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Basic Jazz PDF
Basic Jazz PDF
3y
UNIVERSITY OF FLORIDA
1986
Copyright 1986
by
Jansen J. Larsen
ACKNOWLEDGEMENTS
This study would not have been possible without the
111
TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS iii
ABSTRACT v ii
CHAPTER
ONE INTRODUCTION 1
Introduction 1
Nature of the Study 2
Statement of the Problem 4
Assumptions 5
Delimitations 6
Limitations 6
Need for the Study 7
Significance of the Study 11
Definition of Terms 11
Organization of the Study 16
iv
Page
THREE METHODOLOGY 53
Preparation . . . 55
Course Development 57
Course Design . . 62
Course Evaluation 64
Instrumentation . 65
Sample Population 69
Collection of Data 70
Analysis of Data. 71
FOUR RESULTS 74
Stage 1 74
Stage 2 76
Stage 3 80
Research Question #1. . . 82
Research Question #2. . . 83
Research Question #3. . . 85
Research Question #4. . . 87
Interpretation of Results 91
Summary 93
Conclusions 99
Discussion 102
Recommendations 108
APPENDICES
REFERENCES 243
By
August, 1986
Markle, the design of the course was based upon the mastery
theory of Scriven.
vii
piano. Each workshop was evaluated and revised in order to
improvisational ability.
viii
CHAPTER ONE
INTRODUCTION
Introduction
One of the most interesting developments in the
school curricula.
pianists
materials
course in its final form was field tested and evaluated, and
improvisational ability?
Assumptions
a group of students.
Delimitations
Limitations
comparison
3. The findings may have been affected by the nature and
enough for pianists who have had little experience with the
skills
improvisational ability.
the need for a course in basic jazz piano which (a) provides
jazz.
.
10
curricula .
Definition of Terms
12
major scales and all major and minor triads; (b) can play,
pianist .
teacher
adult pianists.
keyboard
ensemble activities.
15
skill.
period.
Scriven (1966).
17
13
carefully planned.
to learn jazz.
21
like major mode" (p. 310). It appears that jazz experts may
differ in their opinions concerning the appropriateness of
group. The experimental groups met one hour per week for
experience
24
Keyboard Improvisation
Program Development
Markle (1967) has defined an instructional program as
time frame for the program are important tasks for the
Mastery Learning
(Bloom, 1974).
29
both by how much time a student was allowed and how much
time a student was willing to spend (perseverance). The
learning time needed was determined by three factors:
participation ...
3. Use formative tests to give students frequent
feedback about learning and to identify the students
who need corrective work.
4. Provide the needed correctives to those students
who do not achieve mastery levels in the formative
tests. Bloom currently places most emphasis on peer
tutoring as a corrective device, (pp. 98-99)
Program Evaluation
Sanders, 1973).
34
improvement
trial and error. Jam sessions and road tours were the
was the private teacher. The first text which explained the
education
popular tunes.
Group Piano
same time (Robinson & Jarvis, 1967). The term "group piano"
41
groups
that
toward improvisation.
practice .
Instructional Strategies
learning:
(p. 352).
(p. 213).
Creativity Motivation
atmosphere
Teaching Improvisation
The only source found which dealt exclusively with the
(p. 178).
47
artistic processes.
play a one octave major scale with both hands and a piece
the level of dementi's Sonatina in C major. Kynaston and
Ricci (1978) have indicated that the ability to read music
Summary
51
1973).
McKeachie, 1983)
53
54
Stage 1:
Stage 2
Stage 3
FIGURE 1
A MODEL FOR THE DEVELOPMENT OF A COURSE
IN BASIC JAZZ PIANO SKILLS
.
55
Preparation
In preparation for the development of this course, the
Two
affective goal.
Course Development
classroom environment.
Stage 1
investigator .
course improvement.
Stage 2
a written posttest.
60
optional
Stage 3
61
Seven were female, one was male. The students were allowed
meeting
62
Course Design
The course was designed based upon the mastery learning
Course Evaluation
Instrumentation
Written knowledge tests
was divided into three sections which were assigned the same
Performance tests
Stage 1.
Information questionnaire
Appendix L.
needed improvement.
quality of teaching.
Sample Population
Collection of Data
Data for this study were collected in 1985 and 1986 in
Analysis of Data
improvisational ability?
The data and results of the Wilcoxon test for each of the
Stage 1
Phase 1
74
75
Phase 2
76
interest
Phase 3
Staqe 2
Phase 1
instruction .
79
Phase 2
effective implementation.
Stage 3
lab. The course was divided into two sections, with four
students participating in each. Lesson plans were carefully
followed by the instructor for each session. Data from the
two sessions were pooled. All students reached a mastery
level on the written posttest, and most students reached a
Research Question #1
TABLE 1
WRITTEN KNOWLEDGE PRETEST AND POSTTEST SCORES WITH
POSSIBLE SCORE 70, MASTERY SCORE 50
Student 1_ 2 3 £ 5 6 7 8
indicates mastery
83
Research Question #2
establish that they had the entry skills required for the
34
administered
(head 1), swing bass in the second section (head 2), and
open position seventh chords in the third section (bridge).
by three judges who were familiar with the jazz idiom and
TABLE 2
FINAL PERFORMANCE EXAM SCORES: SEVENTH CHORDS WITH
P0SSI3LE SCORE 16, MASTERY SCORE 11
Student
Score
12342678
*11.7 *16 *12.3 *13 7.7 *14.3 *13.7 5.3
* indicates mastery
35
symbols
Research Question #3
The third research question was as follows: Will the
course enable students to achieve a mastery score on an exam
which tests skills in jazz improvisation? This question was
answered with data collected from Stage 3 of this study. At
the right hand and any style of seventh chords in the left.
three judges who were familiar with the jazz idiom and
TABLE 3
FINAL PERFORMANCE EXAM SCORES: IMPROVISATION WTTH
POSSIBLE SCORE 16, MASTERY SCORE 11
Student
Score
i
*12.3
2
*16
2
*12.3
ii
*13.3 *12
5673
*13.3 *14.7 5.3
•indicates mastery
Research Question #4
The fourth research question was as follows: Will the
course enable students to respond to a questionnaire in a
TABLE 4
ATTITUDE QUESTION #1 ON A QUESTIONNAIRE
CONCERNED WITH ATTITUDES TOWARD IMPROVISATIONAL ABILITY
TA8LE 6
ATTITUDE QUESTION #3 ON A QUESTIONNAIRE
CONCERNED WITH ATTITUDES TOWARD IMPROVISATIONAL ABILITY
Rank
Rank of with Less
Pair Before After Difference Difference Frequent Sign
1
90
TABLE 8
ATTITUDE QUESTION #5 ON A QUESTIONNAIRE
CONCERNED WITH ATTITUDES TOWARD IMPROVISATIONAL ABII ITY
Rank
Rank of with Less
Pair Before After Difference Difference Frequent Sign
A 5 +1 2
1 6 +5 7
+1 2
+4 6
+3 4.5
+3 4.5
-1 2
T = 2*
* significance < . 01
TABLE 9
ATTITUDE QUESTION #6 ON A QUESTIONNAIRE
CONCERNED WITH ATTITUDES TOWARD IMPROVISATIONAL ABILITY
Interpretation of Results
The use of the model suggested by Markle (1967) was
very helpful in developing appropriate and effective
92
objectives.
Summary
93
94
course development.
95
improvisational ability?
Restatement of Methodology
96
course, and was undertaken .in two phases. Stage 3 was the
field testing of the course in its final form. Formative
and summative evaluation instruments were devised by the
improvement
evaluators .
Results
level of performance.
.
99
course
Conclusions
As a result of this study, and within the limits of
or improvement.
performance achievement.
Discussion
The development of a new course is a slow process which
requires trial and error, informed decision making, and
constant evaluation and revision of materials and
piano skills.
103
test
encouraged.
study formed a jazz club, which met once a month for the
piano skills.
Recommendations
study :
of music education.
music education.
determined.
.
109
piano skills.
APPENDIX A
COURSE OBJECTIVES
BASIC JAZZ PIANO: Course Objectives
idiom.
second inversion.
Ill
. .
112
improvisation
alone
113
piano
Name
(10 points)
a. a chord substitution
original chord
a. 3b mixolydian
b. C dorian
*c. F dorian
d. F mixolydian
115
116
a. Gmaj7
b. G7
*c. Gm7
predominately?
b. eighth notes
c. half notes
d. triplets
*f M7
*e
117
* ( A/A/A/A/D/D/A/A/E/D/A/A/ )
(5 points)
points)
1. 3maj7 = *(B-D#-F#-A#)
2. Fm7 = *(F-Ab-C-Eb)
3. Eb7 = *(Eb-G-Bb-Db)
4. Gm7-5 = *(G-Bb-Db-F)
5. Co7 = *(C-Eb-Gb-A)
*(Bm7/E7)
ID#
A. First version
Scoring criteria:
point: the student did not attempt the task; or, ther;
120
APPENDIX D
UNIT LESSON PLANS
BASIC JAZZ PIAiNO: Suggested Sequence (Time hrame: 5 3-hour
sessions, 5 weeks)
Class 1: Introduction
Improvising on a Tune
Assignment #1
Tritone Substitutes
Assignment #2
Swing Bass
Modal Improvisation
Assignment #3
122
123
Diminished/Half-diminished Chords
Turnarounds
Review/Final Exam
Final Exam
improvisation .
course
activity .
the rhythm section for a 12-bar blues or tune while the jazz
artist improvises.
. .
127
II . Procedures .
work
language
uncomfortable about.
understand something.
mastery learning.
assistance to learn.
be expected of them:
each week.
beginning of class.
129
session
IV. Evaluation.
3. appeared to be friendly
The students:
Comments :
130
III. Procedures .
styles
131
blackboard.
jazz is blues.
V. Evaluation YES NO
Comments :
132
tetrachord patterns.
emotionally expressive.
III. Procedures .
3rd finger on the note two half steps above Eb, 4th finger
134
pattern .
accents.
dominant
V. Evaluation YES NO
Comments
.
135
I I IV IV I I V IV I I).
III. Procedures .
chords
some of the students did not hear the error, then review the
pattern.
137
V. Evaluation YES NO
Comments
138
III. Procedures .
inversion.
139
V. Evaluation YES NO
Comments
. .
140
sixteenth
III. Procedures .
141
correctly .
learned
and "Blue Moon," points out that the melody is played in the
right hand and the chords in the left, and chords are to be
held four counts if only one chord is above the measure, two
Symbols .
only, in key of C using the chords CM7, C6, Dm7 and G7.
142
V. Evaluation YES NO
Comments
143
specific techniques.
III. Procedures .
144
practice individually.
tune
V. Evaluation YES NO
ideas clearly?
Comments :
146
III. Procedures .
key of C.
hand, using root position for the first chord and second
progressions .
(key of C)
G7/C7).
143
V. Evaluation. YES NO
Comments
149
I/I/I/I/I V/IV/I/I/V/IV/I/I.
steady beat.
hands.
150
III. Procedures .
together
tape. The teacher and the students will discuss each tape
serve as a model
151
V. Evaluation YES NO
Comments
.
152
by the teacher.
III. Procedures .
seventh chords and the students play each chord with the
hands
. :
153
V. Evaluation YES NO
Comments
154
hand
III. Procedures .
rhythm section.
the right hand and a simple walking bass line in the left
held two beats; root, 3rd, 5th, and 7th if it is held four
V. Evaluation YES NO
Comments :
156
techniques .
III. Procedures .
motive as requested.
V. Evaluation YES NO
Comments :
.
158
III. Procedures .
substitute .
repeat this process for other keys, and students may try
simple folk tunes (ex.: Mary Had A Little Lamb, This Old
10. Teacher hands out lead sheet for "Lover Man" and
160
V. Evaluation. YES NO
Comments
161
the right hand and a walking bass in the left hand (no
162
III. Procedures .
to be retaped.
163
comfortable?
Comments
.
164
III. Procedures .
vocal/piano blues (ex., Piano Blues , RBF 12), and points out
the AAB vocal pattern, and the two-bar piano response after
165
blues, and points out that thinking vocally and using AAB
V. Evaluation YES NO
to each other?
Comments
.
166
teacher
III. Procedures .
second inversion.
the root and seventh in the left hand and the third and
167
student .
V. Evaluation. YES NO
Comments
168
realization .
III. Procedures .
Man."
169
V. Evaluation YES NO
Comments
170
with the root and seventh on the bottom (left hand) and the
third and fifth on the top (right hand), beneath the melody.
III. Procedures .
"Lover Man," using the root and seventh in their left hand,
and third and fifth in their right hand (fingers 1 and 2),
corrections
Evaluation . YES NO
Comments
172
III. Procedures .
whole and half steps; Aeolian and Ionian are the ones used
the most in European music, but there are others which were
in jazz music.
in the left hand, the right hand can improvise on the notes
corrections
174
Types .
V. Evaluation YES NO
Comments
.
175
improvisation
III. Procedures .
are done) .
questions.
177
V. Evaluation YES NO
Comments
.
178
chords
2. Tape any other song with any style chords in the left
179
III. Procedures .
tapes
mastery
with earphones.
V. Evaluation YES NO
comfortable?
Comments
181
III. Procedures .
Hoagie Carmichael.
183
V. Evaluation. YES NO
musician improvises.
III. Procedures .
185
Evaluation YES NO
Comments
136
III. Procedures .
187
Evaluation .
YES NO
Comments
LESSON XXV: Chromatic Bass Lines
III. Procedures .
the keyboardist can play only the chord before the slash
189
V. Evaluation YES NO
III. Procedures .
191
V. Evaluation YES NO
Comments
192
the test.
III. Procedures .
IV. Media . Handout 12: Final Exam Review , and Handout 13:
Assignment #4 .
Evaluation YES NO
Comments :
193
III. Procedures .
Activity .
195
Evaluation YES NO
activity?
Commen ts
196
situations .
III. Procedures .
formats
chords.
C), which can be also used for CM9 and CM13 (3,5,6,9).
notes which fit with the chord; one useful right hand
performance .
desired) .
V. Evaluation. YES NO
and demonstrations?
Comments
199
III. Procedures .
200
V. Evaluation YES NO
authors?
Comments
201
enhance learning.
III. Procedures .
202
V. Evaluation YES NO
results?
Comments
APPENDIX E
FEEDBACK AND CORRECTIVE PROCEDURES
BASIC JAZZ PIANO: Feedback and Corrective Procedures
(instead of "don't do . .
.
" , say "try . . .").
moves quickly.
drills)
present
expression .
204
APPENDIX F
ALTERNATE PROCEDURES
BASIC JAZZ PIANO: Alternate Strategies and Procedures
smaller steps.
lies
class
misunderstanding
9. Review previous material frequently.
206
APPENDIX G
COURSE HANDOUTS
BASIC JAZZ PIANO: Handout #1 : Course Objectives
Instructor :
Janeen Larsen
Spearfish, SD 57783
642-6241 or 642-7225
Course goals:
208
209
I ,3 \y &- tf- a t- cT g h °
* z H I * 3 1
C Riffs (motives)
tm^^^ j^pl
> C*~7
£
L
210
"J M I I i
|
-e-
g
^ffB 4^-
ipp ^pip
pi *=t ^jjjjii'jjjj
211
TRIADS
3F 5* ^& t&
Cr« C+ Co
SEVENTH CHORDS C dim
m y
7 Cm 7
C-7
^F^g 3*
c^ - c 7+ y
c* 7 5
SIXTH CHORDS:
£ ~g~
SB •¥-¥-
-^~
C£ C* 6
OTHER TYPES
X * o%
& ZHL U5E
c
Vc-
c,
&#
212
Major 7 = major triad + major seventh
seventh)
213
BASIC JAZZ PIA,NO: Handout #5: Assignment #1
steady beat.
REPETITION
OCTAVE DISPLACEMENT
TRANSPOSITION (Sequence)
MODALITY SHIFT
INVERSION
RETROGRADE
NEIGHBORS
Improvising on a tune:
and descending.
RULE 4: NINTH
1. Ionian
2T o <^
-&- ~D & Z3 g
2. Dorian
b3, b7
€ ^o ^ ^ r b& g |
3. Phrygian
b2, b3,
b6, b7
1
Z
t> & b o <?
iEa ^»o g f
4. Lydian
#4
1^ ^r
-&• sgj g g g
^b a
1
5. Mixolydian
b7
o a jfcj r? -J
6. Aeolian
b3,
J>, b6,
06, -K—
S a fc ^ a
b "2? *-&- U & j
7. Locrian
b2,
b5,
b3,
b6 ^^ e- JEjj jS g | )
D7
220
$&-
a*
s
-e-B.
o a 3^
m
2. Dominant 7: Mixolydian
Ex.: D7 = D mixolydian
o -&-
-& 2fe n -& -5^
I ZS^l
£?
~Z2_
I^JZ-
1
4. Half-diminished 7: Locrian
Ex. : Cm7-5 = C locrian
1
as T fa a S :
r/
3
5. Diminished 7: Diminished Scale (alternating whole and
half steps)
221
2. Tape any other song with any style chords in the LH and
steady beat.
FINAL EXAM:
in LH
(bridge)
(head 3)
improvisation RH.
II. Written:
Discography
The Blues
225
APPENDIX I
TRAINING A PROCESS EVALUATOR
BASIC JAZZ PIANO: Training a Process Evaluator
attained (summative).
each session.
227
228
course?
too short n«
uts n „ long
±. ,
too
What length/time frame would be most appropriate
for the
material covered?
too little
loo much
at one time OK at one time
3. Was the information clear or confusing?
logically OK •andomly
233
234
8. How well did the course content meet your individual
needs?
V9 ^ OK no t at all
9. Did this course provide you with a greater knowledge of
the jazz idiom?
12. What benefits, if any, did you obtain from this course?
235
Instructor Course
1.
10 9876543210
Course organization:
2.
10 9876543210
Instructional materials:
3.
10 9876543210
Subject matter presentation:
Grading basis:
4.
i098765Ai9in
5. Intellectual motivation:
10 9 8 7 6 5
236
6. Interest in subject:
10 9 8 7 6 5 4
10 9 8 7 6 5 4
10 9 8 7 6 5 4
10 9 8 7 6 5 4
10 9 8 7 6 5 4
11. Appearance
10 9
APPENDIX L
INFORMATION QUESTIONNAIRE
BASIC JAZZ PIANO: Information Questionnaire
ID#
situations
P° or 12 3 4 5 6 7 excellent
6. Rate your present improvisation ability or skill on
the
following scale:
poor 12 3 4 5 6 7 excellent
238
APPENDIX M
WRITTEN ENTRY EXAM
BASIC JAZZ PIANO: Written Entry Exam
Place a check beside the terms you are familiar with, and
for wnich you could give an adequate definition:
(30 pts.)
riff
tritone substitute
walking bass
swing bass
comping
dorian mode
mixolydian mode
blues
jazz
AM7: Bm7-5: _
F ^o7: Eb7 + 5:
G7sus: B/A
Ab9-ll
240
APPENDIX N
PERFORMANCE ENTRY EXAM
BASIC JAZZ PIANO: Performance Entry Exar
Name
left? Yes no
242
REFERENCES
Aebersold, J. (1970). A new approach to jazz improvisation :
A new approach
Ig 1 V to jazz improvisation New Alh an » .
243
244
Block, J.H. (1980). Promoting excellence through mastery
learning. Theory into Practice 19(1), 66-74. .
245
Coker, J., Casale, J., Campbell, G., & Greene, J.
(1970)
Patterns for .jazz (3rd ed.). Lebanon, IN: Studio P/R.
Damron,_B.L. (1973). The development and evaluation of a
self-instructional sequence in jazz improvisation.
Dissertation Abstracts International 35, 1141A..
Ferguson,
Alfred.
T. (1979). Instant Improvisati on.
~ — New York-
Publications.
Haerle, D.
Lebanon,
(1978).
IN:
Jazz improvisation for keyboard olav^rs
Studio P/R. "
— l —
246
"is, H c (1980). The complete book of imp rovisation
- -
Publications.
247
Markle, S. (1967). Empirical testing of programs. In P.C
Lange (Ed.), The sixty-sixth yearbook of the Na tional
Society for the study of education: Part~TT: Programmed
instruction (pp. 104-14H). Chicago: National Society for
the Study of Education.
Illinois Press.
'
—
Schenkel, S.M. (1983). The tools of jazz. Enqlewood
Cliffs, NJ: Prentice-HaTT
248
Schuller, G. (1961). Jazz education, schooled spontaneity
Music Journal 19, 44, 71-73.
.
—
Sudnow, D. (1978). Ways of the hand . Cambridge, MA-
Harvard University.
249
I certify that I have read this study and that in my
_
I
_
certify that I have read this study and that in my
opinion it conforms to acceptable standards of scholarly
presentation and is fully adequate, in scope and quality, as
a dissertation for the degree of
Doctor of Philosophy.
_
certify that I have read this study and that in my
I
L .
^^ f
X-
David Z. Kushner
Professor of Music
I certify that I have read this study and that n my
l
opinion it conforms to acceptable standards of scholarly'
presentation and is fully adequate, in scope and quality
as a dissertation for the degree of
Doctor of Philosophy
Gordon D. Lawrence
Professor of Educational Leadership
_
Icertify that I have read this study and that in my
opinion it conforms to acceptable standards of scholarly
presentation and is fully adequate, in scope and quality,
as a dissertation for the degree of
Doctor of Philosophy.
August 1986