Use Jazz Ensemble Method Books to Organize Composition Study

The teaching and rehearsal of jazz style, articulation, rhythm, syncopation, harmony, chord progressions, improvisation, etc. is organized effectively by the various jazz ensemble performance method books designed for beginning and intermediate jazz students. Several jazz ensemble method books offer a measured, sequential approach to building experience and musicianship in jazz (See Figure 33.1).

The introduction of jazz, Afro-Cuban, Brazilian, rock and funk styles via reading, listening, and interpretation of the music creates an essential foundation and should be an ongoing process. Students should have frequent opportunities to rehearse in an ensemble setting to focus on multiple musical elements and styles, and to gain a sense of the full jazz ensemble sound. While practicing on their own, the recorded accompaniment tracks that align with the selected jazz ensemble method books provide the students with a stylistic reference and the potential motivation to practice. The school jazz ensemble provides a natural access point for compositional ideas. Enhancing the existing performance-based jazz method book material with content-aligned composition lessons is ideal. Multiple opportunities for teacher-led group composition, student- centered small group composition, and individual composition can occur. An approach featuring the “layering” of techniques will be discussed, beginning with rhythm exercises, continuing with melodic and harmonic ideas, and adding the rhythm section.

Figure 33.1. Selected jazz ensemble method books

Beginning with a Rhythm-Focused Approach.Once the students exhibit confidence and good levels of success in rehearsal while echoing rhythms and music presented by the teacher, reading music from a jazz method book, and incorporating the aforementioned concepts, the addition of exercises to encourage compositional ideas should be included. As a main focus of the jazz method books is on rhythm and style, the creation of short rhythmic compositions that incorporate rhythmic and style ideas is an effective approach. Such compositions should initially be teacher-facilitated, with students contributing various rhythms and articulations to be displayed on a white board or via technology.

For a first effort, consider basing the first rhythmic composition exercise on a style and short piece from a method book or other source provided to the students. Determine the composition length, use the same time signature, and set some initial guidelines such as rhythm usage (half, quarter, and eighth note rhythms and rests are suggested, although various creative approaches can certainly be utilized). The director can create the first measure, and the students can contribute their ideas at that point. All details can vary based on student comprehension and lesson pacing. Once completed, have the students clap and sing the rhythms on one pitch, following which they can play the composed rhythms on their instruments (See Figure 33.2).

Figure 33.2. Shared composition

The process can be repeated with increasingly challenging rhythms, including eighth notes in a swing style, which should be incorporated early in the process. Emphasize the importance of swing eighth notes; model the style for the students, and play the related exercises/pieces in a selected method book or jazz ensemble music. Using the same composition, articulation, accents, and syncopation in a jazz context can easily be added, as multiple examples exist in the jazz lesson books and beginning and intermediate level jazz ensemble music.

For each rhythm-focused composition lesson, find recorded examples of music that presents swing style, with articulation, accents, and syncopation in a jazz context with a focus on rhythm. The eight-measure introduction to the Wild Bill Davis arrangement of Vernon Duke’s “April in Paris” (1955) as performed by the Count Basie Orchestra provides one example. The introduction features the trumpet section and lead alto saxophone playing swing eighth notes, with limited note changes and harmony. Consider creating listening guides to align with discussions and some essential questions. Select your own music for listening as appropriate. Have the ensemble members listen to the example, and then ask them essential questions to extend the experience.

Sample essential questions and rhythmic analysis activities could be as follows:
- What instrument sections are heard the most in the introduction of “April in Paris? ”
- What rhythms are heard the most in the introduction of “April in Paris?” Clap or sing the rhythms.
- How should the rhythm that is heard the most in the introduction of “April in Paris” be notated? (The director can write the answers on the white board or via a notation program projected in the room).
- Are any other rhythms heard in the introduction of “April in Paris?” If so, what rhythms are played by what instruments? Clap the additional rhythms that you hear in the recording.
- Is syncopation heard in the introduction of “April in Paris?”
- Do you hear any other elements that contribute to the introduction of “April in Paris?”

The short introduction to “April in Paris” illustrates the importance of rhythm, but also demonstrates that the repeated swing eighth note rhythms and the entire motive as rhythmically important elements used to introduce the piece. In a sense, the entire band is setting up the swing feel, before it may be apparent. Also, the multiple instrumental parts present illustrate some of the layers of rhythmic parts possible in a jazz ensemble. Possible corresponding composition activities could be as follows:

- Have the students suggest changes to the existing notated rhythms on the board. Limit the length to two measure phrases, similar to the introduction to “April in Paris" Set a tempo, and have the students clap the rhythms, then sing and play the new rhythms on one note.

- Create a new rhythm pattern that emphasizes the swing style. Set a tempo, and have the students clap the rhythms, then sing and play the new rhythms on one note.

As an extension to this lesson, have the students listen to the next 16 measures of “April in Paris" Additional sample questions and rhythmic analysis activities include:

- What additional rhythmic elements do you hear?
- Do some rhythms repeat?
- What rhythms are being played by the saxophones?
- Listen closely for the guitar part. What rhythms are played by the guitarist?
- What rhythms are played by double bass?
- What rhythms are played by the drummer?

Another suggested rhythm lesson can be focused on the introduction section in the Bob Mintzer composition “Computer" (1984). “Computer" is a funk style piece that features a repeated quarter note/eighth note melodic part in the trombone section during the 16-measure introduction. Three melodic parts with distinct rhythms are layered during the introduction. The conga drums provide a fourth layer, introducing a rhythmic groove that continues into the A section of the piece. The main melody of the A section is built on the introductory rhythmic idea. In addition to the previous approach and questions, examples of essential questions and analysis of “Computer" could be as follows:

- What instrument sections are the heard the on the introduction of “Computer?"
- How should the melody and rhythm that is heard the most on the introduction of “Computer" be notated? Clap or sing the rhythms.
- Does a secondary melodic part exist? If so, in what instruments is the secondary part played?
- Clap or sing the rhythms from the secondary part.
- After the first eight measures, does a third melodic part exist?
- Do additional rhythmic parts appear? If so, in what instrument(s)?

By connecting with existing music examples, the students can begin to visualize their own approaches to the composition process. The short rhythmic composition process can be continued with small groups of students working together. The groups can be based on their instrumental sections, and compositions can be built on increasingly challenging rhythms. The director can suggest added elements as appropriate to the level of the students, such as including specific articulation to enhance rhythmic accuracy, the use of uniform phrase releases to emphasize section accuracy as needed, etc. Multiple elements can be included to extend the compositional experience. The focus should continue to be on creativity, embracing the new process and the ensuing ideas.

The jazz ensemble director should determine the overall pacing of the composition lessons. Alternating the rehearsal of method book exercises with compositional activities provides variety and new musical contexts for the students.