Professional Documents
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Graduate Presentation
Graduate Presentation
Schwartz
Brass
Methods,
Grad.
Presentation
Fall
2014
The history of improvisation with brass instruments revolves around the
development of the New Orleans hailing brass band during the formative years of
jazz circa 1900. The style of music was also labeled “Dixieland” at the time, and it
involved lead melodic roles from brass instruments such as the trumpet or
trombone, along with the clarinet. Tuba was also involved, but it played the role of
accompaniment with the rhythm section (usually consisting of guitar, banjo, string
bass, piano and drums). These early lead melodic roles contribute to the historical
Below I have compiled a list of early jazz brass musicians (limited to pre-‐
1940’s/pre-‐bebop) that are important in the development of improvisation in
American history:
Trumpet
• King Oliver
• Louis Armstrong
• Bix Beiderbecke
• Red Nichols
• Bunny Berigan
• Harry James
Trombone
• Miff Mole
• Jack Teagarden
• Jimmy Harrison
• Dickie Wells
• Benny Morton
• Lawrence Brown
• Lawrence Brown
• Joe Nanton
• Tommy Dorsey
• Trummy Young
• While tuba was used regularly in early Dixieland jazz bands, there is not
much
historical
information
on
the
players
themselves.
Horn
was
introduced
to
jazz
much
later,
in
the
mid-‐20th
century
(Claude
Thornhill
Orchestra),
and
Note:
Gil
Evans,
a
member
not
shown
in
the
picture,
later
went
on
to
become
renowned
for
his
use
of
orchestral
brass
and
other
textures
in
his
jazz
arranging.
A
very
basic
musical
analysis
of
early
jazz
improvisation
reveals
that
reference to the basic chord tones of the harmonic progression was given priority in
solos, along with use of the blues scale, pentatonic scales, and occasional chromatic
approach tones (chromatic neighbors) which function as non-‐chord tones that play
œ3 œœ œb œ œ œ œ
œ œ œ œb œ œ œ œ œ3nœœ œ œ œ b œ3nœœ#œ œ b œ 3 3 U
2
b ‰ œ œ 4
& œ #œ œ œ œnœ œœ#œœœ 4
œœ
a tempo Slow
3
3 C7+ 1 F F7
3 3
œ œ œ œ œ œ Œ3 œ œ œ œ œ
3 œ œ œ3 œ
5 Bb9 Bb7 F
&b ˙ œb œ
œœ Œ J œ œ œ œ œ œ œ œœœ
œ
œ
3 3
Bb7
3 6
Ddim
9 C7 F F7
œ œ œ œ
& b œ ‰ J # œ œ œ œ œ œ œ œ #œ œ œ œ œ ˙ œ œ #œ œ œ œ œ œ œ œ
6
Ò
F F7 C7 SOLOS (bone/Clar/Piano)
œœœœœœœ 35 #œ. œ 1 w w w
12 1
&b Œ Ó Œ
4 ˙. œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ3 œœ œ3 œ œ œ3 œ œ œ
bœ œ
&b ‰
7
œ~~~~ œ. œ œ œ œ3 œœ 9 Piano cue
œ œ œœœœ œ
& b œ œ œ œ œ œ nœ œ Œ Œ œ ‰ œ
J
Trpt Rit
3
10
j U j j U
&b œ ‰ œ j‰ Œ ‰ œ œœœ œ Œ
œ œ œ œ. œ œ.œ œ ˙ .
improvisation does not need to be specific to jazz. Below, I have laid out the
(National Association for Music Education). In these exercises, it is possible
for one to transfer the methods of jazz improvisation discussed above to any
Elementary Level
Strategies for Teaching K–4 General Music Standard 3A — Students improvise
rhythm answers, first with body percussion then on timpani or hand drums, in
Strategies for Teaching K–4 General Music Standard 3C — Students improvise
scat singing over a familiar song (“The Cat Came Back”). While the class sings the
bass line, the teacher improvises 4-‐bar questions and picks students to give 4-‐bar
answers.
Strategies for Teaching K–4 General Music Standard 3D — Students improvise
a 32-‐beat rhythm composition learned earlier, pairs of students take turns
improvising 8-‐beat solos (called “trading” in jazz), while the class plays the
accompaniment.
Secondary
Level
improvise 4-‐measure melodic variations on a given melodic phrase in a major key.
Using xylophones and an AABA form, the teacher guides students in analyzing the
form and asks them to make new melodies for the B phrase.
instrumentally, in a variety of styles over given chord progressions, each in a
Strategies for Teaching Middle-‐Level and High School Standard 3A — Students
understanding of how the underlying chords relate to the melody and incorporating
borrowed chords.
original melodies on instruments in a variety of styles over given chord
• Here
are
some
additional
articles
from
NAfME
that
deal
with
teaching
improvisation:
http://musiced.nafme.org/interest-‐areas/general-‐music-‐education/plan-‐for-‐
improvisation/
http://musiced.nafme.org/interest-‐areas/jazz-‐education/teaching-‐improvisation-‐
at-‐school/
http://musiced.nafme.org/interest-‐areas/orchestral-‐education/an-‐elementary-‐
improvisation-‐study/
http://musiced.nafme.org/interest-‐areas/orchestral-‐education/some-‐
improvisation-‐ideas-‐for-‐strings/
http://musiced.nafme.org/interest-‐areas/orchestral-‐education/all-‐that-‐jazz-‐with-‐
strings-‐attached/
http://musiced.nafme.org/interest-‐areas/orchestral-‐education/jazz-‐takes-‐a-‐bow-‐
improvisation-‐for-‐strings/
• A
few
other
sources:
http://www.dalcrozeusa.org/
http://iunafme.blogspot.com/2013/02/incorporating-‐improvisation-‐from-‐
midwest.html
http://schools.bvsd.org/p12/platt/performingarts/Documents/IMPROVISATION%
20-‐%20Groovin%E2%80%99%20handout.pdf
Project
Sources:
http://www.allaboutjazz.com/the-‐story-‐of-‐jazz-‐trumpet-‐by-‐aaj-‐
staff.php#.VH0zvmTF-‐Y8
http://www.ilmea.org/site_media/filer_public/2013/01/11/bough.pdf
http://trombone.org/articles/library/evojazz1.asp
http://pubcs.free.fr/jg/jazz_trumpet_transcriptions_jacques_gilbert_english.html#a
rmstrong
http://www.scaruffi.com/history/jazz1.html
http://www.ilmea.org/site_media/filer_public/2013/01/11/bough.pdf