Miles Davisnb Improvisational Philosophy (1)

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MILES DAVIS KIND OF BLUE AND IMPROVISATIONAL PHILOSOPHY:

Alternative Methods for Teaching Jazz Improvisation

By Brian Dean

One of the most influential jazz albums of all time, Miles Davis Kind of Blue

embodies an improvisational character that is both rich with musicality1

and meaningful

in spirit. Kind of Blue has dramatically influenced jazz education and improvisation and

is universally respected among jazz musicians, pedagogues, critics, and lay-persons. The

improvisatory nature and emotional depth of the performances in Kind of Blue are

pioneering in content, and in the use of creative devices and compositional elements.

Much of the modern pedagogical practices, including improvisation curricula and method

books can be traced to approaches employed by performances in Kind of Blue. Through

transcription and analysis, a great deal of empirical content contained within

performances ofKind of Blue has been reproduced in jazz education.

One critic said of Davis in Kind of Blue: Everything Miles played simply

sounded so right. The totality of it is rightnot just note choice, not only tempo, not just

tone color, everything is right.2 Contemporary pedagogy falls short in tackling

creative and emotional components specific to Davis performances in Kind of Blue.

Modern improvisation curricula present extremely functional, analytical information to

students yet does not educate them on why and how Davis performances are exceptional

from a creative perspective. Current jazz education is comfortable functioning within an

1MusicalityThe quality or condition of being musical. Musical sensitivity or talent (American Heritage

Dictionary).2

Brubeck, David Baker and the Lenox School of Jazz, 8.


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environment emphasizing theory and analysisempirical data that can be easily taught

and assessed.

Much of what is taught in jazz education directly mirrors the harmonic

developmental stages of John Coltrane.3

Studies of Coltranes methodical approaches to

improvising have resulted in a highly organized theory-intensive template for the

teaching of jazz. Jazz education has adopted this model into curriculum because it is

easily assessed throughout a students development. The consequence of placing too

much emphasis on harmonic information results in essential components of improvisation

being sorely neglected or worse, never discussed. ''For awhile it was just, 'teach them

note theory and if they can hear it, they're good, and if they can't, they're lame'.''4 Many

highly talented, creative, brilliant people may have been left behind as a result of

traditional practices in jazz education.

Current jazz pedagogy by and large emphasizes correct answers, through

playing the right notes, rhythms, and harmonies for evaluation. Higher education

embraces courses in theory and harmony because the material is easily assessed, can be

reproduced and taught to large groups, and the courses purpose can justified to the

administration. Assessment of specific components of jazz improvisation is important,

but to what end? Accountability is essential for all of the choices that students make

when improvising. The over-emphasis of modern jazz education on analysis results in

teaching students that mistakes are the worst possible occurrence in improvised music.

As a result, students engage in less risk-taking behavior, and fall into a pattern of safe

playing.

3Squinobal, 50.

4Chase, Personal Interview, 2004.


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If the primary component of jazz is improvisation, isnt it strange that such

emphasis would be placed on mistakes? As we mature, the likelihood of risk-taking

behavior in adults decreases. For the most part, jazz education assumes that students

will actively pursue risk-taking and creative exploration in improvisationwhen in fact

the opposite is true. We dont grow into creativity, we grow outof it.5 The result of

emphasizing only analytical methods is that we are educating people out of their

creative capacities.6

Picasso said that All children are born artists; the problem is to remain an artist

as we grow up. As adults, our capacity for creative exploration decreases, and we

become terrified of being wrong. Being wrong is not the same as being creative, but if

jazz education neglects addressing creative elements, were harming potential innovators

in jazz and slowing students artistic development.

If youre not prepared to be wrong, youll never come up

with anything original!Sir Ken Robinson

David Baker states that jazz education has done an exceptional job in producing

approximately four creative musicians out of every thousand students7

Baker asserts

that others are not reaching their creative potentials perhaps because of neglectful

behavior on the part of jazz education and academia. All educators within our current

system face extreme opposition in presenting approaches that are not based in empirical

or analytical methods. With so much at stake for future jazz artists, we must reevaluate

current improv pedagogy. The challenge for jazz education is to balance empirical data

5Robinson,Do Schools Kill Creativity? 2006.

6Robinson, Why Should You Listen to Him?

7Squinobal, The Lost Tools of Improvisation, 50.


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and abstract methodology within a system that evaluates students progress and

encourages creative development.

Miles Davis and Improvisational Philosophy

Miles Davis never studied improvisation the way that students do today, but was

also an exceptional artist. Few will ever have the kind of opportunities in jazz as Davis,

or will ever achieve the same status. Comprehension of repertoire today is limited at

best, and with the disappearance of traveling big bands and jam sessions, todays

upcoming jazz artists have to gain the bulk of their experience within school settings.8

We can learn from Davis by simply incorporating musical components of Miles Davis

performance in Kind of Blue. Artistic improvisers can be nurtured and developed within

the environment already in place in most schools.

The Practice of Melodicism

The Collins English Dictionarydefines melody as a succession of notes forming

a distinctive sequence; tune. Websters Collegiate Encyclopedia defines melody as a

rhythmic succession of single tones organized as an aesthetic whole. Collins, Webster

and Grove (Jazz) dictionaries fail to discuss the practice of spontaneous melodic playing

in jazz improvisation. Hal Galpers term melodic embellishment is defined as

rhythmically-active material (eighth-notes, triplets, and sixteenth notes, etc.) made of

non-chord-tones.9

Melodicismis a term coined by jazz scholars and educators that

addresses the spontaneous use of melody and embellishment in improvisation. Thomas

Hynes defines melodicism as The inclusion of melodic elements in an improvised solo:

8Schuller, Views: School of Jazz, 1973.

9Galper,Melody and embellishment, 54.


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motives from songs, attractive note choices, [and] a lyrical shape.10

A more adequate

definition is the inclusion of a sequence of spontaneously organized melodic elements in

an improvised solo: rhythm, motives, and attractive note choices that form an aesthetic

whole.

It is a natural tendency of the ear to hear from simple to complex. The ear of the

improviser (as well as that of the listener) desires to hear a simple melody first; to have

something clear to fasten on so that any complexity in subsequent melodies can be more

easily understood.11

In classical music, this process is referred to as theme and

variations, or thematic development. Melodicism is a process in which students

improvise within limitations that ultimately result in mastery in execution and

development of spontaneous thematic material within improvisation. Melodicism elicits

interaction, reaction, careful listening, and sensitivity of other musicians and musical

ideas. Melodicism is the characteristic in a solo that lifts the improvisation from being

merely a well-played collection of lines, runs, riffs, arpeggios and gestures to a higher

state of artistic expression.12

Melodic Interpretation

The jazz improvisation course provides an excellent backdrop for the teaching of

melodic and thematic improv concepts. Students can be introduced to this practice prior

to or concurrently with the teaching of chord- scale concepts. Melodic interpretation is

primarily an aural practice and theory is not a necessary component. Aural development

10Hynes, Melody and Melodicism in the Teaching of Jazz Improvisation, 46.

11Galper, 54.

12Middleton,Melodic Improvising, http://www.andymiddleton.com/start.php?site=articles.


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is one of the most neglected facets of young musicians today. The ear can be

cultivated and we can learn to tap into our musical memory. 13

Start by teaching the students a popular jazz vocal standard such as Autumn

Leaves." Strongly encourage the students to memorize the words to the melody (this can

also serve as an important history lesson). Explain that most standards were originally

ballads for dancing, and that is why the rhythm of the melody is slow. While providing

basic accompaniment on the piano, ask the students to sing the words with the melody in

class. Treat the melody as literally as possible, making sure that each student is singing

the same rhythms and pitches.

During class time, consult several recordings of the song, including vocal

arrangements that demonstrate various phrasing examples. Rhythmic terms for

discussion of melodic interpretation include back-phrasing and anticipated-phrasing.

Back-phrasing isa device used infrequently in melodic interpretation,involving the

performance of melody notes/words after their written place within a measuremostly

after the beat. Back-phrasing either results in elimination of notes/words, or cramming

several notes together, causing a loss of rhythmic momentum and a disruption of melodic

flow. Only deliberate use the back-phrasing method in melody playing is recommended.

In melodic interpretation, anticipated-phrasing is used frequently and involves

performing melody notes/words before their written place within a measureslightly

before the beat. When combined with rhythms of the original melody, anticipated-

phrasing results in forward momentum and rhythmic energy. Demonstrate each

approach, and ask students which sounds better. The anticipated method should be

obvious. Without changing the original pitches, these methods teach students various

13Coker, The Jazz Idiom, 15.


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possibilities in for phrasing melodies. Therefore the student can concentrate on one

component at a timerhythm.

Have students replicate (call and response) several simple aural examples on their

instrument and/or vocally. Assign students an ear- transcription14

of all or a portion of

a specific recording administered by the instructor that demonstrates melodic

interpretation. Frequently evaluate students attempts to personalize (interpret) the

melody by assigning them specific sections or phrases of the melody to perform in each

class. All the while, students should be encouraged to experiment as much as possible

and mistakes should be allowed, but not encouraged. This initial process may take quite

some time, depending on the classes skill level. Assess students ability to perform the

original melody (as written) in time, as well as their interpretation of the melody based on

the discussed approaches.

The next step is an aural exercise in prehearing15

and eliminates the rhythmic

component of the music. This is not to say that students should pre-plan solo ideas, but

rather make spontaneous choices based on exactly what they hear. Ask the students to

slowly play only the original rhythms of the melody of a song, but use their own note

choices. This can be accomplished by having the students play one-at-a-time (with the

instructor providing simple accompaniment) trading with each other or the instructor,

and experimentation should be encouraged. Have the students alternate between playing

and singing only pitches that they prehear.

Play the exercise out of time and ask students to concentrate on pitch, not the

written chord changes. Students who have strong backgrounds in theoretical approaches

14Ear-Transcriptionto replicate portions or the entirety of live or recorded music on another instrument

15Prehearingan aural process used in improvisation by which musicians hear or conceive pitches and/or

abstract shapes and/or rhythms immediately before they are played.


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may need to be encouraged to slow down and be patient with this approach. At this time

students should be evaluated individually on their success in carrying out the exercise,

not on theoretically correct pitch choices. Through gradual repeated daily practice and

assessment, the performance tempo of the rhythmic-method should steadily increase.

Tempo can then be applied to the aural-method as well. For each exercise, students

creatively improvise their own rhythm and pitch choices without the necessity for pre-

conceived harmonic material.

The next step is to combine both methods, within the context of a written melody.

Mix and match both techniques with the original melody, and discuss grounding

methods. Grounding methods combine simple rhythms and note choices (often from the

original melody) balanced against the syncopated rhythms resulting from back-phrasing

and anticipated-phrasing. This third step borders on improvisation, as in fact it should.

The next logical step would be to introduce the same concept in regards to the improv

section. However, songs are not vehicles for improvisation; but rather improvisations are

vehicles for the song. Motives of the melody of a tune profoundly influence jazz

improvisations. As jazz pianist Keith Jarrett says, Youre not improvising if you dont

use the theme.16

The next step in teaching melodicism carries students into the improv section of

the tune. In most instances this is where the melody of the tune and the solo section

become separate entities. Jazz theory approaches teach improvisation based on chord

progressions, not on the tuneresulting in students not editing themselves. In

performance, proficient jazz improvisers spontaneously monitor and edit their solos

because they do not have the luxury of time. Teaching students to edit themselves by

16Jarrett, The Virtual Jazz Age, 36.


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applying the concept of melodicism develops continuity, structure, and cohesiveness in

jazz improvisations. Good writers edit their work, and jazz improvisers should be taught

to do the same. If students successfully implement the above steps, more complex issues

can be discussed.

Musical Elements as Thematic Devices

Thematic development17

is a component of melodicism. This compositional

device dates back several centuries to European classical music, but is also used by many

jazz improvisers. Kind of Blue artist Miles Davis is widely respected for his

implementation of thematic development in his jazz improvisations. By committing

himself to the concept of melodicism, Davis discovered greater depth in his

improvisations. However many critics routinely took Davis to task following the release

ofKind of Blue in 1959. Many believe thatMiles seems to be limiting himself more and

more all the time, that [he] is playing within smaller and smaller limits taking no

chances at all.18

Other critics are at odds in explaining the glaring defects in the

performances of someone who is indisputably one of the most important musicians in the

history of jazz.19

Jazz critic James Collier adds that He [Davis] has never produced the

lines of a Parker or a Beiderbecke, or the dramatic structure of Armstrong or Ellington.

He has to be seen then, not as an innovator, but as a popularizer of new ideas.20

The

failures of Jazz education to adequately explain the emotional character in Davis playing

17Thematic Developmentthe compositional process by which a theme is transformed by modifying its

melodic outline, its harmony, or its rhythm18

B.C.,Metronome, 29.19

Walser, Out of Notes, 165.20

Collier, The Making of Jazz, 435.


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suggests that there are important gaps in the paradigms of musical analysis and

interpretation that dominate jazz studies.21

Miles solos are really interesting to look at on music paper,

because theres nothing to them. On a Trane solo or a Charlie

Parker solo, you can string the notes out and see all these phrases

and harmonic ideas, patterns, all kinds of things. Miles doesnt use

patterns. He doesnt string notes out. Without the expression, and

without the feeling he puts into it, theres nothing there.22

Chick

Corea, 1991.

Davis creatively implemented rhythm and time, articulation and dynamics, as well

as abstract devices such as tone color and nuance in addition to harmony.

According to Dr. Phillip Strange, the improvisations of jazz pianist Keith Jarrett

exhibit thematic structural components. In analyzing Jarretts improvisations of two

separate performances of the song Just in Time, Strange discovered that Jarrett

connects and develops his own ideas through the use of his own motives and motives of

the song-melody.23

Jarretts solos are organized throughout with melodic voice-

leading. There is a balance of melodic continuity and variety. There is a balance of

melodic simplicity and complexity. There is a balance of tonal clarity and ambiguity.

There is a balance of stepwise motion and arpeggiation.24

These improvisational

devices incorporated by Davis and Jarrett can be discussed, analyzed and taught with the

goal of facilitating creative exploration.

21Walser, 167.

22Mandel, Sketches of Miles, 18.

23Strange, Keith Jarretts Up-Tempo Trio Playing, 317.

24Strange, 323.


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Understanding and Implementing Rhythm

Young jazz students today face several obstacles in addressing rhythmic issues in

improvisation. Rhythm is an assumed practice in jazz education, rarely taught, and few

have a firm command this concept. In general, the jazz ensemble is the only setting in

which rhythm (time-keeping) is addressed, but students are left to practice rhythmic

issues on their own. Many horn players do not think of themselves as rhythm players

and rely on the rhythm section to assist with time-keeping. All students should be taught

the rhythmic concepts as applied to jazz. Theses issues can be addressed in the

improvisation curriculum and reinforced in small groups. Certain techniques can be

employed by teachers to implement these concepts.

By requiring students to play and practice consistently with a metronome and by

playing numerous examples of jazz musicians that exemplify time-playing, rhythmic

concepts can be learned. Musicians that do not interprettime, but rather,play time

should be used as examples. Once students can play exactly in time (step-by-step), they

can be taught to play out of time, or to lay back. Louis Armstrong, Charlie Parker,

Bud Powell, Clifford Brown, Miles Davis, John Coltrane, and Cannonball Adderly are

some well respected bebop-era time-players.

Explain swing eighth-notes as being triplet-based and that straight-eighths are not.

Have students practice with a metronome that appropriately subdivides the beat by

assigning students a simple melody consisting of mostly eighth-notes in both swing and

straight subdivisions (a bebop-tune is usually good for this exercise). The goal is to play

the melody exactly in time, with few rhythmic mistakes, and little focus on note-issues.

Each student should be required to perform unaccompanied, with a metronome in various


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styles and tempos throughout the term. The goal is to experience precise time-playing in

a non-improvised setting. Involve the entire class discussion that allows for feedback

between performers, classmates and the instructor. Ask the class What do you hear?

Discussing performance successes and areas that need improvement engages the class,

verbalizes musical concepts, and creates accountability for musical decisions.

The next step involves the same process but incorporates improvised material.

As this is a time-playing exercise, and not a pitch-based exercise, students may tend to

overplay. As in the melody exercise, encourage the students to execute simple rhythms

in time, and then attempt faster shorter note-values. Students should be persuaded to take

risks in rhythmic-phrasing with mistakes being pointed out, but not emphasized. Each

student should be evaluated on their ability to perform a rhythmically-precise improvised

solo.

Used by many jazz improvisers, another valuable rhythmic technique is called

rhythmic displacement. This device alters the length, placement, or syncopation of a

rhythmic motif. Classical theory describes it as augmentation, diminution, metric

modulation, truncation, etc. A motive is considered rhythmically displaced if it maintains

the same general motivic structure as the original. Rhythmic displacement can elicit

interaction between musicians in improvisation. Miles Davis, Bill Evans, John Coltrane,

Sonny Rollins and Keith Jarrett all utilize rhythmic displacement as a component of their

soloing.

Provide students with a simple 2-4 note motif. Ask the first student to play the

motive in time, and the second to alter only the rhythm, not the notes. The instructor may

wish to demonstrate the concept first, or play in-between each student. Each student


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should successively alter the motive rhythmically first. After this step has been

completed, students can then be encouraged to alter the pitches of the original motif.

Through this creative process, a new motive or variation of the original is created.

Melodic Devices

Several methods currently address harmonic pitch-content in jazz improvisation.

Chords, chord-scale relationships, and harmonic analysis are issues frequently discussed

in jazz theory and improv curricula. Techniques for various pitch-based devices such as

intervallic playing, ornamentation, sequencing, and phrase-linking are rarely discussed in

jazz improvisation curricula. Students should be presented with both methods.

Melody playing involves analysis and interpretation of a written melody of motif.

Melodicism also utilizes various components of melodies within the context of

improvisation. Intervallic playing is widely incorporated into compositional practices as

well as melodicism, and involves the implementation of intervals for the purpose of

thematic development. Methods can include the application of single intervals, groups of

intervals, transposition and/or rhythmic displacement of intervals. Generally speaking,

this concept can be utilized as infinitely or as slightly as musician chooses.

One approach uses intervals from the melody of a tune, and creates motifs based

off those intervals. Another is to develop one specific interval into a motif. Autumn

Leaves for example, begins with a whole-step from G to A. Students can create an

improvisation based off of this single step-wise motive. They can develop variations and

new motifs by inverting intervals, or by using the actual pitches of the melody. Or they

can use their own pitches entirely.


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One example is found in So What from Kind of Blue. Miles Davis first eight-

bar phrase emphasizes intervals from a D minor triad. His motif also puts emphasis on

the repetition of the pitch D, as well the descending minor interval from F to D. His

variation presented in the 2nd

A-section begins with a repetition of D, followed by an

ascending minor interval from D to F. A simple d-minor triad that is organized through

intervallic playing is all that needed to establish one of the most well-known jazz solos of

all time.

Intervallic playing can be limited to the intervals themselves, or the manner in

which intervals are applied within a phrase. Providing students with simple examples for

intervallic construction will aid in clarifying this concept. Encourage experimentation

with intervallic playing. This is a fun experience for students because their

improvisational tendencies will be immediately altered. Evaluate students in their use of

intervals based on their success in isolating the intervallic practice.

The most well known device used in melodicism is ornamentation. Bebop

melodies of the 1940s and 50s widely implemented ornamentation. Jazz musicians

learned to ornament the original melody of tunes, and then began to apply the concept to

improvisational practices. One of the easier devices to utilize within improvisation,

ornamentation embellishes or decorates a single tone with an additional tone, or group of

tones in a melodic line. Ornamentation also provides rhythmic subdivision to notes that

have extended note-values.

Implementing this practice into a familiar written motif or melody, and have the

students only ornament the long tones of the melody. Play examples of musicians that

decorate song-melodies such as Louis Armstrong, Coleman Hawkins, Lester Young,


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Dizzy Gillespie, and Charlie Parker. Dont allow the student to become overly complex

with melodic embellishments until the concept has been successfully put into practice.

Once the student is able to ornament pitches of the melody, encourage them to try to do

the same in the context of an improvisation, where they will ornament their own melodic

ideas.

Sequencing is another melodic device used for thematic development. Common

in classical compositional practices, sequencing in jazz improvisation can be defined as a

direct repetition of all or part of a motive using the same and/or different pitches. A

rhythmic component can be included, but is not essential. Students can be taught the

concept of sequencing through examples involving listening, and demonstrations, both in

a musical and grammatical. The main motive from Beethovens 5th

symphony and riff-

based jazz melodies, provide an easy way to demonstrate the concept of sequencing. In a

grammatical context, sequencing can be described through the use of a simple phrase.

I am goingmotive.

I am going, going.emphasize motive

Going, going, I am goingsequence.

This simple statement clearly demonstrates the topic, and development of the topic. In

order to successfully attempt this device, students should be provided with a simple

melody or motive.

Phrase-linking is a tool for combining and developing different motives by

linking the last part of a phrase to a new idea that begins with the last part played.

Phrase-linking cohesively combines different ideas to help create new ones. By having

the student focus on and develop one motive-at-a-time, each idea can be developed and


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linked to the next. In a grammatical context, the same simple phrase can be used to

clarify the concept.

I am goingmotive

I am going to the storedevelopment

I am going to the store to buy groceriesmotive linked to new idea

The store is closednew motive

Methods for Evaluating Melodic Devices

As students improvise, utilizing all of the methods previously discussed,

comprehensive evaluation is essential to their success. Subjective evaluation of the

students performance of a melody statement and improvisation should include both

successes areas that need improvement. Students should record themselves and

transcribe their solos for analysis, notating all of the thematic devices utilized throughout

the performance. The class should evaluate each student verbally by discussing the

successes or areas needing improvement. By holding students accountable for their

musical decisions, this environment should encourage risk-taking while providing a safe

space for experimentation.

Articulations and Dynamics

Rhythmic and melodic devices are essential to the concept of melodicism, and

deserve further consideration in the jazz improvisation curriculum. Even more neglected

in the jazz curriculum are subtle components such as articulations and dynamics. By

developing methods for the practice of these devices, students can begin to explore how

to correctly implement them into jazz improvisation.


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The use of articulations and dynamics in improvisation is as rare as the practice of

melodicism. Glossing over the use of these devices in improvisation, many teachers do

not take the time to isolate the practice. These concepts are articulated in big band

ensembles, but not in an improvised setting. Students should be taught to deliberately

incorporate these ideas into the fabric of their solos. By simply emphasizing articulations

in a melodic line, it will have more forward motion, a sense of excitement, and expressive

depth. Lines void of articulation sound flat and rhythmically uninteresting. The same

phrase can again be used in a grammatical example to clarify the use of articulation.

I am goingmotive has no emphasis

Flat with unclear intentionIam goingemphasis on I

Who is going? Iam going?Iam goingemphasis on am

Dont tell me what to do I am going!I amgoingemphasis on going

Nothing is going to stop me from going!While the first phrase is void of specific emphasis, each additional phrase clearly

emphasizes a different intention on part of the author.

The same philosophy applies to the use of dynamics. A dynamic line is simply

thatdynamic and interesting, adding a great deal of energy to a solo. Instructors should

hold students accountable for their dynamic decisions within a musical line, avoiding the

louder, higher, faster mentality so prevalent today. A simple phrase articulated

differently each repetition can provide a good classroom exercise. Students should


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analyze how various ensembles such as big bands, symphonies, solo instrumentalists, etc.

incorporate articulations into their performances. It is up to educators to encourage

experimentation in regards to both articulations and dynamics. Teachers should

encourage the students to think like a composer while making careful, deliberate

improvisational decisions.

Divergent Philosophies?

While several devices have been discussed thus far, it is important to emphasize

that these are only devices, and by no means the only methods in approaching jazz

improvisation. These are simply suggestions for improvisers to draw from that will add

depth and meaning to a solo. The average jazz musician today (1962) is just as trained

as a classical musician.25

While that may have been true at one time, musicians such as

Miles Davis had backgrounds in music that few ever will today. Jazz improvisation

cannot rely on harmonic information to the extent that is now common place in jazz

education. For the betterment of jazz as a musical style, educators need to rethink

improvisational methods and practices.

Music is a science, but it is the spontaneous creative process that is unique to jazz

improvisers. Educator David Baker says that the problem of jazz education is how we

teach it. You cant say, You hear it;Ijust do it. You cant say that. You have to say

why.26

Besides valid and necessary pedagogical practices already in place, we must

present students with specific alternative pedagogy that encourages experimentation and

creative exploration within carefully guided tutelage.

25Davis, Miles D. Playboy Interview: Miles Davis, 58.

26Brubeck, 7.


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The great jazz improvisers had a thorough understanding and command of music

theory. Nevertheless, courses injazz theory didnt exist during the most of the careers of

Louis Armstrong, Charlie Parker and Miles Davis. The questions we must ask ourselves

are: How do we teach jazz theory as a component of jazz improvisation, while addressing

the application of this material in producing artistic, structured, meaningful jazz

improvisations? And how do we address these issues at the beginning of a jazz students

college career as opposed to the end? The problem of jazz education therefore is not one

of material or substance, but structure and direction.


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Chase, Allan. Personal Interview by Jason Squinobal. Boston, Aug. 12, 2004.

Coker, Jerry. The Jazz Idiom. Englewood Cliffs, NJ: Prentice-Hall, 1975.

Collier, James L. The Making of Jazz. New York: Houghton Mifflin, 1978.

Galper, Hal. Melody and Embellishment: Part 1. Downbeat 58 (March 1991): 54.

Gate, Henry Louis Jr. The Signifying Monkey: A Theory of African-American Literary

Criticism. New York: Oxford University Press, 1990.

Giddens, Gary. The Evolution of Jazz. New Perspectives on Jazz, ed. David Baker,

33-44. Washington: Smithsonian Institution Press, 1990.

Hynes, Tom. Melody and Melodicism in the Teaching of Jazz Improvisation. JazzEducators Journal 32 (May 2000): 46-9.

James, Burnett.Essays on Jazz. New York: Da Capo Press, 1990.

Jarrett, Keith. The Virtual Jazz Age. Musician 208 (March 1996): 35-6, 102.

Keller, Gary. The Jazz Chord Scale Handbook. Rottenburg: Advance Music, 2002.

Leclare, Shannon. Personal Interview by Jason Squinobal. Boston: August 23, 2004.

Maggio, Vincent L. Interview by Brian Dean, September 2003, Miami. Notetaking.

University of Miami Piano Lesson, Miami.

Mandel, Howard. Sketches of Miles. Downbeat(De. 1991): 16-20.

Middleton, Andy. Melodic Improvising. Rottenburg: Advance Music, 2004.

Morgenstern, Dan. The Evolution of Jazz. New Perspectives in Jazz, ed. David Baker,45-54. Washington: Smithsonian Institution Press, 1990.

Review ofKind of Blue, by Miles Davis. Metronome (August 1959): 29.

Robinson, Sir Ken. Do Schools Kill Creativity? 20 min.

http://www.ted.com/index.php/talks/view/id/66, T.E.D. Productions, 2006.

Online Video.

Robinson, Sir Ken. Why Should You Listen to Him. T.E.D. Conferences LLC,

http://www.ted.com/index.php/speakers/view/id/69 , 2003.

Schuller, Gunther. The Influence of Jazz on the History and Development of Concert

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Documents

Miles Davisnb Improvisational Philosophy (1)