Transcript What’s in YOUR Folder?

Jazz Chart Selection
Don Zentz
The Bolles School
Jacksonville, FL
FMEA 2008
Man, That’s a
Good Chart!
What are the features of a
good chart?
Reference Download:
“Characteristics of a Good Chart”
Great charts are aesthetically pleasing in some way(s) - they
offer a balance of accessible (familiar) melodic, harmonic,
rhythmic & timbral elements with new or surprise twists that
prevent the predictable & mundane. As always, good music
should mirror the good life - a balance of routine & spice.
This, of course, has to be couched in good logic - melodic &
harmonic material must "lay well" (make sense). One of the
best examples of this supposition is the writing of Rob
McConnell - he arranges great charts on well-worn standards
by maintaining interest through new combinations of melody,
harmony, rhythm, timbre - all in good taste & within an
accessible framework. Of course this leads to the fact that
most good charts are done by a few good writers, whose
names should be familiar.
Bob Greenhaw
Director of Jazz Studies (retired)
Valdosta State University
(Over 575 listings)
Swing ~ Latin ~ Latin-Swing
Ballads ~ Jazz Waltz
Rock/Funk ~ Other
Reference Download:
“Chart Recommendations for School
Jazz Ensembles - DZ”
Key to Grade Leveling
Grade 1 – very easy
MS - Beginner
Grade 2 - easy
MS – 2nd & 3rd yr. players
Grade 3 – medium easy
Grade 4 - medium
Adv MS/Easy HS or 2nd
HS bands
HS with good ranges
Grade 5 – medium adv
Adv HS & University
Grade 6 + adv - difficult
Well-adv HS, university,
professional
+/- denotes which end of grade level (3- / less difficult grade 3)
•The grade leveling on my chart list is
realistic.
•A publisher “grade 2” rank may
appear as a 3- on my chart list.
•A publisher “grade 4” rank may
appear as a 5 on my chart list.
•Even with the FBA concert band list,
we find publisher rankings being
bumped up a notch so that it’s
realistically accurate.
Key Elements That Should Be Present
on Charts Grades 1 - 3
•Full score
•Full recording of chart
•Notes to the conductor, with rehearsal suggestions
•Clear information on the style of the chart
•Written-out rhythm section parts
•Reasonable ranges for all players
•Reasonable and repeated jazz figures for the ensemble
•Complete dynamic and jazz articulation markings throughout
•Solo sections with simple chord changes that can be opened
up for more instruments
•Consistent notation of chord symbols
Emphasis is on educational material, both in theory and practice.
(from Jazz Pedagogy / Dunscomb & Hill / 2002 / p.165)
Grade 4
•Because of a higher standard of technique, range
proficiency, and overall stronger musicianship in the
developmental process, Grade 4 charts provide
more meat to sink your teeth into.
•The result is a more mature sounding musical
product all the way around, if the band is truly at
this level. (Just like with concert band grade
leveling)
•The challenges promote educational growth.
•Most of the charts on my list are Grade 4 –
common HS situation.
Grade 4
•Whereas a Grade 2 or 3 / Grade 5 or 6 is more gray
to determine, a Grade 4 chart is pretty clear in terms
of where it falls.
•It should still have fully written out rhythm section
parts. This fades with Grade 5 and 6.
•More complex harmonies – affects improv
•More technical demands in playing lines and keeping
up with the time.
•Ensemble precision is a challenge - comes through
rehearsal.
•Stylistic integrity and uniformity of articulation a must.
•There is an opportunity to make mature sounding
music.
Sampling of HS charts from DZ list
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There Will Never Be Another You (arr.
Tomaro - 4)
Samantha (Nestico - 4)
A Minor Excursion (Caffey - 4+)
‘Round Midnight (arr. Tomaro - 4)
Some Kind of Blue (arr. Tomaro - 4)
Darn That Dream (arr. Mantooth - 3+)
Willow Gold (Nestico – 3+)
(c) 2008 Don Zentz
Sampling of MS charts from DZ list
The Q.C. Shuffle (Chris Sharp – 3+)
 Mister Cool (Mike Steinel – 2)
 T.M.I. (Ralph Ford – 2+)
 If I Could Fly (Mike Smukal – 3-)
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(c) 2008 Don Zentz
For Middle School
• Mike Sweeney
• Peter Blair
• Carl Strommen
• Lennie Niehaus
• Sammy Nestico
• Ralph Ford
• Mike Kamuf
• Erik Morales
• Paul Cook
• Mike Dana
• Doug Beach
• George Shutack
• Chris Sharp
(c) 2008 Don Zentz
• Greg Yasinitsky
Charts by
these
folks
are going
to work!
For High School
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Mark Taylor
Mike Tomaro
Lennie Niehaus
Matt Harris
Peter Blair
Dave Wolpe
Doug Beach
Sammy Nestico
Victor Lopez
George Holmes
Steve Wright
Paul Murtha
George Stone
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Les Hooper
Paul Lavender
Carl Strommen
Paul Jennings
Erik Morales
Frank Mantooth
Dave Barduhn
Bob Lowden
David Caffey
Greg Yasinitsky
John Berry
Roger Holmes
The Chart Hunt
• Bulk is in print for only short
period of time
• Worthy of continued play (and not
just the classics)
• Like we do with out of print
symphonic band music, we need
to network to locate and borrow
jazz charts.
(c) 2008 Don Zentz
Where to look
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Eau Gallie HS – Melbourne
Satellite Beach HS
Orange Park HS – Jacksonville
St. Augustine HS
Wolfson HS - Jacksonville
Apopka HS - Orlando
University HS – Orlando
Colonial HS – Orlando
West Orange HS – Orlando
Gainesville HS
(c) 2008 Don Zentz
Where to look
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Fort Walton Beach HS
Pace HS – Pensacola
Tarpon Springs HS
Boca Ciega HS
Mainland HS – Daytona
North Ft Myers HS
Spruce Creek HS – Pt Orange
Florida Community College at Jacksonville
Daytona Beach Community College
Seminole Community
College
(c) 2008 Don Zentz
Where to look
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Lake Sumter Community College
Broward Community College
Central HS – Macon, GA
Walton HS – Marietta, GA
Lowndes HS – Valdosta, GA
Valdosta State University
Miami Senior HS
Hialeah Lakes HS
Piper HS – Ft. Lauderdale
Taravella HS – Ft. (c)Lauderdale
2008 Don Zentz
We all have them.
We must assess accurately
and honestly.
Select music that is suitable
for your jazz band.
Use Common Sense!!
(c) 2008 Don Zentz
Showcase your strengths.
It is a time for the authentic
assessment of your students’
mastered skills and
musicianship to date.
Select material that meets this
goal.
A good fit is everything!
(c) 2008 Don Zentz
SELECTING YOUR MPA PROGRAM
Suggested order
Med Tempo
Swing or Latin
Jazz Waltz
Change of Pace
Ballad
Slow Latin
Slow 3 feel
Exciting
Energetic
Med Tempo
Swing
Ballad
Energetic
Latin/Rock
Med Tempo
Swing
Ballad
Funk/Rock
Latin
(Bossa)
Ballad
Up-Tempo Swing
Latin
Slow 3 feel
Medium Swing
SELECTING YOUR MPA PROGRAM
Most common order
Med Tempo
Energetic
Ballad
Latin/Rock
Swing
Typical Middle School Program
42nd Street
(Arr. Paul Cook)
Harlem Nocturne
(Arr. Peter Blair)
Poco Loco
(Carl Strommen)
Typical High School Program
Day By Day
(Arr. Mark Taylor)
Sentimental Mood
(Arr. Mike Tomaro)
Manteca
(Arr. Mike Tomaro)
Some things for fun at Spring Concert only
Pop tunes of the day
 Old Time Rock and Roll
 Theme from Shaft
 Evil Ways
 Brick House
 Born to be Wild
 Car Wash
 I Feel Good
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If you have to…
(c) 2008 Don Zentz
Not at MPA
An All Glenn Miller Program
 String of Pearls
 Tuxedo Junction
 In the Mood
This
is dance band music of the 1930’s.
It’s important to trace back to the roots of the big
band - program on other concerts.
Furthermore, these three selections are all blues
based.
(c) 2008 Don Zentz
For Old School, try these:
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Middle School
Jericho – arr. Chris Sharp – 3-
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High School
Tickletoe – Lester Young/arr. Wolpe – 4+
(c) 2008 Don Zentz
Authentic Duke Ellington
Look for the charts published
in conjunction with the
Essentially Ellington Festival
that Wynton Marsalis is
affiliated with via the Lincoln
Center Orchestra!!!
Stylistic integrity is a must with these charts!
Great stuff if you have the soloists! Much
research required!!
(c) 2008 Don Zentz
I would not recommend an all-Ellington program
for MPA because you want diversity and contrast
in that venue.
There are some issues with how things are
scored and voiced on the Ellington charts that
make it very difficult to satisfy fundamental
requirements of the MPA sheet in a superior
manner.
Balance ~ Blend ~ Pitch
As with transcriptions of any sort, there is a strict
standard in authentically reproducing the music.
Search out charts that are in ¾ time.
These are often overlooked. They have a
time feel all their own and challenge
performance skills in different ways
because of the beat displacement. They
swing hard in a special way, especially
when in the modal minor blues format.
Buddy Rich taught us this with Bob
Florence’s “Willowcrest”.
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Blues for McCoy (Jim Cifelli – 3+)
Three for Bea (Dean Sorenson – 3+)
Footprints (arr. Berry - 3)
All Blues (arr. Sweeney – 2+)
Here, There, & Everywhere
(arr. Taylor - 4)
• Alice in Wonderland (arr. Holmes – 4)
For MPA, I would slot these in the opening position.
(c) 2008 Don Zentz
HOW TO DEAL WITH
INCOMPLETE
INSTRUMENTATION
If you have incomplete jazz band instrumentation and the
ability level of the band is about average, check out what
used to be the Kendor Konvertible Series via the current
Jazz Gateway and Jazz Journey Series through Kendor.
These charts really work and there are many to pick from.
It is amazing how full they sound with incomplete
instrumentation, playable with 9-17. Some of Kendor’s best
writers contribute to this series, including Matt Harris,
Lennie Niehaus, Greg Yasinitsky, Maria Schneider, and Les
Sabina.
INCOMPLETE
INSTRUMENTATION
The Doug Beach counterpart to the old Kendor Konvertibles is indicated “...playable by
12-17 pieces.” Some of these were collaborations – Doug Beach & George Shutack.
The FJH Beginning and Developing Jazz Ensemble Series address groups with
incomplete instrumentation.
The Hal Leonard’s Discovery Jazz, Easy Jazz Ensemble, and Essential Elements
series can all be played with incomplete instrumentation.
The Heritage Jazz Works Series can be played with incomplete instrumentation. This
does not include the Heritage charts as part of Matrix Publishing Co.
The Standard of Excellence Series published by Kjos accommodates incomplete
instrumentation.
JAZZ CHART CALLS FOR
STANDARD INSTRUMENTATION
Not enough kids to cover parts, or
too many kids in some sections
What to do…?
In general, drop lower parts (4th trumpet, 4th
bone, 2nd tenor)
If no bari sax, you may want to drop 3rd
bone if you have only 3 players in the
trombone section
Depends on scoring. Lots of times, the 3rd
bone or 2nd tenor will have 7th of chord voicing
above root in the 4th bone or bari. This
presents a problem if you don’t have the 7th
present. At other times they may have the 5th,
which is much less critical.
Use baritones or euphoniums in
trombone section, especially if 7
trumpets and 2 bones!!
Rewrite parts! Take the time to
remedy problems. It matters!!
Too many brass, double lower parts. Typically
weaker players - builds bottom.
Do not double lead trumpet. Do split lead. Need
one leader at a time.
Do not double 2nd trumpet. Too heavy vs. lead.
Top tones heard naturally and strongest players.
There is a a delicate balance and blend
brilliance that must exist between trumpets 1 & 2 if
band is going to have “that sound” on block tutti’s
without being too heavy. Do not make this
impossible to achieve by doubling either top two
trumpet voices.
If you are moving solos around, the part that is
being left open because of shifted solo moves
needs to be covered. Background figures need
balance, too!!
FROM SOLO TO SHOUT
Cover soloist’s part until
he/she makes way back if
you have extra players.
If you don’t have extra
players, have the soloist
play his solo from within
the section.
It matters!!
Here comes the Saxophone Army!
 Do not double lead alto
 In typical situations, the lead alto player is
much stronger than the 2nd alto player.
Double 2nd alto.
 Do not double 1st tenor. This huskier
sounding instrument is already potentially
dominant over the alto sound as the typical
3rd voice in the stack. And usually the 1st
tenor player is strong, anyway.
(c) 2008 Don Zentz
 Double the 2nd tenor. This part then
balances better against the big bad
bari sound (and can help make up for
weaker bottom bone players.)
 Still another player to deal with?
Double the bari, but split them left
and right in section so we don’t tip.
(c) 2008 Don Zentz
Best 6 configuration =
T1
A2
A1
T2
T2
B
T2
TB
Not as good as above
T1
A2
A2
A1
Best 7 configuration =
T1
A2
A2
A1
T2
T2
B
Max preferred
B
T1
A2
A2
A1
YIKES!! 8 is enough!
T2
T2
B
 No more players allowed in section!
Our sax section sound is already
dangerously heavy and thick. If
there’s an up-tempo, we are dead!
 Rotate players in and out.
 10 saxes and 2 trombones! Put two
tenors or tenor/bari in bone section!
And have them sit in the 2nd line
trombone section.
(c) 2008 Don Zentz
Saxophone MOUTHPIECES
 Don’s mouthpiece chart
(c) 2008 Don Zentz
Standard of Excellence
Jazz Ensemble Method
by Bruce Pearson & Dean Sorenson
Designed to help both you and your
jazz ensemble students explore the
world of jazz through easy-to-use
Rhythm Studies, Improvisation
Studies, Instrument Specific
Exercises, and full ensemble jazz
charts. The approach is nontheoretical and aurally-based. Each
part book comes with an
accompaniment CD, so students
learn to play jazz by listening!
(c) 2008 Don Zentz
Standard of Excellence ADVANCED Jazz Ensemble Method
by Bruce Pearson and Dean Sorenson
Building upon the rhythm-centered
pedagogy introduced in the first
book, the ADVANCED method
focuses on improvisation. Concepts
introduced and reinforced are applied
in charts designed to be played by
the full jazz ensemble.
The Director's Score is an invaluable
resource of jazz pedagogy. Parts
available for flute, clarinet, French
horn, and tuba ensure that the study
of improvisation is also accessible to
students of non-traditional jazz
(c) 2008 Don Zentz instruments.
Heritage JazzWorks
Jazz Basics by Peter Blair
The fundamentals of improvisation for young
musicians (grades 6-9).
Designed for use with jazz ensemble.
Covers rhythm section skills, voicings, bass lines,
drum styles and set ups.
Laid out
very logically.
(c) 2008 Don Zentz
Digital Dexterity
Students can work out
on logical scale material
and patterning that is the
basic DNA of all jazz
improvisation.
Available from Z&Z Publications
(c) 2008 Don Zentz
By Dan Haerle
(c) 2008
Don
Zentz
By
Frank
Mantooth
By Kris Berg
(c) 2008
Don
ZentzCoolman
By
Todd
By Dave Black & Steve Houghton
(c) 2008By
DonPeter
Zentz
Erskine
By Charlton Johnson
By
Jack
(c) 2008
Don
ZentzGrassel
Jazz Pedagogy
By Richard Dunscumb & Willie Hill
You will find realistic and practical solutions
to challenges such as the jazz concept,
understanding the rhythm section, jazz
improvisation and jazz styles including a
great section on Latin jazz. Uniquely
innovative, this one-of-a-kind handbook
incorporates the web as an ongoing
resource tool that provides the ultimate in
reference information. The included DVD
presents audio/video demonstrations of
rehearsal techniques, how to really teach
jazz improvisation and how to understand
and improve the rhythm section. An
essential addition to your library and/or jazz
pedagogy class.
(c) 2008 Don Zentz
Teaching Music through Performance in Jazz
Wynton Marsalis, Ronald Carter, Ron McCurdy, Reginald Thomas, and
Ron Modell Compiled and edited by Richard Miles and Ronald Carter
This book is the ideal tool for anyone seeking a deeper
understanding of the preeminent music for jazz ensembles by
seminal jazz composers.
In addition, leading jazz educators and musicians contribute
chapters on topics such as: “Why Teach Jazz?” by Wynton
Marsalis; “A Multi-Cultural Approach to Jazz Education” by
Ronald Carter; “Rehearsal Techniques: A Holistic Approach
Integrating Composition, Improvisation, Theory, and Cultural
Considerations in the Rehearsal” by Ron McCurdy; “The Rhythm
Section: The Band within the Band” by Reginald Thomas; and
“Promoting a High School Jazz Band” by Ron Modell.
This book includes Teacher Resource Guides to more than 65 of
the top jazz charts, broken down into developing, intermediate,
and advanced categories. These include vital information on the
composer, the composition, historical background, technical
requirements, stylistic considerations, musical elements, form
and structure, listening suggestions, and additional references.
(c) 2008 Don Zentz
YA GOTTA TRY…
LISTENING
Hearing the music is worth
a million words when trying
to define what you want in
rehearsal – like style!
(even better – DVD’s)
Recommended Big Band
Listening List - DZ
(c) 2008 Don Zentz
Live performances
~~~~~~~~~~~
Guest Artists
~~~~~~~~~~~
There is Nothing like experiencing
the music LIVE!
Extremely inspirational to young
people…
(c) 2008 Don Zentz
ALL OF TODAY’S INFORMATION IS AVAILABLE AT
www.zentz.org
(c) 2008 Don Zentz