Exploration, Language and Application: An Approach to Teaching Beginning Instrumental Jazz Improvisation

2011·13 MB·English

by  Jeremy Todd Pownall

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The undersigned, appointed by the Schwob School of Music at Columbus State University, have
examined the Graduate Music Project titled
EXPLORATION, LANGUAGE, AND APPLICATION: AN APPROACH TO TEACHING
BEGINNING INSTRUMENTAL JAZZ IMPROVISATION
presented by Jeremy Todd Pownall,
a candidate for the degree of Master of Music Education
and hereby certify that, in their opinion, it is worthy of acceptance.
(Project Advisor)
©2011
Jeremy Todd Pownall
All Rights Reserved
Columbus State University
EXPLORATION, LANGUAGE, AND APPLICATION: AN APPROACH TO TEACHING
BEGINNING INSTRUMENTAL JAZZ IMPROVISATION
By
Jeremy Todd Pownall
A MASTERS THESIS
Submitted to the Faculty
of Columbus State University
in partial fulfillment of the requirements
for the degree of Master of Music in Music Education
Columbus, Georgia
2011
ABSTRACT
The purpose of this study was to provide preservice and inservice teachers with an
alternative approach to teaching beginning jazz improvisation to instrumentalists in a classroom
setting. It was determined that there exists a need for an accessible (to both teacher and student)
method for teaching beginning jazz improvisation to instrumentalists. This is due to the lack of
emphasis on jazz improvisation at both the public school and university level, as well as the
inclusion of improvisation in both the national and Georgia state standards for music
performance. The teaching method presented in this study is based on previous research, existing
teaching methods and strategies, and the educational experience of the author. A number of
valuable resources are used in the teaching process, but are presented strategically to avoid
overwhelming the reader. This method suggests teaching improvisation using three separate
components: Exploration, Language, and Application. Exploration involves the development of
student aural skills through singing and playing improvised melodies, singing and playing back
melodies created by other students, and playing improvised solos with an accompaniment (live
or play-a-long) using previously learned knowledge and skills. In the Language component,
students will listen to recordings of artist-level jazz musicians, transcribe solos, and develop
knowledge of jazz theory by learning the chords, scales and modes used in various harmonic
progressions. Application involves applying the developed improvisation skills to jazz repertoire,
whether it is a jazz standard in a combo setting or a full big band chart; students learn to
improvise in an actual performance setting, in the context of real music. These three components
are used to reduce anxiety and teach improvisation in a comfortable and accessible setting,
segmenting the process to allow time for students to process and absorb the given information
and develop the skills needed to improvise.
in
To my wife, Afton, and daughter, Marion
IV
ACKNOWLEDGEMENTS
The completion of this project is due to the support of a number of people. I would first
like to thank Dr. Sean Powell, Dr. Amy Griffiths, and Dr. Lisa Oberlander, not only for their
effort and support in advising this particular project, but for their continued guidance and
pedagogical contributions to my music education.
In addition to Dr. Amy Griffiths, I would like to thank Dr. Shirantha Beddage and Dr.
Alex Pershounin for their influence in my study of jazz. It is because of these people that I have
developed the deep appreciation and love for jazz that I have today.
If it were not for the experiences and music education that Erin Cole and Dr. Sonny
Petway provided in middle and high school, I would not have pursued a career in music and
obtained the knowledge and skills that I gained at this point in my life.
I would like to thank my parents, Todd Pownall, Julie Pownall, Tammy Williams and
Dan Williams for their unconditional support of my musical endeavors, from sixth grade band to
graduate studies. Without them, I would not have had the opportunity to pursue a career in music
and further my studies at the collegiate level.
My wife, Afton Pownall, has provided encouragement and companionship throughout
this process, and for that I thank her. Her support alone has allowed me to accomplish a number
of educational goals, including this project.
Finally, I would like to thank my heavenly father for the many wonderful opportunities
and blessings I have been given in my life. Colossians 3:17 says, "And whatever you do, in word
or in deed, do everything in the name of the Lord Jesus, giving thanks to God the Father through
him." Above all, it is for the glory of God that I do everything, and I owe it all to Him.
TABLE OF CONTENTS
CHAPTER 1: INTRODUCTION TO THE STUDY 1
Introduction 1
Statement of the Problem 1
Purpose 2
Research Questions 2
Scope and Limitations 3
Definition of Terms 3
Organization of Study 4
Summary 4
CHAPTER 2: REVIEW OF THE LITERATURE 6
Introduction 6
Effects of Improvisation on Overall Musicianship 7
The Mental Approach 7
Jazz Language 9
Instructional Strategies and Methods 10
Summary 14
CHAPTER 3: METHODOLOGY 15
Introduction 15
Methodology 15
CHAPTER 4: RESULTS 18
Introduction 18
Exploration 20
Language 22
Application 30
Summary 31
Sample Lesson: Teaching Blues By Five, aB-flatBlues 31
CHAPTER 5: CONCLUSIONS, IMPLICATIONS, AND RECOMMENDATIONS FOR
FURTHER STUDY 40
Introduction 40
Conclusion 40
Implications 41
Recommendations for Further Study 42
REFERENCES 43
VI
APPENDIX A: BLUES BY FIVE HEAD CHART 46
APPENDIX B: MILES DAVIS TRANSCRIPTION FROM BLUES BY FrVE 47
APPENDIX C: BLUE MONK HEAD CHART 48
APPENDIX D: J.J. JOHNSON TRANSCRIPTION FROM BLUE MONK 49
APPENDIX E: DOXY HEAD CHART 50
APPENDIX F: MILES DAVIS TRANSCRIPTION FROM DOXY 51
APPENDIX G: FREDDIE FREELOADER HEAD CHART 52
APPENDIX H: MILES DAVIS TRANSCRIPTION FROM FREDDIE FREELOADER 53
APPENDIX I: TENOR MADNESS HEAD CHART 54
APPENDIX J: SONNY ROLLINS TRANSCRIPTION FROM TENOR MADNESS 55
APPENDIX K: NATIONAL ASSOCIATION FOR MUSIC EDUCATION, PERFORMANCE
STANDARDS FOR MUSIC 56
APPENDIX L: GEORGIA PERFORMANCE STANDARDS FOR MUSIC EDUCATION 58
APPENDIX M: RECOMMENDED LISTENING: ALBUMS 59
VII
Chapter 1
Introduction to the Study
Introduction
Improvisation, a spontaneous musical composition using existing knowledge and skills,
contributes to a higher level of overall musicianship for students (Azzara, 1993, Azzara, 1999,
Guilbault, 2009, Riviere, 2006). Recognizing this value, educators have identified improvisation
as a "Performance Standard for Music" at the Georgia state level, as well as the national level in
the United States (Cox, 2009, National Association for Music Education, 2011).
The jazz medium provides an effective outlet for teaching improvisation. In addition to
addressing the identified "Performance Standard for Music" regarding improvisation, the study
of jazz improvisation promotes the development of other standards as well (See Appendices K &
L). For example, the study of jazz improvisation - as presented in this study - not only addresses
Improvising melodies, variation, and accompaniments, but includes the following national
"Performance Standards for Music": Ringing, alone and with others, a varied repertoire of
music, Performing on insturments, alone and with others, a varied repertoire of music,
4Composing and arranging music within specified guidelines, 5Reading and notating music, and
listening to, analyzing, and describing music (National Association for Music Education,
2011). These facts indicate the inherent value in teaching improvisation and the effectiveness of
using the jazz medium to do so.
Statement of the Problem
Despite the numerous benefits to teaching jazz improvisation - some specifically addressed
above - the study of jazz improvisation is absent from the curriculuum requirements for most
undergraduate and graduate degree programs in music education. Consequently, the study of jazz