TEACHING AND LEARNING JAZZ TROMBONE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Julia M. Gendrich, B.S., M.S. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Dr. William T. McDaniel, Co-Adviser _______________________________ Co-Adviser Dr. Timothy A. Gerber, Co-Adviser School of Music Dr. Jon R. Woods _______________________________ Co-Adviser School of Music ABSTRACT The purpose of the study was to identify and assess methods of teaching and learning jazz trombone improvisation that have been implemented by jazz trombone professors. Its intent was to describe learning procedures and areas of trombone study. A survey instrument was designed after interviewing 20 professional jazz trombonists. The survey was pilot-tested (n = 9) and adjustments were made. Jazz trombone professors (n = 377) were sent questionnaires, with a response rate of 28 percent after an additional reminder to all and follow-up phone calls to one-third of the sample. Of the 106 total respondents, 58 were deemed to be eligible participants as both trombonists and as teachers of jazz improvisation. Three areas were explored: 1) early stages of development, 2) teaching, and 3) trombone technique. Data showed that most of the professors (77%) had learned to improvise between 7th-12th grades. They identified the most important method of learning for themselves as listening and playing-along with recordings. Learning occurred on their own for many, though college also had an impact. Schools (K-12) were not strongly rated as being helpful in the trombonists learning to improvise (2.49 on a scale of one to five), though schools did provide many jazz performance experiences. Teachers ranked listening and playing-along with recordings as the most important method of teaching beginning jazz trombonists to play jazz. For intermediate and advanced college students, learning scales, licks and patterns were viewed as most important. Listening and playing-along was ranked second, with using books and other published materials ranked third. Teachers supplied suggested goals of learning for each ii of four years of college. In addition, they provided recommendations on books and recordings for students at three levels: beginning, intermediate and advanced. Teachers reported that the teaching of technical skills was important to the development of their students, especially in the first two years of jazz trombone study. With the exceptions of circular breathing and multiphonics, technical skills of all kinds were rated as being important to teach students. Based upon the findings, conclusions and recommendations were given. iii Dedicated to my parents, siblings, and all my fantastic teachers. iv ACKNOWLEDGMENTS I wish to thank my advisor, Dr. Ted McDaniel, for going above and beyond the necessary in helping to prepare this document, and for being a terrific role model, musician, human being, and connoisseur of excellence. Thanks to my other co-adviser, Dr. Tim Gerber, for being such a fantastic teacher and providing intelligent commentary that hit the heart of what had to be accomplished. I thank Dr. Jon Woods for his advice as a trombonist, teacher of music, for his editorial recommendations, and constant support and enthusiasm. This dissertation would not be possible without the input of the gifted jazz trombonists who were gracious to give very generously, patiently and freely of their time. I especially owe a huge debt of gratitude to the following gentlemen: Jim Akins, Wayne Andre, Buddy Baker, Bob Brookmeyer, Sam Burtis, Joe Duchi, Mike Fahn, John Fedchock, David Fedderly, Conrad Herwig, Fritz Kaenzig, Andy Martin, James Masters, Rob McConnell, Earl McIntyre, Paul McKee, Mark Moore, John Mosca, Ed Neumeister, Larry O’Brien, Mark Patterson, Jim Pugh, Mel Wanzo, Bill Watrous, Harry Watters, Jiggs Whigham, Dennis Wilson, and Phil Wilson. Your wisdom will endure. I wish to thank Mr. Josh Brown for his advice on the web-page software that was used in this project. Thanks to Donna Knisley and Tom Cook for their communication and keeping me aware of all deadlines. Lastly, I wish to acknowledge Reuben Jackson from the Smithsonian Archives, the librarians at the West Virginia State College campus, the Library of Congress, Ohio State University, and Marshall University. Their aid in obtaining materials was invaluable. v VITA March 16, 1965………………………… Born – Waukegan, Illinois 1988……………………………………… B.S. Music Education, University of Illinois, Champaign-Urbana 1993 ……………………………………… M.S. Music Education, University of Illinois, Champaign-Urbana 1988 - 92………………………………… Public school music teaching Orangeville, Illinois and Cheyenne, Wyoming 1992 - 93………………………………… Graduate Teaching Associate, University of Illinois 1993 - 94 ………………………………… Public school teaching, Denver, Colorado 1994 - 95………………………………… Visiting Lecturer of Music, Western State College; Gunnison, Colorado 1995 - 98………………………………… Graduate Teaching Associate in Music Education and Low Brass Performance, The Ohio State University 1999 - present…………………………… Visiting Assistant Professor of Music, West Virginia State College; Institute, WV FIELDS OF STUDY Major Field: Music Areas of Emphasis: Music Education, Low Brass Performance vi TABLE OF CONTENTS Page Abstract ….……………………………………………………………………………………… ii Dedication ....…………………………………………………………………………………….. iv Acknowledgments ….…………………………………………………………………………… v Vita …………………….………………………………………………………………………… vi List of Tables ……………....…………………………………………………………………… ix Chapters: 1. Introduction ……………………………………………………………………………… 1 Purpose of Study ……………………………………………………………………… 10 Research Questions ………………………………………………………………….. 11 2. Related Literature ………………………………………………………………………… 13 Status Studies on Jazz Education and Curriculum ……………………………… 13 Studies and Articles on Jazz Improvisation ……………………………………… 17 Studies and Articles on Jazz Trombone Playing, Technique and Styles ……… 27 Studies on Trombone Playing in General ………………………………………… 30 3. Methods and Procedures ………………………………………………………………… 34 4. Data Presentation ………………………………………………………………………… 40 Readiness and Early Stages of Development ……………………………………… 41 Teaching ………………………………………………………………………………… 54 Technical Skills ………………………………………………………………………… 75 5. Summary, Conclusions and Recommendations……………………………………… 81 Recommendations for Future Study …………………………………………… 92 vii Appendices A. Survey Instrument ……………………………………………………………………… 94 B. Pilot-Test Response Form ……………………………………………………………… 112 C. Recruiting Scripts ……………………………………………………………………… 115 D. Other Comments on Methods of Teaching Jazz Improvisation………………… 118 E. Specific Comments on Beginning Solos for Collegiate Jazz Trombonists ……… 123 F. Specific Comments on Beginning Collegiate Jazz Trombone Books and Music 127 G. Specific Comments on Intermediate Solos for Collegiate Jazz Trombonists … 130 H. Specific Comments on Intermediate Collegiate Jazz Trombone Books and Music …………………………………………………………… 133 I. Specific Comments on Advanced Solos for Collegiate Jazz Trombonists ……… 136 J. Specific Comments on Advanced Collegiate Jazz Trombone Books and Music 139 K. Tune Memorization Comments for Beginning through Advanced Collegiate Jazz Trombonists ……………………………………………… 142 L. Other Comments on Teaching Beginning Jazz Language ……………………… 146 M. Other Methods of Learning Ballads ………………………………………………… 148 N. Teacher Comments on a Four-Year Course of Jazz Trombone Study ………… 150 O. Specific Trombonists and Albums to Hear for Jazz Trombone Styles ………… 162 P. Recommended Recordings that All Jazz Musicians Should Own ……………… 166 Q. Advice from Jazz Trombone Professors to Teachers or Students ……………… 170 References ……………………………………………………………………………………… 174 viii LIST OF TABLES Table page Table 4.1. Instrument Choices of Family Members ………………………………… 42 Table 4.2. Instruments Played Most Frequently by Jazz Trombone Professors … 42 Table 4.3. Tenor Trombone Makes Commonly Used ………………………………… 43 Table 4.4. Bass Trombone Makes Commonly Used ………………………………… 45 Table 4.5. Other Musical Equipment Commonly Used …………………………… 47 Table 4.6. First Influences on Learning to Improvise in Rank Order …………… 49 Table 4.7. Location of Composition Classes ………………………………………… 51 Table 4.8. College Major ………………………………………………………………… 51 Table 4.9. Emphasis of Study During College ………………………………………… 52 Table 4.10. Professional Performance Experiences …………………………………… 53 Table 4.11. Years Teaching Jazz Trombone …………………………………………… 55 Table 4.12. Rankings of Teaching Methods for Beginning-to- Advanced Students ………………………………………………………….. 57 Table 4.13. Comparison of Years Teaching and Importance of Teaching Methods 58 Table 4.14. Beginning Jazz Solos to Transcribe for Beginning Collegiate Trombonists…………..…………………………………………. 59 Table 4.15. Beginning Collegiate Jazz Trombone Books and Music ……………….. 62 Table 4.16. Jazz Solos/Soloists to Transcribe for Intermediate Collegiate Jazz Trombonists…………………………………………………………………… 63 Table 4.17. Intermediate Collegiate Jazz Trombone Books and Music…………… 64 Table 4.18. Advanced Jazz Soloists to Transcribe ………….…………………………. 65 ix Table page Table 4.19. Advanced Collegiate Jazz Trombone Books and Music………………. .. 66 Table 4.20. Strategies for Teaching Beginning-Level College Jazz Trombonists to Memorize Tunes …………………………………….. 67 Table 4.21. Methods of Learning Jazz Language for Beginning Collegiate Trombonists……………………………………………………… 68 Table 4.22. Methods of Developing Melodic Imagination …………………………… 69 Table