Jazz for Non-Jazzers · 9/11/14 1 Jazzfor%“Non/Jazzers”% Dr.%Chad%West Some%Basic%JazzStyles%...
Transcript of Jazz for Non-Jazzers · 9/11/14 1 Jazzfor%“Non/Jazzers”% Dr.%Chad%West Some%Basic%JazzStyles%...
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Jazz for “Non-‐Jazzers”
Dr. Chad West
Some Basic Jazz Styles
LaBn Bop Blues Swing
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Opening Thoughts
Why have a jazz band as part of your music program?
Why do some people not have jazz bands as part of their programs?
The single most important thing in teaching/learning jazz
is listening to jazz.
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Swing ArBculaBon
ü APack with a “doo” syllable rather than “tah” ü Release the note with the tongue
ü Quarter notes are generally played detached (staccato)
ü 8th notes are generally played connected (legato)
ü Accent quarter notes on 2 and 4
Swing ArBculaBon
ü Accent 8th notes on the upbeats ü Swing-‐ 2nd eighth note played like last third of a triplet
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Swing ArBculaBon ü 8th then quarter is played long-‐short
ü DoPed quarter—zabadoo-‐dot
Beginning Method Books
Jazz Ensemble
Jazz Combo
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Jazz Solfège
Jazz Solfège
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Jazz Solfège
Jazz Solfège
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Jazz Solfège
Rock ArBculaBon
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LaBn/Rock Style
ü APacks and releases are similar to swing ü SBll accenBng 2 and 4 ü Same arBculaBon syllables ü Straight 8ths ü 8th then quarter is played as wriPen ü Drummer uses snare and bass drum for pulse
Did I menBon that it is important to listen?
You could explain it…or you could just let your students hear
Pancho Sanchez
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Jazz OrnamentaBon
Jazz OrnamentaBon
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Importance of Listening Without listening your bands will sound “s=ff”
Let’s Listen to the Basie Orchestra play, Night in Tunisia
Listen to a well-‐known brass quintet play Night in Tunisia
Importance of Time
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Rhythm SecBon Roles
Time Provide rhythmic and harmonic foundaBon
Style and Color Set-‐up horn secBon and control dynamics
Wi1y Conversa4onalist Fill in the rhythmic and harmonic gaps
Magic Triangle Bass Locks in with 2 & 4 from hi hat
Ride Cymbal Locks in with bass player’s bass line
Hi Hat Locks in with ride cymbal
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Rhythm SecBon NotaBon
ü Place 3rd or 7th in the bass ü Add 9th or 13th to make 3-‐note chord. ü Move between chords smoothly by step
and keeping chord tones when possible.
Swing Comping PaPerns
Piano
LaBn Comping PaPerns
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ü Voice chords in upper four strings ü Start with 3rd and 7th then add 9th or 13th to
make 3-‐note chord. ü Freddie Green Style—play on each down
beat OR comping paPerns below
Swing Comping PaPerns
Guitar
LaBn Comping PaPerns
Bass
ü 1,2,3,5, 8,7,6,5 ü Try to approach by step or 5th ü Use chromaBcs for smooth lines
Blues Progression
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Bass
ü “Two-‐Feel” or “Two-‐Beat” ü Roots on beat 1 and 5ths, and 3rds on beat 3 ü Alternate 3rds and 5ths for smooth lines
ii-‐V-‐I Progression
Two-‐Feel
Walking
LaBn
Drum Set NotaBon
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Drum Set
ü Always keep 2 and 4 on the high-‐hat ü “Hot Steak and Cheese” on ride-‐cymbal
Swing
Drum Set
ü Steady 8ths on hi-‐hat with right hand ü Add bass drum ü Add rim clicks on snare with lej hand
LaBn—Basic Bossa Nova
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Drum Set
Setups
An Aural Approach to Beginning ImprovisaBon
1. Learn the Tune 2. Rhythmic ImprovisaBon on roots 3. 1st 5 notes of each scale 4. Improvise on the Tune
Based on Chris Azzara’s, “Developing Musicianship Through Improvisa=on”
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7th Grade Jazz Band (6:30 a.m.)
Rehearsal Set-‐Up
Students can hear each other
II I III IV
II I III IV
A I
A II
T I
T II
Bari
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Stage Set-‐Up
II I III IV
II I III IV
A I A II T I T II Bari
Do’s and Don’ts
ü Play too many notes when improvising
ü Allow you guitar player to use distorBon or the whammy bar
ü Conduct your ensemble like a concert band
ü Bring in guest clinicians ü Have a concert with the community
jazz ensemble ü Have your ensemble listen to jazz ü Allow all instruments to join jazz
band