I'm working through Touch of Jazz. Neil mentions using the scale journey to process the notes. Can someone remind me where the scale journey is introduced? Time for More Music? Accompaniment 2? Scale journey is first introduced in TFMM, then expanded on in Accompaniment 2. TFMM before Wind. This is my most advanced class, adults who already know how to read,…
In this interactive teacher webinar, Laurie walks through the 'rules' of how chords are built. Using slides for visual reinforcement of the concepts, the following topics are clearly covered: Major Scale How Triads are Built Other Chord Tones 7th Chords Extended Chords Chord Voicing Chord Alterations
Jazz Clue 1: Is it supposed to sound so awful to our ears when we play the one and five with the B and F in Here to Stay? In measure 7, the chord is B minor and the right hand is playing an F, so playing 1 and 5 in the left hand on B and F# doesn't really sound good with an F. There's an important distinction in Here…
When is too early to incorporate Accompaniment 2? I have a student (my lead student) who has just finished Accompaniment 1. He has done a phenomenal job with it and has loved the challenge of the final Danny Boy. We have also done some Accompaniment Variations along the way. He's currently in Foundation Level 4 and we're a good way through Reading Notes. He LOVES accompaniment. and I really think he's ready to be more challenged…
I have noticed that The Mirron seems to be tough for students. Any advice on when to introduce this? Maybe Time for More Music should be mostly completed, I'm gathering. It looks like these Jazz pieces may unfold over an extended period of time. You're right. It was a big jump for my students. Next time I'm going to start them on another Jazz or Accompaniment 2 song before The Mirron.…
In Jazz Clues, the second song in the collection, Solace of the Wind, seems to be the only piece where the lead instrument plays a very different rhythm from the written score. I would appreciate any tips for teaching this one. Regarding the rhythm, eighth notes (in a jazz interpretation) are usually always played with a swing rhythm, as is the case here. And nothing about that would affect the 'dropping-in' aspect…
Some questions from the Jazz program... Using Jazz Clue 3, in "Here to Stay" the Bmin7-5 has a C not a C# right? It sounds better to me with C (which would be a -9). So RH is CDF, correct? Also, the E7-9 is RH F, G#, C#? We include the 6th even on the -9 chords, yes? What about the 11th, sus and dim chords in "If You Call" and the 13ths in "High Five"?…
Is there any reason why "Solace of the Wind" and "Here to Stay" are played so differently on the audio than the written music? I'm sure students are going to be asking me about that. They sound very different than how I played it from the written music. A jazz musician's interpretation? Creative license? I think it's simply a matter of the music being played true…
I'm processing Jazz Clue 2 in my Touch of Jazz book and have a question. Do you use the minor 7th for all chords except Major 7th chords? i.e. 13th chords, 11th chords, diminished, etc. If it says Maj7, play major 7. If it says just 7, play the dominant 7 (the flat 7th). Something that may help: in a 7th chord, "Maj" refers to the 7th. But most everything else…
I was trying to help a student with a lead sheet incorporating the melody with harmony (5ths and 7ths). We have not started Jazz yet, sort of jumping ahead, but I was wondering how to approach split chords in this fashion, such as C/Bb? I would think a Bb to G or Bb, E, G? There are no right answers here when we'd be trying to do something simple enough…
Categories