LOCALLY DEVELOPED COURSE Jazz 15 25... · 2013-10-22 · Vocal jazz is an inherently unique art form and is different from choral or instrumental music studies. The human voice becomes

LOCALLY DEVELOPED COURSE

VOCAL JAZZ 15-25-35

Calgary Board of Education

2007

ACKNOWLEDGEMENTS: Produced for the Calgary Board of Education by: Steve Bridgett; Valley Creek Middle School David Grimstead, Western Canada High School Lorna MacLachlan, Western Canada High School Sherry Martens, Specialist, Curriculum Support © 1998 Calgary Board of Education © 2007 Revised Permission for reproduction of any portion of this document for any purpose must be obtained in writing from the Calgary Board of Education.

TABLE of CONTENTS

Board Motion............................................................................................................... 1

Implementation Date ................................................................................................. 1

Philosophy and Rationale........................................................................................ 1

Credit Allocation/ Instructional Hours.................................................................. 2

Pre-requisite ................................................................................................................ 2

Learner Outcomes ..................................................................................................... 2 General Learner Outcomes ..................................................................................... 2 Specific Learner Outcomes..................................................................................... 2

Three (3) Credit................................................................................................... 2 Five (5) Credit..................................................................................................... 5

Facilities or Equipment Necessary ....................................................................... 7

Teacher Qualifications.............................................................................................. 7

Identification of Controversial or Sensitive Course Components................ 8

Learning Resources .................................................................................................. 8

Projected Enrolment ............................................................................................... 11 Significant Overlap with Provincial Curriculum .............................................. 11

Assessment and Evaluation ................................................................................. 12

Course Evaluation and Monitoring ..................................................................... 17

Vocal Jazz 15-25-35

Board Motion The Board of Trustees approved this course for use in Calgary Board of Education by Board Motion on May 15, 2007. (Attachment II) Implementation Date September 1998 Revised for implementation September 2007 Philosophy and Rationale The 15-25-35 Vocal Jazz course offers students the opportunity to study the jazz idiom as a subject in its own right and as an integral part of the Fine Arts program, which is developmental in nature. Jazz is the study of the history of people through a uniquely North American art form that began as a vocal form. Understanding the history of vocal jazz is essential to interpretation of vocal jazz styles and promotes a deeper understanding and acceptance of the diversity amongst our cultures. Music education is based on a spiral curriculum process where concepts of music are introduced at a young age and continuously revisited. As students progress through the levels, these concepts are developed according to student’s maturity, experience and readiness for improvisational study. Vocal jazz is an inherently unique art form and is different from choral or instrumental music studies. The human voice becomes the instrument of delivery, where in instrumental jazz ensembles, wind or rhythm instruments are employed. Vocal jazz incorporates text whereas instrumental jazz does not. Vocal Jazz ensembles must be limited in size due to nature of complex harmonic structures, practicality for vocal improvisation, microphone technique and balance between vocal parts. There are fewer persons per part and therefore the individual is more accountable than in large ensembles. The student of music should appreciate the different roles of a musician:

• Performer: Performance is an active process involving the development and application of musical skills, knowledge and perceptions for the intent of public performance.

• Listener, Evaluator, Consumer and Historian: These experiences develop an

understanding of music and musicians of the past and present.

• Composer, Improviser: The organization of the elements of music into an intrinsically satisfying composition or improvisation generates aesthetic creativity and perception.

© Calgary Board of Education 1

Credit Allocation/ Instructional Hours

75 Hours/ 3 Credits 125 Hours/ 5 Credits

Pre-requisite Choral 10 is a pre- or co-requisite for Vocal Jazz 15 Vocal Jazz 15 is a pre-requisite for Vocal Jazz 25 Choral 20 is a pre- or co-requisite for Vocal Jazz 25 Vocal Jazz 25 is a pre-requisite for Vocal Jazz 35 Choral 30 is a pre- or co-requisite for Vocal Jazz 35 or at the individual discretion of the teacher

Learner Outcomes

General Learner Outcomes Teachers need to attend to the development phase of learning and expect that students will move from development to the acquiring of the specific outcomes as they progress throughout the vocal jazz courses. The 15-25-35 courses are designed to help students develop competencies and strive for excellence in the following categories:

1. Listening: To develop the ability to make intellectual and aesthetic decisions aurally. 2. Theoretical: To develop an understanding and awareness of rhythmic patterns, chordal textures and harmonies that are specific to the jazz genre. 3. Musicianship: To develop, discover and evaluate their talents and abilities in musical performance through the establishment and extension of skills as they apply to the jazz idiom. 4. Improvisation: To develop additional avenues of self-expression through interpretation, improvisation, arranging, composing.

Specific Learner Outcomes

Three (3) Credit

1. Listening: To develop the ability to make intellectual and aesthetic decisions

aurally.

Note: indicates a progression of skills


Specific Outcomes (The Student will…) 15 25 35 Interpret, rehearse and perform literature from different styles, i.e. swing, Latin, blues, etc. and of various artists.

Identify various styles and artists; Swing, blues, latin. Analyze the work of various artists for musical styles Recognize and practice singing standard jazz forms, e.g. blues, song form

Imitate/emulate/identify the various jazz forms being studied

Recognize the difference between jazz and traditional harmony and notation, eg. chord recognition, articulation, swing, etc.

Recognize and perform various jazz voicing. (degree of the vertical chord structure) i.e. In a C9 chord, Bass on the third, tenor on the seventh, alto on the ninth, and soprano on the fifth

2. Theoretical: To develop an understanding and awareness of rhythmic patterns,

chordal textures and harmonies that are specific to the jazz genre.

Specific Outcomes (The Student will…) 15 25 35 Identify common chord progressions and function, eg. turnarounds, cadences, II – V - I progressions

Analyse common chord progressions and function, eg. turn arounds, cadences, II – V - I progressions

Recognize and interpret chord symbols. (Cm7, C9, Cmaj7)


3. Musicianship: To develop, discover and evaluate their talents and abilities in musical performance through the establishment and extension of skills as they apply to the jazz idiom.

Specific Outcomes (The Student will…) 15 25 35 Develop an awareness of articulation, e.g. Latin (straight eighth notes feel with short, accented rhythms), bebop (rapid melodic passages with emphasis on certain notes of a phrase), ornamentation (plop, doit, flip)

Develop an awareness of inflection e.g. Latin (straight eighth notes feel with short, accented rhythms), bebop (rapid melodic passages with emphasis on certain notes of a phrase), ornamentation (plop, doit, flip)

Develop an awareness of phrasing in the various styles of jazz, e.g. Latin (straight eighth notes feel with short, accented rhythms), bebop (rapid melodic passages with emphasis on certain notes of a phrase), ornamentation (plop, doit, flip)

Recognize that often the text and articulation lend themselves to an instrumental sound but reproduced by the voices, e.g.”dot”, “du-dot”, “dwee-dot”, etc. are used to give this effect.

Demonstrate consistency of articulation and phrasing in performance.

Understand the basic set up of a sound system Develop an awareness of improvisation through listening Imitate rhythmic and/or melodic patterns

4. Improvisation: To develop additional avenues of self-expression through

interpretation, improvisation, arranging, composing.

Specific Outcomes (The Student will…) 15 25 35 Vocally improvise over a simple chord progression. Learn proper microphone technique e.g.distance from mouth to microphone, when to change distance. Microphones as a tool in performance.


Five (5) Credit

1. Listening: To develop the ability to make intellectual and aesthetic decisions aurally.

Specific Outcomes (The Student will…) 15 25 35 Interpret, rehearse and perform literature from different styles, i.e. swing, Latin, blues, etc. and of various artists.

Identify various styles and artists; Swing, blues, bebop, cool, funk, latin, rock.

Analyze the work of various artists for musical styles Recognize and practice singing standard jazz forms, e.g. blues, song form

Imitate/emulate/identify the various jazz forms being studied

Research the work of various style/artists Recognize the difference between jazz and traditional harmony and notation, eg. chord recognition, articulation, swing, etc.

Recognize and perform various jazz voicing. (degree of the vertical chord structure) i.e. In a C9 chord, Bass on the third, tenor on the seventh, alto on the ninth, and soprano on the fifth


2. Theoretical: To develop an understanding and awareness of rhythmic patterns,

chordal textures and harmonies that are specific to the jazz genre. Specific Outcomes (The Student will…) 15 25 35 Identify common chord progressions and function, eg. turnarounds, cadences, II – V - I progressions

Analyse common chord progressions and function, eg. turn arounds, cadences, II – V - I progressions

Notate a short original work for voices and/or instruments using appropriate chord progressions and jazz symbols

Recognize and interpret chord symbols. (Cm7, C9, Cmaj7)

3. Musicianship: To develop, discover and evaluate their talents and abilities in

musical performance through the establishment and extension of skills as they apply to the jazz idiom.

Specific Outcomes (The Student will…) 15 25 35 Develop an awareness of articulation, e.g. Latin (straight eighth notes feel with short, accented rhythms), bebop (rapid melodic passages with emphasis on certain notes of a phrase), ornamentation (plop, doit, flip)

Develop an awareness of inflection e.g. Latin (straight eighth notes feel with short, accented rhythms), bebop (rapid melodic passages with emphasis on certain notes of a phrase), ornamentation (plop, doit, flip)

Develop an awareness of phrasing in the various styles of jazz, e.g. Latin (straight eighth notes feel with short, accented rhythms), bebop (rapid melodic passages with emphasis on certain notes of a phrase), ornamentation (plop, doit, flip)

Recognize that often the text and articulation lend themselves to an instrumental sound but reproduced by the voices, e.g.”dot”, “du-dot”, “dwee-dot”, etc. are used to give


Specific Outcomes (The Student will…) 15 25 35 this effect. Demonstrate consistency of articulation and phrasing in performance.

Demonstrate appropriate vocal articulation and phrasing while sight reading

Understand the basic set up of a sound system Develop an awareness of improvisation through listening Imitate rhythmic and/or melodic patterns

4. Improvisation: To develop additional avenues of self-expression through

interpretation, improvisation, arranging, composing.

Specific Outcomes (The Student will…) 15 25 35 Vocally improvise over a simple chord progression. Understand and perform an improvised solo Learn proper microphone technique e.g.distance from mouth to microphone, when to change distance. Microphones as a tool in performance.

Demonstrate knowledge of standard and altered jazz forms through improvisation and/or composition

Compose a short original work for voices and/or instruments using appropriate chord progressions and jazz symbols

Facilities or Equipment Necessary

• Room large enough to accommodate a sound system. risers optional depending if director so requires (small to medium sized class room)

• Sound system including sound board with adequate number of channels to accommodate the ensemble

• Recommended equipment includes*: monitor speaker system, equalizer, digital effect processor, full range speaker system

• hand held microphones (e.g. Shure SM 58, condenser mic, Senheisers mics) • piano or an electronic piano • good quality audio stereo system according to industry specialists

Teacher Qualifications

• Qualified music Teacher with a vocal jazz background/experience or willingness to learn


Identification of Controversial or Sensitive Course Components The emphasis is on teaching and learning, not professional production. It is through purposeful conversation with students that will set the context for performance. The teacher should choose and adapt music selections that are appropriate to the school community in which they teach. Learning Resources

• Age appropriate repertoire • Professional vocal specialists (clinicians, performers) • Publishers, websites • Interpreting the Vocal Jazz Chart (as per Appendix I)

SUGGESTED LEARNING RESOURCES: Song Composer/Arranger Publisher A Ballad Ward A Room Without Windows Barduhn SMP A Year in Love Latchaw UNC Africa T. Nova/Crenshaw UNC Ain’t Doin’ Bad Doin’ Nothin’ Cross UNC Alice in Wonderland Treece UNC All In Love Is Fair Taylor Peter Taylor All of Me Shaw Hal Leonard All the Things You Are Puerling/Mattson Hal Leonard All the Things You Are Swingle Swingle Almost Like Being In Love Barduhn Alone and Blue Kraintz * Am I Blue Shaw Jenson 144 Autumn Leaves Kraintz SMP Ballad of the Sad Young Men Treece UNC Basin Street Blues Shaw Hal Leonard Bass-ically Speaking Puerling Hal Leonard Battle Hymn of the Republic Kraintz SMP Bein’ Green Barduhn Hal Leonard Better Than Any Thing Barduhn Blue Rondo Swingle Swingle * Blue Skies Emerson Jenson 403-02094 Blues Down to My Shoes Shaw Hal Leonard Button Up Your Over Coat Puerling Hal Leonard Can’t Help Lovin’ That Man Mattson Hal Leonard Case of the Blues Mazur UNC Centerpiece King Waldo King Come Rain or Come Shine Puerling Hal Leonard 07359069 Cookin’ at the Continental Mazur UNC Danny Boy Marcy SMP Don’t Get Around Much Anymore Kunz Jenson Du, Du, Liegst Mir Im Hersen Fischer Clare Fischer Epainos Treece UNC Goodbye, Old Friend Kraintz SMP Green Dolphin Street Marcy UNC


Song Composer/Arranger Publisher How Do You Keep The Music Playing? Barduhn How High The Moon Kraintz I Get Along Without You Very Well Mattson Hal Leonard I Remember Clifford Cazier I Think I’m On To Something Barduhn I Want To Hold You In My Arms DeMiero SMP I Wish You Love Marcy UNC I’m Fallin’ In Love With You DeMiero SMP I’ve Got You Under My Skin Mattson Hal Leonard It Might As Well Be Spring DeMiero Hal Leonard Jazz Parade Kraintz Alfred Let’s Fall Marcy UNC Lookin’ For the Right Words DeMiero Scott Lover and His Lass Swingle Swingle Lush Life Buffa UNC Melba’s Blues King Waldo King * Misty Shaw Jenson 441-13024 * Moon River Chinn Studio PR Sv8471 Moonglow Chinn Studio PR SUJ-8601 More Marcy UNC My Funny Valentine Barduhn * My Funny Valentine Shaw Hal Leonard 08658800 * My Romance Puerling My Romance Shaw Jenson 441-13014 New York Afternoon Buffa UNC Now You’re Gone DeMiero SMP Oh, Danny Boy Marcy SMP On a Clear Day Marcy UNC On Broadway Shaw UNC * Once Upon A Dream Shaw Hal Leonard 08661000 One Of Those Things Called Love Marcy UNC Please Don’t Go Away Kraintz SMP Red Top King Romance Swingle Swingle Route 66 Barduhn Hal Leonard * September In The Rain Emerson Jenson 403-19744 Shiny Stockings Kraintz Something’s Changed Barduhn SMP Steam Heat Shaw Hal Leonard 08664134 Take The A Train Marcy UNC The Star Spangled Banner Barduhn SMP The Way You Look Tonight Knowles Jenson Together Forever DeMiero SMP Waltz for Debby Mattson Hal Leonard 07360950 * When I Fall In Love Shaw Hal Leonard 08665913 * When Sunny Gets Blue Emerson Jenson 07359307 We Were Meant To Be Together Gettel UNC You’ll Be There Kunz Scott * unaccompanied


Listening Vocal Jazz Ensembles

Acapella Project Anita Kerr Singers Gold Company Hi-Lo’s Lambert, Hendricks and Ross Manhattan Transfer New York Voices Singers Unlimited Take Six

Famous Jazz Singers Ella Fitzgerald Billie Holiday Sarah Vaughan Cleo Laine Mel Tormé Tony Bennett Holly Cole Natalie Cole Joe Williams Frank Sinatra

See the discography lists in Instrumental Jazz for more complete details. Clinicians Doug Anderson (503/472-3521) McMinnville High School 1896 Hiway 99 West McMinnville, Oregon USA 97128

Kirby Shaw (816/363-4300) Conservatory of Music University of Missouri – KC Kansas City, Missouri USA 64110

Frank DeMiero (206/771-1500) Edmonds Community College 20000 – 68 Avenue West Lynnwood, Washington USA 98036

Peter Taylor (604/987-9341) Carson Graham Secondary School 2145 Jones Avenue North Vancouver, BC V7M 2W7

Frank Gnandt (403/328-9606) Lethbridge Collegiate Institute 5 Avenue & 17 Street South Lethbridge, AB T1J 0W4

John M. Trepp (604/682-5288) Magee Secondary School 1975 West 49th Avenue Vancouver, BC V6M 2T1

Ken Kraintz (206/339-4200) Everett Public Schools 4730 Colby Road Everett, Washington USA 98201

Janet Warren (604/985-3181) Argyle Secondary School 1131 Frederick Road North Vancouver, BC V7K 1J3

Phil Mattson Southwestern Community College Creston, Iowa USA

Stephen Zegree (616/383-6094) School of Music Western Michigan University Kalamazoo, Michigan USA 49008

Gene Puerling (415/456-1766) 22 Oakwood Avenue San Anselmo, California USA 94960


Publishers Sound Music Publications (206/771-0824) Post Office Box 598 Lynnwood, WA USA 98046

Swingle Music (201/537-2102) RD #2 Box 13A, Thomas Road Glen Gardner, NJ USA 08826

Scott Music Publications Post Office Box 148 Hollywood, CA USA 90028

UNC Jazz Press (303/351-2577 c/o Gene Aiken Greely, CO USA 80639

Hal Leonard Publications 8112 West Bluemound Road Milwaukee, WI USA 53213

Composers and Arrangers Dave Barduhn (503/669-6970) 28224 E Crown Point Highway Troutdale, OR USA 97060

Ken Kraintz (206/330-4304) 4501 Thomson Everett, WA USA 98203

Dan Bukvich c/o Hampton School of Music University of Idaho Moscow, ID USA 83843

Kelly Kunz (206/828-3371) 12033 NE 80th

Kirkland, WA USA 98033

Dave Cazier (509/353-4540) c/o Rogers High School E 1622 Wellesley Spokane, WA USA 99207

Kirk Marcy (206/771-1561) 12711 NE 129th Ct. #202 Kirkland, WA USA 98034

Dave Cross (206/339-4526) c/o Cascade High Scool 801 Casino Road Everett, WA USA 98203

Roger Treece (206/823-2033) 10204 NE 124th

Kirkland, WA USA 98034

Frank DeMiero (206/771-0824) Post Office Box 598 Lynnwood, WA USA 98046

John Ward 14408 Spinning Avenue Gardena, CA USA 90249

Projected Enrolment 200 students Significant Overlap with Provincial Curriculum Alberta Education has reviewed this course and confirms that there is no significant overlap with provincial curriculum. (Attachment)


Assessment and Evaluation The purpose of evaluation of students is to inform both the learner and the parents of progress, as well as to inform the teacher of their practice. This provides motivation for both student and teacher learning and improvement. Eisner (1993) suggests eight criteria for designing approaches for assessment. The assessment tasks that we design for students should: • reflect the tasks students will encounter in the world outside of school • reveal how students go about solving a problem, not just the solution formulated • reflect the values of the intellect community from which they are derived • provide opportunities for students to perform with others, not always alone • allow for more than one acceptable response to a problem or question • have curricular relevance, but allow for flexible transfer and modification of

knowledge and skills to situations outside the classroom • require students to display sensitivity to configurations or wholes, not just discreet

parts • allow students to select an appropriate form of representation to demonstrate learning Teachers should create a multi-dimensional approach to assessment that is both formative and summative. During each unit of instruction, the students’ theoretical as well as practical comprehension of the objectives needs to be assessed. Student engagement also influences their technical development and should also be assessed. It is suggested that rubrics that are both teacher and student generated be used in the assessment process. This ensures that learners understand expectations as well as have a voice in their learning. Teachers can create a balanced assessment by using a variety of tools including but not limited to: • observation check-lists • analytic responses • peer-evaluation • journals, logs, and diaries

• portfolios • tape and video recordings • multi-media presentations • group evaluation

The students’ ability to accept and respond to suggestions and constructive criticism is an important part of the evaluation process; it is a reflection of their effort and attitude. The evaluation of students’ effort and attitude can be made more objective by assessing observable behaviours. The following is a partial list of behaviours that can be evaluated. The student demonstrated the ability to: • challenge and extend oneself intellectually • challenge and extend oneself artistically • share ideas with others • concentrate on the task at hand • effectively use and manage time • accept suggestions and corrections from others • offer suggestions and corrections to others


The descriptors used in the following rubrics are taken from, Assessing and Communicating Student Achievement of Quality Learning Outcomes, CBE. QUALITY LEARNING OUTCOME: CRITICAL/CREATIVE THINKER

CONSTRUCTS MEANING • Connect learning to life

• Understands and explains relationship among ideas • Applies knowledge in new situations

Distinguished Level Leading

Consistently • makes and shares insightful connections between previous experiences

and new learning • understands complex relationships among ideas and explains them

effectively • takes initiative to apply knowledge in a wide variety of situations

Proficient Level Maturing

Usually • makes and shares thoughtful connections between previous experiences

and new learning • understands significant relationships among ideas and explains them

appropriately • takes initiatives to apply knowledge in new situations

Competent Level Developing

In Familiar situations • makes and shares relevant connections between previous experiences

and new learning • understands common-place relationship among ideas and explains them

adequately • applies knowledge

Apprentice Level Emerging

With some support • is able to make and share some relevant connections between previous

experiences and new learning • understands common-place relationships among ideas • applies knowledge in familiar situations

Novice Level Beginning

With consistent support • may make and share some relevant connections between previous

experiences and new learning • may understand common-place relationships among ideas • may apply knowledge in familiar situations


ENGAGES IN INQUIRY • Uses exploratory language to clarify thinking

• Asks questions and solves problems • Evaluates choices and makes responsible decisions

Distinguished Level Leading

Consistently • takes initiative to explore possibilities with others to clarify thinking • takes initiative to ask insightful questions and seek effective, highly

original and inventive solutions to problems • models effective decision making based on careful information

gathering, reflection and evaluation of choices Proficient Level Maturing

Usually • takes initiative to explore possibilities with others to clarify thinking • takes initiate to ask thoughtful questions and seek appropriate, original

solutions to problems • demonstrates appropriate decision making based on information

gathering, reflections and evaluation of choices Competent Level Developing

In Familiar situations • explore some possibilities with others to clarify thinking • asks relevant questions and seeks solutions to problems • makes decisions based on information gathering, reflection and

identification of relevant choices Apprentice Level Emerging

With some support • explores some possibilities with others to clarify thinking • asks some relevant questions and selects from suggested solutions to

problems • makes decisions based on information gathering, reflection and

identification of some relevant choices Novice Level Beginning

With consistent support • may explore some possibilities with others to clarify thinking • may ask some relevant questions and select from suggested solutions to

problems • may make decisions based on information gathering, reflection and

identification of some relevant choices


DISPLAYS APPROPRIATE HABITS OF MIND • Engages in self-assessment and reflection

• Takes risks to extend learning Distinguished Level Leading

Consistently • gathers and reviews feedback from many sources, and adapts

effectively in response to this information • challenges ideas and practices, asks questions, explores

alternative viewpoints and strategies and generates highly original ideas

Proficient Level Maturing

Usually • gathers and reviews feedback from many sources, and adapts

appropriately in response to this information • challenges ideas and practices, asks questions, explores

alternative viewpoints and strategies, and generates original ideas

Competent Level Developing

In Familiar situations • reviews feedback from some other sources, and adapts

adequately in response to this information • asks questions, explores some alternative viewpoints and

strategies, and generates conventional ideas Apprentice Level Emerging

With some support • reviews feedback from some other sources, and adapts

adequately in response to this information • asks questions, explores some alternative viewpoints and

strategies, and generates some ideas Novice Level Beginning

With consistent support • may review feedback from some other sources, and may adapt

in response to this information • may ask questions, may explore a limited number of

alternative viewpoints and strategies, and may generate some ideas


Testing Rubrics

Vocal Jazz Performance Evaluations

Student Name______________________Date________________Mark_________

SUPERIOR EXCELLENT GOOD FAIR 10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Tone

Quality: Excellent tone achieved throughout the entire performance. Tone is strong, clear and consistent despite dynamic and range extremes.

Excellent tone achieved most of the time. Faults & problems infrequent. Minor problems quickly corrected. Range extremes caused some inconsistency.

Strong basic approach demonstrated. Harshness & distortion at upper dynamics & registers. Fuzziness &/or lack of resonance at softer dynamics.

Basic understanding of tonal quality concepts not yet developed. Dynamic & register extremes not well controlled, often harsh or fuzzy.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Rhythm/ Tempo: Rhythmic accuracy &

precision are exact. Tempo obviously under complete control. Rhythmic interpretations/variations appropriate for the selection

Rhythmic accuracy & precision excellent. Tempo under control most of the time. Faults infrequent & only occur in difficult passages. Rhythmic interpretation/variations appropriate with only minor inconsistencies.

Rhythmic accuracy & precision good most of the time. Demonstrate good awareness of pulse & tempo although occasional problems occur. Rhythmic interpretation/ variations appropriate most of the time.

Basic rhythmic accuracy demonstrated in simple passages, although complex passages are weak. Tempo not always controlled.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Technique: (Physical approach to singing)

Posture and body position excellent. Breathing is deep and relaxed. Mouth position and shape is excellent. Tongue is relaxed. Energy is properly focused.

Posture and body position excellent most of the time. Breathing is deep and relaxed but occasionally inconsistent. Mouth position and shape is usually excellent. Tongue is relaxed. Energy is properly focused most of the time.

Posture and body position are basically good. There is an understanding of proper breathing, but not the required consistency. Mouth position and shape is sometimes incorrect. Tongue is not always relaxed. Vocal energy is lacking some of the time.

Technical facility fair. Posture and body position inconsistent. Breathing needs attention. Mouth position and shape are often incorrect. Tongue is not relaxed. Vocal energy is lacking much of the time.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 DictionConsistently excellent diction. Open, pure vowels, appropriate for the style of music. Precise, clear consonants.

Excellent diction most of the time. Vowels may occasionally distort at extreme dynamic and pitch ranges. Occasional lack of clarity of consonants.

Excellent diction some of the time. Vowels distort at some dynamic and pitch ranges and consonants, while articulated, are not clear.

Basic diction skills not yet developed. Vowels are not open or pure and consonants are imprecise and unclear.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Dynamics:Excellent use of dynamics throughout. Full dynamic range "pp" - "ff" demonstrated.

Good use of dynamics throughout, with some lack of dynamic control. Good "pp" - "ff" most of the time.

Some successful attempts at basic dynamic variation though limited in scope & range.

Some attempts at altering dynamics but with limited range. .

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Pitch/ Harmony: Sings in tune. Melodic &

harmonic intonation without fault throughout the entire selection.

Sings in tune. Melodic & harmonic intonation very good. Problems sometimes occur in extremely difficult passages but quickly corrected.

Sings relatively well in tune. Intonation often good but inconsistent. Difficult passages performed with partial success. Attempted to correct obvious problems.

Sings somewhat in tune. Melodic & harmonic intonation inconsistent. Difficult passages caused major intonational weaknesses. Intonation problems seldom corrected.

10 9.5 9 8.5 8 7.5 7 6.5 6 5.5 5 4.5 4 Style: Stylistically accurate &

consistent throughout. Seldom rigid or

mechanical. Excellent & meaningful interpretation. Musical phrasing is obvious throughout the performance

Stylistically accurate & consistent most of the time. Some passages may lack stylistic interpretation but do not detract from the performance. Musical phrasing is natural most of the time.

Stylistic accuracy demonstrated some of the time. Stylistic interpretation demonstrated some of the time, but often rigid & mechanical. Musical phrasing is basic but not always consistent.

Very little meaningful stylistic interpretation of musical passages. Style is undeveloped & inconsistent. Musical phrasing is mostly mechanical & non-musical.


Suggested Assessment It is suggested that student evaluation be broken down as follows: 75% skill and aptitude 25% student engagement Course Evaluation and Monitoring The school’s principal will ensure the objectives of the course are being met. The teachers ensure that they are meeting the guidelines under which the course was intended. Curriculum Support will regularly review the course.


APPENDIX I

© Calgary Board of Education i

Interpreting the Vocal Jazz Chart Jazz is a creative art form; an art form of which we can be most proud in that it is the only true North American art form. Vocal jazz performance centres around creative interpretation. It is the performer’s obligation. The performer’s interpretation brings life to the music. Music should not only be an academic endeavour but more importantly an emotional experience. There are many ways to “develop” the chart. The following recommendations will give you direction toward achieving a subjective, creative approach to styling the chart for your group. Consider the following: Develop a solo feature using strengths of your ensemble. Emphasize a section of your ensemble such as the altos or all of the male voices. Nurture an artistic, creative attitude within your group by getting the students involved in developing the chart. Create a unique rendition of the chart; give it a personal touch. (There are selections that do not permit this as easily as others. However, many charts are arranged with this purpose in mind and that is the true meaning of the word “chart”.) Nurture the essence of jazz: creativity, spontaneity, improvisation, experimentation, style awareness and equally important, an attitude of having fun. First, it is important to know your group. Evaluate the strong and weak points that are inherent within the ensemble. Work with the strengths of the group. If you have a strong male section, reinforce that section by doing some Freshmen or Hi-Lo’s styling with the instrumental section within the chart. The Rhythm Section in Vocal Jazz With the exception of the cappella ballad, all vocal jazz is performed with a rhythm section of piano, bass and drums. Of course the charts can be performed with just a piano accompaniment, but the result is something akin to doing the “1812” without percussion and canon; not only is the character and integrity of the performance lost but so is the spirit and emotional drive that “good” music must have. The Piano The piano functions differently in jazz than it does in non-jazz accompaniment. The keyboard player in jazz has four functions: to facilitate harmonic changes which occur in the vocal line. to reinforce the overall rhythmic background (playing) in the appropriate “style”. to add colour and rhythm section soli passages. to melodically imitate the vocal line. Most vocal jazz charts come with an accompaniment which works very well; yet the accompaniment should be considered more like a road map than a bible. The rhythm section chart is a guide that can be customized to suit your individual taste, keeping in mind the functions listed above and the ability/creativity of your rhythm section.

APPENDIX I

© Calgary Board of Education ii

There are some general considerations to keep in mind with regard to the keyboard. Avoid over-use of the sustain pedal as it tends to “muddy” the sound. If the sound seems “muddy”, try bumping the accompaniment up an octave. Leave out the root of the chord; the bass player will play it (in Rock and Latin, the root is sometimes doubled by the piano but never in Swing). Mike the piano to get the best “mix” for your audience and to ensure that your vocalists can hear the changes in the monitors. Comping (a term used to describe rhythmic chordal accompaniment) should be crisp and punchy. Do not overplay during the ensemble sections; the pianist should think in terms of “filling” the holes (vocal rest passages). The Bass The bass player has two responsibilities: To keep strict time. The bass player should be as dependable as a metronome. You should be able to trust your bass player to maintain tempo while you worry about accents, line, attacks and release in the vocal parts. To supply a strong harmonic foundation, the bass must be heard throughout the ensemble; thus facilitating tuning. In general, the following suggestions should be observed by/for the bass player. The “right” sound in swing jazz has very great presence, i.e. a lot of “treble” in the sound and very little “mid and low” range. It is easier to hear and will help the tuning. This adjustment is made on the bass amp. On slower tunes, add some “bass” on the amp. Elevate the bass amp off the floor. Finger pluck rather than use a pick. Playing near the tail gives more definition while playing near the fingerboard gives more bass quality to the sound. Half-round wound strings are generally preferable to full-round and flat-round strings. Although the electric bass works well for all jazz charts, the acoustic bass with amplification adds a special quality to swing jazz charts. Encourage your bass player to try both. If you cannot find a bass player in your school, try a keyboard bass. The sound will not be perfect, but it will be close until you have time to start someone on electric or acoustic bass. The Drums The drummer has three functions: to establish the correct style; to maintain, along with the bass, impeccable time; to add colour to enhance the effect of the chart, e.g. through correct application of accents, imitating feature and solo lines and filling in the holes with interesting material. There are four essential elements in the drums kit. They each have individual purposes that should be clearly understood.

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here are some variations but great care must be taken to maintain the rhythm as it is

he Snare Drum provising done on the snare. It is used to play “fills” and punctuate

d

he Bass Drum ctuate and emphasize ensemble figures and accents. We talk about

void stuffing the interior with rags. Tune the batter head slightly tighter than the ith

n

he drum set needs to be tuned. Begin with the bass drum on about “C” below “middle

s the

he good drummer will help outline the form of a tune by highlighting the different

ou may find that your cymbals ring too long and need to be subdued. This adjustment

The Hi-Hat The hi-hat is the cymbal/inverted cymbal played with the left foot, supplying the “sock” or “chick” sound, which should be heard almost all the time. In swing jazz, this piece of apparatus should be played on beats 2 and 4 without interruption. The Ride Cymbal This cymbal is played with the right hand and gives the colour that adds the “groove” to the chart. The rhythm on the ride is very consistent.

Tvery easy to lose the “feel” or the “groove”. TThere is a lot of imensemble figures. Every drummer should be capable of playing with brushes and shoulalso have good “rim shot” stick technique. TThe bass will punadding “kick” to ensemble “shots” (accents). Most bass drums will have far too muchring so they should be dampened. Do this by using a strip of felt 2 to 4 inches wide on each head. A mole skin patch is also effective if placed under the beater. Aoutside head. Most young drummer play the bass drum too loudly. It must blend wthe pulse without being audible to anyone else when it is not serving its primary functioof punctuating ensemble figures. TC”. (Every set is different, but jazz tuning is significantly higher than rock tuning). Continue with the toms, largest to smallest, successively tuning a fourth above the previous drum. When tuning, always tighten opposing screws, back and forth acroshead, never side by side. Tap the head in the area adjacent to the screw that you are tightening. Tsections of the tune through the use of different patterns or different colours. Ycan be made by using masking tape on the underside of the cymbal. Experimentation is the best guide as every cymbal is distinctive.

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ou may find that sticks cause too much volume or that the drummer is forced to play in

ncourage the members of your rhythm section to work on their own in sectional earsal

summary, the rhythm section should: mble;

dynamic involvement of the chart;

he Sound Reinforcement System perform for the first time, you will probably be

a

oor

here are five elements in the sound system: microphone, mixer, amplifier, speakers and

he Microphone vocal jazz is one person per mike. Many ensembles have more

ike

here are many acceptable mikes available. The best mike is low impedance with a

re

ere are a few suggestions on the proper use of the mike: e chin of the singers and

over

Ya very reserved manner rather than getting the most out of the set. For this reason it may be preferable to play with brushes. Plastic brushes taped about four inches from the tips are recommended. The brushes can then be used like sticks and will allow for very exuberant playing without “killing” the vocals. Erehearsals. Give them directed listening assignments. Their attendance at every rehshould be mandatory. The rhythm section is an integral part of the vocal jazz ensemble and should not be neglected. A little time and some serious listening will better equip you to deal with the rhythm section. Inprovide solid and steady time for the ensereinforce the harmonic foundation; facilitate chord changes; reinforce the rhythmic andgive the music continuity by filling in the holes. TWhen you see a vocal jazz ensemble struck by the array of microphones and speakers. Vocal jazz is performed this way onsystem! Some people may have philosophical problems with mincing the choir but remember that the system does not correct – it amplifies. In other words, if you put pquality into the mike you will get poor quality out of the speakers. You must train your singers to produce tone with freedom, flow, ring and roundness, off the system or on. Tmonitors. TThe ideal set-up in singers than their sound system can accommodate. The quality is better with one mper person. For this reason, you may want to limit your ensemble to 16 people. Unlike stage band, there is as yet no absolute standardization for vocal jazz. Tcardioid pick-up pattern. There are many acceptable brand names, and with careful shopping and testing, you will find the right one for your group. Test the make you aconsidering for faithful response and reproduction. Do not buy your makes or any othersound equipment at a stereo store. Consult your music retailer/supplier. HHold or “stand” the mike so that the head is horizontal to thperpendicular to the face of the monitor. This position allows the air column to pass the mike, avoiding overloading popping. The possibility of feedback is then diminished.

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The mike should be 2-3 inches from the mouth. As the students become more comfortable with the mike, they will discover that proximity affects volume and colour and can be utilized as a special technique. Stay away from a “breathy” sound except as an occasional device. Strive to get the essence of the individual voice into the mike. Try recording the individual voices early in the year so that the singer will learn to be a self-critical listener. The Mixer This piece of equipment is designed to mix all the inputs and put out mono or stereo sound. Mixers come either with or without an integrated amplifier. IF the amp is integrated you have less equipment to deal with. The technology is advancing so rapidly in the industry that a 12 or 16 channel powered (integrated mixer-amp) board (i.e. 12 or 15 separate inputs for mikes) weighs significantly less than the older integrated boards. The newer boards are very efficient and dependable. Each channel on the mixer has separate controls for attenuation. These controls make the mike “hot”, giving it a greater pick-up range, reverberation, bass equalization, mid-range equalization, treble equalization, monitor send and speaker volume. Equalizing or EQing the sound allows the sound person to match the sound as closely as possible to the individual voice. The other controls on the mixer deal with the mixed sound which is going to the speakers. For this reason, you want the sound person and mixer set up in the audience rather than off to the side of the stage. To get the mike signal back to the mixer, a piece of equipment called a “Stage Return System” or “Snake” is used. This snake is simply a 16 or 24 channel extension cord. If you purchase a 16 channel board, it may be used throughout the course as a portable studio. The Amplifier Mixers are either “powered” (with an integrated amplifier) or “straight” (mixer only). If you are not purchasing a powered board, you must purchase a separate amplifier. The amplifier usually has one input and two outputs. The signal from the mixer is routed to the input and the speakers are connected from the outputs. Generally, an amp is designed to drive two speakers or two monitors; thus, in order to drive the minimum two speakers and two monitors, a second amplifier is needed. Amplifiers, like home stereos, put out a certain number of “watts” per channel. Generally, a higher wattage is better for your sound system because the louder the volume, the greater the distortion potential. If you overwork a small amplifier, your product will not be nearly as clean as with a large amplifier. The Speaker You will need a full-range speaker that gives good response over the whole range of the human voice. The cabinet should have two 10” or 12” speakers, two or four 8” speakers and a horn for the high frequencies to add a “shimmer”. The speakers can be bought as components, i.e. three separate cabinets stacked on top of one another. Though the sound may be better, this arrangement may create a need for another amplifier. The Monitors Monitors are speakers designed so that the performers can hear what they are producing. They are extremely important in vocal jazz. The singers must hear the balance, blend and

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intonation and make adjustments immediately. Good mixers will have separate volume controls and outputs for monitors and speakers. In this case, the sound that comes through the monitors will be “flat”, whereas the sound that goes to the house speakers will be equalized to suit the performance venue. Some students will adapt readily to the sound system while others will have some difficulty. Do not despair. If the student is using quality technique off and on the system, he/she will adapt and appreciate the system though it may take weeks. More time on the system allow for better results. For some reason, cost always seems to be more of a factor in the vocal courses than in the instrumental courses. How often do we hear that a vocal course is much less expensive than an instrumental course? The sound system does not come “cheap”. However, in comparison to the outfitting of a concert band or stage band, a good system is very reasonable. Think in terms of a three or four-year acquisition when building a program. Start out with a powered board, six to eight mikes, mike stands, two speakers and two monitors. No matter how good the ensemble is, putting them on a substandard system will cause them to sound mediocre. Finally, find a capable and dependable music student who will work hard, who will take charge of the sound equipment including the acquisition of containers in which to store the equipment. Old suitcases work well for this purpose. This student should also be willing to listen to vocal jazz recordings, thus enabling him/her to act as sound technician/equipment manager. The student should be musically literate, have “good ears” and be able to attend all rehearsals.

Excerpt – Locally Developed Courses Regular Meeting of the Board of Trustees Page i May 15, 2007

Action By

© Calgary Board of Education i

CALGARY BOARD OF EDUCATION

DRAFTDRAFT

SUBJECT TO APPROVAL BY THE BOARD OF TRUSTEESSUBJECT TO APPROVAL BY THE BOARD OF TRUSTEES

EXCERPT FROM MINUTES

MAY 15, 2007 REGULAR MEETING OF THE BOARD OF TRUSTEES Chair Cochrane declared the following consent agenda item to be adopted as presented: 9.2 CHIEF SUPERINTENDENT CONSENT AGENDA

9.2.1 Locally Developed Courses

1. THAT the following new Calgary Board of Education Senior High School locally developed courses be approved for use in Calgary Board of Education schools for the period September 1, 2007 to August 31, 2010:

• Biology 35 (AP) • ESL English for Academic Success 35 • ESL Introduction to Mathematics 15 (Level 1 & 2) • Health Care Fundamentals 25 • Pharmaceutical Therapeutics 35 • Prescription Processing 35 • Sport, Exercise and Health Sciences 25, 35 (IB)

2. THAT the following Calgary Board of Education Senior High School

locally developed courses be renewed for use in Calgary Board of Education schools for the period September 1, 2007 to August 31, 2010:

• Acting for the Camera 15, 25, 35 • Advanced Acting/Touring Theatre 15, 25, 35 • Band 15, 25, 35 • Biology 15 (IB) • Chamber Ensemble 15, 25, 35 • Chemistry 25, 35, (IB) • Choir 15, 25, 35 • Democratic Living and Learning 15, 25, 35

Excerpt – Locally Developed Courses Regular Meeting of the Board of Trustees Page ii May 15, 2007

Action By

© Calgary Board of Education ii

• English 35 (IB) • Film Studies 15, 25, 35 • Instrumental Jazz 15, 25, 35 • Physics 15 (IB) • Reading 15, 25 • Theory of Knowledge 35 (IB) • Vocal Jazz 15, 25, 35

3. THAT the following Calgary Board of Education Senior High School

locally developed course be renewed for use at Chinook Learning Services for the period September 1, 2007 to August 31, 2010:

• Connections 25

4. THAT the following newly acquired locally developed courses be approved for use in Calgary Board of Education schools for the periods specified with each course:

• Physics 25 (IB) (to August 2009) • Physics 35 (IB) (to August 2009)

5. THAT the following acquired locally developed courses be renewed for

use in Calgary Board of Education schools for the period specified with each course:

• Ballet 15, 25, 35 (to August 2009) • Drill and Parade 15, 25, 35 (to August 2010) • Forensic Science 25, 35 (to August 2010) • Military History 15 (to August 2009) • World Literature 35 (to August 2010)

6. THAT the following expired senior high school locally developed courses

be deleted from the list of authorized locally developed courses:

• American Sign Language and Deaf Culture 15, 25, 35 • Chinese (Cantonese) Language Arts 15, 25, 35 • Marching Band 15, 25, 35 • Media Technology 15, 25, 35, (IOP) • Networking Technologies 25, 35 • Sports Equipment Repair 15, 25, 35 (IOP) • Welding 25 (IOP)

Excerpt – Locally Developed Courses Regular Meeting of the Board of Trustees Page iii May 15, 2007

Action By

© Calgary Board of Education iii

7. THAT the following junior high school locally developed courses be

renewed for use in Calgary Board of Education school for the period September 1, 2007 to August 31, 2010: • Aboriginal Studies 7, 8, 9 • Drill and Parade 7, 8, 9 • Exploration in Film 7, 8, 9 • Military History 7, 8

8. THAT the following junior high school locally developed course be

deleted from the list of authorized locally developed courses:

• Travel Languages 8, 9 Prepared by Janice Barkway, BEd, MBA Ass’t Corporate Secretary Calgary Board of Education

Documents

LOCALLY DEVELOPED COURSE Jazz 15 25... · 2013-10-22 · Vocal jazz is an inherently unique art form and is different from choral or instrumental music studies. The human voice becomes