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Table of Contents
Preface
Chapter 1 - Rationale
What IsJaz 14 Rationale for the Adoption of Jazz Programsin the University,
15. Who Should Teach Jazz? 23
Chapter 2 - The Jazz, Curriculum
Problems To Be Faced, 32 The Jazz Curriculum, 35
Chapter 3 - Teaching The Courses In The Jazz Curriculum
General Considerations, 47 The Importance of the Far, 48 Student Attitudes,
50 Listening Habits of Jazz Students, 53 Teaching the Courses, 55. History of
Jazz, 56 Jauz Theory, 58 Jazz Piano I, 63 Jazz Piano Il, 65 Jazz Improvisation
1, 69 Jazz Improvisation I, 71 Requirements for Becoming a Good Jazz
Improvisor, 76 Essential Patterns and Licks, 78 Analysis of Jazz Styles, 82
Devices Commonly Found in Improvised Solos, 85 Jazz Composition and
Arranging, 94 Jazz Arranging II, 94 Advanced Improvisation, 96 ‘Tempo
Study, 99 Instructions for In Class Performance, 102 Preparing A Tune For
Performance, 104 Jazz Pedagogy, 108 Lecture Series by Jazz Pedagogy
Students, 111 Suggestions for Handling Jazz Ensembles, 115
Appendix
Orientation for Studio Music And Jazz Majors, 127. Perspectives on Being a
Studio Musician And Jazz Major, 131 To My Jazz Piano Students, 133 On
Learning Music by Howard M. Roberts, 135 Afterword, 144 Harmonization
and Reharmonization Techniques, 156 Chord Substitutions, 159 An Office
Inventory for Jazz Education, 161 Proficiency Requirements for Studio Music
and Jazz Majors, 163 Guidelines for Jazz Recitals, 165 Mayday... From the
Locker Room at Half-Time
Preface
I truly love jazz music, and I have felt that way all my life. I was
~_ |lessed with parents and an older brother who were jazz musicians (my
jrother Jack still is), and who guided me musically and personally in
ty quest for a life in that music. Their living examples; their profes-
sional acquaintances and colleagues; their record-listening to great
collections; and their care and feeding of my ears, mind and spirit,
‘aused my discovery of jazz to be as natural as breath itself The
ilecision to make the music my life was my own doing, but without
- {heirexample, 'm notsure that I would have received the full exposure
{o jazz needed to reach the point of having a choice presented to me.
Micr all, by the time I was old enough to study music (1940), the
enormously popular swing era of jazz was waning, to be replaced by the
complex, esoteric style of bebop’, a style of jazz that was not likely to
become a part of my environment without help from those around me.
My grade school, junior high and high school, even the university I
atiended certainly did not expose me to jazz (though many of my
fellow students at the university were playing jazz, there were no
courses or much of any other use of that music). Although Iwas given
an innovative, genius level art form which should have marked the transition of listening
onment from night club to concert stage, just as virtuosity in classical music deserved a
a le Tie tek nan he knee ealPREFACE,
the opportunity to study piano privately and placed in the school band
on clariner before I was a teenager, John Thompson piano methods
Television wasn't in
and concert band music were devoid of je
popular use yet, tape recorders hadn't been invented, jazz records were
scarce, and so radio was about the only common medium for hearing
jazz. (and compared to today's programming of rock music, jazz was
relatively scarce on radio as well). But radio enabled me to hear my
father soloing with various bands, or an occasional live broadcast of
Benny Goodman or Woody Herman; and there was onelate night jazz
disc jockey in nearby Chicago named Dave Garroway (later the
originator of NBC’s Today Show) who played good jazz recordings and
offered insightful commentary. By the time of my llth birthday, | Anew
I wanted to be a jazz musician, and started playing professionally six
months later. At this point, my parents decided to send me to a great
jazz. saxophonist-teacher, Junie Ferrell, luring me there by telling me
that he could play the entire Coleman Hawkins solo on “Body and
Soul” (recorded in 1939 and very much in my attention at the time)
from memory, Junie became my jazz guru, teaching me
axophone,
improvisation, saxophone section playing, composition, and arrang-
ing, over the next seven years. He was an excellent role model, too. He
loved jazz, played beautifully, was a tasteful arranger, and an extremely
dedicated teacher. When the time came, he sent me to another teacher,
Santy Runyon, for the next stage in my development.
How different it is today for the would-be student of jazz musi
Though still far from the ideal, the world’s awareness of jaz
an arc
form has been permanently established. Recordings abound in such
numbers, made and consumed all over the globe, that it has become
impossible for a single individual to hear them all. Jazz ensembles,
some astoundingly good, exist in many public school systems, and
publishers of compositions and arrangements for those ensembles are
numerous. There are many books on jazz, some for each level of abi
and understanding, At this writing, there are 540 jazz tunes and about
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PREF
100.
which jazz students can practice. Most major cities have radio stations
cise tracks on accompaniment recordings (play-a-longs) with
that play jazz at certain hours. Public television stations program jazz
performances. Grants arc available for studying and creating jazz
nusic. There are instructional video tapes in jazz. Festivals, lectures,
slinics, workshops, summer camps, and visiting artists in jazz are
wwailable daily somewhere in the world. Most universities today offer
college credit for at least one jazz course. A jazz history course in a large
university is likely to have 50-250 students enrolled for the course.
Degree programs in jazz, are offered in about 100 universities at
present, and more new programs are begun each year. Approximately
20 universities offer jazz study at the Master of Music degree level.
Membership in the National Association of Jazz Educators has in-
creased, numbering in the thousands. That organization has annual
conventions of impressive size and activity, and publishes its own bi-
monthly journal.
At the time of my growing up, no one could have foreseen that
there would someday be an occupational field of jazz education, with
ts attendant degree programs, books, methods, and its large number
of participants; students, teachers, and businessmen (publishers,
agents, organizers, etc.). I presumed, even as my students do today,
that my love and effort in studying jazz. would pethaps reward me with
Alife in professional music, as a performer and/or acomposer/atranger.
1\ was a hard blow, then, to discover that although I loved the music,
| didn’t like the life, at least not altogether. Traveling and living out of
‘suitcase can get old in a hurry. The business of music (money, agents,
ng
‘family on the road seemed impossible. The road life left little or no
inanagers, clubowners, etc.) wasn't my “bag”. The thought of r:
time for practicing, jamming, rehearsing, reading, composing, and
listening to other groups and records. Even good health was difficult
to maintain. I quickly learned that carning an acceptable income in
jazz involved going on the road to promote my records in order to
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