Darren Giles BAJP4

10 November 2014

Pedagogy Analysis & Essay on Jazz Instruction for BAJP1 ASE

w/ instructor Tom Harte

*Note: This essay will focus on the classes with the second ensemble, as the classes with the first

ensemble were the review class and exam. As such, there were no new tunes introduced with a view to

observing the instructor and his methods of imparting the musical information.

The first aspect of this ensemble that is worth mentioning is the presence of three melody instruments: voice, voice and sax. This immediately highlights the importance of the rest of the band accommodating the range of the vocalist, and in this case, two vocalists. Finding a comfortable key for both vocalists, and then the sax, demands an element of foresight from the ensemble and then advanced preparation for class with regards to writing new charts in the transposed key, which at least one member must take responsibility for on at least a week-by-week basis. This is stressed as a responsibility for not only the vocalists which this exercise serves, but each member as preparation for possible real-life situations and practice for developing satisfactory penmanship which will compliment other classes, e.g arranging, composition, etc.

One of the highly important and outright useful musical ideas put forward is that of being familiar with 'stock' intros and/or endings to songs that are idiomatic of a particular style/era of jazz. In this case, the 'A-Train' ending was highlighted as something that is expected to be known by all jazz musicians. The goal of such a knowledge of intros/endings is to allow quick arrangements of tunes in a live situation and, furthermore to introduce the students to the concept of the jazz 'language'. Being able to quickly communicate ideas among band members by using such shorthand terms as the 'A-Train' ending is an essential part of the jazz vocabulary and the earlier this aspect of live jazz performance can be impressed upon the student, the better. It allows much greater freedom

PEDAGOGY ESSAY !1

to the group, less time spent on intros/endings in the rehearsal room and can instil a sense of confidence among the musicians to know they share a common musical lexicon that can be performed without the need for extensive practice. This idea was further touched upon by stressing the importance of having a knowledge of standard jazz song forms such as the 12-bar blues or rhythm changes. Having a small but recognisable reserve of tunes/melodies in these forms is another way to speak the language with other jazz musicians and is encouraged as a means of joining in with other bands by calling well-known tunes or song forms either at a gig or jam session.

Very little harmonic information is taught, which serves the purpose of keeping the class solely focused on creating music, instead of allowing it to take on the form of a lecture. Only enough information is imparted to allow the student to tackle sections of music that is beyond their current assumed harmonic knowledge, based on how far into the academic year they are. Conversely, if the students pick up on these small samples of harmonic and improvisation advice, they will be much better equipped to negotiate more difficult passages but which happen to be signature parts of the tune in question, e.g. the 7#11 chord in 'Take The A-Train'.

Overall, the focus is firmly put on creating a group dynamic where everyone is aware of their responsibilities and also what they can bring to the ensemble, but also, and perhaps more importantly, the lessons and material they can take away from it that will serve them in all future performance situations. This is probably the overarching theme of ASE as a module and the instructor as an individual, to further the development of the ensemble members as musicians as well as students.

PEDAGOGY ESSAY !2