Basics to Running a Successful Jazz Program

8/13/2019 Basics to Running a Successful Jazz Program

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Basics to Running a Successful Jazz ProgramBeginning Improvisation TechniquesJanuary 3I't 2014ll:45-t2:45

lntroductions:Lewis Nelson, Band Directoa Highland High School - Email: [email protected] is a9-72high school in the Gilbert Public School district.' ^' The band program has over 400 students enrolled each semester in the following ense,mbles:4 Concert Bands - FulI Year3 Jaz-z Bands - Full YearJazz Combo Class - Full YearMarching Band - Fall OnlyWinter Percussion - Spring OnlyWinter Color Guard - Spring OnlySSmrphony Orchestra- Spring Only;

Overview:1. Warm-ups: Do you need to do the,m? What do I do?2. Sample rehearsal schedule for your jazz band3. How do I teach basic/beginning improvisation?4..TheoryLesson

Topic Discussion:1. Warm-ups: Do you need to do them?- Yes. A11 students need to play long tones and learn how to move air.- You need to work on jazz basics, scales, articulations, style, getting use to beats 2 and 4.- Everyone also needs to leam ii-V-I scales and how they work with chords.

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2. Sample rehearsal schedule for your jan bandWann-ups: {- larr.: *td/, l\tt"ratil#;;rf -. rattntr-tj- You must have organized wann-ups, especially at the beginning of the year whether you are teachingjazzband, marching band, or concert band. You always neea to nave long tones, scalls, and basicimprovisation wantr-ups scheduled for every waxm-up. Your warm-ups should take up approximately '1/3 of your rehearsal. Here's how a generic *rm-,rp1ooks for Highland:o First 5 minutes: We play our long tone exercise (see attached sheet) 2 or 3 times. We alwayshave the brass buzz the warm-up the first rime. On the second readt,we have the brass add their, mouthpieces and if we do the waxm-up 3 times, we have everyone play the added scales (**Ittakes a long time for the kids to be able to play the scales, have them play the warm-up real slowif you add the scales until they can play everything.)


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o Minutes 5-10: ii-V-I Scales. These scales are imperative to leaming how to improvise. If yourstudents learn and master the theory behind these scales, your students will become moresuccessful with lea:ning the literature and their improvisation skills will improve.o Minutes 10-15120: We practice imFrovisation during this block. There is a lot you can'do here.For example: have just the saxes each improvise on Monday, Trumpets Tuesday, etc....Everyone needs to practice improvising at least once per week. Encourage stude,nts to transcribe.Once a week take time to listen to differe,nt jazz genres. Offer sfudents exka credit to transcribeeasy solos like 'So What' from Miles Davis's album "Kind of Blue". Singing the solo section isalso imperative and helpful to leaming it.o Re,mainder of the class - rehearse yor:r literatr:re

*" 3. How do f teach basic/beginning imProvisation?- Make sure you take time to teach theory at least once a week. The kids need to understand that they play

a major scale over a major chord, a mixolydian scale ovr a dominant chord, and a dorian scale over aminor 7 chord. If the students understand this, they will be much more successful.- Teach'blues changes. We have every sfudent leant, "Tenor Madness" by ear and we teach them thechanges. Have each kid take at least one solo over the blues changes every week. It's importarrt theyplaywith abig sound and keep things simple.- Teach the second round All State JazzTtne.' Transcribe. It is important that each student transcribes at least 20 seconds of a simple solo eachse,r:rester. Transcribing teaches style and helps show students that improvisation is not magrc.tnprovisation is simply performance of the leamed scales and patte,r:rs. It takes time, the key is toalways try and not quit Please see our attachgf "Highland Fattern Sheef'for ideas

4. Theory Lesson & Warm-UpsPlease feel fibe to take notes.


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b. Mlxolydian scale start on: _3. lf you are in the key of A, what note does your:a. Dorian scate start on:b. Mixolydian sial staft on:4. lf you have an AminT chord in your music, looking at the circle of 4ths, what key are youin?

-5. lf you have an G7 chord in your musig looking at the circle of 4ths, what key'are in?lf one knows all of their major scales, theoreticatly all they should n""O ,, a copy of thecircle of 4ths to understand where the dorian and mixolydian scales come from.

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Highland Pattern SheetThe Cycle:

c- F - Bb - Eb -Ab - Dblc# - cblF# - CblB- E -A- D - GEach pattern/scale is worth 20 points and must be memorized(you can use this sheet for reference)

#1 Play each set of Arpeggios ascending (1-3-5-7) Exomple, in C mojor you would ploy C-E-G-Bo. Major 7b. Dominont 7c. Minor 7d. Half diminished 7e. Fully diminished 7#2 Play each set of Arpeggios Descending (7-5-3-11 Exomple, in C mojor you would play B-G-E-Co. Major 7b. Dominant 7c. Minor 7d. Holf diminished 7e. Fully diminished 7

#3 Play Major 6 chords ascending (1-3-5-6) Example, if you see a CM6 you would ptay C-E-G-A#4 Play Major 6 chords descending (6-5-3-1) Exomple, if you see o CM6 you would play A-G-E-C#5 Play 1-7 around the cycle using dominant chords. Example, if you see a C7 chord you wouldploy C-Bb.#.6' Play 3-5-L-7 around the cycle using dominant chord s. Example, if you see a C7 chord youwould ptoy E-G-C-BU#7 Play Octatonic Scale + BeBop Scale - All 12 keys (brass 2 octaves, saxophones full range)#8 ii-V-l scales - All 12 keys (brass 2 octaves, saxophones full range)#9 Octatonic pattern Exomple, C-Bb-Eb-Db-Gb-E-A-G C-Bb-A-G-Gb-E-Eb-Db-C#10 Major 9 Arpeggio ascending and descending (1-3-5-7-91 Example, if you see o CM9 youwou I d play C- E-G- B- D- B-G- E-C#11 Maior 9 lick:La 13

ii m7 -V7 Patterns, see back of this sheet:


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Basics to Running a Successful Jazz Program