By Jack Bennett Icanplaydrums.com DVD 12 JAZZ BASICS

Size: px
Start display at page:

Download "By Jack Bennett Icanplaydrums.com DVD 12 JAZZ BASICS"

Transcription

1 1 By Jack Bennett Icanplaydrums.com DVD 12 JAZZ BASICS

2 2 TABLE OF CONTENTS This PDF workbook is conveniently laid out so that all Ezybeat pages (shuffle, waltz etc) are at the start of the book, before the main content. This is so that you can easily print out just these first pages, should you not want the entire book printed. The Jazz Shuffle Page 3 The Jazz Waltz Page 4 New Orleans Beats Page 5

3 3 ~ EZYBEAT PRINT PAGE ~ The Jazz Shuffle

4 4 ~ EZYBEAT PRINT PAGE ~ The Jazz Waltz

5 5 ~ EZYBEAT PRINT PAGE ~ New Orleans Beats

6 6 INTRODUCTION Welcome to the Jaz Basics DVD/PDF here we will look at the fundamentals of playing jazz on the drums, as well as a few different things as far as drumkit setup is concerned. PLAYING JAZZ A large part of playing jazz music involves improvising. That is, creating music on the fly, that isn t already written out or pre conceived. This is a lot different to the repertoire approach which you see a lot in classical music, which is where you play the music note for note as what is written on the page. In jazz, quite often there will be nothing more than a lead sheet (a basic chord chart with a melody on it, and a few rhythmic hits). The rest of the tune in this case will be the players improvising over the chord changes. It s important to understand that aside from developing the required techniques, concepts and phrasing ideas, being a great player of Jazz relies heavily on your ability to create music on the fly with other musicians. You need to think less about what you re playing, and more about how you re creating music with the other musicians, and supporting them behind their solos. When you re playing behind a soloist, you re in a supportive role. This isn t the time to play too loud or play too choppy. The soloist needs a nice solid time feel on the ride, and you need to comp behind them, either catching their rhythmic/melodic ideas as they play them, or compliment them by filling in the time in between their ideas. Improvising is a skill in its own right, and it takes a while to develop. Your ability to play Jazz will depend largely on your ability to improvise. And the only way to get better at it is to play music with other musicians. Simply put, you will not get good at playing jazz by sitting in your room practicing jazz licks for 8 hours a day you need to be out there training your ability to interact and improvise with other musicians. This is what will help you the most. To start with you need to learn a vocabulary of ideas you can draw upon, but the skill of improvising requires that you can play whatever rhythm, fill etc is required without a moments gap or hesitation. If it takes you an entire bar, for your thought process to go from I can hear a fill coming up to what fill shall I play? to ok I think im ready to play the fill! you ve already missed it. Your thought process and reaction speed needs to be split second; you hear a phrase, and you compliment it that very second. So this reaction speed from thought process to physical execution is what needs a lot of training. WHEN SHOULD I IMPROVISE? So I talked about spending time learning the skill of improvising. Remember that there are times when it is good/required to improvise and there are times when improvising is definitely NOT the right thing to do. When musicians are soloing, improvising is fine. When is it not ok? If you re playing the head of a 16 piece big band chart, all the parts have been written out and you need to catch the figures with the rest of the band. Although you may not catch them exactly the same way each time, you re definitely not off in your own world improvising. If you re doing a TV gig backing an artist who s relies on his/her music to be played exactly the same way each time, in order for him to perform the music exactly as he has rehearsed with his choreographer etc

7 7 You re playing percussion in a Symphony Orchestra, you play exactly what is written, nothing more or less You re playing drums for a theatre show in an orchestra pit. As with the TV gig above, you play it exactly as required by your Musical Director, and you play it the same way, every single performance (up to 8-10 times per week). So you can see, there is a certain amount of maturity required if you do aquire the skill of improvising. You need to listen to enough different styles of music and involve yourself in as many different playing situations as possible to get an understanding of what is required in which situation, but the above checklist is a good start. Simply put, if you re playing improvised music, then improvise. If you re not, don t. DRUMKIT SETUP First of all I d like to look at my kit setup for the jazz style. If im playing jazz, particularly small combo jazz like bebop, bop, or free jazz (less so with commercial style big band), I like to use more rides and less crashes. I might use something like 2 or 3 rides, and perhaps only 1 crash, if that. In the following pic from left to right I am using: 14 HHX Groove Hihats, 20 HHX Evolution Ride, 17 HHX Legacy Crash, 22 Legacy Heavy Ride, 20 HH Flat Bell Ride. The cymbals overall are darker, and the rides all sound slightly different. Some are drier, that is they have more stick definition and less wash (white noise), some are the opposite, and some are louder than others. Therefore they will each suit the natural tonal characteristics of certain instruments better. For instance, the flat bell ride on the ride, has very minimal overtones and harmonics, in fact it doesn t really have a wash as we normally hear from a ride. Instead it has a very articulate stick sound and a very high pitched, mellow wash behind it very dry and very soft. This therefore would be a nice backdrop for a softer acoustic instrument like an acoustic piano, an acoustic bass or a jazz singer.

8 8 You can see also above that I m only using 2 toms. I have removed my 14 floor tom, and setup my 12 rack where the floor tom would be. The toms are tuned as a lot higher, and they have single ply coated skins on them (Remo Ambassadors), to get me a warmer sound (coated factor), with more articulation (single ply factor). The bass drum is tuned a lot higher also, and it has a front head (resonant head) with no whole in it, giving it a longer, warmer sustain. The snare drum is detuned wide open, and has no muffling on it, increasing the amount of natural harmonics and overtones. BASIC JAZZ RIDE PATTERN When we play jazz we re not necessarily playing beats as such, like you might in a rock/funk context. This, once again, due to the fact that you may be improvising, and therefore not playing the same thing in each bar. There is however a standard jazz ride pattern that you must learn, and you do play this (or a variation on it), the majority of the time on the ride cymbal. Here is the pattern.. From here you want to put the hihat on 2 and 4 and you can also play the bass drum on all four. This creates the four on the floor feel.

9 9 JAZZ PATTERN USING THE HIHATS You can play a couple of variations on the hihats using the hihat gliss. In these examples open the hihats on beats 1 and 3, and close them on 2 and 4 at the same time that you hit them with the stick. JAZZ 2 FEEL AND 4 FEEL You can play jazz with an implied 2 feel or 4 feel if you choose. A 2 feel basically means you re feeling 2 pulses in the bar, and they are; a pulse on beat 1 and beat 3. You typically play bass drum on these beats to create the feel, and the bass player will be doing the same. With a 4 feel, it s basically the core pattern we learnt above. The bass player will play a walking bass line, meaning playing quarter notes the whole way through, and you will match that by playing 4 on the floor with your bass drum. With a 4 feel, it s basically the core pattern we learnt above. The bass player will play a walking bass line, meaning playing quarter notes the whole way through, and you will match that by playing 4 on the floor with your bass drum.

10 10 THE JAZZ SHUFFLE Let s now turn these patterns into a jazz shuffle. Here we ll put a strong backbeat on the snare to create more of a jazz dance feel. Start by adding a snare note on 2 and 4 to the core pattern. Next add the triplet before 2 and 4 as well Then keep building by adding the triplet on snare before beat 1 and 3. And finally add a ghost note ON beat 1 and 3 as well. NOTE: the only accented snare notes should be 2 and 4, every other note should be much softer, tap strokes, or maybe a ghost note.

11 11 NEW ORLEANS New Orleans feels are primarily played on the snare drum over a repetitive bass / hihat figure. They are usually played with a swung or half swung interpretation of the 16th note figures. Start by learning this basic pattern. Then add the bass drum as follows.. Try buzzing the last 2 16th notes.. Also add the hihats on the AND beats.. Finally let s play around with the snare rhythm a bit, using different accents and rolls..

12 12 BRUSHES Please see DVD for all brush strokes.

By Jack Bennett Icanplaydrums.com DVD 14 LATIN STYLES 1

By Jack Bennett Icanplaydrums.com DVD 14 LATIN STYLES 1 1 By Jack Bennett Icanplaydrums.com DVD 14 LATIN STYLES 1 2 ~ INTRODUCTION TO PERCUSSION INSTRUMENTS ~ CUBAN INSTRUMENTS CONGAS: the congas are staved wooden or fibre glass shells with tension screwed

More information

Drum Set. For the School Jazz Ensemble. Jim Catalano

Drum Set. For the School Jazz Ensemble. Jim Catalano Drum Set For the School Jazz Ensemble Jim Catalano Objective This is not to teach you how to play drum set. Goal is to give you tips on how to guide drum set players. Understand the equipment of drummers.

More information

drumlearn ebooks Fast Groove Builder by Karl Price

drumlearn ebooks Fast Groove Builder by Karl Price drumlearn ebooks by Karl Price Contents 2 Introduction 3 Musical Symbols Builder 4 Reader Builder 1 - Quarter, Eighth, and 2 Beat Notes 5 Reader Builder 2 - Quarter and Eighth Note Mix 6 Rudiments Builder

More information

FREE music lessons from Berklee College of Music

FREE music lessons from Berklee College of Music FREE music lessons from Berklee College of Music Beyond the Backbeat: From Rock & Funk to Jazz & Latin Larry Finn Introduction Basic Beats Click CD icons to listen to CD tracks from book. Press ESC to

More information

FILL. BOOK Contents. Preface Contents... 4

FILL. BOOK Contents. Preface Contents... 4 1 Jost Nickel's FILL BOOK Contents Jost Nickel's Fill Book Preface... 3 Contents... 4 Preliminary Notes: How to Work with This Book... 6 Subdivision of Fills and Subdivision of the Underlying Rhythms...

More information

5-Note Phrases and Rhythmic Tension 2017, Marc Dicciani (written for Modern Drummer Magazine)

5-Note Phrases and Rhythmic Tension 2017, Marc Dicciani   (written for Modern Drummer Magazine) 5-Note Phrases and Rhythmic Tension 2017, Marc Dicciani mdicciani@uarts.edu http://dicciani.com/ (written for Modern Drummer Magazine) One of the fundamental concepts in any style of music is tension and

More information

Teaching Total Percussion Through Fundamental Concepts

Teaching Total Percussion Through Fundamental Concepts 2001 Ohio Music Educators Association Convention Teaching Total Percussion Through Fundamental Concepts Roger Braun Professor of Percussion, Ohio University braunr@ohio.edu Fundamental Percussion Concepts:

More information

Lets go through the chart together step by step looking at each bit and understanding what the Chart is asking us to do.

Lets go through the chart together step by step looking at each bit and understanding what the Chart is asking us to do. Lesson Twenty Lesson 20 IDS PAS2 Performing a Song- The Buzz Lesson Objectives Developing our ability to play a piece of music. Strengthen our understanding chart reading. Apply many of the skills learned

More information

The Art of Jazz Singing: Working With The Band

The Art of Jazz Singing: Working With The Band Working With The Band 1. Introduction Listening and responding are the responsibilities of every jazz musician, and some of our brightest musical moments are collective reactions to the unexpected. But

More information

Curriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music.

Curriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music. Curriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music. 1. The student will analyze the uses of elements of music. A. Can the student

More information

Perdido Rehearsal Strategies

Perdido Rehearsal Strategies Listen, Dance, Sing & Play! Though these words may seem like a mantra for a happy life, they actually represent an approach to engaging students in the jazz language. Duke Ellington s Perdido arrangement

More information

Eighth note triplets (Quaver triplets)

Eighth note triplets (Quaver triplets) Backbone Drums: evel One Three s a crowd First up, we are going to look at some grooves and fills that are a bit different to anything we looked at in the Foundation book. These are triplet notes, which

More information

I) Blake - Introduction. For example, consider the following beat.

I) Blake - Introduction. For example, consider the following beat. I) Blake - Introduction For those of you who have been anxiously anticipating that part of the curriculum where we re actually playing some grooves and fills, well, here we are. Let s begin by first establishing

More information

Curriculum Standard One: The student will listen to and analyze music critically, using vocabulary and language of music.

Curriculum Standard One: The student will listen to and analyze music critically, using vocabulary and language of music. Curriculum Standard One: The student will listen to and analyze music critically, using vocabulary and language of music. 1. The student will analyze the uses of elements of music. A. Can the student analyze

More information

Preview Only. Legal Use Requires Purchase. The Wayfaring Stranger. TRADITIONAL Arranged by MIKE COLLINS-DOWDEN INSTRUMENTATION

Preview Only. Legal Use Requires Purchase. The Wayfaring Stranger. TRADITIONAL Arranged by MIKE COLLINS-DOWDEN INSTRUMENTATION The Wayfaring Stranger TRADITIONAL Arranged by MIKE COLLINS-DOWDEN INSTRUMENTATION Conductor 1st Eb Alto Saxophone 2nd Eb Alto Saxophone 1st Bb Tenor Saxophone 2nd Bb Tenor Saxophone (Optional) Eb Baritone

More information

GPS. (Grade Performance Steps) The Road to Musical Success! Band Performance Tasks YEAR 1. Percussion. Snare Drum, Bass Drum, Kit, Bells

GPS. (Grade Performance Steps) The Road to Musical Success! Band Performance Tasks YEAR 1. Percussion. Snare Drum, Bass Drum, Kit, Bells Name: GPS (Grade Performance Steps) The Road to Musical Success! Band Performance Tasks YEAR 1 Percussion Snare Drum, Bass Drum, Kit, Bells Ontario Music Educators Association www.omea.on.ca GPS Task Student

More information

This is why when you come close to dance music being played, the first thing that you hear is the boom-boom-boom of the kick drum.

This is why when you come close to dance music being played, the first thing that you hear is the boom-boom-boom of the kick drum. Unit 02 Creating Music Learners must select and create key musical elements and organise them into a complete original musical piece in their chosen style using a DAW. The piece must use a minimum of 4

More information

Preview Only. Legal Use Requires Purchase. Moondance JAZZ. Words and Music by VAN MORRISON Arranged by VICTOR LÓPEZ INSTRUMENTATION

Preview Only. Legal Use Requires Purchase. Moondance JAZZ. Words and Music by VAN MORRISON Arranged by VICTOR LÓPEZ INSTRUMENTATION a division of Alfred JAZZ Moondance Words and Music by VAN MORRISON Arranged by VICTOR LÓPEZ INSTRUMENTATION Conductor 1st Eb Alto Saxophone 2nd Eb Alto Saxophone 1st Bb Tenor Saxophone 2nd Bb Tenor Saxophone

More information

Essential Drum Skills Course Level 1 Extension Activity Workbook

Essential Drum Skills Course Level 1 Extension Activity Workbook ssential Drum Skills (Level 1) ssential Drum Skills Course Level 1 Assignments for Level 1 of the Gigajam Drum School Student s name GDS centre Assessor s name Mark out of 100% www.gigajam.com 1 ssential

More information

DRUMS. Free Choice Piece DISCOVER MORE. Graded Music Exam: General Information 1

DRUMS. Free Choice Piece DISCOVER MORE. Graded Music Exam: General Information 1 Graded Music Exam: General Information 1 Free Choice Piece DRUMS DISCOVER MORE RSL (Rockschool Ltd) the logo www.rslawards.com and all other RSL product or service names are trademarks of Rockschool Ltd.

More information

MUSIC DEPARTMENT MUSIC COURSES CAN BE USED AS ELECTIVE CREDITS

MUSIC DEPARTMENT MUSIC COURSES CAN BE USED AS ELECTIVE CREDITS MUSIC DEPARTMENT MUSIC COURSES CAN BE USED AS ELECTIVE CREDITS CONTENT MISSION STATEMENT: Students will develop musical skills that enable them to be performers, consumers, recognize the value of music

More information

Concise Guide to Jazz

Concise Guide to Jazz Test Item File For Concise Guide to Jazz Seventh Edition By Mark Gridley Created by Judith Porter Gaston College 2014 by PEARSON EDUCATION, INC. Upper Saddle River, New Jersey 07458 All rights reserved

More information

HORNS SEPTEMBER 2014 JAZZ AUDITION PACKET. Audition Checklist: o BLUES SCALES: Concert Bb and F Blues Scales. o LEAD SHEET/COMBO TUNE: Tenor Madness

HORNS SEPTEMBER 2014 JAZZ AUDITION PACKET. Audition Checklist: o BLUES SCALES: Concert Bb and F Blues Scales. o LEAD SHEET/COMBO TUNE: Tenor Madness SEPTEMBER 2014 JAZZ AUDITION PACKET HORNS Flute Oboe play flute part Clarinet play a trumpet part Alto Sax 1 Alto Sax 2 Tenor Sax 1 Tenor Sax 2 Trumpet 1 Trumpet 2 Trumpet 3 Trumpet 4 Horn Trombone 1 Trombone

More information

2011 and 2012 Facebook Practice Analysis Questions

2011 and 2012 Facebook Practice Analysis Questions 2011 and 2012 Facebook Practice Analysis Questions Date Contributor Content Link November 8, 2011 Practice Analysis question for you all: How do Tone Colour and dynamics work together to create expressiveness

More information

Rhythmic Dissonance: Introduction

Rhythmic Dissonance: Introduction The Concept Rhythmic Dissonance: Introduction One of the more difficult things for a singer to do is to maintain dissonance when singing. Because the ear is searching for consonance, singing a B natural

More information

La Salle University. I. Listening Answer the following questions about the various works we have listened to in the course so far.

La Salle University. I. Listening Answer the following questions about the various works we have listened to in the course so far. La Salle University MUS 150-A Art of Listening Midterm Exam Name I. Listening Answer the following questions about the various works we have listened to in the course so far. 1. Regarding the element of

More information

metal Fatigue Performance notes

metal Fatigue Performance notes metal Fatigue Performance notes This Song is notated in two tempos for easier reading. There is the 230 bpm time which the tune starts with, and then there are the halftime-sections C, D, E and F. The

More information

Music Curriculum Glossary

Music Curriculum Glossary Acappella AB form ABA form Accent Accompaniment Analyze Arrangement Articulation Band Bass clef Beat Body percussion Bordun (drone) Brass family Canon Chant Chart Chord Chord progression Coda Color parts

More information

Mambo by Leonard Bernstein

Mambo by Leonard Bernstein Mambo by Leonard Bernstein PRIMARY CLASSROOM LESSON PLAN For: Key Stage 2 in England and Wales Second Level, P5-P7 in Scotland Key Stage 1/Key Stage 2 in Northern Ireland Written by Rachel Leach Background

More information

In this project you will learn how to code a live music performance, that you can add to and edit without having to stop the music!

In this project you will learn how to code a live music performance, that you can add to and edit without having to stop the music! Live DJ Introduction: In this project you will learn how to code a live music performance, that you can add to and edit without having to stop the music! Step 1: Drums Let s start by creating a simple

More information

BOPLICITY / MARK SCHEME

BOPLICITY / MARK SCHEME 1. You will hear two extracts of music, both performed by jazz ensembles. You may wish to place a tick in the box each time you hear the extract. 5 1 1 2 2 MINS 1 2 Answer questions (a-e) in relation to

More information

Copyright 2015 Scott Hughes Do the right thing.

Copyright 2015 Scott Hughes Do the right thing. tonic. how to these cards: Improvisation is the most direct link between the music in your head and the music in your instrument. The purpose of Tonic is to strengthen that link. It does this by encouraging

More information

GPS. (Grade Performance Steps) The Road to Musical Success! Band Performance Tasks YEAR 1. Conductor

GPS. (Grade Performance Steps) The Road to Musical Success! Band Performance Tasks YEAR 1. Conductor Name: GPS (Grade Performance Steps) The Road to Musical Success! Band Performance Tasks YEAR 1 Conductor Ontario Music Educators Association www.omea.on.ca GPS Task Student Evaluation Chart Band Performance

More information

Elementary, Middle School, Jr. High School Vocal Soloists. Regulations

Elementary, Middle School, Jr. High School Vocal Soloists. Regulations Elementary, Middle School, Jr. High School Vocal Soloists Regulations 1. Division definition A vocal soloist will consist of one performer with accompaniment of no more than 8 people. 2. Date of performance

More information

MUSIC DEPARTMENT. VOCAL MUSIC Concert Choir 1 x x x By Audition Bettendorf Singers 1 x x x x None Women s Chorale 1 x x x x None

MUSIC DEPARTMENT. VOCAL MUSIC Concert Choir 1 x x x By Audition Bettendorf Singers 1 x x x x None Women s Chorale 1 x x x x None MUSIC DEPARTMENT MUSIC COURSES CAN BE USED AS ELECTIVE CREDITS CONTENT MISSION STATEMENT: Students will develop musical skills that enable them to be performers, consumers, recognize the value of music

More information

Lesson 1 name: Style Studies: Drum Set

Lesson 1 name: Style Studies: Drum Set Lesson 1 name: Style Studies: Drum Set Beginner Level 1. Overview: In this lesson, the goal and purpose is to attain an independence skill from hands to feet on a drum set and better understanding of styles

More information

MMEA Jazz Guitar, Bass, Piano, Vibe Solo/Comp All-

MMEA Jazz Guitar, Bass, Piano, Vibe Solo/Comp All- MMEA Jazz Guitar, Bass, Piano, Vibe Solo/Comp All- A. COMPING - Circle ONE number in each ROW. 2 1 0 an outline of the appropriate chord functions and qualities. 2 1 0 an understanding of harmonic sequence.

More information

La Salle University MUS 150 Art of Listening Final Exam Name

La Salle University MUS 150 Art of Listening Final Exam Name La Salle University MUS 150 Art of Listening Final Exam Name I. Listening Skill For each excerpt, answer the following questions. Excerpt One: - Vivaldi "Spring" First Movement 1. Regarding the element

More information

Curriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music.

Curriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music. Curriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music. 1. The student will develop a technical vocabulary of music. 2. The student

More information

Middle School Intermediate/Advanced Band Pacing Guide

Middle School Intermediate/Advanced Band Pacing Guide Middle School Intermediate/Advanced Band Pacing Guide 2018-2019 1 st Nine Weeks 2 nd Nine Weeks 3 rd Nine Weeks 4 th Nine Weeks Rhythm: sixteenth, triplet Major scales: All 1 octave Rhythm: dotted eighth

More information

PROPER PLAYING AREA. Instantly Improve the Sound of Your Percussion Section

PROPER PLAYING AREA. Instantly Improve the Sound of Your Percussion Section PROPER PLAYING AREA Instantly Improve the Sound of Your Percussion Section Throughout my experiences teaching young percussionists and music educators, I have found that one of the first fundamental areas

More information

BIG IDEAS. Music is a process that relies on the interplay of the senses. Learning Standards

BIG IDEAS. Music is a process that relies on the interplay of the senses. Learning Standards Area of Learning: ARTS EDUCATION Music: Instrumental Music (includes Concert Band 10, Orchestra 10, Jazz Band 10, Guitar 10) Grade 10 BIG IDEAS Individual and collective expression is rooted in history,

More information

TEST SUMMARY AND FRAMEWORK TEST SUMMARY

TEST SUMMARY AND FRAMEWORK TEST SUMMARY Washington Educator Skills Tests Endorsements (WEST E) TEST SUMMARY AND FRAMEWORK TEST SUMMARY MUSIC: CHORAL Copyright 2016 by the Washington Professional Educator Standards Board 1 Washington Educator

More information

Curriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music.

Curriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music. Curriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music. 1. The student will develop a technical vocabulary of music through essays

More information

ILLINOIS LICENSURE TESTING SYSTEM

ILLINOIS LICENSURE TESTING SYSTEM ILLINOIS LICENSURE TESTING SYSTEM FIELD 143: MUSIC November 2003 Illinois Licensure Testing System FIELD 143: MUSIC November 2003 Subarea Range of Objectives I. Listening Skills 01 05 II. Music Theory

More information

ST CECILIA DRUMKIT SYLLABUS

ST CECILIA DRUMKIT SYLLABUS ST CECILIA DRUMKIT SYLLABUS Foreword and Syllabus Notes The new drum kit exams offered by St Cecilia s School of Music (SCSM) have been written to suit the needs of the modern drummer be they student or

More information

Preview Only. Legal Use Requires Purchase. Poultry In Motion JAZZ KRIS BERG INSTRUMENTATION

Preview Only. Legal Use Requires Purchase. Poultry In Motion JAZZ KRIS BERG INSTRUMENTATION a division of Alfred JAZZ Poultry In Motion Conductor 1st Eb Alto Saxophone 2nd Eb Alto Saxophone 1st Bb Tenor Saxophone 2nd Bb Tenor Saxophone Eb Baritone Saxophone 1st Bb Trumpet 2nd Bb Trumpet 3rd Bb

More information

All Blues Miles Davis. Year 10

All Blues Miles Davis. Year 10 All Blues Miles Davis Year 10 Section INTRO HEAD 1 Bars and timings 1-8 0:00-0:21 9-20 0:21-0:52 Musical Features. Begins with drums (playing with brushes), bass riff and piano (playing trills (A-G and

More information

Reading Answer Booklet Heart Beat

Reading Answer Booklet Heart Beat ENGLISH KEY STAGE 2 2006 READING LEVELS 3 5 Page 5 7 9 11 13 15 Total Borderline check (whole subject) Marks Reading Answer Booklet Heart Beat First Name Last Name School 2012 Instructions Questions and

More information

Grade Level Expectations for the Sunshine State Standards

Grade Level Expectations for the Sunshine State Standards for the Sunshine State Standards F L O R I D A D E P A R T M E N T O F E D U C A T I O N w w w. m y f l o r i d a e d u c a t i o n. c o m Strand A: Standard 1: Skills and Techniques The student sings,

More information

Marching Bass Drum Guide

Marching Bass Drum Guide Marching Bass Drum Guide THE OLE OF THE BASS LINE The role of the bass drummer is one that requires many levels of accountability in the following areas: Individual performance, percussion ensemble and

More information

TEST SUMMARY AND FRAMEWORK TEST SUMMARY

TEST SUMMARY AND FRAMEWORK TEST SUMMARY Washington Educator Skills Tests Endorsements (WEST E) TEST SUMMARY AND FRAMEWORK TEST SUMMARY MUSIC: INSTRUMENTAL Copyright 2016 by the Washington Professional Educator Standards Board 1 Washington Educator

More information

High School Vocal Soloists. Regulations

High School Vocal Soloists. Regulations High School Vocal Soloists Regulations 1. Division definition A vocal soloist will consist of one performer with accompaniment of no more than 8 people. 2. Date of performance Friday, February 22 3. Eligibility

More information

Name Grade Date. Rehearsal/Performance/Classroom

Name Grade Date. Rehearsal/Performance/Classroom Intonation/Tone Quality/ Articulation Tempo/Rhythm Rehearsal/Performance/Classroom Name Grade Date Component Skills of Intelligent Musicianship Self Reflection Social Behavior in the Music Setting Always

More information

7. Components to Establish Time

7. Components to Establish Time 7. Components to Establish Time a. Step 1 - Bass Notes Walking Bass This is the most common way solo jazz pianists use to establish time. Most people actual think, it s the only way which is a shame because

More information

Music Guidelines Diocese of Sacramento

Music Guidelines Diocese of Sacramento Music Guidelines Diocese of Sacramento Kindergarten Artistic Perception 1. Students listen to and analyze music critically, using the vocabulary and language of music. Students identify simple forms and

More information

OGEHR Festival 2019 Peace by Piece. Rehearsal Notes: Copper A Repertoire

OGEHR Festival 2019 Peace by Piece. Rehearsal Notes: Copper A Repertoire OGEHR Festival 2019 Peace by Piece Rehearsal Notes: Copper A Repertoire Peace in our Time In looking through this piece I couldn t help but notice that the LV markings are a little bit confusing. Please

More information

Let s look at some exercises to help us develop this dynamic independence using some of the components we have been working on in chapters 1 and 2.

Let s look at some exercises to help us develop this dynamic independence using some of the components we have been working on in chapters 1 and 2. Applying the Third Dimension: Dynamics Now that we have fully explored the different eighth- and sixteenth-note components and discovered how to link them together to make different grooves, we can look

More information

TABLE OF CONTENTS CREDITS... 7 INTRODUCTION... 8 MUSIC KEY CHAPTER ONE SIX AGAINST FOUR BREAKDOWN SECTION ONE EIGHTH NOTES...

TABLE OF CONTENTS CREDITS... 7 INTRODUCTION... 8 MUSIC KEY CHAPTER ONE SIX AGAINST FOUR BREAKDOWN SECTION ONE EIGHTH NOTES... DELONG WAY ABOUT PAUL DELONG Best known for his multi-platinum success with Canadian rock artist Kim Mitchell, Paul has forged a career which encompasses funk, fusion, jazz, and latin, working with such

More information

Curriculum Mapping Subject-VOCAL JAZZ (L)4184

Curriculum Mapping Subject-VOCAL JAZZ (L)4184 Curriculum Mapping Subject-VOCAL JAZZ (L)4184 Unit/ Days 1 st 9 weeks Standard Number H.1.1 Sing using proper vocal technique including body alignment, breath support and control, position of tongue and

More information

A series of music lessons for implementation in the classroom F-10.

A series of music lessons for implementation in the classroom F-10. A series of music lessons for implementation in the classroom F-10. Conditions of Use These materials are freely available for download and educational use. These resources were developed by Sydney Symphony

More information

USC Thornton School of Music

USC Thornton School of Music USC Thornton School of Music MUSC_499 INTERMEDIATE Drumset Proficiency 2 units Section # 47256 Mondays & Wednesdays, 11:00 11:50 am (Jake Reed) Section # 47257 Mondays, 3:00 4:50 pm (Aaron Serfaty) (Course

More information

Elementary, Middle School, Jr. High School Vocal Soloists. Regulations

Elementary, Middle School, Jr. High School Vocal Soloists. Regulations Elementary, Middle School, Jr. High School Vocal Soloists Regulations 1. Division definition A vocal soloist will consist of one performer with accompaniment of no more than 8 people. 2. Date of performance

More information

WEST END BLUES / MARK SCHEME

WEST END BLUES / MARK SCHEME 3. You will hear two extracts of music, both performed by jazz ensembles. You may wish to place a tick in the box each time you hear the extract. 5 1 1 2 2 MINS 1 2 Answer questions (a-f) in relation to

More information

Concert Band and Wind Ensemble

Concert Band and Wind Ensemble Curriculum Development In the Fairfield Public Schools FAIRFIELD PUBLIC SCHOOLS FAIRFIELD, CONNECTICUT Concert Band and Wind Ensemble Board of Education Approved 04/24/2007 Concert Band and Wind Ensemble

More information

Rhythm Sticks CD Teacher Notes

Rhythm Sticks CD Teacher Notes Rhythm Sticks - Teacher Notes 2000 Adele Voice 1 Rhythm Sticks CD Teacher Notes Rhythm Sticks CD The Rhythm Sticks resource is based around the Rhythm Sticks CD. It is designed to be used in a group with

More information

Instrumental Music II. Fine Arts Curriculum Framework

Instrumental Music II. Fine Arts Curriculum Framework Instrumental Music II Fine Arts Curriculum Framework Strand: Skills and Techniques Content Standard 1: Students shall apply the essential skills and techniques to perform music. ST.1.IMII.1 Demonstrate

More information

Flint School of Performing Arts Ensemble Audition Requirements

Flint School of Performing Arts Ensemble Audition Requirements Flint School of Performing Arts Ensemble Audition Requirements FLINT YOUTH SYMPHONY STRINGS 1. 2-minute excerpt of solo of your choice which demonstrates your playing level (no piano accompaniment necessary)

More information

Instrumental Music II. Fine Arts Curriculum Framework. Revised 2008

Instrumental Music II. Fine Arts Curriculum Framework. Revised 2008 Instrumental Music II Fine Arts Curriculum Framework Revised 2008 Course Title: Instrumental Music II Course/Unit Credit: 1 Course Number: Teacher Licensure: Grades: 9-12 Instrumental Music II Instrumental

More information

K-12 Performing Arts - Music Standards Lincoln Community School Sources: ArtsEdge - National Standards for Arts Education

K-12 Performing Arts - Music Standards Lincoln Community School Sources: ArtsEdge - National Standards for Arts Education K-12 Performing Arts - Music Standards Lincoln Community School Sources: ArtsEdge - National Standards for Arts Education Grades K-4 Students sing independently, on pitch and in rhythm, with appropriate

More information

by CARMINE APPICE Photo by Charles Stewart

by CARMINE APPICE Photo by Charles Stewart REPLACEMENTS ALT:APPICE 29/03/2011 11:34 AM Page 1 R E A L I S T I C D R U M F ILLS: R E P L A C EM E N T S by CARMINE APPICE Photo by Charles Stewart 2011 Hudson Music LLC International Copyright Secured.

More information

Audition Information Percussion - Repertory Orchestra

Audition Information Percussion - Repertory Orchestra 2017-2018 Audition Information Percussion - Repertory Orchestra AUDITION SITE DETAILS What to bring solo and excerpt music provided in this packet. xylophone mallets, snare sticks, timpani mallets. What

More information

Year 8 revision booklet 2017

Year 8 revision booklet 2017 Year 8 revision booklet 2017 Woodkirk Academy Music Department Name Form Dynamics How loud or quiet the music is Key Word Symbol Definition Pianissimo PP Very Quiet Piano P Quiet Forte F Loud Fortissimo

More information

ttr' :.!; ;i' " HIGH SAMPTE RATE 16 BIT DRUM MODUTE / STEREO SAMPTES External Trigger 0uick Set-Up Guide nt;

ttr' :.!; ;i'  HIGH SAMPTE RATE 16 BIT DRUM MODUTE / STEREO SAMPTES External Trigger 0uick Set-Up Guide nt; nt; ttr' :.!; ;i' " HIGH SAMPTE RATE 16 BIT DRUM MODUTE / STEREO SAMPTES External Trigger 0uick Set-Up Guide EXIERNAL 7 RIOOER. QUIGK 5EI-UP OUIDE The D4 has twelve trigger inputs designed to accommodate

More information

Tonality Tonality is how the piece sounds. The most common types of tonality are major & minor these are tonal and have a the sense of a fixed key.

Tonality Tonality is how the piece sounds. The most common types of tonality are major & minor these are tonal and have a the sense of a fixed key. Name: Class: Ostinato An ostinato is a repeated pattern of notes or phrased used within classical music. It can be a repeated melodic phrase or rhythmic pattern. Look below at the musical example below

More information

Music Curriculum Kindergarten

Music Curriculum Kindergarten Music Curriculum Kindergarten Wisconsin Model Standards for Music A: Singing Echo short melodic patterns appropriate to grade level Sing kindergarten repertoire with appropriate posture and breathing Maintain

More information

Musical Instruments Percussion Instruments

Musical Instruments Percussion Instruments Non-fiction: Musical Instruments Percussion Instruments Musical Instruments Percussion Instruments Drums are a large part of the percussion family. The body of a drum is made of a wooden cylinder. A drum

More information

Teach Your Students to Compose Themselves!

Teach Your Students to Compose Themselves! Teach Your Students to Compose Themselves! Robert Sheldon Composer/Conductor/Clinician/Concert Band Editor Alfred Music www.robertsheldonmusic.com rsheldon@alfred.com 1) Where to begin? What does the composer

More information

Power Standards and Benchmarks Orchestra 4-12

Power Standards and Benchmarks Orchestra 4-12 Power Benchmark 1: Singing, alone and with others, a varied repertoire of music. Begins ear training Continues ear training Continues ear training Rhythm syllables Outline triads Interval Interval names:

More information

IronClad. Sean O Loughlin Grade 1.5 (Hutton) 2011 Carl Fischer, LLC

IronClad. Sean O Loughlin Grade 1.5 (Hutton) 2011 Carl Fischer, LLC IronClad Sean O Loughlin Grade 1.5 (Hutton) 2011 Carl Fischer, LLC History Sean O Loughlin (b. 1972) grew up in Syracuse New York. His career began to take shape with the help of the Vice President of

More information

Audition Information Percussion - Symphony Orchestra

Audition Information Percussion - Symphony Orchestra 2018-2019 Audition Information Percussion - Symphony Orchestra AUDITION SITE DETAILS What to bring solo and excerpt music provided in this packet xylophone mallets, snare sticks, timpani mallets What not

More information

Grade Level Music Curriculum:

Grade Level Music Curriculum: Grade Level Music Curriculum: All the grade levels will experience sing alone and with others, a diverse repertoire representing various cultures and styles (for example, folk songs, poems, play-party

More information

VCE MUSIC PERFORMANCE Reading time: *.** to *.** (15 minutes) Writing time: *.** to *.** (1 hour 30 minutes) QUESTION AND ANSWER BOOK

VCE MUSIC PERFORMANCE Reading time: *.** to *.** (15 minutes) Writing time: *.** to *.** (1 hour 30 minutes) QUESTION AND ANSWER BOOK VERY IMPORTANT - PLEASE READ! These "possible answers" for the VCAA Sample Paper (https://www.vcaa.vic.edu.au/documents/ exams/music/musicperf-samp-w.pdf) have been provided by Deborah Smith Music to assist

More information

AN INTRODUCTION TO PERCUSSION ENSEMBLE DRUM TALK

AN INTRODUCTION TO PERCUSSION ENSEMBLE DRUM TALK AN INTRODUCTION TO PERCUSSION ENSEMBLE DRUM TALK Foreword The philosophy behind this book is to give access to beginners to sophisticated polyrhythms, without the need to encumber the student s mind with

More information

PIANO. Free Choice Piece DISCOVER MORE. Graded Music Exam: General Information 1

PIANO. Free Choice Piece DISCOVER MORE. Graded Music Exam: General Information 1 Graded Music Exam: General Information 1 Free Choice Piece PIANO DISCOVER MORE RSL (Rockschool Ltd) the logo www.rslawards.com and all other RSL product or service names are trademarks of Rockschool Ltd.

More information

NAME: Zandrea Hafenrichter LESSON 1 SIXTH GRADE PERCUSSION

NAME: Zandrea Hafenrichter LESSON 1 SIXTH GRADE PERCUSSION LESSON 1 26A Students who meet the standard understand processes, traditional tools, and modern technologies used in Recognize musical markings that need to be explained Gather knowledge about the piece

More information

Department Curriculum Map

Department Curriculum Map Department Curriculum Map 2014-15 Department Subject specific required in Year 11 Wider key skills Critical creative thinking / Improvising Aesthetic sensitivity Emotional awareness Using s Cultural understing

More information

ABOUT THE QCSYE. generally rehearses on Sundays from 3:30 5:15 p.m.

ABOUT THE QCSYE. generally rehearses on Sundays from 3:30 5:15 p.m. ABOUT THE QCSYE The Quad City Symphony Youth Ensembles (QCSYE) program consists of six performance groups (four youth orchestras and two youth choirs) for students in grades two through twelve. Under the

More information

PLAYING WITH A BASS PLAYER IN THE JAZZ IDIOM. by Ed Soph. On Top

PLAYING WITH A BASS PLAYER IN THE JAZZ IDIOM. by Ed Soph. On Top PLAYING WITH A BASS PLAYER IN THE JAZZ IDIOM by Ed Soph The foundation of a good jazz rhythm section, be it in small group or big band, is the rapport between the drummer and bassist. Of course, the magic

More information

Monday 23 May 2016 Morning

Monday 23 May 2016 Morning Oxford Cambridge and RSA Monday 23 May 2016 Morning AS GCE MUSIC G353/01 Introduction to Historical Study in Music *5968536820* Candidates answer on the Question Paper and on the Insert. OCR supplied materials:

More information

High School Vocal Soloists. Regulations

High School Vocal Soloists. Regulations High School Vocal Soloists Regulations 1. Division definition A vocal soloist will consist of one performer with accompaniment of no more than 8 people. 2. Date of performance Friday, February 23 3. Eligibility

More information

LEVELS IN NATIONAL CURRICULUM MUSIC

LEVELS IN NATIONAL CURRICULUM MUSIC LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness

More information

LEVELS IN NATIONAL CURRICULUM MUSIC

LEVELS IN NATIONAL CURRICULUM MUSIC LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness

More information

CONTENTS

CONTENTS ONTENTS + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + AOUT THE AUTHOR INTRODUTION 4 Drumset Notation Key5 Different Notation Methods5

More information

Macro Project #1 Dr. Kinney Music /18/2013. Megan Adler

Macro Project #1 Dr. Kinney Music /18/2013. Megan Adler Macro Project #1 Dr. Kinney Music 4576 3/18/2013 Megan Adler TEACHERS GUIDE A Prehistoric Suite Composer: Paul Jennings Grade Level 1 A Prehistoric Suite Composer: Paul Jennings Grade Level 1 Unit Guide

More information

Pacing Calendar. Academic Vocabulary

Pacing Calendar. Academic Vocabulary Pacing Calendar Duration of Unit: Unit 1 Music Unit 1 General Music Musical scores require a variety of elements and directions, used to create interest and variety. Musical reading skills can be transferred

More information

5 th Grade BAND. Artistic Processes Perform Respond. Fairfield s Band Program Ensemble Sequence

5 th Grade BAND. Artistic Processes Perform Respond. Fairfield s Band Program Ensemble Sequence 5 th Grade BAND Band is offered to all 5 th grade students. Instruments offered are: Flute, Oboe, Bb Clarinet, Eb Alto Saxophone, French Horn in F, Bb Trumpet, Trombone, Baritone Horn, and Percussion.

More information

Register for your audition at Questions: or

Register for your audition at   Questions: or Greater Twin Cities Youth Symphonies 2019 20 Audition Details: PERCUSSION Register for your audition at www.gtcys.org/auditions. Questions: 651-602-6803 or katie@gtcys.org AUDITION DETAILS All GTCYS auditions

More information

Instrumental Performance Band 7. Fine Arts Curriculum Framework

Instrumental Performance Band 7. Fine Arts Curriculum Framework Instrumental Performance Band 7 Fine Arts Curriculum Framework Content Standard 1: Skills and Techniques Students shall demonstrate and apply the essential skills and techniques to produce music. M.1.7.1

More information

About the CD... Apps Info... About wthe Activities... About the Ensembles... The Outboard Gear... A Little More Advice...

About the CD... Apps Info... About wthe Activities... About the Ensembles... The Outboard Gear... A Little More Advice... Contents Introduction CD Track Page About the CD... Apps Info... About wthe Activities... About the Ensembles... The Outboard Gear... A Little More Advice... 3 5 5 ACTIVITIES Buzz-A-Round... Free Improv...

More information