master class jazz piano

7/25/2019 master class jazz piano

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Music for All Summer Symposium presented by Yamaha www.musicforall.org

Jazz Piano Master ClassLuke Gillespie



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© 2007 RUPE MUSIC PUBLISHING CO.

Session 1 Jeff Ruper

Jazz is a musical language. Learn to use minutes of class time to effectively teach improvisation. Session Iunlocks the fundamentals of teaching improvisation through call and response, and an aural/oral approach tochords. Integrated learning and performance for students and teachers!

Michael Brecker told me that the most important thing in music is rhythm, and I believe that next to toneproduction, he was right. Articulation in jazz is a little different than in classical music, and here are a few principof jazz articulation, demonstrated through rhythmic solfege

Jazz Improvisation is for all of us!

Rhythmic solfege:Notice that the short quarter notes have the syllable "dop" (dat is used alot, too.)Off beat eights are usually annuciated with "be" or "ba".Down beat eights (unaccented) can be annunciated with "shoo" (for an extreme legato sound), or "Du".

Introduction:Since jazz musical language, then it makes most sense to learn jazz music like a language; by listening andspeaking. While it's nothing new, the Aural/Oral approach to learning music is organic, and in the long run leadto success in the most expedient way. A friend of mine said we need to hear music with our eyes, and see music

with our ears! Analytical vs. Aural/Oral approach : While there may be a lot of information on the next few pages, the bestlearning we can disseminate to our students is through listening, and repeating back phrases.

The Aural/Oral approach frees us from delving into an analytical approach, which can be cumbersome andeasily looses student's interest.

First things first: rhythm in jazz

1 Downbeat quarter notes are generally short!2. downbeat eight notes are generally legato, or tenuto.3. The last note before rest will be accented, and/or short4. Offbeats are accented.5. Off beat quarter notes are accented, and short, unless otherwise notated.



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Session I -Jazz is for all of us! pg 2

Lets add some tones to the rhythm!Its actually a good idea to stay away from the blues scale at first. The blues scale is intrinsic to jazz, but doesntconvey the sound of melody through harmony. We are going to easily convey harmony through melody.

Now lets add a little chromatiscm. We can add chromatic tones, especially if they are on upbeats. What would the rhythmic solfege be for these melodies?

Bach and Bird would have been friends! Jazz musicians understand something crucial to counterpoint....Playing chord tones will convey the sound of a chord, especially if they happen on a downbeat.

some jazz melodies:



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Session I -Jazz is for all of us! pg 3

Minor Chords:

Minor Melodies:

Points to remember:1.Music is art that happens in time, we need to always play in the medium of time!2. Encourage your students to play by ear! I do it all the time with my students. Sometimes they are quicker thame, and that's ok- let them build confidence in themselves, and respect for their teacher.3. Keep the jazz rhythmic solfege at the fore. Jimmy Lunceford's bands theme song was Rhythm is our Business!

Minor chords in jazz are almost always ii chords, in other words, they are major scales starting on the secondnote of the major scale.

Young students usually know their major scales, or at least some of them. This perspective on the derivationof minor chords really helps out beginning improvisors.

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Session II Jeff Ruper

Learning and Incorporating scales and arpeggios in jazz


As you probably already know, chords are "every other note" of a scale. We can really convey the sound of a chord through melodies using scales, and arpeggios!

Chromatism:

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Session II -Jazz is for all of us! pg 2

Now lets add a little chromatiscm. We can add chromatic tones, especially if they are on upbeats. What would the rhythmic solfeg be for these melodies?

some jazz melodies:

Minor chords:

Some tips:

How does it sound? How is the jazz solfege?It is important to keep the "sound" in the music!Remember that minor chords are just major chords starting on the 2cnd note.Remember that chromatism is fine in jazz, especially if it happens on an "up beat".



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Session III Jeff Ruper

Building on skills acquired in the first two sessions. Improvising melodies and call and response on major, minorand dominant chords. The ii V7 I through the aural/oral approach. Session 3 concludes with improvisation on a

standard song!

The Democracy in Jazz: In his book Early Jazz,, Gunther Schuller refers to jazz as a democracy between all the eight notes in commontime. The downbeats maintain the harmonic rhythm, just as in classical, and especially baroque music.

The upbeats in jazz, however get the rhythmic emphasis.


3rd and 7th interchange:

Dominant chords:

using chord tones exclusively:

chromatic tones, scale tones, and chord tones:notice where the chord tones fall.



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Session III -Jazz is for all of us! pg 2

Resolving tones in eight notes: 7 6 4 3 7 6 7 6

Hearing the ii V7 I progression with melodies! Resolving tones:

Some tips:It is important to keep the "sound" in the music!Remember that dominant chords are major chords with a "flatted" seventh scale degree.Look for the common tones from chords, i.e. the ii V7 I progression, the blues, and tunes like"Take the A Train".Resolving tones are notes that help convey the sound of one chord to the next.How is the jazz solfege?

7 6 4 3 7 6 7 6

Take the A Train, and common tone relationships:

can you identify the other chord tones in the previous 4 bars?



Music For All Jazz Pedagogy

Selected Bibliography, Discography, and internet resources for jazz styles and improvisation.

Jeff Rupert

• The Chopmonster Series, By Shelly Berg, pub Alfred Music.

• The 88 “must have jazz records, published by WBGO, New Yorks NPR JazzStation. http://wbgo.org/library/jazz88.php

• Outstanding video portraying the swing feel, as well as jazz drumming.

Count Basie, “Corner Pocket” http://youtube.com/watch?v=M4-ZBQ_UYgM

•

Louis Armstrong in the twenties. Outstanding footage portrays his abilities as animproviser, master of polyrhythm, jazz singer and trumpet virtuoso.

http://youtube.com/watch?v=IAbbJBaJZ3E

• Excellent video showing different saxophone styles within one performance.(Stan Getz, John Coltrane, Oscar Peterson, Jimmy Cobb, and Paul Chambers).

http://youtube.com/watch?v=Z-2uBeMgV4I

• Excellent representation of the Swing guitar style, (The Django Reinhart Festival)

http://youtube.com/watch?v=gZey9fRiH4w

•

Hard Bop example, Art Blakey’s Jazz Messengers perform “Moanin”.http://youtube.com/watch?v=4noNAphDFA8&feature=related

• Souljazz example, Dr. Lonnie Smith with Lou Donaldson.

http://youtube.com/watch?v=nO8Ln1WXsWU

• Fusion example; Weather report performing “Birdland”

http://youtube.com/watch?v=pqashW66D7o



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lead the transformation of the

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The Jazz Education Network is dedicated to building the jazz arts community by advancing education,

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The Jazz Education Network was founded in the spirit of collaboration and excellence.

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evolving art form that lives globally.

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master class jazz piano

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