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Home , Benny Golson, Clem DeRosa, Equinox (jazz standard), Jam session, Jazz improvisation, Joy Spring

Jamming in the Classroom Masters Project – Spring 2015

Parker Smith

Table of Contents

Introduction

v Jamming Defined...... 2

v A Brief History of Education...... 5

Review of Literature

v Challenges in Teaching Improvisation...... 9

v Gender Dynamics...... 11

v Performance Anxiety………...... 12

v Repertoire Choices for Classrooms and Strategies for Instruction...... 13

Repertoire

v Repertoire Choices in Jam Sessions...... 20

v Sample of Repertoire………………...... 20

v Instructional Repertoire...... 22

v Random Sample of Jazz Tunes Present in Sources………………………...... …22

Additional Considerations

v Jam Etiquette...... 23

v Elitism – Communication Breakdown...... 23

v “Listening” Music or “Dancing” Music?...... 25

v Jamming in the 21st Century...... 26

Pedagogical Applications...... ,...... 28

Appendix……………………………………………….………………………………..29

References...... 35

2

Abstract

Factors related to teacher skill and expertise, confidence levels, performance anxiety, appropriate repertoire, and gender related stereotypes have the potential to negatively impact the teaching and learning of improvisation. Awareness of the challenges and strategies that ensure success are essential to teaching improvisation to students of all levels. Defining the traditions of jam sessions and an analysis of the elements that have sustained jam sessions as a musically cultural norm, provides a model for teaching success. This document seeks to examine salient characteristics of jam sessions and how these characteristics can positively transfer towards the teaching and learning of in communities and classrooms.

INTRODUCTION

Jamming Defined

The word jam can be used either as a noun or a verb in a musical context. The word Jam in referring to a musical event was used as a verb, describing the process of cramming as many as possible into one room. Over time, the term came to denote informal gatherings of musicians allowing for extended playing opportunities away from the demands of their regular jobs (Baker & Herzig, 2014). These informal gatherings would often last late into the evening and were ideal for creative exploration and the exchange of new ideas. Soon informal gatherings such as these evolved into what musicians and club owners referred to as “cutting contests” that were open to the public, and exploited by club owners as a means to fill seats (Berliner, 1994).

3 Jamming eventually moved to larger venues, most famously “Jazz at the

Philharmonic” (Gooley, 2011). Jazz at the Philharmonic, (or JATP) was the title of a series of concerts, tours and recordings produced by Norman Granz from 1944-1983. The

JAPT events were among the first high-profile performances to feature racially integrated bands and Granz even cancelled some bookings rather than have the musicians perform for segregated audiences. The first JATP concert was held at the Philharmonic

Auditorium in Los Angeles and featured among others, Nat “King” Cole, Les Paul,

Illinois Jacquet, and (Dyas, 2015).

Jamming not only crossed boundaries in venues, but also across genres. In the early 1960’s, rock bands such as the and featured extended musical improvisations (jams, in this context as a noun) in their concerts. The Grateful Dead sprouted out of the folk-psychedelic movement and the

Allman Brothers’ jams were rooted in the tradition. Eventually, their influence led to a wide encompassing genre now called “jam bands” that draws from the traditions of jazz, blues, bluegrass, , rock, psychedelic and even electronic music. In most major cities there exists within the music community, a jam session for multiple genres and on most nights, musicians don’t have to look far to find a jazz, bluegrass, funk, or blues jam.

Jam sessions exist as a cultural phenomenon that serves the entire music community. Beginning improvisers, academia (students and teachers), amateurs, professionals, and club owners all benefit from the positive welfare of jam sessions.

4 Salient features of the earliest jazz jam sessions (circa 1940’s) are listed below (Dyas,

2015).

• served as “organized” group education activities in jazz (predecessors of today’s

performance master classes or formal jazz pedagogy classes)

• were rooted in the African tradition of passing on culture via aural means

Links from early jam sessions that have maintained importance in present day sessions

• provided opportunities for musicians of diverse abilities to learn from one another

• served as primary vehicle for teaching jazz repertoire, and to a lesser degree still

in practice today

Defining characteristics of present day jam sessions include:

• spontaneous group improvisation without extensive preparation or

• music that may or may not based on existing song forms

• unstructured sessions or sessions coordinated by a leader

Venues for Jam Sessions can include rehearsal spaces, private homes, clubs / bars, recording studios, concert halls and classrooms. Jam sessions can exist without an audience, however most performers enjoy a live audience and tend to interact differently when there is one absent. Many famous recordings have been the product of trying to replicate a jam session environment in a recording studio.

5 A Brief History of

Given the relatively short history of jazz that it only developed in the 20th century, many of its “founding fathers” were able to pass along the tradition first hand. This luxury of personal interaction from the source was key to the development of jazz. The same is not true for classical . However, in the last 30 years or so most of the founding fathers of jazz have passed away. This opportunity for direct interaction is dwindling. However, there are still endless recordings and performances to draw from.

The following information was culled from several sources that contain a wealth of information about the history of jazz education (Dyas, 2015), (Berliner, 1994)

(Rodriguez, 2012) (Mason, 2005). The outline is intended to provide educators with a brief chronology of the evolution of jazz education in the .

Early Pioneers • W.C. Handy • James Reese Europe (Founder of The Clef Club) • Len Bowden (Tuskegee Institute, Georgia State College, Alabama State Normal College, and ultimately, director for training black musicians at Great Lakes Naval Base in Illinois, 1942-1945). In 1929, Bowden assisted J. “Fess” Whatley in becoming the organizer of the “’Bama State Collegians,” one of the first college ensembles available for college credit.

Early subject areas (many of which are similar to this day) • Performance • Arranging • Improvisation • Rehearsal techniques

1930’s • National Emergence • Private teachers established studios in jazz improvisation o Chicago o New York o Boston o Houston

6 o Denver o Los Angeles • First jazz arranging and improvisation text was written in 1935 by Norbert Bleihoof “Modern Arranging and Orchestration” c. 1935 • Gene Krupa, Frankie Trumbauer and Eddie Lang wrote improvisation technique books that included play a long recordings • During the 1930’s, Joseph Schillinger’s method of music instruction was adopted by Lawrence Berk, who founded the Schillinger House in 1945, (subsequently renamed The Berklee College of Music). • The Schillinger System allowed composers, for the first time, to use specific mathematical rules that could adapt harmony, rhythm, melody, etc., from any idiom to jazz-oriented composition. It also allowed jazz players to develop their solos (instant composition) along specific mathematically determined paths. The jazz arrangers felt that by following the system, “the chart” wrote itself, for it was merely a matter of following the mathematical formula(s).

1940’s • Jazz instruction became prevalent in high schools and colleges • More high schools than colleges offered jazz-related activities; as a result Jazz study materials began to be published to meet these needs • Early Collegiate Programs o Alabama State University o Tennessee State University o Wilberforce University (Ohio) o Westlake College of Music (Hollywood, CA) o Berklee College of Music o Los Angeles City College o North State University • Early Jazz History courses at o The New School in New York §. Leonard Feather (jazz critic) Robert Goffin (jazz author) §. Loose courses with unprepared lectures and personal collections of 78 records and personal 1st hand observations §. “Goffin and I came to our classroom virtually empty-handed. All we had was our mouths and our memories. At that time, there were no long play records, almost no jazz records of any kind more than 20 years old. We took a specific topic - New Orleans, the swing era, Duke Ellington, , Benny Goodman - and improvised, with the help of our collection.” Leonard Feather 1950’s • GI Bill included was a law that provided benefits for returning WWII veterans • Also, several veterans had professional on the job experience and became educators • Summer Jazz Seminars : Major figures in music became involved in 1951 o Rudi Blesh

7 o John Mehegan o Eubie Blake o Leonard Bernstein • Rise of summer “jazz camps” o National Stage Band Camp at Indiana University o 1957-1960 The Lenox School of Jazz in Massachusets (musicians were admitted by audition and stayed for three weeks) o Many of the first teachers were from ’s band • Jazz program courses were being established in public school and colleges

1960’s • The number of jazz educators doubles indicating the rapid growth in jazz educations • Two significant educators o Bill Lee o Clem DeRosa • Growth of professionals becoming involved o , , John LaPorta, , Charlie Mariano, , etc. • Jazz studies were incorporated into the collegiate curriculum o Indiana University o University of Miami o Kansas State University o The Eastman School of Music at the University of Rochester o Ohio State University o Northern Illinois University o University of Northern Colorado • “The seeds planted and nurtured during the previous decades were to come to full blossom during the ‘60’s. At the beginning of the decade about 5,000 U.S. high schools and 40 colleges offered one or more jazz-related courses. By the end of the sixties the numbers had increased to over 10,000 high schools and 300 colleges offering jazz-related courses. Of the 300 colleges offering jazz courses, 135 offered these courses for credit.” –Carter, Dr. Warrick L. • Many ensembles were run by students or faculty advisors and many courses for credit did not exist • 1968 saw the establishment of The National Association of Jazz Educators (NAJE) which later became International Association of Jazz Educators (IAJE) o Founders: Matt Betton, Clem DeRosa, Dr. Bill Lee, John Roberts, Dr. M.E. “Gene” Hall, Dr. Jack Wheaton o Early membership totaled almost 100 o Early mission was to further the objectives of jazz education, and to become an independent, free-standing organization

8 1970’s • By 1974 there were 228 collegiate institutions providing some type of jazz performance for credit (in 1964 only 41 colleges offered credit) • By 1975 more than 500,000 students were enrolled for jazz instruction courses • Large increase in jazz publications (music, textbooks, jazz histories, biographies, “how-to” method books, “play-a-longs”, improvisation texts, pedagogical articles) • Growth of Master-Classes, educational jazz festivals, professional jazz festivals • Jazz in schools became standardized and very popular • UNT’s “Lab ’75” recording was the first collegiate recording to be nominated for a Grammy • Clem DeRosa’s high school ensemble performed on ’s Tonight show • High school and College jazz ensembles were receiving national recognition and producing high quality recordings

“First, jazz improvisers start with and draw on a , shared body of musical ideas and expressions that have evolved through the years, although individual artists reinterpret these musical concepts in their own voices. Virtually every jazz learns to play by listening to records and live performances. But rather than slavishly imitating what previous improvisers have done, the jazz musician internalizes and redevelops those ideas into her own style and voice.” Pianist Johnny King

9

REVIEW OF LITERATURE

Challenges in Teaching Improvisation

It is widely acknowledged in the field of music education that improvisation should be a key component of any musical curriculum. Several studies mention improvisation as the third content standard for the 1994 National Standards for Music

Education (Niknafs, 2013; Alexander, 2012; Watson, 2010). Research related to improvisation often prefaces studies with this information, emphasizing improvisation as one of the leading standards along with singing and performing, but also one of the standards least successfully implemented in the classroom (Alexander, 2012).

The benefits of improvisation are far reaching and several findings have linked improvisation with increased music performance skill as well as higher order thinking skills in music (Alexander, 2012). Research on the benefits of improvisation continues to grow in fields beyond music as well. Within the past decade, studies have begun to examine the neurological (Kim, 2008) and emotional (Watson, 2010) benefits of improvisation instruction (Scott, 2004). If improvisation is widely accepted as beneficial and significant, why is it so difficult to implement?

The essence of the problem possibly lies in teacher attitudes and confidence levels. Teachers may be self-conscious about their own playing, fear the critical opinions of others or feel that their style of music doesn’t lend itself well to improvising (Niknafs,

2013). How can we expect students to become skilled improvisers if teachers are apprehensive improvisers themselves?

10 The teaching of improvisation can range from highly structured activities

(Waston, 2010; Alexander, 2012) to “” sessions (2013, Niknafs).

However, when thinking of “free improvisation” in a class full of middle schoolers (or preschoolers for that matter) it’s hard to imagine anything other than an eruption of chaos. Fortunately, there are several activities and resources to structure this highly unpredictable activity. For example, one common activity consists of a teacher performing a short musical pattern and one by one, all students in the classroom or the ensemble play the same pattern but with one altered condition: they need to add their own musical expression to include different rhythms, dynamics, or textures (Niknafs, 2013).

This activity can be extended to include different sets of pitches, instruments and more complex rhythms. Activities like this are typically used by teachers with less experience in improvisation and can be used to overcome pedagogical hurdles and help to structure an improvisation lesson.

According to one study, “(I)mprovisation is at the heart of children’s musical creativity and children can improvise alone and in groups…there is a natural tendency for children to use polyrhythmic structures in a group context through communication with other” (Burnard, 2002). This natural tendency for children to improvise was demonstrated in Burnard’s study and in it she describes several factors conducive to creativity and group improvisation. The research took place in a nonstandard classroom, without the constraints of curriculum, assessment, or the presence of a teacher. In short, the “Music Creators’ Sounding Club” was aptly named and felt more like a privilege than a responsibility. Children had the opportunity to determine what music was played and to experience playing different instruments with colorful timbres such as maracas, hanging

11 chimes, claves, bass metallophone, suspended cymbals, a range of beaters, cowbells, and various sized drums.

The group of 12-year old ‘Music Creators’ participated in weekly lunchtime sessions lasting one hour and students were encouraged to reflect upon their experiences of making music. One student in the studio, Adrian had some insightful observations on improvisation: “Improvising is like an unknown shape. The circle is very important to me because if you make a mistake your partner is there to back you up and if your playing partner makes a mistake or has a collision then you're there to back him up and keep it happening. That's why I play different with different people. I don't mind if they stick to what they want to play. I do it because I feel that I explore music more.”

Gender dynamics

Gender seems to play a key role in student attitudes towards improvisation. The

Wehr-Flower study (2006) was one of the first studies to focus primarily on gender dynamics in improvisation. Results from this study suggested that social-psychological issues influenced female participation in jazz improvisation. Females were significantly less confident, more anxious, and had less self-efficacy towards learning jazz improvisation. It is worth noting that this study focused on jazz improvisation and the

Burnard’s study (2002) was not genre specific. What is it about jazz improvisation that creates anxiety for female musicians? Studies have shown that there is no significant relationship between jazz improvisation ability and gender (Wehr-Flowers, 2006).

Although females and males have the same capacity and abilities to improvise, anxiety and attitudes can be incapacitating.

12 Of the 18 12-year old children in Burnard’s study (2002), 12 were girls and 6 were boys. However, Burnard makes no mention of gender dynamics in her study.

Children were simply viewed as “leaders” or “followers.” Judging from the log of interactions between the group and the fact that females were in the majority of this study, it can be inferred that gender was not a crucial variable. This may be due to the developmental maturity of children at this age, given that females typically mature at a faster rate or it could be a result of the sociological environment. Several other studies examine both female and male attitudes towards improvisation (Wehr-Flowers, 2006,

Bloom et al, 2008, Bodner et al, 2012, Alexander, 2012, Kim, 2008).

Negative attitudes can also be associated with instruments in jazz. In the history of jazz there have been many famous female musicians, but they are predominantly singers. Although women do have a role in jazz, women are primarily thought of as vocalists as opposed to instrumentalists. Another study (Alexander, 2012) focuses on female string students’ attitudes towards improvisation. Alexander’s study found that females had higher confidence levels than in the Wehr-Flowers study. This could suggest that the gender gap in jazz is becoming narrower over time.

Music Performance Anxiety

MPA (Music Performance Anxiety) is a condition that affects both expert and non-expert musicians and is a relevant issue for musicians with an artistic career who need to develop strategies for coping with the stress of anxiety and controlling its negative consequences (Biasutti, M, Concina, E, 2014). Studies estimate that as many as

69% of musicians are negatively impacted by MPA (Biasutti, M, Concina, E, 2014).

13 Although MPA is widespread among musicians, treatments are rarely discussed in educational settings of research.

There are many treatments and therapies available to musicians suffering from

MPA. These treatments can include biofeedback, meditation, beta-blockers and yoga

(Khalsa, 2013). The participants in Khalsa’s study showed significant reductions in MPA from baseline to the end of a 6-week yoga program. One study (Allen, 2013) examined the effects of free improvisation on MPA. These results validated free improvisation as a treatment for significantly reducing anxiety during the public performance of a musical work. Improvisation, causing MPA among some students (Wehr-Flowers, 2006) can also be used as a tool to overcome the same symptoms. “Free improvisation” differs from what we normally think of as improvisation (Allen, 2013). According to Allen, free improvisation has two distinct and valuable features. It can be experienced by anyone regardless of age and musical capability, and is the accumulation of musical identities of all the participants involved in making the music. This democratic approach to improvisation can be a great tool, but it is also related to of much apprehension.

Gooley (2012) describes how “The players become their own audience, forming a closed circle that bystanders may peer into and admire but not enter…described this way, the jam session might be seen as configuring not a democratic, but an elitist one.”

Some studies use Orff and keyboard based instruments as entry points to improvisation (Burnard, 2002). By giving a pianist a xylophone, giving a violinist a , or giving a vocalist a drum, teachers have the ability to desensitize performers to performance anxiety by removing their primary instrument from the equation. Fear seems to be a central component to the lack of improvisation implementation. How can we

14 break down these barriers? By collaborating with experts in related fields and finding new applications for improvising, music educators are better equipped to encourage improvisation at all levels. Improvisation fosters a learning environment that is more creative, self-assured and autonomous, which is equally beneficial to students and teachers. Therefore, meaningful experiences can happen every day if people converse with each other through spontaneous musical mediums.

Repertoire Choices for Classrooms and Strategies for Instruction

In the early 1900’s jazz was mainly an aural art form. Before recorded music, knowledge was primarily passed down from older musicians who served as mentors.

Learning music by ear became a defining characteristic of jazz and many musicians never learned how to read notated music. With the advent of radio technology in 1917, jazz became widespread and accessible to people nationwide. Around this time and jazz publications became readily available and in the 1930’s jazz “emerged as a dominant force in American ”(Poulter, 2008). This rise in popularity coupled with the abundance of former military musicians with professional performance experience contributed to the rise of jazz education in the 1940’s and 1950’s.

Unfortunately, the popularity of jazz in mainstream music decreased in the

1960’s. Conversely, jazz education increased dramatically with the development of the first college jazz degrees and many collegiate jazz festivals. Through the second half of the 20th century jazz curriculum developed tremendously and with that many resources on jazz improvisation became available. Whereas early on, jazz educators were faced with a shortage of jazz materials to teach from, now they have an abundance of resources

15 leaving them faced with a different predicament. How do educators navigate and sift through the available materials to find the most effective teaching tools?

One of the most recent texts of jazz improvisation provides music educators with many necessary tools. In Zachary Poulter’s Teaching Improv in your Jazz Ensemble

(Poulter, 2008) the author provides music educators with many strategies toward teaching beginning improvisers in a jazz ensemble setting. The author begins the book by outlining the benefits and pitfalls of teaching improvisation. In the first chapter he states

“successful improvisation experiences prepare students for a world of increasing ambiguity by enabling them to confront and transcend uncertainty”(p. 13) and describes how some curricular resources can be detrimental to instructors. However, he states that instructors can succeed by “carefully choosing jazz ensemble charts that reinforce a sequential improvisation curriculum”(p.3).

According to the author, successful improvising is a combination of several different elements: musical fundamentals, pulse and meter, internal rhythm, articulation, correct style, rhythmic interest, note choice, solo development, space, interaction, melody and phrasing, dynamics, special effects, overall shape and emotional impact. After the soloist has all of these elements deeply ingrained and incorporated into their playing, then he/she is a “successful improviser”.

The author places a great deal of emphasis on aural learning through call and response exercises and learning melodies by ear. He also reinforces the need for instructors to encourage students to seek out original and play-along recordings of the material. He even suggests that if the director has access to recording equipment, they record their own version of a play-along recording. Some other -centric

16 exercises are: having all students walk a bass line on their instrument; practicing as a band (punches/pads/backgrounds) and adapting drum set rhythms into improvisational exercises.

Poulter repeatedly reinforces that improvisational concepts should be introduced sequentially and provides very specific levels of improvisation (graded 0-5, 0 being the easiest and 5 being the hardest). Grade 0 consists of no improvisation. Grade 1 consists of improvised sections that contain no more than two total chords and one chord type

(Major, Dominant or Minor chords) and at a moderate tempo in common time. Grade 2 consists of the characteristics above and may also include changing modalities

(major/Mixolydian/Dorian), moderate harmonic movement, Major ii-V and ii-V-I progressions, basic blues form, AABA form and moderate tempo or ¾ time etc. As you can see, with each grade level new concepts are being introduced in a logical sequential order. This way the beginning improviser is challenged to learn the new concepts without being overwhelmed by advanced harmony, extreme tempos or odd time signatures. In addition to providing the improvisational difficulty of an , the author also provides the written difficulty graded on the same scale. Assuming that educators can easily estimate the written difficulty of a tune, the author does not lay out specific guidelines for the written grade of 1-5. In the catalog at the end of the book, the author has also provided lead sheets with the solo sections from every chart for easy referral.

The title of this particular book is “Teaching Improv in Your Jazz Ensemble” not

“Teaching Improv in Your Private Lessons” or “Teaching Improv in Your Jazz

Appreciation Class.” The author’s main goal is just that, how to effectively teach improvisation to a group of students in a jazz ensemble with a hands-on approach. This is

17 no easy task and requires a great deal of patience. The author does a great job of keeping this focus throughout the book and providing insightful tools to both the novice and experienced teacher.

Why did he decide to write a book about teaching improvisation in a jazz ensemble? Because he believed that teachers do not place enough emphasis on choosing appropriate repertoire and taking into account the improvised portion of arrangements as important curricular considerations. Improvising can be daunting for some teachers who are too concerned about final concerts and student progress reports. However, as outlined in the book it easy to fall prey to some of the following pitfalls:

1) “Picking favorites” and only allowing the most accomplished musicians to

improvise.

2) Choosing inappropriate charts that are easy to read but very difficult to

improvise over or vice versa.

3) Having students play “written out” solos instead of improvising

4) Not giving students the tools they need to improvise and “glossing” over

improvised sections.

I experienced several of these pitfalls in my high school and even college jazz bands. They can be easy traps to fall into as an educator and the author goes into great detail with several strategies to avoid them. I think the separation of two grading systems is a great idea for assessing the difficulty of an arrangement (written and improvisational). I could see where both of these grading systems would prove invaluable when selecting a chart. For instance, if I have a very experienced improviser and an ensemble that is full of inexperienced readers I might choose a chart with a 1 written

18 difficulty and a 5 improvisation difficulty to showcase the soloist. Conversely, if I have several inexperienced improvisers that have been playing and reading for several years I might choose a 4 written difficulty and a 2 improvising difficulty. The author has also notated multiple versions and publishers in the index. For example, you can see that

Stitzel’s version of “C Jam Blues” is a 5 on improvisational difficulty and P. Cook’s version of the same song is a 2. You can also refer to the lead sheets for any discrepancies at the end of the book.

I noticed throughout the book that there were many student activities and games to encourage creativity and reinforce knowledge. However, I’m curious to see how effective these games were and if the students enjoyed them or if they lead to tangible results. The games seemed a little exhaustive, but I imagine that working with beginning improvisers on a daily basis could get monotonous and the games would be a nice respite from working on parts. My only other criticism is that guidelines were not laid out for the grading of the written scale of 1-5. In my opinion these guidelines could help educators grade their own arrangements and ones not available in the book.

One section of the book that I found extremely helpful was the jazz resources section that outlines essential reading in the following categories: Guides for the Jazz

Ensemble Director, Full Band Jazz Ensemble Method Books, Full Band Jazz Improv

Books, Combo Resources, Rhythm Section and Interaction, Play Along Recordings, Play

Along Technology, Theory Books, Pattern Books, General Improvisation Resources,

Listening/Ear Training, Charts, Jazz History and Appreciation, Magazines,

Organizations and Miscellaneous Links. These all look like great resources based on a lifetime of learning.

19 By combing through several different charts and meticulously notating the relative difficulty, the author has gone through great pains to make a jazz ensemble director’s life easier. I believe that the teaching techniques outlined in the book and especially the index and charts at the end provide all the tools necessary to effectively teach improvisation in a jazz ensemble setting.

20 REPERTOIRE

Repertoire Choices in Jam Sessions

On a given night at a jam session, some tunes can last over ten minutes and any number of variables can influence the tunes that are called. As a result, the sample size of songs may be relatively small on a given night and not representative of the tunes that normally get called at the club. However, I have found that in my research that successful jam sessions include variety in terms of genre and difficulty. Most college repertoire lists and instructional repertoire lists contain tunes that can fit into the following genres: standards, , post-bop, latin, blues and funk.

How many tunes should students learn? Many students are expected to know upwards of 250-300 tunes yet only 100 are on many college repertoire lists. It is expected that this list serve as just a foundation for lifelong learning. Students may identify with different composers or time periods and seek out those styles to fill out the remainder of their list. The appendix includes a selection of tunes played and required at major jazz programs in the United States and abroad.

Repertoire is an important consideration in jam sessions as well as classrooms.

Choosing appropriate repertoire is a salient feature of success and must be chosen with care. As stated in my discussion on Poulter’s book (Poulter, 2008), it is necessary to carefully examine the difficulty of the melody and underlying harmony and make sure that both are attainable independently and as a whole. Improvisers should pick songs that showcase their strengths and are conducive to group playing.

21 Sample of Jam Session Repertoire

As a sample I have attended a few jam sessions in Austin and compiled the following list.

This is intended as a reference point and microcosm of what tunes are currently being played at different venues around Austin, Texas.

Strange Brew 1/13/15: Brass House 1/28/15: Caravan What is This Thing Called Love Along Came Betty Autumn leaves Night And Day Straight No Chaser Love For Sale Softly as in a Morning Sunrise 2/3/15 Confirmation Minor Blues Wave Body and Soul Days of Wine and Roses Juju Recorda Me Stella Au Privave

Elephant Room: 2/8/15 Nardis How Insensitive Bye Bye Blackbird Honeysuckle Rose Alone Together

Instructional Repertoire

Included in the Appendix is a sampling of jazz repertoire from three different jazz programs in universities. They are organized in several different formats according to level of difficulty, level of study, style, and significance. I have included lists from: The

University of Oregon, Sacramento State University and the University of Toronto. I have also included a list from Jamey Aebersold’s Jazz Handbook (Aebersold, 2010).

As you can see from the graph below, there is some overlap in the sources of I have chosen. However, there are plenty of tunes on the suggested repertoire lists that hardly ever get “called.” This is an important consideration and I suggest that before

22 playing in a jam session, improvisers attend a few times without their instrument to see what tunes are popular. I have made an attempt in the chart below to include tunes from the genres mentioned earlier: standards (Autumn Leaves, Honeysuckle Rose, Misty), bebop (Confirmation), post-bop (Nardis), latin (Caravan, Wave), blues/funk (Killer Joe).

Random Sample of Jazz Tunes Present in Sources

3

2.5

2

1.5 Jam Sessions (3) 1 College Repertoire Lists (3)

0.5 Aebersold

0

23

ADDITIONAL CONSIDERATIONS

Jam Etiquette

Aside from a resource for getting gigs, jam sessions are also where jazz musicians come to meet and exchange ideas. Jam sessions also allow musicians to develop their sound while playing with musicians of all levels of ability. Every once in a while, high profile players will stop by the local jam session while on tour. Jam sessions have long been a great equalizer and resource in the jazz community.

Within the framework of a jam session there are many different expectations of individual players and the definition of really knowing a tune can be loosely defined.

Especially when vocalists are present, musicians are expected to play songs in unusual keys and sometimes with substitute chord changes. From my experience attending jam sessions, the horn players are the de facto leaders (and the ones calling tunes) once the house band finishes their set. Some jam sessions have a sign up lists while others require that you talk to the leader of the jam session and others are even “invite only”. Typically the house band will play an initial set and then open up the floor to the “jammers.” It is important to be aware of social cues and not to overstep participation boundaries.

Elitism – Communication Breakdown

Gooley’s description of the jam session offers up a utopian view citing the

“coordination of individual and collective expression, the relaxation of dogmatic constraints, the need to ‘listen’ or tune in to the voices of others, and the impulse to

24 respond - sound like an ideal image of the communication-economy of democratic society (Gooley, 2011).”

Many technological advances have occurred in music as well (see the following section “Jamming in the 21st century”). The flipside of this democratic society is one of extreme elitism where “the players become their own audience, forming a closed circle that bystanders may peer into and admire but not enter (Gooley, 2011).” To paraphrase a former teacher of mine, “if you want to join the club, you gotta do your homework” referring to practice time spent on repertoire and scales. In this case, “Jazzmen deliberately attempt to exclude the general public from the session...Any customer who dares request a tune not approved by the musicians... is likely to be “told off” in highly uninhibited language. The performers, not the spectators, are going to run this show

(Cameron 1954: 78). Herein, lies the central theme of the jam session. A continuous back and forth power struggle.”

What began as a refuge for musicians in the 1930’s and 1940’s for musicians soon became exploited as early as the 1950’s. Club owners played on the competitive nature of jam sessions and early romanticized stories such as that of getting a cymbal thrown at his head. “The moment jamming was framed theatrically as competition or battle, the public audience was reintroduced into the communicative economy of the event, and the self-enclosure of the jam session was broken.” Early jam sessions sometimes included technically demanding repertoire that would challenge newcomers and beginners. This is less the case today and while pockets of this elitism do exist, most present day jam sessions are welcoming to novices.

25 “Listening” Music or “Dancing” Music?

In Dan Morgenstern’s book “Living with Jazz” he mentions that “(F)or today’s jazz audience-especially its younger members-the music is entirely for listening. Whether it is heard in a concert hall, a club, or on a record, jazz, like , has come to exist for its own sake. But there would be no jazz to listen to if not for the dance.”

(Morgenstern 2004). The origins of jazz are a social music. It is interesting that

Morgenstern distinguishes between the younger members as enjoying jazz only for listening. This implies that with each generation, the music gets farther and farther away from its original purpose.

As jazz enters its second century, are there bands out there leading the charge and bringing jazz back to the dancers. Groups like Snarky Puppy, D’Angelo and Robert

Glasper are certainly leading the charge. Bands popularity used to be dependent on their ability to get people dancing. According to Morgenstern it was Fletcher Henderson’s band’s “popularity with dancers that made it possible for Henderson to bring in young

Louis Armstrong from Chicago, and to hire and keep the finest jazz instrumentalists of this period.” A quote from Armstrong paraphrases this sentiment “There are two kinds of music. Good music and bad music. Any music that makes you tap your foot is good music.” There is even a release from 1984 titled “It Don’t Mean a Thing If

You Can’t Tap Your Foot to It.” The title, a play on “It Don’t Mean a Thing if it Ain’t

Got That Swing” reinforces Armstrong’s quote.

According to Cameron (Cameron, 1956) the “jam session is a recreational rather than a vocational activity of jazz musicians. Not all dance musicians are jazzmen, although the typical employment of the jazzman is in a dance band since this is the

26 nearest commercial compromise available.” Here we begin to see a separation and overlap between dance music and jazz music. It’s tough to pinpoint when the split occurred, but according to (Ward, Burns 2005)

“the end of World War II had marked the beginning of the end for the big swing bands. Tastes were changing. Musicians’ salaries, which had risen dramaticially during the war, remained so high that it was nearly impossible to draw big enough crowds to meet them. The wartime tax on entertainment remained in effect, too, keeping nightclub prices high, encouraging people to stay at home, forcing ballrooms to close. Duke Ellington and Count Basie managed to stay on the road, but by Christmas of 1946, eight of their best known rivals would announce that they were at least temporarily leaving it. Great jazz soloists…abandoned dreams of heading up big bands of their own and retreated to nightclubs-places too small for dancing. All kinds of jazz were still being played everywhere at the war’s end. But whatever the style, the jam session was becoming the model: freewheeling, competitive, exacting-the kind of jazz that musicians had always played to entertain themselves after the squares had gone home.”

Cameron (1956) also goes on to state that “Dance music may be easily defined: it is music for dancing, especially ball-room dancing. Jazz is better defined as an art form rather than in terms of social utility…jazz is a kind of musicians’ music, played for the enjoyment of musicians and a few other persons who participate in it vicariously.” Ball- room dancing isn’t as popular as it once was, but dancing has not waned in popularity. If you think in terms of “popular music” (if there is such a thing) than we can surmise that there are still two types of music. Dance music (for the people) and listening music (for the musicians).

Jamming in the 21st Century - A Note on Technology

With the addition of new technology such as iReal, musicians now have access to chord changes of thousands of songs in their pocket. This places a smaller emphasis on memorization and internalization. One of the main drawbacks of iReal is that there are no melodies written, but in a jam session context often only the horn players are expected to

27 play the melody. Instead of having a fake book on stage, one only needs to bring a tablet or phone on stage and their lack of knowledge is less obvious to fellow band mates and the audience. However, astute observers can easily delineate whether the musicians are reading a chart or playing from memory.

In my experience teaching an improvisation elective to middle and high school string students, iReal proved to be a valuable resource. We played along with backing tracks in almost every class session and I was able to manipulate the instruments in real time. If I wanted the bass player to walk a bass line to the blues, I would mute the bass track. If I wanted to play the chord changes on guitar, I would mute the piano track. By this manipulation of instruments in the “mix” students were able to clearly see the different roles and importance of rhythm section instruments. When it came time for our final performance at the end of the semester, I brought in a jazz drummer to play with the group. Although this was the first time the group played with a drummer, we performed our material just as we had in rehearsal. The training with play-a-long tracks was invaluable and transferred seamlessly to the experience of playing with a live rhythm section. Some benefits of the iReal software program are:

• Play-a-long tracks with the simulation of a live rhythm section

• Variable tempo and repetitions

• Manipulation of different instrument sounds

• Tracking experience for students and teachers

• Chord symbol literacy

• Transposition to different key centers

28

PEDAGOGICAL APPLICATIONS

Jazz education and jam sessions have evolved over time to include a broad array of experiences. Educators face many challenges when applying jam session techniques in a new context. Many educators who are also professional jazz musicians bring with them a wealth of experiences. More so than many groups of musicians, jazz musicians play with rotating personnel and are constantly taking part in new musical environments.

Being able to communicate effectively with new musicians is a skill that is built over time. For educators with and without jazz experience, jam session principles can be a very useful pedagogical device. Below are some final pedagogical recommendations from my research:

• Create opportunities for students to “jam” with each other frequently

• Be careful not to create gender bias or gaps

• Encourage improvisation in all styles

• Allow students to demonstrate refinement and expertise over standard repertoire

• Foster a classroom culture where students feel safe and free to express themselves

• Choose culturally valued repertoire

• Create opportunities for children to make autonomous decisions

• Develop inclusive opportunities for diverse ability levels

• Utilize new technology in and outside of the classroom

29 APPENDIX

University of Oregon

Up!Tempo!Tunes!in!Minor! How!High!The!Moon! Undergraduate* Keys!(3!Total)! I!Could!Write!A!Book! Jazz*Repertoire* *Impressions* In!a!Mellow!Tone! Softly!as!in!a!Morning! Killer!Joe! List* Sunrise! *Ladybird* ! Solar! Lazy!Bird! Minor!Blues!(4!Total)! You!and!the!Night!and!the! **Moment’s*Notice* Bag’s!Groove! Music! My!Romance! Birk’s!Works! What!Is!This!Thing!Called! Once!I!Loved! Blue!Trane! Love! Out!of!Nowhere! ! ! St.!Thomas! ** Ballads!(4!Total)! Satin!Doll! The!Jody!Grind! Body!and!Soul! Speak!Low! *Mr.*P.C.* Darn!That!Dream! **Stella*By*Starlight* One!For!DaddyBO! Georgia! Sweet!Georgia!Brown! ! I!Can’t!Get!Started! Take!the!“A”!Train! Major!Blues!(4!Total)! In!a!Sentimental!Mood! There!Is!No!Greater!Love! All!Blues! Lover!Man! There!Will!Never!Be! Bessie’s!Blues! Misty/I!Want!to!Talk!About! Another!You! *Billie’s*Bounce* You! Tune!Up! Blue!Monk! The!Nearness!of!You! Yardbird!Suite! Blues!for!Alice! ‘Round!Midnight! ! Freddie!the!Freeloader! What’s!New! Standards/Jazz!Standards! Now’s!The!Time! When!I!Fall!In!Love! in!Minor!Keys!(6!Total)! Sonnymoon!for!Two! ! *Autumn*Leaves* Straight!No!Chaser! Waltz!(2!Total)! Alone!Together! *Tenor*Madness* Alice!In!Wonderland! Beautiful!Love! Walkin’!! Bluesette! *Black*Orpheus* Watermelon!Man! Some!Day!My!Prince!Will! Blue!Bossa! ! Come! Caravan! Rhythm!Changes!(2!Total)! ! How!Deep!is!the!Ocean! Anthropology! Latin/Straight!8th! How!Insensitive! Cottontail! Freedom!Jazz!Dance! **Invitation* The!Eternal!Triangle! *Maiden*Voyage* A!Night!in!Tunisia! Good!Bait!(A!section!only)! ! Recordame! I’ve!Got!Rhythm! Standards/Jazz!Standards! Softly!as!in!a!Morning! Lester!Leaps!In! in!Major!Keys!(8!Total)! Sunrise! *Oleo* Afternoon!in!Paris! Song!For!My!Father! Perdido!! All!of!Me! Solar! Salt!Peanuts! **All*the*Things*You*Are* So!What! Scrapple!from!the!Apple! But!Not!For!Me! Stella!By!Starlight! ! Bye!Bye!Blackbird! Stolen!Moments! Up!Tempo!Tunes!in!Major! Cantaloupe!Island! Sugar! Keys!(3!Total)! Corcavodo! Summertime! Cherokee! Days!of!Wine!and!Roses! What!Is!This!Thing!Called! I!Love!You! Don’t!Get!Around!Much! Love! *I’ll*Remember*April* Anymore! Work!Song! It’s!You!or!No!One! Doxy! You!and!the!Night!and!the! Indiana! A!Foggy!Day! Music! Night!and!Day! Four! ! The!Night!Has!A!Thousand! Girl!From!Ipanema! **Required*for* Eyes! Green!Dolphin!Street! Sophomore*Barrier* Seven!Steps!to!Heaven! Groovin’!High! * * *Have*You*Met*Miss*Jones* ***Required*for*Junior* Honeysuckle!Rose! Barrier*

30 Bachelor)of)Music)Jazz)Studies) Suggested(Jazz(Jury(Repertoire(( Sacramento(State(University( ( Level)17)Freshman)Jazz)Repertoire)List( Level)27Sophomore)Jazz)Repertoire)List) Afternoon(in(Paris( All(the(Things(You(Are( All(Blues( Anthropology(( All(of(Me( Back(Home(In(Indiana( Autumn(Leaves( Bessie’s(Blues( Bag’s(Groove( Black(Orpheus((A(Day(in(the(Life(of(a(Fool)( Blue(Bossa( Blues(for(Alice( Blue(Monk( Bluesette( Blues(in(a(Closet( Body(&(Soul( But(Not(For(Me( But(Not(for(Me( Bye(Bye(Blackbird( Caravan( Cantaloupe(Island( Corcovado((Quiet(Night(of(Quiet(Stars)( Days(of(Wine(and(Roses( Darn(That(Dream( Don’t(Get(Around(Much(Anymore( Foggy(Day,(A( Doxy( Footprints( Equinox( Freedom(Jazz(Dance( Four( Georgia(on(My(Mind( Freddie(Freeloader( Girl(from(Ipanema( Good(Bait( Groovin’(High( I(Got(Rhythm( Honeysuckle(Rose( Impressions( How(High(The(Moon( Just(Friends( How(Insensitive( Killer(Joe( I(Can’t(Get(Started( Little(Sunflower( I(Could(Write(a(Book( Maiden(Voyage( I(Got(Rhythm( My(Romance( In(A(Mellow(Tone( Now’s(the(Time( In(a(Sentimental(Mood( Perdido( Invitation( Polkadots(And(Moonbeams( Lady(Bird( Satin(Doll( Lover(Man( Song(for(My(Father( Lullaby(of(Birdland( Sonnymoon(for(Two( Maiden(Voyage( So(What( Meditation( St.(James(Infirmary( Misty( St.(Louis(Blues( Mr.(P.C.( St.(Thomas( My(Funny(Valentine( Straight,(No(Chaser( My(Shining(Hour( Sugar( Nearness(of(You,(The( Summertime( Night(Has(a(Thousand(Eyes,(The( Take(the(‘A’(Train( On(Green(Dolphin(Street( Tenor(Madness( Once(I(Loved( Things(Ain’t(What(They(Used(to(Be( Recordame( Walkin’( Scrapple(from(the(Apple( Watermelon(Man( Seven(Steps(from(Heaven( Yardbird(Suite( Softly(as(in(a(Morning(Sunrise( ) Some(Day(My(Prince(Will(Come( ( Stardust( ( Stolen(Moments( ( Stompin’(at(the(Savoy( ( Sweet(Georgia(Brown( ( There(is(No(Greater(Love( ( There(Will(Never(Be(Another(You( ( Tune(Up( ( Watch(What(Happens( ( Wave( Way(You(Look(Tonight,(The( ( When(I(Fall(in(Love( Yardbird(Suite(

31 Level)3)7)Junior)Jazz)Repertoire)List) Skylark( All(of(You( Solar( Alone(Together( Someone(To(Watch(Over(Me( Along(Came(Betty( Song(is(You,(The( Angel(Eyes( Speak(Low( Anthropology( Speak(No(Evil( Au(Privave( Star(Eyes( Back(Home(Again(in(Indiana( Stella(by(Starlight( Beautiful(Love( Sweet(Georgia(Brown( Blues(for(Alice( Take(5( Body((&(Soul( Tenderly( But(Beautiful( Triste( Caravan( Waltz(for(Debbie( Ceora( Way(You(Look(Tonight,(The( Cherokee( Well(You(Needn’t( Come(Rain(or(Come(Shine( What(is(This(Thing(Called(Love?( Confirmation( Whisper(Not( Corcovado((Quiet(Nights(of(Quiet(Starts)( Willow(Weep(for(Me( Desafinado( Which(Hunt( Embraceable(You( Witchcraft( Giant(Steps( Yes(or(No( Girl(from(Ipanema( Yesterdays( Half(Nelson( You(Don’t(Know(What(Love(Is( Have(You(Met(Miss(Jones( You(Stepped(Out(of(a(Dream( Here’s(that(Rainy(Day( You’d(be(so(Nice(to(Come(Home(To( Hot(House( ( How(Deep(is(the(Ocean( ( I(Love(You( Level)4))7)Senior)Jazz)Repertoire)List) I(Mean(You( Airegin( I(Remember(Your( Beatrice( I(Should(Care( Chelsea(Bridge( I(Thought(About(You( Cherokee( I’ll(Remember(You( Con(Alma( If(I(Were(a(Bell( Confirmation( In(a(Sentimental(Mood( Countdown( Inner(Urge( ( It(Could(Happen(to(You( Dolphin(Dance( It(Don’t(Mean(a(Thing( Donna(Lee( It(Had(to(Be(You( E.S.P.( It(Might(as(Well(Be(Spring( Emily( It’s(You(or(No(One( Fee(Fi(Fo(Fum( Joy(Spring( Four(in(One( Laura( Giant(Steps( Lazy(Bird( I(Hear(a(Rhapsody( Like(Someone(in(Love( In(Your(Own(Sweet(Way( Love(for(Sale( Inner(Urge( Milestones((new)( Invitation( Moment’s(Notice( Joy(Spring( Moonlight(in(Vermont( Lush(Life( My(Favorite(Things( Moment’s(Notice( My(Foolish(Heart( My(Foolish(Heart( Nardis( My(One(and(Only(Love( Nica’s(Dream( My(Secret(Love( Night(and(Day( ( Night(in(Tunisia,(A( Nica’s(Dream( Oleo( Peace( One(Note(Samba( Prelude(to(a(Kiss( Ornithology( ‘Round(Midnight( Our(Love(is(Here(to(stay( Sophisticated(Lady( Out(of(Nowhere( Speak(No(Evil( Over(the(Rainbow( Stardust( Polka(Dots(and(Moonbeams( Stablemates( Round(Midnight( Stardust( Scrapple(from(the(Apple( Take(5( Seven(Steps(to(Heaven( What’s(New?( Shadow(of(Your(Smile,(The(

32

Faculty of Music University of Toronto Sample Repertoire List

Note re Graduate Jazz Admissions: Successful applicants must show experience as a solo performer with an advanced technical and interpretive ability. Improvisation must indicate imagination and thorough mastery of the selected repertoire.

The repertoire list provided here indicates compositions that are acceptable for audition purposes. Candidates must submit a substantial repertoire list (25-30 pieces) for approval with the application. This list may include tunes not in our sample list provided here and must include a mix of representative pieces from the major stylistic areas: traditional, swing, bop, , cool, post-bop, standards, blues, modal, free, fusion and ‘Latin’ styles. The list must also include at least three original pieces. Please provide lead sheets for any original pieces. At the 30-minute audition, jurors will select repertoire from the candidate’s approved list (usually 5 pieces including one ballad and one up-tempo tune).

Candidates who are skilled in jazz arranging and composition are encouraged to provide scores (Photocopies only. No originals please.), with supporting recordings (if available) to assist the jury in their assessment.

Title ‘Round Midnight 502 Blues A Foggy Day George & Ira Gershwin Dizzy Gillespie Airegin All The Things You Are Kern and Hammerstein Alone Together Dietz & Schwartz Along Came Betty Au Privave Parker Autumn Leaves Joseph Kosma Bag's Groove Milt Jackson Beatrice Beautiful Love Victor Young Bessie’s Blues Billie’s Bounce Charlie Parker Blue Bossa Blue in Green Blue Seven Sonny Rollins

33 Blues Connotation Body and Soul Johnny Green But Not For Me Caravan Duke Ellington and Juan Tizol Ceora Chelsea Bridge Billy Strayhorn Cherokee Ray Noble Confirmation Charlie Parker Desafinado Antonio Carlos Jobim Dolphin Dance Don’t Get Around Much Anymore Duke Ellington Donna Lee Charlie Parker Doxy Sonny Rollins E.S.P. East of the Sun Bowman/Brooks Elm Richie Beirach Emily Mercer/Mandel Evidence Thelonious Monk Fee-Fi-Fo-Fum Wayne Shorter Footprints Wayne Shorter Freddie the Freeloader Miles Davis John Coltrane Gingerbread Boy Groovin' High Dizzy Gillespie Half-Nelson Charlie Parker Have You Met Miss Jones? Richard Rogers Hot House Dizzy Gillespie How Insensitive Jobim I Can’t Get Started Vernon Duke I Could Write a Book Rodgers/Hart I Love You Cole Porter I Mean You Thelonious Monk I Remember You Mercer/Schertzinger I Thought About You Mercer/Van Heusen I’ll Remember April Raye/DePaul/Johnson If I Should Lose You Robin/Rainger If You Never Come to Me Antonio Carlos Jobim In a Mellow Tone Duke Ellington In A Sentimental Mood Duke Ellington In Walked Bud Thelonious Monk In Your Own Sweet Way Dave Brubeck Isfahan Duke Ellington/Billy Strayhorn It Could Happen To You Jimmy Van Heusen Joy Spring Just Friends Klenner and Lewis

34 Lament J.J. Johnson John Coltrane Like Someone in Love Van Heusen/Burke Little Sunflower Lonely Woman Ornette Coleman Love for Sale Cole Porter Manteca Dizzy Gillespie Moose the Mooche Charlie Parker Mr. P.C. John Coltrane My Funny Valentine Rodgers and Hart Naima John Coltrane Nardis Miles Davis Night and Day Cole Porter Oleo Sonny Rollins On Green Dolphin Street Bronislau Kaper Once I Loved Antonio Carlos Jobim One by One Wayne Shorter One Finger Snap Herbie Hancock Out of Nowhere Green/Heyman Peace Polka Dots and Moonbeams Van Heusen/Burke Prelude to a Kiss Duke Ellington Relaxin’ at Camarillo Charlie Parker Rhythm-A-Ning Thelonius Monk Sandu Clifford Brown 'Smatta Kenny Wheeler So What Miles Davis Solar Miles Davis Speak Low Kurt Weill Stablemates Benny Golson Star Eyes Raye/DePaul Stella by Starlight Victor Young Straight, No Chaser Thelonious Monk Summertime George Gershwin Take the 'A' Train Billy Strayhorn Sonny Rollins There Will Never be Another You Harry Warren Three Little Words Ruby/Kalmar Triste Jobim Freddie Hubbard Very Early Bill Evans Well You Needn’t Thelonious Monk What is This Thing Called Love? Cole Porter Whisper Not Benny Golson Woody‘n You Dizzy Gillespie

35 Yes or No Wayne Shorter Yesterdays Jerome Kern You and the Night and the Music Robin/Rainger You're My Everything Warren/Dixon/Young

Jamey Aebersold Suggested Repertoire

SONG LIST FOR BEGINNERS

Here are songs which everyone should eventually know–they are good jam session songs. I am listing the key(s) they are most often played in followed in parenthesis by the play-a-long volume number(s) where you can find them. Most of the beginning songs are on the Volume 54 “Maiden Voyage” play-a-long book/recording set. It’s excellent for learning jam session tunes.

Beginning Songs Intermediate Songs troublesome spots = [ ] _ Blues in Bb & F (1, 2, 21, 35, 42, 50, 53, 54, 69, 70, 73) Four, Eb (7, 65, 67) [F# B7] _ Footprints, C (33, 54) Perdido, Bb (12, 65, 67) [bridge] Satin Doll, C (12, 54, 66) All Blues, G (5 0, 8 1) [D7+9, Eb7+9, D7+9] Doxy, Bb (8, 54) Groovin High, Eb (43) [A- D7] _ Autumn Leaves, G (20, 44, 54, 67) Yardbird Suite, C (6, 69) [bridge] _ _ Impressions or So What, D (28, 50, 54) Softly As In A Morning Sunrise, C (40) [bridge] _ Summertime, D (25, 54) On Green Dolphin Street, Eb (34, 59) _ _ _ Song For My Father, F (17, 54) Misty, Eb (41, 49, 70) [A D7/ C F7 in bridge] _ _ Maiden Voyage, A (11, 54, 8 1) Just Friends, F (20, 34, 59) [Ao or Ab ] _ Silvers Serenade, E (17) Killer Joe, C (14, 70) [bridge] _ Cantaloupe Island, F (11, 54) Sweet Georgia Brown (39, 67, 70, 84) _ Sugar, C (5, 49, 70) (called Groovitis) Indiana (Back Home Again In) (6, 61, 80, 84) Watermelon Man, F (11, 54) Girl From Ipanema, F (31, 70, 90)

Advanced Songs Stella by Starlight, Bb or G (15, 22, 59, 68) [entire tune] Star Eyes, Eb (34, 59) [bars 4, 5, & 6] _ Invitation, C (34, 59) [entire tune] Have You Met Miss Jones?, F (25, 74) [bridge] I Got Rhythm, Bb & F (7, 8, 16, 47, 51) Giant Steps, Eb (28, 68) [entire tune] All The Things You Are, Ab (16, 36, 43, 55) [entire tune] Most ballads Wayne Shorter tunes (33), Horace Silver tunes (17, 18), John Coltrane tunes (27, 28), Benny Golson tunes (14) and thousands of other songs

Memorize the melody Memorize the Memorize the various scales/chords

Be discriminate in your listening. Remember, you’re training your MIND! Choose your music like you would your friends.

Think of how many friends’ voices you can recognize over the telephone after they say only one word. The qualities of scales (major, minor, dom.7th, dim. ,etc.) will become just as familiar and easy to recognize with practice.

11

36 REFERENCES

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