Upload
dinhkhuong
View
219
Download
5
Embed Size (px)
Citation preview
Jamming in the Classroom Masters Project – Spring 2015
Parker Smith
2
Table of Contents
Introduction
v Jamming Defined...................................................................................................2
v A Brief History of Jazz Education.........................................................................5
Review of Literature
v Challenges in Teaching Improvisation...................................................................9
v Gender Dynamics..................................................................................................11
v Music Performance Anxiety……….....................................................................12
v Repertoire Choices for Classrooms and Strategies for Instruction........................13
Repertoire
v Repertoire Choices in Jam Sessions......................................................................20
v Sample of Jam Session Repertoire………………................................................20
v Instructional Repertoire.........................................................................................22
v Random Sample of Jazz Tunes Present in Sources……………………….......…22
Additional Considerations
v Jam Etiquette........................................................................................................23
v Elitism – Communication Breakdown.................................................................23
v “Listening” Music or “Dancing” Music?.............................................................25
v Jamming in the 21st Century.................................................................................26
Pedagogical Applications................................................,.................................................28
Appendix……………………………………………….………………………………..29
References.........................................................................................................................35
3
Abstract
Factors related to teacher skill and expertise, confidence levels, performance
anxiety, appropriate repertoire, and gender related stereotypes have the potential to
negatively impact the teaching and learning of improvisation. Awareness of the
challenges and strategies that ensure success are essential to teaching improvisation to
students of all levels. Defining the traditions of jam sessions and an analysis of the
elements that have sustained jam sessions as a musically cultural norm, provides a model
for teaching success. This document seeks to examine salient characteristics of jam
sessions and how these characteristics can positively transfer towards the teaching and
learning of jazz improvisation in communities and classrooms.
INTRODUCTION
Jamming Defined
The word jam can be used either as a noun or a verb in a musical context. The
word Jam in referring to a musical event was originally used as a verb, describing the
process of cramming as many musicians as possible into one room. Over time, the term
came to denote informal gatherings of musicians allowing for extended playing
opportunities away from the demands of their regular jobs (Baker & Herzig, 2014). These
informal gatherings would often last late into the evening and were ideal for creative
exploration and the exchange of new ideas. Soon informal gatherings such as these
evolved into what musicians and club owners referred to as “cutting contests” that were
open to the public, and exploited by club owners as a means to fill seats (Berliner, 1994).
4
Jamming eventually moved to larger venues, most famously “Jazz at the
Philharmonic” (Gooley, 2011). Jazz at the Philharmonic, (or JATP) was the title of a
series of concerts, tours and recordings produced by Norman Granz from 1944-1983. The
JAPT events were among the first high-profile performances to feature racially integrated
bands and Granz even cancelled some bookings rather than have the musicians perform
for segregated audiences. The first JATP concert was held at the Philharmonic
Auditorium in Los Angeles and featured among others, Nat “King” Cole, Les Paul,
Illinois Jacquet, and Buddy Rich (Dyas, 2015).
Jamming not only crossed boundaries in venues, but also across genres. In the
early 1960’s, rock bands such as the Grateful Dead and the Allman Brothers Band
featured extended musical improvisations (jams, in this context as a noun) in their
concerts. The Grateful Dead sprouted out of the folk-psychedelic movement and the
Allman Brothers’ jams were rooted in the blues tradition. Eventually, their influence led
to a wide encompassing genre now called “jam bands” that draws from the traditions of
jazz, blues, bluegrass, funk, rock, psychedelic and even electronic music. In most major
cities there exists within the music community, a jam session for multiple genres and on
most nights, musicians don’t have to look far to find a jazz, bluegrass, funk, or blues jam.
Jam sessions exist as a cultural phenomenon that serves the entire music
community. Beginning improvisers, academia (students and teachers), amateurs,
professionals, and club owners all benefit from the positive welfare of jam sessions.
5
Salient features of the earliest jazz jam sessions (circa 1940’s) are listed below (Dyas,
2015).
• served as “organized” group education activities in jazz (predecessors of today’s
performance master classes or formal jazz pedagogy classes)
• were rooted in the African tradition of passing on culture via aural means
Links from early jam sessions that have maintained importance in present day sessions
• provided opportunities for musicians of diverse abilities to learn from one another
• served as primary vehicle for teaching jazz repertoire, and to a lesser degree still
in practice today
Defining characteristics of present day jam sessions include:
• spontaneous group improvisation without extensive preparation or arrangements
• music that may or may not based on existing song forms
• unstructured sessions or sessions coordinated by a leader
Venues for Jam Sessions can include rehearsal spaces, private homes, clubs / bars,
recording studios, concert halls and classrooms. Jam sessions can exist without an
audience, however most performers enjoy a live audience and tend to interact differently
when there is one absent. Many famous recordings have been the product of trying to
replicate a jam session environment in a recording studio.
6
A Brief History of Jazz Education
Given the relatively short history of jazz that it only developed in the 20th century,
many of its “founding fathers” were able to pass along the tradition first hand. This
luxury of personal interaction from the source was key to the development of jazz. The
same is not true for classical composers. However, in the last 30 years or so most of the
founding fathers of jazz have passed away. This opportunity for direct interaction is
dwindling. However, there are still endless recordings and performances to draw from.
The following information was culled from several sources that contain a wealth of
information about the history of jazz education (Dyas, 2015), (Berliner, 1994)
(Rodriguez, 2012) (Mason, 2005). The outline is intended to provide educators with a
brief chronology of the evolution of jazz education in the United States.
Early Pioneers
• W.C. Handy • James Reese Europe (Founder of The Clef Club) • Len Bowden (Tuskegee Institute, Georgia State College, Alabama State
Normal College, and ultimately, director for training black musicians at Great Lakes Naval Base in Illinois, 1942-1945). In 1929, Bowden assisted J. “Fess” Whatley in becoming the organizer of the “’Bama State Collegians,” one of the first college ensembles available for college credit.
Early subject areas (many of which are similar to this day) • Performance • Arranging • Improvisation • Rehearsal techniques
1930’s
• National Emergence • Private teachers established studios in jazz improvisation
o Chicago o New York o Boston o Houston
7
o Denver o Los Angeles
• First jazz arranging and improvisation text was written in 1935 by Norbert Bleihoof “Modern Arranging and Orchestration” c. 1935
• Gene Krupa, Frankie Trumbauer and Eddie Lang wrote improvisation technique books that included play a long recordings
• During the 1930’s, Joseph Schillinger’s method of music instruction was adopted by Lawrence Berk, who founded the Schillinger House in 1945, (subsequently renamed The Berklee College of Music).
• The Schillinger System allowed composers, for the first time, to use specific mathematical rules that could adapt harmony, rhythm, melody, etc., from any idiom to jazz-oriented composition. It also allowed jazz players to develop their solos (instant composition) along specific mathematically determined paths. The jazz arrangers felt that by following the system, “the chart” wrote itself, for it was merely a matter of following the mathematical formula(s).
1940’s
• Jazz instruction became prevalent in high schools and colleges • More high schools than colleges offered jazz-related activities; as a result Jazz
study materials began to be published to meet these needs • Early Collegiate Programs
o Alabama State University o Tennessee State University o Wilberforce University (Ohio) o Westlake College of Music (Hollywood, CA) o Berklee College of Music o Los Angeles City College o North Texas State University
• Early Jazz History courses at o The New School in New York
§ Leonard Feather (jazz critic) Robert Goffin (jazz author) § Loose courses with unprepared lectures and personal
collections of 78 records and personal 1st hand observations § “Goffin and I came to our classroom virtually empty-handed.
All we had was our mouths and our memories. At that time, there were no long play records, almost no jazz records of any kind more than 20 years old. We took a specific topic - New Orleans, the swing era, Duke Ellington, Louis Armstrong, Benny Goodman - and improvised, with the help of our collection.” Leonard Feather
1950’s • GI Bill included was a law that provided benefits for returning WWII veterans • Also, several veterans had professional on the job experience and became
educators • Summer Jazz Seminars : Major figures in music became involved in 1951
o Rudi Blesh
8
o John Mehegan o Eubie Blake o Leonard Bernstein
• Rise of summer “jazz camps” o National Stage Band Camp at Indiana University o 1957-1960 The Lenox School of Jazz in Massachusets (musicians
were admitted by audition and stayed for three weeks) o Many of the first teachers were from Stan Kenton’s band
• Jazz program courses were being established in public school and colleges 1960’s
• The number of jazz educators doubles indicating the rapid growth in jazz educations
• Two significant educators o Bill Lee o Clem DeRosa
• Growth of professionals becoming involved o Clark Terry, Dizzy Gillespie, John LaPorta, Frank Rosolino, Charlie
Mariano, Ron Carter, etc. • Jazz studies were incorporated into the collegiate curriculum
o Indiana University o University of Miami o Kansas State University o The Eastman School of Music at the University of Rochester o Ohio State University o Northern Illinois University o University of Northern Colorado
• “The seeds planted and nurtured during the previous decades were to come to full blossom during the ‘60’s. At the beginning of the decade about 5,000 U.S. high schools and 40 colleges offered one or more jazz-related courses. By the end of the sixties the numbers had increased to over 10,000 high schools and 300 colleges offering jazz-related courses. Of the 300 colleges offering jazz courses, 135 offered these courses for credit.” –Carter, Dr. Warrick L.
• Many ensembles were run by students or faculty advisors and many courses for credit did not exist
• 1968 saw the establishment of The National Association of Jazz Educators (NAJE) which later became International Association of Jazz Educators (IAJE)
o Founders: Matt Betton, Clem DeRosa, Dr. Bill Lee, John Roberts, Dr. M.E. “Gene” Hall, Dr. Jack Wheaton
o Early membership totaled almost 100 o Early mission was to further the objectives of jazz education, and to
become an independent, free-standing organization
9
1970’s • By 1974 there were 228 collegiate institutions providing some type of jazz
performance for credit (in 1964 only 41 colleges offered credit) • By 1975 more than 500,000 students were enrolled for jazz instruction courses • Large increase in jazz publications (music, textbooks, jazz histories,
biographies, “how-to” method books, “play-a-longs”, improvisation texts, pedagogical articles)
• Growth of Master-Classes, educational jazz festivals, professional jazz festivals
• Jazz in schools became standardized and very popular • UNT’s “Lab ’75” recording was the first collegiate recording to be nominated
for a Grammy • Clem DeRosa’s high school ensemble performed on Johnny Carson’s Tonight
show • High school and College jazz ensembles were receiving national recognition
and producing high quality recordings “First, jazz improvisers start with and draw on a common, shared body of musical ideas and expressions that have evolved through the years, although individual artists reinterpret these musical concepts in their own voices. Virtually every jazz musician learns to play by listening to records and live performances. But rather than slavishly imitating what previous improvisers have done, the jazz musician internalizes and redevelops those ideas into her own style and voice.” Pianist Johnny King
10
REVIEW OF LITERATURE
Challenges in Teaching Improvisation
It is widely acknowledged in the field of music education that improvisation
should be a key component of any musical curriculum. Several studies mention
improvisation as the third content standard for the 1994 National Standards for Music
Education (Niknafs, 2013; Alexander, 2012; Watson, 2010). Research related to
improvisation often prefaces studies with this information, emphasizing improvisation as
one of the leading standards along with singing and performing, but also one of the
standards least successfully implemented in the classroom (Alexander, 2012).
The benefits of improvisation are far reaching and several findings have linked
improvisation with increased music performance skill as well as higher order thinking
skills in music (Alexander, 2012). Research on the benefits of improvisation continues to
grow in fields beyond music as well. Within the past decade, studies have begun to
examine the neurological (Kim, 2008) and emotional (Watson, 2010) benefits of
improvisation instruction (Scott, 2004). If improvisation is widely accepted as beneficial
and significant, why is it so difficult to implement?
The essence of the problem possibly lies in teacher attitudes and confidence
levels. Teachers may be self-conscious about their own playing, fear the critical opinions
of others or feel that their style of music doesn’t lend itself well to improvising (Niknafs,
2013). How can we expect students to become skilled improvisers if teachers are
apprehensive improvisers themselves?
11
The teaching of improvisation can range from highly structured activities
(Waston, 2010; Alexander, 2012) to “free improvisation” sessions (2013, Niknafs).
However, when thinking of “free improvisation” in a class full of middle schoolers (or
preschoolers for that matter) it’s hard to imagine anything other than an eruption of
chaos. Fortunately, there are several activities and resources to structure this highly
unpredictable activity. For example, one common activity consists of a teacher
performing a short musical pattern and one by one, all students in the classroom or the
ensemble play the same pattern but with one altered condition: they need to add their own
musical expression to include different rhythms, dynamics, or textures (Niknafs, 2013).
This activity can be extended to include different sets of pitches, instruments and more
complex rhythms. Activities like this are typically used by teachers with less experience
in improvisation and can be used to overcome pedagogical hurdles and help to structure
an improvisation lesson.
According to one study, “(I)mprovisation is at the heart of children’s musical
creativity and children can improvise alone and in groups…there is a natural tendency for
children to use polyrhythmic structures in a group context through communication with
other” (Burnard, 2002). This natural tendency for children to improvise was
demonstrated in Burnard’s study and in it she describes several factors conducive to
creativity and group improvisation. The research took place in a nonstandard classroom,
without the constraints of curriculum, assessment, or the presence of a teacher. In short,
the “Music Creators’ Sounding Club” was aptly named and felt more like a privilege than
a responsibility. Children had the opportunity to determine what music was played and to
experience playing different instruments with colorful timbres such as maracas, hanging
12
chimes, claves, bass metallophone, suspended cymbals, a range of beaters, cowbells, and
various sized drums.
The group of 12-year old ‘Music Creators’ participated in weekly lunchtime
sessions lasting one hour and students were encouraged to reflect upon their experiences
of making music. One student in the studio, Adrian had some insightful observations on
improvisation: “Improvising is like an unknown shape. The circle is very important to me
because if you make a mistake your partner is there to back you up and if your playing
partner makes a mistake or has a collision then you're there to back him up and keep it
happening. That's why I play different with different people. I don't mind if they stick to
what they want to play. I do it because I feel that I explore music more.”
Gender dynamics
Gender seems to play a key role in student attitudes towards improvisation. The
Wehr-Flower study (2006) was one of the first studies to focus primarily on gender
dynamics in improvisation. Results from this study suggested that social-psychological
issues influenced female participation in jazz improvisation. Females were significantly
less confident, more anxious, and had less self-efficacy towards learning jazz
improvisation. It is worth noting that this study focused on jazz improvisation and the
Burnard’s study (2002) was not genre specific. What is it about jazz improvisation that
creates anxiety for female musicians? Studies have shown that there is no significant
relationship between jazz improvisation ability and gender (Wehr-Flowers, 2006).
Although females and males have the same capacity and abilities to improvise, anxiety
and attitudes can be incapacitating.
13
Of the 18 12-year old children in Burnard’s study (2002), 12 were girls and 6
were boys. However, Burnard makes no mention of gender dynamics in her study.
Children were simply viewed as “leaders” or “followers.” Judging from the log of
interactions between the group and the fact that females were in the majority of this
study, it can be inferred that gender was not a crucial variable. This may be due to the
developmental maturity of children at this age, given that females typically mature at a
faster rate or it could be a result of the sociological environment. Several other studies
examine both female and male attitudes towards improvisation (Wehr-Flowers, 2006,
Bloom et al, 2008, Bodner et al, 2012, Alexander, 2012, Kim, 2008).
Negative attitudes can also be associated with instruments in jazz. In the history
of jazz there have been many famous female musicians, but they are predominantly
singers. Although women do have a role in jazz, women are primarily thought of as
vocalists as opposed to instrumentalists. Another study (Alexander, 2012) focuses on
female string students’ attitudes towards improvisation. Alexander’s study found that
females had higher confidence levels than in the Wehr-Flowers study. This could suggest
that the gender gap in jazz is becoming narrower over time.
Music Performance Anxiety
MPA (Music Performance Anxiety) is a condition that affects both expert and
non-expert musicians and is a relevant issue for musicians with an artistic career who
need to develop strategies for coping with the stress of anxiety and controlling its
negative consequences (Biasutti, M, Concina, E, 2014). Studies estimate that as many as
69% of musicians are negatively impacted by MPA (Biasutti, M, Concina, E, 2014).
14
Although MPA is widespread among musicians, treatments are rarely discussed in
educational settings outside of research.
There are many treatments and therapies available to musicians suffering from
MPA. These treatments can include biofeedback, meditation, beta-blockers and yoga
(Khalsa, 2013). The participants in Khalsa’s study showed significant reductions in MPA
from baseline to the end of a 6-week yoga program. One study (Allen, 2013) examined
the effects of free improvisation on MPA. These results validated free improvisation as a
treatment for significantly reducing anxiety during the public performance of a musical
work. Improvisation, causing MPA among some students (Wehr-Flowers, 2006) can also
be used as a tool to overcome the same symptoms. “Free improvisation” differs from
what we normally think of as improvisation (Allen, 2013). According to Allen, free
improvisation has two distinct and valuable features. It can be experienced by anyone
regardless of age and musical capability, and is the accumulation of musical identities of
all the participants involved in making the music. This democratic approach to
improvisation can be a great tool, but it is also related to the root of much apprehension.
Gooley (2012) describes how “The players become their own audience, forming a closed
circle that bystanders may peer into and admire but not enter…described this way, the
jam session might be seen as configuring not a democratic, but an elitist one.”
Some studies use Orff and keyboard based instruments as entry points to
improvisation (Burnard, 2002). By giving a pianist a xylophone, giving a violinist a
piano, or giving a vocalist a drum, teachers have the ability to desensitize performers to
performance anxiety by removing their primary instrument from the equation. Fear seems
to be a central component to the lack of improvisation implementation. How can we
15
break down these barriers? By collaborating with experts in related fields and finding
new applications for improvising, music educators are better equipped to encourage
improvisation at all levels. Improvisation fosters a learning environment that is more
creative, self-assured and autonomous, which is equally beneficial to students and
teachers. Therefore, meaningful experiences can happen every day if people converse
with each other through spontaneous musical mediums.
Repertoire Choices for Classrooms and Strategies for Instruction
In the early 1900’s jazz was mainly an aural art form. Before recorded music,
knowledge was primarily passed down from older musicians who served as mentors.
Learning music by ear became a defining characteristic of jazz and many musicians never
learned how to read notated music. With the advent of radio technology in 1917, jazz
became widespread and accessible to people nationwide. Around this time sheet music
and jazz publications became readily available and in the 1930’s jazz “emerged as a
dominant force in American popular music”(Poulter, 2008). This rise in popularity
coupled with the abundance of former military musicians with professional performance
experience contributed to the rise of jazz education in the 1940’s and 1950’s.
Unfortunately, the popularity of jazz in mainstream music decreased in the
1960’s. Conversely, jazz education increased dramatically with the development of the
first college jazz degrees and many collegiate jazz festivals. Through the second half of
the 20th century jazz curriculum developed tremendously and with that many resources
on jazz improvisation became available. Whereas early on, jazz educators were faced
with a shortage of jazz materials to teach from, now they have an abundance of resources
16
leaving them faced with a different predicament. How do educators navigate and sift
through the available materials to find the most effective teaching tools?
One of the most recent texts of jazz improvisation provides music educators with
many necessary tools. In Zachary Poulter’s Teaching Improv in your Jazz Ensemble
(Poulter, 2008) the author provides music educators with many strategies toward teaching
beginning improvisers in a jazz ensemble setting. The author begins the book by
outlining the benefits and pitfalls of teaching improvisation. In the first chapter he states
“successful improvisation experiences prepare students for a world of increasing
ambiguity by enabling them to confront and transcend uncertainty”(p. 13) and describes
how some curricular resources can be detrimental to instructors. However, he states that
instructors can succeed by “carefully choosing jazz ensemble charts that reinforce a
sequential improvisation curriculum”(p.3).
According to the author, successful improvising is a combination of several
different elements: musical fundamentals, pulse and meter, internal rhythm, articulation,
correct style, rhythmic interest, note choice, solo development, space, interaction, melody
and phrasing, dynamics, special effects, overall shape and emotional impact. After the
soloist has all of these elements deeply ingrained and incorporated into their playing, then
he/she is a “successful improviser”.
The author places a great deal of emphasis on aural learning through call and
response exercises and learning melodies by ear. He also reinforces the need for
instructors to encourage students to seek out original and play-along recordings of the
material. He even suggests that if the director has access to recording equipment, they
record their own version of a play-along recording. Some other rhythm section-centric
17
exercises are: having all students walk a bass line on their instrument; practicing comping
as a band (punches/pads/backgrounds) and adapting drum set rhythms into
improvisational exercises.
Poulter repeatedly reinforces that improvisational concepts should be introduced
sequentially and provides very specific levels of improvisation (graded 0-5, 0 being the
easiest and 5 being the hardest). Grade 0 consists of no improvisation. Grade 1 consists of
improvised sections that contain no more than two total chords and one chord type
(Major, Dominant or Minor chords) and at a moderate tempo in common time. Grade 2
consists of the characteristics above and may also include changing modalities
(major/Mixolydian/Dorian), moderate harmonic movement, Major ii-V and ii-V-I
progressions, basic blues form, AABA form and moderate tempo or ¾ time etc. As you
can see, with each grade level new concepts are being introduced in a logical sequential
order. This way the beginning improviser is challenged to learn the new concepts without
being overwhelmed by advanced harmony, extreme tempos or odd time signatures. In
addition to providing the improvisational difficulty of an arrangement, the author also
provides the written difficulty graded on the same scale. Assuming that educators can
easily estimate the written difficulty of a tune, the author does not lay out specific
guidelines for the written grade of 1-5. In the catalog at the end of the book, the author
has also provided lead sheets with the solo sections from every chart for easy referral.
The title of this particular book is “Teaching Improv in Your Jazz Ensemble” not
“Teaching Improv in Your Private Lessons” or “Teaching Improv in Your Jazz
Appreciation Class.” The author’s main goal is just that, how to effectively teach
improvisation to a group of students in a jazz ensemble with a hands-on approach. This is
18
no easy task and requires a great deal of patience. The author does a great job of keeping
this focus throughout the book and providing insightful tools to both the novice and
experienced teacher.
Why did he decide to write a book about teaching improvisation in a jazz
ensemble? Because he believed that teachers do not place enough emphasis on choosing
appropriate repertoire and taking into account the improvised portion of arrangements as
important curricular considerations. Improvising can be daunting for some teachers who
are too concerned about final concerts and student progress reports. However, as
outlined in the book it easy to fall prey to some of the following pitfalls:
1) “Picking favorites” and only allowing the most accomplished musicians to
improvise.
2) Choosing inappropriate charts that are easy to read but very difficult to
improvise over or vice versa.
3) Having students play “written out” solos instead of improvising
4) Not giving students the tools they need to improvise and “glossing” over
improvised sections.
I experienced several of these pitfalls in my high school and even college jazz
bands. They can be easy traps to fall into as an educator and the author goes into great
detail with several strategies to avoid them. I think the separation of two grading systems
is a great idea for assessing the difficulty of an arrangement (written and
improvisational). I could see where both of these grading systems would prove invaluable
when selecting a chart. For instance, if I have a very experienced improviser and an
ensemble that is full of inexperienced readers I might choose a chart with a 1 written
19
difficulty and a 5 improvisation difficulty to showcase the soloist. Conversely, if I have
several inexperienced improvisers that have been playing and reading for several years I
might choose a 4 written difficulty and a 2 improvising difficulty. The author has also
notated multiple versions and publishers in the index. For example, you can see that
Stitzel’s version of “C Jam Blues” is a 5 on improvisational difficulty and P. Cook’s
version of the same song is a 2. You can also refer to the lead sheets for any
discrepancies at the end of the book.
I noticed throughout the book that there were many student activities and games
to encourage creativity and reinforce knowledge. However, I’m curious to see how
effective these games were and if the students enjoyed them or if they lead to tangible
results. The games seemed a little exhaustive, but I imagine that working with beginning
improvisers on a daily basis could get monotonous and the games would be a nice respite
from working on parts. My only other criticism is that guidelines were not laid out for the
grading of the written scale of 1-5. In my opinion these guidelines could help educators
grade their own arrangements and ones not available in the book.
One section of the book that I found extremely helpful was the jazz resources
section that outlines essential reading in the following categories: Guides for the Jazz
Ensemble Director, Full Band Jazz Ensemble Method Books, Full Band Jazz Improv
Books, Combo Resources, Rhythm Section and Interaction, Play Along Recordings, Play
Along Technology, Theory Books, Pattern Books, General Improvisation Resources,
Listening/Ear Training, Charts, Jazz History and Appreciation, Magazines,
Organizations and Miscellaneous Links. These all look like great resources based on a
lifetime of learning.
20
By combing through several different charts and meticulously notating the
relative difficulty, the author has gone through great pains to make a jazz ensemble
director’s life easier. I believe that the teaching techniques outlined in the book and
especially the index and charts at the end provide all the tools necessary to effectively
teach improvisation in a jazz ensemble setting.
21
REPERTOIRE
Repertoire Choices in Jam Sessions
On a given night at a jam session, some tunes can last over ten minutes and any
number of variables can influence the tunes that are called. As a result, the sample size of
songs may be relatively small on a given night and not representative of the tunes that
normally get called at the club. However, I have found that in my research that successful
jam sessions include variety in terms of genre and difficulty. Most college repertoire lists
and instructional repertoire lists contain tunes that can fit into the following genres:
standards, bebop, post-bop, latin, blues and funk.
How many tunes should students learn? Many students are expected to know
upwards of 250-300 tunes yet only 100 are on many college repertoire lists. It is expected
that this list serve as just a foundation for lifelong learning. Students may identify with
different composers or time periods and seek out those styles to fill out the remainder of
their list. The appendix includes a selection of tunes played and required at major jazz
programs in the United States and abroad.
Repertoire is an important consideration in jam sessions as well as classrooms.
Choosing appropriate repertoire is a salient feature of success and must be chosen with
care. As stated in my discussion on Poulter’s book (Poulter, 2008), it is necessary to
carefully examine the difficulty of the melody and underlying harmony and make sure
that both are attainable independently and as a whole. Improvisers should pick songs that
showcase their strengths and are conducive to group playing.
22
Sample of Jam Session Repertoire
As a sample I have attended a few jam sessions in Austin and compiled the following list.
This is intended as a reference point and microcosm of what tunes are currently being
played at different venues around Austin, Texas.
Strange Brew 1/13/15: Caravan
Along Came Betty Night And Day Love For Sale
2/3/15 Minor Blues
Body and Soul Juju
Stella
Brass House 1/28/15: What is This Thing Called Love
Autumn leaves Straight No Chaser
Softly as in a Morning Sunrise Confirmation
Wave Days of Wine and Roses
Recorda Me Au Privave
Elephant Room: 2/8/15
Nardis How Insensitive
Bye Bye Blackbird Cantaloupe Island
Honeysuckle Rose Alone Together
Instructional Repertoire
Included in the Appendix is a sampling of jazz repertoire from three different jazz
programs in universities. They are organized in several different formats according to
level of difficulty, level of study, style, and significance. I have included lists from: The
University of Oregon, Sacramento State University and the University of Toronto. I have
also included a list from Jamey Aebersold’s Jazz Handbook (Aebersold, 2010).
As you can see from the graph below, there is some overlap in the sources of I
have chosen. However, there are plenty of tunes on the suggested repertoire lists that
hardly ever get “called.” This is an important consideration and I suggest that before
23
playing in a jam session, improvisers attend a few times without their instrument to see
what tunes are popular. I have made an attempt in the chart below to include tunes from
the genres mentioned earlier: standards (Autumn Leaves, Honeysuckle Rose, Misty),
bebop (Confirmation), post-bop (Nardis), latin (Caravan, Wave), blues/funk (Killer Joe).
Random Sample of Jazz Tunes Present in Sources
0
0.5
1
1.5
2
2.5
3
Jam Sessions (3)
College Repertoire Lists (3)
Aebersold
24
ADDITIONAL CONSIDERATIONS
Jam Etiquette
Aside from a resource for getting gigs, jam sessions are also where jazz musicians
come to meet and exchange ideas. Jam sessions also allow musicians to develop their
sound while playing with musicians of all levels of ability. Every once in a while, high
profile players will stop by the local jam session while on tour. Jam sessions have long
been a great equalizer and resource in the jazz community.
Within the framework of a jam session there are many different expectations of
individual players and the definition of really knowing a tune can be loosely defined.
Especially when vocalists are present, musicians are expected to play songs in unusual
keys and sometimes with substitute chord changes. From my experience attending jam
sessions, the horn players are the de facto leaders (and the ones calling tunes) once the
house band finishes their set. Some jam sessions have a sign up lists while others require
that you talk to the leader of the jam session and others are even “invite only”. Typically
the house band will play an initial set and then open up the floor to the “jammers.” It is
important to be aware of social cues and not to overstep participation boundaries.
Elitism – Communication Breakdown
Gooley’s description of the jam session offers up a utopian view citing the
“coordination of individual and collective expression, the relaxation of dogmatic
constraints, the need to ‘listen’ or tune in to the voices of others, and the impulse to
25
respond - sound like an ideal image of the communication-economy of democratic
society (Gooley, 2011).”
Many technological advances have occurred in music as well (see the following
section “Jamming in the 21st century”). The flipside of this democratic society is one of
extreme elitism where “the players become their own audience, forming a closed circle
that bystanders may peer into and admire but not enter (Gooley, 2011).” To paraphrase a
former teacher of mine, “if you want to join the club, you gotta do your homework”
referring to practice time spent on repertoire and scales. In this case, “Jazzmen
deliberately attempt to exclude the general public from the session...Any customer who
dares request a tune not approved by the musicians... is likely to be “told off” in highly
uninhibited language. The performers, not the spectators, are going to run this show
(Cameron 1954: 78). Herein, lies the central theme of the jam session. A continuous back
and forth power struggle.”
What began as a refuge for musicians in the 1930’s and 1940’s for musicians soon
became exploited as early as the 1950’s. Club owners played on the competitive nature of
jam sessions and early romanticized stories such as that of Charlie Parker getting a
cymbal thrown at his head. “The moment jamming was framed theatrically as
competition or battle, the public audience was reintroduced into the communicative
economy of the event, and the self-enclosure of the jam session was broken.” Early jam
sessions sometimes included technically demanding repertoire that would challenge
newcomers and beginners. This is less the case today and while pockets of this elitism do
exist, most present day jam sessions are welcoming to novices.
26
“Listening” Music or “Dancing” Music?
In Dan Morgenstern’s book “Living with Jazz” he mentions that “(F)or today’s
jazz audience-especially its younger members-the music is entirely for listening. Whether
it is heard in a concert hall, a club, or on a record, jazz, like classical music, has come to
exist for its own sake. But there would be no jazz to listen to if not for the dance.”
(Morgenstern 2004). The origins of jazz are a social music. It is interesting that
Morgenstern distinguishes between the younger members as enjoying jazz only for
listening. This implies that with each generation, the music gets farther and farther away
from its original purpose.
As jazz enters its second century, are there bands out there leading the charge and
bringing jazz back to the dancers. Groups like Snarky Puppy, D’Angelo and Robert
Glasper are certainly leading the charge. Bands popularity used to be dependent on their
ability to get people dancing. According to Morgenstern it was Fletcher Henderson’s
band’s “popularity with dancers that made it possible for Henderson to bring in young
Louis Armstrong from Chicago, and to hire and keep the finest jazz instrumentalists of
this period.” A quote from Armstrong paraphrases this sentiment “There are two kinds of
music. Good music and bad music. Any music that makes you tap your foot is good
music.” There is even a Milt Jackson release from 1984 titled “It Don’t Mean a Thing If
You Can’t Tap Your Foot to It.” The title, a play on “It Don’t Mean a Thing if it Ain’t
Got That Swing” reinforces Armstrong’s quote.
According to Cameron (Cameron, 1956) the “jam session is a recreational rather
than a vocational activity of jazz musicians. Not all dance musicians are jazzmen,
although the typical employment of the jazzman is in a dance band since this is the
27
nearest commercial compromise available.” Here we begin to see a separation and
overlap between dance music and jazz music. It’s tough to pinpoint when the split
occurred, but according to (Ward, Burns 2005)
“the end of World War II had marked the beginning of the end for the big swing bands. Tastes were changing. Musicians’ salaries, which had risen dramaticially during the war, remained so high that it was nearly impossible to draw big enough crowds to meet them. The wartime tax on entertainment remained in effect, too, keeping nightclub prices high, encouraging people to stay at home, forcing ballrooms to close. Duke Ellington and Count Basie managed to stay on the road, but by Christmas of 1946, eight of their best known rivals would announce that they were at least temporarily leaving it. Great jazz soloists…abandoned dreams of heading up big bands of their own and retreated to nightclubs-places too small for dancing. All kinds of jazz were still being played everywhere at the war’s end. But whatever the style, the jam session was becoming the model: freewheeling, competitive, exacting-the kind of jazz that musicians had always played to entertain themselves after the squares had gone home.”
Cameron (1956) also goes on to state that “Dance music may be easily defined: it
is music for dancing, especially ball-room dancing. Jazz is better defined as an art form
rather than in terms of social utility…jazz is a kind of musicians’ music, played for the
enjoyment of musicians and a few other persons who participate in it vicariously.” Ball-
room dancing isn’t as popular as it once was, but dancing has not waned in popularity. If
you think in terms of “popular music” (if there is such a thing) than we can surmise that
there are still two types of music. Dance music (for the people) and listening music (for
the musicians).
Jamming in the 21st Century - A Note on Technology
With the addition of new technology such as iReal, musicians now have access to
chord changes of thousands of songs in their pocket. This places a smaller emphasis on
memorization and internalization. One of the main drawbacks of iReal is that there are no
melodies written, but in a jam session context often only the horn players are expected to
28
play the melody. Instead of having a fake book on stage, one only needs to bring a tablet
or phone on stage and their lack of knowledge is less obvious to fellow band mates and
the audience. However, astute observers can easily delineate whether the musicians are
reading a chart or playing from memory.
In my experience teaching an improvisation elective to middle and high school
string students, iReal proved to be a valuable resource. We played along with backing
tracks in almost every class session and I was able to manipulate the instruments in real
time. If I wanted the bass player to walk a bass line to the blues, I would mute the bass
track. If I wanted to play the chord changes on guitar, I would mute the piano track. By
this manipulation of instruments in the “mix” students were able to clearly see the
different roles and importance of rhythm section instruments. When it came time for our
final performance at the end of the semester, I brought in a jazz drummer to play with the
group. Although this was the first time the group played with a drummer, we performed
our material just as we had in rehearsal. The training with play-a-long tracks was
invaluable and transferred seamlessly to the experience of playing with a live rhythm
section. Some benefits of the iReal software program are:
• Play-a-long tracks with the simulation of a live rhythm section
• Variable tempo and repetitions
• Manipulation of different instrument sounds
• Tracking experience for students and teachers
• Chord symbol literacy
• Transposition to different key centers
29
PEDAGOGICAL APPLICATIONS
Jazz education and jam sessions have evolved over time to include a broad array
of experiences. Educators face many challenges when applying jam session techniques in
a new context. Many educators who are also professional jazz musicians bring with them
a wealth of experiences. More so than many groups of musicians, jazz musicians play
with rotating personnel and are constantly taking part in new musical environments.
Being able to communicate effectively with new musicians is a skill that is built over
time. For educators with and without jazz experience, jam session principles can be a
very useful pedagogical device. Below are some final pedagogical recommendations
from my research:
• Create opportunities for students to “jam” with each other frequently
• Be careful not to create gender bias or gaps
• Encourage improvisation in all styles
• Allow students to demonstrate refinement and expertise over standard repertoire
• Foster a classroom culture where students feel safe and free to express themselves
• Choose culturally valued repertoire
• Create opportunities for children to make autonomous decisions
• Develop inclusive opportunities for diverse ability levels
• Utilize new technology in and outside of the classroom
30
APPENDIX
University of Oregon
Undergraduate*Jazz*Repertoire*List*!Minor!Blues!(4!Total)!Bag’s!Groove!Birk’s!Works!Blue!Trane!Equinox!*Footprints*The!Jody!Grind!*Mr.*P.C.*One!For!DaddyBO!!Major!Blues!(4!Total)!All!Blues!Bessie’s!Blues!*Billie’s*Bounce*Blue!Monk!Blues!for!Alice!Freddie!the!Freeloader!Now’s!The!Time!Sonnymoon!for!Two!Straight!No!Chaser!*Tenor*Madness*Walkin’!!Watermelon!Man!!Rhythm!Changes!(2!Total)!Anthropology!Cottontail!The!Eternal!Triangle!Good!Bait!(A!section!only)!I’ve!Got!Rhythm!Lester!Leaps!In!*Oleo*Perdido!!Salt!Peanuts!Scrapple!from!the!Apple!!Up!Tempo!Tunes!in!Major!Keys!(3!Total)!Cherokee!I!Love!You!*I’ll*Remember*April*It’s!You!or!No!One!Indiana!Night!and!Day!The!Night!Has!A!Thousand!Eyes!Seven!Steps!to!Heaven!*
Up!Tempo!Tunes!in!Minor!Keys!(3!Total)!*Impressions*Softly!as!in!a!Morning!Sunrise!Solar!You!and!the!Night!and!the!Music!What!Is!This!Thing!Called!Love!!Ballads!(4!Total)!Body!and!Soul!Darn!That!Dream!Georgia!I!Can’t!Get!Started!In!a!Sentimental!Mood!Lover!Man!Misty/I!Want!to!Talk!About!You!The!Nearness!of!You!‘Round!Midnight!What’s!New!When!I!Fall!In!Love!!Waltz!(2!Total)!Alice!In!Wonderland!Bluesette!Some!Day!My!Prince!Will!Come!!Latin/Straight!8th!Freedom!Jazz!Dance!*Maiden*Voyage*!Standards/Jazz!Standards!in!Major!Keys!(8!Total)!Afternoon!in!Paris!All!of!Me!**All*the*Things*You*Are*But!Not!For!Me!Bye!Bye!Blackbird!Cantaloupe!Island!Corcavodo!Days!of!Wine!and!Roses!Don’t!Get!Around!Much!Anymore!Doxy!A!Foggy!Day!Four!Girl!From!Ipanema!Green!Dolphin!Street!Groovin’!High!*Have*You*Met*Miss*Jones*Honeysuckle!Rose!
How!High!The!Moon!I!Could!Write!A!Book!In!a!Mellow!Tone!Killer!Joe!*Ladybird*Lazy!Bird!**Moment’s*Notice*My!Romance!Once!I!Loved!Out!of!Nowhere!St.!Thomas!Satin!Doll!Speak!Low!**Stella*By*Starlight*Sweet!Georgia!Brown!Take!the!“A”!Train!There!Is!No!Greater!Love!There!Will!Never!Be!Another!You!Tune!Up!Yardbird!Suite!!Standards/Jazz!Standards!in!Minor!Keys!(6!Total)!*Autumn*Leaves*Alone!Together!Beautiful!Love!*Black*Orpheus*Blue!Bossa!Caravan!How!Deep!is!the!Ocean!How!Insensitive!**Invitation*A!Night!in!Tunisia!Recordame!Softly!as!in!a!Morning!Sunrise!Song!For!My!Father!Solar!So!What!Stella!By!Starlight!Stolen!Moments!Sugar!Summertime!What!Is!This!Thing!Called!Love!Work!Song!You!and!the!Night!and!the!Music!!**Required*for*Sophomore*Barrier*****Required*for*Junior*Barrier*
31
Bachelor)of)Music)Jazz)Studies)Suggested(Jazz(Jury(Repertoire((Sacramento(State(University(
(Level)17)Freshman)Jazz)Repertoire)List(Afternoon(in(Paris(All(Blues(All(of(Me(Autumn(Leaves(Bag’s(Groove(Blue(Bossa(Blue(Monk(Blues(in(a(Closet(But(Not(For(Me(Bye(Bye(Blackbird(Cantaloupe(Island(Days(of(Wine(and(Roses(Don’t(Get(Around(Much(Anymore(Doxy(Equinox(Four(Freddie(Freeloader(Good(Bait(I(Got(Rhythm(Impressions(Just(Friends(Killer(Joe(Little(Sunflower(Maiden(Voyage(My(Romance(Now’s(the(Time(Perdido(Polkadots(And(Moonbeams(Satin(Doll(Song(for(My(Father(Sonnymoon(for(Two(So(What(St.(James(Infirmary(St.(Louis(Blues(St.(Thomas(Straight,(No(Chaser(Sugar(Summertime(Take(the(‘A’(Train(Tenor(Madness(Things(Ain’t(What(They(Used(to(Be(Walkin’(Watermelon(Man(Yardbird(Suite()((((((((((
Level)27Sophomore)Jazz)Repertoire)List)All(the(Things(You(Are(Anthropology((Back(Home(In(Indiana(Bessie’s(Blues(Black(Orpheus((A(Day(in(the(Life(of(a(Fool)(Blues(for(Alice(Bluesette(Body(&(Soul(But(Not(for(Me(Caravan(Corcovado((Quiet(Night(of(Quiet(Stars)(Darn(That(Dream(Foggy(Day,(A(Footprints(Freedom(Jazz(Dance(Georgia(on(My(Mind(Girl(from(Ipanema(Groovin’(High(Honeysuckle(Rose(How(High(The(Moon(How(Insensitive(I(Can’t(Get(Started(I(Could(Write(a(Book(I(Got(Rhythm(In(A(Mellow(Tone(In(a(Sentimental(Mood(Invitation(Lady(Bird(Lover(Man(Lullaby(of(Birdland(Maiden(Voyage(Meditation(Misty(Mr.(P.C.(My(Funny(Valentine(My(Shining(Hour(Nearness(of(You,(The(Night(Has(a(Thousand(Eyes,(The(On(Green(Dolphin(Street(Once(I(Loved(Recordame(Scrapple(from(the(Apple(Seven(Steps(from(Heaven(Softly(as(in(a(Morning(Sunrise(Some(Day(My(Prince(Will(Come(Stardust(Stolen(Moments(Stompin’(at(the(Savoy(Sweet(Georgia(Brown(There(is(No(Greater(Love(There(Will(Never(Be(Another(You(Tune(Up(Watch(What(Happens(Wave(Way(You(Look(Tonight,(The(When(I(Fall(in(Love(Yardbird(Suite(
32
Level)3)7)Junior)Jazz)Repertoire)List)All(of(You(Alone(Together(Along(Came(Betty(Angel(Eyes(Anthropology(Au(Privave(Back(Home(Again(in(Indiana(Beautiful(Love(Blues(for(Alice(Body((&(Soul(But(Beautiful(Caravan(Ceora(Cherokee(Come(Rain(or(Come(Shine(Confirmation(Corcovado((Quiet(Nights(of(Quiet(Starts)(Desafinado(Embraceable(You(Giant(Steps(Girl(from(Ipanema(Half(Nelson(Have(You(Met(Miss(Jones(Here’s(that(Rainy(Day(Hot(House(How(Deep(is(the(Ocean(I(Love(You(I(Mean(You(I(Remember(Your(I(Should(Care(I(Thought(About(You(I’ll(Remember(You(If(I(Were(a(Bell(In(a(Sentimental(Mood(Inner(Urge(It(Could(Happen(to(You(It(Don’t(Mean(a(Thing(It(Had(to(Be(You(It(Might(as(Well(Be(Spring(It’s(You(or(No(One(Joy(Spring(Laura(Lazy(Bird(Like(Someone(in(Love(Love(for(Sale(Milestones((new)(Moment’s(Notice(Moonlight(in(Vermont(My(Favorite(Things(My(Foolish(Heart(Nardis(Nica’s(Dream(Night(and(Day(Night(in(Tunisia,(A(Oleo(One(Note(Samba(Ornithology(Our(Love(is(Here(to(stay(Out(of(Nowhere(Over(the(Rainbow(Polka(Dots(and(Moonbeams(Round(Midnight(Scrapple(from(the(Apple(Seven(Steps(to(Heaven(Shadow(of(Your(Smile,(The(
Skylark(Solar(Someone(To(Watch(Over(Me(Song(is(You,(The(Speak(Low(Speak(No(Evil(Star(Eyes(Stella(by(Starlight(Sweet(Georgia(Brown(Take(5(Tenderly(Triste(Waltz(for(Debbie(Way(You(Look(Tonight,(The(Well(You(Needn’t(What(is(This(Thing(Called(Love?(Whisper(Not(Willow(Weep(for(Me(Which(Hunt(Witchcraft(Yes(or(No(Yesterdays(You(Don’t(Know(What(Love(Is(You(Stepped(Out(of(a(Dream(You’d(be(so(Nice(to(Come(Home(To(((Level)4))7)Senior)Jazz)Repertoire)List)Airegin(Beatrice(Chelsea(Bridge(Cherokee(Con(Alma(Confirmation(Countdown(Daahoud(Dolphin(Dance(Donna(Lee(E.S.P.(Emily(Fee(Fi(Fo(Fum(Four(in(One(Giant(Steps(I(Hear(a(Rhapsody(In(Your(Own(Sweet(Way(Inner(Urge(Invitation(Joy(Spring(Lush(Life(Moment’s(Notice(My(Foolish(Heart(My(One(and(Only(Love(My(Secret(Love(Naima(Nica’s(Dream(Peace(Prelude(to(a(Kiss(‘Round(Midnight(Sophisticated(Lady(Speak(No(Evil(Stardust(Stablemates(Stardust(Take(5(What’s(New?(
33
Faculty of Music
University of Toronto
Sample Repertoire List
Note re Graduate Jazz Admissions: Successful applicants must show experience as a
solo performer with an advanced technical and interpretive ability. Improvisation must
indicate imagination and thorough mastery of the selected repertoire.
The repertoire list provided here indicates compositions that are acceptable for audition
purposes. Candidates must submit a substantial repertoire list (25-30 pieces) for approval
with the application. This list may include tunes not in our sample list provided here and
must include a mix of representative pieces from the major stylistic areas: traditional,
swing, bop, hard bop, cool, post-bop, standards, blues, modal, free, fusion and ‘Latin’
styles. The list must also include at least three original pieces. Please provide lead sheets
for any original pieces. At the 30-minute audition, jurors will select repertoire from the
candidate’s approved list (usually 5 pieces including one ballad and one up-tempo tune).
Candidates who are skilled in jazz arranging and composition are encouraged to provide
scores (Photocopies only. No originals please.), with supporting recordings (if available)
to assist the jury in their assessment.
Title Composer
‘Round Midnight Thelonious Monk
502 Blues Wayne Shorter
A Foggy Day George & Ira Gershwin
A Night in Tunisia Dizzy Gillespie
Airegin Sonny Rollins
All The Things You Are Kern and Hammerstein
Alone Together Dietz & Schwartz
Along Came Betty Benny Golson
Au Privave Parker
Autumn Leaves Joseph Kosma
Bag's Groove Milt Jackson
Beatrice Sam Rivers
Beautiful Love Victor Young
Bessie’s Blues John Coltrane
Billie’s Bounce Charlie Parker
Blue Bossa Kenny Dorham
Blue in Green Bill Evans
Blue Seven Sonny Rollins
34
Blues Connotation Ornette Coleman
Body and Soul Johnny Green
But Not For Me George Gershwin
Caravan Duke Ellington and Juan Tizol
Ceora Lee Morgan
Chelsea Bridge Billy Strayhorn
Cherokee Ray Noble
Confirmation Charlie Parker
Desafinado Antonio Carlos Jobim
Dolphin Dance Herbie Hancock
Don’t Get Around Much Anymore Duke Ellington
Donna Lee Charlie Parker
Doxy Sonny Rollins
E.S.P. Miles Davis
East of the Sun Bowman/Brooks
Elm Richie Beirach
Emily Mercer/Mandel
Evidence Thelonious Monk
Fee-Fi-Fo-Fum Wayne Shorter
Footprints Wayne Shorter
Freddie the Freeloader Miles Davis
Giant Steps John Coltrane
Gingerbread Boy Jimmy Heath
Groovin' High Dizzy Gillespie
Half-Nelson Charlie Parker
Have You Met Miss Jones? Richard Rogers
Hot House Dizzy Gillespie
How Insensitive Jobim
I Can’t Get Started Vernon Duke
I Could Write a Book Rodgers/Hart
I Love You Cole Porter
I Mean You Thelonious Monk
I Remember You Mercer/Schertzinger
I Thought About You Mercer/Van Heusen
I’ll Remember April Raye/DePaul/Johnson
If I Should Lose You Robin/Rainger
If You Never Come to Me Antonio Carlos Jobim
In a Mellow Tone Duke Ellington
In A Sentimental Mood Duke Ellington
In Walked Bud Thelonious Monk
In Your Own Sweet Way Dave Brubeck
Isfahan Duke Ellington/Billy Strayhorn
It Could Happen To You Jimmy Van Heusen
Joy Spring Clifford Brown
Just Friends Klenner and Lewis
35
Lament J.J. Johnson
Lazy Bird John Coltrane
Like Someone in Love Van Heusen/Burke
Little Sunflower Freddie Hubbard
Lonely Woman Ornette Coleman
Love for Sale Cole Porter
Manteca Dizzy Gillespie
Moose the Mooche Charlie Parker
Mr. P.C. John Coltrane
My Funny Valentine Rodgers and Hart
Naima John Coltrane
Nardis Miles Davis
Night and Day Cole Porter
Oleo Sonny Rollins
On Green Dolphin Street Bronislau Kaper
Once I Loved Antonio Carlos Jobim
One by One Wayne Shorter
One Finger Snap Herbie Hancock
Out of Nowhere Green/Heyman
Peace Horace Silver
Polka Dots and Moonbeams Van Heusen/Burke
Prelude to a Kiss Duke Ellington
Relaxin’ at Camarillo Charlie Parker
Rhythm-A-Ning Thelonius Monk
Sandu Clifford Brown
'Smatta Kenny Wheeler
So What Miles Davis
Solar Miles Davis
Speak Low Kurt Weill
Stablemates Benny Golson
Star Eyes Raye/DePaul
Stella by Starlight Victor Young
Straight, No Chaser Thelonious Monk
Summertime George Gershwin
Take the 'A' Train Billy Strayhorn
Tenor Madness Sonny Rollins
There Will Never be Another You Harry Warren
Three Little Words Ruby/Kalmar
Triste Jobim
Up Jumped Spring Freddie Hubbard
Very Early Bill Evans
Well You Needn’t Thelonious Monk
What is This Thing Called Love? Cole Porter
Whisper Not Benny Golson
Woody‘n You Dizzy Gillespie
36
Jamey Aebersold Suggested Repertoire
Yes or No Wayne Shorter
Yesterdays Jerome Kern
You and the Night and the Music Robin/Rainger
You're My Everything Warren/Dixon/Young
11
SONG LIST FOR BEGINNERS
Advanced SongsStella by Starlight, Bb or G (15, 22, 59, 68) [entire tune]Star Eyes, Eb (34, 59) [bars 4, 5, & 6]Invitation, C_ (34, 59) [entire tune]Have You Met Miss Jones?, F (25, 74) [bridge]I Got Rhythm, Bb & F (7, 8, 16, 47, 51)Giant Steps, Eb (28, 68) [entire tune]All The Things You Are, Ab (16, 36, 43, 55) [entire tune]Most balladsWayne Shorter tunes (33), Horace Silver tunes (17, 18), John Coltrane tunes (27, 28), Benny Golson tunes (14) and thousands of other songs
Intermediate SongsFour, Eb (7, 65, 67) [F#_ B7]Perdido, Bb (12, 65, 67) [bridge]All Blues, G (5 0, 8 1) [D7+9, Eb7+9, D7+9]Groovin High, Eb (43) [A- D7]Yardbird Suite, C (6, 69) [bridge]Softly As In A Morning Sunrise, C_ (40) [bridge]On Green Dolphin Street, Eb (34, 59)Misty, Eb (41, 49, 70) [A_ D7/ C_ F7 in bridge]Just Friends, F (20, 34, 59) [Ao or Ab_]Killer Joe, C (14, 70) [bridge]Sweet Georgia Brown (39, 67, 70, 84)Indiana (Back Home Again In) (6, 61, 80, 84)Girl From Ipanema, F (31, 70, 90)
Beginning SongsBlues in Bb & F (1, 2, 21, 35, 42, 50, 53, 54, 69, 70, 73)Footprints, C_ (33, 54)Satin Doll, C (12, 54, 66)Doxy, Bb (8, 54)Autumn Leaves, G_ (20, 44, 54, 67)Impressions or So What, D_ (28, 50, 54)Summertime, D_ (25, 54)Song For My Father, F_ (17, 54)Maiden Voyage, A_ (11, 54, 8 1)Silvers Serenade, E_ (17)Cantaloupe Island, F_ (11, 54)Sugar, C_ (5, 49, 70) (called Groovitis)Watermelon Man, F (11, 54)
Here are songs which everyone should eventually know–they are good jam session songs. I am listing the key(s) they are most often played in followed in parenthesis by the play-a-long volume number(s) where you can find them. Most of the beginning songs are on the Volume 54 “Maiden Voyage” play-a-long book/recording set. It’s excellent for learning jam session tunes.
Memorize the melodyMemorize the chord progression
Memorize the various scales/chords
troublesome spots = [ ]
Be discriminate in your listening. Remember, you’re training your MIND!Choose your music like you would your friends.
Think of how many friends’ voices you can recognize over the telephone after they say only one word. The qualities of scales (major, minor, dom.7th, dim. ,etc.) will become just as familiar
and easy to recognize with practice.
37
REFERENCES Aebersold, J. (2010). Jazz handbook. New Albany, IN: Jamey Aebersold Jazz. Alexander, M.L. (2012). Fearless improvisation: A pilot study to analyze string students’ confidence, anxiety, and attitude toward learning improvisation. Update: Applications of Research in Music Education, 31, 25-33. doi:10.1177/8755123312457884 Allen, R. (2013). Free improvisation and performance anxiety among piano students. Psychology of Music, 41, 75. doi:10.1177/0305735611415750 Barratt, E., & Moore, H. (2005). Researching group assessment: Jazz in the
conservatoire. British Journal Of Music Education, 22(3), 299-314. doi: 10.1017/S0265051705006467
Berliner, P. (1994). Thinking in jazz: The infinite art of improvisation. Chicago:
University of Chicago Press. Biasutti, M. & Concina, E. (2014). The role of coping strategy and experience in predicting music performance anxiety. Musicae Scientiae, 18, 189- 202. doi:10.1177/1029864914523282 Bloom, A.J., Kirchner, J.M. & Skutnick-Henley, P. (2008). The relationship between performance anxiety and flow. Medical Problems of
Performing Artists, 23, 59+. Retrieved from http://go.galegroup.com.ezproxy.lib. utexas.edu/ps/i.do?id=GALE%7CA197857739&v=2.1&u=txshracd2598&it=r&p=AONE&sw=w&asid=4107cb232b04234356073c4510bffb78
Bodner, E., Aharoni, R., & Iancu, I. (2012). The effect of training with music on happiness recognition in social anxiety disorder. Journal of Psycopathology and Behavioral Assessment, 34, 458-466. doi:10.1007/s10862-012-9304-7 Burnard, P. (2002). Investigating children’s meaning-making and the emergence of musical interaction in group improvisation. British Journal of Music Education, 19, 157-172. doi:10.1017/S0265051702000244 Cameron, W. (1954). Sociological Notes on the Jam Session. Social Forces, 33(2), 177-
182. Stable URL: http://www.jstor.org/stable/2573543 Doffman, M. (2011). Jammin' an Ending: Creativity, Knowledge, and Conduct among Jazz Musicians. Twentieth-century Music,8(2), 203-225.
doi:10.1017/S1478572212000084
38
Doffman, M. (2013). The Tomorrow's Warriors Jam Sessions: Repertoires of Transmission and Hospitality. Black Music Research Journal, 33(1), 71-89. doi: 10.5406/blacmusiresej.33.1.0071
Dyas, J. (2015, January 1). History of Jazz Education - A Brief Outline.
Retrieved April 21, 2015, from http://www.jazzinamerica.org/JazzResources/JazzEducation
Giddins, G. (1998). Visions of jazz: The first century. New York: Oxford University
Press. Gioia, T. (1988). The imperfect art: Reflections on jazz and modern culture. New York:
Oxford University Press. Gooley, D. (2011). The Outside of ‘Sitting In’: Jazz jam sessions and the politics of
participation. Performance Research, 16(3), 43-48. doi: 10.1080/13528165.2011.606024
Guilbault, D. M. (2004). The effect of harmonic accompaniment on the tonal improvisations of children in kindergarten and first grade. Journal of
Research in Music Education, 57, 81-91. Article Stable URL:http://www.jstor.org/stable/3345525
Herzig, M., & Baker, D. (2014). Beyond jamming: a historical and analytical perspective
on the creative process. MEIEA Journal, 14(1), 183+. Retrieved from http://go.galegroup.com.ezproxy.lib.utexas.edu/ps/i.do?id=GALE%7CA396769038&v=2.1&u=txshracd2598&it=r&p=AONE&sw=w&asid=bbbe3ac60373b6116381415b1e0990b0
Khalsa, S. B. S., Butzer, B., Shorter, S. M., Reinhardt, K. M., & Cope, S. (2013). Yoga reduces performance anxiety in adolescent musicians. Alternative Therapies in Health and Medicine, 19, 34. Accession Number: 86939459 Kim, Y. (2008). The effect of improvisation-assisted desensitization, and music-assisted progressive muscle relaxation and imagery on reducing pianists’ music performance anxiety. Journal of Music Therapy, 45, 165-191. doi:10.1093/jmt/45.2.165
Lebrun, M. (2015, January 30). 200 Tunes to Know Prioritized Categorized and
Organized. Retrieved February 3, 2015, from http://thewoodshedmusic.com/2015/01/300-tunes-to-know-prioritized-categorized-and-organized/
39
Levy, A. (2012, November 19). Jazz Articles: After Hours: A Brief Introduction to the Jazz Jam Session. Retrieved February 1, 2015, from http://jazztimes.com/articles/62282-after-hours-a-brief-introduction-to-the-jazz-jam-session
Mason, C. M. (2005). A comparative and historical survey of four seminal figures in the
history of jazz education (Order No. 3165100). Available from Dissertations & Theses @ University of Texas - Austin; ProQuest Dissertations & Theses Full Text. (305384470). Retrieved from http://ezproxy.lib.utexas.edu/login?url=http://search.proquest.com/docview/305384470?accountid=7118
May, L. F. (2003). Factors and abilities influencing achievement in
instrumental jazz improvisation. Journal of Research in Music Education, 51 357-373. Stable URL: http://www.jstor.org/stable/3345377
Morgenstern, Dan & Meyer, S. (2004). Living With Jazz. New York: Pantheon Books Poulter, Z., & MENC, T. (2008). Teaching improv in your jazz ensemble: A complete
guide for music educators. Lanham: Rowman & Littlefield Education. Rodriguez, A. (2012, November 2). A Brief History Of Jazz Education, Pt. 1. Retrieved
April 21, 2015, from http://www.npr.org/blogs/ablogsupreme/2012/10/26/163741653/a-brief-history-of-jazz-education-pt-1
Scott, A. (2004). "Sittin' In:" Barry Harris's Use of the "Jam Session" as a Jazz
Pedagogical Device1. Journal of Popular Music Studies, 283-290. doi: 10.1111/j.1524-2226.2004.00026.x
Stebbins, R. (1968). A Theory of the Jazz Community. The Sociological Quarterly, 318
331. Stable URL: http://www.jstor.org/stable/4105419 Ward, G., & Burns, K. (2000). Jazz: A history of America's music. New York: Alfred A.
Knopf. Watson, K. E. (2010). The effects of aural versus notated instructional materials on achievement and self-efficacy in jazz improvisation. Journal of Research in Music Education, 58, 240-259. doi:10.1177/0022429410377115 Wehr-Flowers, E. (2006). Differences between male and female students’ confidence, anxiety, and attitude toward learning jazz improvisation. Journal of
Research in Music Education, 54, 337-349. Article Stable URL: http://www.jstor.org/stable/4139755