About the author
Professor J. Richard Dunscomb is one of the leading authorities in the field of jazz music and music education. He has been recognized nationally and internationally as a guest conductor, author, adjudicator, clinician and consultant. He has presented more than 200 workshops, including conducting jazz clinics.
Currently, Dunscomb is Professor Emeritus of Music at Columbia College Chicago. He is also Vice President of the board of directors for the Midwest Clinic. Dunscomb is also an educational consultant for Conn-Selmer, a manufacturing leader in concert, marching and orchestra instruments.
Born in New Orleans at the turn of the century, jazz owes its beginnings to the blending of several elements present at that time, including military music, classical music, piano music, vocal music and small ensembles. These elements combined with the infusion of music the slaves brought from the churches via their African and American heritage, and the boogie-woogie of the piano in blues form. All of it blended into a new genre of music, jazz.
Jazz has been recognized by the U.S. Congress as a national treasure, having gained popularity in dance halls and later in jazz clubs. Today, jazz is present in almost every middle school, high school and university. Most schools have at least one jazz band. Therefore, we, as directors, have the responsibility of growing and keeping jazz alive.
As I traveled the nation this past year, I heard more than 250 jazz bands. In talking with the directors of those bands, some have tons of jazz experience, while others are just now beginning to understand the jazz idiom. They are all dedicated to improving their jazz teaching skills.
Following are some of the elements that need attention in many jazz bands. Setup, swing-style basics, jazz language, listening, improvisation, selecting music and resources.
The setup is essential to help create a successful jazz sound. The diagram below shows the standard setup as used throughout the years by Count Basie, Duke Ellington and other legends.
Once we know how the band should look, we need to know how the band should sound. This is achieved through listening, listening and more listening by both students and directors. Today’s students have a smorgasbord of opportunities with YouTube. Over 100 years of jazz can be heard there free! The key to learning jazz by listening is repeated and directed listening.
I find the better bands have a common method for directed listening. It starts with swing-style jazz as played by the Count Basie Orchestra on songs, such as “Moten Swing” “Basie Straight Ahead” and “All of Me.” There are many Count Basie arrangements for bands at all levels of ability.
Here are some tips on listening and playing in the swing style.
Swing-style Basics
- Listen, repeatedly, to professional jazz recordings to identify and understand jazz styles
- Identify the jazz sound—the rhythm section is particularly important in this regard
- Help your rhythm section focus on listening and swinging together
- Have your wind section listen carefully to each other and blend
- Strive for clarity of sound throughout
- Identify the steady beat or pulse (use a metronome to help)
- Understand the swing 8th-note concept
- Identify characteristic jazz nuances, shapes and musical language
- Work on developing a groove
- Be able to sing confidently with jazz syllables, connecting visual and aural skills
Improvisation is the heart and soul of jazz music. Many of the successful directors use listening to jazz standards as a starting point. They have students transcribe portions of solos by singing them and then playing them on their instruments. Others begin by using improvisation method books, CDs, DVDs, etc. Both approaches work, but must become a part of every rehearsal. Today’s pros are still working on their improvisation skills and so must we.
Selecting appropriate music for the jazz band is a key to success. Here again, jazz standards are highly recommended. Here are some tips that will help:
- Know the best arrangers for your group's level
- Does your rhythm section need written parts?
- Evaluate your group's strengths and weaknesses
- Practical range of lead trumpet
- How about soloists—review the chord changes
- Are the solos written out? Are scales provided?
- Select for your programming needs: concert, festival, etc.
We are fortunate to have many resources available that can help us teach jazz. It is important for all directors to become familiar with resources available. Check out my new jazz band method “Jazz Zone … The Beginning.” See and hear it at www.jazzzoneonline.com.
By all means, make jazz fun for your students. This begins with your enthusiasm for the music. I hope to see you at some point swingin’ with your jazz band.
