Study Guide: Hangin

2011-2012 WELLS FARGO PERFORMING ARTS SERIES FOR STUDENTS MONTALVO ARTS CENTER
Jazz Reach featuring METTA QUINTET
Hangin With The Giants
Tuesday, January 31, 2012 | 9:30am & 11:30am

Recommended for Grades: K-6 Curriculum Connections: History-Social Science: African American History; VAPA: Music
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Study Guide
A Performing Arts Series for Students
Hangin with the Giants

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ABOUT OVERTURE CENTER FOR THE ARTS

Overture Center for the Arts fills a city block in downtown Madison with world-class venues for the performing and visual arts. Made possible by an extraordinary gift from Madison businessperson W. Jerome Frautschi, the center presents the highest-quality arts and entertainment programming in a wide variety of disciplines for diverse audiences. Offerings include performances by acclaimed classical, jazz, pop, and folk performers; touring Broadway musicals; quality childrens entertainment; and world-class ballet, modern and jazz dance. Overture Centers extensive outreach and educational programs annually serve thousands of Madison-area residents including youth, older adults, people with limited financial resources and people with disabilities. The center is also home to nine independent resident organizations. Internationally renowned architect Cesar Pelli designed the center to provide the best possible environment for artists and audiences, as well as to complement Madisons urban environment. Performance spaces ranging from the spectacular 2,250-seat Overture Hall to the casual and intimate Rotunda Stage. The renovated Capitol Theater seats approximately 1100 and Playhouse designed for live theatre will seat 350. In addition, three multi-purpose spaces provide flexible performance, meeting and rehearsal facilities. Overture art exhibition spaces include Overture Galleries I, II and III, which display works by Dane County artists. Wisconsin Academy of Sciences, Arts and Letters Watrous Gallery displays works by Wisconsin artists and the Madison Museum of Contemporary Art offers national and international artists. Resident organizations Kanopy Dance Company Madison Ballet Madison Family Theatre Madison Museum of Contemporary Art Madison Opera
Madison Repertory Theatre Madison Symphony Orchestra Wisconsin Academy of Sciences, Arts and Letters Wisconsin Chamber Orchestra
Credits: Executive Editor: Beth Racette Written by: Ted Petith, JazzReach, and Beth Racette. Sections are adapted from
The Groove Project by Ted Petith and Beth Tryon (www.smartgroove.com)

Overture Education Intern: Megan Dambeck Designer: Ross Cattelan Special Thanks: Ted Petith and Beth Tryon of Groove Merchants, Amy Bethel and Nancy Birmingham
Teachers have permission to copy any and all parts of this guide
STUDY GUIDE
TABLE OF CONTENTS JazzReach .......................................................................2 A Brief History of Jazz ............................................2-5 Jazz and Democracy...................................................4 Hangin Jazz Giants Biographies .......................5-8 Improvisation................................................................8 Music Layers ...............................................................11 Jazz Rhythm................................................................11 Traditional Jazz Instruments.................................12 Simple and Found Instruments...........................13 Make Music! ...............................................................14 CD Listening Suggestions .....................................15 Jazz Vocabulary .........................................................18 Resources.....................................................................19 Academic Standards................................................20 Theater Etiquette and Experiences....................21 If you would like more in-depth information on jazz download the JazzReach Stolen Moments Study Guide at www.overturecenter.com/guides Dear Educator, Thanks for bringing your students to this Overture Onstage presentation of JazzReachs Hangin With the Giants. We hope this guide will offer you valuable information and activities that you can easily use in your classroom. Much of the guide was written to be read aloud to students. Language and terminology are primarily geared for K-5 students. Feel free to photocopy sections for your students. Weve also included a CD of music selections highlighting many historically significant jazz musicians and styles. This CD should be available in your school library feel free to make a copy for your classroom! To learn about jazz is to learn about the history of the United States from a unique artistic, cultural, social and economic perspective. An understanding of improvisation, a central component of jazz, also gives students a window into their own inherent creativity, which is applicable in many areas of their lives. To help you meet your classrooms curricular goals weve included the Wisconsin Academic Standards that can apply to this performance. ENJOY! Overture Center for the Arts
JazzReachs Mission and History

Established by musician H. Benjamin Schuman in 1994, JazzReach is a nationally recognized New York Citybased not-for-profit organization committed to fostering a greater appreciation and awareness of jazz music. JazzReach has quickly established itself as one of our nations leading arts-education organizations. Its programs have successfully served over 80,000 young people nationwide, and have been presented by some of Americas most distinguished performing arts venues.
For more information on JazzReach visit www.jazzreach.org
The music quickly became popular. Many bands marched in parades through the streets of towns, even for funerals. At first they used marching band instruments: trumpet, clarinet, trombone, tuba, drums, and sometimes saxophone. African Americans were the first Jazz musicians, but Jazz quickly expanded to include musicians of all ethnic backgrounds working and playing together.
Count Basie
Credit: William P. Gottlieb/Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress.
Jazz is an exciting and varied type of music. All Americans can be proud of this original American classical music. Jazz developed by combining African drum rhythms, African American spirituals, and blues with European classical and marching music. These elements came together in New Orleans around 1900, and the music called Dixieland jazz was born. Dixieland jazz was known for its bouncy beat and lively tunes. Groups of musicians would often lead street parades. Dixieland bands were also part of the entertainment on the paddlewheel boats that carried people up and down the Mississippi River.
Changes in New Orleans made it hard to get hired for concerts (or gigs as they were called) so many musicians moved their bands north to Chicago to play for dances and in nightclubs. The first jazz record was made there in 1917 by the Original Dixieland Jazz Band. In the 1920s, musicians from all over the country migrated to Chicago to join in playing the Chicago Jazz style. The music quickly developed more sophistication, and the 1930s and 40s became known as the Big Band Era. Some bandleaders, like Count Basie, centered their activities in Kansas City, where bands played late into the night. The Kansas City style was known for its joyous swing beat and shouting-style rhythms.
History of Jazz continued on next page
History of Jazz continued
Woody Herman had so many different musicians play in his band over the years that they became known as Woodys herds. If you played in a Herman band, youd tell someone that youd been a member of the 3rd Herdor 4th or 5th or 6th! Televisions werent in peoples homes yet, and crowds flocked to see these bands when they came to town because dancing was one of the favorite forms of entertainment. Unfortunately, people were not treated equally during this period of American history, and there are many disappointing stories about how Black musicians were treated when they performed in clubs and dance halls that were reserved for Whites only. Black jazz bands were often forced to stay in dirty rooming houses and enter the clubs through the back door, while White jazz bands were treated with respect. Some White bandleaders helped to fight this discrimination by inviting Black musicians to join their bands and demanding equal treatment of their band members. Jazz helped people understand that Jim Crow laws and other anti-Black attitudes were ridiculous and hateful. It was a hard road with unfair twists and turns for Black musicians.
Billie Holiday (top) Ella Fitzgerald (right) Cab Calloway (bottom)

Photo Credit: William P. Gottlieb Library of Congress.
Jazz orchestras played all over the country with as many as 25 members. Wind and brass instruments (mostly saxophones, trumpets and trombones) dominated the sound, but sometimes violins were used, as well as piano, guitar, drums and bass. Incredible singers like Ella Fitzgerald and Billie Holiday sometimes performed with the bands. Many of the Big Bands traveled throughout the country playing in all types of dance halls. These dance bands played in big cities and small towns because this Big Band Swing Jazz was the most popular music of the day. Big band musicians were famous in their time. Cab Calloway, often seen on Sesame Street and characterized in the movie The Blues Brothers, was a famous Big Band leader. Duke Ellington toured with his Big Band all over the world.
Duke Ellington Orchestra, 1929

Credit: www.redhotjazz.com
Many of these Big Band members were talented improvisers and wanted to have more solo performance time to showcase their musical skill and creativity. Their interest in having more solo time also made sense economically. Big Bands had many musicians to pay and were expensive to take on tour it was easier for clubs to pay for a small group of musicians. During the 1940s and 50s many jazz musicians began playing in small groups of four or five musicians, called quartets or quintets, just like in traditional classical music. Instead of detailed, written music, most of the song was left unplanned, which allowed the musicians to create music on the spot, or improvise. One new small-group style that developed during this period was called Bebop. Bebop songs were often played very fast and mirrored the fast pace of New York City, where Bebop began. BeBop musicians were moving away from the entertaining dance style of the Big Band Era. They wanted to assert their intellectual ideas and emotional complexities and did so through the complex rhythms of Bebop. Cool Jazz was small group style that developed in response to the high energy and emotional intensity of BeBop. Cool Jazz was a more laid-back jazz style and developednot surprisinglyin a more laid-back setting, California.
Jazz and Democracy Jazz can teach us how to function in a democratic society. As a jazz musician you have freedom and responsibility. You must contribute to your musical surroundings sometimes listening to other musicians and supporting them and sometimes coming forward and making a statement while always being sensitive to those around you.
Cool Jazz musician Dave Brubeck

Credit: Carl Van Vechten photograph collection Library of Congress.
The magnificence of jazz music is due to a rich blending of different cultural influences. In the very beginning of Jazz the musicians were all African American, blending their heritages with European instruments and musical forms. At this time in history many people in the United States thought that races should remain separate, and as Jazz styles developed, black and white musicians began sharing musical ideas with each other. Black and White jazz musicians were performing together 10 years before professional sports teams were integrated! Jazz introduced White people to the beauty of African American culture, and it helped people understand that we are all human beings and share many of the same emotions and needs. Black and White musicians playing beautiful and creative music together was visible proof that people could live and work together. These experiences called for more democratic treatment of Blacks in American society. New forms of jazz music continued to help bridge cultural divides. As an example, in the past ten years a growing number of music groups combine Middle Eastern and American jazz musicians. These musicians from very different cultures come together and form hybrid (or blended) bands and music styles. They learn from each other and build lasting friendships as a resultand produce some great sounding music!
During and after Bebop and Cool, jazz developed in all kinds of directions. It mixed with music from Latin America to be called Latin Jazz, music from contemporary Africa to become Afro-Jazz, and even with rock music, to become Fusion. Other jazz styles developed with names like Post Bop, Hard Bop, Avant Guard, Modal, Free and Smooth. More recently new musical developments blend Middle Eastern and Indian music with improvised jazz. All these musical forms have various rhythms and melodies associated with them, but they all share a common emphasis on creating with improvisational ideas.
Listening to many different styles of music helps us to understand the ideas and customs of people from various cultures. It is amazing how people from around the world have more similarities than differences. Even if we dress differently, eat different types of food, write different types of books, make different forms of artor compose different musical soundswe all share a basic desire to express our ideas and emotions. This is what really defines us as human beings.
West 52nd Street in New York was a hot spot for Bebop
Credit: William P. Gottlieb/Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress.
Louis Satchmo Armstrong

Growing up in New Orleans, Louis Armstrong heard all kinds of music. At a very young age, Louis had to work to help support his family, who were very poor. To earn extra money, some of his jobs included singing on street corners, cleaning graves, and selling coal. These jobs took Louis all around New Orleans, where he was exposed to many different music styles. Some of these musical styles included classical blues and New Orleans brass band music, which often accompanied parades and funerals. Already a natural musician with a truly remarkable voice, Louis taught himself how to play cornet, a brass instrument much like the trumpet. Soon, Louis gained national attention and moved to New York to perform and record his songs. He performed in theaters and concert halls, on the radio, and in over 50 movies. Louis was considered the most important figure in jazz because he helped create a wider audience for jazz music by playing popular songs in the jazz style. Some of his most well-known recordings include those with pianist Duke Ellington and a song called Hello Dolly. Louis sang and played his trumpet constantly. He had the opportunity to travel all around the world. During one trip to Africa, he was greeted by more than 100,000 people who came to hear his music. With his big smile, cheerful personality and instantly recognizable voice, Louis Armstrong captured the hearts of people everywhere. He spread his love of jazz around the world and for this reason is known as Ambassador Satch.
Hangin with the Giants continued on next page
Credit: William P. Gottlieb/Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress
Animations of the following musicians will appear in the performance. Read through their biographies and listen to their music prior to attending the performance.
Hangin with the Giants continued
Edward Duke Ellington

Edward Duke Ellington began playing piano when he was just seven years old. Like many pianists of his time, Duke was influenced by ragtime. But Duke combined many styles of music such as ragtime, the blues, and classical music to create his own unique blend. By age 19, Duke was playing piano professionally and had made a name for himself in his hometown of Washington, DC. By 30, he was leading his own orchestra at New Yorks legendary Cotton Club. Duke assumed that if something sounded good to him, then it was good. He tried many different instruments in combinations that no jazz musician had used before. Duke wrote some of Americas most cherished songs, including Mood Indigo and Take the A Train. Duke experimented with compositions, and his orchestra toured all over the world. His travels often served as the inspiration for much of his music. For over 60 years, Duke Ellington wrote some of jazz musics most memorable songs and symphoniesalmost 2,000!and demonstrated to all what happens when there are no limitations put on music.
Credit: William P. Gottlieb Library of Congress.
Charlie Bird Parker

Recognizing his unique gift for music, Charlie Parkers mom bought him a saxophone when he was 11 years old. By the time he was 15, Charlie decided he wanted to become a professional musician. He played all over his hometown of Kansas City, Missouri, performing with a variety of blues and jazz groups. Charlie was very determined to become the best musician he could be, but he suffered several setbacks. Once when he was still a teenager, Charlie was jamming in a local Kansas City club. He decided to try to play the ballad, Body and Soul, at a faster tempo. Everyone in the club fell out laughing. Another Credit : William P. Gottlieb/Ira and time, he sat in with the well-known pianist Count Basie. Charlie Leonore S. Gershwin Fund Collection, Music Division, Library of Congress. started out playing well but fell out of key, then lost the rhythm of the song. The bands drummer stopped playing and threw one of his cymbals at Parkers feet! Charlie, humiliated, packed up his horn and left the club. But Bird was determined. He later showed up playing his saxophone in Chicago and then in New York. In New York, Bird met Dizzy Gillespie, and together they helped invent a new style of jazz called bebop. Bird made many wonderful recordings including Groovin High, Nows The Time, and Koko. Charlie Bird Parker was a legendary figure in his own lifetime and inspired generations of jazz musicians to come.
John Birks Dizzy Gillespie

When Dizzy Gillespie was 15, he won a scholarship to the Laurinburg Institute in North Carolina, where he learned to play both trumpet and piano. In later years, Dizzy would advise young horn players to learn the piano because it forced them to learn chords and harmony, elements very important to writing good songs. Dizzy, who always loved a challenge, started out playing his trumpet by copying Roy Eldridge, the fastest, highest-playing trumpeter around. Diz got so good that he eventually replaced Roy in a local swing band when Roy left. Later, Diz left swing bands because he wanted Credit: Carl Van Vechten photograph collection. Library of Congress. to play a more advanced kind of music. In the 1940s, Diz, Charlie Bird Parker, and Thelonious Monk, along with a few others, put together some music that became known as bebop. The songs that Dizzy and Bird made together were some of the most innovative in jazz. Some notable ones included Salt Peanuts and A Night in Tunisia. Dizzy not only had a very unique sound, he had the look to go with it. When he played his trumpet, his cheeks bulged out like balloonsan image, along with his exceptional sound, that made him recognizable around the world.
Thelonious Sphere Monk

Thelonious Monk was such an original that sometimes its hard to find words to describe him. His parents must have thought hed be something specialafter all they named him Thelonious Sphere Monk! Monk is often credited an one of the original musicians who helped create bebop with Charlie Parker and Dizzy Gillespie, but in many ways, Monks music was different. His music had a lot of stops, starts, turns, twists, and sudden silences. His stop-and-go playing style left big holes in his music, something that made Monks piano playing stand out. Some of his most famous compositions include Round About Midnight, Ruby My Dear and Little Rootie Tootie. Many of his songs were about his family and his everyday life. Monks songs became so popular that in 1964 he was featured on the cover of Time magazine, an honor that had only been given to three other jazz musicians. Thelonious Monk is most remembered for his eccentric style and mysterious personality, but his music lives on in the hearts of people worldwide.
Miles Dewey Davis

Miles Davis was born in St. Louis, Missouri. When he took up the trumpet at age 13, his parents nudged him toward classical music but Miles preferred jazz. Miles left St. Louis and enrolled at the prestigious Julliard School of Music in New York City, but once he got to New York he became obsessed with the music of saxophonist Charlie Parker. Miles and Charlie eventually became good friends and started to play music together. Miles ultimately joined Charlie Parkers band and replaced the trumpeter Dizzy Gillespie. While Dizzy had played high and fast, Miles developed his own style, low and slow. In 1949, Miles formed a new group, a nonet, which featured a laid-back style. His group, which was making music like no other jazz artist, recorded an album entitled Birth of the Cool. This record started a new style of jazz called cool jazz. Later in the 1960s, Miles would combine jazz and rock music, which resulted in a new style called fusion. After his cool period, he changed jazz forever with the record Kind of Blue. He also teamed up with an orchestra to create large-scale compositions and arrangements. Miles would go through many changes in his music career, which spanned over 50 years. He even blended jazz music with hip-hop! Next to Louis Armstrong, Miles is considered one of the most influential jazz musicians of all time.
Improvisation means making it up as you go along. People improvise all the time in their daily lives. For instance, you may be improvising when you choose a different way to travel home from school on a particular day. Cooks often improvise when they are preparing a meal. The Drew Carey show Whose Line Is It Anyway? provides great examples of improvisation. The actors get a line or idea from the audience, and then they spontaneously create a skit or a song. Listening carefully makes it possible to respond to each other in interesting and funny ways. Jazz musicians do the same thing with music. Instead of using words and actions, they develop their improvisations using instruments and vocals. Jazz musicians start with a basic idea, usually a tune that has a melody and some repeating chords. Essentially the musicians are talking to each with notes, rhythms, melodic ideas and other sounds as their language. A musicians success at improvising is influenced by how much they have practiced and studied the music forms they are playing. Musicians listen very carefully to how and what the other members of the group are playing in order to create something that sounds good as a whole.
History and Evolution continued on next page
Introduction to Improvisation
How does one learn to improvise? Improvisation is usually learned the same way we learn to speakby imitation. First, a person observes and mimics to learn the basic language. Through knowing the formal structure, a person obtains greater freedom to create his or her own personal style. Experimentation is a crucial element trying things out, discovering what is pleasing and what is not, what succeeds, and what feels right. The following activities can give students an introduction to improvisation.
Visual Improvisation to Music

Play selected music and provide students with a variety of art supplies. Create visual images in response to the music. Notice the tempo, tension, feelings, harmony, and how the musical elements convey emotion or ideas. How did you decide what to paint, draw or sculpt? Was it planned? Was it spontaneous? Extension: Make collaborative improvised artwork by passing a drawing or painting around the classroom.
Group Story Improvisation

Sit in a circle and tell a collective short story. One student begins the story and then students take turns in order around the circle adding a sentence or two. Give the story a beginning, middle and end and a consistent flow of voice. Try new topics. As students become comfortable, add a pulse to the delivery using simple percussion instruments or clapping, etc. Students can contribute their lines in rhythmic patterns. The short stories can be recorded, listened to, and evaluated the flow of content, divergence from the original topic, etc. How did it feel to speak without time to prepare? Did the percussion element make the improvisation easier or more difficult?
Musical Improvisation
Introduce improvisation using a common short phrase, such as a name. Turn this into a musical phrase based on the natural rhythm of it, the tonal inflection inherent in the way a person says it, etc. From there, try more concrete musical structures, such as a piece already familiar to the students, for example,Twinkle, Twinkle, Little Star. Encourage students to modify the melody, introduce new elements, create counterpoint, and call and response with another student.
Building an Ensemble
Ask one student to tap a rhythm on a found object or percussion instrument and ask others to copy it. Another student can introduce a complementary beat. When the rhythm is strong, students can take turns creating variations on top of the steady rhythmic theme. Ask each student in the group to take a turn as soloist.
What are the prerequisites for improvisation?

(E.g., know the language, learn the formal structure, listen well, let go of inhibiting criticism)
Listening
Listening is a basic concept that is vital and important to the process of creating and appreciating all types of music. On one level listening is simple, just notice and pay attention to what you are hearing. But its not always easyit takes focus of mind and concentration. Think about what you are hearing. Musicians do this all the time when learning to play a piece of music.
The following tips and questions can help develop listening skills:
For some people closing their eyes can help focus. How does the piece start? What instruments do you hear? Notice the different sound qualities of instruments. Do you hear a melody in the music? Does it change? Is the music fast or slow? Find the pulse and notice other rhythms. Identify layers at the beginning of a piecelisten for the main melody, pulse and basic musical ideas that are used
Have a discussion after listening to a musical selection. Use some of the questions to the right as a guide. Compare your answers and discuss your observations. There are often different ways to interpret a piece of music. Musicians have various ways of approaching their creative thoughts, especially in jazz, which keeps the music interesting and fresh! For more listening ideas, borrow the accompanying CD from the library and refer to the listening suggestions on page 15.
throughout the piece. Listen for layers being added or removed. Are there any solos? Can you recognize improvised sections? What instruments do you hear playing a solo? What is the mood of the piece, or moods? How does the music make you feel? How do the layers weave together to complement each other? Notice how the music moves from one section into another. Notice dynamicsdoes it move from loud to soft or calm to energized? How does the piece end? What else do you notice in the music? Ask students what they want to listen for.
JazzReach
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Musical Layers
Adapted from The Groove Project Workshop by Ted Petith and Beth Tryon (www.smartgroove.com).
All music is the result of layering sound ideas together some have many layers to hear (a Big Band or orchestra) and others have only a few (a Bebop group or a string quartet).
Lettuce and tomato - Guitar solo (scale and chord) Slice of cheese - Piano (chord, rhythm & scale) Meat - Bass (root note, chord & rhythm) Bread - Drums (primary rhythm)
Think of music as a sandwichsandwiches have layers too! Notice how instruments overlap and each other and weave together. Instrument can form different layers in the course of a single piece of music. For instance, a saxophone can be part of the melody (one layer), then play an improvised solo (another layer), then play a background part behind another solo (still another layer!). Big (or primary) layers often repeat the same idea over and over again to anchor the overall movement of the music. Musicians develop layers by using variations (slightly different versions) of the original ideas. Most pieces of music whether jazz, classical, blues, rock, or hip hopbegin with only a few layers of ideas and then add more as the song progresses. Listen to some of the jazz selections and identify the different instruments producing the musical layers. Sometimes big layers are changed in the middle of a tune to dramatically change the sound or mood! Listen to tracks on the accompanying CD. Identify musical layers or ideas and try to copy what you hear. Use your voice, your hands and feet, a percussion instrument, or anything else you can findthis can be really fun!
Rhythm
Rhythm defines and divides musical space. Rhythms are most recognizable when they are played by percussion instruments (drums, wood sticks, shakers, etc.), but they happen in melodies also. Rhythm is one of the identifying characteristics of jazz. In jazz, a rhythm grows out of a simple, steady rhythm like that of a heartbeat. This pulse creates the foundation for the music and usually remains constant. Sometimes a pulse is very slow (like in a ballad) and sometimes it is very fast (like a bebop tune). Regardless of the speed (tempo), the pulse helps to anchor the music and provides a basic contrast for other, more interesting, rhythms that occur in the tune. In some musical styles, the beat is subdivided into two equal parts. But in jazz, the beat is divided unevenly in a bouncy fashion, that implies three, rather than two, subunits. Much of the energy in jazz lies in this irregularity of its rhythm and the deliberately unexpected accents. This is known as syncopation. Syncopation involves the shifting of accents from stronger beats to weaker ones.
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An introduction to Syncopation
Adapted from the Kennedy Centers Cuesheet What is Jazz?
Define syncopation for the class. Syncopation is a type of rhythm in which accents and stress are shifted from what are normally strong beats to the weak beats. To illustrate syncopation, try this simple exercise: 1 Happy Birthday is usually accented with the stress on the strong beats like this: HAP-py BIRTH-day But if we syncopated these words, wed choose different syllables to stress, so we might pronounce it: hap-PY birth-DAY As a class, chant happy birthday with the usual accents, then change it by placing unexpected, syncopated accents into the words. 2 Now clap your hands and move your body to the beat. Are you keeping a steady rhythm, or are you clapping each time you use a syncopated beat? 3 Try this activity with other phrases or with the names of your classmates. 4 Try singing a syncopated version of Happy Birthday or other familiar tunes by choosing unusual syllables to accent. Follow-up: How does changing the accents/syncopation change the mood? The tempo?
Traditional Jazz Instruments

Acoustic Bass (Double Bass or Upright Bass): Part of the string family, which also includes the violin and guitar. Notes are produced when the strings vibrate. The double bass was first used in symphony orchestras. In a jazz group, the bass anchors the low notes that go along with the melody and helps keep the tempo steady. The electric bass is also used in jazz groups that play more contemporary jazz styles. Percussion: Drums, tambourines, wood blocks, triangles, and other instruments. The grouping of drums and cymbals used in a jazz group are JazzReach called a trap set or kit. Percussion basically means to hit things together. Your hands become a percussion instrument when you clap. The drums also cooperate with the bass to help keep the tempo steady.
Jazz Instruments continued on next page
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Jazz Instruments continued
Piano (includes electronic keyboard): The piano is a member of the percussion family. If you look inside a piano, youll see many wire strings. The piano is a percussion instrument, because notes are made when the felt hammers hit the piano strings. The piano can play groups of notes called chords. These chords blend with the low notes played by the bass, and the steady rhythms produced by the drum set, to produce the rhythm section sound. Guitar: Another member of the string family, the guitar also plays chords and is featured in some jazz groups along with a piano. Sometimes the guitar is the only chord-making member of the group. Brass Instruments: Trumpet and trombone are members of the brass family. Brass players make sounds by blowing and buzzing their lips in a mouthpiece that looks like a small cup. Pressing buttons open and close different sections of the brass tube which creates different pitches. A trumpet may look short, but it is actually made up of many feet of brass tube! Louis Armstrong played both trumpet and cornet. The cornet looks like a short trumpet and is easier to march with in New Orleans street parades. A trombone player slides a long piece of brass tube up and down to sound different notes. Wind Instruments: Saxophone and Clarinet are members of the woodwind family. Woodwinds make their sounds with the help of a reed, which is a piece of cane wood strapped to the mouthpiece. Sound is produced when the player blows into the mouthpiece, which causes the reed to vibrate. To make the different note sounds, the woodwind player then presses on keys that open and close holes on the sides of the instrument.
Charlie Parker wailing on the saxophone

Credit : William P. Gottlieb/Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress.
Simple and Found Instruments

Adapted from The Groove Project Workshops by Ted Petith and Beth Tryon (www.smartgroove.com).
Ask students to collect objects from around the house or yard and experiment making sounds. Kitchens and garages are a great place to look! (A few examples: bottles, pots, bottles, keys, hubcaps, buckets.)
Simple instruments to make

Shakers: Find an empty plastic container (such as a yogurt tub or anything with a tightfitting lid). Fill it partway with small objects (dried beans, rice, pennies or other small objects). Close the lid and shake it! Notice the sound that each material makes. What quantity of the material makes the best sound? When you are satisfied with the sound, tape the lid on. You can also cover the container with heavy paper and draw designs or pictures on it. Wooden claves and bolt bells: Cut 3/4 or 1 inch diameter dowel rod into 7 inch sections. (36 inch dowels are available at hardware stores) Hit them together in different rhythms. Thicker dowels will make lower pitches. While at the hardware store, hit bolts of different sizes together (some are 12 inch long!). See how you like the sound of each size. Buy the ones you like best. Juice bottle drum: Wash and dry an empty Tropicana Twister juice bottle. Plastic Tropicana bottles are the most durable and best-sounding, but any plastic bottle will work. Use a dowel rod or wooden spoon to beat it. Hit it on the side, rim, and bottom to make different sounds. You can also use the bottle like a Latin music guiro (sometimes called a fish) by scraping along the bumps.
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Experiment ~ Make Music!

When playing with any percussion instrument, first explore the sounds that the instrument makes. Is the instrument primarily percussive or melodic? In other words, do you primarily hit or shake it, or does it play different pitches or notes? Many instruments have both qualities. How many ways might you play the instrument to get a variety of different percussive and/or melodic sounds? Try various strikers and methods of hitting. Alter dynamics (volume) and methods of playing make it fun! Take some of the sounds from these exploration sessions and play along with the major rhythms you hear in a sound recording. Start by finding the pulse (or heartbeat) of the music. Then branch out to another sound. Many coolsounding rhythms often have two main sounds that outline the rhythm. For example, a Hip Hop or Jazz-Rock groove on a juice bottle is made with 2 big phat hits on the side, followed by a short rim beat. Rhythms that have steady, contrasting sounds really move! After you can hold the pulse and other steady beats, take a solo and make up an improvisation. Use some of the tracks on the accompanying CD for inspiration, and play music with some jazz greats! Or just find a piece of music that you like to listen toany style will doand develop some groovy layers of improvisation.
Improvise with Melody and Chords

Jazz musicians dont just guess about which notes might sound good. The melody of a song is is made up of a specific notes and these notes are parts of groups called chords which create harmonies together. The melody of the tune is supported by these chords. Chords are easy to see on a piano. Here are some simple chords played on the white keys of the piano. C major chord. G chord F chord
Play each note of a chord separately and then play the notes together and listen to the harmonies that are created. Notice the rich sounds of the total chord when it is played together. If you have access to a piano or keyboard, play some notes on the white keys along with the Groove Merchant song on the CD that accompanies this study guide. The Groove Merchants tune cycles between the G chord and F chord. Try slowly playing up and down all the white piano keys to see how they sound with the tune. Experiment with rhythms and melodies you are the improviserhave fun improvising!
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NOTES AND IDEAS FOR LISTENING SELECTIONS

There should be a copy available in your school library feel free to make a copy for your classroom. (If you cant find your schools copy, call Overture Centers Education Department at 258-4169). The CD of music selections that accompanies this guide highlights several historically significant jazz musicians and performances. A few selections highlight basic music theory. Read the discography information to your class to give context, and use the questions here (see also the Listening section on page 10) as a springboard for classroom discussions. Notice that jazz performers and jazz styles overlap. Musicians played with each other at different times, developing different styles. Some contemporary jazz styles are also featured, which are more rhythmically and culturally current.
Due to copyright restrictions, these selections are short clips. When possible we encourage you to find complete recordings or ask your music teachers for recordings.
1 & 2 - Louis Satchmo Armstrong (Also see bio on page 5) He was one of the earliest and most influential figures in the history of jazz. His wife, Lil, was also an accomplished jazz pianist and composer! The first clip,Struttin With Some Barbecue (1927 composed by Lil), features them both playing in their group called The Hot Five.The second selection,Mack the Knife, from the mid-1950s, is one of his favorite songs borrowed from the Three Penny Opera by Kurt Weill and Bertolt Brecht. Its a European tune mixed with Dixieland improvisations.
Struttin With Some BarbequeLouis Armstrong from The Best of Louis Armstrong: The Hot Five and Hot Seven Recordings, 2002 Sony Music Entertainment Inc (Columbia Records). Mack the KnifeLouis Armstrong from Greatest Hits, 1994 Retro MusicSLD13252.
3 & 4 - Duke Ellington - (Also see bio on page 6) These are clips from his Jungle Bandof 1929-31. One of the most influential Big Band composers, Ellington used distinct sounds that musicians could make on their instruments to accent his complex jazz rhythms. Duke composed and performed for many decades and continued to discover new ways of using his band as a creative sound machine! In the first clip,Jungle Jamboree (1929), notice the baritone sax soloa low soundfollowed by the band, and then a clarinet solo. In the second,Rockin In Rhythm (1931), Dukes piano as the first layer sets the stage for the band to come in with the melody.
Jungle Jamboree and Rockin In RhythmDuke Ellington from The Jungle Band-The Brunswick Era (Vol. 2) 1929-31, 1990 MCA Records (Decca)MCAD42348.
5 - Woody Herman - A clip of a very solid Big Band tune,The Good Earth (1945). Do your hear the different types of instruments in the band? There are saxophones, trumpets, trombones, a clarinet (Woody)also piano, upright bass and drums (the rhythm section).
The Good EarthWoody Herman and His Orchestra from The Jazz ArrangerVolume 2, 1990 CBS Records Inc (Columbia)CK45445.
6, 7 & 8 - Charlie Parker - (Also see bio on page 6) One of the creators of Bebop and a great alto saxophonist. These are recordings made in the mid-to-late 1940s as Charlie was first revolutionizing jazz with the Bebop style. In the first cut,Koko (1945), he is featured playing a main melody with Dizzy Gillespie, who is considered the other creator of the Bebop style. Notice how they include little improvisations in the melody section. In the second number,Cheryl (1947), he is paired with Miles Davis. The third cut, Bird Gets The Worm (1947), features his classic Bebop blowing (improvising).
Koko, Cheryl and Bird Gets the WormC. Parker from Timeless Charlie Parker, 2002 Savoy JazzSCD 17107.
CD for Suggested Listening continued on next page
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CD for Suggested Listening continued
9, 10 & 11 - Stan Getz - He was a master of the Cool jazz style that developed on the West Coast. First, he is featured with his tenor sax on a clip from Flamingo (1954), which includes a nice trombone solo by Bob Brookmeyer. Next hes featured on the really fast tune,Shine (1955). Notice how similar the soloing sounds to Bebopstill fast, just a bit more laid back. Can you tell that Stans improvising has a smoother and less jumpy sound than Charlies? Stan also experimented with Latin jazz tunes written in the Bossa Nova and Samba styles. The third cut,Desafinado (1962), is one of these Latin hybrids.
Flamingo, Shine and DesafinadoStan Getz from The Best of the Verve Years, Vol. 1, 1991 Polygram Records Inc (Verve) 314511468-2.
12 & 13 - John Coltrane - The first selection,Blue Train (1957), showcases Coltranes unique saxophone sound and improvisational style. Notice how his sound is different from the other saxophonists. The second cut,Moments Notice (1957), highlights the transition between three improvised solos. First, listen for part of a trumpet solo (Lee Morgan), followed by a bass solo by Paul Chambers (hear the rest of the rhythm section in the background?), and finally a few bars by Kenny Drew (piano).
Blue Train and Moments NoticeJohn Coltrane from Blue Train, 1985 Manhattan Records (Capitol Records Inc) Blue Note D103164.
14, 15 & 16 - Ella Fitzgerald - An incredible singer and performer, she mesmerized audiences when she scatted. Scatting is the term used for the sounds and syllables used by a vocalist to make an improvised solo. In the first cut,Oh, Lady Be Good (1957), hear her increase intensity as she builds her scat improvisation. In the second cut,Cool Breeze (1959), hear the different voice sounds that she uses to make up her improvisations. Try mimicking some of them yourself (at a slower tempo). The third cut, A-Tisket, A-Tasket (1961), is her hip remake of an old childrens song. Do you hear the Latin rhythm behind her vocal?
Oh, Lady Be Good, Cool Breeze and A-Tisket, A-TasketElla Fitzgerald from The Essential Ella Fitzgerald-the Great Songs, 1992 Polygram Records Inc (Verve)314-517-1702.
Photo Credit: William P. Gottlieb Library of Congress.
17 - Thelonius Monk - (Also see bio on page 7) This selection from his tune Nutty (1963) features his great and unique approach to composing and improvising. Notice how his piano sounds different? These were the type of sounds that he liked to work with in his compositions and improvisations. Notice how he uses these sounds very effectively to layer this piece together.
NuttyThelonius Monk from Miles Davis & Thelonius Monk - Live at Newport 1958 & 1963, 1994 Sony Music Entertainment, Inc (Columbia Legacy) C2K 53585.
18 & 19 - Miles Davis - (Also see bio on page 8) The first selection by Miles (on trumpet) is one of the first examples of the Modal jazz style, which developed after Bebop. The tune All Blues (1959) is based on a modified Blues form. Cannonball and Coltrane are also playing. Do you hear how the beginning of the tune is layered? The second selection by Miles features a band of his thirty years later (1989). Notice the big difference in styles between the two tunes? Do you hear the Rock and electronic music influences?
All BluesMiles Davis from Kind of Blue, Columbia Records CK40579. HannibalMiles Davis from Amandla, 1989 Warner Bros. Records Inc 9 25873-2.
Notes and Ideas continued on next page
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CD for Suggested Listening continued
20 & 21 - Herbie Hancock - Herbie is a piano and keyboard player, as well as a composer. He began by playing more traditional jazz styles but expanded his sounds as he developed new ideas, much like Miles Davis. Here are two examples of his composition Watermelon Man. Compare the original version recorded in 1962 to a later version recorded in 1973. The second version is one of the first examples of Rock and Funk rhythms mixing together with jazz. Notice the different sounds used for the musical layers. The second version became super-popular, and has remained one of the most listened to examples of any jazz style!
Watermelon ManHerbie Hancock from Cantaloupe Island, 1994 Blue Note Records (Capitol Records Inc) CDP 7243 8 29331 2 0. Watermelon ManHerbie Hancock from Headhunters, 1973 Columbia Records/Sony Music Entertainment Inc (Columbia Legacy) CK65123.
Credit: National Endowments of the Arts
22 - Chico Freeman - The melody is from an old Bebop tune by Sonny Rollins called Oleothats the part you hear Freeman playing at the beginning of the selection. Notice the unique female vocalist who sings and scats. Notice the many layers, improvised solos, and sound ideas.
OleoChico Freeman from Threshold, 1993 In + Out Records IOR7022-2.
23- Eddie Palmieri - An example from 1994 of Latin Jazz performed by one of the great masters of Puerto Rican Salsa music. Mr. Palmieri is both a piano player and composer. Notice how the instruments form the layers of the tune. The instrument layers are inventive and support the improvised solos. Try to pick out the improvised solos from the rest of the compositionraise your hand when you think you hear the beginning of a solo.
Credit: www.chicofreeman.com
SlowvisorEddie Palmieri from Palmas, 1994 Electra Entertainment, division of Warner Communications Inc 961649-2.
24 - Marie Daulne of Zap Mama- An amazing vocalist, Ms. Daulne lives in Belgium but traces her roots back to the Congo in Africa. Zap Mama was originally an all-female singing group that has grown to include other sound layers. She often makes up her lyrics and voice sounds by blending the words from many different languages, including Pygmy. What interests her most is the rhythm of the syllables!
GissieZap Mama from Amazone, 1999 Luaka Bop 72438-48412-2-5
25 - Groove Merchants - Recorded in 1999, this is another jazz hybrid that borrows sounds and rhythms from different sources, blending them with lots of improvisation. Listen to the musical layers being added one by one at the beginning. Notice how the layers change as the tune progresses and how the dynamics (volume) build during a solo and then pull back to introduce the next solo or other musical idea.
Cosmic ChaosGroove Merchants (Ted Petith & Beth Tryon) from Chaos Theory, 1999 Waterfall Music 1546CM.
*This Groove Merchant selection can be used as a background for playing with percussion instruments and for experimenting with note improvisations. Just use the white keys on a piano or keyboard. Or use the notes from a C major scale on a marimba, recorder or other instrument.
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Jazz Vocabulary
Ballad - a slow song, sometimes with lyrics that tell a story. Bebop - the jazz style developed during the late 1930s and early 1940s, characterized by very fast tempos, complex melodies and harmonies, and difficult chord structures. Bebop, which emphasized the inventiveness of soloists, is usually played in small groups. Blues - a non-religious, deeply emotional folk music that rose among African Americans during the late 19th century, evolving from black spirituals and slave work songs and featuring several African influences: a call-andresponse pattern, blue notes, and imitation of the human voice by musical instruments. Blue note - any note that is bent or smeared, generally a half step away from the obvious note. Blues scale - a musical scale based on the pentatonic (five-note) scale. Brass band - a band made up of brass instruments including trumpet, trombone, tuba and French horn. Call-and-Response - a musical conversation in which players answer one another; exchanges between instrumentalists. It originates from traditional African music and has been used extensively in all forms of jazz music. Composition - a road map for a piece of music. Cool Jazz - a jazz style that developed during the late 1940s and throughout the 1950s in reaction to bebop. Cool jazz has a smooth sound, complex textures, and more harmonic tones, often with a slight lagging behind the beat. Also identified with West Coast Jazz. Dynamics - how loud or soft a piece of music is. Fusion - a mix of different musical styles, like jazz and rock or jazz and R&B. Gig - a job, usually a paid one, to play music. Harmony - the sound that results when two or more notes are played at the same time. Improvisation - music played without written notation; an instant composition that is central to jazz, often based on melody or chord structure. Usually, improvisation occurs in solos after the melody of the song is played, picking notes and rhythms that fit the tune. Improvisors have to pay attention to all parts of the musichow fast or slow it is, how loud or softand decide how they are going to blend in their ideas. Jam Session - an informal gathering of musicians improvising. Melody (head) - a succession of notes that together form a complete musical statement; a tune.This is the part of the jazz piece that is written down or composed ahead of time.The head melody establishes the framework that the soloists improvise over. Sometimes it comes from a traditional song and sometimes it is a completely new tune. Musicians sometimes point to their heads to make sure that everyone knows when to play the melody again. Nonet - a group of nine musicians. Note(s) musical sounds that can be arranged to form melodies. Western musical tradition (classical, pop, rock, and jazz) officially only has 12 separate tones, but they go together in hundreds of different chords and scales Pulse often just feels like a steady heartbeat that goes in time with the music, following the tempo. Ragtime - the music that came before jazz and mixed European classical music with the syncopated rhythms of African-American music; created by pianist Scott Joplin Rhythm - divides time or musical space in very distinctive, but amazingly flexible ways. Riff - a repeated brief musical phrase used as background for a soloist or to add drama to a musical climax. Scatting - this is the term for how vocalists improvise in a jazz setting. They choose words, syllables or sounds to make up their creative ideas. Standard - the repertoire most commonly known by jazz musicians. Swing - the commercial dance music associated with the 1930s and early 1940s and played by the Big Bands; also, the basic rhythmic attitude of jazz that propels the music forward and is a defining characteristic of jazz. Syncopation - the shifting of a regular musical beat to place emphasis on a normally unaccented beat. Tempo - the rate at which the music is played. Tension (and release) - a natural process that helps give rhythms, melodies, harmonies (and basically all other aspects of music) a feeling of motion or moving. Arguments often have tension & release. So do things in nature, like the cycles of the ocean waves. Texture - the instrumentation of a musical passage or the sound and qualities of an instrument or voice.
18
Resources
Primary & Elementary Grades
Hip Cat by Jonathan London, Woodleigh Hubbard (Illustrator) Mysterious Thelonius by Chris Raschka The Jazz Fly by Matthew Gollub, Karen Hanke (Illustrator) Ella Fitzgerald: A Young Vocal Virtuoso by Andrea Davis Pinkney Duke Ellington: The Piano Prince and his Orchestra by Andrea Davis Pinkney The Sound That Jazz Makes by Carole Boston Weatherford John Coltranes Giant Steps by Chris Raschka and John Coltrane Charlie Parker Played Bebop by Chris Raschka DJ and the Jazz Fest by Denise Walker McConduit The Jazzy Alphabet by Sherry Shahan Who Bop? by Johnathon London Bring on That Beat by Rachel Isadora
Upper Grades and Teacher Resources

Jazz Makers: Vanguards of Sound by Alyn Shipton American Jazz Musicians (A Collective Biography) by Stanley Mour Jazz and Its History (Masters of Music) by Giuseppe Vigna The Golden Age of Jazz by William Gottleib Louis Armstrong- A Self Portrait by Richard Meryman The Art of Jazz by Martin Williams The New Grove Dictionary of Jazz by Berry Kernfeld The Music of Black Americans by Eileen Southern The Duke Ellington Reader by Mark Tucker
Websites
PBS Jazz Website: www.pbs.org/jazz/ Jazz at Lincoln Center online curriculum: www.jalc.org/educ/curriculum/launcher.html International Association for Jazz Education www.iaje.org www.allaboutjazz.com/timeline.htm www.aadl.org/whatsha/Jazz/Jazzweb.htm (numerous links) www.pbs.org/jazz/kids/time (really fun for kids!) www.jazzinamerica.org Portions of this text were developed by Ted Petith and Beth Tryon, who coordinate the Madison-based Groove Project Workshops (www.smartgroove.com). Contact them to schedule an improvisational concert or workshop session for your students info@smartgroove.com.
19
Wisconsin Academic Standards

Music B.4.1 Play on pitch, in rhythm, with appropriate dynamics and timbre, and maintain a steady tempo B.4.4 Echo short rhythmic and melodic patterns C.4.1 Improvise in the same style answers to given rhythmic and melodic questions C.4.2 Improvise simple rhythmic and melodic ostinato accompaniments C.4.3 Improvise simple rhythmic variations and melodic embellishments on given pentatonic melodies C.4.4 Improvise short songs and instrumental pieces, using a variety of sound sources, including traditional sounds, sounds available in the classroom, body sounds, and sounds produced by electronic means F.4.1 Identify phrases and sections of music that are the same, similar, and/or different F.4.2 Identify simple music forms upon listening to a given example F.4.3 Demonstrate perceptual skills by listening to, answering questions about, and describing music of various styles representing diverse cultures G.4.1 Devise criteria for evaluating performances and compositions G.4.2 Explain, using appropriate music terminology, personal preferences for specific musical works and styles G.4.3 Evaluate the quality of their own and others performances and offer constructive suggestions for improvement H.4.1 Identify similarities and differences in the meanings of common terms used in the various arts H.4.2 Identify ways in which the principles and subject matter of other disciplines taught in the school are interrelated with those of music I.4.1 Demonstrate audience behavior appropriate for the context and style of music performed I.4.2 Listen to and identify, by genre or style, examples of music from various historical periods and world cultures I.4.3 Describe in simple terms how elements of music are used in music examples from various cultures of the world I.4.4 Identify various uses of music in their daily experiences and describe characteristics that make certain music suitable for each use I.4.5 Identify and describe roles of musicians in various music settings and world cultures English Language Arts A.4.3 Read and discuss literary and nonliterary texts in order to understand human experience A.4.4 Read to acquire information B.4.1 Create or produce writing to communicate with different audiences for a variety of purposes C.4.1 Orally communicate information, opinions, and ideas effectively to different audiences for a variety of purposes C.4.2 Listen to and comprehend oral communications C.4.3 Participate effectively in discussion D.4.2 Recognize and interpret various uses and adaptations of language in social, cultural, regional, and professional situations, and learn to be flexible and responsive in their use of English E.4.3 Create products appropriate to audience and purpose E.4.4 Demonstrate a working knowledge of media production and distribution F.4.1 Conduct research and inquiry on self-selected or assigned topics, issues, or problems and use an appropriate form to communicate their findings Social Studies B.4.1 Identify and examine various sources of information that are used for constructing an understanding of the past, such as artifacts, documents, letters, diaries, maps, textbooks, photos, paintings, architecture, oral presentations, graphs, and charts B.4.2 Use a timeline to select, organize, and sequence information describing eras in history B.4.3 Examine biographies, stories, narratives, and folk tales to understand the lives of ordinary and extraordinary people, place them in time and context, and explain their relationship to important historical events B.4.4 Compare and contrast changes in contemporary life with life in the past by looking at social, economic, political, and cultural roles played by individuals and groups B.4.7 Identify and describe important events and famous people in Wisconsin and United States history B.4.9 Describe examples of cooperation and interdependence among individuals, groups, and nations E.4.2 Explain the influence of factors such as family, neighborhood, personal interests, language, likes and dislikes, and accomplishments on individual identity and development E.4.4 Describe the ways in which ethnic cultures influence the daily lives of people E.4.6 Give examples of group and institutional influences such as laws, rules, and peer pressure on people, events, and culture E.4.11 Give examples and explain how language, stories, folk tales, music, and other artistic creations are expressions of culture and how they convey knowledge of other peoples and cultures E.4.13 Investigate and explain similarities and differences in ways that cultures meet human needs Art and Design A.4.3 Learn about basic styles of art from their own and other parts of the world A.4.4 Learn about styles of art from various times A.4.5 Know that art is one of the greatest achievements of human beings A.4.6 Know that art is a basic way of thinking and communicating about the world B.4.1 Understand that artists and cultures throughout history have used art to communicate ideas and to develop functions, structures, and designs B.4.2 Recognize that form, function, meaning, and expressive qualities of art and design change from culture to culture and artist to artist B.4.3 Know that works of art and designed objects relate to specific cultures, times, and places B.4.4 Know that art is influenced by artists, designers, and cultures C.4.1 Explore the elements and principles of design C.4.2 Explore what makes quality design C.4.3 Know how the design of art changes its meaning C.4.8 Explore the natural characteristics of materials and their possibilities and limitations C.4.9 Be aware of their creative processes to better understand their work C.4.10 Develop personal responsibility for their learning and creative processes G.4.1 Know that art communicates ideas G.4.2 Know that artwork has meanings G.4.3 Talk and write about the meanings of artworks and design J.4.3 Learn that different cultures think about art differently J.4.8 Know that different cultures have different concepts of beauty
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THEATER ETIQUETTE AND EXPERIENCES

We have a wonderful opportunity at this performance to help youth learn about attending live performances. Please discuss the following with your students: 1. Sometimes young people do not realize how a live performance differs from watching a movie or television show. A live presentation has not been pre-recorded with the mistakes edited out. This makes it riskier for the performer and more exciting for the audience. It also means the audience has a real contribution to make to the overall event. Each audience member affects those around him/her as well as the performer. Concentrate to help the performers. The audience gives energy to the performer who uses that energy to give life to the performance. 2. An usher will show you where to sit. Walk slowly and talk quietly as you enter the theater. 3. For safetys sake, do not lean over or sit on the balcony railings or box ledges. Please be careful on the stairs, avoid horseplay and running throughout the building. 4. If necessary, use the restroom before the performance begins. Adults need to accompany young students. 5. You may talk quietly to the people next to you until the performance begins. 6. When the lights in the theater begin to dim, it is the signal that the performance is about to begin. Stop talking and turn your attention to the stage. 7. Stay in your seat throughout the entire performance. 8. During the performance, listen quietly and watch closely. Talking during the performance will distract other audience members and performers. Try not to wiggle too much and dont kick the seat in front of you. These disruptions make it hard for others around you to concentrate on the show. 9. Sometimes during a performance you may respond by laughing, crying, or sighing. By all means feel free to do so! LAUGHING IS APPROPRIATE. (Teachers, please do not hush the students while they are laughing.) If something is funny, its good to laugh. If you like something a lot, applaud. This will let the performers know that you are enjoying the show. 10. At the end of the show, applaud to say thank you to the performers. The performers will bow to acknowledge your appreciation and say thank you for coming. 11. When the lights get brighter in the theater, the show is over. Stay in your seats until the Onstage Coordinator dismisses your school. 11. Please remember: Taking photographs and using recording devices are strictly prohibited Beverages and food, including gum, or candy are not allowed in the theater You are only one person among several hundred in the audience Please respect the performers and your fellow audience members Please inform your adult chaperons that ushers will be available throughout the performance if there are any difficulties.
American Girls Fund for Children

Funding for this study guide and the OnStage Performing Arts Series for Students is provided by a generous grant from American Girls Fund for Children, a philanthropic foundation created to support programs and services for school-age children in Dane County. Since its founding in 1992, American Girls Fund for Children has supported programs in the arts, culture, and environment.
OVERTURE CENTER FOR THE ARTS Susan Crofton, Director of Education and Community Outreach Beth Racette, Education and Community Outreach Coordinator Rae Atira-Soncea, Education and Community Outreach Coordinator
2005 Overture Center for the Arts
201 State Street, Madison, WI 53703 608.258.4165 onstage@overturecenter.com CVISION PDFCompressor PDF compression, OCR, web optimization using a watermarked evaluation copy ofwww.overturecenter.com

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2011-2012 WELLS FARGO PERFORMING ARTS SERIES FOR STUDENTS MONTALVO ARTS CENTER

Jazz Reach featuring METTA QUINTET

Hangin With The Giants

Tuesday, January 31, 2012 | 9:30am & 11:30am

A Performing Arts Series for Students

Hangin with the Giants

ABOUT OVERTURE CENTER FOR THE ARTS

The Groove Project by Ted Petith and Beth Tryon (www.smartgroove.com)

JazzReachs Mission and History

For more information on JazzReach visit www.jazzreach.org

History of Jazz continued

Billie Holiday (top) Ella Fitzgerald (right) Cab Calloway (bottom)

Duke Ellington Orchestra, 1929

History of Jazz continued on next page

History of Jazz continued

Cool Jazz musician Dave Brubeck

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History of Jazz continued

Louis Satchmo Armstrong

Hangin with the Giants continued

Edward Duke Ellington

Credit: William P. Gottlieb Library of Congress.

Charlie Bird Parker

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John Birks Dizzy Gillespie

Thelonious Sphere Monk

Hangin with the Giants continued on next page

Credit: William P. Gottlieb Library of Congress.

Miles Dewey Davis

Credit: William P. Gottlieb Library of Congress.

History and Evolution continued on next page

Visual Improvisation to Music

Group Story Improvisation

What are the prerequisites for improvisation?

Traditional Jazz Instruments

Jazz Instruments continued

Charlie Parker wailing on the saxophone

Simple and Found Instruments

Simple instruments to make

Experiment ~ Make Music!

Improvise with Melody and Chords

NOTES AND IDEAS FOR LISTENING SELECTIONS

CD for Suggested Listening continued

Notes and Ideas continued on next page

CD for Suggested Listening continued

Credit: National Endowments of the Arts

Upper Grades and Teacher Resources

Wisconsin Academic Standards

THEATER ETIQUETTE AND EXPERIENCES

American Girls Fund for Children

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