Study Guide: Hangin

8/3/2019 Study Guide: Hangin

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2011-2012

WELLS FARGO PERFORMINGARTS SERIES FORSTUDENTSMONTALVOARTS CENTER

Jazz Reach featuring METTA QUINTET

Hangin With The Giants


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A Performing Arts Series

for Students

Study Guide


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ABOUT OVERTURE CENTER FOR THE ARTSOverture Center for the Arts fills a city block in downtown Madison with world-class venues for the performing

and visual arts. Made possible by an extraordinary gift from Madison businessperson W. Jerome Frautschi, the

center presents the highest-quality arts and entertainment programming in a wide variety of disciplines for

diverse audiences. Offerings include performances by acclaimed classical, jazz, pop, and folk performers;

touring Broadway musicals; quality childrens entertainment; and world-class ballet, modern and jazz dance.

Overture Centers extensive outreach and educational programs annually serve thousands of Madison-area

residents including youth, older adults, people with limited financial resources and people with disabilities. The

center is also home to nine independent resident organizations.

Internationally renowned architect Cesar Pelli designed the center to provide the best possible environment for

artists and audiences, as well as to complement Madisons urban environment. Performance spaces ranging

from the spectacular 2,250-seat Overture Hall to the casual and intimate Rotunda Stage. The renovated Capitol

Theater seats approximately 1100 and Playhouse designed for live theatre will seat 350. In addition, three

multi-purpose spaces provide flexible performance, meeting and rehearsal facilities. Overture art exhibition

spaces include Overture Galleries I, II and III, which display works by Dane County artists. Wisconsin Academy of

Sciences, Arts and Letters Watrous Gallery displays works by Wisconsin artists and the Madison Museum of

Contemporary Art offers national and international artists.

Resident organizations

Kanop Dance Compan Madison Repertor Theatre


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S T U D Y G U I D E

TABLE OF CONTENTS

JazzReach .......................................................................2

A Brief History of Jazz............................................2-5

Jazz and Democracy...................................................4

HanginJazz Giants Biographies.......................5-8

Improvisation................................................................8

Music Layers ...............................................................11

Jazz Rhythm................................................................11

Traditional Jazz Instruments.................................12

Simple and Found Instruments...........................13

Make Music! ...............................................................14CD Listening Suggestions .....................................15

Jazz Vocabulary .........................................................18

Resources.....................................................................19

Academic Standards................................................20

Theater Etiquette and Experiences....................21

If you would like more in-depth information on jazz download the JazzReach Stolen Moments Study Guide at

www.overturecenter.com/guides
http://www.ci.madison.wi.us/overture/guides.htmhttp://www.ci.madison.wi.us/overture/guides.htm


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JazzReachs Mission and HistoryEstablished by musician H. Benjamin Schuman in 1994,

JazzReach is a nationally recognized New York City-

based not-for-profit organization committed to fostering a

greater appreciation and awareness of jazz music.

JazzReach has quickly established itself as one of our

nations leading arts-education organizations. Its

programs have successfully served over 80,000 young

people nationwide, and have been presented by some of

Americas most distinguished performing arts venues.

The music quickly became popular. Many bands

marched in parades through the streets of towns, even

for funerals.At first they used marching bandinstruments: trumpet, clarinet, trombone, tuba,drums,

and sometimes saxophone.African Americans were the

first Jazz musicians but Jazz quickly expanded to

For more information on JazzReach visit

www.jazzreach.org
http://www.jazzreach.org/http://www.jazzreach.org/


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Jazz orchestras played

all over the country with

as many as 25 members.

Wind and brass

instruments (mostly

saxophones, trumpets

and trombones)

dominated the sound,

but sometimes violinswere used, as well as

piano, guitar, drums and

b I dibl i lik Ell Fit ld

Woody Herman had so many different musicians play

in his band over the years that they became known as

Woodys herds. If you played in a Herman band, youd

tell someone that youd been a member of the 3rd

Herdor 4th or 5th or 6th! Televisions werent in

peoples homes yet, and crowds flocked to see these

bands when they came to town because dancing was

one of the favorite forms of entertainment.

Unfortunately, people were not treated equally during

this period of American history, and there are many

disappointing stories about how Black musicians were

treated when they performed in clubs and dance halls

that were reserved for Whites only.Black jazz bands

were often forced to stay in dirty rooming houses and

enter the clubs through the back door,while White jazz

bands were treated with respect. Some White

bandleaders helped to fight this discrimination by

inviting Black musicians to join their bands and

demanding equal treatment of their band members.

Jazz helped people understand that Jim Crow laws and

other anti-Black attitudes were ridiculous and hateful. It

was a hard road with unfair twists and turns for Black

musicians.

History of Jazz continued

Billie Holiday (top)Ella Fitzgerald (right)Cab Calloway (bottom)Photo Credit: William P. GottliebLibrary of Congress.


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Many of these Big Band members were talented

improvisers and wanted to have more solo performance

time to showcase their musical skill and creativity. Their

interest in having more solo time also made sense

economically. Big Bands had many musicians to pay and

were expensive to take on tour it was easier for clubs

to pay for a small group of musicians.During the 1940s

and 50s many jazz musicians began playing in small

groups of four or five musicians, called quartets or

quintets, just like in traditional classical music. Instead of

detailed, written music, most of the song was left

unplanned, which allowed the musicians to create music

on the spot,or improvise.

One new small-group style that developed during this

period was called Bebop. Bebop songs were often

played very fast and mirrored the fast pace of New York

City, where Bebop began. BeBop musicians were moving

away from the entertaining dance style of the Big Band

Era.They wanted to assert their intellectual ideas and

emotional complexities and did so through the complex

rhythms of Bebop.

Cool Jazz was small group

style that developed in

response to the high energy

and emotional intensity ofBeBop. Cool Jazz was a

more laid-back jazz style

d d l d t

The magnificence of jazz music is due to a rich blending

of different cultural influences. In the very beginning of

Jazz the musicians were all African American, blending

their heritages with European instruments and musical

forms. At this time in history many people in the United

States thought that racesshould remain separate, and

as Jazz styles developed, black and white musicians

began sharing musical ideas with each other. Black and

White jazz musicians were performing together 10 years

before professional sports teams were integrated! Jazz

introduced White people to the beauty of AfricanAmerican culture, and it helped people understand that

we are all human beings and share many of the same

ti d d Bl k d Whit i i l i

Jazz and Democracy

Jazz can teach us how to function in a

democratic society. As a jazz musicianyou have freedom and responsibility.

You must contribute to your musical

surroundings sometimes listening

to other musicians and supporting

them and sometimes coming

forward and making a statement

while always being sensitive to

those around you.



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Louis Satchmo ArmstrongGrowing up in New Orleans, Louis Armstrong heard all kinds of music. At a very young

age, Louis had to work to help support his family, who were very poor. To earn extra

money some of his jobs included singing on street corners cleaning graves and

Listening to many different styles of music

helps us to understand the ideas and customs

of people from various cultures. It is amazing

how people from around the world have more

similarities than differences. Even if we dress

differently, eat different types of food, write

different types of books,make different forms of

artor compose different musical soundswe

all share a basic desire to express our ideas and

emotions.This is what really defines us as

human beings.

West 52nd Street in New York wasa hot spot for Bebop

Credit: William P. Gottlieb/Ira and Leonore S. GershwinFund Collection, Music Division, Library of Congress.

Animations of the following musicians will appear in the

performance. Read through their biographies and listen to

their music prior to attending the performance.

Division,

LibraryofCongress



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Edward Duke EllingtonEdward Duke Ellington began playing piano when he was just seven years old. Like

many pianists of his time, Duke was influenced by ragtime. But Duke combined many

styles of music such as ragtime, the blues, and classical music to create his own

unique blend.

By age 19, Duke was playing piano professionally and had made a name for

himself in his hometown of Washington, DC. By 30, he was leading his own

orchestra at New Yorks legendary Cotton Club. Duke assumed that if

something sounded good to him, then it was good. He tried many different

instruments in combinations that no jazz musician had used before. Duke

wrote some of Americas most cherished songs, including Mood Indigo

and Take the A Train.

Duke experimented with compositions, and his orchestra toured all over the

world. His travels often served as the inspiration for much of his music. For over

60 years, Duke Ellington wrote some of jazz musics most memorable songs and

symphoniesalmost 2,000!and demonstrated to all what happens when

there are no limitations put on music.

Hangin with the Giants continued

Charlie Bird ParkerRecognizing his unique gift for music, Charlie Parkers mom bought him a saxophone

when he was 11 years old. By the time he was 15, Charlie decided he wanted to

become a professional musician. He played all over his hometown of Kansas City,

Missouri, performing with a variety of blues and jazz groups.

Credit: William P. Gottlieb

Library of Congress.


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Thelonious Sphere MonkThelonious Monk was such an original that sometimes its hard to find words to

describe him. His parents must have thought hed be something specialafter allthey named him Thelonious Sphere Monk!

M k i ft dit d f th i i l i i h h l d t b b

John Birks Dizzy GillespieWhen Dizzy Gillespie was 15, he won a scholarship to the Laurinburg Institute in North

Carolina, where he learned to play both trumpet and piano. In later years, Dizzy

would advise young horn players to learn the piano because it forced them to learn

chords and harmony, elements very important to writing good songs.

Dizzy, who always loved a challenge, started out playing his trumpet by

copying Roy Eldridge, the fastest, highest-playing trumpeter around. Diz

got so good that he eventually replaced Roy in a local swing band

when Roy left. Later, Diz left swing bands because he wanted

to play a more advanced kind of music.

In the 1940s, Diz, Charlie Bird Parker, and Thelonious Monk, along with a few others, put

together some music that became known as bebop. The songs that Dizzy and Bird made

together were some of the most innovative in jazz. Some notable ones included Salt Peanuts

and A Night in Tunisia.

Dizzy not only had a very unique sound, he had the look to go with it. When he played his

trumpet, his cheeks bulged out like balloonsan image, along with his exceptional sound, that

made him recognizable around the world.

GottliebLibra

ryofCongress.

Credit: Carl Van Vechten photographcollection. Library of Congress.


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Miles Dewey DavisMiles Davis was born in St. Louis, Missouri. When he took up the trumpet at age 13,

his parents nudged him toward classical music but Miles preferred jazz. Miles left

St. Louis and enrolled at the prestigious Julliard School of Music in New York City,

but once he got to New York he became obsessed with the music of saxophonistCharlie Parker. Miles and Charlie eventually became good friends and started

to play music together.

Miles ultimately joined Charlie Parkers band and replaced the trumpeter Dizzy

Gillespie. While Dizzy had played high and fast, Miles developed his own style,

low and slow. In 1949, Miles formed a new group, a nonet, which featured a

laid-back style. His group, which was making music like no other jazz artist,

recorded an album entitled Birth of the Cool. This record started a new style of

jazz called cool jazz.

Later in the 1960s, Miles would combine jazz and rock music, which resulted

in a new style called fusion. After his cool period, he changed jazz

forever with the record Kind of Blue. He also teamed up with an orchestra to

create large-scale compositions and arrangements.

Miles would go through many changes in his music career, which spanned over

50 years. He even blended jazz music with hip-hop! Next to Louis Armstrong,

Miles is considered one of the most influential jazz musicians of all time.

Credit: William P. GottliebLibrary of Congress.


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Introduction to Improvisation

Visual Improvisation to MusicPlay selected music and provide students with a variety

of art supplies. Create visual images in response to the

music. Notice the tempo, tension, feelings, harmony, and

how the musical elements convey emotion or ideas.

How did you decide what to paint, draw or sculpt? Was it

planned? Was it spontaneous?

Extension:Make collaborative improvised artwork by passing a

drawing or painting around the classroom.

Group Story ImprovisationSit in a circle and tell a collective short story.One

student begins the story and then students take turns in

order around the circle adding a sentence or two. Give

the story a beginning,middle and end and a consistent

flow of voice. Try new topics. As students become

Musical ImprovisationIntroduce improvisation using a common short phrase,

such as a name.Turn this into a musical phrase based on

the natural rhythm of it, the tonal inflection inherent in

the way a person says it, etc.From there, try more

concrete musical structures, such as a piece already

How does one learn to improvise? Improvisation is usually learned the same way we learn to speakby

imitation. First, a person observes and mimics to learn the basic language.Through knowing the formal

structure, a person obtains greater freedom to create his or her own personal style. Experimentation is a

crucial element trying things out, discovering what is pleasing and what is not, what succeeds, and what

feels right. The following activities can give students an introduction to improvisation.


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ListeningListening is a basic concept that is vital

and important to the process of creating

and appreciating all types of music. On

one level listening is simple, just noticeand pay attention to what you are

hearing. But its not always easyit takes

focus of mind and concentration.Think

about what you are hearing. Musicians

do this all the time when learning to

play a piece of music.

Have a discussion after listening to a

musical selection. Use some of the

questions to the right as a guide.

Compare your answers and discuss yourobservations.There are often different

ways to interpret a piece of music.

Musicians have various ways of

approaching their creative thoughts,

especially in jazz,which keeps the music

interesting and fresh!

For more listening ideas, borrow the

accompanying CD from the library and

refer to the listening suggestions on

The following tips and questions can help develop

listening skills:

For some people closing their eyes can help focus.

How does the piece start?

What instruments do you hear?

Notice the different sound qualities of instruments.

Do you hear a melody in the music? Does it change?

Is the music fast or slow?

Find the pulse and notice other rhythms.

Identify layers at the beginning of a piecelisten for the main

melody, pulse and basic musical ideas that are used

throughout the piece.

Listen for layers being added or removed.

Are there any solos?

Can you recognize improvised sections?

What instruments do you hear playing a solo?

What is the mood of the piece, or moods? How does the music

make you feel?

How do the layers weave together to complement each other?

Notice how the music moves from one section into another.

N ti d i d it f l d t ft


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Musical LayersAdapted from The Groove Project Workshop by Ted Petith and Beth Tryon (www.smartgroove.com).

All music is the result of layering sound ideas together some have many layers to hear (a Big Band or orchestra) and

others have only a few (a Bebop group or a string quartet).

Think of music as a sandwichsandwiches have layers too! Notice how instruments overlap and each other and

weave together. Instrument can form different layers in the course of a single piece of music. For instance, a

saxophone can be part of the melody (one layer), then play an improvised solo (another layer), then play a

background part behind another solo (still another layer!).

Big (or primary) layers often repeat the same idea over and over again to anchor the overall movement of the music.Musicians develop layers by using variations (slightly different versions) of the original ideas. Most pieces of music

whether jazz, classical, blues, rock, or hip hopbegin with only a few layers of ideas and then add more as the song

progresses.Listen to some of the jazz selections and identify the different instruments producing the musical layers.

Sometimes big layers are changed in the middle of a tune to dramatically change the sound or mood!

Listen to tracks on the accompanying CD. Identify musical layers or ideas and try to copy what you hear. Use your

voice, your hands and feet, a percussion instrument, or anything else you can findthis can be really fun!

Lettuce and tomato - Guitar solo (scale and chord)

Slice of cheese - Piano (chord, rhythm & scale)

Meat - Bass (root note, chord & rhythm)

Bread - Drums (primary rhythm)


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Traditional Jazz Instruments

Acoustic Bass (Double Bass or Upright Bass):

Part of the string family, which also

includes the violin and guitar. Notes

are produced when the strings vibrate.

An introduction to SyncopationAdapted from the Kennedy Centers Cuesheet What is Jazz?

1 Happy Birthday is usually accented with the stress on

the strong beats like this: HAP-py BIRTH-day

But if we syncopated these words, wed choose

different syllables to stress, so we might pronounce it:hap-PY birth-DAY

As a class, chant happy birthday with the usual

accents, then change it by placing unexpected,

syncopated accents into the words.

2 Now clap your hands and move your body to the beat.

Are you keeping a steady rhythm, or are you clapping

each time you use a syncopated beat?

3Try this activity with other phrases or with the names

of your classmates.

4Try singing a syncopated version of Happy Birthday

or other familiar tunes by choosing unusual syllables

to accent.

Follow-up:

How does changing the accents/syncopation change

the mood? The tempo?

Define syncopationfor the class. Syncopation is a type of rhythm in which accents and stress are shifted

from what are normally strong beats to the weak beats. To illustrate syncopation, try this simple exercise:


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Piano (includes electronic keyboard):The piano is a member of the percussion family. If you look inside a piano,

youll see many wire strings. The piano is a percussion instrument,because notes are made when the felt hammers

hit the piano strings.The piano can play groups of notes called chords.These chords blend with the low notes played

by the bass, and the steady rhythms produced by the drum set, to produce the rhythm section sound.

Guitar: Another member of the string family, the guitar also plays chords and is featured in some jazz groups alongwith a piano. Sometimes the guitar is the only chord-making member of the group.

Brass Instruments:Trumpet and trombone are members of the brass

family.Brass players make sounds by blowing and buzzing their lips in

a mouthpiece that looks like a small cup. Pressing buttons open and

close different sections of the brass tube which creates different

pitches. A trumpet may look short, but it is actually made up of many

feet of brass tube! Louis Armstrong played both trumpet and cornet.

The cornet looks like a short trumpet and is easier to march with in

New Orleans street parades.A trombone player slides a long piece of

brass tube up and down to sound different notes.

Wind Instruments: Saxophone and Clarinet are members of the

woodwind family.Woodwinds make their sounds with the help of

a reed, which is a piece of cane wood strapped to themouthpiece. Sound is produced when the player blows into the

mouthpiece, which causes the reed to vibrate. To make the

different note sounds, the woodwind player then presses on keys

that open and close holes on the sides of the instrument.

Jazz Instruments continued

Charlie Parker wailing on the saxophone

Credit : William P. Gottlieb/Ira and Leonore S. Gershwin FundCollection, Music Division, Library of Congress.

Simple and Found InstrumentsAdapted from The Groove Project Workshops by Ted Petith and Beth Tryon (www.smartgroove.com).

Ask students to collect objects from around the house or yard and experiment making sounds. Kitchens and


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Experiment ~ Make Music!When playing with any percussion instrument, first explore the sounds that the instrument makes. Is the instrument

primarily percussive or melodic? In other words, do you primarily hit or shake it, or does it play different pitches or

notes? Many instruments have both qualities.

How many ways might you play the instrument to get a variety of different percussive and/or melodic sounds? Try

various strikers and methods of hitting. Alter dynamics (volume) and methods of playing make it fun!

Take some of the sounds from these exploration sessions and play along with the major rhythms you hear in a sound

recording. Start by finding the pulse (or heartbeat) of the music. Then branch out to another sound. Many cool-

sounding rhythms often have two main sounds that outline the rhythm. For example, a Hip Hop or Jazz-Rock groove

on a juice bottle is made with 2 big phat hits on the side, followed by a short rim beat. Rhythms that have steady,

contrasting sounds really move!

After you can hold the pulse and other steady beats, take a solo and make up an improvisation. Use some of the

tracks on the accompanying CD for inspiration, and play music with some jazz greats! Or just find a piece of music

that you like to listen toany style will doand develop some groovy layers of improvisation.

Improvise with Melody and ChordsJazz musicians dont just guess about which notes might sound good.The melody of a song is is made up of a

specific notes and these notes are parts of groups called chords which create harmonies together.The melody of the

tune is supported by these chords.

Chords are easy to see on a piano. Here are some simple chords played on the white keys of the piano.

C major chord. G chord F chord


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NOTES AND IDEAS FOR LISTENING SELECTIONS

1 & 2 - Louis Satchmo Armstrong (Also see bio on page 5) Hewas one of the earliest and most influential figures in the history of jazz.

His wife, Lil, was also an accomplished jazz pianist and composer! The first

clip,StruttinWith Some Barbecue(1927 composed by Lil), features

them both playing in their group called The Hot Five.The second

selection,Mack the Knife, from the mid-1950s, is one of his favorite

songs borrowed from the Three Penny Operaby Kurt Weill and Bertolt

Brecht. Its a European tune mixed with Dixieland improvisations.Struttin With Some BarbequeLouis Armstrong from The Best of Louis Armstrong: The

Hot Five and Hot Seven Recordings, 2002 Sony Music Entertainment Inc (Columbia Records).

Mack the KnifeLouis Armstrong from Greatest Hits, 1994 Retro MusicSLD13252.

3 & 4 - Duke Ellington - (Also see bio on page 6) These are clips from

his Jungle Bandof 1929-31.One of the most influential Big Band composers,

Ellington used distinct sounds that musicians could make on their instruments

to accent his complex jazz rhythms. Duke composed and performed for

many decades and continued to discover new ways of using his band as a

creative sound machine! In the first clip,Jungle Jamboree (1929), notice

the baritone sax soloa low soundfollowed by the band, and then a

clarinet solo. In the second,Rockin In Rhythm (1931), Dukes piano as the

first layer sets the stage for the band to come in with the melody.

Jungle Jamboree and Rockin In RhythmDuke Ellington from The Jungle Band-The

Brunswick Era (Vol. 2) 1929-31, 1990 MCA Records (Decca)MCAD42348.

5 - Woody Herman - A clip of a very solid Big Band tune,The Good

There should be a copy available

in your school library feel free

to make a copy for your

classroom. (If you cant find

your schools copy, call

Overture Centers Education

Department at 258-4169).

The CD of music selections

that accompanies this guide

highlights several historically

significant jazz musicians and

performances. A few selections

highlight basic music theory.

Read the discography

information to your class to

give context, and use the

questions here (see also the

Listening section on page

10) as a springboard for

classroom discussions. Notice

that jazz performers and jazzstyles overlap. Musicians

played with each other at

diff t ti d l i


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CD for Suggested Listening continued

9, 10 & 11 - Stan Getz - He was a master of the Cool jazz style that developed on the

West Coast.First, he is featured with his tenor sax on a clip from Flamingo (1954), which

includes a nice trombone solo by Bob Brookmeyer.Next hes featured on the really fast

tune,Shine (1955). Notice how similar the soloing sounds to Bebopstill fast, just a bit

more laid back. Can you tell that Stans improvising has a smoother and less jumpy

sound than Charlies? Stan also experimented with Latin jazz tunes written in the Bossa

Nova and Samba styles.The third cut,Desafinado (1962), is one of these Latin hybrids.

Flamingo, Shine and DesafinadoStan Getz from The Best of the Verve Years, Vol. 1, 1991 Polygram Records

Inc (Verve) 314511468-2.

12 & 13 - John Coltrane -The first selection,Blue Train (1957), showcases Coltranes

unique saxophone sound and improvisational style. Notice how his sound is different from

the other saxophonists.The second cut,Moments Notice(1957), highlights the

transition between three improvised solos. First, listen for part of a trumpet solo (Lee

Morgan), followed by a bass solo by Paul Chambers (hear the rest of the rhythm section

in the background?), and finally a few bars by Kenny Drew (piano).

Blue Train and Moments NoticeJohn Coltrane from Blue Train, 1985 Manhattan Records (Capitol

Records Inc) Blue Note D103164.

14, 15 & 16 - Ella Fitzgerald - An incredible singer and performer, she mesmerized

audiences when she scatted. Scatting is the term used for the sounds and syllables used

by a vocalist to make an improvised solo. In the first cut,Oh, Lady Be Good (1957), hear

her increase intensity as she builds her scat improvisation. In the second cut,Cool

Breeze(1959), hear the different voice sounds that she uses to make up her

improvisations.Try mimicking some of them yourself (at a slower tempo).The third cut,

A-Tisket, A-Tasket (1961), is her hip remake of an old childrens song. Do you hear theLatin rhythm behind her vocal?

Oh, Lady Be Good, Cool Breeze and A-Tisket, A-TasketElla Fitzgerald from The EssentialPhoto Credit: William P Gottlieb


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CD for Suggested Listening continued

20 & 21 - Herbie Hancock - Herbie is a piano and keyboard player, as well as a composer.

He began by playing more traditional jazz styles but expanded his sounds as he developed

new ideas, much like Miles Davis. Here are two examples of his composition Watermelon

Man. Compare the original version recorded in 1962 to a later version recorded in 1973.

The second version is one of the first examples of Rock and Funk rhythms mixing

together with jazz. Notice the different sounds used for the musical layers.The second

version became super-popular,and has remained one of the most listened to examples

of any jazz style!

Watermelon ManHerbie Hancock from Cantaloupe Island, 1994 Blue Note Records

(Capitol Records Inc) CDP 7243 8 29331 2 0. Watermelon ManHerbie Hancock from

Headhunters, 1973 Columbia Records/Sony Music Entertainment Inc (Columbia Legacy) CK65123.

22 - Chico Freeman -The melody is from an old Bebop tune by Sonny Rollins called

Oleothats the part you hear Freeman playing at the beginning of the selection.

Notice the unique female vocalist who sings and scats. Notice the many layers,

improvised solos, and sound ideas.

OleoChico Freeman from Threshold, 1993 In + Out Records IOR7022-2.

23- Eddie Palmieri - An example from 1994 of Latin Jazz performed by one

of the great masters of Puerto Rican Salsa music. Mr.Palmieri is both a piano

player and composer. Notice how the instruments form

the layers of the tune.The instrument layers are

inventive and support the improvised solos.Try to

pick out the improvised solos from the rest of the

compositionraise your hand when you think you

hear the beginning of a solo.

SlowvisorEddie Palmieri from Palmas, 1994 Electra Entertainment,

division of Warner Communications Inc 961649-2.

Credit: National Endowments of the Arts

Credit: www.chicofreeman.com


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Ballad - a slow song,sometimes with lyrics thattell a story.

Bebop - the jazz style developed during the late 1930sand early 1940s, characterized by very fast tempos,complex melodies and harmonies, and difficult chordstructures. Bebop,which emphasized the inventivenessof soloists, is usually played in small groups.

Blues - a non-religious,deeply emotional folk music thatrose among African Americans during the late 19thcentury,evolving from black spirituals and slave work

songs and featuring several African influences: a call-and-response pattern, blue notes, and imitation of the humanvoice by musical instruments.

Blue note - any note that is bent or smeared,generally ahalf step away from the obvious note.

Blues scale - a musical scale based on the pentatonic(five-note) scale.

Brass band - a band made up of brass instrumentsincluding trumpet, trombone, tuba and French horn.

Call-and-Response - a musical conversationin whichplayers answer one another;exchanges betweeninstrumentalists. It originates from traditional African musicand has been used extensively in all forms of jazz music.

Composition - a road map for a piece of music.

Cool Jazz - a jazz style that developed during the late1940s and throughout the 1950s in reaction to bebop.Cool jazz has a smooth sound, complex textures, and

Jam Session - an informal gathering of musiciansimprovising.

Melody (head) - a succession of notes that together forma complete musical statement; a tune.This is the part ofthe jazz piece that is written down or composed ahead oftime.The head melody establishes the framework that thesoloists improvise over. Sometimes it comes from atraditional song and sometimes it is a completely newtune. Musicians sometimes point to their heads to makesure that everyone knows when to play the melody again.

Nonet - a group of nine musicians.

Note(s) musical sounds that can be arranged to formmelodies.Western musical tradition (classical, pop,rock,and jazz) officially only has 12 separate tones,but theygo together in hundreds of different chords and scales

Pulse often just feels like a steady heartbeat that goesin time with the music, following the tempo.

Ragtime - the music that came before jazz and mixedEuropean classical music with the syncopated rhythms ofAfrican-American music; created by pianist Scott Joplin

Rhythm - divides timeor musical space in verydistinctive, but amazingly flexible ways.

Riff- a repeated brief musical phrase used as backgroundfor a soloist or to add drama to a musical climax.

Scatting - this is the term for how vocalists improvise ina jazz setting. They choose words, syllables or sounds tomake up their creative ideas.

Jazz Vocabulary


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Resources

Primary & Elementary GradesHip Catby Jonathan London, Woodleigh Hubbard (Illustrator)

Mysterious Thelonius by Chris RaschkaThe Jazz Flyby Matthew Gollub, Karen Hanke (Illustrator)

Ella Fitzgerald: A Young Vocal Virtuoso by Andrea Davis Pinkney

Duke Ellington:The Piano Prince and his Orchestra by Andrea Davis Pinkney

The Sound That Jazz Makes by Carole Boston Weatherford

John Coltranes Giant Steps by Chris Raschka and John Coltrane

Charlie Parker Played Bebop by Chris Raschka

DJ and the Jazz Festby Denise Walker McConduitThe Jazzy Alphabetby Sherry Shahan

Who Bop?by Johnathon London

Bring on That Beatby Rachel Isadora

Upper Grades and Teacher Resources

Jazz Makers: Vanguards of Soundby Alyn ShiptonAmerican Jazz Musicians (A Collective Biography) by Stanley Mour

Jazz and Its History (Masters of Music) by Giuseppe Vigna

The Golden Age of Jazzby William Gottleib

Louis Armstrong- A Self Portraitby Richard Meryman

The Art of Jazzby Martin Williams

The New Grove Dictionary of Jazzby Berry Kernfeld

The Music of Black Americans by Eileen Southern

The Duke Ellington Readerby Mark Tucker


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Wisconsin Academic StandardsMusic

B.4.1 Play on pitch, in rhythm, with appropriate dynamics and timbre, andmaintain a steady tempo

B.4.4 Echo short rhythmic and melodic patterns

C.4.1 Improvise in the same style answers to given rhythmic and melodicquestions

C.4.2 Improvise simple rhythmic and melodic ostinato accompaniments

C.4.3 Improvise simple rhythmic variations and melodic embellishments ongiven pentatonic melodies

C.4.4 Improvise short songs and instrumental pieces, using a variety ofsound sources, including traditional sounds, sounds available in theclassroom, body sounds, and sounds produced by electronic means

F.4.1 Identify phrases and sections of music that are the same, similar,and/or different

F.4.2 Identify simple music forms upon listening to a given exampleF.4.3 Demonstrate perceptual skills by listening to, answering questions

about, and describing music of various styles representing diversecultures

G.4.1 Devise criteria for evaluating performances and compositions

G.4.2 Explain, using appropriate music terminology, personal preferencesfor specific musical works and styles

G.4.3 Evaluate the quality of their own and others performances and offerconstructive suggestions for improvement

H.4.1 Identify similarities and differences in the meanings of commonterms used in the various arts

H.4.2 Identify ways in which the principles and subject matter of otherdisciplines taught in the school are interrelated with those of music

I.4.1 Demonstrate audience behavior appropriate for the context and styleof music performed

I.4.2 Listen to and identify, by genre or style, examples of music fromvarious historical periods and world cultures

I.4.3 Describe in simple terms how elements of music are used in musicexamples from various cultures of the world

I.4.4 Identify various uses of music in their daily experiences and describecharacteristics that make certain music suitable for each use

I.4.5 Identify and describe roles of musicians in various music settings andworld cultures

English Language Arts

A 4 3 R d d di li d li i d d d

Social Studies

B.4.1 Identify and examine various sources of information that are used forconstructing an understanding of the past, such as artifacts,documents, letters, diaries, maps, textbooks, photos, paintings,

architecture, oral presentations, graphs, and chartsB.4.2 Use a timeline to select, organize, and sequence information

describing eras in history

B.4.3 Examine biographies, stories, narratives, and folk tales to understandthe lives of ordinary and extraordinary people, place them in timeand context, and explain their relationship to important historicalevents

B.4.4 Compare and contrast changes in contemporary life with life in thepast by looking at social, economic, political, and cultural roles playedby individuals and groups

B.4.7 Identify and describe important events and famous people in

Wisconsin and United States historyB.4.9 Describe examples of cooperation and interdependence among

individuals, groups, and nations

E.4.2 Explain the influence of factors such as family, neighborhood,personal interests, language, likes and dislikes, and accomplishmentson individual identity and development

E.4.4 Describe the ways in which ethnic cultures influence the daily lives ofpeople

E.4.6 Give examples of group and institutional influences such as laws,rules, and peer pressure on people, events, and culture

E.4.11 Give examples and explain how language, stories, folk tales, music,

and other artistic creations are expressions of culture and how theyconvey knowledge of other peoples and cultures

E.4.13 Investigate and explain similarities and differences in ways thatcultures meet human needs

Art and Design

A.4.3 Learn about basic styles of art from their own and other parts of theworld

A.4.4 Learn about styles of art from various times

A.4.5 Know that art is one of the greatest achievements of human beings

A.4.6 Know that art is a basic way of thinking and communicating aboutthe world

B.4.1 Understand that artists and cultures throughout history have used artto communicate ideas and to develop functions, structures, anddesigns


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THEATER ETIQUETTE AND EXPERIENCES

We have a wonderful opportunity at this performance to help youth learn about attending liveperformances.

Please discuss the following with your students:

1. Sometimes young people do not realize how a live performance differs from watching a movie or

television show. A live presentation has not been pre-recorded with the mistakes edited out.This

makes it riskier for the performer and more exciting for the audience. It also means the audience

has a real contribution to make to the overall event. Each audience member affects those around

him/her as well as the performer. Concentrate to help the performers.The audience gives energyto the performer who uses that energy to give life to the performance.

2. An usher will show you where to sit.Walk slowly and talk quietly as you enter the theater.

3. For safetys sake,do not lean over or sit on the balcony railings or box ledges. Please be careful on

the stairs, avoid horseplay and running throughout the building.

4. If necessary, use the restroom before the performance begins. Adults need to accompany young

students.5. You may talk quietly to the people next to you until the performance begins.

6. When the lights in the theater begin to dim, it is the signal that the performance is about to

begin. Stop talking and turn your attention to the stage.

7. Stay in your seat throughout the entire performance.

8. During the performance, listen quietly and watch closely. Talking during the performance will

distract other audience members and performers.Try not to wiggle too much and dont kickthe seat in front of you. These disruptions make it hard for others around you to concentrate

on the show.


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American Girls

Fund for ChildrenFunding for this study guide and the

OnStage Performing Arts Series for

Students is provided by a generous

grant from American Girls Fund for

Children, a philanthropic foundation

created to support programs andservices for school-age children in

Dane County. Since its founding

in 1992, American Girls Fund for


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Study Guide: Hangin