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2011-2012
WELLS FARGO PERFORMINGARTS SERIES FORSTUDENTSMONTALVOARTS CENTER
Jazz Reach featuring METTA QUINTET
Hangin With The Giants
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A Performing Arts Series
for Students
Study Guide
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ABOUT OVERTURE CENTER FOR THE ARTSOverture Center for the Arts fills a city block in downtown Madison with world-class venues for the performing
and visual arts. Made possible by an extraordinary gift from Madison businessperson W. Jerome Frautschi, the
center presents the highest-quality arts and entertainment programming in a wide variety of disciplines for
diverse audiences. Offerings include performances by acclaimed classical, jazz, pop, and folk performers;
touring Broadway musicals; quality childrens entertainment; and world-class ballet, modern and jazz dance.
Overture Centers extensive outreach and educational programs annually serve thousands of Madison-area
residents including youth, older adults, people with limited financial resources and people with disabilities. The
center is also home to nine independent resident organizations.
Internationally renowned architect Cesar Pelli designed the center to provide the best possible environment for
artists and audiences, as well as to complement Madisons urban environment. Performance spaces ranging
from the spectacular 2,250-seat Overture Hall to the casual and intimate Rotunda Stage. The renovated Capitol
Theater seats approximately 1100 and Playhouse designed for live theatre will seat 350. In addition, three
multi-purpose spaces provide flexible performance, meeting and rehearsal facilities. Overture art exhibition
spaces include Overture Galleries I, II and III, which display works by Dane County artists. Wisconsin Academy of
Sciences, Arts and Letters Watrous Gallery displays works by Wisconsin artists and the Madison Museum of
Contemporary Art offers national and international artists.
Resident organizations
Kanop Dance Compan Madison Repertor Theatre
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S T U D Y G U I D E
TABLE OF CONTENTS
JazzReach .......................................................................2
A Brief History of Jazz............................................2-5
Jazz and Democracy...................................................4
HanginJazz Giants Biographies.......................5-8
Improvisation................................................................8
Music Layers ...............................................................11
Jazz Rhythm................................................................11
Traditional Jazz Instruments.................................12
Simple and Found Instruments...........................13
Make Music! ...............................................................14CD Listening Suggestions .....................................15
Jazz Vocabulary .........................................................18
Resources.....................................................................19
Academic Standards................................................20
Theater Etiquette and Experiences....................21
If you would like more in-depth information on jazz download the JazzReach Stolen Moments Study Guide at
www.overturecenter.com/guides
http://www.ci.madison.wi.us/overture/guides.htmhttp://www.ci.madison.wi.us/overture/guides.htm8/3/2019 Study Guide: Hangin
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JazzReachs Mission and HistoryEstablished by musician H. Benjamin Schuman in 1994,
JazzReach is a nationally recognized New York City-
based not-for-profit organization committed to fostering a
greater appreciation and awareness of jazz music.
JazzReach has quickly established itself as one of our
nations leading arts-education organizations. Its
programs have successfully served over 80,000 young
people nationwide, and have been presented by some of
Americas most distinguished performing arts venues.
The music quickly became popular. Many bands
marched in parades through the streets of towns, even
for funerals.At first they used marching bandinstruments: trumpet, clarinet, trombone, tuba,drums,
and sometimes saxophone.African Americans were the
first Jazz musicians but Jazz quickly expanded to
For more information on JazzReach visit
www.jazzreach.org
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Jazz orchestras played
all over the country with
as many as 25 members.
Wind and brass
instruments (mostly
saxophones, trumpets
and trombones)
dominated the sound,
but sometimes violinswere used, as well as
piano, guitar, drums and
b I dibl i lik Ell Fit ld
Woody Herman had so many different musicians play
in his band over the years that they became known as
Woodys herds. If you played in a Herman band, youd
tell someone that youd been a member of the 3rd
Herdor 4th or 5th or 6th! Televisions werent in
peoples homes yet, and crowds flocked to see these
bands when they came to town because dancing was
one of the favorite forms of entertainment.
Unfortunately, people were not treated equally during
this period of American history, and there are many
disappointing stories about how Black musicians were
treated when they performed in clubs and dance halls
that were reserved for Whites only.Black jazz bands
were often forced to stay in dirty rooming houses and
enter the clubs through the back door,while White jazz
bands were treated with respect. Some White
bandleaders helped to fight this discrimination by
inviting Black musicians to join their bands and
demanding equal treatment of their band members.
Jazz helped people understand that Jim Crow laws and
other anti-Black attitudes were ridiculous and hateful. It
was a hard road with unfair twists and turns for Black
musicians.
History of Jazz continued
Billie Holiday (top)Ella Fitzgerald (right)Cab Calloway (bottom)Photo Credit: William P. GottliebLibrary of Congress.
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Many of these Big Band members were talented
improvisers and wanted to have more solo performance
time to showcase their musical skill and creativity. Their
interest in having more solo time also made sense
economically. Big Bands had many musicians to pay and
were expensive to take on tour it was easier for clubs
to pay for a small group of musicians.During the 1940s
and 50s many jazz musicians began playing in small
groups of four or five musicians, called quartets or
quintets, just like in traditional classical music. Instead of
detailed, written music, most of the song was left
unplanned, which allowed the musicians to create music
on the spot,or improvise.
One new small-group style that developed during this
period was called Bebop. Bebop songs were often
played very fast and mirrored the fast pace of New York
City, where Bebop began. BeBop musicians were moving
away from the entertaining dance style of the Big Band
Era.They wanted to assert their intellectual ideas and
emotional complexities and did so through the complex
rhythms of Bebop.
Cool Jazz was small group
style that developed in
response to the high energy
and emotional intensity ofBeBop. Cool Jazz was a
more laid-back jazz style
d d l d t
The magnificence of jazz music is due to a rich blending
of different cultural influences. In the very beginning of
Jazz the musicians were all African American, blending
their heritages with European instruments and musical
forms. At this time in history many people in the United
States thought that racesshould remain separate, and
as Jazz styles developed, black and white musicians
began sharing musical ideas with each other. Black and
White jazz musicians were performing together 10 years
before professional sports teams were integrated! Jazz
introduced White people to the beauty of AfricanAmerican culture, and it helped people understand that
we are all human beings and share many of the same
ti d d Bl k d Whit i i l i
Jazz and Democracy
Jazz can teach us how to function in a
democratic society. As a jazz musicianyou have freedom and responsibility.
You must contribute to your musical
surroundings sometimes listening
to other musicians and supporting
them and sometimes coming
forward and making a statement
while always being sensitive to
those around you.
History of Jazz continued
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Louis Satchmo ArmstrongGrowing up in New Orleans, Louis Armstrong heard all kinds of music. At a very young
age, Louis had to work to help support his family, who were very poor. To earn extra
money some of his jobs included singing on street corners cleaning graves and
Listening to many different styles of music
helps us to understand the ideas and customs
of people from various cultures. It is amazing
how people from around the world have more
similarities than differences. Even if we dress
differently, eat different types of food, write
different types of books,make different forms of
artor compose different musical soundswe
all share a basic desire to express our ideas and
emotions.This is what really defines us as
human beings.
West 52nd Street in New York wasa hot spot for Bebop
Credit: William P. Gottlieb/Ira and Leonore S. GershwinFund Collection, Music Division, Library of Congress.
Animations of the following musicians will appear in the
performance. Read through their biographies and listen to
their music prior to attending the performance.
Division,
LibraryofCongress
History of Jazz continued
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Edward Duke EllingtonEdward Duke Ellington began playing piano when he was just seven years old. Like
many pianists of his time, Duke was influenced by ragtime. But Duke combined many
styles of music such as ragtime, the blues, and classical music to create his own
unique blend.
By age 19, Duke was playing piano professionally and had made a name for
himself in his hometown of Washington, DC. By 30, he was leading his own
orchestra at New Yorks legendary Cotton Club. Duke assumed that if
something sounded good to him, then it was good. He tried many different
instruments in combinations that no jazz musician had used before. Duke
wrote some of Americas most cherished songs, including Mood Indigo
and Take the A Train.
Duke experimented with compositions, and his orchestra toured all over the
world. His travels often served as the inspiration for much of his music. For over
60 years, Duke Ellington wrote some of jazz musics most memorable songs and
symphoniesalmost 2,000!and demonstrated to all what happens when
there are no limitations put on music.
Hangin with the Giants continued
Charlie Bird ParkerRecognizing his unique gift for music, Charlie Parkers mom bought him a saxophone
when he was 11 years old. By the time he was 15, Charlie decided he wanted to
become a professional musician. He played all over his hometown of Kansas City,
Missouri, performing with a variety of blues and jazz groups.
Credit: William P. Gottlieb
Library of Congress.
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Thelonious Sphere MonkThelonious Monk was such an original that sometimes its hard to find words to
describe him. His parents must have thought hed be something specialafter allthey named him Thelonious Sphere Monk!
M k i ft dit d f th i i l i i h h l d t b b
John Birks Dizzy GillespieWhen Dizzy Gillespie was 15, he won a scholarship to the Laurinburg Institute in North
Carolina, where he learned to play both trumpet and piano. In later years, Dizzy
would advise young horn players to learn the piano because it forced them to learn
chords and harmony, elements very important to writing good songs.
Dizzy, who always loved a challenge, started out playing his trumpet by
copying Roy Eldridge, the fastest, highest-playing trumpeter around. Diz
got so good that he eventually replaced Roy in a local swing band
when Roy left. Later, Diz left swing bands because he wanted
to play a more advanced kind of music.
In the 1940s, Diz, Charlie Bird Parker, and Thelonious Monk, along with a few others, put
together some music that became known as bebop. The songs that Dizzy and Bird made
together were some of the most innovative in jazz. Some notable ones included Salt Peanuts
and A Night in Tunisia.
Dizzy not only had a very unique sound, he had the look to go with it. When he played his
trumpet, his cheeks bulged out like balloonsan image, along with his exceptional sound, that
made him recognizable around the world.
GottliebLibra
ryofCongress.
Credit: Carl Van Vechten photographcollection. Library of Congress.
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Miles Dewey DavisMiles Davis was born in St. Louis, Missouri. When he took up the trumpet at age 13,
his parents nudged him toward classical music but Miles preferred jazz. Miles left
St. Louis and enrolled at the prestigious Julliard School of Music in New York City,
but once he got to New York he became obsessed with the music of saxophonistCharlie Parker. Miles and Charlie eventually became good friends and started
to play music together.
Miles ultimately joined Charlie Parkers band and replaced the trumpeter Dizzy
Gillespie. While Dizzy had played high and fast, Miles developed his own style,
low and slow. In 1949, Miles formed a new group, a nonet, which featured a
laid-back style. His group, which was making music like no other jazz artist,
recorded an album entitled Birth of the Cool. This record started a new style of
jazz called cool jazz.
Later in the 1960s, Miles would combine jazz and rock music, which resulted
in a new style called fusion. After his cool period, he changed jazz
forever with the record Kind of Blue. He also teamed up with an orchestra to
create large-scale compositions and arrangements.
Miles would go through many changes in his music career, which spanned over
50 years. He even blended jazz music with hip-hop! Next to Louis Armstrong,
Miles is considered one of the most influential jazz musicians of all time.
Credit: William P. GottliebLibrary of Congress.
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Introduction to Improvisation
Visual Improvisation to MusicPlay selected music and provide students with a variety
of art supplies. Create visual images in response to the
music. Notice the tempo, tension, feelings, harmony, and
how the musical elements convey emotion or ideas.
How did you decide what to paint, draw or sculpt? Was it
planned? Was it spontaneous?
Extension:Make collaborative improvised artwork by passing a
drawing or painting around the classroom.
Group Story ImprovisationSit in a circle and tell a collective short story.One
student begins the story and then students take turns in
order around the circle adding a sentence or two. Give
the story a beginning,middle and end and a consistent
flow of voice. Try new topics. As students become
Musical ImprovisationIntroduce improvisation using a common short phrase,
such as a name.Turn this into a musical phrase based on
the natural rhythm of it, the tonal inflection inherent in
the way a person says it, etc.From there, try more
concrete musical structures, such as a piece already
How does one learn to improvise? Improvisation is usually learned the same way we learn to speakby
imitation. First, a person observes and mimics to learn the basic language.Through knowing the formal
structure, a person obtains greater freedom to create his or her own personal style. Experimentation is a
crucial element trying things out, discovering what is pleasing and what is not, what succeeds, and what
feels right. The following activities can give students an introduction to improvisation.
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ListeningListening is a basic concept that is vital
and important to the process of creating
and appreciating all types of music. On
one level listening is simple, just noticeand pay attention to what you are
hearing. But its not always easyit takes
focus of mind and concentration.Think
about what you are hearing. Musicians
do this all the time when learning to
play a piece of music.
Have a discussion after listening to a
musical selection. Use some of the
questions to the right as a guide.
Compare your answers and discuss yourobservations.There are often different
ways to interpret a piece of music.
Musicians have various ways of
approaching their creative thoughts,
especially in jazz,which keeps the music
interesting and fresh!
For more listening ideas, borrow the
accompanying CD from the library and
refer to the listening suggestions on
The following tips and questions can help develop
listening skills:
For some people closing their eyes can help focus.
How does the piece start?
What instruments do you hear?
Notice the different sound qualities of instruments.
Do you hear a melody in the music? Does it change?
Is the music fast or slow?
Find the pulse and notice other rhythms.
Identify layers at the beginning of a piecelisten for the main
melody, pulse and basic musical ideas that are used
throughout the piece.
Listen for layers being added or removed.
Are there any solos?
Can you recognize improvised sections?
What instruments do you hear playing a solo?
What is the mood of the piece, or moods? How does the music
make you feel?
How do the layers weave together to complement each other?
Notice how the music moves from one section into another.
N ti d i d it f l d t ft
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Musical LayersAdapted from The Groove Project Workshop by Ted Petith and Beth Tryon (www.smartgroove.com).
All music is the result of layering sound ideas together some have many layers to hear (a Big Band or orchestra) and
others have only a few (a Bebop group or a string quartet).
Think of music as a sandwichsandwiches have layers too! Notice how instruments overlap and each other and
weave together. Instrument can form different layers in the course of a single piece of music. For instance, a
saxophone can be part of the melody (one layer), then play an improvised solo (another layer), then play a
background part behind another solo (still another layer!).
Big (or primary) layers often repeat the same idea over and over again to anchor the overall movement of the music.Musicians develop layers by using variations (slightly different versions) of the original ideas. Most pieces of music
whether jazz, classical, blues, rock, or hip hopbegin with only a few layers of ideas and then add more as the song
progresses.Listen to some of the jazz selections and identify the different instruments producing the musical layers.
Sometimes big layers are changed in the middle of a tune to dramatically change the sound or mood!
Listen to tracks on the accompanying CD. Identify musical layers or ideas and try to copy what you hear. Use your
voice, your hands and feet, a percussion instrument, or anything else you can findthis can be really fun!
Lettuce and tomato - Guitar solo (scale and chord)
Slice of cheese - Piano (chord, rhythm & scale)
Meat - Bass (root note, chord & rhythm)
Bread - Drums (primary rhythm)
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Traditional Jazz Instruments
Acoustic Bass (Double Bass or Upright Bass):
Part of the string family, which also
includes the violin and guitar. Notes
are produced when the strings vibrate.
An introduction to SyncopationAdapted from the Kennedy Centers Cuesheet What is Jazz?
1 Happy Birthday is usually accented with the stress on
the strong beats like this: HAP-py BIRTH-day
But if we syncopated these words, wed choose
different syllables to stress, so we might pronounce it:hap-PY birth-DAY
As a class, chant happy birthday with the usual
accents, then change it by placing unexpected,
syncopated accents into the words.
2 Now clap your hands and move your body to the beat.
Are you keeping a steady rhythm, or are you clapping
each time you use a syncopated beat?
3Try this activity with other phrases or with the names
of your classmates.
4Try singing a syncopated version of Happy Birthday
or other familiar tunes by choosing unusual syllables
to accent.
Follow-up:
How does changing the accents/syncopation change
the mood? The tempo?
Define syncopationfor the class. Syncopation is a type of rhythm in which accents and stress are shifted
from what are normally strong beats to the weak beats. To illustrate syncopation, try this simple exercise:
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Piano (includes electronic keyboard):The piano is a member of the percussion family. If you look inside a piano,
youll see many wire strings. The piano is a percussion instrument,because notes are made when the felt hammers
hit the piano strings.The piano can play groups of notes called chords.These chords blend with the low notes played
by the bass, and the steady rhythms produced by the drum set, to produce the rhythm section sound.
Guitar: Another member of the string family, the guitar also plays chords and is featured in some jazz groups alongwith a piano. Sometimes the guitar is the only chord-making member of the group.
Brass Instruments:Trumpet and trombone are members of the brass
family.Brass players make sounds by blowing and buzzing their lips in
a mouthpiece that looks like a small cup. Pressing buttons open and
close different sections of the brass tube which creates different
pitches. A trumpet may look short, but it is actually made up of many
feet of brass tube! Louis Armstrong played both trumpet and cornet.
The cornet looks like a short trumpet and is easier to march with in
New Orleans street parades.A trombone player slides a long piece of
brass tube up and down to sound different notes.
Wind Instruments: Saxophone and Clarinet are members of the
woodwind family.Woodwinds make their sounds with the help of
a reed, which is a piece of cane wood strapped to themouthpiece. Sound is produced when the player blows into the
mouthpiece, which causes the reed to vibrate. To make the
different note sounds, the woodwind player then presses on keys
that open and close holes on the sides of the instrument.
Jazz Instruments continued
Charlie Parker wailing on the saxophone
Credit : William P. Gottlieb/Ira and Leonore S. Gershwin FundCollection, Music Division, Library of Congress.
Simple and Found InstrumentsAdapted from The Groove Project Workshops by Ted Petith and Beth Tryon (www.smartgroove.com).
Ask students to collect objects from around the house or yard and experiment making sounds. Kitchens and
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Experiment ~ Make Music!When playing with any percussion instrument, first explore the sounds that the instrument makes. Is the instrument
primarily percussive or melodic? In other words, do you primarily hit or shake it, or does it play different pitches or
notes? Many instruments have both qualities.
How many ways might you play the instrument to get a variety of different percussive and/or melodic sounds? Try
various strikers and methods of hitting. Alter dynamics (volume) and methods of playing make it fun!
Take some of the sounds from these exploration sessions and play along with the major rhythms you hear in a sound
recording. Start by finding the pulse (or heartbeat) of the music. Then branch out to another sound. Many cool-
sounding rhythms often have two main sounds that outline the rhythm. For example, a Hip Hop or Jazz-Rock groove
on a juice bottle is made with 2 big phat hits on the side, followed by a short rim beat. Rhythms that have steady,
contrasting sounds really move!
After you can hold the pulse and other steady beats, take a solo and make up an improvisation. Use some of the
tracks on the accompanying CD for inspiration, and play music with some jazz greats! Or just find a piece of music
that you like to listen toany style will doand develop some groovy layers of improvisation.
Improvise with Melody and ChordsJazz musicians dont just guess about which notes might sound good.The melody of a song is is made up of a
specific notes and these notes are parts of groups called chords which create harmonies together.The melody of the
tune is supported by these chords.
Chords are easy to see on a piano. Here are some simple chords played on the white keys of the piano.
C major chord. G chord F chord
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NOTES AND IDEAS FOR LISTENING SELECTIONS
1 & 2 - Louis Satchmo Armstrong (Also see bio on page 5) Hewas one of the earliest and most influential figures in the history of jazz.
His wife, Lil, was also an accomplished jazz pianist and composer! The first
clip,StruttinWith Some Barbecue(1927 composed by Lil), features
them both playing in their group called The Hot Five.The second
selection,Mack the Knife, from the mid-1950s, is one of his favorite
songs borrowed from the Three Penny Operaby Kurt Weill and Bertolt
Brecht. Its a European tune mixed with Dixieland improvisations.Struttin With Some BarbequeLouis Armstrong from The Best of Louis Armstrong: The
Hot Five and Hot Seven Recordings, 2002 Sony Music Entertainment Inc (Columbia Records).
Mack the KnifeLouis Armstrong from Greatest Hits, 1994 Retro MusicSLD13252.
3 & 4 - Duke Ellington - (Also see bio on page 6) These are clips from
his Jungle Bandof 1929-31.One of the most influential Big Band composers,
Ellington used distinct sounds that musicians could make on their instruments
to accent his complex jazz rhythms. Duke composed and performed for
many decades and continued to discover new ways of using his band as a
creative sound machine! In the first clip,Jungle Jamboree (1929), notice
the baritone sax soloa low soundfollowed by the band, and then a
clarinet solo. In the second,Rockin In Rhythm (1931), Dukes piano as the
first layer sets the stage for the band to come in with the melody.
Jungle Jamboree and Rockin In RhythmDuke Ellington from The Jungle Band-The
Brunswick Era (Vol. 2) 1929-31, 1990 MCA Records (Decca)MCAD42348.
5 - Woody Herman - A clip of a very solid Big Band tune,The Good
There should be a copy available
in your school library feel free
to make a copy for your
classroom. (If you cant find
your schools copy, call
Overture Centers Education
Department at 258-4169).
The CD of music selections
that accompanies this guide
highlights several historically
significant jazz musicians and
performances. A few selections
highlight basic music theory.
Read the discography
information to your class to
give context, and use the
questions here (see also the
Listening section on page
10) as a springboard for
classroom discussions. Notice
that jazz performers and jazzstyles overlap. Musicians
played with each other at
diff t ti d l i
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CD for Suggested Listening continued
9, 10 & 11 - Stan Getz - He was a master of the Cool jazz style that developed on the
West Coast.First, he is featured with his tenor sax on a clip from Flamingo (1954), which
includes a nice trombone solo by Bob Brookmeyer.Next hes featured on the really fast
tune,Shine (1955). Notice how similar the soloing sounds to Bebopstill fast, just a bit
more laid back. Can you tell that Stans improvising has a smoother and less jumpy
sound than Charlies? Stan also experimented with Latin jazz tunes written in the Bossa
Nova and Samba styles.The third cut,Desafinado (1962), is one of these Latin hybrids.
Flamingo, Shine and DesafinadoStan Getz from The Best of the Verve Years, Vol. 1, 1991 Polygram Records
Inc (Verve) 314511468-2.
12 & 13 - John Coltrane -The first selection,Blue Train (1957), showcases Coltranes
unique saxophone sound and improvisational style. Notice how his sound is different from
the other saxophonists.The second cut,Moments Notice(1957), highlights the
transition between three improvised solos. First, listen for part of a trumpet solo (Lee
Morgan), followed by a bass solo by Paul Chambers (hear the rest of the rhythm section
in the background?), and finally a few bars by Kenny Drew (piano).
Blue Train and Moments NoticeJohn Coltrane from Blue Train, 1985 Manhattan Records (Capitol
Records Inc) Blue Note D103164.
14, 15 & 16 - Ella Fitzgerald - An incredible singer and performer, she mesmerized
audiences when she scatted. Scatting is the term used for the sounds and syllables used
by a vocalist to make an improvised solo. In the first cut,Oh, Lady Be Good (1957), hear
her increase intensity as she builds her scat improvisation. In the second cut,Cool
Breeze(1959), hear the different voice sounds that she uses to make up her
improvisations.Try mimicking some of them yourself (at a slower tempo).The third cut,
A-Tisket, A-Tasket (1961), is her hip remake of an old childrens song. Do you hear theLatin rhythm behind her vocal?
Oh, Lady Be Good, Cool Breeze and A-Tisket, A-TasketElla Fitzgerald from The EssentialPhoto Credit: William P Gottlieb
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CD for Suggested Listening continued
20 & 21 - Herbie Hancock - Herbie is a piano and keyboard player, as well as a composer.
He began by playing more traditional jazz styles but expanded his sounds as he developed
new ideas, much like Miles Davis. Here are two examples of his composition Watermelon
Man. Compare the original version recorded in 1962 to a later version recorded in 1973.
The second version is one of the first examples of Rock and Funk rhythms mixing
together with jazz. Notice the different sounds used for the musical layers.The second
version became super-popular,and has remained one of the most listened to examples
of any jazz style!
Watermelon ManHerbie Hancock from Cantaloupe Island, 1994 Blue Note Records
(Capitol Records Inc) CDP 7243 8 29331 2 0. Watermelon ManHerbie Hancock from
Headhunters, 1973 Columbia Records/Sony Music Entertainment Inc (Columbia Legacy) CK65123.
22 - Chico Freeman -The melody is from an old Bebop tune by Sonny Rollins called
Oleothats the part you hear Freeman playing at the beginning of the selection.
Notice the unique female vocalist who sings and scats. Notice the many layers,
improvised solos, and sound ideas.
OleoChico Freeman from Threshold, 1993 In + Out Records IOR7022-2.
23- Eddie Palmieri - An example from 1994 of Latin Jazz performed by one
of the great masters of Puerto Rican Salsa music. Mr.Palmieri is both a piano
player and composer. Notice how the instruments form
the layers of the tune.The instrument layers are
inventive and support the improvised solos.Try to
pick out the improvised solos from the rest of the
compositionraise your hand when you think you
hear the beginning of a solo.
SlowvisorEddie Palmieri from Palmas, 1994 Electra Entertainment,
division of Warner Communications Inc 961649-2.
Credit: National Endowments of the Arts
Credit: www.chicofreeman.com
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Ballad - a slow song,sometimes with lyrics thattell a story.
Bebop - the jazz style developed during the late 1930sand early 1940s, characterized by very fast tempos,complex melodies and harmonies, and difficult chordstructures. Bebop,which emphasized the inventivenessof soloists, is usually played in small groups.
Blues - a non-religious,deeply emotional folk music thatrose among African Americans during the late 19thcentury,evolving from black spirituals and slave work
songs and featuring several African influences: a call-and-response pattern, blue notes, and imitation of the humanvoice by musical instruments.
Blue note - any note that is bent or smeared,generally ahalf step away from the obvious note.
Blues scale - a musical scale based on the pentatonic(five-note) scale.
Brass band - a band made up of brass instrumentsincluding trumpet, trombone, tuba and French horn.
Call-and-Response - a musical conversationin whichplayers answer one another;exchanges betweeninstrumentalists. It originates from traditional African musicand has been used extensively in all forms of jazz music.
Composition - a road map for a piece of music.
Cool Jazz - a jazz style that developed during the late1940s and throughout the 1950s in reaction to bebop.Cool jazz has a smooth sound, complex textures, and
Jam Session - an informal gathering of musiciansimprovising.
Melody (head) - a succession of notes that together forma complete musical statement; a tune.This is the part ofthe jazz piece that is written down or composed ahead oftime.The head melody establishes the framework that thesoloists improvise over. Sometimes it comes from atraditional song and sometimes it is a completely newtune. Musicians sometimes point to their heads to makesure that everyone knows when to play the melody again.
Nonet - a group of nine musicians.
Note(s) musical sounds that can be arranged to formmelodies.Western musical tradition (classical, pop,rock,and jazz) officially only has 12 separate tones,but theygo together in hundreds of different chords and scales
Pulse often just feels like a steady heartbeat that goesin time with the music, following the tempo.
Ragtime - the music that came before jazz and mixedEuropean classical music with the syncopated rhythms ofAfrican-American music; created by pianist Scott Joplin
Rhythm - divides timeor musical space in verydistinctive, but amazingly flexible ways.
Riff- a repeated brief musical phrase used as backgroundfor a soloist or to add drama to a musical climax.
Scatting - this is the term for how vocalists improvise ina jazz setting. They choose words, syllables or sounds tomake up their creative ideas.
Jazz Vocabulary
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Resources
Primary & Elementary GradesHip Catby Jonathan London, Woodleigh Hubbard (Illustrator)
Mysterious Thelonius by Chris RaschkaThe Jazz Flyby Matthew Gollub, Karen Hanke (Illustrator)
Ella Fitzgerald: A Young Vocal Virtuoso by Andrea Davis Pinkney
Duke Ellington:The Piano Prince and his Orchestra by Andrea Davis Pinkney
The Sound That Jazz Makes by Carole Boston Weatherford
John Coltranes Giant Steps by Chris Raschka and John Coltrane
Charlie Parker Played Bebop by Chris Raschka
DJ and the Jazz Festby Denise Walker McConduitThe Jazzy Alphabetby Sherry Shahan
Who Bop?by Johnathon London
Bring on That Beatby Rachel Isadora
Upper Grades and Teacher Resources
Jazz Makers: Vanguards of Soundby Alyn ShiptonAmerican Jazz Musicians (A Collective Biography) by Stanley Mour
Jazz and Its History (Masters of Music) by Giuseppe Vigna
The Golden Age of Jazzby William Gottleib
Louis Armstrong- A Self Portraitby Richard Meryman
The Art of Jazzby Martin Williams
The New Grove Dictionary of Jazzby Berry Kernfeld
The Music of Black Americans by Eileen Southern
The Duke Ellington Readerby Mark Tucker
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Wisconsin Academic StandardsMusic
B.4.1 Play on pitch, in rhythm, with appropriate dynamics and timbre, andmaintain a steady tempo
B.4.4 Echo short rhythmic and melodic patterns
C.4.1 Improvise in the same style answers to given rhythmic and melodicquestions
C.4.2 Improvise simple rhythmic and melodic ostinato accompaniments
C.4.3 Improvise simple rhythmic variations and melodic embellishments ongiven pentatonic melodies
C.4.4 Improvise short songs and instrumental pieces, using a variety ofsound sources, including traditional sounds, sounds available in theclassroom, body sounds, and sounds produced by electronic means
F.4.1 Identify phrases and sections of music that are the same, similar,and/or different
F.4.2 Identify simple music forms upon listening to a given exampleF.4.3 Demonstrate perceptual skills by listening to, answering questions
about, and describing music of various styles representing diversecultures
G.4.1 Devise criteria for evaluating performances and compositions
G.4.2 Explain, using appropriate music terminology, personal preferencesfor specific musical works and styles
G.4.3 Evaluate the quality of their own and others performances and offerconstructive suggestions for improvement
H.4.1 Identify similarities and differences in the meanings of commonterms used in the various arts
H.4.2 Identify ways in which the principles and subject matter of otherdisciplines taught in the school are interrelated with those of music
I.4.1 Demonstrate audience behavior appropriate for the context and styleof music performed
I.4.2 Listen to and identify, by genre or style, examples of music fromvarious historical periods and world cultures
I.4.3 Describe in simple terms how elements of music are used in musicexamples from various cultures of the world
I.4.4 Identify various uses of music in their daily experiences and describecharacteristics that make certain music suitable for each use
I.4.5 Identify and describe roles of musicians in various music settings andworld cultures
English Language Arts
A 4 3 R d d di li d li i d d d
Social Studies
B.4.1 Identify and examine various sources of information that are used forconstructing an understanding of the past, such as artifacts,documents, letters, diaries, maps, textbooks, photos, paintings,
architecture, oral presentations, graphs, and chartsB.4.2 Use a timeline to select, organize, and sequence information
describing eras in history
B.4.3 Examine biographies, stories, narratives, and folk tales to understandthe lives of ordinary and extraordinary people, place them in timeand context, and explain their relationship to important historicalevents
B.4.4 Compare and contrast changes in contemporary life with life in thepast by looking at social, economic, political, and cultural roles playedby individuals and groups
B.4.7 Identify and describe important events and famous people in
Wisconsin and United States historyB.4.9 Describe examples of cooperation and interdependence among
individuals, groups, and nations
E.4.2 Explain the influence of factors such as family, neighborhood,personal interests, language, likes and dislikes, and accomplishmentson individual identity and development
E.4.4 Describe the ways in which ethnic cultures influence the daily lives ofpeople
E.4.6 Give examples of group and institutional influences such as laws,rules, and peer pressure on people, events, and culture
E.4.11 Give examples and explain how language, stories, folk tales, music,
and other artistic creations are expressions of culture and how theyconvey knowledge of other peoples and cultures
E.4.13 Investigate and explain similarities and differences in ways thatcultures meet human needs
Art and Design
A.4.3 Learn about basic styles of art from their own and other parts of theworld
A.4.4 Learn about styles of art from various times
A.4.5 Know that art is one of the greatest achievements of human beings
A.4.6 Know that art is a basic way of thinking and communicating aboutthe world
B.4.1 Understand that artists and cultures throughout history have used artto communicate ideas and to develop functions, structures, anddesigns
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THEATER ETIQUETTE AND EXPERIENCES
We have a wonderful opportunity at this performance to help youth learn about attending liveperformances.
Please discuss the following with your students:
1. Sometimes young people do not realize how a live performance differs from watching a movie or
television show. A live presentation has not been pre-recorded with the mistakes edited out.This
makes it riskier for the performer and more exciting for the audience. It also means the audience
has a real contribution to make to the overall event. Each audience member affects those around
him/her as well as the performer. Concentrate to help the performers.The audience gives energyto the performer who uses that energy to give life to the performance.
2. An usher will show you where to sit.Walk slowly and talk quietly as you enter the theater.
3. For safetys sake,do not lean over or sit on the balcony railings or box ledges. Please be careful on
the stairs, avoid horseplay and running throughout the building.
4. If necessary, use the restroom before the performance begins. Adults need to accompany young
students.5. You may talk quietly to the people next to you until the performance begins.
6. When the lights in the theater begin to dim, it is the signal that the performance is about to
begin. Stop talking and turn your attention to the stage.
7. Stay in your seat throughout the entire performance.
8. During the performance, listen quietly and watch closely. Talking during the performance will
distract other audience members and performers.Try not to wiggle too much and dont kickthe seat in front of you. These disruptions make it hard for others around you to concentrate
on the show.
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American Girls
Fund for ChildrenFunding for this study guide and the
OnStage Performing Arts Series for
Students is provided by a generous
grant from American Girls Fund for
Children, a philanthropic foundation
created to support programs andservices for school-age children in
Dane County. Since its founding
in 1992, American Girls Fund for
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