“How to Start a Beginner Jazz Ensemble and Improvisation”
Professional Development Presentation
Annual Elementary Band Directors Symposium
Terence Goss, Michel Nadeau, presenters
YEARLY PLAN/CURRICULUM for CONCERT BAND and JAZZ ENSEMBLE
First year beginner concert band students would learn:
1. Music staff, clef, measures, bar line, ledger lines
2. Music alphabet using a keyboard diagram (“Chromatic Notes” Sheet)
3. Note letter names and rhythm names (“Fun Warm-ups” and “Rhythms, Rests and Time Signatures”)
4. Scale degrees (“Fun Warm-ups”)
5. Intervals (“Fun Warm-ups”)
6. Accidentals: sharp, flat, and natural (“Chromatic Notes” Sheet)
7. Key signatures and time signatures (“Rhythms, Rests and Time Signatures”)
8. Play a one octave concert B flat major scale, straight and swing eighths
9. Call and Response (e.g. Trading 1 or 2 measures with “Ode to Joy” within sections)
10. Learn all 5 enharmonic equivalents and play a one octave chromatic scale (except high B and C on
clarinetist). Learn only one enharmonic equivalent every two weeks beginning in January. Review fingerings
during rehearsals. (“Chromatic Notes” Sheet)
Second year students would learn:
1. Review all of the first year material above.
Review one enharmonic equivalent every two weeks beginning in September
2. Learn specific intervals of half step and whole step
3. Learn concert pitch
C instruments are “C”oncert pitched instruments
B flat instruments (clarinets, trumpet, tenor saxophones) transpose up 2 half steps
E flat instruments (alto and baritone saxophones) transpose down 3 half steps
F instrument (horn) transpose down by 5 half steps
Use the word half and not ½
4. Learn and play Jazz Blues and Improvisation
JAZZ ENSEMBLE LESSON PLANS/CURRICULUM
Teacher:
Date:
Rehearsal #:
Setup: chairs, stands, percussion, YouTube links, CD's, handouts, instruments, scores, Smartboard,
Aebersold play along CD 1 track 7 is 12-Bar Blues in B flat
Jazz ensemble seating: row 1 flute, row 2 all saxophones, row 3 trombones and low brass/woodwinds, row 4
trumpets, row 5 clarinets, rhythm section on left
Distribute: “Jazz Scales, Chords, and Backgrounds”, “Swing Eighth Notes”, jazz concert tunes, (or combine
in one Jazz packet)
Objectives:
• Listen, feel and internalize chord progression, swing, groove, and articulation
• Learn history of jazz and the Blues
• Learn and count back beats and count offs
• Learn and play Swing eighth notes
• Learn and play 12-Bar Blues chord progression
• Learn and play jazz articulations
• Learn and play I7 IV7 V7scale and chord tones
• Learn and play Improvisation with 12-Bar Blues
6 Main Components of the jazz rehearsal
Listening
Warm-up
History
Call and Response
Improvisation
Rehearse Jazz Charts
Procedure:
Listening
Rehearsal 1
“C Jam Blues” Duke Ellington. Look at listening map of tune.
Rehearsal 2+
12-Bar Blues tunes
Create listening list, put on your E-board or web site
Warm-up
Rehearsing the “Head Chart” (see “Head Chart” page at end) while warming up group.
“Head Chart” becomes a tune in the concert.
Rehearsal 1 (from “Head Chart”)
Rhythm section rehearses the 12-Bar Blues (can be rehearsed 15 minutes before full rehearsal), drummer
plays swing beat, add bass player who plays written bass line, keyboard player/guitarist can play chords
Note: mallet player (s) acts like a wind player and plays flute parts. Closer to concert mallet player can play
auxiliary percussion during warm-ups and tunes.
Group rehearses and plays root tones of 12 Bar Blues in whole notes, teacher shows finger (s) for each scale
degree representing the chord progression. No music needed, students will internalize the progression.
I7 I7 I7 I7
IV7 IV7 I7 I7
V7 IV7 I7 I7
Run-Through
Rhythm section plays one chorus of 12-Bar Blues
Group plays whole note root (tonic) tones of 12-Bar Blues
Rehearsal 2
Run-Through “Head Chart”
Rhythm section plays one chorus of 12-Bar Blues
Group plays whole note root tones of 12-Bar Blues
Students play “Background 1” from “Jazz Scales, Chords and Backgrounds” with all root tones with music
Rehearsals 3 and 4
Students learn and play chord tones of I7, IV7 and V7 – measures 9-11 from “Jazz Scales, Chords and
Backgrounds”.
Group rehearses 12-Bar Blues with chord tones on whole notes
Group rehearses 12-Bar Blues with chord tones on “Background 1 and 2”
Run-Through “Head Chart”
Rhythm section plays one chorus of 12-Bar Blues
Group plays whole note chord tones of 12-Bar Blues
Students play “Background 1” from “Jazz Scales, Chords and Backgrounds” with all chord tones with music
Rehearsals 5 and 6+
Continue Head chart
Add one jazz scale every few weeks
Call and response with jazz articulation
History
A few minutes each week
Rehearsal 1 and 2
History of Jazz
Jazz is indigenous to the U.S.A. and is a combination of West African and Western European musical styles.
These styles came together in New Orleans following the civil war when former slaves were able to interact
more freely with classically trained musicians.
Listening: Students listen to a tune with clear back beats
Back beats – 2 and 4
Teacher: Count offs “1 a2 a1 2 rea-dy clap (swing a’s and rea-dy), snap on 2 and 4
Students COUNT “1, 2, 3, 4” and CLAP on 2 and 4 while drummer is playing (high-hat on 2 and 4)
Rehearsals 3 and 4
Students COUNT “1, 2, 3, 4” and CLAP on 2 and 4 while drummer is playing, with eyes closed to
internalize the feel
Rehearsal 3 and 4
History of Blues
Comes from the work song tradition as sing by slaves and agricultural workers in the American south. The
songs feature call and response, “blue notes”, and a conversational quality. Negro spirituals also had a big
influence of the development of the blues since church songs were one of the few types of music slaves were
allowed to freely make. African music is very conversational, meaning it mirrors patterns of speech. In jazz,
this influence shows up as increased use of syncopation in melodies and a stronger 2 & 4, or back beats.
History of Pentatonic Scale
The pentatonic scale, both minor and major, shows up in most musical cultures, including those of China,
India and West Africa. The prevalence of pentatonic in world music makes it easy to see how American jazz
adopted these types of sounds for its melodic material.
Theory
Review scale degrees, review Roman Numerals
Show written chord progression of 12-Bar Blues
I7 I7 I7 I7
IV7 IV7 I7 I7
V7 IV7 I7 I7
Rehearsal 5 and 6+
History of:
Style, composer, instruments, tune played, etc.
Call and Response p. 1
Call and response covers: Ear-Training, Swing, Jazz Articulation, and
Improvisation
Teacher reviews call and response.
Call and response -Teacher plays call and students respond. Student can also do the calls. Dovetail
patterns by making first note of new pattern the last note of previous pattern (e.g. pattern ends on 3rd
scale degree, next one begins on 3rd scale degree.) Call and response can be “trading ones”, “trading two’s”
either on one scale/chord or using 12-Bar Blues progression. Teachers can use the “Call and Response” sheet
for basic rhythms.
Rehearsal 1 and 2
Teacher demonstrates “Straight” vs. “Swing” eighth notes
Teacher plays/sings straight eighths, then swings same passage. Play “Mary Had…”, or “Twinkle” straight,
then swung.
Teacher plays call and response with students. First few patterns straight and then same patterns in swing on
unison note.
Students play “Swing eighth notes” sheet measures 1-12. Teacher chants the first 2 measures
“doobaadoobaadooooooo, doobaadoobaadoooooo” and segue into jazz countoff “1 a2 a1 2 rea-dy play”
For rhythm section (optional): can use Aebersold CD (Volume 1 track 7), Logic, Band-in-a-Box, etc.
Rhythms section can play along. Rhythm section students can practice at home with this CD.
Students play “Background 1” from “Jazz Scales, Chords and Backgrounds” without music on root tones of
chord progression
Rehearsals 3 and 4
Review Swing vs. Straight eighths
Students play “Swinging eighth notes” with 12-Bar Blues sheet measures 1-24
Show that symbols I7 (concert B flat 7), IV7 (concert E flat 7), and V7 (concert F 7) are both a chord and a scale.
“Jazz Scales, Chords and Backgrounds” measures 4, 5, and 6. Chord tones are blackened.
Students play “Background 1” and “Background 2” from “Jazz Scales, Chords and Backgrounds” with all
chord tones with music
Call and response – Teacher plays call and students respond. Teacher uses “Call and Response” sheet.
“Trading Ones” (measure) swing patterns using scale degrees in I7: 1, add 2nd scale degree, add 3rd,
play both scale and chord patterns. Use swing patterns with rests and jazz articulations.
Call and Response p. 2
Rehearsals 5 and 6
Students play entire “Swinging eighth notes” with 12-Bar Blues sheet
Review that symbols I7 (concert B flat 7), IV7 (concert E flat 7), and V7 (concert F 7), are both a scale and a
chord. “Jazz Scales, Chords and Backgrounds” measures 4, 5, and 6”. Chord tones are blackened.
Call and response - Add more rests and add dynamics.
“Trading Ones” swing patterns using scale degrees in I7: 1, 2, 3, add 4 and 5 and play both scale and
chord patterns. Use swing patterns with rests and jazz articulations
Rehearsals 7 and 8
Call and response - Add more rests and add dynamics.
“Trading Ones” and “Trading Two’s” (measures) swing patterns using scale degrees in I7: 1-5, add 6,
flat 7, and 8 and play both scale and chord patterns. Add pick-ups as well as rests on the downbeat
“Trading Ones” swing patterns using scale degrees in IV7: 1, add 2nd scale degree, add 3rd, play both
scale and chord patterns
Rehearsals 9 and 10
Call and response
“Trading Ones” and “Trading Two’s” swing patterns using scale degrees in I7: 1-8 and play both scale
and chord patterns. Add pick-ups as well as rests on the downbeat
“Trading Ones” swing patterns using scale degrees in IV7: 1, 2, 3, add 4 and 5 and play both scale and
chord patterns
“Trading Ones” swing patterns using scale degrees in V7: 1, add 2nd scale degree, add 3rd, play both
scale and chord patterns
Rehearsals 11 and 12
Call and response
“Trading Ones” and “Trading Two’s” swing patterns using scale degrees in IV7: 1-5, add 6, flat 7,
and 8 and play both scale and chord patterns (depending on range of players.)
“Trading Ones” swing patterns using scale degrees in V7: 1, 2, 3, add 4 and 5 play both scale and
chord patterns
Rehearsals 11 and 12
Call and response
“Trading Ones” and “Trading Two’s” swing patterns using scale degrees in IV7: 1 - 8 and play both
scale and chord patterns
“Trading Ones” swing patterns using scale degrees in V7: 1, 2, 3, add 4 and 5 play both scale and
chord patterns
Rehearsals 13 and 14
“Trading Ones” swing patterns using scale degrees in V7: 1 – 8 and play both scale and chord patterns.
Play chromatic passing tones
Improvisation p. 1
Rehearsals 1 and 2
Definition -Improvisation is the art of composing and performing music spontaneously or as it comes to you.
Listen: Teacher demonstrates/plays recording of one chorus of 12-Bar Blues improvisation while painting
out the progression using familiar easy patterns. Students will hear the movement to IV7 and V7.
SLOW MOTION IMPROVISATION
Simplifying improvisation by playing one note at a time in quarter notes
Playing “Slow Motion Improvisation” on I7
1. All students play any chord tone (darkened) from the I7 scale. (From measure 4 of the “Jazz Scales, Chords
and Backgrounds”). All percussionists on mallets. (Examples are in concert pitch.) Will sound like the I7 as
all students will be playing at the same time.
2 Students then play their first note and add a second different chord tone from the I7 scale in quarter notes.
Students play two different notes and play quarter notes. Will sound like the I7 as all students will be playing
at the same time.
3. Students add a third different chord tone from the I7 scale (e.g. one student plays D F A flat)
4. Students add fourth different chord tone from the I7 scale. (e.g. D, F, A flat, D)
5. Students are then asked to play all 4 in a row in quarter notes, then in swing eight notes, then add rest(s)
SERPENTINE IMPROVISATION
All students play their one measure of improvisation in a serpentine pattern while rhythm section plays in I7.
Front row of band plays, then second row plays (student directly behind last player in front row goes first) and
continue in this serpentine pattern until all members have played their one measure of I7. Ech player in the
rhythm section plays one measure until finished (piano, guitar, bass, drummer).
Put another way: one by one, individual students will play their one measure while the rhythm section plays
in I7. Teacher will show the group the order in which the students will play using a “serpentine” like pattern
throughout the group. (You can also start with the back of the band and “serpentine” to the front.) Make sure
that the piano, bass and drums are the last three to play so they can have a solo too. Piano cuts out, then
bassist cuts out until the drummer plays the last measure ending the “Serpentine Improvisation”.
NOTE: Students must be made aware that it is the 3rd and flat 7th scale degree (dominant 7) that defines the
chord and maps out the harmony changes.
IMPORTANT: You must get all students to improvise otherwise the same students become “the
improvisers”.
Rehearsals 3 and 4
Listen to improvisation
Play through the “Slow Motion Serpentine Improvisation” on IV7
Serpentine IV7 (each student plays one measure) with the entire band while rhythm section plays in IV7
Group plays improvisation
IV7 IV7 I7 I7 Add I7 scale tones
I7 I7 I7 I7
IV7 IV7 I7 I7
7
Then rhythm section plays I I7 I7 I7 IV7 IV7 I7 I7 while all individuals play one measure within this
progression in the “serpentine” pattern.
Group plays improvisation
Improvisation p. 2
Rehearsals 5 and 6
Review one measure of IV7 of improvised chord tones. Add IV7 scale tones
Group plays IV7 IV7
Group plays improvisation IV7 IV7 I7 I7
Group plays improvisation I7 I7 I7 I7
IV7 IV7 I7 I7
7
Then rhythm section plays I I7 I7 I7 IV7 IV7 I7 I7 while all individuals play one measure within this
progression in the “serpentine” pattern.
OPTIONAL: Have any section play first 8 measures of “Background 1” while rest of group does Serpentine.
Rehearsal 7 and 8:
Play through the “Slow Motion Serpentine Improvisation” on V7
Group plays improvisation V7 IV7 I7 I7
Group plays entire 12-Bar Blues
I7 I7 I7 I7
IV7 IV7 I7 I7
V7 IV7 I7 I7
Individuals play one measure “Serpentine Improvisation” on entire 12-Bar Blues I7 I7 I7 I7
IV7 IV7 I7 I7
V7 IV7 I7 I7
OPTIONAL: Have one section (e.g. trumpets) play “Background 2” while rest of group does Serpentine.
Options for solos:
3 Soloists can take 4 measures each
I7 I7 I7 I7
IV7 IV7 I7 I7
V7 IV7 I7 I7
Option for Backgrounds:
Band director plays first measure of improvised background, students respond and join in on measures 2-12.
This can also be done by lead trumpeter or any student.
Review balance between soloist and group. (A crossover from concert band balance with melodic versus nonmelodic content.)
Rehearsal 9+:
Review one measure of V7 of improvised chord tones. Add V7 scale tones
Group plays “Serpentine Improvisation” on entire 12-Bar Blues
Group plays entire 12-Bar Blues
I7 I7 I7 I7
IV7 IV7 I7 I7
V7 IV7 I7 I7
I7 I7 I7 I7
IV7 IV7 I7 I7
V7 IV7 I7 I7 with “Backgrounds”
Soloists play entire 12-Bar Blues. Review balance between soloist and group.
Improvisation p. 2
Options for solos:
3 Soloists can take 4 measures each
I7 I7 I7 I7
IV7 IV7 I7 I7
V7 IV7 I7 I7
Option for Backgrounds:
Band director plays first measure of improvised background, students respond and join in on measures 2-12.
This can also be done by lead trumpeter or any student.
Rehearse Jazz Charts
Listening:
Pre-Piece Drills – Introduce/review rhythm patterns, terms/markings, road maps
Review:
Rehearsal 1 and 2
Swing, back beats, 12-Bar Blues chord progression, articulation, improvisation
Rehearsal 3 and 4
Chord tones for I7, IV7 and V7
Rehearsals 5 and 6
New jazz scales
Assignment
Listening: from web site/Eboard
Rehearsals 1 and 2 – Student plays with .mp3 online
Rehearsals 3 and 4
Rehearsals 5 and 6
Head Chart (Warm-up) “_____________(School) Blues”
Rhythm section plays one chorus of 12 Bars Blues
Group plays whole note chord tones (root tones for first few rehearsals)
Background 1 (eighth notes, “doodit”) with chord tones (root tones for first few rehearsals)
Soloist 1 (name)___________________ for 2 choruses of 12 bars
Background 1 during 2nd chorus
Soloist 2 (name)___________________ for 2 choruses of 12 bars
Background 2 during 2nd chorus
Optional Soloist 3 (name)___________________ for 2 choruses of 12 bars
Background 2 during 2nd chorus or see below for “Options for Backgrounds”
End of tune is Background 3 with a fermata on the last note
Options for solos:
3 Soloists can take 4 measures each
I7 I7 I7 I7
IV7 IV7 I7 I7
V7 IV7 I7 I7
Written solos (Students can use written solos at Nyssma Major Organization Festival for levels I and II as of
the 2009 rules which expire June 2012, but usually stay the same.)
Option for Backgrounds:
Band director plays first measure of improvised background, students respond and join in on measures 2-12.
This can also be done by lead trumpeter or any student.
Define:
Embouchure, Articulation, Tenuto, Staccato, Key signature, Time signature, Enharmonic equivalent,
Indigenous, Chorus, Improvisation, Tempo, Dynamics, Accidentals, Phrasing, Chroma