module 1aboutthatjazz.com/files/about_that_jazz_sample_lesson.pdf"in jazz, improvisation...

Module 1Written by Jose Antonio Diaz

Edited by Dick Dunscomb

An Auditory Approach To Jazz

Copyright © 2015 About That Jazz, Inc.

PO Box: 682947 Houston, Texas 77268-2947

All rights reserved. Printed in the United States of America

ABOUT THAT JAZZ

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José Antonio Díaz, a recent recipient of the City of Houston Mayor’s Hispanic Heritage Award, is founder and artistic director of the Díaz Music Institute and director of bands at MacArthur High School in Houston, Texas. Newly inducted into Down Beat Magazine’s Jazz Education Hall of Fame, Díaz’s groups have performed with such artists as Carl Allen, Alvin Batiste, Shelly Berg, Ignacio Berroa, Nick Brignola, Ndugu Chancler, Jon Faddis, Conrad Herwig, Brian Lynch, Jimmy Owens, Danilo Perez, Patrice Rushen, David Sánchez, Arturo Sandoval, Nestor Torres, and Bill Watrous to name just a few. José’s ensemble has performed multiple times at some of the most prestigious international events including but not limited to the Midwest Clinic, Jazz Education Network, Texas Music Educators Association, Oregon Music Educators Association, Texas Bandmasters Association, and National Association for Music Education.

José’s leadership has led Díaz Music Institute be become internationally recognized as a premier organization for presenting, developing, and teaching Latin jazz and Salsa music. Díaz’s innovative programing is enjoyed by the Houston community through the institute’s annual presentation of Noche Caliente at the Miller Outdoor Theatre. Performing in Noche Caliente is the Institute’s repertoire ensemble “Caliente”, recognized as America’s premier Afro-Latin Youth Ensemble, in musical dialogue with some of Latin music’s biggest stars such as Alex Acuna, Jimmy Bosch, Candido, Pete Escovedo, Larry Harlow, Ismael Miranda, Johnny Pacheco, Eddie Palmieri, Poncho Sánchez, Roberto Roena, Adalberto Santiago, Brenda K Starr, Michael Stuart, Bobby Valentín, and Dave Valentín.

ABOUT THAT JAZZ AUTHORJOSE ANTONIO DIAZ

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Díaz's success with the institute and his career as a music educator were the subject of a featured cover story in SBO Magazine and Band Director's Guide Magazine. José received a Down Beat Magazine Award for Achievement in Jazz Education and was selected by FOX 26 and Univision Television stations as a Hispanic Hero. Proudly in 2007, Díaz was inducted into the Texas Christian University Band of Fame. In June 2008 José received the prestigious Jefferson Award for his work with Díaz Music Institute. As an artist, Mr. Díaz has received four grants from the Houston Arts Alliance to support his creative writing in Latin Jazz music compositions. In addition, Díaz Music Institute was twice selected by the President’s Committee on the Arts and the Humanities as finalist for the 2010 and 2011 National Arts and Humanities Youth Program Awards.

One of music education most sought after clinician, Díaz has presented workshops for organizations such as the Midwest Clinic, Jazz Education Network, Berklee College of Music, Jazz Institute of Chicago, Conservatorium aan Zee in Oostende (Belgium), California Music Educators Association, Oregon Music Educators Association, University of Missouri at St. Louis, Texas Bandmasters Association, Texas Music Educators Association, Virginia Music Educators Association, the Western International Band Clinic, National Association of Black School Educators, Texas Music Symposium, Music Education National Conference, and the National Association of School of Music.

José is on the board of Directors for The Midwest Clinic and Jazz Education Network. Díaz is also member of Texas Bandmasters Association, Texas Music Educators Association, Texas Music Adjudicators Association, Phi Beta Mu, Kappa Kappa Psi, and Phi Mu Alpha.

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"In Jazz, improvisation isn't a matter of just making any ol' thing up. Jazz, like any language, has its own grammar and vocabulary. There's no right or wrong, just some choices that are better than others." Wynton Marsalis

Jazz is deeply rooted in the auditory tradition of African music. The African approach of master/student relationship is one of observation and imitation. Music was taught by rote and the master insisted that the student imitated in a verbatim manner, the exact phrase with the same feeling and nuances of the performance. Generations of jazz musicians learned from their mentors by copying, imitating, and learning their vocabulary – very much like learning to speak a language.

Many of the great masters were not thinking about the theory behind the improvised solos but instead relied heavily on the vocabulary they developed. The basic premise was that if it sounded good then the right note choices were performed. In general, we would never use a word we didn’t know the meaning of for fear of looking and sounding foolish to others. Jazz performance is very much the same; one must learn the vocabulary defined by the masters and innovators of this art form to create the authentic feeling of the music.

FORWARD

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Getting comfortable with the rhythmic concept of “swing” is critical to developing an improvisation that swings. The late great jazz educator Alvin Batiste would always say “there are no wrong notes in jazz, just mispronunciation.” He was talking about developing a rhythmic concept that would help you create the swing feel through a jazz dialect. Before we begin to learn how to swing we have to know how the concept developed. The concept of swing can be traced to the African rituals of Abakuá.

The pronunciation of the jazz language is acquired thru the use of syllables that help create the natural rhythmic feel of swing. Jazz like all other music genres gets its momentum from the interpretation of its rhythm. Rhythm is fundamental to creating the feeling for swing. With that in mind, let’s begin our journey by developing the jazz language and understanding the rhythmic feel of swing. Developing a jazz dialect naturally creates a rhythmic understanding through feeling the pulse of the music. The conceptual approach of this jazz rhythm dialect is rooted in the feel of the rhythm of spoken syllables. This approach can help develop a natural feel to swing and help players understand the concept of swing.

“About That Jazz” is a curriculum that approaches jazz education in the oral tradition used by the masters of this art form. Jazz is a verbatim language and the language of jazz must be learned to help create the feeling of swing. Traditionally the jazz language was taught on the bandstand or in jam sessions with the masters performing while students of the music listened, observed, and imitated what they heard.

The challenge of any jazz curriculum is presenting information that was passed on to generations of musicians in a non-formal setting, to new ones. “About That Jazz” presents information and concepts in an innovative setting that encourages the “looseness” and/or “freedom” musicians developed in jam sessions. Additionally it will help students discover the beauty of self-expression that too often eludes them but is essential to the performance of jazz.

“About That Jazz” is organized as a modular curriculum with each module addressing a specific jazz education component. The lessons in the book include:

• National Standards• Common Core Standards• Objectives• Review• Instructional Input• Vocabulary• Modeling• Assessments

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• Guided Practice• Independent Practice• Closure

This modular curriculum also includes performance exercises that can be easily incorporated into a daily warm-up. In addition, four full performance charts are included in this module. The module also has three teaching perspectives that appear in different colored text. Text appearing in black are instructions for the teacher, text appearing in the green box are instructions for the teacher to read directly to the students, and the blue text appearing next to the Jazz Notes Icon are teacher tips. Here are examples of three teaching perspective:

Instructions for the teacherThe following exercise is intended to teach rhythmic coordination that any instrumentalist or vocalist can use to start the journey of developing the concept of swing by listening, observing, and imitating the language of jazz.Instructions the teacher to read directly to the students

Jazz Notes Icon are teacher tips

In addition, various lesson components appear in various colored text boxes for quick identification and for ease of lesson organization. Note the examples below:

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Our purpose is to listen to the cohesiveness of the players and their ability to perform as one unit while performing with individual freedom. This musical dialogue among the players is an art in itself and will be discussed later in the curriculum.

Let’s listen to the following track; the track contains a rhythm section consisting of piano, bass, and drums. As we listen to the track, let’s snap our fingers on beats two and four.

Objective:

The student will discover an understanding of the auditory approach to jazz by listening and imitating the prescribed syllables.

All suggested student assignments appear next to the woodshed icon. Borrowing terminology woodshedding from the jazz vernacular, which means to practice or hone skills. The origin of the term comes is from the fact that people would go to their woodshed practice without being overheard.

Practice Exercises 1.1 thru 1.5 with their corresponding tracks in order. After getting comfortable with these exercises rehearse Dot Blues (Exercise 1.6) with Track 1.6.

About That Jazz is excited to work with you to and to help you bring jazz education to young people. We look forward to hearing from you; enjoy the curriculum!

Vocabulary

Jazz Rhythm Dialect – the musical pronunciation of the jazz genre. The pronunciation of the jazz language is acquired through the use of syllables that help create the natural rhythmic feel of swing.

ASSESSMENT

Scan the class to observe every student’s participation and encourage them to have a great time feeling the pulse and enjoying their finger snapping performance to the tune.

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NATIONAL STANDARDS

MU:Pr4.2.E.la, MU:Pr5.3.E.la

COMMON CORE STANDARDS

Learning about articulation; Critically reviewing a performance

LESSON 1

LET’S BEGIN!

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Objective:

The student will discover an understanding of the auditory approach to jazz by listening and imitating the prescribed syllables.

Vocabulary

Jazz Rhythm Dialect – the musical pronunciation of the jazz genre. The pronunciation of the jazz language is acquired through the use of syllables that help create the natural rhythmic feel of swing.

Swing – a form of jazz music where the rhythmic pulse and interpretation of melodic and harmonic material creates a feeling of rocking back and forth.

Rhythm – The melodic and harmonic pattern of regular and irregular pulse in music caused by the occurrence of strong and weak beats.

INTRODUCTION

An Aural Approach

Jazz like all other music genre gets its momentum from the interpretation of its rhythm. Rhythm is fundamental to creating the feeling for swing. With that in mind let’s begin our journey by developing the jazz language and understanding the rhythmic feel of swing. Developing a jazz rhythm dialect naturally creates a rhythmic understanding through feeling the pulse of the music. The conceptual approach of this jazz rhythm dialect is rooted in the feel of the rhythm of spoken syllables. This approach can help develop a natural feel to swing and help young players understand the concept of swing.

LESSON DEVELOPMENT

Rhythmic Coordination

The following exercise is intended to teach rhythmic coordination that any instrumentalist or vocalist can use to start the journey of developing the concept of swing by listening, observing, and imitating the language of jazz.

Let’s listen to the following track; the track contains a rhythm section consisting of piano, bass, and drums. As we listen to the track, let’s snap our fingers on beats two and four.

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Our purpose is to listen to the cohesiveness of the players and their ability to perform as one unit while performing with individual freedom. This musical dialogue among the players is an art in itself and will be discussed later in the curriculum.

Exercise 1.1 Track 1.1

Track 1.1 (Track is full rhythm section performing swing groove on D minor 7 with finger snaps on 2 & 4)

Play Track 1.1 and begin snapping your fingers on beats two and four. As you perform the finger snaps relax and move your body to feel the pulse of the music; continue finger snapping until everyone is able to succeed at the task!

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This exercise is not an option and should not be taken for granted; it is crucial that everyone participates. Regardless the level of the group there will be someone in the group that can benefit from the exercise.

ASSESSMENT

What is fundamental to creating the feeling of swing?

A. Melody

B. Harmony

C. Rhythm

What beats did you hear the finger snaps on?

A. Beats 2 & 4

B. Beats 1 & 3

C. Beats 2 & 3

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Exercise 1.1 Track 1.1Swing by Jose Antonio Diaz


Track 1.2 (Full rhythm section performing swing groove on D minor 7 with “Dot” syllable on beat one and finger snaps on 2 & 4)

Play track 1.2 and listen to the manner in which the syllable is spoken; make sure you are listening carefully to the nuances of the pronunciation. It is imperative that the same feeling and intent of the syllable is imitated and memorized. The track consists of the same D minor progression heard during the finger snapping exercise with the syllable “Dot” added. The “Dot” syllable is performed on beat one every four measures. The exercise is designed to help the students think about what they heard and develop a relaxed approach to feeling the rhythm of swing. Play the track often enough that all students are fully committed to performing the syllable with the same interpretation heard. After Track 1.2 is mastered continue to Track 1.3, 1.4, and 1.5; each of these tracks must be taught in the same manner as Track 1.2.

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Track 1.3 (Full rhythm section performing swing groove on D minor 7 with “Dot” syllable on beat two and finger snaps on 2 & 4)

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Track 1.4 (Full rhythm section performing swing groove on D minor 7 with “Dot” syllable on beat three and finger snaps on 2 & 4)

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Track 1.5 (Full rhythm section performing swing groove on D minor 7 with “Dot” syllable on beat four and finger snaps on 2 & 4)

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Track 1.6 (Full performance demonstration of Dot Blues)

Play track 1.6 and listen carefully to the manner in which the syllable is spoken and then played. Make sure all students snap their fingers on two and four during the first chorus and that they continue to snap their fingers while they speak the syllable during the second chorus. Chorus three and four are played with the same intent as the spoken syllable.

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Make sure you are listening carefully to the nuances of the pronunciation. It is imperative that the same feeling and intent of the syllable is imitated .

Now that we have become comfortable with the “Dot” rhythm dialect, let’s apply it to a tune. This chart is called “Dot Blues” and as the title suggest the “Dot” rhythm dialect is use in this song. Let’s listen to a demonstration of this chart. Make sure to snap your fingers on beats two and four while you are listening to the performance.

Swing Shuffle

Finger Snaps!

Swing Shuffle

Swing Shuffle

Finger Snaps!

Swing Shuffle

Swing Shuffle

Finger Snaps!

Swing Shuffle

Swing Shuffle

Finger Snaps!

Swing Shuffle

Swing Shuffle

Finger Snaps!

Swing Shuffle

Swing Shuffle

Finger Snaps!

Swing Shuffle

Swing Shuffle

Finger Snaps!

Swing Shuffle

Swing Shuffle

Finger Snaps!

Swing Shuffle

Swing Shuffle

Finger Snaps!

Swing Shuffle

Swing Shuffle

Finger Snaps!

Swing Shuffle

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Template 3

CLOSURE

Lesson one is completed when every student is able to accomplish all exercises with a natural sense of feeling. None of the spoken syllables or the snapping of the fingers should feel stiff or awkward – if it does, continue performing the exercises until all accomplish a natural feeling. All students can and will accomplish the goal!

Practice Exercises 1.1 thru 1.5 with their corresponding tracks in order. After getting comfortable with these exercises rehearse Dot Blues (Exercise 1.6) with Track 1.6.

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module 1aboutthatjazz.com/files/about_that_jazz_sample_lesson.pdf"in jazz, improvisation...

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