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DVD provides over three hours of audio and video demonstrations of rehearsal techniques and teaching methods for jazz improvisation, improving the rhythm section, and Latin jazz styles.
This volume was the first published jazz teaching method. One of America's greatest musician-teachers, David Baker, shows how to develop jazz courses and jazz ensembles, with lesson plans, rehearsal techniques, practice suggestions, improvisational ideas, and ideas for school and private teachers and students.
Book for teachers and students of jazz.
Written by a jazz teacher for jazz teachers, "The Real Jazz Pedagogy Book" is based on the premise that successful jazz teachers must be constantly working four main areas: 1) the wind instruments-including tone production, intonation, and section playing skills; 2) playing styles correctly-such as rhythmic and time feel approach, articulation approach, and phrasing; 3) the rhythm section-playing the instruments, time feel and concept, coordination of comping, harmonic voicings, drum fills and setups, stylistic differences; and 4) the soloists-developing improvisational skills (both right brain and left brain), jazz theory, the ballad soloist, and the vocal soloist. Ray Smith, who has taught and directed jazz ensembles, including the acclaimed Brigham Young University group, Synthesis, and given private lessons for over forty years, also discusses the details of running school programs. Smith's YouTube channel complements "The Real Jazz Pedagogy Book."
This book provides guidance on starting a jazz-oriented program in conjunction with any existing program. Organized in six levels from Beginner to Advanced, it is suitable for any age or grade level and is designed so students and teachers can work at their own pace. Developed by the International Association for Jazz Education Curriculum Committee. A publication of IAJE and MENC.
This volume was the first published jazz teaching method. One of America's greatest musician-teachers, David Baker, shows how to develop jazz courses and jazz ensembles, with lesson plans, rehearsal techniques, practice suggestions, improvisational ideas, and ideas for school and private teachers and students.
This book offers compelling new perspectives on the revolutionary potential of improvisation pedagogy. Bringing together contributions from leading musicians, scholars, and teachers from around the world, the volume articulates how improvisation can breathe new life into old curricula; how it can help teachers and students to communicate more effectively; how it can break down damaging ideological boundaries between classrooms and communities; and how it can help students become more thoughtful, engaged, and activist global citizens. In the last two decades, a growing number of music educators, music education researchers, musicologists, cultural theorists, creative practitioners, and ethnomusicologists have suggested that a greater emphasis on improvisation in music performance, history, and theory classes offers enormous potential for pedagogical enrichment. This book will help educators realize that potential by exploring improvisation along a variety of trajectories. Essays offer readers both theoretical explorations of improvisation and music education from a wide array of vantage points, and practical explanations of how the theory can be implemented in real situations in communities and classrooms. It will therefore be of interest to teachers and students in numerous modes of pedagogy and fields of study, as well as students and faculty in the academic fields of music education, jazz studies, ethnomusicology, musicology, cultural studies, and popular culture studies.
The result of an international event celebrating the second UNESCO International Jazz Day held on April 30 2013 at the University of Padova, Italy, this book represents the development of a project begun some years before to investigate the issue of improvisation, considered as a multi-faced concept and practice. The initial focus of this project was to discuss the different meanings attributed to the concept of improvisation, starting from questioning the common misunderstanding which interprets improvisation as a naïve behaviour rather than high-level performance. According with these premises, Education as Jazz represents a metaphor and a challenge, exploring the potential of jazz conceived not only as kind of music or art, but rather as a mix of values, attitudes, and skills fundamental in everyday life and in human development. As such, the book adopts an interdisciplinary perspective and a multidimensional approach. According to the rationale of the UNESCO International Jazz Day, which highlights the role of jazz in promoting peaceful societies, intercultural dialogue, gender equality, and innovative spirit, this book offers a concrete educational resource and theoretical framework oriented towards a new pedagogy for freedom.
This text presents all of the materials commonly used by the jazz musician in a logical order dictated both by complexity and need. The book is not intended to be either an arranging or improvisation text, but a pedagogical reference providing the information musicians need to pursue any activity they wish.