DOCSLIB.ORG

NYJO Ambassadors Resource Pack

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NYJO Ambassadors Resource Pack St Pauls Way Trust School/Drapers Academy KS3 Resource Pack National Youth Jazz Orchestra (NYJO) The National Youth Jazz Orchestra (NYJO) is the longest running organisation for young people playing big band jazz, running for just over 50 years. Before NYJO existed, there wasn’t much around for young people wanting to play jazz. You couldn’t study jazz in school or university and there certainly weren’t any workshops happening like the one you’re in now! Now, with NYJO, young musicians can gain experience performing live at some of the most famous jazz venues across the UK and around the world. We select some of the best young musicians in the country to be part of the band and these members go on to have a pretty good track record. Some of the most famous musicians of our time have come through NYJO: Amy Winehouse started off as a vocalist in NYJO and almost all of the band on the BBC show ‘Strictly come Dancing’ have been NYJO members! Today you’ll be hearing the NYJO Ambassadors play. They’re a small group of members in the main band who enjoy working with young people and helping them develop their musical skills. As young musicians themselves, they have a very clear idea of everything it takes to continue developing on their instrument and become established professional musicians. However, we’ve made sure you’re not missing out hearing the full main band and we’ve put a few videos of them in action on the playlist. You can find them on page 16. Our mission at NYJO is to make sure everyone gets the chance to learn about jazz and develop their performance skills. It doesn’t matter if you’re still learning on your instrument – the great thing about jazz is that you are in charge of the music! Contents 1 About the Repertoire 2 Meet the Band 3 Activities 4 Jazz Glossary 5 Jazz Playlist 6 Get Involved 1) About the Repertoire 1 Take the A Train Take the A Train is a composition by Billy Strayhorn, written in 1939 for the Duke Ellington Orchestra. The title refers to the new (in 1939) “A Train” subway line. Ellington had recently asked Strayhorn to work for him and the first line of the directions he gave to Strayhorn was “Take the A Train”. The melody is in AABA form which is a classic jazz format, like a mini sonata form. The B section is known as the middle eight or bridge and this terminology can be found in all the pop music that grew from jazz (which was the pop music of its time), e.g. James Brown’s famous remark “Can I take it to the bridge? Hit me now!” All Blues All Blues was written by trumpeter Miles Davis for his album Kind of Blue (1959). It uses a 12 bar blues chord sequence but with variations in the chord sequence and with a groove based on 6 beats in the bar. The alterations to the chord sequence are in the spirit of the modal jazz found on the rest of the album which was revolutionary at the time but is now a standard part of a modern jazz musician’s approach to composition and improvisation. Modal jazz (so called because it uses modes which are mainly the sounds generated by starting major scales on other notes other than the normal root note or tonic) uses these sounds often to provide a more subtle and impressionistic energy in the music compared to the vibrant harmony found in earlier jazz styles like bebop. Cantaloupe Island Cantaloupe Island was written by pianist Herbie Hancock for his 1964 album Empyrean Isles. The groove here is a ‘straight eights’ groove: as Rock and Roll grew out of jazz and took a different direction, moving from the shuffle feel of tunes like Rock Around the Clock to a more contemporary rock style, this was often used by jazz musicians as a different flavor for the rhythm section compared to swing. This tune is also modal but with a funky and bluesy sound that gives it a different feeling to All Blues. 2 Ballad Medley Ballads are another favourite style for jazz musicians, particularly brass and saxophone players where we get to show our more sensitive side and play a beautiful melody. These are often a jazz standard from the period c1920-c1950 where a pop song has the words removed and is performed instrumentally. The advantage for the player is that, on the one hand, they get to play a tune with a great contour and some interesting harmony, but on the other hand the tune is familiar to the audience which helps them understand how the musician is using the material as the basis for improvisation. Rhythm Changes Rhythm Changes refers to the chord sequence (changes) for the famous jazz standard I Got Rhythm by George Gershwin. Stripping away the tune leaves a well-balanced and challenging chord sequence that jazz musicians love to improvise over. It follows the AABA form of Take the A Train. Many jazz musicians and others use this chord sequence as the basis for new melodies and we hope you recognize a few of these as we play, including Anthropology, Oleo, Lester Leaps In and The Flinstones….! NYJO at Saffron Hall 2016 3 2) Meet the Band Chris Valentine Trombone How did you come to join NYJO? I joined back in July 2006. I started off going to NYJO’s Saturday Academy and it went from there. What’s your background as a player – how did you get into music? I was brought up in an entirely non-musical family. I did National Children’s orchestra playing the trombone but I didn’t have any kind of jazz education until I ended up at Trinity Laban. Before that I had maybe 3 or 4 improvising lessons in total. Most of the time, it was me just sat in my room just trying to figure out how to play things. Did you always want to be a trombonist? Yes! Why – What is it about the trombone that led you to pick it above all other instruments? I was really inspired by my teachers. I had a really fantastic teacher who was an orchestral trombonist playing in the BBC Concert Orchestra and he would tell me all these stories Really silly stories as well – ones that make you go ‘Wow! I can’t believe someone got fired for really doing that!’ 4 Who are some of your musical influences? That’s a really tricky one I used to listen to loads of NYJO records when I was 12 or 13 – seriously, I love it! And then I would find out who was on those records so people like Mark Nightingale, Elliot Mason, and Guy Barker and then it was a case of finding out who they were checking out, such as trombonists JJ Johnson and Carl Fontana. Do you have any musical heroes? My all-time idol is probably Frank Sinatra. But then I could also include Nelson Riddle and Count Basie, Thad Jones and Mel Lewis all in that same category. I’ve got a real love for big bands Why did you get into jazz above other style of music? It just appealed to me a lot more. There’s a lot more to do on the trombone than if your sat in an orchestra. I got into jazz through playing in my school big band at first. What styles of music do you listen to outside of your playing? I listen to a lot of big band stuff. There’s some pop artists I really like too - Bruno Mars, Justin Timberlake. I’ve worked with a few pop acts as well. I played for Tinchy Stryder and Tinie Tempah. What advice would you give to a young musician just starting out on the trombone like you? Practice the basics – the fundamentals of playing the instrument. The main thing is don’t try and run before you walk. What’s your best memory of being in NYJO so far? I always really like the gig we did for the Queen’s Jubilee. The London Jazz Festival gigs are always fun. But the BBC Proms are probably my favourite. 5 Alex Liebeck Bassist How did you first begin playing music? I’ve been playing since a young age, starting off on the piano around age 5. I got into jazz as my grandad had a few albums that I liked and because of that started playing the double bass. Why did you get into jazz above other style of music? I found that the levels of rhythm and harmony are really amazing in jazz. The sound really appealed to me more than other styles and I just found the energy of it great. Did you always want to be a bassist? Well, I was always into piano which I still play. I’m just into music in general but I feel like the bass suits me as an instrument. Is the bass the best instrument? 6 Course it is! It’s where the passion and soul is! What styles of music do you listen to outside of your playing? I’m really into Cuban music and a lot of funk and soul. I also enjoy classical and world music - It’s good to keep it varied! What techniques do you have to combat nerves when you’re performing? I like feeling nervous. For me, if you’re not feeling nervous, that the point where something doesn’t feel quite right.
Load more

Recommended publications
  • UT Jazz Jury Repertoire – 5/2/06 Afternoon in Paris 43 a Foggy Day
    UT Jazz Jury Repertoire – 5/2/06 Level 1 Tunes JA Level 2 Tunes JA Level 3 Tunes JA Level 4 Tunes JA Afternoon in Paris 43 A Foggy Day 25 Alone Together 41 Airegin 8 All Blues 50 A Night in Tunisia 43 Anthropology (Thrivin’ from a Riff) 6 Along Came Betty 14 A Time for Love 40 Afro Blue 64 Blue in Green 50 Beyond All Limits 9 Autumn Leaves 54 All the Things You Are 43 Body and Soul 41 Blood Count 66 Blue Bossa 54 Angel Eyes 23 Ceora 106 Bolivia 35 But Beautiful 23 Bird Blues (Blues 4 Alice) 2 Chelsea Bridge 66 Brite Piece 19 C Jam Blues 48 Bluesette 43 Children of the Night 33 Cherokee 15 Cantaloupe Island (96) 54 But Not for Me 65 Come Rain or Come Shine 25 Clockwise 35 Cantaloupe Island (132) 11 Cottontail 48 Confirmation 6 Countdown 28 Days of Wine and Roses 40 Don’t Get Around Much Anymore48 Corcovado-Quiet Nights 98 Dolphin Dance 11 Doxy (134) 54 Easy Living 52 Desafinado (184) 74 E.S.P. 33 Doxy (92) 8 Everything Happens to Me 23 Desafinado (136) 98 Giant Steps 28 Freddie the Freeloader 50 Footprints 33 Donna Lee 6 I'll Remember April 43 For Heaven’s Sake 89 Four 7 Embraceable You 51 Infant Eyes 33 Georgia 49 Groovin’ High 43 Estate 94 Inner Urge 108 Honeysuckle Rose 71 Have You Met Miss Jones 25 Fee Fi Fo Fum 33 It’s You or No One 61 I Got It Bad 48 Here’s That Rainy Day 23 Goodbye 94 Joshua 50 Impressions (112) 54 How Insensitive 98 I Can’t Get Started 25 Katrina Ballerina 9 Impressions (224) 28 I Didn’t Know About You 48 I Mean You 56 Lament for Booker 60 Killer Joe 70 I Hear a Rhapsody 80 In Case You Haven’t Heard 9 Love for
    [Show full text]
  • How Democratic Is Jazz?
    Accepted Manuscript Version Version of Record Published in Finding Democracy in Music, ed. Robert Adlington and Esteban Buch (New York: Routledge, 2021), 58–79 How Democratic Is Jazz? BENJAMIN GIVAN uring his 2016 election campaign and early months in office, U.S. President Donald J. Trump was occasionally compared to a jazz musician. 1 His Dnotorious tendency to act without forethought reminded some press commentators of the celebrated African American art form’s characteristic spontaneity.2 This was more than a little odd. Trump? Could this corrupt, capricious, megalomaniacal racist really be the Coltrane of contemporary American politics?3 True, the leader of the free world, if no jazz lover himself, fully appreciated music’s enormous global appeal,4 and had even been known in his youth to express his musical opinions in a manner redolent of great jazz musicians such as Charles Mingus and Miles Davis—with his fists. 5 But didn’t his reckless administration I owe many thanks to Robert Adlington, Ben Bierman, and Dana Gooley for their advice, and to the staffs of the National Museum of American History’s Smithsonian Archives Center and the New York Public Library’s Schomburg Center for Research in Black Culture. Copyright © 2020 by Benjamin Givan. 1 David Hajdu, “Trump the Improviser? This Candidate Operates in a Jazz-Like Fashion, But All He Makes is Unexpected Noise,” The Nation, January 21, 2016 (https://www.thenation.com/article/tr ump-the-improviser/ [accessed May 14, 2019]). 2 Lawrence Rosenthal, “Trump: The Roots of Improvisation,” Huffington Post, September 9, 2016 (https://www.huffpost.com/entry/trump-the-roots-of-improv_b_11739016 [accessed May 14, 2019]); Michael D.
    [Show full text]
  • Days and Nights Waiting Keith Jarrett on the Trail Ferde Grofe/Oscar
    Days and Nights Waiting Keith Jarrett On The Trail Ferde Grofe/Oscar Peterson Good Morning Heartache Fisher/Higgenbotham/Drake Bebop Dizzy Gillespie They Say It's Wonderful Irving Berlin Desafinado Antonio Carlos Jobim Ornithology Charlie Parker Matrix Chick Corea Long Ago and Far Away Jerome Kern Yours is My Heart Alone Franz Lehar Remember Irving Berlin You Must Believe in Spring Michel Legrand (Bill Evans) On a Clear Day (You Can See Forever) Lane & Lerner Melancholy Baby Ernie Burnett Out of Nowhere Johnny Green & Edward Heyman Sweet Georgia Brown Bernie, Finkard & Casey Daahoud Clifford Brown Mayreh Horace Silver The Song is You Jerome Kern & Oscar Hammerstein Autumn in New York Vernon Duke Nemesis Aaron Parks Satin Doll Duke Ellington & Billy Strayhorn End of a Love Affair Edward Redding Senor Blues Horace Silver Memories of Tomorrow Keith Jarrett My Ship Kurt Weill Mack the Knife Kurt Weill Almost Like Being in Love Lerner & Loewe What's New Robert Sherwood Haggart Night Train Duke Ellington Come Rain or Come Shine Harold Arlen/Johnny Mercer I Can't Give you Anything but Love Jimmy McHugh/Dorothy Fields Pfrancing (No Blues) Miles Davis Dance of the Infidels Bud Powell Laura David Raksin Manteca Dizzy Gillespie If I Didn't Care Jack Lawrence Blue in Green Bill Evans/Miles Davis Some Day my Prince will Come Frank Churchill One for my Baby (And One More for the Road) Harold Arlen Coral Keith Jarrett Solar Miles Davis Tangerine Victor Schertzinger/Johnny Mercer Sidewinder Lee Morgan Dexterity Charlie Parker Cantaloupe Island Herbie
    [Show full text]
  • Viktoria Tolstoy
    Viktoria Tolstoy Letters to Herbie ACT 9519-2 Special Guests: Nils Landgren and Magnus Lindgren German Release Date : August 26, 2011 Herbie Hancock is without doubt one of the few remaining greats of jazz as a pianist and composer. Of late he has been playing jazz, rock and pop standards with a number of prominent guests - on “Possibilities” (2005) and most recently on “The Imagine Project” he joined up with global stars like Santana, Sting, Christina Aguilera and Pink to perform a range of popular classics. Now the tables have turned, and rather than Herbie covering the music of other artists, a fan of the 71-year-old has written a series of musical “Letters to Herbie” – ACT’s star Viktoria Tolstoy has recorded 12 songs for (and in most cases by) Herbie Hancock. Viktoria Tolstoy has been a great admirer of Hancock since her early youth and the idea to do a tribute project has been with her for a while. “I think it was in 2004,” says Tolstoy, “at the Jazz Baltica Festival in Salzau, when I had the privilege to share the stage with Herbie and his band, including the amazing Wayne Shorter. As usual, after that there was a big late night jam session going on. I was sitting behind the drums and had just started to play, when someone called ‘Viktoria, Herbie is expecting you – he wants to have dinner with you!’ I immediately dropped the drumsticks and went downstairs, where Herbie and his entire band were already waiting for me. I was seated directly opposite my idol and next to Wayne Shorter.
    [Show full text]
  • Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
    1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
    [Show full text]
  • Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
    [Show full text]
  • Legal Use Requires Purchase NOTES to the CONDUCTOR
    Cantaloupe Island HERBIE HANCOCK Arranged by MIKE KAMUF INSTRUMENTATION Conductor 1st Trombone 1st E Alto Saxophone 2nd Trombone b 2nd E Alto Saxophone 3rd Trombone (Optional) b 1st B Tenor Saxophone 4th Trombone (Optional) b 2nd B Tenor Saxophone Guitar Chords b E Baritone Saxophone (Optional) Guitar (Optional) b 1st B Trumpet Piano b 2nd B Trumpet Bass b 3rd B Trumpet Drums b 4th B Trumpet (Optional) b Optional/Alternate Parts C Flute Tuba Horn in F (Doubles 1st Trombone) 1st Baritone T.C./B Tenor Saxophone (Doubles 1st Trombone) b 2nd Baritone T.C./B Tenor Saxophone (Doubles 2nd Trombone) b JPreviewAZZ Only a division of Alfred Legal Use Requires Purchase NOTES TO THE CONDUCTOR Herbie Hancock’s composition “Cantaloupe Island” was originally recorded on his 1964 recording Empyrean Isles (Blue Note). Since this initial recording, the tune has become a standard for jazz musicians because of its soulful melody, infectious groove and simple harmonic structure. I set out to capture these elements in this arrangement. In this chart, the opening two-measure intro passes around a three-note motif that should be played with balance and some attitude, or confidence. The marcato or capped accents ( ) at the end of measure 2 and similar accents throughout the chart should be played Mike with a “daht” articulation. ^ Kamuf The groove for this tune begins in measure 3. Listening to and capturing this feel is of the utmost importance. I highly recommend Mike Kamuf holds Bachelor of Music taking five minutes out of your rehearsal and playing the original recording of this tune for your students.
    [Show full text]
  • 2014 Concert Programs
    2014 Cazadero Music Camp 2014 Cazadero Music Camp Young Musicians Session Concert Young Musicians Session Concert Saturday June 21, 2014 Saturday June 21, 2014 CAZADERO ALL-CAMP CHOIR CAZADERO JAZZ WORKSHOP Stafford Hebert, Conductor Zack Pitt-Smith, Conductor Sheldon High School, Sacramento Edna Brewer Middle School, Oakland Canoe Song Native North American Melody Sonnymoon for Two Sonny Rollins arr. Ruth Morris Gray Song for My Father Horace Silver Laudamus Te, from Gloria Antonio Vivaldi, arr. Becki Slagle Mayo Cantaloupe Island Herbie Hancock The Bird’s Courting Song Appalachian Folk Song, arr. Cristi Cary Miller CAZADERO STRING ORCHESTRA CAZADERO PIANO PROGRAM Tom Douglass, Conductor Danielle DiDonato, Director Spring View Middle School, Rocklin Fullerton College Enter the Heroes Elliott Del Borgo Jig Henry Purcell Canyon Sunset John Caponegro John Conant, trumpet Ryan Yang, piano Nocturne Frédéric Chopin Hey Fiddle Fiddle Brian Balmages Kai Charp Deep Sea Fandango Deborah Baker Monday Wiegenlied Johannes Brahms Dragon Dances Soon Hee Newbold Charlie Herberich, clarinet Alex Heiser, piano Youth Album Maarten Smit I. Prelude Lucy Morris CAZADERO CONCERT BAND II. Serenade Katie Quigley Julie Stephens, Conductor III. Ballade Ruby Jordan Phoenix Ranch School, Simi Valley IV. Dance of the Elves Natalie Sandoval VI. Old Times Matteo Brownlow Swahili Folk Song (Bwana Awabariki) arr. Kevin Mixon IX. Swing March Monique Jonath The Lasses of Lore arr. David A. Myers X. Dance Thomas Hewitt XIX. Swing Sasha Ryu Song Without Words Gustav Holst from Second Suite in F for Military Band arr. Michael Story Das Fohlen Gerd Büntzly Natalie Sandoval, Primo Danielle DiDonato, Secondo Korobushka, Traditional Russian Folk Song arr.
    [Show full text]
  • Jazz Library (Song Listings)
    Music 932 songs, 3.7 days, 10.39 GB Name Time Album Artist Afrodisia 5:06 Afro-Cuban Kenny Dorham Lotus Flower 4:17 Afro-Cuban Kenny Dorham Minor's Holiday 4:28 Afro-Cuban Kenny Dorham Basheer's Dream 5:03 Afro-Cuban Kenny Dorham K.D.'s Motion 5:29 Afro-Cuban Kenny Dorham The Villa 5:24 Afro-Cuban Kenny Dorham Venita's Dance 5:22 Afro-Cuban Kenny Dorham Echo Of Spring (a.k.a. K.D.'s Cab Ride) 6:12 Afro-Cuban Kenny Dorham Minor's Holiday [Alternate Take] 4:24 Afro-Cuban Kenny Dorham Bouncing With Bud 3:05 The Amazing Bud Powell, Vol. 1 Bud Powell Wail 3:06 The Amazing Bud Powell, Vol. 1 Bud Powell Dance Of The Infidels 2:54 The Amazing Bud Powell, Vol. 1 Bud Powell 52nd Street Theme 2:50 The Amazing Bud Powell, Vol. 1 Bud Powell You Go To My Head 3:15 The Amazing Bud Powell, Vol. 1 Bud Powell Ornithology 2:23 The Amazing Bud Powell, Vol. 1 Bud Powell Bouncing With Bud [Alternate Take 1] 3:06 The Amazing Bud Powell, Vol. 1 Bud Powell Bouncing With Bud [Alternate Take 2] 3:16 The Amazing Bud Powell, Vol. 1 Bud Powell Wail [Alternate Take] 2:42 The Amazing Bud Powell, Vol. 1 Bud Powell Dance Of The Infidels [Alternate Take] 2:51 The Amazing Bud Powell, Vol. 1 Bud Powell Ornithology [Alternate Take] 3:12 The Amazing Bud Powell, Vol. 1 Bud Powell Un Poco Loco 4:46 The Amazing Bud Powell, Vol.
    [Show full text]
  • Comparing Traditional and Modern Trends in Jazz Improvisation
    Stephen F. Austin State University SFA ScholarWorks Electronic Theses and Dissertations Spring 2020 COMPARING TRADITIONAL AND MODERN TRENDS IN JAZZ IMPROVISATION Ryan M. Johnson Stephen F Austin State University, [email protected] Follow this and additional works at: https://scholarworks.sfasu.edu/etds Part of the Music Theory Commons Tell us how this article helped you. Repository Citation Johnson, Ryan M., "COMPARING TRADITIONAL AND MODERN TRENDS IN JAZZ IMPROVISATION" (2020). Electronic Theses and Dissertations. 312. https://scholarworks.sfasu.edu/etds/312 This Thesis is brought to you for free and open access by SFA ScholarWorks. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of SFA ScholarWorks. For more information, please contact [email protected]. COMPARING TRADITIONAL AND MODERN TRENDS IN JAZZ IMPROVISATION Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This thesis is available at SFA ScholarWorks: https://scholarworks.sfasu.edu/etds/312 COMPARING TRADITIONAL AND MODERN TRENDS IN JAZZ IMPROVISATION By RYAN JOHNSON Bachelor of Music Master’s Thesis Presented to the Faculty of the Graduate School of Stephen F. Austin State University In Partial Fulfillment Of the Requirements For the Degree of Master of Music in Music Theory STEPHEN F. AUSTIN STATE UNIVERSITY March, 2020 COMPARING TRADITIONAL AND MODERN TRENDS IN JAZZ IMPROVISATION By RYAN JOHNSON (Bachelor of Music) APPROVED: ________________________________________ Dr. Samantha Inman, Thesis Director ________________________________________ Dr. Stephen Lias, Committee Member ________________________________________ Dr. Deb Scott, Committee Member ________________________________________ Dr. Mario Morera, Committee Member _________________________________________ Pauline M. Sampson, Ph.
    [Show full text]
  • Methods for Fighting the Epidemic of Tune Illiteracy Woodshed
    110-118_SHED.qxd 3/17/10 4:18 PM Page 114 MASTER CLASS Woodshed by J.B. Dyas, Ph.D Methods For Fighting The Epidemic Of Tune Illiteracy For the past 20-plus years, I’ve 8-bar bridge and 8-bar last A) had the honor of teaching in a • “Moment’s Notice”: ABAB'V (8-bar first A, 8-bar first B, wide variety of didactic situa- 8-bar second A, 6-bar second B, 8-bar vamp with tions, from jazz camps and per- B-flat pedal) forming arts high schools to • “Peace”: 10-bar tune universities and prestigious jazz • “Stablemates”: ABA (14-bar first A, 8-bar bridge, institutes. If you were to 14-bar last A) approach each of the incredible • “Yes Or No”: AABA (14-bar A sections with a jazz masters and pedagogues 16-bar bridge) I’ve taught alongside and ask 3) Memorize the root movement; play roots with definitive or play-along them, “What’s the best way to recording. learn how to play jazz?” you’re 4) Memorize the chord qualities; play chords (arpeggios in quarter notes) sure to get many, many differ- with play-along recording as follows: ent answers: go to school, don’t • 1–3–5–7–9 for chords lasting two bars (have the 9th sustain go to school, go to New York, for the second bar) go to New Orleans, transcrip- • 1–3–5–7 for chords lasting one bar tion books are a great tool, • 1–3 for chords lasting two beats using transcription books is • For II–V–I progressions in major, play: cheating, look at your band- mates, close your eyes, and the contradictions go on and on.
    [Show full text]
  • Blue Note Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963
    Discography Of The Blue Note Label Blue Note was started in New York City in 1938 by Alfred W. Lion. Blue Note recorded jazz only. The following history of the Blue Note record label is from the Blue Note Website (bluenote.com). “In 1925, 16-year old Alfred Lion noticed a concert poster for Sam Wooding's orchestra near his favorite ice-skating arena in his native Berlin, Germany. He'd heard many of his mother's jazz records and began to take an interest in the music, but that night his life was changed. The impact of what he heard live touched a deep passion within him. His thirst for the music temporarily brought him to New York in 1928 where he worked on the docks and slept in Central Park to get closer to the music. On December 23, 1938, Lion attended the celebrated Spirituals to Swing concert at Carnegie Hall. The power, soul and beauty with which boogie woogie piano masters Albert Ammons and Meade Lux Lewis rocked the stage gripped him. Exactly two weeks later, on January 6 at 2 in the afternoon, he brought them into a New York studio to make some recordings. They took turns at the one piano, recording four solos each before relinquishing the bench to the other man. The long session ended with two stunning duets. Blue Note Records was finally a reality. The label's first brochure in May of 1939 carried a statement of purpose that Lion rarely strayed from throughout the many styles and years during which he built one of the greatest jazz record companies in the world.
    [Show full text]