FOR JAZZ EDUCATORS www.jeiowa.org

A Word From The President

JEI President’s Message

So here it is…our first ever, inaugural JEI newsletter. We have listened to a number of our members over the years who have asked for a communication tool that offers us all a chance to stay current with the Jazz happenings across the state. Our hope is to offer these newsletter updates quarterly throughout the school year – September, November, January and March. Advisory board members have been asked to serve by contributing tips, suggested articles and links, all designed to enhance your Band’s Jazz experience. Please communicate with the following Educators whenever you have questions, suggestions for improving support along with opportunities to share concert and festival dates and information.

Elementary Jazz Affairs: Jason Pentico pchsjvp@pella.k12.ia.us

Middle School/ Junior High Jazz Affairs: Colleen Hecht

hechtc@newell-fonda.k12.ia.us

Vocal Jazz Affairs: Linda VanderPool vanderpoolL@wdmcs.org

Mentorship: Steve Shanley sshanley@cr.k12.ia.us

Educational Materials / Content: Mike McMann

mike.mcmann@north-scott.k12.ia.us

Communications / Media: Mike Omarzu momarzu@gmail.com

Festivals / Clinics/ Workshops: Chris Merz

chris.merz@uni.edu

Website: Steve Kellar kellars@urbandale.k12.ia.us

We're proud and privileged to have a real "inside" connection to JEN ( Jazz Educators Network ) with Larry Green and have asked that he continue to update JEI membership with the latest detailed information related with JEN's national organization.  I have also known Bill Bergren for a number of years and The Synergy Jazz Foundation is an organization growing in scope and support. Synergy is providing unique opportunities for students of all ages to experience live Jazz performance by listening and performing. Bill has also agreed to keep us up to date with the developments with Synergy and their affiliation with Jamey Aebersold's resource panel of clinicians. I believe that jazz offers your students opportunities for expression, emotional growth, and self-awareness that are unique to their overall school experience. In today’s ever changing world, creativity and the ability to improvise various elements in life are essential to success as adults. Jazz offers a vehicle to workshop concepts both on a personal and group level. I personally know this to be the case having grown up in a small rural Iowa school. The direction that we received as students from Billy Redman and Jim Douglass at then- Lincoln Central of Gruver- opened my eyes to an amazing

JEI BOARD

PRESIDENTRODNEY PIERSON

PRESIDENT-ELECTCHRIS MERZ

VICE-PRESIDENTPATRICK KEARNEY

PAST PRESIDENTSTEVE SHANLEY

SECRETARYJEFF SCHAFER

TREASURERMYRON PETERSON

JEI NEWSLETTER NO. 1 NOVEMBER 2010

PROVIDING JAZZ RESOURCESFOR IOWA’S EDUCATORS

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FOR JAZZ EDUCATORS www.jeiowa.org

world rich with history and personalities. We were always encouraged to explore and search out answers through listening, patterning style by playing along with recordings and asking questions that often led to more questions which in essence, pushed me to teach myself.There’s no substitute for practice and self- exploration and to that end, I offer my help to you in any way I can.

Best regards, Rod Pierson President JEIPierson.rod@gmail.com319-530-0479

A Message from the President-Elect

Greetings to the JEI membership! It is my pleasure to serve as the resource contact for festivals, clinics and workshops. In that capacity, I am ready and willing to assist you in getting out the word on performances and workshops with visiting artists, as well as helping to highlight educational opportunities happening in conjunction with the various jazz festivals taking place around the state. Information regarding these events can be routed through me, and I will share the information via the JEI Facebook page as well as the newsletter. In addition, we are working on some special JEI-sponsored clinics and performances that will hopefully materialize in the coming year. I am open to suggestions from the membership about special projects you would enhance your work in the schools. In the end, this is your organization. We are here to serve you and to help facilitate your ideas.

Sincerely,

Chris MerzPresident ElectJEImerz@uni.edu319-273-3077

The Jazz Education

Networksubmitted by Larry Green

JazzerLG@aol.com Check the Jazz Education Network website    www.jazzednet.org      to see all of the great performers and clinics being offered at the 2011 January  New Orleans Conference.   Go to the home page of the JEN website and there will be a CLICK HERE  in RED PRINT going to the entire schedule.    Notable groups performing:  Airmen of Note, Army Jazz Ambassadors, North Texas 1 O'clock, The Dirty Dozen Brass Band, Monk Institute, Univ. of Miami Jazz Vocal, Berklee College Combo and many more.    Our exhibits area is sold out and our clinic slots are completely jammed. The Roosevelt Hotel Conference site is 2 blocks from Bourbon Street and all of the marvelous southern entertainment and food of New Orleans.  There are several reasonably priced hotels in the surrounding area either listed on the JEN website or within walking distance of the Roosevelt.   PLUS, the some airlines are offering great pricing into New Orleans at this time. As one of the Founding Members of JEN, and currently the Network Affiliate Coordinator, my time is spent reestablishing contacts with the state area jazz educator groups and rebuilding relationships with those many, many jazz educators who were left behind with the death of IAJE.  Here is a Jazz Times article about the beginning and growth of the Jazz Education Network.   I think it is well worth reading. Please do not hesitate in contacting me for further information, questions.    

Mentorshipsubmitted by Steve Shanley (steve.shanley@gmail.com)

JEI recognizes the success of recent mentorship efforts by the IowaBandmasters Association and school districts across our state.   Wehave, therefore, added a mentorship component to the organization,which will further support our mission to provide jazz resources forIowa’s educators. JEI mentors can help our new teachers in a variety of ways.  It couldbe simply talking on the phone about literature selection, sending anemail reminder about festival registrations, or even working with theband.  We all know that teaching jazz can have some unique challenges,and I am certain our new teachers will benefit from this new JEImentorship program. I ask that you contact me if you are:

1)  interested in serving as a JEI mentor;

2)  aware of a new or young teacher in your area who might benefit from a JEI mentor;

3)  a new or young teacher and would like to be paired with a JEI mentor.

JEI NEWSLETTER NO. 1 NOVEMBER 2010

FOR JAZZ EDUCATORS www.jeiowa.org

Focus For This Issue Educational Resources

Greetings! When determining what to include in the “Educational Resources” section of the inaugural JEI Newsletter, I decided it would be best to begin with an overview and a bit of “here is what we hope to accomplish” information. We definitely wanted to offer our membership something for being a part of our organization- something that is only exclusive to JEI members. Our goal with this section of the newsletter is to provide materials that our members can use in their own programs. This could include everything from rehearsal/warm-up/tuning techniques, improvisation, choosing literature, recommended listening, set-up options, recommended equipment, and any other area deemed necessary by our membership. From this point forward, we will be collaborating with other jazz educators and compiling some examples of methods, techniques, and materials they have used successfully in their own programs. We understand that what works in some programs may not work in others- that is why we hope to come up with a variety of resources to choose from so educators may custom fit a technique to their own program. We also understand that there are many great ideas floating around out there, and that our resources will definitely not be all-inclusive. For example, we will be doing our best to cover all grade levels, both instrumental and vocal, but may be limited to contributions or lack thereof. And although there are a number of resource books/methods out there, many of the techniques I personally learn about and incorporate in my classroom come simply through conversations with other educators. So this will be more of a “straight from the classroom” approach- created by teachers for teachers. As this is a “work-in-progress”, we will be starting with a few very basic techniques and will be adding more

resources and materials (and hopefully posting them on our webpage with a password for members) with each newsletter. We also welcome any feedback or ideas you may have and hope you will share them with us by attending one of our meetings or visiting our booth at the various state music conferences! If you have ideas or materials that you would like to see covered in the newsletter or posted on the website, please send them to me at mike.mcmann@north-scott.k12.ia.us , and I will forward them to the board for review and discussion. Thanks!

Mike McMannEducational Resources Jazz Educators of Iowa

Teaching Jazz in the Elementary Music Classroom

submitted by Jason Pentico

Adding another element to our curriculum in the elementary music classroom is easier than you think. Teaching jazz at the elementary level simply requires a passion for the music and a little creativity. By incorporating jazz into every grade level, all students receive instruction on maintaining a steady beat, instruments, form, listening, and many of the basic elements of music such as dynamics, tempo, pitch, etc. From playing 12-bar blues on Orff instruments to learning about jazz artists and history in listening examples, more and more students can become hooked on jazz. One great resource currently available that I have found to be very intriguing is the “Chop-Monster Jr. Language Tutor” Book by Shelton Berg. This method book, specifically tailored towards elementary classrooms, uses imaginative call-and-response activities, movement, and circle games to teach young students how to sing and play Jazz. It has wonderful links to audio and video recordings of the Jazz Masters as well as brief biographies and pictures of some of

the most influential figures in jazz history. The activities help students understand basic jazz elements of swing and style as well as helping them understand different song forms (i.e.: ABA, AABA, etc.) To teach jazz successfully at the elementary level, you must be willing to step outside your comfort zone. Be creative and take a risk. Share your passion and teach America’s true art form to our children.

Junior High/Middle School Jazz Warmups & Best Practices

submitted by Colleen Hecht

What is the purpose of warm- ups?1. To get the students listening2. To experiment with improvising 3. To get the “chops” working4. To work on a jazz articulation or

rhythm5. To explore jazz phrasing

It works best to have an established warm-up routine.

*Books such as Essential Elements for Jazz or Standard of Excellence Jazz have warm-ups for the entire band that work with students who only have 1 or 2 years playing experience. Great for individual or classroom use.

* Warm-ups for Beginning Jazz Ensemble by Chris Sharp. It has 6 different concepts. Wind players are introduced to phrasing and balance while rhythm players are exposed to chord voicings and appropriate comping rhythms.

Website suggestions for jazz warmups:

http://www.band.lmsmusic.org/jazz-dialogue/jazzcentralstation.comartistdirect.comlib.washington.edu/music/pbs.org/jazz

JEI NEWSLETTER NO. 1 NOVEMBER 2010

FOR JAZZ EDUCATORS www.jeiowa.org

Warm-up / Tuning Techniques for High School Jazz Ensemble

submitted by Mike McMann There are a number of theories and ideas out there on warming up and tuning. In fact, I think the only real consensus out there is that both are important!

Warming Up Recalling our panel discussion at IBA last year, we heard various techniques used to warm up a jazz ensemble. This ranged from scales, chorales (for tuning as well), actual warm-up pieces, etc. Bottom line: there are many methods that work, depending on your rehearsal focus and time. Warming up is not just for their “chops”. In other words, this all-encompassing topic could (along with warming up the “chops”) include the areas of articulation, breathing, stylistic characteristics, rhythm, improvisation, and anything else that helps get them into the right mindset for rehearsal. I will touch briefly on this topic now just to get started, with the guarantee that there will be more specific, detailed analysis given as we post the materials themselves. For those (like many of us) who have early morning rehearsals, perhaps incorporating a breathing exercise at the beginning of the rehearsal would help the process. There are many out there (I like the “breathe in for 8 counts, breathe out for 8; breathe in for 4, out for 4”, etc.) that work, and I am sure we will be including those in future newsletters. There are some chorale-type exercises out there that work as well. These are good to warm up the chops and the ears, as they will have to listen to play in tune within the chords themselves. I have a couple of “rhythmic patterns” sheets that I use with my students. This is a multi-function exercise that reinforces style, rhythmic interpretation (obviously), vocalization, scales, and the role of your rhythm section. For the most part, it is a collection of one-measure rhythmic

patterns that are numbered. Here is how it touches on each of the aforementioned: Style- You can have the band play those rhythms in any style and use them to teach the nuances inherent to each. Generally, they are used between the swing, rock, and Latin styles in our rehearsals. Rhythmic Interpretation- The rhythms written on the sheets basically cover most of the patterns and sequences they will find in band music. This will also enhance their reading abilities, as they will soon start to recognize patterns rather than counting from note-to-note. Vocalization- Under each rhythm, I have attached syllables (mostly doo, dit, dot, etc) so we can either sing or play the rhythm. It definitely helps reinforce the concept and help provide them with a vocabulary to use when singing parts on jazz tunes. Scales- The most common thing we do is playing the rhythms using a specific scale or mode. For example, I might say “Play rhythmic pattern 12 using the concert F scale”. They will then play the rhythmic pattern on each note of the scale, ascending and descending. Rhythm Section- I typically have the harmonic instruments (guitar, piano, bass) play the exercise like the winds, while I have the drummer’s do 2-3 different things. For my younger drummers, I may have them play the rhythmic pattern on the snare while maintaining a solid swing pattern in the ride/hi-hat/kick drum. After that, I encourage them to experiment playing the rhythms around the kit (not just being chained to the snare drum). Lastly, and for my more experienced drummers, I have them practice “setting up” the rhythms. For example, if the rhythmic pattern starts on beat 2, the drummers may practice filling to beat 1, followed by the hit on beat 2. It really helps them think about their role in the group, and will help them interpret the many poorly-written drum parts in a more constructive way.

Another “pseudo” warm-up that encourages creativity while avoiding the dreaded “spotlight” is the mass improvisation activity. Have the rhythm section kick off a chord progression (maybe blues, since it is the most user-friendly and least intimidating to the majority of the students) and tell all of the students to just start “noodling” over it. Tying it into one of the tunes you will be rehearsing that day also helps- pick the key and style of that particular piece and let everybody improvise together. Not only will they be less afraid, but they may also get ideas from other players around them and incorporate them into their own improvisation.

Tuning Now that the band is warmed up, let’s tune! My main point of this section is that I feel everyone should tune at every rehearsal. I know time is a huge factor, and some just don’t feel like they have enough to spend on tuning. And at first, it may be time consuming, but it does get faster and more efficient at each rehearsal as the students’ ears develop. Like most other topics, there are a variety of different theories, recommended tuning notes, etc., but we are just going to mention a few for now. Here are some common techniques used by educators: 1) Going down the line and tuning each student with a tuner. This will get them in tune for that moment, but [unless you use the actual tone on the tuner] they will only learn to pull out or push in because of where the needle is- not because of how the note sounds. 2) Having the lead player get in tune with the tuner and keep it on his/her music stand while the rest of the section tunes to them. This helps develop the ears more and has the students thinking about what they had to do to “make the note sound better”. In other words, if they had to relax their embouchure, that means they were sharp and have to pull out; if they had to firm up, that means they were flat and need to push in.

JEI NEWSLETTER NO. 1 NOVEMBER 2010

FOR JAZZ EDUCATORS www.jeiowa.org

Tuning continued

3) Tuning the band to the piano. This is a great method that obviously only works if the piano is in tune- otherwise, the inconsistency of going from one piano/venue to the next without making sure each one is “A=440” might create some problems. As far as tuning pitches go, some tune all of the instruments to concert Bb, F, etc.; some tune the saxes to a concert A (since it gets most of the keys down) and the brass to a Bb. There are solid pedagogical reasons for doing each. The bottom line is that you have your students tune. It doesn’t matter what age or level, and they don’t have to have perfect pitch or well-trained ears. They just have to recognize when their note sounds “bad” and what they did to make it better. Even some of the most tone-deaf (if you’ll pardon the expression) students I have encountered have mastered this. The greatest thing about this is that they will get so used to listening and playing in tune that they will instantly recognize when they are not and fix it on the fly because they can’t stand to play out of tune anymore! And yes, tuning them at the beginning technically only gets them together on one particular pitch in that moment, and that pitch will have different tendencies when played within any given chord, etc., but we are

training them to listen and recognize, which is a concept that will be applied to every piece of music put in front of them. At my first rehearsal of the year, I usually end up spending the majority of it tuning and getting the new members used to the concept. Within a few rehearsals, they can do it in a matter of seconds because they have not only started using their ears more, but have figured out their own individual tendencies. A lot of what will be covered in future newsletters (and the JEI webpage) will deal with concepts and approaches that will help cultivate an environment that provides students with fundamental tools to help them become better readers, listeners, improvisers, interpreters, and musicians in general. We hope you find information and materials you can use (or at least adapt) in your own programs. We also invite you to please stop by the JEI Booth at any of the state music conferences, attend a meeting, or get in touch with a board member- we value your feedback and input!

Warming Up The High School

Vocal Jazz Choir

submitted by Linda Vanderpool

The first minutes of a rehearsal

are so important!   It sets the mood for

the entire time together and is the time to

really teach a particular concept.

For my vocal jazz choir, the 15

minutes prior to rehearsal beginning is

about setting up equipment.   I assign a

"Manager" to the process and always

have a "Techie" for the choir.   They

make sure all is set.   There is always a

recording playing while the students are

getting ready, usually something we are

working on or a particular style we are

studying.

When all is up and working, a

quick sound check is done and then we

sing a few scales in swing style or a

certain part of a tune we are working on.  

Sometimes we do certain warmups--

Kirby Shaw has a great warmup/concept

book with a CD accompaniment.   It's

old but tried and true.   Bob Stoloff has

several scat books that are great fun to

work specifics on.   And sometimes we

just completely make up something,

starting with a key, a style, a bass line,

then adding lines on top to layer.   Not

only does it wake up ears, it relaxes all so

they feel safe.   We can then do whatever

we need to do in rehearsal without fear!

Good luck at setting the mood

to make music with your students.

TUNING:HOW AND WHY?

“we are training them to listen and recognize, which is a concept that will be applied to every piece of music put in front of them.”

JEI NEWSLETTER NO. 1 NOVEMBER 2010

FOR JAZZ EDUCATORS www.jeiowa.org

Synergy Jazz An opportunity for your students to explore the world of Jazz is through the projects of Synergy Jazz Foundation. Synergy Jazz Foundation is a non-profit, grass roots group with the mission of developing educational and performance projects that combine the resources and talents of musicians, educators, schools, charitable organizations, and the community.

• The Jamey Aebersold Summer Jazz Workshop ExperienceSynergy provides transportation and financial assistance. Past groups included Jazz students, educators, and hobbyists from 12-65 years of age.

• Synergy Jazz Workshop/Concert SeriesThroughout the school year local schools host Aebersold Summer Workshop faculty in presenting residencies involving students from elementary through high school. These four day events include local professional musicians in workshops, clinics, jam sessions, and performances. Directors are encouraged to attend, but need not be present for students to attend.

• Synergy Youth Jazz OrchestraDirected by Des Moines Jazz trumpeter Dave Rezek, the group will rehearse and perform advanced literature allowing the motivated student an opportunity to stretch out beyond the typical school Jazz band experience.

Synergy projects are designed to augment the school music program by giving students Jazz experience beyond the classroom. By learning and performing with adult professionals, students become aware there is a lifelong

outlet for their creative talents regardless of their chosen career path. The next event in the Jazz Workshop/Concert Series, hosted by Des Moines Hoover, will be November 12-15. Featured will be saxophonist/educator Ariel Alexander. Alexander holds degrees from the prestigious Indiana University Jacobs School of Music and the University of Southern California where she is currently a doctoral candidate in Jazz Studies. In addition to regularly performing and recording in southern California with such artists as Nancy Wilson, Stevie Wonder, and Patty Austin, Alexander is actively involved in Jazz Pedagogy. She has served as Program Coordinator for The Thelonious Monk Institute of Jazz, working with students from kindergarten through university level. To find out more about the November Workshop/Concert or how your band program can sponsor a residency, contact Synergy Jazz Foundation.

Vocal Jazz Newssubmitted by Linda Vanderpool

During the past few years, Iowa has seen much growth in vocal jazz high school ensembles and professional interest in how to direct jazz groups. Many opportunities for professional development have been provided by ICDA Summer Symposiums. Clinicians and reading sessions bring vocal jazz to the directors of the state who have not had this type of information shared in the past. Secondary institutions are bringing professional clinicians and ensembles to our state for students and directors to hear and work with. This year Western Tech Community College has professional singer Ly Tartell in February, Southwestern Community College brings New York Voices to Creston in February, Kirkwood Community College will feature a new a cappella group Sonos from the LA area in March and several high school

programs are instituting festival settings. Waukee HS features Steve Zegree, conductor of Gold Company from Western Michigan University will work with students mid January and Kirk Marcy of Just 4 Kicks fame and Dr. Gloria Cooper, editor of the Sing Solo Jazz series from Second Floor Publishing, will work with students and solo singers at Valley High School January 28-29. This is certainly not a definitive list but just a taste of what is offered this year. This will be the 5th year for the Best of Iowa Vocal Jazz Choir Championships, held at Wartburg College on March 29. Up to 7 groups are selected from each class 1A, 2A, 3A and 4A schools, presenting their performances in an adjudicated setting. This event is sponsored by Comprehensive Sound Services from Greene, Iowa, in an effort to promote vocal jazz in the state. How to audition has been mailed to all high school vocal departments this fall and details are on the iowajazzchoir.com website. Also on March 29, Wartburg College will host the All State Jazz Choir auditions. Students from any high school regardless of whether there is a jazz choir program or not may audition. Singers are asked to prepare a literature cut, sing scales in swing style, sight read, and sing a memorized solo from the Aebersold series, accompanied by a CD. Sixteen selected singers will work with Peter Eldridge (New York Voices) in July at the ICDA Summer Symposium. Details for this audition are posted on the ICDA website iowachoral.org . As you can see, vocal jazz enthusiasts can find many events to enjoy this year. If you have any questions, please contact me as well.

Linda VanderpoolNC-ACDA Vocal Jazz R & S ChairChoral DirectorValley High SchoolWest Des Moines, IA515 633 4239vanderpooll@wdmcs.org

JEI NEWSLETTER NO. 1 NOVEMBER 2010

FOR JAZZ EDUCATORS www.jeiowa.org

CodaFinal Words From The

PresidentThanks to the JEI membership for

their vote of confidence in selecting me to serve as your president. I look forward to continuing JEI’s growth as Iowa’s jazz resource for all levels and areas of the state.

A special note of thanks and appreciation goes out to our Past President, Steve Shanley. His leadership with reorganizing our state jazz association through transition from IAJE, overseeing the revamping of the All State Jazz audition process, and his vision in expanding the opportunities for more students to be involved with the recent addition of a third All State Jazz Band are just a few of his accomplishments.

Developing programming and opportunities for Iowa’s students is central to our mission. I’m proud to share some exciting changes for JEI:

- KCCK Jazz radio has now partnered with JEI to support jazz education throughout the state, either through expansion of existing programs and/or creation of new programs. For the last decade, Dennis Green and his staff at KCCK have made a significant commitment to support your programs and in months to come, will be working with us to locate funding sources and listening to directors to isolate your needs and expand opportunities for your students.

- www.jeiowa.org is being updated regularly with new information. The website serves as our main tool for communicating information regarding All State Jazz Bands, resources for your classroom and personal development, and connecting with other jazz educators.

We’re pleased to announce this year’s All State Jazz Band directors: 1A/2A Ensemble - Dr. Paul Haar, Coordinator of Jazz Studies University of Nebraska-Lincoln, 3A Ensemble - Dr. John Rapson Director of Jazz Studies University of Iowa, 4A Ensemble - Michael Phillip Mossman Professor of Jazz Trumpet and Composition The Aaron Copland School of Music in Queens College New York.

Read more about these fantastic jazz educators through links provided at www.jeiowa.org. Audition etudes and reference recordings are available along with instructions for submitting student audition recordings and registration materials. Deadlines are posted with more detailed information about what is required to participate. Take full advantage of this streamlined process as we strive to make it an educationally rewarding and accessible experience for both you and your students.

Lastly, plan on attending the JEI sponsored events at this year’s IMEA conference November 19th and 20th in Ames. Two clinic opportunities are offered:

“Thinking Outside The Jewel Box” - a presentation utilizing media tools for engaging today’s students and motivating them to individually explore jazz.

“Jazz Rehearsal Techniques” - a roundtable panel discussion designed to address the diverse and unique issues facing today’s jazz instructor.

The JEI Fall Business Meeting will offer insights and opportunity for valuable feedback to all who attend. Don’t forget to stop by our booth at IMEA and bring a friend!

JAZZ EDUCATORS

OF IOWA

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Life is a lot like jazz....it’s best when you improvise.

George Gershwin

JEI NEWSLETTER NO. 1 NOVEMBER 2010

Listen to Jazz

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Tickets will be made available to the General Public

COMMODORES from The United States Navy Band

Friday, November 19th

8:00 PM

Ames Middle School

3915 Mortensen Rd.Ames, Iowa

All State Musicians Each student is eligible for one

complimentary ticket.

Directors Each director of an All State student is

eligible for one complimentary ticket.

Conference Attendees All attendees may request tickets for

themselves and guests.

To Request Your Tickets:

E-mail Martha Kroese (IMEA President-Elect

before Thursday, October 28th at mkroese@cfu.net

Tickets will be held at the Registration

Desk.

Free!but,

Tickets Required

To Attend Concert