2006 Edition 2 (Issue 144) - Sasmt-savmo.org.za

R e f l e c t i o n o n t h e a s s e s s m e n t o f j a z z i m p r o v i s a t i o n s
b e c o m e s d i f f i c u l t w h e n w e a r e t o o s t r o n g l y u n d e r t h e
s p e l l o f t h e w o r d i m p r o v i s a t i o n . P e r h a p s g r a d i n g a n
e x a m i n a t i o n i n ‘ m a k i n g m u s i c u p o n t h e s p o t ’ s e e m s
q u e s t i o n a b l e t o t h o s e n o t f a m i l i a r w i t h j a z z s t u d i e s .
I t c a n b e d o n e .
Mike Rossi
During a jazz exam convincing musical statements have
to adhere to the basics of an accepted performance
practice. Not unlike those involved in Western classical
performance exams, jazz examiners can also follow two
basic ideas concerning competent musicianship: technique
and artistry. Was the performance technically
correct with sufficient attention to pitch, intonation, dynamics,
time, rhythm, finger facility or evenness, articulation
and tone? As for artistry — was the performance
played correctly in terms of the conventions of improvisation,
style and interpretation, and presentation?
But maybe these two important sounding words (technique
and artistry) do not provide enough useful guidelines
for fair and valid assessment, especially for those
who are not experienced examiners. I would therefore
like to present an overview of a system that has been
used by numerous jazz examination panels at the South
African College of Music (UCT) for the past five years
and which has been experienced positively by students
and teachers alike. The system consists of carefully chosen
syllabuses, specific written feedback, guidelines
and mark sheets.
syllabuses
To avoid unnecessary exam pressure, teachers can at
the start of each term or semester announce in writing
what will be requested and expected of students when
playing the exam. Each year slight changes and revisions
are made to the prescribed material based on the
level of student musicianship, teaching style of a specific
teacher and changes in repertoire and scheduling.
South African Music Teacher |144 | November 2006
Course outlines can be altered as long as the necessary
material of an appropriate standard is covered by the
teacher before the exam. I encourage all teachers to select
new repertoire often, possibly from lists supplied by
the convenor. To avoid teacher, student and class boredom
— keep it fresh! For a ten to fifteen minute exam,
three pieces are randomly requested from the exam
repertoire list by the examining panel. Technical material
should be prepared in all keys and the melody and
chord changes of each piece must be memorized.
Jazz Improvisation 1 — mid term examination
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Major scales starting on the 2nd, 5th and root
The lydian scale
Pentatonic scales (major and minor), blues scales
8 note dominant and major bebop scales
Diatonic one and two bar phrases
Jazz Improvisation 1 – end of year
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Lydian & lydian dominant scales
Harmonic minor scale: modes 2 and 5
Dominant bebop scale from the root, third, fifth
and seventh
Diatonic one and two bar phrases with resolutions
(ii-7 V7 I)
Examination repertoire for Jazz Improvisation 1
Afternoon in Paris, All of Me, Autumn Leaves, Blue Bossa,
Cantaloupe Island, Doxy, Footprints, Ladybird, Maiden
Voyage, Misty, Mood Indigo, Perdido, Satin Doll, Silver’s
Serenade, Sugar