Artsource. The Music Center s Study Guide to the Performing Arts. About the Artwork:

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Artsource The Music Center s Study Guide to the Performing Arts TRADITIONAL CLASSICAL CONTEMPORARY EXPERIMENTAL MULTI-MEDIA ARTISTIC PERCEPTION (AP) CREATIVE EXPRESSION (CE) MUSIC HISTORICAL &

1 Artsource The Music Center s Study Guide to the Performing Arts TRADITIONAL CLASSICAL CONTEMPORARY EXPERIMENTAL MULTI-MEDIA ARTISTIC PERCEPTION (AP) CREATIVE EXPRESSION (CE) MUSIC HISTORICAL & CULTURAL CONTEXT (H/C) AESTHETIC VALUING (AV) CONNECT, RELATE & APPLY (CRA) TRANSFORMATION ENDURING VALUES FREEDOM & OPPRESSION THE POWER OF NATURE THE HUMAN FAMILY Title of Work: I Be Serious Bout Dem Blues Clayton-Hamilton Jazz Orchestra Creator: Composer/Arranger: John Clayton Background Information: The Clayton-Hamilton Jazz Orchestra (CHJO) has received critical and commercial praise for its rousing live concert and award-winning recordings. The group was founded by brothers John and Jeff Clayton and drummer Jeff Hamilton in Los Angeles, California in Maintaining its connection to the past, while looking ahead to the future, it is a living link to the rich history of jazz -- especially its unique melding of African, European and American influences. The leaders of CHJO spent years developing their talents through dedicated study and practice (in jazz we call this shedding ). Eventually, they had opportunities to perform with some great and influential artists, such as Count Basie, Monty Alexander, Stevie Wonder, Ella Fitzgerald, and Frank Sinatra. John Clayton even spent time playing classical music in Europe with the Amsterdam Philharmonic. In the early years of CHJO, the band leaders struggled. They all borrowed money to pay for their first recording and did whatever they could to share their music with more people. Over many years of dedication they developed a reputation of great style and excellence. In the fall of 1998 John Clayton was appointed the Artistic Director of Jazz at the Hollywood Bowl in Los Angeles and the CHJO was named the jazz ensemble-in-residence ( ). There, CHJO was joined by a host of internationally renowned artists. About the Artwork: I Be Serious Bout Dem Blues is, like the title says, a blues. In fact, this is what is called a twelve-bar blues (four beats per bar). It starts with a high energy trumpet solo by Snooky Young who shortly after, trades choruses with fellow trumpeter Bobby Bryant. Next we hear the saxophones section play an extended riff, the first time it is subdued and low, the second time is higher and accompanied by a shout chorus in the trumpets and trombones. The last section is a super shout chorus, with the extended riff and many strong rhythms and melodies played throughout the orchestra. (continued on page 2) Creative Process of the Artist or Culture: John Clayton is the primary composer and arranger for the Clayton-Hamilton Jazz Orchestra. His creative process involves composing (melody, harmony, rhythm) and arranging (what and when instruments play). He likes to find a quiet space before he creates music, this helps him to get focused and allows his musical intuition to flow. Then he writes, in words, a brief description of how he wants the music to sound, this may include tempo, style, mood, or more general ideas like slow chords in the saxophones, loud trombone notes, trumpet solo, rhythm section vamp, etc. (continued page 2) When I write music for CHJO I write for the talent and personality of the people in the orchestra, not just the instruments they play. John Clayton Photo courtesy of John Clayton California

2 Continuation of Background on the Work: Finally, the rhythm section brings the energy down, followed by a surprise statement played by the orchestra. The full version of I Be Serious Bout Dem Blues is filled with other solos (improvisations) on saxophone and piano with accompaniment or backgrounds played by the orchestra. Continuation of the Creative Process: Personality, style and soul are very important in establishing a sound on an instrument and the sound of a musical group. The sound of CHJO is created by the players and the composer/arranger. John Clayton has a connection to the members of CHJO that allows him to highlight their unique musical and personal traits. This way of composing stretches back to the famous jazz orchestras of Edward Duke Ellington. John can usually write an entire song (7-10 minutes) in a single day, which is very fast considering he is writing for five trumpets, four trombones, five saxophones, rhythm section (drums, bass, piano, guitar) and sometimes a singer. The music comes to life in rehearsal when he explains how all of the parts fit together. Then, it s up to the musicians to bring their energy and talent to the piece. Discussion Questions: After listening to the audio: How do you think a jazz orchestra would sound live? Why is it different than hearing a recording? What process do you engage in when you are trying to write (compose) an essay or sequence (arrange) moves or plays in a game? What is the step by step plan you follow to make sure you reach your goal? What characteristics identify your own personality? What are some of the things you are practicing (shedding) to make yourself a better person? How does a composer learn to write for instruments he/she does not play? Multidisciplinary Options: For many musicians jazz represents freedom to be yourself. This freedom can be expressed when a musician improvises or makes up the music in the moment. This requires intellect, talent and soul. Great jazz musicians and composers can be identified by their sound. No words are needed; the tone and phrasing of their music tells us who they are. Some examples of people with very distinct personalities in jazz are: Scott Joplin, Louis Armstrong, Billie Holiday, Miles Davis, Duke Ellington, John Coltrane, Tony Williams, Bill Evans and Wynton Marsalis. Think of the things, such as clothes, your hair style, your walk, or how you decorate your room, that give clues about your own personal style. Write down words or phrases that describe your style. What does your style tell about your personality? Audio-Visual Materials: Artsource audio excerpt: I Be Serious Bout Dem Blues composed and arranged by John Clayton, performed by the Clayton-Hamilton Jazz Orchestra. From the CD Heart and Soul. (Capri Records, 1991) Courtesy of John Clayton and CHJO. Musical score courtesy of Ginger Kids Music, Photos courtesy of John Clayton. Additional References: Marsalis, Wynton with Geoffery Ward. Moving to Higher Ground: How Jazz Can Change Your Life (Book). Random House, Marsalis, Wynton with Paul Rogers. Squeak, Rumble, Whomp! Whomp! Whomp!: A Sonic Adventure (Book). Candlewick, Sample Experiences: Level I * Learn how to play and improvise over a backbeat. Learn to hear the difference between composition and improvisation by dancing during solos and sitting during other sections. Level II * Learn how to count and improvise over a twelve-bar blues form. Research other art forms that have been influenced by jazz (poetry, visual art, dance). Level III * Learn how to describe and imitate the rhythm section of a jazz band. Create a spoken word presentation that is organized like a jazz orchestra (5 trumpets, 4 trombones, 5 saxophones and a rhythm section). 2 Indicates sample lessons

3 SPEAKING THE LANGUAGE OF MUSIC THE HUMAN FAMILY and ENDURING VALUES MUSIC MUSIC LEVEL I Sample Lesson INTRODUCTION: A musical instrument has a sound similar to how every person has a voice. A jazz musician works hard to create a sound that is all his/her own. This means that an instrument produces different sounds depending on who is playing. When we hear a jazz orchestra perform, they are creating a big musical conversation, sometimes they read the music (composition) and sometimes they get to make it up on their own (improvisation). Jazz music lets all of the musicians speak with their instruments and share their personality and style in harmony with everyone else. OBJECTIVES: (Student Outcomes) Students will be able to: Demonstrate a greater appreciation for how the sound of an instrument can be personalized. (Artistic Perception) Identify a backbeat in jazz. (Artistic Perception) Create a simple model of an improvisational duet. (Creative Expression) Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing) MATERIALS: Artsource Audio excerpt: I Be Serious Bout Dem Blues. PROGRESSION: Give some background information on the music of The Clayton-Hamilton Jazz Orchestra, which is found on pages 1-2. Explain to your students that the blues is a song form used in jazz music and that the musicians or singers get to improvise. This means they will make up the music as they go. Listen to the audio recording of I Be Serious Bout Dem Blues. As you listen to the music, count along (one-two-three-four). Now snap your fingers on the counts of two and four. Explain to your students that this type of accenting is called a backbeat and the type of rhythm used in jazz is called swing. 3

Listen to the music again. Focus on the opening section with the two trumpet solos. The first trumpet player we hear is named Snooky and the other is Bobby.

4 Listen to the music again. Focus on the opening section with the two trumpet solos. The first trumpet player we hear is named Snooky and the other is Bobby. Notice how each player makes the trumpet sound a little bit different. Every time you hear the player change, have students call out the name of the one playing. Explain to your students that Snooky and Bobby are having a musical conversation. In groups of two, have a conversation with a classmate while snapping your fingers to the backbeat. Be sure to stay together and keep the rhythm steady. You can repeat exactly what the other person says to you, like an echo, or continue the conversation. If you repeat a phrase, be sure to say it back in a slightly different way - using your own personal style. Select different pairs of students to perform for the class, hopefully giving everyone the opportunity. Use the extension ideas below to broaden the experience for your students. EXTENSIONS: Create or learn a story that can be read in a rhythmic way. Organize the story so that some of it is read as a class and some of it is read by a single person (unison with solos). Perform it with a backbeat. Learn the names of the instruments in a jazz orchestra: trumpets, trombones, saxophones and a rhythm section (bass, piano, drums, sometimes guitar). Watch the video of a jazz orchestra or big band performing. (Why Toes Tap by Wynton Marsalis) VOCABULARY: backbeat, solo, improvisation, jazz, blues, rhythm, personality ASSESSMENT: (Aesthetic Valuing) DESCRIBE: In your own words, describe what improvisation is. DISCUSS: Discuss the difference between improvisation and playing music as it is written. ANALYZE: Discuss how a musical conversation is similar to a verbal conversation. What is common to both? What is different? CONNECT: Discuss different things you do when you use the skill of improvisation. 4

MUSIC PLAYING THE NUMBERS TRANSFORMATION LEVEL II Sample Lesson INTRODUCTION: The Clayton-Hamilton Jazz Orchestra plays many styles of jazz music and is able to express many emotions through sound.

5 MUSIC PLAYING THE NUMBERS TRANSFORMATION LEVEL II Sample Lesson INTRODUCTION: The Clayton-Hamilton Jazz Orchestra plays many styles of jazz music and is able to express many emotions through sound. One of the most popular styles is called the blues which developed from African American culture in the southern United States (Louisiana, Mississippi, etc.) during the late 1800s. When the blues began, they were sung, usually by someone who was heart-broken or sad. Today the blues are sung or played on instruments by a single musician or an entire band and the sound can be happy, sad, melancholy or even humorous. The blues form is related to the music of Africa because it utilizes regular repeating cycles of rhythm and harmony. John Clayton, Jeff Hamilton, and Jeff Clayton Clayton-Hamilton Jazz Orchestra OBJECTIVES: (Student Outcomes) Photo courtesy of John Clayton Students will be able to: Name the instrumental sections of a jazz orchestra. (Artistic Perception) Demonstrate a greater appreciation for the musical/mental skills used in jazz. (Aesthetic Valuing) Recognize the repeating cycles of a twelve-bar blues. (Artistic Perception) Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing) MATERIALS: Artsource audio excerpt: I Be Serious Bout Dem Blues. PROGRESSION: Give some background information on the music of The Clayton-Hamilton Jazz Orchestra, found on pages

6 Explain to your students that the blues is a song form used in jazz music and that the musicians or singers get to improvise, making up the music as they go. Listen to the recording of I Be Serious Bout Dem Blues. Tell your students that a jazz orchestra is divided into sections of instruments: trumpets, trombones, saxophones and a rhythm section of bass, piano, drums and sometimes guitar. Draw some pictures of the instruments used in this music. Be as accurate as possible. Listen to the music again and have the students raise their hands every time they hear one of these instrumental sections. Explain to the students that I Be Serious Bout Dem Blues is a twelve-bar blues; each section is divided into twelve measures of 4/4 time (four beats per measure). Teach your students to count a measure: one-two-three-four. Now have them count continuous measures in a row: one-two-three-four, one-two-three-four, etc. In jazz, each cycle is called a chorus. Have your students count a twelve-bar cycle: ONE-two-threefour, TWO-two-three-four, THREE-two-three-four, FOUR-two-three-four, etc. With the class counting twelve-bar cycles, have a few people improvise the lyrics to a song. Many times the blues are about personal events like falling in love, going to work/school, going to a party, etc. A different person should begin at the top of each cycle. Use rhythm in the delivery of your story. Use the extension ideas below to broaden the experience for your students. EXTENSIONS: Listen to I Be Serious Bout Dem Blues excerpt and follow the twelve-bar cycles. Notice that when the music changes it usually happens at the beginning of a chorus. Extend the blues that was performed in class by allowing the soloist to take more than one chorus. Learn the origins of some of the instruments used in a jazz orchestra. (Europe, Africa, America) Listen to Take the A Train by Edward Duke Ellington (Amazon, itunes, etc.). Use the assessment topics below to help your students gain awareness of what they have learned. 6

7 VOCABULARY: chorus, cycle, measure, blues, improvisation, top. ASSESSMENT: (Aesthetic Valuing) DESCRIBE: Describe the sound of a jazz orchestra. DISCUSS: Discuss how knowing the form of a song changes the listening experience. ANALYZE: Analyze the differences and similarities of a jazz orchestra and a symphony orchestra. CONNECT: What other activities or events are measured by cycles? 7

MUSIC CHANGES IN THE RHYTHM TRANSFORMATION LEVEL III Sample Lesson INTRODUCTION: Over the last century the development of jazz has been marked by many social, spiritual, and intellectual ideas.

8 MUSIC CHANGES IN THE RHYTHM TRANSFORMATION LEVEL III Sample Lesson INTRODUCTION: Over the last century the development of jazz has been marked by many social, spiritual, and intellectual ideas. Louis Satchmo Armstrong developed an incredible ability to stand out as an individual through his improvisational style on the trumpet and as a singer. John Coltrane thought of his music as a spiritual extension to God. Edward Duke Ellington was the most prolific composer of the Twentieth Century and expanded the use of compositional development and improvisation. Jazz music would not be the same without the contributions of these musicians, as well as many other men and women. Change has always been a part of the legacy of jazz, allowing musicians to contribute to its evolving language. Jazz maintains its characteristics of swing rhythms and improvisation while incorporating new and modern concepts. One of the most incredible things about jazz and all of its transformations is that it has always stayed connected to its roots - the blues. The blues is a simple song form style that has John Clayton Clayton-Hamilton Jazz Orchestra Photo courtesy of John Clayton been at the heart of every great jazz artist s career. The shape of the blues also serves as a metaphor for change and contrast, it is built on a series of chords that change over a twelve-bar cycle while the rhythm of swing stays constant, these elements create a relationship of tension and release much like the evolution of this classic American art form. It is this vibrant energy that inspires musicians to contribute to the legacy and lineage of this music. OBJECTIVES: (Student Outcomes) Students will be able to: Name the instrumental sections of a jazz orchestra. (Artistic Perception) Describe how the instruments interact in jazz. (Artistic Perception) 8

9 Play a basic swing rhythm. (Artistic Perception) Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing) MATERIALS: Artsource audio excerpt of I Be Serious Bout Dem Blues. PROGRESSION: Give some background information on the music of The Clayton-Hamilton Jazz Orchestra from pages 1-2. Explain to your students that the blues is a song form used in jazz music and that the musicians or singers get to improvise, making up the music as they go. Listen to the recording of I Be Serious Bout Dem Blues. Explain to your students that jazz is based on a type of rhythm called swing. This rhythm is one of the defining elements of jazz. Teach your students this rhythmic pattern, which is the basic swing pattern played by the drummer on a ride cymbal: One - - Two - ah Three - - Four - ah, One - - etc. This pattern is also called a ride pattern. You can play it with one hand on a flat surface or clap your hands. Be sure to count out loud when first learning this pattern. Now play the counts two and four with an accent (a little louder than the others). This type of accent is called a backbeat and is part of the swing rhythm. Explain to your students that this pattern is part of a groove that is played by the rhythm section (drums, bass, piano, guitar) of a jazz band or orchestra. This groove provides the foundation for the other instruments to play over. Listen to the audio recording of I Be Serious Bout Dem Blues again and pay close attention to the rhythm section. Can you hear the ride pattern? Notice how the bass plays on the beat moving from low notes to higher notes and back down again. This is called walking. The piano plays short non-repeating rhythms to add a little tension and syncopation. This is called accompaniment or comping. 9

10 In groups of three, have your students practice playing each element of the rhythm section: ride pattern, walking the bass, and comping. Play the ride pattern the same as before. Walking the bass can be done by singing low moving notes using boom as a syllable or playing on a low sounding surface (desk, book, large water bottle). Comping should be done with a sound that is different than the ride pattern, sparse and non-repetitive. Each person should get a chance to try each part. Next, teach your students to count the twelve-bar cycle that is used in I Be Serious Bout Dem Blues: ONE-two-three-four, TWO-two-three-four, THREE-two-three-four, FOUR-two-three-four, etc. (In jazz, each cycle is called a chorus.) Listen to the song again, and count the choruses as they go by. If you get lost, listen for the beginnings of phrases or sections for guidance. Listen to how the rhythm section propels the orchestra. Now choose a few groups to groove, improvising rhythm and vocal sounds, while the rest of the class counts each measure of the chorus. Count soft enough to hear the rhythm section. Each group should only groove for a single chorus. Keep choosing different groups to groove for the class. Have fun! Use the extension ideas below to broaden the experience for your students. EXTENSIONS: Research the historical and social origins of the blues. Listen to other jazz recordings to further your understanding of how a rhythm section works. Make sure the music has a swing rhythm. (Miles Davis: Porgy and Bess, Thelonious Monk: Criss-Cross) Add a soloist to your groove, sing a song, read/write a poem or dance. Look at and study the score located on the web at the Clayton-Hamilton Jazz Orchestra Artsource Unit webpage. Visit for more ideas and information. 10

11 VOCABULARY: chorus, cycle, measure, blues, improvisation, ride cymbal, ride pattern, walking the bass, comp, groove, swing, syncopation, groove ASSESSMENT: (Aesthetic Valuing) DESCRIBE: Describe the importance of change. DISCUSS: Discuss how change has made jazz music survive and grow. ANALYZE: Analyze your own ability to change things. CONNECT: What things would you like to change in yourself and the world around you? DISCOGRAPHY: Clayton-Hamilton Jazz Orchestra LIVE AT MCG Mcg Jazz 2005 SHOUT ME OUT! Capitol 2000 EXPLOSION with Milt Jackson Quest 1999 ABSOLUTELY Lake Street 1995 HEART & SOUL Capri 1991 GROOVE SHOP Capri 1989 BOOGIE DOWN with Ernistine Anderson Concord 1991 Clayton Brothers BACK IN THE SWING OF THINGS Capitol 2005 EXPRESSIONS Warner Bros THE MUSIC Capri 1991 IT S ALL IN THE FAMILY Concord 1980 THE CLAYTON BROTHERS Concord

12 Artsource The Music Center s Study Guide to the Performing Arts A Project of the Music Center

13 135 North Grand Avenue Los Angeles, CA , The Music Center of Los Angeles County. All rights reserved. Artsource written units, audio, video and slides/photographic materials are subject to the provisions of copyright law, and are to be used for educational purposes only. Individuals or institutions are prohibited from broadcasting over the air, charging admission or receiving direct compensation for the exhibition of the video, audio or photographic materials accompanying the Artsource units. The Music Center does not sanction the illegal use or unauthorized duplication of someone else s work in any form. Individuals who willfully violate the Music Center s policy do so at their own risk and are liable to the Music Center in the event of a loss resulting from litigation.

14 Introduction ARTSOURCE : THE MUSIC CENTER S STUDY GUIDE TO THE PERFORMING ARTS Artsource highlights works of art and artists of stature from diverse cultures. It represents early to contemporary art forms in the disciplines of dance, music and theatre and complements the programs and performances of the Music Center s resident companies and artist roster. The arts are ancient, enduring and universal forms of communication. Artists present their perceptions, reflections, and points of view which influence, and are influenced by, the culture and period of time in which they exist.

15 Artsource Contributors Project Director Project Coordinator Melinda Williams Susan Cambigue-Tracey Writers: Dance Susan Cambigue-Tracey Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield, Barbara Leonard, Melinda Williams Music Theatre Rosemarie Cook-Glover Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard, Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke Barbara Leonard Kathryn Johnson Technical Production donated by Paul Tracey Layout and Logo* Design Maureen Erbe Design *Received the LULU AWARD for excellence in graphic design and advertising, sponsored by the Los Angeles Advertising Women (LAAW) Additional Artwork & Artsource Logo Graphic H. P. Law & Partners The Music Center of Los Angeles County wishes to thank the artists featured in this publication for their outstanding artistry and their generosity in allowing us to share their creative spirit in the classroom. Sincere appreciation is also extended to the members of the Center s Board of Directors and Education Council for their guidance in developing these resource materials, Music Center volunteers for their help in organizing, proofing and editing Artsource units; the professionals who provided field review; and the dedicated teachers who tested the Artsource units in their classrooms. Mark Slavkin Vice President for Education Melinda Williams Director of Education

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