The Addition of Melodic Ideas. Experimenting with Harmonic Approaches

Beginning level jazz ensemble method books often initially feature unison compositions in jazz swing style. The teaching and learning of such music affords an opportunity to add more approaches to the in-rehearsal composition activities. Continue to reinforce the lesson book techniques and music by clapping rhythms in context, singing the music, and playing the music. A teacher-led arranging session of a short piece from a jazz method book or other source may spur creativity among the students. The addition of melodic ideas can be encouraged to happen organically, or structure can be added more quickly, based on the level of student experience. Initially, the use of one, two or three different notes, and scales can be applied to the existing rhythms, as illustrated in Figure 33.3.

Figure 33.3. Prompted composition

Figure 33.4 is a 16-measure example of melodic composing from my jazz ensemble composition “A New You” (Owens, 2003), and illustrates how a short melodic idea can be developed. The entire composition is based on the 32-measure song form chord progression from “There Will Never Be Another You” (1942), by Harry Warren with lyrics by Mack Gordon. The first three-measure idea is presented, followed by a melodic answer that is somewhat sequenced, and rhythmically lengthened. A new idea is presented at letter B, while maintaining the same phrase length, is followed by another melodic answer and a transition to the next 16 measures, which begin with a restatement of the melody in measures 1-7. All notes work well with the original chord progression (See Figure 33.4).

Figure 33.4. Excerpt from “A New You,” Owens, D. T. (2003)

Once the melodic composition process is familiar to the students, provide additional time for the students to create their own notated arrangement of a few measures, over limited chord progressions. When this is completed, have the students share their work, and have them reflect on the composition and process.

Experimenting with Harmonic Approaches.The inclusion of harmony, extended chords, and chord progressions is an important step in the progress of the student jazz composer. Continuing with the alignment with the jazz ensemble method book, blues chord progressions are typically featured initially.

The 12-bar blues form is generally introduced early in jazz ensemble method books. In its basic form, the 12-bar blues features 12 measures total, with the following harmonic structure:

- four measures of the I chord;
- two measures of the IV chord and two measures of the I chord;
- two measures of the V chord and two measures of the I chord.

Multiple listening examples from jazz method books and from jazz history (and other styles) can be shared to provide examples of harmonic context for the students. It is important to consider and listen to small group/combo jazz as well. Suggested examples include:

- “Dippermouth Blues” (1923), King Oliver, composer; recorded by King Oliver’s Creole Jazz Band. This early jazz piece features collective improvisation.

- “The St. Louis Blues” (1925), W. C. Handy, composer; Bessie Smith, vocalist. Bessie Smith sings the melody and Louis Armstrong plays the muted cornet solo and responses. This blues includes a six-measure bridge.

- “West End Blues” (1928), King Oliver, composer. This early jazz piece features Louis Armstrong and His Hot Five. The featured solos include Armstrong’s famous trumpet introduction, trombone, clarinet, scat singing, piano, and trumpet.

- The form and chord progressions heard in each piece should be discussed in detail and reinforced via performance-based listening exercises. Some essential questions and analysis of “West End Blues” could be as follows . . .

- In what key is this piece performed?
- How many measures are included in the overall form of this piece?
- What instruments are performed in this recording?
- In which instruments is the harmonic progression represented?
- In what ways is the harmonic progression presented differently on each repeat of the form?
- Do the notes in the 12-bar blues harmonic progression differ from the basic progression at any time in the piece?
- In what other ways can this piece be ended?

Such 12-bar blues listening exercises can easily flow into melodic-based composition exercises. For example, call-and-response exercises can build performance confidence in the 12-bar blues form and can also add to the level of creativity of compositional ideas. A director-led 12-bar call and response exercise can return to a rhythm-only focus, developing one measure at a time. Then notes can be added, with the response happening as desired (one, two, or more measures). The echoed imitation of ideas is appropriate at first, while changing the rhythms, notes, accents, etc. within the provided structure should be encouraged for added opportunities for creativity.

Using 12-bar blues chord progressions, the call-and-response focus can happen over the entire form. This process can be repeated with a student leader, with the entire band or individual sections. Create an audio recording of these lessons for reflection and the noting of compositional reference points (style, rhythm, form, range, and other musical ideas to be referenced in the future). An audio resource library could be created for students to access individually or in small groups as they compose. This type of activity can take multiple forms, based on the lesson outcomes.

Returning to the director-led, small group, or section composition approach, students should compose their ideas over the 12-bar blues progression in the same keys that have been learned previously. A section-based approach reduces the need to transpose parts; the students can more easily compose for their familiar instruments first, then add instruments as their skills improve. Any initial ideas can be based on specific melodic lines from a jazz ensemble method book or other melodic material.

For another approach, have the students compose in four measure sections, then move to the next four measures, until everyone has had a chance to compose over the entire form. When regrouping as an ensemble, the students can choose which four-measure composition they will share. The shared composition will be combined with two other four-measure compositions to create the whole piece. In this manner, the compositions can then be played with the rhythm section, providing good practice for all students.

Addressing the Rhythm Section. Young composers need make decisions about the overall style and groove of their compositions. This includes learning about the roles of rhythm section instruments in a jazz ensemble. Various concepts can be introduced via jazz method books, jazz ensemble music, and by individual and guided listening to jazz music. For example, comping (accompanying) is typically introduced fairly early in the piano and guitar jazz ensemble method books. Chord voicings may be included as well. As an alternative, the guitarist and pianist may continue playing in a melodic role.

The bassist should continue to provide the foundation to the chords, while expanding their harmonic and rhythmic knowledge (with guidance as needed), based on the style of the composition. For a jazz swing piece, this will initially be illustrated in music notation, but will later progress to chord symbols that must be creatively interpreted and realized. The drummer needs to incorporate style and time-keeping ideas from method book examples, then apply the ideas to the new compositions. Also, the drummer needs to interact with the ensemble parts, supporting them as needed.

All jazz method books, including drum set books, typically present sample rhythms within, based on specific styles. This will have been developed in discussion with the director, who observes and assists as needed. The listening sessions contribute greatly to the groove determination process. At some point, all instrumentalists should participate in this process, so they are aware of the rhythmic impact with their own pieces.

The compositions can be shared via in-rehearsal performance by each section. Knowing that the length and frequency of school jazz rehearsals are limited, provide added materials to encourage the students to practice composition ideas at home in addition to their individual instrumental practicing. The students can write their ideas on paper, sing or play them into a cell phone recording app, or use a free web-based notation program to do so.