JazzEd 2013
JazzEd 2013
JazzEd 2013
Dr. David
Fodor
Music is Both a
Personal and a
Collective Experience
The Official
Publication of
Focus Session
Composing vs.
Arranging
Basic Training
The Diminished
Scale
JAZZ
CHORDS IN MOTION
Have th
the ti
tightest
ht t Bi
Big B
Band
d iimaginable!
i bl ! IInstead
t d off wasting
ti
valuable
l
time by rehearsing and learning each chart individually, Mats Holmquist
explains the simple rules that apply universally for all charts rules
for articulation, dynamics, balancing, blending the sections, playing
with the rhythm section, etc. Also includes valuable information on other
important Big Band considerations such as recording techniques, setting
up for public performance, delegation of authority, dealing with disparate
personalities, and the roles/responsibilities of each chair and the rhythm
section. For both players and band leaders. 120 pages.
www.jazzbooks.com
18
contents
There are many ways
one can use what is
inside the song.
AUGUST/SEPTEMBER 2013
GUEST EDITORIAL:
BASIC TRAINING:
UNDIMINISHED IMPORTANCE 14
Dr. Steven Snyder offers a few methods designed to
help get students and improvisers more comfortable
with diminished scales and dominant chords.
SPOTLIGHT:
departments
PUBLISHERS LETTER 3
NOTEWORTHY 6
WHATS ON YOUR PLAYLIST? Deborah Latz 12
JAZZ EDUCATION NETWORK SECTION 22
JAZZ FORUM 32
GEARCHECK 33
CLASSIFIEDS 35
BACKBEAT: Carline Ray 36
FOCUS SESSION:
ARRANGING 30
Jazz professor Pete McGuinness dives into a variety
of handy approaches to spice up your arrangements.
JAZZed Volume 8, Number 4, August/September 2013, is published six times annually by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14J, Las Vegas, NV 89119, (702)
479-1879, publisher of Musical Merchandise Review, School Band & Orchestra and Choral Director. Standard Mail Postage Paid at Las Vegas, NV and additional mailing offices. JAZZed is
distributed free to qualified individuals and is directed to jazz educators, music dealers and retailers, and others allied to the field. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND
MILITARY FACILITIES: send address corrections to JAZZed, PO Box 16655, North Hollywood, CA 91615-6655. The publishers of this magazine do not accept responsibility for statements made
by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. Copyright 2013 by Timeless Communications Corp., all
rights reserved. Printed in USA.
publishers letter
Rick kessel
August/September 2013
Volume 8, Number 4
PRESIDENT Terry Lowe
tlowe@timelesscom.com
PUBLISHER Richard E. Kessel
rkessel@timelesscom.com
Editorial
EDITORIAL DIRECTOR Kevin Mitchell
kmitchell@timelesscom.com
EXECUTIVE EDITOR Christian Wissmuller
cwissmuller@timelesscom.com
ASSOCIATE EDITOR Eliahu Sussman
esussman@timelesscom.com
ASSOCIATE EDITOR Matt Parish
mparish@timelesscom.com
Art
ART DIRECTOR Garret Petrov
gpetrov@timelesscom.com
PRODUCTION MANAGER Mike Street
mstreet@timelesscom.com
GRAPHIC DESIGNER Tony Calvert
tcalvert@timelesscom.com
GRAPHIC DESIGNER Jay Savage
jsavage@timelesscom.com
Advertising
ACCOUNT MANAGER Matt King
mking@timelesscom.com
CLASSIFIED SALES Erin Schroeder
erin@timelesscom.com
Business
VICE-PRESIDENT William Hamilton Vanyo
wvanyo@timelesscom.com
CIRCULATION MANAGER Erin Schroeder
erin@timelesscom.com
RPMDA
JAZZ EDUCATION NETWORK
rkessel@timelesscom.com
@
August/September 2013 JAZZed
GILMORE
IS LEGACY
SOUND LEGACY
noteworthy
Wallace Appointed to IU Jacobs School of
Music Jazz Faculty
DAVID BELOVE
esm.rochester.edu/apply
noteworthy
Minnesota Jazz Matriarch Jeanne Arland Peterson Dies at 91
WCCO musician and Minnesota
jazz personality Jeanne Arland Peterson died this summer in Eden
Prairie, Minn. at the age of 91.
Peterson spent 22 years in the
WCCO Radio house band and three
years as the Minnesota Twins organist. She performed with George
Benson, Bob Hope, Perry Como, and more while raising five
children. She was a force on the Minnesota scene since the
1940s, reported the Minneapolis Star Tribune. Jeanne is one
of the best pianists in the Twin Cities. Shes very underrated,
Dakota Jazz Club proprietor Lowell Pickett said in the 1990s.
Ive heard her burn things up. She was even playing piano
in the nursing home until two weeks ago before her death,
Paul said.
The Players
Choice
Designed specifcally for
the Player looking for a
COOL, THICK, WARM,
DARK, SWEET SOUND!
G by Meyer is the
mouthpiece for you.
G by Meyer is available
for both Alto and Tenor.
Visit jjbabbitt.com
jjbabbitt.com
Mouthpieces for all clarinets and saxophones
noteworthy
Percussive Arts Society Announces 2013
Hall of Fame Inductees
The Percussive Arts Society
Hall of Fame will induct four
top percussionists during the
39th Annual Percussive Arts Society International Convention
(PASIC) in November. The Hall
of Fame Induction Ceremony,
honoring the four newest members, will be held before the PASIC Thursday
Evening Concert at the Indianapolis Convention Center. The Class of 2013 includes
Clifford Alexis, Harold Jones, Dr. Gary Olmstead, and Salvatore Rabbio.
Alexis has performed all over the world
for Queen Elizabeth II, the Emperor of Ethiopia, and President Senghor of Senegal.
Moving to the United State in 1965, Alexis
became an important educator and clinician, ultimately becoming co-director of the
Northern Illinois University Steelband.
Jones is a prolifc jazz drummer noted for
his straight-ahead style of playing during the
big band era. Jones has performed with many
of the top names in the jazz industry throughout his career, including Count Basie, Sarah Vaughan,
Tony Bennet, Frank Sinatra, and
many others, in addition to many
symphony orchestras around the
world.
Olmstead is a highly regarded
percussion educator who built the Indiana
University of Pennsylvania percussion studio
from a nascent program to a leading educational organization with alumni placed in
many top university teaching positions, orchestras, military bands, and music industry
positions.
Salvatore Rabbio is a noted world-class
performer, clinician and educator. He served
as principal timpanist with the Detroit Symphony Orchestra from 1958 until his retirement in 1998, touring and recording extensively with the worlds greatest conductors
and many top record labels.
pas.org
JAZZ
BUT IS A GIFT
THAT AMERICA HAS GIVEN THE WORLD
P. Mauriat Saxophones and Trumpets are available through the fnest instrument
retailers. To fnd one near you visit www.pmauriatmusic.com.
St. Louis Music is the exclusive distributor of P. Mauriat in North America. To fnd out more visit www.stlouismusic.com
10
Proudly Announces
Newly Appointed
Music Faculty
Kate Reid
Outstanding Jazz
Scholarships and Graduate
Teaching Assistantships
Available. Inquire Today.
Application Deadline: December 1
Email: admission@music.miami.edu
www.music.miami.edu
Institutional member of NASM since 1939
Vocalist Deborah Latz came to jazz after an acclaimed career in dramatic and musical theater, during which she garnered a Best Actress Award at the Jerzy Grotowski Theatre
Festival in Poland for her one-woman performance of Juliet,
and recorded the original song, Im Neurotic Over You for
the off-Broadway comedy, High Infdelity. She also received
rave reviews in New York and Europe, and has earned praise
as one of the most compelling new vocalists on the scene.
Her recent release, Fig Tree featured Jon Davis on piano,
John Hart on guitars, Ray Parker on bass, Willard Dyson on
drums, and special guest saxophonist/futist/percussionist Peter Apfelbaum and guest
vocalist Abdoulaye Diabate, and is her breakout performance as vocalist, songwriter,
and arranger. The disc showcases an outstanding range of technique and creative musicality that places her at the forefront of jazz today.
1. Dream of Nite David Liebman
I am a huge fan of Dave Liebman. This album was given to me in Florence, Italy
where it was recorded live in 2005. The Italian rhythm section is pianist Roberto Tarenzi, bassist Paolo Benedettini, and drummer
Tony Arco and they sound really, really good.
Liebmans Tomorrows Expectations is truly
a beauty.
12
guesteditorial
BY NAT HENTOFF
John Daversa
Assistant Professor and Chair,
Department of Studio Music & Jazz
Outstanding Jazz
Scholarships and Graduate
Teaching Assistantships
Available. Inquire Today.
Application Deadline: December 1
Email: admission@music.miami.edu
www.music.miami.edu
Institutional member of NASM since 1939
13
basic training
Undiminished Importance
The diminished scale is a great choice for creating colorful melodies and lines on dominant seventh chords. It provides many
opportunities for linear and arpeggiated use, and includes color
tones that are central to the jazz improvisers vocabulary.
There are at least fve names that are used to identify this scale.
It is most commonly referred to as the diminished scale, although
this name does not specify exactly what interval content is referred to. Sometimes this scale is called the whole half scale, or
the half whole scale. This name is derived from the alternating
whole step and half step intervals in the scale. While this name
offers some more specifc information about how the notes in
the scale are ordered, it still does not allow someone to positively
identify which notes are in the scale. This is because starting with
the whole step at the top of the scale and descending results in a
different set of notes than starting with a whole step at the bottom of the scale and ascending. A similar problem results when
referring to the scale as a half whole scale. Probably the least used
name among jazz musicians is the one that I feel offers the most
specifc way of identifying which collection of notes are being referred to, and involves numbering pitches. C is 0. C# is 1. D is 2.
D# is 3. The scales are then named by which two pitches a half
step apart are appearing in the scale. [0, 1] is an octatonic scale
that contains the pitches C and C# regardless of where the scale
begins and ends, or to what scale the chord is being applied.
14
Example 1.
struct the scale staring with a half step from the root to the H9 and
then alternating whole and half steps from there until the root is
reached again at the top of the scale. Thinking about the scale in
a descending format would mean starting at the root of the dominant seventh chord and beginning a descent down with a whole
step frst and then alternating half steps and whole steps until the
root is reached at the bottom of the bottom scale. Another convenient way to think of the scale is that it is comprised of the frst
four notes of two descending mixolydian modes whose root notes
are a tri-tone away from each other.
Example 3.
Example 2.
Example 4.
free
charts
jalc.org/essentiallyellington
ee@jalc.org
August/September 2013 JAZZed
15
Example 7.
Eric Alexander (High Note Records Alexander The Great) Soft
Winds bar 40.
Example 5.
Michael Brecker (Stunt Rielatin) Bessies Blues bar 80.
Example 6.
Clifford Brown (EmArcy Jam Session, Los Angeles, August 14,
1954) It Might As Well Be Spring bar 28.
T I VA L
MUSIC FES
S AVA N N A H
14
0
2
Z
Z
A
J
L
A
R
T
N
E
SWING C
MA RC H 28 , 20 14
RC H 26 F RIDAY,
WE DN ES DAY, MA
LINE EXTENDED TO
APPLICATION DEAD
zz.org
ingcentralja
SEPTEMBER 6! sw
S AVA N N A H M U S I C F E S T I VA L
www.savannahmusicfestival.org
16
Example 8.
The following link provides another explanation prepared
by Dr. Aleck Brinkman of the octatonic scale and the numbering system discussed in this article.
http://theory.music.temple.edu/~aleck/Courses/theory.
IV/Notes/Octatonic.Notes.pdf
You are
Converg
enCe
Talent and inspiration come together to develop a sound all your ownwhether
youre part of an ensemble or going solo. In our Jazz and Contemporary
Music program, youll work with passionate artists across all creative disciplines
because this is where art, thought, and craft collide and connect.
UArts.
Creativity Propelled.
uarts.edu
17
spotlight FO D O R
n June of this year, Dr. David Fodor stepped down from his longtime position as director of bands for Evanston (Illinois) Township High School (ETHS).
While Dr. Fodors duties had him overseeing all ensembles at the school, the jazz program, in particular, achieved
great success and Fodor himself considerable acclaim as one of the nations premier jazz instructors at the high school
level. Expanding from a sole jazz band in 1990 when he frst arrived to the current count of three jazz bands and nine
combos, ETHSs jazz ensembles have performed internationally under Fodors direction and his students have been
treated to numerous guest lectures and teaching sessions from some of the genres contemporary greats.
As he closes this signifcant chapter of his professional career, JAZZed checked in to learn more about Dr. Fodors own
19
spotlight FO D O R
Sing With
Bobby McFerrin
OMEGA
eOmega.org/bobby | 800.944.1001
20
MAX BENSON
(B.M., 2012)
Bassist with Jamie
Lono from The Voice
AYLIN BAYRAMOGLU
(2010-2012)
Cast member, Glee
Project II
roosevelt.edu/CCPA
(312) 341-6735
music@roosevelt.edu
Text CCPA to 57711
a variety of jazz experiences for our students. Big bands serve as an entry point for many
players, who learn about jazz style performance and ensemble techniques as they move from
lab band to jazz band, and eventually to jazz ensemble. Combos have grown to between nine
and eleven groups each year, and focus more on improvisation skills, learning tunes, and
creating arrangements.
Within this extracurricular program, we try different methods of teaching in non-performing settings. Since our jazz program starts up in mid-October, some years we have offered
weekly after school jazz clinics in September or early October on improvisation, listening,
technology, and history. More recently we have tried to integrate some of these topics into the
combo program by doing mini-sessions during the rehearsal time.
continued on page 34
Great Artists
Artists Like Ours
Ours
Dont Ever JUST SETTLE
They Always Insist on the
Finest Horns Available
PHAETON & DAKOTA WERE THEIR OBVIOUS
CHOICES...real accolades below from many
satisfed players confrm their selection.
RICHARD ELLIOT
WAYNE COBHAM
MELVIN JONES
JACK PRYBYLSKI
SKINNY WILLIAMS
MAX RIBNER
MAC GOLLEHON
DEON YATES
www.saxdakota.com
www.phaetontrumpet.com
pjlabiz2@aol.com
August/September 2013 JAZZed
21
PRESIDENTS LETTER
A Message from JEN President Andrew Surmani
Dear JEN Members,
July 1, 2013 began JENs 6th year of existence. Weve come a long way in these formative years and the organization is contributing in so many ways to building the jazz arts
community. This would not be possible without the countless hours of volunteer work put
in by committee members, board members, and conference workers. In fact, if you really
want to get involved in JEN, there is no better way than to join a JEN committee. It is
through the work of committees that JEN business is done, and it also gives you great
exposure to other leaders in the organization as you may consider running for a board
position in the future.
One of the ways in which JEN contributes to the jazz arts community was created in
part by a JENerous donation from the Herb Alpert Foundation. JEN was able to launch its JAZZ2U program
where 24 groups went out into the community in the United States and presented jazz concerts and clinics for
young students. This benefited not only the music students at these local schools, but also those students not in
the music program by exposing them to this creative art form. With additional funding in the future, we hope to
expand this program to more schools, including in other countries as well. You can donate to help fund programs
like this by going to our website (JazzEdNet.org) and clicking on Support Us in the top menu bar.
By the way, JAZZ2U scholarship donor Herb Albert was recently honored by U.S. President Barack
Obama as one the 12 recipients of the 2013 National Medal of Arts. This is the highest honor bestowed on artists
and arts patrons by the U.S. government.
Finally, Im honored to recognize the 2014 NEA Jazz Masters: Jamey Aebersold, Richard Davis, Keith
Jarrett, and Anthony Braxton. These jazz legends will be honored at a special awards ceremony and concert at
Lincoln Center in New York City on January 13, 2014. You can learn more about this program and this years
recipients by going to nea.gov/honors/jazz.
I look forward to seeing you at our 5th Annual Conference at the Hyatt Regency Dallas at Reunion,
January 8-11, 2014. Be sure to visit our website and click on Conference Central in the top menu bar to register
for the conference, secure housing, consider sponsorship opportunities, apply for a scholarship or award, or apply to have your jazz group perform in the JENerations Jazz Festival.
Sincerely,
JEN Board of Directors (201314): Rubn Alvarez, Paul Bangser, Bob Breithaupt, Cheryl Carr, Caleb Chapman (Vice President),
John Clayton, Jos Diaz, Dr. Lou Fischer (Immediate Past President), Dr. Darla Hanley, Dr. Monika Herzig (Secretary),
Judy Humenick, Rick Kessel (Treasurer), Mary Jo Papich (Past President), Bob Sinicrope (President-Elect),
Andrew Surmani (President). Office Manager: Larry Green; Webmaster: Gene Perla; Marketing & Communications:
Marina Terteryan; Web Hosting: AudioWorks Group, Ltd./JazzCorner.com; Bookkeeper, Lynda Chavez
22
JEN VIDEOS
Participate in JEN Conference Videos
At each years conference, the JEN official videographer, Bret Jazz Video Guy Primack captures the
JEN experience from conference attendees and JEN members. For the 2014 Conference, we want to hear from
you! Sign up to be one of the featured interviewees in Dallas by emailing bretprimack@gmail.com.
I am a perpetual student, as
we all are... were always striving to find something new.
One of the things I like about
jazz education is watching the
students grow.
Jon Faddis, The Conservatory of
Music at Purchase College-SUNY
Jon Faddis
Matt Wilson
23
24
Bob
Mintzer,
Chair of the
Jazz Studies
Department,
University
of Southern
California
25
COMPOSITION SHOWCASE
2014 Composition Showcase Accepting Submissions
Now in its fourth year, the JEN student Composition Showcase, gives current students an opportunity to
have an original composition recognized and performed at the international level. The composers will be invited
to attend the conference and hear their pieces performed by a professional group during the 2014 conference and
receive detailed feedback. Apply by October 4, 2013 at JazzEdNet.org/CompositionShowcase.
Having the
opportunity
to perform an
original composition at the
JEN Conference with such
phenomenal
artists from the
Emily Merrell
Alan Baylock
Jazz Orchestra
was an amazing honor and privilege for me. It was
also such a pleasure to meet and talk with all of
the other brilliant young composers featured at the
Showcase, and to hear their inspiring work. I am
personally very passionate about jazz education and
am thrilled with the work JEN is doing to keep the
music alive. I cant wait to see this fantastic organization continue to growwe can all expect great
things from JEN!
Emily Merrell, 2012 Recipient
Being a part
of the JEN
Composition
Showcase really
helped broaden
my scope as
an arranger
and composer.
In addition to
having a great
band perform
Tyler Mire
my work, I was
able to hear
students from all over the country play and perform
their own original music. It was a great experience
and very inspiring. It gave me the confidence to
work on my own big band project.
Tyler Mire, 2012 Recipient
26
As a composer,
JENs Student
Composition
Showcase gave me
the opportunity
to have my music
performed by outstanding musicians
before a knowledgeable audience,
which allowed me
artistic freedom
Dr. Socrates Garcia
to explore music
without restricting my creative process. It was a blast! The JEN
Conference is a great place to interact with the best
musicians in the jazz world, offering a great environment for professional networking. Furthermore,
it is an amazing place to see remarkable concerts
and clinics. These aspects make the JEN, undoubtedly, the most important event for jazz educators.
Dr. Socrates Garcia, 2012 Recipient
My experience with the JEN Composition Showcase was encouraging, supportive, and inspiring
from beginning to end. The highly individualized
feedback I received was influential in improving
my composition skills and hearing my music performed by incredible jazz musicians at the showcase was a very special and exciting moment in my
career. It was a true highlight in my progression as
a composer.
-Kate Skinner, 2012 Recipient
It was an honor to have my music critiqued by
some of my idols in the jazz composition idiom. In
addition, having members of the Alan Baylock Jazz
Orchestra perform my music was surrealmany
of the performers I had listened to obsessively on
some of my favorite recordings.
Brett McDonald, 2012 Recipient
SCHOLARSHIPS /AWARDS
2014 Scholarship & Awards Applications Available
With the help of our individual and organization sponsors, JEN has been proud to provide dozens of
deserving students and teachers with educational scholarships. Read about our past winners and submit a
nomination by October 15, 2013 at JazzEdNet.org/ScholarshipsAwardsPrograms.
Winning
the scholarship meant
much more
than simply
getting a
monetary
award. I was
able to attend
a jazz camp,
take private
lessons with
Kim Aubuchon
some of the
top trumpet
teachers in the country, and put money towards a
new trumpet. Beyond the initial monetary
benefits, Ive built upon the knowledge Ive
gained, stayed in touch with the mentors I studied
with, and I still love the horn I was able to buy.
Winning that scholarship opened countless doors
in my music career, and Im deeply grateful.
Kim Aubuchon, The Mary Jo Papich JEN
Co-Founder Women in Jazz Scholarship
(2010 Winner)
I really
enjoyed receiving my
scholarship
in Atlanta
last January.
During the
conference
I was not
only able
to attend
clinics, but
also I was
able to go
behind the
Caitlan Bryant
scenes with
performing ensembles and watch them rehearse.
I picked up a lot of great rehearsal strategies from
27
NETWORTHY NEWS
Networthy News from JEN Members
Check out how JEN members are serving the jazz arts community by advancing education, promoting
performance, or developing new audiences. For a chance to be included in print or online, send your own
Networthy news in 100 words or less, along with a high-res photo to NetworthyNews@JazzEdNet.org.
We congratulate JEN founding member
and sponsor Jamey Aebersold, who was honored by the National Endowment for the Arts as
one of four 2014 NEA Jazz Masters. Recipients will be presented at an awards ceremony &
concert on January 13, 2014, at Jazz at Lincoln
Center in New York City, which will be webcast
live. Also honored were Richard Davis, Keith
Jarrett, and Anthony Braxton.
We are happy to see that JEN member
Antonio Garcas A Jazz Bridge to Greater
Photo: Tricia Williams
Understanding grant was chosen as the 2013
The Louisville Leopards perform under the guidance of
recipient of the Virginia Commonwealth UniverDiane Downs.
sity Community Engagement Award for Research. The $100,000 grant brought American
We are happy to celebrate The Louisville
and African citizens together last academic year.
Leopard
Percussionists 20th anniversary! Founded
VCU traveled to the University of KwaZulu-Natal in
by JEN Outreach Committee Member Diane Downs
Durban, South Africa and vice-versa, commissioned
in 1993, The Leopards are an ensemble of kids ages
new musical works, rehearsed over the Internet and in
7-14 from Louisville, Kentucky. For the past 20 years,
person, performed on both continents, and recorded
the Leopards have performed throughout Kentucky
live for a joint CD, Leap of Faith, out this Fall.
as well as nationally and have performed with some
Along with UKZN Jazz Director Neil Gonsalves, the
of the worlds top musicians including: Dave Samumusical teams also researched the parallels in racial/
els, Joe Morello, Chick Corea, Louie Bellson, Ndugu
cultural divides in their respective cities.
Chancler, Nnenna Freelon, Giovanni Hidalgo, My
Morning Jacket, and Mucca Pazza. The Leopards
were featured in an HBO special, The Leopards
Take Manhattan, which airs periodically on the
HBO Family channel.
A big congratulations to JEN sponsor Herb
Alpert, who was recognized by President Barack
Obama for his lifetime contributions to the arts, with
Photo: Debbie Mari
UKZN and VCU students perform with South African folk
one of the 12 Medal of Arts bestowed annually by
music legend Madala Kunene (left) under the direction of
the White House. Alpert is a music icon, accomVCU Jazz Studies Director Antonio Garcia (center).
plished sculptor, painter and philanthropist, and
through his creativity and inspiration, he has
significantly enriched and influenced our cultural
Congratulations to JEN Vice President Caleb
life. The National Medal of Arts awards were estabChapman, who was honored by Utah Governor Gary
lished by Congress in 1984 to honor artists and patrons
Herbert with the 2013 Governors Performing Artist
of the arts. It is the highest award given to artists and
Award, which is given to one individual annually.
arts patrons by the United States government and winThe award was presented at a dinner reception at the
ners are recommended to the President by The NationGovernors Mansion and featured a performance by
al Council of the Arts and the Arts Endowments
the Caleb Chapman Crescent Super Band.
advisory council.
28
JEN NEWS
Caleb Chapman Appointed
Vice President
Board member
Caleb Chapman
has been appointed
Vice President for
2013-2015. Chapmans vision and
accomplishments
have marked him
as a rising star both
domestically and
internationally, with
Caleb Chapman
a unique perspective as an educator, author, and performer. As the President of Caleb
Chapman Music, he directs more than 150 of Utahs
most talented young musicians in nine elite ensembles,
including the Crescent Super Band, which has frequently been hailed as one of the best youth big bands
in the world. In 2011, Chapman was named the John
LaPorta Jazz Educator of the Year, and in 2013, he is
a finalist for the inaugural Grammy Music Educator
Award.
Chapmans students performed recently for
a full house at Carnegie Hall and have been honored
with 22 DownBeat Awards and seven consecutive
Best of State awards as Utahs Best Professional
Band in any genre. He has been named Utahs Best
Educator and Utahs Best Music Educator.
Graduates of his program are on scholarship
at many of the nations top music schools, including
Berklee College of Music, University of Southern
California, University of Miami, Juilliard, and University of North Texas.
Cheryl Carr
facebook.com/JazzEdNet
facebook.com/groups/jazzeducators
youtube.com/JazzEdNet
twitter.com/JazzEdNet
LinkedIN Group:
Jazz Education Network
29
focus session
ARRANGING
BY PETE MCGUINNESS
One of the many joys of the art of jazz arranging is the creation of the introduction. There are seemingly countless ways
of approaching this art. Some arrangements even have no intro
whatsoever. Think of Marty Paichs masterful chart on Round
Midnight from the classic LP, Art Pepper Plus Eleven.
As the melody begins, one is not sure if it is part of an intro
or if the tune has begun. Other arrangements may have a simple
vamp fgure or something that merely establishes the songs key
and style. Still others may use something as simple as a solo
drum fll.
A highly creative approach for creating an introduction can
come from using specifc musical elements within the song - melodic, harmonic, and/or rhythmic. There are many ways one can
use what is inside the song to remind the listener of what we
are about to hear. As my colleague John Fedchock puts it, If
an intro is effective, the appearance of the actual melody should
feel familiar. One of the most obvious ways of doing this is by
simply quoting an entire phrase of the song, making it clear what
song is about to be presented. Though a seemingly simple way
to go, there is always room for cleverness and invention through
such techniques as melodic variation or reharmonization.
Example #1 is based on the well-known standard Love
Walked In by George Gershwin. Here Ive created an intro so
the last eight-bar phrase of the song is presented as a highly syncopated and rewritten melodic line (think strong/swinging big
band tutti-style). Also note the use of alternate chords to further
enrich the phrase, which helps to clearly and dramatically set
the intro apart.
4 w
&b 4
Original
Swing q = 120
^
4 > . ^ j j b > . J
&b 4 J
f F f
C m11
Arranged
Intro
(lead line)
Example 1:
B bMa7
F 7+5
F Maj
A m7
D 7b9
& b .
D b 7alt
^
&b
F
(drums)
F9
>
C 13sus
B 13#11
G m7
C7
A 7#9
B bMa7
F Ma7
w
6
F9
( ) > .
J
D 9sus C 9sus
> ~~~ ^
~
F
E 7alt.
B m7( b 5)
(Dm7
A b 13
B b m7
E b7
B b 9sus A b 9sus
>
( ) .
J
Gm7
C7)
J b n b
f
P
G 13
C 13b9
A more subtle way of using the song as your source of material for an intro is by considering smaller elements as building
blocks for a more compositional approach. It could be harmonic, perhaps highlighting a specifc shift of chords from the songs
progression that is clearly identifable. I think of the frst two
chords of Billy Strayhorns Passion Flower as being indicative
of that song: F#9#11 to F9#11 (I once composed a 24-bar intro
for that song based purely on those two shifting chords). The
melody notes may have some unique intervals, motives or phrases that make the song special. It may be as simple as a two- or
three-note pitch cell.
30
Example 2:
Example 3:
Example 4:
OUR EDUCATION
IS HOW YOU WILL
BE HEARD.
Every class is infused with Music,
visit mcnallysmith.edu
p: 651.291.0177
info@mcnallysmith.edu
31
jazzforum
www.aajc.us
UNC Jazz
Press
~ uncjazzpress.com
UNC/Greeley Jazz
Festival presented by
Jamey Aebersold
~ uncjazzfest.com
32
zation will create a social media marketing presence for international education
programs, international guests, corporations, and small businesses wishing to
invest in Kansas Citys cultural landscape.
The long-range economic development
plan will expand on the opportunities for further development of the districts historic buildings and structures.
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n o r t h w e s t e r n u n i ve rs i t y
The Bienen Schools new facility will include the Mary B. Galvin Recital Hall
(pictured above), the Carol and David McClintock Choral Rehearsal and Recital
Room, an opera black box theater, teaching studios, practice rooms, classrooms,
and administrative offces.
847/491-3141
www.music.northwestern.edu
August/September 2013 JAZZed
33
spotlight FO D O R
continued from page 21
Early in the season, we teach and monitor each combo more closely, helping guide rehearsal techniques, song selection/creation, and
improvisation techniques. As the season progresses, we try to allow
the combo members to take more charge of their group until they
become self-suffcient. Our combos are built based on performance
abilities, so the less experienced groups require more attention at the
beginning, and the more experienced groups require a different level
of interaction from the coaches.
34
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August/September 2013 JAZZed
35
Backbeat
Carline Ray
1925-2013
36
Education: Learn from expert clinics, seminars, & industry discussion groups.
Networking: Connect with record labels, instrument manufacturers,
journalists, performing arts presenters, managers, publishers,
colleges/universities, & more.
Gear: Visit industry exhibitors for the latest products.
Live Concerts: Attend concerts by the worlds top professional jazz
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