Faith and Life main hall, Decorah
7:30 pm Morningside College Jazz Band, Eppley Auditorium, Sioux City
27 (FR) 5 pm Jazz After 5 with the Steve Grismore Trio, the Mill, Iowa City
7:30 pm Pella High School/Drake Jazz I Concert, Turner Jazz Center, Des Moines
MAY
3 (TH) 7pm UI Johnson County Landmark and Jazz Repertory Ensemble, the Mill, Iowa City
18 (FR) 8 pm Luther College Jazz Orchestra and Nordic Choir, Center for Faith and Life main hall, Decorah
Many more performances are listed on the following websites:
KCCK Concert Calendar, http://www.kcck.org/calendar/
Synergy Jazz Foundation, http://www.synergyjazz.org/calendar.html
Community Jazz Center of Des Moines, http://www.dmcommunityjazzcenter.org/
The Mill, Iowa City, http://icmill.com/?page_id=5
Also, consider becoming a fan of the Jazz in Iowa page on Facebook, http://www.facebook.com/groups/37004788482/
There is an expression that goes, “We learn to ice skate in the summer and ride a bike in the winter.” To me this means that we need to try a new mode of practice to make real improvement. Summer presents an opportunity for students to grow in their understanding of jazz music while away from their peers and school programs.
Studying and performing with new people can inspire great growth as well as foster new friendships that can last a lifetime. Encourage your students to take advantage of one or more of the excellent jazz camps offered this summer. While some are comprehensive, others emphasize small group playing and improvisation. Within this range there is an experience to meet the needs of every interested young jazz musician. Some are even open to educators, so if you are looking to sharpen your improvisation skills or gain some practical experience on a rhythm section instrument, consider attending with your students.
As always, these listings are far from comprehensive. If you know of events around the state that are not listed here, please send me information and JEI will post the event on Facebook.
2012 Summer Jazz Camp Listing
Reggie Schive Summer Jazz Camp, Iowa Lakes, University of Okoboji, June 10-14. This camp provides a comprehensive summer jazz experience featuring big band and combo playing opportunities, instruction in jazz theory and improvisation. $450 (resident), $250 (commuter); http://www.iowalakes.edu/music/jazz_camp/registration/
Simpson College Jazz Combo Camp, June 10-15. Directed by Dr. Dave Camwell, the Simpson College Jazz Combo camp will provide an intensive experience for those high school students, ages 12 -19, looking to gain skills and appreciation in jazz and improvisation. $340 or $395 tuition r/b packages:www.simpsoncollegejazzcamp.com
UNI Combo Camp XII, University of Northern Iowa, June 17-22. Intensive instruction in improvisation and small group jazz playing for high school students and instructors, featuring UNI faculty and guest educators. $440 (resident), $310 (commuter) if registration postmarked by May 1, 2011, $475/$350 if after; http://www.vpaf.uni.edu/events/jazz/registration.asp
Iowa Summer Music Camp, University of Iowa, June 24-29. This comprehensive jazz camp focuses on small group playing and improvisation. Registration is open to students in eighth grade and above. $560 (resident), $225 (commuter). http://www.uiowa.edu/~bands/ISMC/Welcome.html
KCCK Jazz Band Camp, July 9-13. KCCK-FM and Kirkwood Community College offer their summer jazz band camp for middle school
students each July. $249. A meal plan is available at an additional cost. Scholarships are awarded to students who would not otherwise be able to attend camp without tuition help. Most scholarships are for one-half tuition ($125):http://kirkwood.augusoft.net/index.cfm?method=ClassInfo.ClassInformation&int_class_id=26482&int_category_id=0&int_sub_category_id=0&int_catalog_id=0.
Ongoing eventsCommunity Jazz Center of Des Moines (CJC) jam session, first Sunday of each month, 2-4 PM, Java Joe’s, 4th Street and Court Avenue, Des MoinesFor information contact [email protected]
News from the
Past PresidentSubmitted by Steve Shanley
JEI Repertoire Project
In our ongoing efforts to provide resources for Iowa's jazz educators, JEI is compiling a list of high quality repertoire for various stylesand levels of difficulty. We hope this collection will help provide suggestions for all teachers as they undertake the vital task of literature selection. The list will include the title, composer, style, and level of difficulty, and it will be posted on our website. This will be a list "for Iowa teachers, by Iowa teachers," so we wantyour input! Please contact me if you have suggestions we can add to the list.
JEI NEWSLETTER NO. 5 FEBRUARY 2012
- committed to the
creative development of
students
- strengthening Iowa’s jazz
community and culture
- supporting the
development of lifelong
performers and
consumers of jazz music
JEI IS
FOR JAZZ EDUCATORS www.jeiowa.org
Educational Resources
The Complete Jazz Experience
Submitted by Mike [email protected]
Digging a little deeper for understanding and awareness
One of the difficult tasks we face as jazz educators is finding a way to expose our students to fundamental theory, history, and improvisational concepts while leaving ourselves enough time in rehearsals to prepare for our upcoming concert. I hope we all agree that is very important to prioritize these elements so our students become lifelong consumers of jazz. Yes, we are all short on time in rehearsals and need every second to prepare for the next performance, but the understanding we are searching for will hopefully engage the students in a way that will actually create better efficiency and effectiveness. To put it another way, there are some cases where the only jazz the students know is the music they have played in jazz band. It is our job to change that, and it is VERY easy to do with all of the resources out there. I am going to touch on each area briefly, with an option to go further in depth into specific areas in future newsletters.
1. Getting the students to LISTEN to jazz. At first, their exposure to jazz is generally whatever they may be playing in jazz band. USE THAT! To piggyback on past newsletters, find a way to connect the charts in the folders to jazz recordings.
A. This could be done immediately by selecting arrangements of tunes recorded by the greats and exposing the students to them. From there, have them learn the names of who else is on
the recording and have them find another album they may be featured on. From there, hopefully it will snowball! Granted, there will always be students that blow it off no matter what you throw at them. However, there may be students in your band who are hungry and just needed that extra direction. B. Another connection could be finding a recording in a similar style or mood just to get them to hear the various nuances. For example, there seem to be an infinite number of swing tunes out there. Some are direct transcriptions, some are arrangements, and some are original. Whatever the case, find that connection and expose the students. If it is a straight ahead, four-on-the-floor swing tune, hook them up with Count Basie, and so on. The point is, there are so many resources out there and so many connections to be made to get the students to really listen. And as educators, it is our job to seek out those resources and get our students headed in the right direction. It is also the hope of JEI to compile a list of recommended jazz charts in the future for our members to consult, complete with teaching tactics, recommended recordings, etc. C. Send the students to YouTube, Spotify, or other online resources with a list of names. Have them pick a favorite and “report” back to you. Again, this may be all they need. I will also direct you to the Jazz Student Resource page on the North Scott Band website (www.nsband.com/jazz_resources.htm). You will find links to major players on each instrument there, as well as some other helpful links. If you would even want to copy and paste the information on that page to your website, that is fine too- some already have!
2. Improvisation and Jazz Theory. This is an area that many directors are uncomfortable teaching, and for good reason. Even for those whose primary instrument is a “jazz instrument”, there are many that haven’t ever played in a jazz ensemble, let alone had
much experience with improvisation. Here are a couple of suggestions for both teachers and students alike.
A. Transcribing. One of the most valuable tools in learning to improvise. In fact, I would recommend that the teacher transcribe a solo as well and play it for the students on their primary instrument- no matter what it is! Better yet, don’t TELL them it is a transcribed solo right away- just let them think you’re a great improviser and validate yourself as a jazz educator in their eyes! As for the students, assign them an accessible recording to transcribe. There are many opinions as to which recordings are “transcribable” for Middle and High School students, so I would recommend you ask around for suggestions. Maybe JEI could add that to our list of projects as well…poll area jazz educators for their recommended transcriptions? B. Jazz Theory Resources. There are some readily available resources both online and on the shelf that will get you started. Online, I would recommend the JEI webpage. We have a collection of materials that is constantly being added to. This includes scale sheets/exercises, links to helpful pages, handouts from clinics, and beyond. It is by no means all-inclusive, but we recommend using it as a starting point for your students (and yourselves!). On the shelf, there are many methods and all have good things to offer. I would suggest looking through them and finding one that best meets the needs/current level of your students. And remember- educators need to study it as well so they can teach it and demonstrate it to their students!
3. Working all of this into limited rehearsal time. Here is the challenge. In an ideal situation, you could set aside some extra time to work on these concepts outside of rehearsal. If that is not an option, I would recommend creating some handouts for the students that illustrate the concepts. For
“YouTube is an inexhaustible source for free listening and
watching.”
JEI NEWSLETTER NO. 5 FEBRUARY 2012
FOR JAZZ EDUCATORS www.jeiowa.org
JEI NEWSLETTER NO. 5 FEBRUARY 2012
example, create a list of recordings you would like them to check out that connect with the music in their folder; include a lead sheet with chord changes, scale patterns, etc. with the songs they are working on; provide a list of players for them to check out on YouTube, Spotify, iTunes, etc. Bottom line: spending time outside of rehearsal getting these materials ready will make the teaching of them more efficient in rehearsal, giving you the opportunity to use them and refer to them at any given moment.
It is our hope that presenting this material does not seem like “extra work” for jazz educators. For us, this is an essential part of teaching jazz. Again, we understand the comfort zone issue, but hope that this points teachers and students in the right direction so they can both embrace and overcome that discomfort which will create the quintessential jazz experience.
Jazz at the Middle School Level
Submitted by Colleen [email protected]
Most middle school students do not have a jazz music library and wouldn’t know where to start to build one. It is our job as middle school jazz educators to guide them in the right direction. Many lists can be copied right from the internet. On our own jeiowa.org site, look under resources for a list of recommended jazz artists. Also, you can find some great information here:http://www.pbs.org/jazz/links/http://www.smithsonianjazz.org/http://www.jazzednet.org/k8jazz/http://www.nafme.org/s/jazz/
Challenge your students to find recordings and bring them to rehearsal and share them with the group. Make every Friday a “fun music Friday” and listen to various jazz artists. Encourage them to listen for things they can copy in their own solos!
YouTube is another valuable resource for listening. My young jazz band is performing a Miles Davis tune called “Four.” Many times, I have a video from YouTube playing as students are arriving for rehearsal. They have been exposed to a wide variety of performances of “Four” thus
encouraging them to get more creative as they improvise in the correct style.
Young jazz performers can benefit greatly from using the “Smart Music” program to learn improvisation. Students can improvise in any key along with a recorded rhythm section. One example is to give the band a blues scale. First ask them to play the scale in whole notes and eventually work it up to eighth notes in a swing style. Using a call and response, go around the band and have each player improvise for 2 bars. In between students, the teacher can improvise to help give the students ideas. Work this exercise up to where student can improvise for 4, 8, or 12 bars. You can also pair up students (one who is a stronger improv player with a weaker soloist) and have them trade fours and twos. These are just a few examples of how to start the improvisation process.
I feel it is important for myself, as a professional teacher, to play as often as I can. Teachers who play in big bands, rock bands, churches or even community bands can show their students how much fun performing can be. It is a lifelong skill that students can enjoy for many years past their time in high school.
Elementary Jazz
Gettin’ Down in the Music Classroom
Submitted by Erin [email protected]
In continuing my series based on Doug Goodkin’s publication “Now’s the Time: Teaching Jazz to All Ages,” I would like to focus this time on movement. Movement in the music classroom is used in the teaching of many music teachers, and used particularly by Orff and Dalcroze enthusiasts. Goodkin states that incorporating jazz style movement in the classroom should be differentiated from European type dance by approaching movement as more of a craft than art. He describes jazz movement as having roots from West African culture, and though there are characteristic differences among different cultures within West Africa, there are three ways that movement generally differs from a European approach. “You’ve Got To Get It All Over”
First, you must move with the whole body, but at the same time keep movement self-contained. For example, a simple “side-close-side” step should be animated, as if each part of the body is a different drum in a drum ensemble. The
feet, hips, back, shoulders, and arms are all playing their own rhythm. This is in contrast to European movement as illustrated by ballet, flamenco, or even Irish jig dances where straight backs and bodies move as one. Goodwin cautions that moving the different parts of the body in polyrhythm is not an invitation to flail about, but rather should be subtle and controlled. Allowing students to move freely and improvise what they feel is a beginning to this movement approach. Experimenting by having students choose one body part at a time to move to recorded jazz music is one introductory activity. Having students mirror each other can also help students develop new movement vocabulary that they learn from each other. Then try having them move their feet to the beat while moving one body part to another rhythm that they hear. Reminding students that there isn’t a right and wrong will help them be open to trying new movements.
“Gettin’ Down”Secondly, jazz or African based
movement should be more horizontal in movement, and grounded near the earth. This is in contrast to European traditions of which have a more vertical, straight back, tall, and elongated dimension. For jazz dance, knees should be bent with a feeling of giving in to gravity while loosening anything that is tense. This can be experienced with the “jazz walk”, a term used by Goodkin, where students follow the teacher or another leader around the room: Step diagonally side to side beats 1 and 3. The free foot taps the stepping foot on beats 2 and 4. Keeps knees bent and have a slight bounce to the body. This activity helps students get a feel for accents of 2 and 4. Additional movements can be added through improvisation and mirroring/follow the leader activities. Having a teacher who is willing to get in there and get down too is important to demonstrate that this type of movement is fun and not “incorrect”.
“Gettin’ into it”Finally, energy should be put
into the style of the steps rather than focusing on perfection and form as is often done in European traditions. Loose structuring of circles or other forms that allow for improvisation are more suited to jazz movement than formal choreography. Jazz movement should come from an intuitive wisdom or heart intelligence from the individual rather than everyone trying to be exactly alike. It is important during such dancing that the students are not told that they are “wrong” but instead are allowed to explore different ways they can move, allowing for development of individual expression through movement. Because this type of movement will seem “wrong”
FOR JAZZ EDUCATORS www.jeiowa.org
to many students not having experienced this culture, positive reinforcement and role modeling are imperative.
These activities are not suggested as a replacement to European style movement and dance in a classroom. It is suggested that they be taught in parallel so that the historical and cultural differences can be understood while deepening the students’ experiences with two different approaches to music and dance. It is important to note that the West African or jazz dance approach allows for improvisation and expression in ways that a European approach does not, and that in preparing students to listen to, play, and experience jazz music, a jazz approach to movement is useful to a whole body understanding of the jazz language.
These three suggestions of Goodkin can be utilized in many playground games, jump rope songs, and other activities that he describes in his book. He also offers guidelines for choosing music for these activities. He suggests a tempo between 132-144, tunes between 3 and 9 minutes in length, quality literature including historical jazz greats, and tunes that reflect your personal preference as the students will pick up on your enthusiasm. Goodkin also suggests, of course, that music should be selected based on the lesson goals. He provides many lists of suggested tunes in his book. So go get it all over, get down, and get into it.
Vocal Jazz ChoirSubmitted by Linda Vanderpool
Moving Forward in Vocal JazzJeremy Fox
I am happy to have been asked to guest-author this column for the JEI newsletter. Before leaving to begin doctoral studies in jazz composition, I co-directed the jazz program for 8 years at The School for Music Vocations at Southwestern Community College. During that time, I was delighted to have been able to witness an increase in the numbers of quality scholastic vocal jazz ensembles throughout Iowa. Though still in its infancy, vocal jazz education is gaining support in various pockets throughout the United States. Choral directors observe neighboring schools successfully integrating vocal jazz into their curriculums. Upon seeing this, directors begin to realize that it might thrive in their own schools. To help it
thrive, there is much a beginning (or experienced) vocal jazz educator can do – with the goal of offering our students the highest possible musical experience with jazz, so they sing with stylistic authenticity and integrity.
Listening Listen, listen, and listen. Make time for it in rehearsals. Have your students complete weekly listening assignments. There is nothing that will ever replace this; nothing that can exponentially expand your students’ “jazz ears” (and jazz brains and hearts) as much. Students should check out recordings of vocal jazz groups, solo jazz singers, and jazz instrumentalists. While introducing a listening regimen for your ensemble, have them occasionally suggest or choose an artist as well. Please advise your students that they may not like everything they hear – but you may be pleasantly astonished at what they do enjoy.
YouTube is an inexhaustible source for free listening and watching. Being able to watch Ella sing “Mack the Knife” might be all it takes to effectively impassion a student. Another amazing listening aid is called Spotify (downloadable at www.spotify.com/us). It streams millions of tracks, is completely legal, and offers our students and us the opportunity to hear music without paying a cent. (Not to worry, the song owners still get money every time the song is played.) There is NO excuse anymore for us not to listen to jazz. But who should you listen to? This column cannot possibly scratch the surface – but if you are interested in a complete list of recommended jazz soloists and groups, feel free to contact me.
Literature We owe it to our students (and ourselves) to spend the time in selecting high-quality literature for our vocal jazz ensembles. The best of literature allows us to request musical integrity from our students. Charts needn’t be difficult, though you might aim to program one piece each semester beyond your ensembles’ experience level. Choose carefully whether you decide to tell your students it is “difficult”, as it will either challenge them or demoralize them. Plus, they may just surprise you!
Even those arrangers who tend to write complex charts often have one or two accessible charts as well. Try to sample as many arrangers, and cover as many styles (swing, ballad, “latin”, etc…) as possible. Keep an eye open for arrangers
who catch your ear, and charts that are stylistically outside-the-box. With vocal jazz literature, many directors don’t know where to start. Unfortunately, the charts marketed by the largest publishing companies do not always deliver. That said, there are more resources than ever to help you find and select quality music. Again, feel free to contact me for resource lists that help locate specific arrangers or charts to fulfill your particular ensembles’ needs.
Jazz Improvisation Incorporating improvisation into the vocal jazz ensemble is important. Many argue it is what makes music authentically “jazz.” Though this may be true, improvisation is at least initially, often more challenging for vocalists. Unlike their instrumental counterparts, singers do not have the luxury of possessing buttons or keys to press while improvising. Because of this, basic scale theory is crucial to beginning jazz players, but is typically not the first concern for improvising singers.
For singers, the initial concerns may be two-fold: the first may be overcoming the fear of singing a “bad” note. This fear can be intensified for the singer (versus the instrumentalist) since their instrument is their own body. Consider letting your students get comfortable with scat singing on their own terms. Arrange for them to take home a play-along each week. The class might all practice the same discipline on any given week – 12-bar blues, minor blues or rhythm changes, for instance. Then select a day in the week to devote 20-30 minutes of rehearsal time to improvising over that specific discipline. In showing your students you are willing to trade rehearsal time for this endeavor, they will begin to place more importance on improvisation. As an added bonus, this creative time is a welcome break from the daily grind of working on literature.
The other initial concern often revolves around what syllables to sing. Encourage your students to keep it simple: “Da” or “doo” on downbeats, “ba” (brass) or “va” (saxes) on offbeats. “Dot” can be sung for a short note. Fancy syllables are unnecessary, and often stick out in less than desirable ways. Practice speaking syllables in basic rhythms (swing or even 8ths, while a metronome clicks on beat 2 and 4) and have them repeat the syllables after you. After a few weeks of speaking exercises, the syllables will become second nature, and allow students to focus their attention on creating musical ideas.
JEI NEWSLETTER NO. 5 FEBRUARY 2012
FOR JAZZ EDUCATORS www.jeiowa.org
Singing with a Rhythm Section Many vocal jazz directors choose to exclusively program a cappella charts. While a cappella singing is important in its own right, historically, vocal jazz has almost always been strongly linked with a band or rhythm section. Singing with a rhythm section then is an experience that every vocal jazz ensemble ought to have. In building a culture where student instrumentalists are a consistent part of your rehearsals, day-to-day logistics can sometimes get hairy. An instrumental colleague who supports you in this endeavor is hugely significant. Stress how important it is that your singers have this authentic jazz experience. In the worst-case scenario, consider hiring a professional trio for one concert a year. It will pay in spades – your students’ energy will be changed in the experience.
The “Big Picture” Of course, for a director to know jazz theory can catapult the success of both teacher and student. Incorporating jazz theory into warm-ups or into rehearsals enables our students to become knowledgeable musicians. Being able to accompany our students with basic jazz piano skills allows them to hear the big picture. Having basic jazz arranging skills can free us to create custom charts for our students, or edit existing arrangements to better serve our students’ needs.
Unfortunately, the ability to figure out jazz harmony behind a piano is not something most choral directors possess. And why would they? If jazz existed at our particular college, the curriculum typically favored instrumental classes and ensembles. As choral/vocal education majors in college, most of us were treated to precious little in the way of harmony. We were usually just expected to learn a jumbled mess of Bach part-writing rules, and pass the most basic of piano proficiency exams. Without a full grasp of harmony, educators frequently find themselves feeling inadequate and insecure. Though self-teaching from jazz theory books is an option, luckily there are now summer camps which are custom-tailored to the individual gaps in our education.
In Iowa, there is a new summer opportunity for music educators and college music majors, which focuses on learning basic jazz piano and arranging skills. The Jazz Theory Boot Camp (www.JazzTheoryBootCamp.com) will take place from July 29-August 4 in
Creston, Iowa. It is an intensive 7-day camp for up to 18 directors. The camp is open to all levels, and offers “hands on” study in a safe and friendly environment.
For your students, the 9th Annual SMV Vocal Jazz Camp (www.VocalJazzCamp.com) will take place in Creston from July 23-27. The camp is geared toward beginning through advanced jazz singers. Last summer, 35 participants traveled from around the U.S. and Canada for the camp. Participants learn jazz theory and rehearse quality group music throughout the week. They are also coached to sing a solo tune every evening with a professional rhythm section – all in a very nurturing atmosphere. Summer camps are a great way to meet like-minded musicians who share a passion for vocal jazz. In addition, camps like these can help you and your students grow in unimaginable ways, leaving you feeling empowered to study and sing jazz year-round.
Synergy Jazz Submitted by Bill Bergren
Synergy Jazz Foundation
announces the fourth annual Jamey Aebersold Summer Jazz Workshop
Experience. Synergy offers free transportation to the weeklong workshop held on the campus of Louisville, KY. Scholarshipsfor students in need are available through Synergy.
Jamey Aebersold Summer Jazz Workshop
For almost 40 years, musicians from all over the globe have turned to Jamey Aebersold's "Summer Jazz Workshops" to improve their jazz playing. During this time, the Workshops have earned a reputation for producing the best intensive programs for learning jazz improvisation. Whether a beginning improviser or a seasoned pro, you'll leave the Workshops and Seminars with tons of new and exciting ideas about how to improve your playing.
Each Year, the Summer Jazz Workshops assemble more than 60 of the nation's leading educators and performers dedicated to providing an intensive learning experience for musicians of all ages and levels. Theory Classes, Ear Training, Combo
Performance, and Master Class Sessions allow individuals the opportunity to grow and develop to their fullest potential. We have tried to put enough information here to answer almost any question you might have, so follow the links in this site to learn more about our programs.
The week-long workshops are the best place to learn jazz through hands-on experience. With over 60 All-Star faculty members for each week, participants are assured of getting plenty of attention in rehearsals and classes. We welcome all instruments, including rhythm section, strings and vocalists. http://www.summerjazzworkshops.com/about.asp Deadline for scholarship applications is April 1. Deadline for workshop registration through Synergy is May 1. Early registration is encouraged. Transportation is available on a first come basis. Synergy Jazz Foundation is a non-profit, grass roots group with the mission of developing educational and performance projects that combine the resources and talents of musicians, educators, schools, charitable organizations, and the community. Using Jazz as a vehicle, Synergy projects teach the value of creative thought, an awareness of American culture, and the importance of dedication, commitment, and personal responsibility in achieving success.
For more information about this and other Synergy projects, visit the Synergy
web site. www.synergyjazz.org
JEI NEWSLETTER NO. 5 FEBRUARY 2012
FOR JAZZ EDUCATORS www.jeiowa.org
CodaFinal Words From The
President
Educational content on our website continues to grow. The “Resources” tab lists and links a variety of instructional materials. A special note of thanks goes out to Steve Kellar. While a number of JEI’s Executive and Advisory Board members actively search out and contribute these materials, Steve is responsible for maintaining the content and navigational aspects on our website. We have received numerous compliments from visitors to our website, within and outside of the state of Iowa. Both Steve and JEI Treasurer Myron Peterson are an integral part of making things run smoothly – their efforts are greatly appreciated. I would also like to thank our newsletter editor and Facebook post man Mike Omarzu. His eye for detail is evident in the quality work he provides JEI. Feel free to link videos of your favorite jazz performances to our Facebook page. This would be great resource for your students as they increase their understanding of Jazz.I would encourage you all to thank our sponsors who provide financial and marketing support. These businesses and institutions help make the continued growth of JEI possible. You can direct link to them by visiting www.jeiowa.org
We will announce detailed plans for a 2012 “Jazz Masters Tour across Iowa” at the IBA Conference in May. We have been receiving good feedback regarding last fall’s planned Tour. We still would welcome comment regarding location(s), timing within the school year, what you want to be addressed during JEI sponsored clinics and workshops etc. Most of you have stated that early November works well and while we continue to explore available funding sources, it is too early to commit to a specific schedule or Group…we’ll keep you posted.
Let us know how we’re doing and please consider opportunities to volunteer when called upon to do so. JEI is as much yours’ as ours to shape.
All the Best!
RodRod PiersonPresident [email protected]
JAZZ EDUCATORS
OF IOWA
www.jeiowa.org
Renew your membership by clicking here.
Even if you have some brilliant jazz ideas, it's going to be difficult to get them across
unless you have (a) a distinctive sound or (b) a loud sound.
These are musts.
Sonny Rollins
JEI NEWSLETTER NO. 5 FEBRUARY 2012
Listen to Jazz
Learn more
Join us on
Visit our website