JV Jazz

Content Area Standards: 1.0 Artistic Perception; 2.0 Creative Expression; 3.0
Historical and Cultural Context; 4.0 Aesthetic Valuing
Lesson 1
Time
10:30 10:50

Activity
Circle of 4ths Dorian
Scales, with 9th and
arpeggio

Blues in same key

as Cousin Mary (Bb
Blues, with #4
instead of 5),
playing arpeggiated
chord changes, then
using those notes to
solo
10:50 11:05

Have articulations
on board in
nuggets, using
rhythms and
articulations from
Cousin Mary

Point to random
nuggets on board
quizzing students
on articulations
Break ensemble into
groups (Saxes,
Tbns, Trumpets,
Rhythm), jump from
section to section,

Assessment
Listening to
student
articulation are
they slurring to the
downbeat, with
emphasis on the
upbeat?

Scaffold
Verbalize do BAoo BA-oo BA-oo;
model on own
horn

Is everyone
playing the correct
arpeggio?

Work out chord

tones on board
for instrument;
play arpeggio one
note at a time

Listen to individual
solos for chord
tones and
style/feel.
Listening for
uniformity of
articulations Are
the Dahts the
same length? Are
Dits the same
length? Are we
using the correct
phrase for the
correct marking?

Verbalize for
them (I do),
verbalize with
them (we do),
verbalize without
me (You do)

JV Jazz
Content Area Standards: 1.0 Artistic Perception; 2.0 Creative Expression; 3.0
Historical and Cultural Context; 4.0 Aesthetic Valuing

11:05 11:15

11:15 11:30

continuing quiz
process
Cousin Mary, by
John Coltrane, arr.
Terry White

Samantha, by
Sammy Nestico

Did you know?

Coltrane wrote the
original
composition for his
Cousin Mary he
described her as
an earthy,
swinging person.
Apply articulation
exercises to the
piece, esp. m32
(Daht, dah-doodit!)
Pay attention to
entrances
Keep solo in time!

(Some historical
context)

Verbalize
articulations (I
do, you do, we
do); model on
horn as a mini
call-response
Isolate sections,
esp. unison tpts;
Tbn. harmonic
movement

JV Jazz
Content Area Standards: 1.0 Artistic Perception; 2.0 Creative Expression; 3.0
Historical and Cultural Context; 4.0 Aesthetic Valuing
11:30 11:45

Carnaval, by Erik
Morales

Carnaval is a
(Some historical
traditional Brazilian and cultural
festival that takes
context)
place before Lent,
dating back to
1840. Carnaval
comes from
carnelevare,
which means, to
remove meat. The
composer attempts
to capture the
colors and lively
activity that takes
place during this
celebration.
Verbalize Daht,
Fix bass
dah doo-dit dit.
articulation in
Doo dit, Daht
introduction,
mm77 81 (Sax
Isolate section,
solo send off)
verbalize
articulations
Tbns. Mm108-118
keep air moving
through entire
section!!

11:45 11:55

New Orleans JumboGumbo, by Mike

Carubia

The place where

jazz started! This
piece is
reminiscent of
Dixieland jazz
(Dixieland comes
from the region,
specifically
anything south of
the Mason-Dixon
Line). The form
combined
marching brass
and percussion;
usually a front
line of trumpet,

(Some historical
and cultural
context)
(Where do we
hear some of
these things
happening?)
(Marching
percussion
drum beat
throughout)
(Frontline
musicians m13)
(Polyphonic solos
Coda)

JV Jazz
Content Area Standards: 1.0 Artistic Perception; 2.0 Creative Expression; 3.0
Historical and Cultural Context; 4.0 Aesthetic Valuing
trombone, sax, and
clarinet; and
polyphonic solos.
11:55 12:00

Lesson 2
Time

Go over written solo

assignment with
Cousin Mary
Soloists

Activity

Use provided
rhythms and
articulations to
formulate your
own 12-bar solo,
using your parts
chord changes to
Cousin Mary.
Focus on the
chord tones from
each chord.

Assessment

Scaffold

JV Jazz
Content Area Standards: 1.0 Artistic Perception; 2.0 Creative Expression; 3.0
Historical and Cultural Context; 4.0 Aesthetic Valuing
10:30 10:45

10:45 11:05

Circle of 4ths Dorian

Scales, with 9th and
arpeggio

Listening to student
articulation are
they slurring to the
downbeat, with
emphasis on the
upbeat?

Verbalize do
BA-oo BA-oo
BA-oo; model
on own horn

Blues in F minor,
playing arpeggiated
chord changes, then
using those notes to
solo

Is everyone playing
the correct
arpeggio?

Work out chord

tones on board
for instrument;
play arpeggio
one note at a
time

Record and listen to

Cousin Mary, by John
Coltrane, arr. Terry
White
Students with written
solos perform their
solo in context of the
piece

Listen to individual
solos for chord
tones and
style/feel.
Students will assess
their own
performance of the
piece
Rubric allows me to
give direct
comments to
individuals with
solos at a later time

Listen to professional
recording excerpt

Rehearse trouble
spots in piece

Focus on
suggestions from
ensemble

- Ask
questions:
What are 3
things you
liked about this
performance?
What are 3
things we
could work
on? Focus on
Dynamics,
style,
articulation,
time
What are the
pros doing
differently than
we are? What
could we
change to work
towards that
sound?

JV Jazz
Content Area Standards: 1.0 Artistic Perception; 2.0 Creative Expression; 3.0
Historical and Cultural Context; 4.0 Aesthetic Valuing
11:05 11:15

Samantha, by Sammy
Nestico

Rehearse with met

QN = 66
Focus on light
entrances, esp.
from unison
trumpets/saxes
All horns use
legato doo
tonguing

Verbalize
Doo-oo-oo,
pulsing oo on
triplet rhythm

Bassist make sure

were not clipping
notes, make them
more doo
articulations, not
dah or daht

11:15 11:25

Carnaval, by Erik
Morales

Soloist keep the

melody in
time/rhythm!
Make sure
articulations in bass
groove is correct

Verbalize Dah,
doo-doo-dit,
dit. Dah Dit
Daht, model
on own horn

Listen for
articulation in
melodic figures is
there a difference in
articulations?

Verbalize Doo,
doo-dit dit
Dah, doo-dit
Dah, Dit doodah (mm 214)

Listen for Brass

articulations at m61
are they playing
doo-doo or dahdah

Verbalize doodoo

JV Jazz
Content Area Standards: 1.0 Artistic Perception; 2.0 Creative Expression; 3.0
Historical and Cultural Context; 4.0 Aesthetic Valuing
11:25 11:45

Jersey Bounce, by
Bobby Platter, Tiny
Bradshaw, arr.
Sammy Nestico

Listen for
Trombones at top of
chart are they
synced?
Listen to style b/w
Saxes and Trumpets
do they match? Is
it correct?
Call and response
b/w Brass mm17-22
(and similar later
sections) how is
rhythm? Is
articulation short
and crisp where
needed?
Style at Shout
chorus m83

11:45 12:00

New Orleans JumboGumbo, by Mike

Carubia

Listen to sextet at
m13 are they
synced with their
articulation?
Sextet at m49 are
they synced with
articulation and
rhythm?
Ensemble hits at
m49 is their
articulation
matching?
Mm92-102 Listen
to each grouped
section

Isolate, esp.
mm4 8
Isolate by
section, speak
- Doo-oo Doooo; perhaps
scat?
Verbalize DooAht, daht for
Tbn
Daht, daht
for Tpt
(parts switch
later)
Verbalize
smoother,
connected
doo-oo
Isolate sextet
w/drum groove
Isolate sextet
say Dah-doodoo-doo Dah
doo-oo doo
dah-ha dah-ha
Daht
Should all be
Daht

Isolate each
group together