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

Jazz Improvisation 2
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Locrian & locrian #2 scales
Diminished scales —whole/half (mode 1), half/
whole (mode 2)
Whole-tone scales
Diminished whole-tone: mode 7 of the melodic
minor scale
Multi-coloured one or two bar phrases, and with
resolutions (ii-7 V7 I)
Examination repertoire for Jazz Improvisation 2
All Blues, All the Things You Are, A Night in Tunisia, Body
and Soul, Confirmation, Four, I’ll Remember April, In a Sentimental
Mood, Jordu, Oleo, On Green Dolphin Street, Ornithology,
Peace, Star Eyes, What is This Thing Called Love?
feedback
During each exam the teacher is encouraged to make
written comments to be returned to the students at the
conclusion of the marking process or at the first class of
the next semester. Students enjoy receiving comments
or feedback in writing as encouragement to progress to
the next musical level. Feedback helps them to understand
what needs to be addressed and to comprehend
the given mark. Comments from past panels have included
the following.
“Good time and feel.” This means that the assigned
work was played in relation to the ground beat/pulse.
To achieve this, students have generally practised the
material with metronome or backing track and have
listened to the jazz masters.
“Very poor time” means that the melody, improvisation,
lines, scales or technical material were not played in
time or in relation to the ground beat/pulse. This is generally
an indication that the student does not listen to
the jazz masters or doesn’t practise or practises without
a metronome or backing track.
“Good, flowing phrases” generally translates to: ‘it
swings’ or ‘it is in the groove’. This is a clear indication
that the student has listened closely to the jazz masters,
has practised the assigned work, and has a good internalized
metronome and a developed sense of phrasing
in the jazz style.
“Stiff phrases.” The student plays the required material
but doesn’t swing; usually an indication that the student
practises but doesn’t listen to the jazz masters or
perhaps listens primarily to Pop, Jazz-Rock and/or Fusion.
“Head played well.” It is a musical joy to hear a melody
(head) performed well. Experience has taught us that
even well prepared students do not give the melody
(head) the respect it richly deserves. I can’t stress enough
the importance of having students learn and play the
melody well from memory.
“Learning scales, phrases or lines and technical material
would improve your ability to play ideas convincingly
and help you develop a jazz vocabulary and language.”
An example of an
examination mark sheet
This is an indication that the student generally is not
practising the assigned material.
“8th-note lines are swinging.” Swinging eighth note lines
are a central aspect of the jazz language. Like the importance
of playing a melody well, 8th note lines played
with good time and feel are found in all great solos by
the jazz masters.
guidelines and mark sheets
Guidelines as recommended by the International Association
for Jazz Education (IAJE)
Improvisation: Evaluation is based on the soloist’s
awareness of stylistic and harmonic content and the
ability to communicate ideas to make creative, personal
and musical statements.
Style/interpretation: Evaluation is based on the soloist’s
and the group’s awareness of a stylistically correct
performance and interpretation of the chosen
composition.
Presentation: Evaluation is based on the appropriateness
of the music in relation to the group’s or the
soloist’s abilities and how the music is presented.
Musicality: Evaluation is based on emotive communication
— the extent to which technique is used to create a
performance that is expressive and meaningful for performers
and the audience.
Time and rhythm: Evaluation is based on the performance
of the tempo (beat) and the figures (rhythms) relative
to one another and to the rhythmic concept of the
compositions.
Ensemble: Evaluation is based on the ability of the
group to consistently perform the music in a fundamentally
correct manner concerning aspects like phrasing,
accents, dynamics and balance.
Intonation: Evaluation is based on the ability to perform
in tune, within and between sections.
Technique/diction/articulation: Evaluation is based on
the ability of the soloist and group to perform clean,
clear and articulate musical phrases.
continued on page 45...
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006