MARY Music isa wary important part of who you are. There are songs that rarnind you of babyhood, of places you' been, of people you know. Bolore you laarned how t0 talk, you babbled, caved and sang your way into actual words. And of course, you all have your favorite sing- slong songs snd dance numbers. Hf you think abou Your favorite television shows, movies and even video ‘games are all brought to ite through music. ‘Music is a world of eolore, dancing tones, highs and lows, louds and soft, fasts and siows — all working Topathor. Liston clase’ and music becomes your naw Deettriend, a valued guide and 2 lifelong companion. Through music, you can know the fealings of Charla Parkes, Milas Davis, Thelonious Mork and George Gorstrain, Through music, you can learn about history, math, geography and social uses, Musie ean teach Yyouwhon to speak and when i's bast to bo quit. Jazz music isthe American kdenthy In sound. fencourages uso appraciate our own creativity and the creativity af others. By celebrating Our creative differences, it teaches us how to make sactfces for the sake of a group. puts us in touch with a bigger spit the api of at, Jazz an artform thar showeasas the nogotiations of 2 group of improvising musicians. A quality jazz performance highlighss a form of musical free spoech tha {ereates suspense for both artist and istonor. Willthe muse descend into choos and noise, or wil it rise in 2 crescendo of elear communication? We only find out as the pertormance progresses. In this way, Jazz is ‘exactly tke modern smotican lio. we work things ou, we have a good! time in jazz. We call that swinging. Jazz enables us to understand and enjoy the Individuality of each person. I encourapes us talsten 10 one ‘another with empathy Listening is ammostimportart ski to teach in this age ef global comnemunication. Modern technology has given us the tools to speak to one another, Now the question is, what will we say and how will we listen? Jazz music teaches the respect, patlence and attentiveness required to participate in Today's worldwide conversation Wt gives us the confidence ta impeevise when Hegoliting the avér.chatyging currents of our times. Unimatoly, jazz i a musie of communication, At its very core, this musie affirms. our bolle in eernrmuniy, Jove-and inthe dignity of human ifa. kis 2 wonderful git thac we have all boon givan. if wale twill each Us im ways beyand our imagination - exactly who we are, whore wo have boon and whore wo should bo going. This. guide s a labor of love. In my many years of experience in schools al over the world, | have met Teachers who said, Jaz is just too difficult to understand,” but Ive never ancountored a taacher who did not lve the very best of themselves to thelr students. With this guide, Jazz at Lincoln Center sisives to make jazz ‘ease to understand, and | assure you that we have given aur very best to these lease, We wh to hel \You provide your students with a waty to ook in wonderment atthe world around them, and $60 and hear tho ‘many forms:and concepts. that unite us al. (nthe spit of swing, Wynton Marsalis.“Everybody ean love jazz at any ago; literature should teach you the concepts.” Wynton Marsalis: This resource introduces kis to azz through great ltarture combined with “earning by doing” Kids learn bast by doing. This series combines Wynton Marsalis and Jazr at Lincoin Center content and audiatvideo recordings with Interactive student lessons designed for teachers wha may or may not be trained in America’s at form, introducing jaz tothe next generation, ach lesson neues body percussionvcassroom ismumenns that every music eachor a eady owns of can oasty ator What's included? + Leseon plans incorporating stent interaction with audi\vdea recordings, + Digital daventoads: 1. Stap-bysap tides that oad you and tho exudares through aach lesson, 2. Audio recordings of each tong ad Wonton Marsalis sharing background information 2, Roprodueole acthy/assaesment worksheets, 4 Instrument shoot for formal ascassmerts. Print and lina a classroom set. Studer point tothe insrumore they hoa. Bonus! Corresponding video clips for lessons located at http://jazzloryoungpeople_orgivolimet + Ctassraom video clips, Your students pay slong with top Jazz at Lincoln Center musicians. ‘+ Watch & Teach video clips. Taachor domonstrations of lossons in action with students ad grade students filmed to demonsérote working with younger students, Lessons also successfully classroom tested with older students.)SSF Second iit (traditional) ‘An active listening study of the traditional New Orleans standard, "Second Line.” ANote from ‘The second line parade and jazz were boen around the:tum of the 20° century in the city of New Orleans, Louisiana. The people loved to celebrate with music and parades. The front line is made Up of the trumpet, clarinet and trombone players Fading the parade. The second line is a group of people that follows a jazz band parading dawn the stroct. They dance and inspire the musicians to get deeper into the groove. Listening Highlights (Rotorenco audi fe 1241L2-Socondlinasnp3} * Liston tothe tradiional New Orleane standard ‘The melody is repetitive and very singable, ‘+ Notice the banjo rhythms in the background, (00:29) + Liston to the musicians break away from the melody into collective improvisation. (01:06) + Notice how the trumpet and tombone ereate heat by making growling sounds, (01:25) Vocabulary ioe giossary pages 44-45) Objectives (swon “eat” snamarts) CAN: + identity beat and an emphasis on beats 2 & 4. + identity the “Big Four" used in New Orleans jazz + identity collective improvisation aurally. + identity and understand “front line” and. “second + count bars (measures). lentify and play the 12-bar blues form usedin “Second Line.” + identity and count choruses in jazz music. + identity and learn trom setive listening of the traditional New Orleans standard, “Second Line." + identity the banjo, sousaphone, clarinet, ‘trumpet, trombone, drum set, bass and piano: visually and ai Materials DIGITAL DOWNLOADS + VIL2 Second Line Stop-by-Stop Slides, + VIL2 Student Werkshoats 1-4 + Class set of Instrument Sheets INSTRUMENTS: Options to use: + Pitched Chromatic Instruments: | ehord pitehes: Bb, D, F IV chord pitches: Eb, G, Bb V chord pitches: FA, &* Pitched Orff instruments | chord pitchos: C, E, G IV chord pitches: F A, C Vehord pitchas; 6, B,D VIEW ONLINE (hmpujazzforyoungpeaple.org/volume Wieeson2) + Lesson 2 "Watch & Teach” Demonstration Videos (for teacher preperation} + Leston 2 Classroom Video ifor student viewing) Teaching Sequence INTRODUCTION INTRODUCE the “Big Four” of New Orleans jazz and the rhythm section, lides 3-4 COUNT and TAP on beats 2 and 4, lide § CLAP the “Big Four,” on aceant onthe 2nd fourth beat. + Slide 6 CHANT and PAT the-snare deum part. + Slide 7 CHANT and PAT the bass part, “Tick, toe, tick, tock.” + Stide 8 TAP the steady pulse and LISTEN to the collective improvisation of the bass and drums. Optional Stopping Point (Slide 9) FRONT LINE & SECOND LINE Slides 10-12 INTRODUCE the “front line” and the "second line.” Slides 13-18 COUNT 12-Bar Blues and Choruses (7 choruses of 12 barsin the recording) Slide 16 COUNT & AURALLY IDENTIFY the Front Line (trumpet, trombone, clarinet) collective: improvisation in “Second Line,” (Click to reveal answers.) Optional Stopping Point (Slide 17) THE 12-BAR BLUES FORM Slides 18-23 COUNT and LEARN the 12-bar blues form, + Play the audio of video recording of “Second lin + Count sets of 12 bars, or choruses while listening. +Learn the 12-bar blues form chord progression. PLAY ALONG Slide 24 DISTRIBUTE and PLAY ALONG with your choice of pitched instruments, Slides 25-51 Pitched Chromatic instruments (Option to ute or skip Sides 26-26) Slides. 60-86 Pitched Or instruments {Option to se or skip Sides 41-43) PRACTICE the assigned part. (Assign students 10 oni play on the dewnboat or the bass pattern depending on silty and time.) PLAY 7 CHORUSES with tho recording (video or audio}. RETURN INSTRUMENTS REVIEW & ASSESS Distribute an Instrument Sheet for each student. Slides 32-38 New Orloons, the birthplace of Jazz + What is the “Big Four?” (an accent on the ‘second fourth beat, a musical element in New Orleans jazz:) + Name or point to the instruments in the ehythm section, Use instrument Sheet. (drums, bass, ‘sousaphona, or tubs, banjo and piano} + Name-or point to the instruments inthe “front line” of today’s recording. Usa Instrumant Shoot. (trumpet, trombone ond clarinet) + How many bars were in one chorus of "Second Line? (12), + What is @ chorus in jazz? How many choruses ‘were in the recording of "Second Line?” (7) + What is 8 “second line?” (A group of people who followed behind New Orleans jazz bands, dancing and parading down the street) + What is “collective improvisation” (Musicians ‘speaking and listering to each other with instruments.) ‘+ What isthe “frontline?” (The instruments playing the melody and leading the New Orleans jazz band parade.)Samples of the Step-by-Step Slides for Lesson 3. COLLECTIVE IMPROVISATION Instruments having a conversation. Point to the instrument “speaking.” “Audubon Zoo” Sing the traditional New Orleans song. Use the hints below to remember the lyrics.LESSON 7 Flee As A Bird / Uae function” What is the New Orleans Function? PUR N WYNTON MARSALIS The New Orleans jazz funeral is a ving tradition. Following an indoor memorial ar ceremony, the body of the dacoasad is carried to the-grave in a jazz parade processional to the sound of a slow, mournful diege. Alter 6 graveside ceremony and burial, the band plays a happy, up-tempo march, fulfilling the veords in the bible, “mourn at birth and celebrate at death.” The slow dirge and the up- tempo march together are called the New Orleans Function. The New Orleans Function includes two sections: 1. Ditge ~“Flee as a Bird.” The frst, slaw part isa mournful diege played on the way te the burial 2. March = *Didrft He Ramble.” The second part is upbeat celebratory dance music, played on the way boek from the burial Listen, play along and identity the musical devices cof New Orleans jazz the “big four,” solos, fiffs, breaks, call and response, and collective improvisation. Vocabulary (see glossary pages 42-15) dirge march Objectives (Srden “can sumemaces) 1 CAN: + identity and play along with the music of a New Orleans Function, «identity and play the beat of a dirge. + identity and play the beat of a = “big four” ‘solos, riffs, Breaks, call and response, and collective improvisation. Materials DIGITAL DOWNLOADS + VILT Flee BirdiDidn’t Ramble Step-by-Step Slides *VILT Worksheet 1 INSTRUMENTS: Unpitched classroom instruments: drumsMhned drums and tambourines VIEW ONLINE {hepsi /aertonyoungpoaple.org/volumot/ jasson?| “+ Leston 7 Classroom Video (for student viewing) Teaching Sequence INTRODUCTION Slide 3 INTRODUCE a tra: funation, ional New Orleans PLAY ALONG Slide 4 NUMBER STUDENTS 1 or 2 and DISTRIBUTE instruments. Slides 6-8 PLAY ALONG with unpitehed instruments. + DIRGE (A section) play hand drums an beats 1 ‘and 3, and tambourine on beats 2 and 4, ‘« MARCH (8 section) play tambourines on boats Zand 4. PASS to the left after & bars. RETURN INSTRUMENTSREVIEW & ASSESS Samples of the Step-by-Step Slides Distribute instrument sheets. for Lesson 7. Slides 10-12 New Orleans Funetion + Whot are the two sections of DIRGE — New Orleans Function music lee as a Bi a called? (Dirge and March) ‘splay 3 hand drurn on bests 1 and 3. + Point and name the Fs py tambourine on beats 2 ac 4. instrumentain the front line, —e (trumpet, trombone, clarinet) + Point and nama the instrumentsin the rhythm section of the recording. (piano, banje, drum set, bass) WORKSHEETS (optional) PLAYING ASSESSMENT + Play on the beatin both sections with securacy. MARCH “Didn't He Ramble” 1. Pay the tambourine on boats Zand 4, 2. Count Bars and poss tote la. ‘lap on beats 2 and & when you do not have an instrument. MELODY | MELODY | Nami | couecrVE il fe =+ Jelly Rots grandmother threw Jally Holl out of the house for playing the blues when he was 15..She loved tision to church hymns and did nor ike Jty Rol's improvised styles, especiaity ha bluas. “Jelly Roll was abe to earn money playing te piano ‘round the city + Ragtime music was very popular when Jelly Roll was growing up. Atihat time, everybody had a plana in his or her pact. + Jolly Rol|ioved to play ragtime and improvise, ‘adding nowes and giving them a new feeling andl ew harmonies, + Witten improvisation ~ a significant contribution to the spread of jazz Jelly Roll wrote his improvisations ‘on manazeript 30 others could play his improvised ‘mesic. Jazz was sil vry young. TV: radio and the Incarnet did nat exist. Since sheet music could travel faster than a waveling band, his compositions showed everyone what real jazz musts sounded like. Jelly Rol's compositions wece inteligenty constructed and ull of musical devices that ‘audiences found exiting. Jelly Roll Morton & the Red Hot Peppers Inthe mic-twentis, Jel Roll Morton organized his own band called the Red Hot Papers, The Red Hot Peppers val band of 7-2 miicians mar Joly Rol Morton put ‘ooether for recording easions. ‘Jotly Roa was ene of tho fies people to ako jazz seriously as art. He fol that he could take his iswonoes tos highor lovelthrough music. He said that jazz fs tho finest music because i's. made ofall the finest music He balieved in tha power and baaury of New Orleans customs. From the most sophisticated to tha ridiculously crude, he put the entre life ofthe city into his musi = Wynton Marsalis