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Another Bandworld Presentation

Bandworld Magazine
 Middle School Jazz!

Steps for
stylizing the
young ensemble
By Danielle Miller

Practical Application #3
Summer 2010

American Band College of Sam Houston State University

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org



INTRODUCTION



While
earning
my
undergraduate
degree
at
the
University
of
Oregon,
I
only
had
the

opportunity
to
take
one
jazz
class
during
my
time
there
and
have
since
felt
timid
about

teaching
jazz
effectively.
I
have
had
to
rely
heavily
on
my
own
high
school
jazz

experience.
I
was
fortunate
to
have
been
a
part
of
a
good
program
that
performed

quality
literature,
but
I
needed
additional
resources.
Also,
that
was
10
years
ago!!




This
is
the
reason
for
this
project.
After
being
hired
at
a
5‐12
band
program
this
past

year,
I
quickly
needed
to
learn
how
to
effectively
teach
jazz
to
younger
students.
It

ended
up
being
trial
by
fire,
and
I
asked
a
lot
of
questions
from
colleagues.
I
had
many

questions
–
what
literature
do
I
play
with
a
band
of
13
students
of
varying

instrumentation?
How
do
I
make
young
students
like
Swing
as
much
as
Rock?
How
do
I

make
young
students
Swing?



My
goal
for
this
project
was
NOT
to
create
a
method
book
–
those
have
already
been

done
and
have
been
done
well.
It
was
my
goal
to
fill
in
the
missing
pieces
–
you
have
the

jazz
band
–
now
what?
This
is
a
resource
for
young
directors
that
know
very
little
about

jazz
band
style
and
articulation.
Included
are
specific
warm
ups
and
rhythm
exercises
to

be
used
with
the
band.




After
researching
this
topic
I
know
this
next
year
will
go
much
more
smoothly
for
the

middle
school
jazz
band.









Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 1

PA
#3
–
ABC
of
SHSU

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org



RATIONALE
FOR
JAZZ
EDUCATION
IN
THE
SCHOOLS



“The only way to learn jazz is by playing and
listening to those who can play.”
‐Wynton
Marsalis



Jazz
Music
can
have
a
strong
impact
on
students
by
expanding
their
musical
horizons

outside
of
the
concert
band
setting.
Jazz
is
part
of
America’s
history
and
it’s
important

that
our
students
understand
the
roots
of
American
Music.
Many
people
agree
that

America’s
most
significant
musical
impact
on
the
world
is
jazz.
Jazz
Education
is
more

than
just
teaching
style
and
the
notes
on
the
page
–
it
also
includes
teaching
the
culture

of
jazz.




In
1987
the
Congressional
Recognition
for
Jazz
was
passed
designating
jazz
“a
rare
and

valuable
National
American
treasure.”
Representative
John
Coyers
Jr.
of
Michigan
was

able
to
stress
the
importance
that
jazz
musicians
had
always
served
as
ambassadors
to

enhance
this
country’s
image
since
the
beginning
of
the
Cold
War.



“Whereas,
 jazz
 has
 achieved
 preeminence
 throughout
 the
 world
 as
 an

indigenous
American
music
and
art
form,
bringing
to
this
country
and
the

world
 a
 uniquely
 American
 musical
 synthesis
 and
 culture
 through
 the

African‐American
experience
and


1.
Makes
evident
to
the
world
an
outstanding
artistic
model
of
individual

expression
and
democratic
cooperation
within
the
creative
process,
thus

fulfilling
the
highest
ideals
and
aspirations
of
our
republic,



2.
 Is
 a
 unifying
 force,
 bridging
 cultural,
 religious,
 ethnic
 and
 age

differences
in
our
diverse
society,



3.
Is
a
true
music
of
the
people,
finding
its
inspiration
in
the
cultures
and

most
 personal
 experiences
 of
 the
 diverse
 peoples
 that
 constitute
 our

Nation,



4.
Has
evolved
into
a
multifaceted
art
form
which
continues
to
birth
and

nurture
new
stylistic
idioms
and
cultural
fusions,



5.
 Has
 had
 an
 historic,
 pervasive
 and
 continuing
 influence
 on
 other

genres
of
music
both
here
and
abroad,
and



6.
 Has
 become
 a
 true
 international
 language
 adopted
 by
 musicians

around
the
world
as
a
music
best
able
to
express
contemporary
realities

from
a
personal
perspective;



Whereas,
this
great
American
musical
art
form
has
not
yet
been
properly

recognized
 nor
 accorded
 the
 institutional
 status
 commensurate
 with
 its

value
and
importance;


Whereas,
 it
 is
 important
 for
 the
 youth
 of
 America
 to
 recognize
 and

understand
 jazz
 as
 a
 significant
 part
 of
 their
 cultural
 and
 intellectual

heritage;



Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 2

PA
#3
–
ABC
of
SHSU

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org



Whereas,
 in
 as
 much
 as
 there
 exists
 no
 effective
 national
 infrastructure

to
support
and
preserve
jazz;


Whereas,
 documentation
 and
 archival
 support
 required
 by
 such
 a
 great

art
form
has
yet
to
be
systematically
applied
to
the
jazz
field;
and


Whereas,
it
is
now
in
the
best
interest
of
the
national
welfare
and
all
of

our
 citizens
 to
 preserve
 and
 celebrate
 this
 unique
 art
 form;
 Now,

therefore
be
it


Resolved
 by
 the
 House
 of
 Representatives
 (the
 Senate

concurring),
 that
 it
 is
 the
 sense
 of
 the
 Congress
 that
 jazz
 is
 hereby

designated
 as
 a
 rare
 and
 valuable
 national
 American
 treasure
 to
 which

we
should
devote
our
attention,
support
and
resources
to
make
certain
it

is
preserved,
understood
and
promulgated.”



Jazz
 deserves
 a
 place
 in
 our
 classroom,
 and
 every
 student
 should
 have
 a
 chance
 to

experience
 playing
 this
 wonderful
 genre
 of
 music.
 It
 is
 a
 “rare
 and
 valuable
 national

American
Treasure
to
which
we
should
devote
our
attention,
support
and
resources.”



A
BRIEF
TIMELINE
OF
THE
JAZZ
GENRE:



Ragtime
–
1896

Early
Jazz
–
1917

Swing
–
1930

Bebop
–
1945

Cool
Jazz
–
1949

Hard
Bop
–
1956

Free
Jazz
–
1960

Fusion
–
1969

Smooth
Jazz/Contemporary
–
1980

Mainstream/Eclectic
–
1980

Latin
Jazz
‐
2000







DIFFERENCES
IN
SOUND
BETWEEN
JAZZ
AND
WIND
ENSEMBLE



The
big
band
is
a
specialized
band
that
should
only
have
one
on
a
part.
Because
of
this,

each
player
really
needs
to
understand
his
or
her
importance
in
the
band.
The
size
of
17

players
(5
saxes,
8
brass,
4
rhythm)
has
a
unique
and
more
transparent
sound.
The

blend
and
balance
will
obviously
be
different
with
one
person
on
a
part.




The
jazz
wind
player
needs
to
have
a
bigger
rounder
sound.
I
always
tell
my
wind
band

to
balance
into
each
other’s
sound,
but
it
is
not
this
way
in
a
jazz
band.
Students
should

balance
toward
the
lead
player
and
listen
down
to
the
string
bass.


Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 3

PA
#3
–
ABC
of
SHSU

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org





The
jazz
drum
set
is
smaller
than
a
rock
band
drum
set,
and
the
cymbals
are
used
to
cut

through
the
ensemble.
In
swing
music,
cymbals
should
drive
the
steady
beat.
In
rock

music,
the
bass
drum
and
snare
drum
should
be
more
important.



The
saxophones
produce
a
larger
and
brighter
sound
(with
specialized
mouthpieces)

with
more
overtones.
I
am
constantly
telling
the
saxophones
in
wind
band
to
balance
to

the
clarinets
–
this
is
obviously
not
the
case
in
jazz
band!




The
brass
all
should
have
a
brighter,
brassier
sound
than
in
a
wind
ensemble.
It
has
been

my
experience
that
trombones
are
not
used
to
playing
loud
with
a
full
sound.
They
have

to
get
used
to
playing
with
this
sound
because
there
are
only
players
in
a
big
band.



The
set
up
of
the
band
is
obviously
very
different.
The
“traditional”
jazz
set
up
has
all

instruments
facing
the
audience,
creating
a
big
wall
of
sound.










JAZZ
ARTICULATIONS

There
are
5
main
jazz
articulations
used
commonly
in
jazz
music:






















Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 4

PA
#3
–
ABC
of
SHSU

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org



NOTE
LENGTH
DIAGRAM

If
a
student
is
primarily
a
visual
learner,
this
diagram
is
helpful
because
they
can
see

how
long
each
note
should
be
held.






Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 5

PA
#3
–
ABC
of
SHSU

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org



TOLSON’S
12
JAZZ
COMMANDMENTS
–
THE
JAZZER’S
DOZEN

Dr.
Tolson
is
a
jazz
pianist
who
teaches
at
the
University
of
Louisville
and
at
the
Jamey

Aebersold
Summer
Workshop.
Added
are
the
rhythms
that
he
describes.
This
will
be

beneficial
to
students
to
keep
in
their
folder
for
stylistic
reference.



1)
Any
quarter
note
or
eighth
note
followed
by
a
rest
is
played
(or
sung)
short.
If

not
followed
by
a
rest,
then
they
are
played
long
unless
the
following
rules
apply:






2)
Quarter
notes
that
occur
on
downbeats
of
1
or
3
are
usually
played
long
&


3)
Quarter
notes
that
occur
on
downbeats
of
2
and
4
are
usually
played
short.








4)
Quarter
notes
(or
the
equivalent
thereof)
that
occur
on
an
upbeat
between

two
eighth
notes
(or
rests)
are
played
short.






5)
All
upbeat
entrances
after
a
rest
should
be
anticipated
with
an
accent.






6)
A
succession
(three
or
more)
of
quarter
notes
(or
equivalent)
on
consecutive

upbeats
are
usually
played
too
long.






7)
Two
eighth
notes
followed
by
a
rest
are
articulate
with
the
syllables
doo‐dot.







Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 6

PA
#3
–
ABC
of
SHSU

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org



8)
In
a
line
of
eighth
notes,
accent
the
highest
note
and
any
wide
leap
changes
of

direction,
and
ghost
(swallow)
the
lowest
note.






9)
Triplet
eighth
notes
are
usually
articulated
by
slurring
the
first
two
and

tonguing
the
last
one.








10)
Any
note
longer
that
a
dotted
quarter
note
moves
dynamically
up
or
down

and
is
played
long.






11)
Dynamics
in
a
line
of
eighth
notes
usually
follow
the
direction
of
the
line.






12)
All
three
notes
of
a
quarter
note
triplet
are
played
long.




















Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 7

PA
#3
–
ABC
of
SHSU

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org



TEACHING
SWING
TO
THE
YOUNG
JAZZ
BAND



I
have
found
that
students
enjoy
playing
the
rock
genre
more
than
swing
because

students
have
grown
up
with
that
specific
sound.
The
swing
genre
takes
more
time
to

develop,
simply
because
students
haven’t
been
accustomed
to
vocalizing
this
type
of

genre.
For
this
reason
I
teach
the
swing
style
first,
and
then
the
rock
song
can
be
a

‘reward’.
Students
want
to
play
what
they
feel
comfortable
with,
and
hopefully
we
as

directors
can
get
them
to
feel
comfortable
with
swing.
Refer
constantly
to
“Tolson’s
12

Commandments”
on
the
previous
two
pages,
as
they
will
be
present
in
every
swing

chart.





HOW
TO
STYLIZE



They
only
way
the
director
can
begin
to
feel
more
comfortable
with
jazz
is
to
actually

sing,
play
and
learn
with
the
students.
Sing
various
folk
songs
and
make
them
jazzy!
(As

found
on
the
student
SWING
worksheet.)
Directors
must
challenge
themselves
to
feel

comfortable
in
the
language
in
jazz.




STEP
1
–
LISTEN
TO
A
QUALITY
SWING
RECORDING.


Listening
is
the
most
important
element
in
jazz.
Have
students
tap
their
foot
along
with

the
music
so
they
can
really
identify
the
steady
beat.




STEP
2
–
ACHIEVING
SMOOTH
EIGHTH
NOTES.




This
is
what
students
see
in
their
music:






This
is
what
they
should
play:






Play
a
simple
Bb
Concert
Scale
and
have
the
students
tongue
very
lightly
on
each
eighth

note.
The
biggest
mistake
I’ve
found
for
young
jazz
groups
is
that
they
cannot
smooth

out
their
eighth
notes.
They
tend
to
clip
2nd
one
resulting
in
a
“doo‐dit,
doo‐dit”

articulation.
Encourage
them
to
make
the
notes
long!
Also
teach
the
students
that
the

last
note
in
a
phrase
is
played
with
emphasis.






STEP
3
–
HAND
OUT
THE
SWING
SHEET
(ON
NEXT
2
PAGES)

Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 8

PA
#3
–
ABC
of
SHSU

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org



SWING!
NAME


 
 
 
 
 

 
 DATE
 
 
 
 





Swing
music,
also
known
as
big
band
music,
became
popular
in
the
1930’s
as
fun

dance
music.
Its
roots
belong
to
the
classic
New
Orleans
Jazz
Style
that
provided
a

great
connection
to
the
people.
Individual
musicians
have
the
chance
to
improvise

melodies
in
songs.
Swing
dancing
also
became
popular
at
this
time.



Swing
music
is
different
than
other
styles
you
have
hard
before.
The
notes
are

“swung,”
which
means
the
1st
eighth
note
is
longer
than
the
second
and
should
be

relaxed
and
bouncy:









Similar
rhythm
to


Swing
music


 
 
 
 








How
notes
should
be
felt



How
notes
are
written

in
your
music


Articulations!






















Sing
the
first
example
of
Mary
had
a
Little
Lamb
and
DO
NOT
swing
the
melody.

Notice
where
the
accents
are
placed
when
we
do
not
swing:











The
accents
are
on
1
and
3
when
we
do
not
swing.


Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 9

PA
#3
–
ABC
of
SHSU

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org





Let’s Swing!!


Another
way
to
see
the
swinging
beat
is
to
write
the
melody
in
12/8
time.
There
are

12‐8th
notes
per
measure.
Practice
singing
the
melody
with
the
articulations
that
are

written:























Now
write
in
accents
for
Mary
Had
a
Little
Lamb
in
4/4
time:












Play
it!!
(Remember
to
keep
the
eighth
notes
smooth)





The
following
melody
is
Bah
Bah
Black
Sheep
–
write
in
all
the
accents


needed
fit
in
the
swing
style:





















Now
Play
it!!



Great job! You’re on your way to becoming a jazz cat 

Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 10

PA
#3
–
ABC
of
SHSU

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org



STEP
4
–
TRY
DIFFERENT
RHYTHMS
IN
A
VARIETY
OF
WAYS:



Try
the
following
rhythms,
either
sung
or
played
on
your
instrument
on
a
concert
Bb.

Start
by
having
the
drummer
play
a
steady
swing
beat
and
sing
the
first
rhythm
written

below.
All
students
(including
the
bass
and
piano)
should
sing
back
with
correct

articulation
–
including
the
drummer.
Do
this
as
many
times
as
it
takes!








These
are
just
a
starting
point
to
making
up
your
own
rhythms.
Have
fun
with
it!!



When
the
drummer
feels
confident
with
their
swing
beat,
have
them
add
the

improvised
rhythm
on
the
snare
drum.




Another
idea
is
to
go
around
the
room
and
have
each
student
make
up
their
own
1

measure
rhythm
that
the
band
will
sing
back
and
then
play.
Encourage
them
to
do
this

because
this
is
a
stepping
stool
towards
improvisation.
Stress
the
importance
that

EVERYONE
must
do
it.
Conquer
their
fears
at
an
early
time,
or
they
will
never
want
to

volunteer
for
rhythms.






STEP
5
–
Bb
BLUES
SCALE
WARM
UP

I
have
written
out
the
Bb
Blues
Scale
and
accompanying
rhythmic
elements
in
order
to

learn
the
scale,
work
on
intonation
throughout
the
ensemble,
and
get
exposed
to
jazz

rhythms
that
they
will
see
in
their
music.




Middle
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Steps
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Stylizing
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Young
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 11

PA
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Bb Blues Scale Warmup

Scale built on 1, b3, 4, #4, 5, b7, 8 D. Miller

! #' '
Swing q = 120
# #' ' (' '
Flute " # !! '

$! ' $' ' (' '

Alto and Bari Saxophone " !' #'

' $' ' #' '

#'
"" !
! '
Tenor Saxophone

! '
Trumpet and Clarinet " !! ' #' ' $' ' #'

' #' '

Horn in F " # !! ' #' ' ('

% #! ' #' '

Trombone " # !' #' ' ('

#! ' (' ' #' '

Piano # " # ! '
#'

% ## ! ' ' (' ' #' '

Bass ! #'

Swing q = 120
' #' #'
! #' #' #' ('
Drum Set & !
The wind part is written for you
fill accordingly
Middle
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Jazz!
Steps
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Stylizing
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Young
Ensemble
 12

PA
#3
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ABC
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!
2
A
"" & ( "(
8
& '& "& "& ( "( ( '(
Fl. !"

# '& & #& '& "& ( #( ( '(

Alto Sax. ! ( "(

"& & #& '& ( #( ( "(

"& ( "(
Ten. Sax. "!

!
Tpt. ! "& & #& '& "& ( "( ( #( ( "(

"& & ( "(

Hn. !" '& "& "& ( "( ( '(

$ "" " & & ( "(

"
Tbn.
'& "& "& ( "( ( '(

" "& & '& "& "& ( '( ( "(

Pno. #!
" ( "(

Bs.
$ "" " & & '& "& "& ( "( ( '( ( "(

"&
A
& & "& "& "( "( " ( '( ( "(
Dr. %
Middle
School
Jazz!
Steps
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Stylizing
the
Young
Ensemble
 13

PA
#3
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ABC
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! &$
3
"& "& B
&$
-4
+ * +
16 -4
" " ' & (& "& "& ' *) " ) ) ()
Fl. !

# &$
-4
(& (& * + * +
&$
-4

Alto Sax. ! ' & #& (& " & ' ) " ) ) #)

&$ (& " &

&$
+ * +
-4
& #&
-4
(& " & ' *) " ) ) #)
"!
Ten. Sax. '

! &$
-4
+ * +
-4
' (& " & ' * " ) ) #)
! & #& (& " & &$ )
Tpt.

&$ * + * +
-4 -4

Hn. !" ' (& " & & (& "& "& &$ ' ) " ) ) ()

&$
-4
"& "& * + * +
&$
-4

Tbn. "
$ " " ' & (& "& "& ' ) " ) ) ()

&$ "& "&

&$
-4
+ * +
-4
" & (& "& "& ' *) " ) ) ()
Pno. # ! " '

$ "" & $
-4
"& "& * + * +
&$
-4

Bs. ' & (& "& "& ' ) " ) ) ()

"&$ "& "& B

"& $
-4
+ * +
-4
' & & "& "& ' " *) " ) " ) ()
Dr. %
fill fill
Middle
School
Jazz!
Steps
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Stylizing
the
Young
Ensemble
 14

PA
#3
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ABC
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!
4
( *) '& " &( ' ( ' C , ,
' " & & +& " & " &( *) '& "*& '& +*& &-( . / '& "*&" '& +*& &-( . /
22
" &
Fl. !"

# '& +&( *) '& +&( ' *

& #&( +&' " &( ) ,( ,(
'& "*& &'#*& &- . / '& "*&+&'#*& &- . /
Alto Sax. !

'& " &( *) '& " &( ' ( ' ,( ,(

& #& +& " &( * '& "*& '&#*& &- . / '& "*&+'&#*& &- . /
"!
Ten. Sax.
)

! ' ( * '& " &( ' ( ' ( * ' * ' * ,(0 ' * ' * ,(0
Tpt. ! & "& ) & #& +& " & ) & " & &#& &
. / " &+&#& & . /
&

'& " &( ' ( ' ( * ' * ' *, ' * ' *,

'& " &( *) & +& " & " & ) ( (
Hn. ! " & " & & +& &- . / & " &" & +& &- . /

( * '& " &( '

$ "" '& " & ) & +&( " '& " &( *) ,( ,(
'& "*& '& +*& &- . / '& "*&" '& +*& &- . /
Tbn. "

" '& " &( *) '& " &( ' ( '

& +& " & " &( *) , ,
'& "*& '& +*& &-( . / '& "*&" '& +*& &-( . /
#!
Pno. "

( * '& " &( ' * ,( ,(

Bs.
$ "" '& " & ) & +&( " '& " &( ) '& "*& '& +*& &- . / '& "*&" '& +*& &- . /

'& " &( " *) " '& " &( '& &( " '& " &(
C
' "*&" '& +*& &,( ' "*&" '& +*& &,(
Dr. % "*) "& - . / "& - ./
Middle
School
Jazz!
Steps
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Stylizing
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Young
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 15

fill fill
PA
#3
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ABC
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SHSU

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! "" '&" & & & &*) , - '&" & & & &*) , - & .&" &" & &*) , - & .&" &" & &*) , -
5
( '(
27 ( '(
Fl. ! + + + +

# '& .(& '& (& &*) , - '& .(& '& (& &*) , - &#&.&" & *)/ , - &#&.&" & *)/ , -
Alto Sax. ! + + & &

'&" (& '& (& &*) '&" (& '& (& &*) & * & *
+ , - #&.&" & &) , - #&.&" & &) , -
"!
+,-
Ten. Sax. + +

! ' ( ' ( *)
" & & & / , -
' ( ' ( *)
" & & & /, - *)
, -
*)
Tpt. ! & & & & &#&.&" & &/ &#&.&" & &/ , -

' "(& '& (& &*) ' "(& '& (& &*) *) *)
!" & & & / & /
Hn. +,- + , - .&" &" & & , - .&" &" & & , -

' "(& '& (& &*) ' "(& '& (& &*) *) *)
$ & & & / & /
Tbn. " "" +,- + , - .&" &" & & , - .&" &" & & , -

'
&" (& '& (& &*) '
&" (& '& (& &*) & .&" &" & &*) , - & .&" &" & &*) , -
"
Pno. # ! " + , - + , -
+ +

( '( ( '( *) *)
$ "" '& " & & & &*) , - '& " & & & &*) , - & .&" &" & &/ , - & .&" &" & &/ , -
Bs. + +

'&" (& " '& (& &*) '&" (& " '& (& &*) & &" &" &" &*) , - & .&" &" &" &*) , -
% +,- + ,-
Dr.
+ +
fill fill fill fill
Middle
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Jazz!
Steps
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Stylizing
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Young
Ensemble
 16

PA
#3
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ABC
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D &( , *& &

! "" & " & & '& &" & & & " & & '&" &" & &( *
6
31 ( *
) -3 "&
Fl. ! ) *
) + -

# &# & & '& &( & '& &#&'& ( * * ) * -3 &( ',& *& &
Alto Sax. ! & " & " & & ) ) + -

&# & &" & ( &" &

& &# &'&
*
) -3 &( " ,& *& &
" & " & ( * *
"!
Ten. Sax.
& & ) ) + -

! &( " ,& *& & -

-3
! & " & ( & "&
& & ( * *
) * +
Tpt.
& " & &# & # &'&" & & ) )

& " & ( & "&

& & ( * *
'&" &" & & ) )
* -3 &( " ,& *& & -
Hn. ! " & " & & '& ) +

$ & " & ( & "&

& & ( * *
) * -3 &( " ,& *& &
Tbn. "
"
" & " & & '& '&" &" & & ) ) + -

" & '& &" & ( &" &

& & '&" &
*
) -3 &( " ,& *& &
Pno. # ! " &
" & " & ( *
& ) *
) + -

( ( * *
$ "" & " & & '& & " & & & " & & '&" &" & & ) )
* -3 &( " ,& *& &
Bs. ) + -

D
(
&" & " & " & " & & "*
) -3 " &( " ,& *& &
" &" & '& &" &" &" &( "* "*
Dr. % "& ) ) + -
fill create your own fill
Middle
School
Jazz!
Steps
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Stylizing
the
Young
Ensemble
 17

PA
#3
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ABC
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SHSU

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! "" & " & )& & * & +&" &" & &', . * " &' " (& )& & * & & & * & $ &- /
7
' (
36 ' ' ' ( '
Fl. !
-

# &' +(& )& & * &#&+&" & ',0 . * ' " (& ) * &' &' &' * (& $ &-' /
Alto Sax. ! & +& & &

&' " (& )& & &' &' &' (& $ &'
&#&+&" & ', ( )
& . * +&' " & & & * -/
"!
* *
Ten. Sax. -

! '& " (& ) *

&#&+&" & &0 . * + &' " & )& & * & & & * & $ &- /
', ( ' ' ' ( '
Tpt. ! &&

' " (& )

& ',
0 ' () ' &' &'
& (& $ &'
Hn. !" & & &
* +&" &" & & . * +& " & & & * * -/

' " (& )

& ', ' () ' &' &'
& (& $ &'
$ & & & 0
Tbn. " "" * +&" &" & & . * " & " & & & * * -/

' " (& )

& ' ) ' &' &'
& (& $ &'
" & & & (
Pno. # ! " * +&" &" & &, . * " &' " & & & * * -/
-

& & * & +&" &" & & . * " & " & & & * & & & * & $ &- /
' " (& )
& ',
0 ' () ' ' ' ( '
Bs.
$ ""

" &' " (& )& & & ' ( ) " &' &' &' " (& $ &'
* &" & ,
" &" & . * " &' " & & & * * -/
Dr. % -
Middle
School
Jazz!
Steps
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Stylizing
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Young
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 18

PA
#3
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! *& $
8
41
" " '& '& '& " '&
-3
" & & +& & "& & &
Fl. ! " ( ) &

# +'& ) *& $ +& & &

'&
-3
'& " '& " & & # & &
Alto Sax. ! ( &

" '& '& '& " '& -3 *& $ & # & & "& & &
" &
"!
Ten. Sax.
( ) &

! ' ' ' *

) &$
-3
' "& & &
Tpt. ! "& & & "& ( & " & & # & &

'
" '& ) *& $
-3
" '& '& " & " & & +& & "& & &
Hn. ! ( &

" '& ) *& $ "& & &

'&
-3
$ '& " '& &
Tbn. " " " ( & " & & +&

'
""& '& '& " '&
-3
*& $ " & & +& & "& & &
#!
Pno. " ( ) &

) *& $
' '&
-3
"& & &
Bs.
$ "" " & '& " '&
( & " & & +& &

" '& '& " '& " '& -3

*& $ " & " & +& & "& "& &
Dr. % "( ) "&
Middle
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Jazz!
Steps
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Stylizing
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Young
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 19

PA
#3
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! *& $
9
44
" & '& " & " & ( ( -3

Fl. !" ) ( +

) *& $
-3
# & #& '& " & (
Alto Sax. ! ( ( +

& #& '& " & ( *& $ -3

"!
Ten. Sax.
( ) ( +

! * -3

! & #& '& " & ( ( ) &$ +

(
Tpt.

) *& $
-3
(
Hn. ! " & '& " & " & ( ( +

) *& $
-3
$ "" & '& " & " & ( (
"
Tbn. ( +

" & '& " & " & ( ( *& $ -3

Pno. # ! " ) ( +

) *& $
-3
$ "" & '& " & " & ( (
Bs. ( +

& & "& "& "( "( *& $ -3

Dr. % ) "( +
Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 20

PA
#3
–
ABC
of
SHSU

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Flute
Bb Blues Scale Warmup
Scale built on 1, b3, 4, #4, 5, b7, 8 D. Miller

#
Swing q = 120
$ %$ $ #$ $ #$ $ %$
" # !! $ #$

11 A
& #& &! -4
#& #& & %&
" ## # $ #$ & #& & %& '

* +& )( # (* ) * )
&!
B
19
# #& #&
-4
* ) * )
( # ( ( %( # ( # (* +&
"# ' )( # ( ( %(

25
# ) #+( )(%+( (,*
C ,
)( #+( # )( %+( (-* . ' )(# +( )( +( (,* )(# +( )( +( (,*
"# ( - . ' - . ' - . '

29
, , # ( , (# (
( +&
( (
# %(# (# ( (* . ' %(# (# ( (* . ' (# ( (%( ( (%(# (# ( (, +&
"# - -

, + (, # )( +( (
# )( ( (
D(
34
, )+
' (%(# (# ( (* . ' # (, # ( ( ( '
-3
#
" # +& / '
-

,
( (, (, )( ! (, # )( )( +!
)( # )(
39 -3

"#
# ' - / & . (

43
# ( %( ( # ( ( ( ( %( # ( # ( & +( ! -3

"# ( # ( & . & /

Middle
School
Jazz!
Steps
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Stylizing
the
Young
Ensemble
 21

PA
#3
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ABC
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SHSU

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Alto and Bari Saxophone Bb Blues Scale Warmup

Scale built on 1, b3, 4, #4, 5, b7, 8 D. Miller

Swing q = 120
#! $ &$ $ &$ $
" !$ %$ $ #$ #$

'!
A -4
11
# &$ ' #' ' &' &' &' ' #'
" %$ ' %' (

* + * + *) &)+ ,'
B *) &)+ *
) #)+ &*) % )+ ,'
'!
19 -4
# &' % ' ( ) % ) ) #)
"

*) &,) *) ,) )-+ *) &,) *) ,) )-+

C
# * , *)#,) )-+ -+
25

" ) %) . / ( *) %,) &*)#,) ). / ( . / ( . / (

# )#)&)% ) -+0 / ( )#)&)% ) -+0 / ( % ) )#) )&) )- )&) )#)&)% ) - , ,'

29

" ) ) ) ) '

) &*) ,) ) -+ - *,
D-
#,
34 -3
)- &*) ,) ) )# )&) 0
" ' 1 ( ( % ) ) / ( &) % ) ) ) (

*) !
# )- / ,) !
)- )- )- &*) *)
39 -3
( . 1 *) % *)
" '

/ ,) !
&) ) ) ) #) &) '
43 -3
# ) # ) )
" ) % ) %) ' ' 1
Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 22

PA
#3
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ABC
of
SHSU

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Tenor Saxophone
Bb Blues Scale Warmup
Scale built on 1, b3, 4, #4, 5, b7, 8 D. Miller

Swing q = 120
# %# # $# # $# # %#
$#
" !! #

11 A
' $' '! -4
&' $ ' ' %'
&# $# ' $' ' %' (
"

* $ + ,'
) *) $ )+ * + *
'!
B
19
&' $ '
-4
+ *
) % +
) ) ) %) &) $ )+ ,'
" ( *) $ )

C -+ )-+ *)$ ,) *) ,) )-+ *)$ ,) *) ,) )-+

*) $,) *)%,) ). / ( *) $,) &*)%,)
25

" . / ( . / ( . / (

29
)%)&)$ ) )-+ )%)&)$ ) )-+ )% ) )$ ) )- ) $ ) )%)&) ,'
/ ( / ( )$ ) - ,
$) ) '
" . .

D )- $ *) ,) ) )- $ *) ,) ) )%)&)$ ) )-+ &)- $ *) ,) ) (

34
,
-3

" ' 0 ( ( . / (

39 )- )- )- *) ! )- $ *) *) *) $ *) -3 ,) !
( . 0 ' /
"

43
) % ) ) $ ) ) ) ) %) &) $ ) ' ,) ! -3
$ )
" ) ' / ' 0
Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 23

PA
#3
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ABC
of
SHSU

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Trumpet and Clarinet

Bb Blues Scale Warmup
Scale built on 1, b3, 4, #4, 5, b7, 8 D. Miller

Swing q = 120

" !! # %# # $# # $# # %#
# $#

' ! ( &' $ '

11 A -4

" &# $# ' $' ' %' ' $' ' %'

B
+ * + * + ,' *) $ )+ * + * + ,
19 -4
*
'!
" &' $ ' ( $)
) $ ) ) %) ) ) %) &) $ ) '

25
* , * , -+.
C
* , * , -+. * , * , -+ * , * , -+
. .
" ) $ ) )%) ) / ( ) $ ) &)%) )
/ ( ) $) ) ) ) / ( ) $) ) ) ) / (

29
-+ -+ - )$ )
) - , ,'
" )%)&)$ ) ). / ( )%)&)$ ) ). / ( $ )
) $ ) )%) ) )%)&)$ ) ) '

D *,
)- $ *) ,) ) ( )- $ ) ) ) ( )%)&) -+. / ( - * , (
34 -3

" ,' 0 $) ) & ) $) ) )

*) ! * * * ,
/ )!
39 -3
-
) )- )- ( )- 0 $ *)
" 1 ) ) $) '

, -3
/ )!
43

" $ ) ) % ) ) $ ) ) ) ) %) &) $ ) ' 0

) '
Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 ' 24

PA
#3
–
ABC
of
SHSU

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Horn in F
Bb Blues Scale Warmup
Scale built on 1, b3, 4, #4, 5, b7, 8 D. Miller

Swing q = 120
$ #$ $ #$ $
" # !! $ #$ $ %$ %$

&!
11 A -4

" # #$ #$ & #& & %& & #& ' %& # & & %&

) * ) * )( # (* +& )( # (* ) * ) * +
19 -4 B
" # #& #& &! ' ( # ( ( %( ( %( # ( # ( &

C)+)+, )+)+
(,* . ' )( #+( )( +( (,* . ' )( #+( )( +( (,* . '
25
*
" # ( # ( ( %( (- . ' ( # ( # ( %( - - -

29
,* ,* # ( (, (# ( (%(# ( , + +&
# (%(# (#( (/ . ' (%(# (#( (/ . ' (%( (
" (# ( #( ( &

(, # )( +( ( ' (, # )( +( ( ' (%(# ( ,*/ . ' , ) + '

D
34
+ -3
#
" & 0 #( ( %( # ( ( (

)( ! )
(, (, (, (, 0 # )( . +( !
39 -3
# ' - )( )( # (
" &

. +( !
43 -3
# # ( ( %( ( # ( ( ( ( %( # ( # ( &
0
" ( & &
Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 25

PA
#3
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ABC
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SHSU

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Trombone
Bb Blues Scale Warmup
Scale built on 1, b3, 4, #4, 5, b7, 8 D. Miller

Swing q = 120
" ## ! $ $ #$ $ #$ $
! #$ $ %$ %$

&!
A -4
11
" ## # $ & %& & #& #& #& & %&
#$ & #& '

) * ) * )( # (* +&
B )( # (* )
( %(* # )( # (* +&
&!
19 -4
" ## # & # & ' ( # ( ( %(

)( #+( )( +( (,* )( #+( )( +( (,*

C
" ## )( #+( )( %+( (,* . ' ,*
25

- )( #+( # )(%+( (- . ' - . ' - . '

,* ,* , +
" ## (%(# (# ( (/ . ' (%(# (# ( (/ . ' (# ( (%( (# ( ( (# ( (%(# (# ( (, +& &
29

( # )( +( ( ,* , )+
D,
" ## +&
34 -3
(, # )( +( ( (%(# ( /
0 ' ' #( ( . ' #( #( ( ( '

)( !
. +( !
, (, (, (, # )(
"#( )(
39 -3
' - 0 )( # )(
# &

" ## ( # ( ( %( ( # ( ( ( ( %( # ( # ( & . +( !
&
43 -3

& 0
Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 26

PA
#3
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ABC
of
SHSU

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Piano
Bb Blues Scale Warmup
Scale built on 1, b3, 4, #4, 5, b7, 8 D. Miller

#
Swing q = 120
$ %$ $ #$ $ #$ $ %$
" # !! $ #$

11 A
& #& &! -4
#& #& & %&
" ## # $ #$ & #& & %& '

* +& )( # (* ) * )
&!
B
19
# #& #&
-4
* ) * )
( # ( ( %( # ( # (* +&
"# ' )( # ( ( %(

25
# ) #+(
C
)(%+( (,* ,
)( #+( # )( %+( (-* . ' )(# +( )( +( (,* )(# +( )( +( (,*
"# ( - . ' - . ' - . '

29
, , # ( , (# (
( +&
( (
# %(# (# ( (* . ' %(# (# ( (* . ' (# ( (%( ( (%(# (# ( (, +&
"# - -

, + (, # )( +( (
# )( ( (
D(
34
, )+
' (%(# (# ( (* . ' # (, # ( ( ( '
-3
#
" # +& / '
-

,
( (, (, )( ! (, # )( )( +!
)( # )(
39 -3

"#
# ' - / & . (

43
# ( %( ( # ( ( ( ( %( # ( # ( & +( ! -3

"# ( # ( & . & /

Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 27

PA
#3
–
ABC
of
SHSU

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Bass
Bb Blues Scale Warmup
Scale built on 1, b3, 4, #4, 5, b7, 8 D. Miller

Swing q = 120
" ## ! $ $ #$ $ #$ $
! #$ $ %$ %$

&!
A -4
11
" ## # $ & %& & #& #& #& & %&
#$ & #& '

) * ) * )( # (* +&
B )( # (* )
( %(* # )( # (* +&
&!
19 -4
" ## # & # & ' ( # ( ( %(

)( #+( )( +( (,* )( #+( )( +( (,*

C
" ## )( #+( () %+( (,* . ' ,*
25

- )( #+( # ()%+( (- . ' - . ' - . '

,* ,* , +
" ## (%(# (# ( (/ . ' (%(# (# ( (/ . ' (# ( (%( (# ( ( (# ( (%(# (# ( (, +& &
29

( # )( +( ( ,* , )+
D,
" ## +&
34 -3
(, # )( +( ( (%(# ( /
0 ' ' #( ( . ' #( #( ( ( '

)( !
. +( !
, (, (, (, # )(
"#( )(
39 -3
' - 0 )( # )(
# &

" ## ( # ( ( %( ( # ( ( ( ( %( # ( # ( & . +( !
&
43 -3

& 0
Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 28

PA
#3
–
ABC
of
SHSU

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Drum Set
Bb Blues Scale Warmup
Scale built on 1, b3, 4, #4, 5, b7, 8 D. Miller

Swing q = 120
$# %# # $# $# $# # #
" !! $ # $#
The wind part is written for you
fill accordingly
11
$#
A
$ & %& & $& $&! -4
$& $& & &
" $# $& $& '
fill

* $ +& $ )( $ (* )( (* $ )( *
$& !
B
19
$& $&
-4
* ) * )
( $ (
" ' $ )( $ ( $ ( %( $ ( $+&
fill

25
)
C
$+( $ )( %+( (,* ) $+( $ )( %+( (,* )($ +( $ )( +( (,* )($ +( $ )( +( (,*
" $( - . ' $( - . ' - . ' - . '
fill fill fill fill

, +
( ($ ($ ($ (,* . ' (%($ ($ ($ (,* . ' $ ($ ($ (%( ($ ( $ ( $ ( $ ( ( ($ ($ ($ (, $+& $ &
29

" - -
fill fill

, + $ (, $ )( +( (
$ )( ( (
D $(
34
, )+
' ( ($ ($ ($ (* . ' $ (, $ ( ( ( '
-3

" $+& / '

-
fill create your own fills in the rests!

39 $ (, (, (, $ )( ! (, $ )( )( $ )( $ )( -3
+!
" ' - / $& . (

43
$ ( %( ( $ ( $ ( ( ( ( $( $( $& +( ! -3

" $( $ ( $& . $& /

Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 29

PA
#3
–
ABC
of
SHSU

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Daily Swing Rhythms

Play on your concert Bb D. Miller

$# ! (# # # # $# # $# !
Example 1
!"
! #% ' #% '
& &

(# # # $# # * $# !
5 Example 2
(# #) (# * (# #) (# * #% '
&

+ $# ! + $# !
9 Example 3
#% #% $# (# #% ' #% #% (# #% * '

(# (# #) (# $# (# #% * $# ! #% '
13 Example 4
(# (# #) (# $# (# #% * $# (# #% '
&
3 3

(# (# #) #% + (# # # $# # * (# (# #) #% + $# !
17 Example 5
, (# #% * '
&
3 3

+ $# ! (# (# (# (# #% * + $# ! (# (# #) (# $# ,
21 Example 6
' '
3 3

(# (# #) (# $# # *
25 Example 7
$# (# $# #% #% ' (# (# (# , * + #&%
3 3
Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 30

PA
#3
–
ABC
of
SHSU

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STEP
6
–
HAND
OUT
THE
PIECE
OF
MUSIC



1)
Identify
the
style
–
is
it
swing,
rock,
a
ballad?
Ask
students
if
they
can
identify
certain

characteristics
of
each
style.



2)
Go
over
the
road
map
of
the
piece

Are
there
any
repeats?
D.S.
al
Coda?
Who
will
play
at
the
solo
section?



3)
Find
Unison
rhythms

Sing
and
then
play
these
on
a
Concert
Bb.
Don’t
move
on
until
EVERYONE
feels

comfortable
and
confident
with
the
rhythms.



4)
The
drummer
should
only
work
on
keeping
a
steady
beat
for
the
first
run

through.
Fills
will
come
with
time.



5)
Solo
Section
–
Write
out
the
chord
symbols
for
every
instrument
so
everyone
has

a
chance
to
solo.




6)
Don’t
be
afraid
of
wrong
notes
in
the
first
readings.
Focus
on
style,
dynamics,
and

articulation.



PHRASE
MARKINGS

What
does
the
giant
slur
mean??



I
have
often
been
confused
on
slur
markings
versus
phrase
markings.
It
is
up
to
the

director
to
decide
on
articulations
that
happen
under
a
big
phrase
mark.
Recordings
can

help
tremendously
when
making
these
types
of
decisions.



Here
is
an
example
of
what
we
commonly
see
in
scores:



Written:




This
is
an
idea
of
what
could
be
played:




Your
students
can
also
help
determine
articulations.
Play
it
in
a
variety
of
ways
to
see

which
articulation
fits
the
best.

Middle
School
Jazz!
Steps
for
Stylizing
the
Young
Ensemble
 31

PA
#3
–
ABC
of
SHSU

Page from Bandworld Magazine Online Edition • More info on Bandworld Magazine @ www.bandworld.org