Don ZentzThe Bolles School

Jacksonville, FL

FMEA 2008

Jazz Chart Selection

Man, That’s a

Good Chart!

What are the features of a

good chart?Reference Download:

“Characteristics of a Good Chart”

Great charts are aesthetically pleasing in some way(s) - they offer a balance of accessible (familiar) melodic, harmonic, rhythmic & timbral elements with new or surprise twists that prevent the predictable & mundane. As always, good music should mirror the good life - a balance of routine & spice. This, of course, has to be couched in good logic - melodic & harmonic material must "lay well" (make sense). One of the best examples of this supposition is the writing of Rob McConnell - he arranges great charts on well-worn standards by maintaining interest through new combinations of melody, harmony, rhythm, timbre - all in good taste & within an accessible framework. Of course this leads to the fact that most good charts are done by a few good writers, whose names should be familiar.

Bob GreenhawDirector of Jazz Studies (retired) Valdosta State University

Reference Download:“Chart Recommendations for School Jazz Ensembles - DZ”

(Over 575 listings)Swing ~ Latin ~ Latin-Swing

Ballads ~ Jazz WaltzRock/Funk ~ Other

Key to Grade Leveling

Grade 1 – very easy MS - Beginner

Grade 2 - easy MS – 2nd & 3rd yr. players

Grade 3 – medium easy Adv MS/Easy HS or 2nd HS bands

Grade 4 - medium HS with good ranges

Grade 5 – medium adv Adv HS & University

Grade 6 + adv - difficult Well-adv HS, university, professional

+/- denotes which end of grade level (3- / less difficult grade 3)

•The grade leveling on my chart list is realistic.•A publisher “grade 2” rank may appear as a 3- on my chart list.•A publisher “grade 4” rank may appear as a 5 on my chart list.•Even with the FBA concert band list, we find publisher rankings being bumped up a notch so that it’s realistically accurate.

•Full score•Full recording of chart•Notes to the conductor, with rehearsal suggestions•Clear information on the style of the chart•Written-out rhythm section parts•Reasonable ranges for all players•Reasonable and repeated jazz figures for the ensemble•Complete dynamic and jazz articulation markings throughout•Solo sections with simple chord changes that can be opened up for more instruments•Consistent notation of chord symbols

Emphasis is on educational material, both in theory and practice.

(from Jazz Pedagogy / Dunscomb & Hill / 2002 / p.165)

Key Elements That Should Be Present on Charts Grades 1 - 3

•Because of a higher standard of technique, range proficiency, and overall stronger musicianship in the developmental process, Grade 4 charts provide more meat to sink your teeth into.•The result is a more mature sounding musical product all the way around, if the band is truly at this level. (Just like with concert band grade leveling)•The challenges promote educational growth.•Most of the charts on my list are Grade 4 – common HS situation.

Grade 4

•Whereas a Grade 2 or 3 / Grade 5 or 6 is more gray to determine, a Grade 4 chart is pretty clear in terms of where it falls.•It should still have fully written out rhythm section parts. This fades with Grade 5 and 6.•More complex harmonies – affects improv•More technical demands in playing lines and keeping up with the time.•Ensemble precision is a challenge - comes through rehearsal.•Stylistic integrity and uniformity of articulation a must. •There is an opportunity to make mature sounding music.

Grade 4

(c) 2008 Don Zentz

Sampling of HS charts from DZ list

There Will Never Be Another You (arr. Tomaro - 4)

Samantha (Nestico - 4) A Minor Excursion (Caffey - 4+) ‘Round Midnight (arr. Tomaro - 4) Some Kind of Blue (arr. Tomaro - 4) Darn That Dream (arr. Mantooth - 3+) Willow Gold (Nestico – 3+)

(c) 2008 Don Zentz

Sampling of MS charts from DZ list

The Q.C. Shuffle (Chris Sharp – 3+)Mister Cool (Mike Steinel – 2)T.M.I. (Ralph Ford – 2+)If I Could Fly (Mike Smukal – 3-)

(c) 2008 Don Zentz

• Mike Sweeney• Peter Blair• Carl Strommen• Lennie Niehaus• Sammy Nestico• Ralph Ford• Mike Kamuf• Erik Morales• Paul Cook• Mike Dana• Doug Beach• George Shutack• Chris Sharp• Greg Yasinitsky

Charts by these

folks are

going to work!

For Middle School

• Mark Taylor• Mike Tomaro• Lennie Niehaus• Matt Harris• Peter Blair• Dave Wolpe• Doug Beach• Sammy Nestico• Victor Lopez• George Holmes• Steve Wright• Paul Murtha• George Stone

For High School

• Les Hooper• Paul Lavender• Carl Strommen• Paul Jennings• Erik Morales• Frank Mantooth• Dave Barduhn• Bob Lowden• David Caffey• Greg Yasinitsky• John Berry• Roger Holmes

(c) 2008 Don Zentz

The Chart Hunt

• Bulk is in print for only short period of time

• Worthy of continued play (and not just the classics)

• Like we do with out of print symphonic band music, we need to network to locate and borrow jazz charts.

(c) 2008 Don Zentz

Where to look• Eau Gallie HS – Melbourne• Satellite Beach HS• Orange Park HS – Jacksonville• St. Augustine HS• Wolfson HS - Jacksonville• Apopka HS - Orlando• University HS – Orlando• Colonial HS – Orlando• West Orange HS – Orlando• Gainesville HS

(c) 2008 Don Zentz

Where to look• Fort Walton Beach HS• Pace HS – Pensacola• Tarpon Springs HS• Boca Ciega HS• Mainland HS – Daytona• North Ft Myers HS• Spruce Creek HS – Pt Orange• Florida Community College at Jacksonville• Daytona Beach Community College• Seminole Community College

(c) 2008 Don Zentz

Where to look• Lake Sumter Community College• Broward Community College• Central HS – Macon, GA• Walton HS – Marietta, GA• Lowndes HS – Valdosta, GA• Valdosta State University• Miami Senior HS• Hialeah Lakes HS• Piper HS – Ft. Lauderdale• Taravella HS – Ft. Lauderdale

(c) 2008 Don Zentz

We all have them.We must assess accurately

and honestly.

Select music that is suitable for your jazz band.

Use Common Sense!!

(c) 2008 Don Zentz

Showcase your strengths.

It is a time for the authentic assessment of your students’

mastered skills and musicianship to date.

Select material that meets this goal.

A good fit is everything!

SELECTING YOUR MPA PROGRAMSuggested order

Med Tempo

Swing or Latin

Jazz Waltz

Change of Pace

Ballad

Slow Latin

Slow 3 feel

Exciting

Energetic

Med Tempo

SwingBallad

Energetic Latin/Rock

Med Tempo

SwingBallad Funk/Rock

Latin

(Bossa)Ballad Up-Tempo Swing

Latin Slow 3 feel Medium Swing

SELECTING YOUR MPA PROGRAMMost common order

Med Tempo

SwingBallad

Energetic Latin/Rock

Typical Middle School Program

42nd Street

(Arr. Paul Cook)

Harlem Nocturne

(Arr. Peter Blair)

Poco Loco

(Carl Strommen)

Typical High School Program

Day By Day

(Arr. Mark Taylor)

Sentimental Mood

(Arr. Mike Tomaro)

Manteca

(Arr. Mike Tomaro)

(c) 2008 Don Zentz

Some things for fun at Spring Concert only

Pop tunes of the dayOld Time Rock and RollTheme from ShaftEvil WaysBrick HouseBorn to be WildCar WashI Feel Good

If you have to…

(c) 2008 Don Zentz

Not at MPA

String of PearlsTuxedo JunctionIn the Mood

This is dance band music of the 1930’s.It’s important to trace back to the roots of the big band - program on other concerts.Furthermore, these three selections are all blues based.

An All Glenn Miller Program

(c) 2008 Don Zentz

For Old School, try these:

Middle School

Jericho – arr. Chris Sharp – 3-

High School

Tickletoe – Lester Young/arr. Wolpe – 4+

(c) 2008 Don Zentz

Authentic Duke Ellington

Stylistic integrity is a must with these charts! Great stuff if you have the soloists! Much research required!!

Look for the charts published in conjunction with the Essentially Ellington Festival that Wynton Marsalis is affiliated with via the Lincoln Center Orchestra!!!

I would not recommend an all-Ellington program for MPA because you want diversity and contrast

in that venue.

There are some issues with how things are scored and voiced on the Ellington charts that

make it very difficult to satisfy fundamental requirements of the MPA sheet in a superior

manner.Balance ~ Blend ~ Pitch

As with transcriptions of any sort, there is a strict standard in authentically reproducing the music.

Search out charts that are in ¾ time. These are often overlooked. They have a

time feel all their own and challenge performance skills in different ways

because of the beat displacement. They swing hard in a special way, especially when in the modal minor blues format.

Buddy Rich taught us this with Bob Florence’s “Willowcrest”.

(c) 2008 Don Zentz

• Blues for McCoy (Jim Cifelli – 3+)• Three for Bea (Dean Sorenson – 3+)• Footprints (arr. Berry - 3)• All Blues (arr. Sweeney – 2+) • Here, There, & Everywhere

(arr. Taylor - 4)• Alice in Wonderland (arr. Holmes – 4)

For MPA, I would slot these in the opening position.

If you have incomplete jazz band instrumentation and the ability level of the band is about average, check out what used to be the Kendor Konvertible Series via the current Jazz Gateway and Jazz Journey Series through Kendor. These charts really work and there are many to pick from. It is amazing how full they sound with incomplete instrumentation, playable with 9-17. Some of Kendor’s best writers contribute to this series, including Matt Harris, Lennie Niehaus, Greg Yasinitsky, Maria Schneider, and Les Sabina.

HOW TO DEAL WITH INCOMPLETE

INSTRUMENTATION

The Doug Beach counterpart to the old Kendor Konvertibles is indicated “...playable by 12-17 pieces.” Some of these were collaborations – Doug Beach & George Shutack.

The FJH Beginning and Developing Jazz Ensemble Series address groups with incomplete instrumentation.

The Hal Leonard’s Discovery Jazz, Easy Jazz Ensemble, and Essential Elements series can all be played with incomplete instrumentation.

The Heritage Jazz Works Series can be played with incomplete instrumentation. This does not include the Heritage charts as part of Matrix Publishing Co.

The Standard of Excellence Series published by Kjos accommodates incomplete instrumentation.

INCOMPLETE INSTRUMENTATION

Not enough kids to cover parts, or too many kids in some sections

What to do…?

JAZZ CHART CALLS FOR STANDARD INSTRUMENTATION

In general, drop lower parts (4th trumpet, 4th bone, 2nd tenor)

If no bari sax, you may want to drop 3rd bone if you have only 3 players in the trombone section

Depends on scoring. Lots of times, the 3rd bone or 2nd tenor will have 7th of chord voicing above root in the 4th bone or bari. This presents a problem if you don’t have the 7th present. At other times they may have the 5th, which is much less critical.

Use baritones or euphoniums in trombone section, especially if 7 trumpets and 2 bones!!

Rewrite parts! Take the time to remedy problems. It matters!!

Too many brass, double lower parts. Typically weaker players - builds bottom.

Do not double lead trumpet. Do split lead. Need one leader at a time.

Do not double 2nd trumpet. Too heavy vs. lead. Top tones heard naturally and strongest players.

There is a a delicate balance and blend brilliance that must exist between trumpets 1 & 2 if band is going to have “that sound” on block tutti’s without being too heavy. Do not make this impossible to achieve by doubling either top two trumpet voices.

If you are moving solos around, the part that is being left open because of shifted solo moves needs to be covered. Background figures need balance, too!!

FROM SOLO TO SHOUT

Cover soloist’s part until he/she makes way back if you have extra players.

If you don’t have extra players, have the soloist play his solo from within

the section.

It matters!!

(c) 2008 Don Zentz

Here comes the Saxophone Army!

Do not double lead alto In typical situations, the lead alto player is

much stronger than the 2nd alto player. Double 2nd alto.

Do not double 1st tenor. This huskier sounding instrument is already potentially dominant over the alto sound as the typical 3rd voice in the stack. And usually the 1st tenor player is strong, anyway.

(c) 2008 Don Zentz

Double the 2nd tenor. This part then balances better against the big bad bari sound (and can help make up for weaker bottom bone players.)

Still another player to deal with? Double the bari, but split them left and right in section so we don’t tip.

Best 6 configuration =

A1T1 A2 T2 T2 B

T1 A2 A2 A1 T2 TB

Not as good as above

Best 7 configuration =

A2

T1 A2 A2 A1 T2 T2 B

B T1 A2 A1 T2 T2 B

Max preferred

YIKES!! 8 is enough!

(c) 2008 Don Zentz

No more players allowed in section! Our sax section sound is already dangerously heavy and thick. If there’s an up-tempo, we are dead!

Rotate players in and out. 10 saxes and 2 trombones! Put two

tenors or tenor/bari in bone section! And have them sit in the 2nd line trombone section.

(c) 2008 Don Zentz

Saxophone MOUTHPIECES

Don’s mouthpiece chart

(c) 2008 Don Zentz

Standard of Excellence Jazz Ensemble Methodby Bruce Pearson & Dean Sorenson

Designed to help both you and your jazz ensemble students explore the world of jazz through easy-to-use

Rhythm Studies, Improvisation Studies, Instrument Specific

Exercises, and full ensemble jazz charts. The approach is non-

theoretical and aurally-based. Each part book comes with an

accompaniment CD, so students learn to play jazz by listening!

(c) 2008 Don Zentz

Building upon the rhythm-centered pedagogy introduced in the first book, the ADVANCED method

focuses on improvisation. Concepts introduced and reinforced are applied

in charts designed to be played by the full jazz ensemble.

The Director's Score is an invaluable resource of jazz pedagogy. Parts available for flute, clarinet, French

horn, and tuba ensure that the study of improvisation is also accessible to

students of non-traditional jazz instruments.

Standard of Excellence ADVANCED Jazz Ensemble Methodby Bruce Pearson and Dean Sorenson

(c) 2008 Don Zentz

Jazz Basics by Peter BlairThe fundamentals of improvisation for young

musicians (grades 6-9).Designed for use with jazz ensemble.

Covers rhythm section skills, voicings, bass lines, drum styles and set ups.Laid out very logically.

Heritage JazzWorks

(c) 2008 Don Zentz

Students can work out on logical scale material and patterning that is the

basic DNA of all jazz improvisation.

Available from Z&Z Publications

Digital Dexterity

(c) 2008 Don ZentzBy Dan Haerle By Frank Mantooth

(c) 2008 Don ZentzBy Kris Berg By Todd Coolman

(c) 2008 Don ZentzBy Dave Black & Steve Houghton By Peter Erskine

(c) 2008 Don ZentzBy Charlton Johnson By Jack Grassel

(c) 2008 Don Zentz

You will find realistic and practical solutions to challenges such as the jazz concept, understanding the rhythm section, jazz

improvisation and jazz styles including a great section on Latin jazz. Uniquely

innovative, this one-of-a-kind handbook incorporates the web as an ongoing

resource tool that provides the ultimate in reference information. The included DVD presents audio/video demonstrations of

rehearsal techniques, how to really teach jazz improvisation and how to understand

and improve the rhythm section. An essential addition to your library and/or jazz

pedagogy class.

Jazz PedagogyBy Richard Dunscumb & Willie Hill

(c) 2008 Don Zentz

This book is the ideal tool for anyone seeking a deeper understanding of the  preeminent music for jazz ensembles by

seminal jazz composers.        

In addition, leading jazz educators and musicians contribute chapters on topics such as: “Why Teach Jazz?” by Wynton Marsalis; “A Multi-Cultural Approach to Jazz Education” by Ronald Carter; “Rehearsal Techniques: A Holistic Approach Integrating Composition, Improvisation, Theory, and Cultural

Considerations in the Rehearsal” by Ron McCurdy; “The Rhythm Section: The Band within the Band” by Reginald Thomas; and

“Promoting a High School Jazz Band” by Ron Modell.        

This book includes Teacher Resource Guides to more than 65 of the top jazz charts, broken down into developing, intermediate,

and advanced categories. These include vital information on the composer, the composition, historical background, technical

requirements, stylistic considerations, musical elements, form and structure, listening suggestions, and additional references.

Teaching Music through Performance in Jazz Wynton Marsalis, Ronald Carter, Ron McCurdy, Reginald Thomas, and Ron Modell Compiled and edited by Richard Miles and Ronald Carter

(c) 2008 Don Zentz

YA GOTTA TRY…

LISTENINGHearing the music is worth a million words when trying to define what you want in rehearsal – like style!

(even better – DVD’s)

Recommended Big Band Listening List - DZ

(c) 2008 Don Zentz

Live performances~~~~~~~~~~~

Guest Artists~~~~~~~~~~~

There is Nothing like experiencing the

music LIVE!

Extremely inspirational to young people…

(c) 2008 Don Zentz

www.zentz.org

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