Implementing Systems - WMEA Article

An overview of systems...fostering improvisers

Welcome back to another year of teaching music! I am humbled to be serving as your newly elected WMEA Jazz Curriculum Officer for 2010-2012. As you know, the Northwest has a long and strong tradition of producing high quality student ensembles and boasts some of the finest jazz teachers in the world. I hope to do my part to keep that fire burning brightly by offering additional ideas, resources and enthusiasm to the state of jazz in Washington.

This year, I have been asked to write some instructional articles. I trust these ideas may be helpful when implementing new systems into your jazz rehearsals. The primary focus of my efforts will be on helping to create more confident jazz improvisers.

Here is what I plan to cover in the articles for the year ahead:

October (this article)–An overview of systems designed to start the year off right by fostering improvisation into ensemble rehearsals

January–Solo Transcription: How to get the project off of the ground

March–Improvisation Approaches: How to be successful with the tools you have for now and with the students you have now

May–Useful resources gathered from some of Northwest’s best jazz teachers and jazz players. This list will be useful for summer growth as a player and teacher. Topics will include books, software, websites, podcasts, magazines, etc.

Systems for building and maintaining jazz improvisers

I’m a big fan of systems. I’ve noticed that even the furniture in my rehearsals can have a bearing on the ease with which jazz can be taught (or learned). Ask yourself, for example, is there a working PA always ready? Are your students encouraged to have their own iPods (or CD players or laptops) and earphones always on hand? Can recordings be played back in the different rehearsal rooms easily? Do you ever have jam session days where the group sits in a circle (new seating is a great way to spur creativity and heighten brain function) and sings along with a play-along (including rhythm section players)? I try to encourage my students to think about their thinking–what’s making them want to practice –do more of that!

Following are some areas that should be addressed by jazz musicians wanting to grow, develop, learn and have fun–the list is one of my favorite systems:

Form combos

Smaller groups allow for more solo time for each of the individual players/singers. Sometimes the format of a larger group can be too intimidating for kids to be able to relax and explore–I find this especially challenging with all of our deadlines of impending performances. If you can find a way to have a double rhythm section, it will help everyone. Audition for two basses, two drummers, two harmony players or more. Let go and give the students some rehearsal time to get these small ensembles rolling. Sometimes all of the scheduled large group performances and contests can really diminish the learning for the individual players.

Play gigs

On the other hand, as you know in the world of homework (and/or taxes), there is no better motivator than a DEADLINE. Whether it’s a loose jam session, preparing to sit in at a local club on one tune or putting together an entire gig–having a deadline may light the fire. At Edmonds-Woodway, the students have established several working groups that have consistent instrumentation and repertoire. When offers for performances come in, I pass the lead along to the leader of a combo and see if they’re interested in playing. If they can’t do it, I’ll pass it along to another student who has shown some interest…and voila, a new combo may be born.

Learn tunes

Memorize lyrics and melody, then move onto chords, etc. Think about keeping a tangible list of songs you know and love (more about this in the January article).

Transcribe!

Listen to recorded performances repetitively and imitate them. Intentional listening and the benefits of transcription will be discussed in depth in the January article.

Improvise daily

Improvise alone and/or in groups. Sing or play with the radio, iPod or YouTube as often as you can without driving those you love crazy! I recently read Outliers by Malcom Gladwell. He proposes that success is basically attributed to 10,000 hours put into an activity.

Go to the show

Attend live performances as often as possible with and without your students. An ounce of inspiration may be worth a pound of perspiration when it comes to getting students to want to improvise.

Learn piano

Work on your music theory knowledge base and ear training; sit at the piano and drill intervals, melodic and harmonic chords, learn one good voicing for a ii-V-I on the piano or guitar. Ear training is sadly missing from many general music experiences in America; plan this into your practice or rehearsal routine.

Master the basics

Work on your technique with a private teacher. Musicians can take lessons from musicians who don’t play their instrument, too (tone, range, air support, chords, arpeggios, scales, rhythm reading and rhythmic dictation, diction, etc.).

Keep a listening journal

Learn a little about jazz history and the great American tradition of improvising. Have students keep a journal of definitive recordings that you play for them in class. This is a great way to build and hook new audiences for the future consumers of our art form.

For each of the items in this list, a special college course (or several) could be taken. As that is not realistic, consider referring to the list when planning.

That’s it for now. Enjoy the journey and celebrate your successes. Please let me know if you have questions or comments or need support from WMEA regarding jazz instruction. Please send feedback or questions to me via email at jazz@wmea.org.