Presentation given in a general music methods course at the University of Miami on April 27, 2010. Topic is teaching jazz and blues in secondary general music courses.

1. Teaching Music in the Historical Setting Blues and Jazz

2. What IS Jazz? “Man, if you have to ask what it is, you’ll never know.” –Louis Armstrong

3. Improvisation was the main source of melody Blues Scale was widely used “Blue Note” – Lowered 5th Scale Degree Musical Characteristics-Melody “Blue” Note

4. Swing Style-Asymmetrical 8th Notes Accent on upbeats Other Styles: Shuffle Waltz Ballad Latin (Salsa, Bossa Nova, Afro-Cuban) Musical Characteristics-Rhythm/Style

5. Blues Form 12-Bar form separated into three sections I III | IV IV I I | V7V7 I I Extensions: IV in measure 9 ii-V7in last measure (“turnaround”) Turn mm. 9-12 into one big turnaround: Musical Characterstics-Form

6. Extreme dynamics on both ends Miles Davis Dizzy Gillespie Pushing the envelope of extremes Experimenting with new sounds Emotional vocal timbres Musical Characteristics-Dynamics/Timbre

7. Extreme tempi on both ends “Jumpin’ at the Woodside” – Count Basie “Naima” – John Coltrane Pushing the envelope-“As Fast as Possible” Musical Characteristics-Tempo

8. Small Ensembles (Combos) Horn Players (Trumpet, Sax, Trombone, etc.) Rhythm Section (Piano, Bass, Guitar, Drums) Sometimes included vocalist Sizes Varied (duet/trios up to eight or more) Large Ensembles (Big Band) Horns (5 Saxophones, 4 Trombones, 4 Trumpets) Rhythm Section (Piano, Bass, Guitar, Drums) Sometimes included vocalist or “featured” instrumentalist Musical Characteristics-Texture/Instrumentation

9. How Did We Get Here? Historical/Socio-Cultural Contexts

10. Map - http://bit.ly/jazzmap Africa Plantations New Orleans Chicago New York Los Angeles Beginnings of Jazz

11. The Blues Call-and-Response “work songs” on plantations “Lament” style lyrics Primarily string instruments (drums not allowed) New Orleans The “birthplace” of the blues Louis Armstrong becomes popular Socio-Cultural Contexts

12. Inter-Related Arts: Painting

13. Inter-Related Arts: Sculpture

14. Inter-Related Arts: Architecture

15. Additional Information Performance Practice Vocal/Instrumental Trends Composers

16. Swing Performance Practice Heavy accent on beats two and four (backbeat) Accented upbeats Exploring new instrumental techniques Trumpet-Growls, Shakes, ½ Valve Saxophone-Altissimo Register Trombone-Growls, Shakes, Glissandi Came from a need to express emotion in a different way Performance Practice

17. Vocal/Instrumental Trends Remember: Jazz roots were vocal! Instrumental jazz became predominant Louis Armstrong brings improv to voice Billie Holliday continues the tradition

18. Duke Ellington (1899-1974) Prolific bandleader/composer of jazz music “Take the ‘A’ Train” “Do Nothing ‘Till You Hear From Me” “It Don’t Mean a Thing…” Count Basie (1904-1984) Bandleader and composer Laid-back style Thad Jones (1923-1986) Continued jazz composition into middle of century Wrote for his band, along with Mel Lewis Composers

19. Supportive Materials Listening/Composition Lessons

20. Compare/Contrast Jazz Styles Blues/Swing-http://www.youtube.com/watch?v=X9cM3ALga80 Blues/Dixieland-http://www.youtube.com/watch?v=j_WbQYdQty0 Solo Piano-http://www.youtube.com/watch?v=X0t8WSu6Tcc Discuss diversity of Jazz Listening Lesson #1

21. Links: Student Handout/File: http://bit.ly/cceK3O Lesson Plan: http://bit.ly/cVwgyO Composition Assignment

22. Rhythmic Differences-Dave Brubeck “The Duke” “Take Five” “Blue Rondo a la Turk” Discussion on use of rhythm in dances Is “Blue Rondo” easy or difficult to dance to? Listening Lesson #2

23. “Goodbye! (Yesterday)” Buddy Rich Big Band