Ann Collins Teaching

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SELECTED RESOURCES FOR JAZZ PIANO TEACHERS
(Some materials that I have found useful in my teaching)

Aebersold, Jamey.
     Play-A-Long Sets for All Instruments.
      Jamey Aebersold Jazz, Inc.
      P.O. Box 1244,
      New Albany, IN 45151-1244

Vol. 1. How to Play Jazz and Improvise. (Book/ CD)      Beginner/Int Level
Vol. 2. Nothin’ But Blues. (Book/CD)
     Beg/Int Level. 11 Different Blues
Vol. 21. Gettin’ It Together. (Book/ CD)
      Exercises for All Levels
Vol. 24. Major and Minor. (Book/2 CDs)
      All levels. All major and minor scales in 12 Keys
Vol. 42. Blues (Book/CD)
      Blues in All Keys. Slow Tempos
Vol. 54. Maiden Voyage: 14 Easy to Play Jazz Tunes      (Book/CD}

Asirvatham, Sandy. Chelsea House: American Mosaic-African-American Contributions The History of Jazz (100 pages, easy reading) ISBN 0-7910-7265-7

Baerman, Noah. Alfred Music
The Big Book of Jazz Piano Improvisation: tools & inspiration for soloing (Book/CD),
Beginning Jazz Keyboard, Intermediate Jazz Keyboard, and Mastering Jazz Keyboard (a complete keyboard method in three Books/CDs)

Beale, Charles.
      The Associated Board of the Royal Schools of       Music: ABRSM Publishing (now being distributed by       Hal Leonard)

      Jazz Piano From Scratch: A How-To Guide for       Students and Teachers (Text/ CD)
       Excellent Resource for Teachers Beginning to Teach        Jazz.

      Jazz Piano Levels 1-5 Student Books each with CD.

Berg, Shelly. J. Frasier Collection: Chop Monster
(for all instruments)

BMG Video. Masters of American Music: The Story of Jazz 97 min video

Boyd, Bill. Hal Leonard Publishing
      An Introduction To Jazz Chord Voicing for        Keyboard (Book) Intermediate Jazz

     Chord Voicing for Keyboard (Book) .
     Jazz Bits, Jazz Delights, and Jazz Fest
     (Original piano pieces in various jazz styles)
    Think Jazz: A Jazz Piano Method

Collins, Ann. Alfred Publishing
     Lead Lines and Chord Changes (Book)

     Jazz Works (Text/2CDs./GM discs avail.) an      introduction to Jazz Piano for Int. Level

      Jazz Piano Projects for Kids: publication in progress at      FJH Publishing

Cooke, Mervyn. Abbeville Press ISBN 0-7892-0388-5
The Chronicle of Jazz (Illustrated Jazz History book)

Corea, Chick (Host) Video Artists International, Inc.
    Piano Legends (Video)
     Historical review of piano styles through 23 renowned
     jazz pianists

Dunscomb, Marcia
Evolution of Jazz (Jazz History Text) McGraw-Hill

Melody Maker (Beginning Improvisation) Melody Maker Press

Evans, Lee
Easy Jazz Standards and More Easy Jazz Standards (written out solos of standards: Late Intermediate Level)

Galloway, Lee. www.LeeGalloway.com 800-455-0955
The Metronome That Swings (Two CDs of swing counting at various tempos)

Gelly, Dave.
Icons of Jazz: A Jazz History in Photographs
1900-2000

Gridley, Mark. Prentice Hall ISBN 0-13-260985-1 (6th Edition--newer ones by now)?
Jazz Styles: History and Analysis (A serious history of jazz textbook)
CDs available

Haerle, Dan.
     Jazz Improvisation for Keyboard Players (Book)           Studio P/R CCP/Belwin;

     Jazz Piano Voicing Skills: A Method for Individual      or Class Study, Jamey Aebersold

     Jazz, Jazz/Rock Voicings for the Contemporary      Keyboard Player (Book) Warner Bros.

Hill, Willie L., Jr. Warner Bros. Publications
Approaching The Standards Vols. 1-3. (Book/CD) User-friendly approach to improvisation.
Separate books for C, Bb, Eb, or Bass Clef Instruments, Rhythm Section, and Vocal

Houghton, Steve. Warner Bros. VH0161
     The Complete Rhythm Section (Video)
     Setup, Rhythm Section Player Roles, Styles.
     Houghton-Drums, Tom Ranier-Piano,
     Paul Viapiano-Guitar, Tom Warrington-Bass

Lawn, Richard J. and Jeffrey L. Hellmer. Wadsworth Publishing Co.....
Jazz Theory and Practice (Text and Ear-Training Diskette) Note Chapter 9 on Voicing

Legal Fake Books
     The New Real Book, Vol. 1, 2, & 3,
     The Real Easy Book: Tunes for Beginning
     (Vol. 1) & Intermediate (Vol. 2) Improvisors Sher Music      800/444-7437 or www.shermusic.com

Jazz Standards Fake Book and Real Jazz Standards Fake Book Hal Leonard Pub

Levine, Mark. Sher Music Co.
     The Jazz Piano Book (Text)
      Very comprehensive, serious study.

     The Jazz Theory Book (Text)
     Thorough, well-organized, clearly presented

Mantooth, Frank. Hal Leonard Pub.
    Voicings for Jazz Keyboard (Book)

    Quartal Voicings, The Best Chord Changes
    For: The World's Greatest Standards;

    The Most Requested Standards;

   The Best Standards Ever;

    The Best Known Songs, and Patterns For     Improvisation: From the Beginning (Book 1) and     Movin' On To the Blues (Book 2)

MTNA & IAJE
The Jazz Studies Guide Order from MTNA
888/512-5278 or www.mtna.org

Myette, Willie www.JazzKids.com 401/475-3553
First Adventures in Jazz CD, Songbook, Workbook, Teacher's Manual (Elementary level);
More Adventures in Jazz (Intermediate to Advanced); Understanding and Playing Lead Lines.

Noona, Walter & Carol. Heritage Music Press
Hot Solos Jazz.
(Written out original pieces at Intermediate Level)

Norton, Christopher Boosey & Hawkes: 1997
Essential Guide to Jazz Styles for Keyboard
(Book of Int. Level Tunes/SMF Disk)

Orta, Michael Warner Bros.
Jazz Etudes for Piano
(Intermediate/Early Advanced level)

Ostwald, Andy. Mel Bay Pub
Play Jazz, Blues, and Rock Piano By Ear (Book/CD) Books 1, 2, & 3

Ranier, Tom. Warner Bros. VH0165
Piano in the Rhythm Section (Video)
Setup, Comping in Contemporary Styles

Swain, Alan.
Jasmine Music PO Box AA 152 Evanston IL 60204
Improvise !
A step-by-step approach using the blues in F.

Valerio, John. Hal Leonard Crop
Playing Keyboard Bass Lines (Book/CD);
Intros, Endings & Turnarounds (Book of examples); and Jazz Piano Concepts & Techniques (24 Lessons, starting with Diatonic 7th Chords)

Weatherford, Carole Boston Walker & Company Publishers ISBN 0-8027-8720-7
The Sound That Jazz Makes
(a very easy to read, beautifully illustrated poem for children)

Handouts

HOW CAN A CLASSICALLY-TRAINED PIANO TEACHER BEGIN TO TEACH JAZZ?

A classically-trained piano teacher can do a great deal to introduce students to jazz playing. They are often plunged into service when a student announces: “I just made (or was drafted into) the school jazz band. Can you help me with this music?” As this may be the first challenge you face, I’ll deal
with it first, although it would have been preferable for the student to have gradually developed jazz listening and playing skills over a period of time (more about that later).

Begin by asking the student to bring the jazz band charts to the lesson so you can study them. Middle School/Junior High piano parts are usually all written out so even if students cannot read chord symbols or improvise, they can be successful with just a little help from you and the director. Many arrangers of school jazz band music are not pianists and may have limited understanding of what a young student can successfully read and play, so you may have to do some editing. Big chords with six or eight voices can be daunting, so to make these chords more accessible, cross out the less important tones: doubled tones, the fifths, the roots, etc. Be sure to retain 3rds, 7ths, 9ths, and any altered tones.

If possible, meet with the jazz band director to discuss priorities for the pianist and ask for suggestions as to how you can help the student be successful. Sitting in on a rehearsal can also be a valuable learning experience so that you can better get the “feel” or “groove” of each piece of music. (In
lieu of this the student could record a rehearsal.) While you are there, be sure that the instrument--piano or electronic keyboard--and the bench height are appropriate and that the student can hear himself during rehearsals. Help the student work out fingerings and ways to practice each chart. It might be helpful to refer to “Preparing Students for the School Jazz Band” under “ Teaching Jazz Piano” at www.anncollinsjazz.com

Meanwhile, begin working on basic jazz skills which include ear-training, listening, improvisation, chord-voicing, and practicing common chord progressions. The IAJE/MTNA “Jazz Studies Guide” outlines levels of skill development that will help you plan a curriculum of jazz study (www.MTNA.org). Most of these skills, which are essential to jazz playing, are valuable musicianship skills in any musical style. To help piano teachers plan goals and activities, I have developed more detailed jazz piano curriculum guides which can be mailed upon request or downloaded from my website: www.anncollinsjazz.com. I also teach three-day jazz piano workshops for classically-trained teachers throughout the country, and IAJE offers annual teacher-training institutes each summer, one of which includes instruction for piano teachers (www.IAJE.org).

Jazz Piano curriculum levels begin with Pre-Jazz, partly because it’s not really jazz without seventh chords, and triads should be well learned before introducing seventh chords. You may already be teaching major and minor pentascales; major, minor, augmented and diminished triads and I-IV-I-V-I four-voice chord progressions. Although most of today’s widely used piano methods do not venture into many different keys, you should teach the above in all major and minor keys. In addition, teach students to aurally identify all intervals through the fifth (including both major and minor 3rds, and perfect, augmented, and diminished fifths); to distinguish each type of triad; and to hear I-IV-V root movement.

Pre-Jazz Students should be able to harmonize melody lines from triad chord symbols; play familiar folk songs by ear; take short melodic and harmonic dictation; and improvise call (question) and response (answer) phrases. They should regularly and actively listen to jazz artist recordings and attend as many live jazz performances as possible in order to soak up the sound and feel of jazz.

Moving on into beginning (Level I) jazz piano, students continue listening and ear-training activities; focus on voicing all seventh chords in all keys; study the Blues (form, chords, and improvisation); create and transpose licks and call-response patterns; and learn the melodies (heads) of several easy jazz standards by ear. They should begin learning (memorizing the heads, voicing the chords, and improvising new melodies) the easier jazz standards which form the “repertoire” of jazz.

In a real nutshell, Level II study introduces ii-V-I progressions and ninth chords; and Level III involves “rhythm changes” (the harmonic changes to Gershwin’s “I Got Rhythm”) with increasingly complex jazz standards and more
demanding listening and ear-training activities.

Materials for teaching beginning through intermediate level jazz piano that are designed for and/or are the most accessible to classically-trained piano teachers include (but are not limited to) the following, all of which include CDs to provide a “should sound” model that is extremely valuable to teachers who cannot demonstrate jazz styles:

“First Adventures in Jazz” and “Further Adventures in Jazz” by Willie Myette (www.jazzkids.com);

“Jazz Works” by Ann Collins (Alfred Pub.);

“Jazz Piano Projects” (FJH Pub);

the “Jazz Piano” series by Charles Beale (ABRSM-Hal
Leonard);

“Play Jazz, Blues, Rock Piano by Ear” by Andy Ostwald (Mel Bay Pub.);

“ Essentials of Jazz Theory” by Shelton Berg (Alfred Pub.) and

“Approaching the Standards” by Willie L Hill, Jr., (Warner Bros-Alfred).

PREPARING STUDENTS FOR THE SCHOOL JAZZ BAND

THINGS THAT BAND DIRECTORS MIGHT NOT KNOW

ABOUT THE INSTRUMENT
Pianists are too often given an inadequate instrument--like an old upright piano turned so the band can sort of hear it, but the pianist can barely hear himself. Then, for the concert, the piano is miked and the difference is a difficult adjustment. If a quality grand piano or a well-miked and tuned upright is not a possibility, consider an electronic keyboard that stays in tune and has infinite volume control. Be sure the pianist can clearly hear what is being played.

ABOUT BENCH HEIGHT
It is extremely important that the elbow is parallel with the hand when sitting with the fingers resting on the keys. Buy adjustable benches rather than use any old chair that happens to be in the band room. Pro shops have inexpensive but durable adjustable benches.

ABOUT FINGERNAILS
When they are too long the student cannot produce a good tone or move around the keys easily. Look at the hands with the palms facing you at eye level. If you can see nails, they are too long. Check this regularly if it's a girl who is not
currently taking piano lessons. Keep nail clippers in your desk.

ABOUT MARKING FINGERING
Writing in the fingerings before rehearsing with poor fingering choices can save much time and produce much better results. Students are often lazy about this so you have to not only give them the opportunity to do this with a new chart, but also check to make sure they've done it.

ABOUT TONE PRODUCTION
Young pianists too often do not play to the bottom of the key bed so the tone is shallow. The tendency to pull out of the key and overuse the pedal instead of feeling legato connections with the fingers is also common.

ABOUT CHORD VOICINGS
If the written-out chords are too complex and/or are coming too quickly, play at least the 3rd and 7th with the left hand, and add at least a triad in the right hand. In subsequent practice, be sure that all alterations are being considered and try to include any extensions like 9th, 13ths.

ABOUT WORKING WITH THE PIANO TEACHER
Most independent piano teachers are both willing and capable of helping the student be a more successful jazz band pianist. Let the teacher know what needs to be done from your point of view. You can work together to improve
poorly written piano parts.

ABOUT PEDALING
Young pianists need to be reminded that comping sounds much, much better without sustaining pedal. Too often, a nervous beginning jazz pianist unconsciously depresses the pedal and may need many reminders before this bad habit gets corrected.

THINGS THAT THE STUDENT MAY HAVE NEVER ENCOUNTERED

COUNTING MEASURES OF REST & NOT GETTING LOST IN THE SCORE
If the student has had no instrumental ensemble experience this can be a major problem during the first few rehearsals. Initially, the student may need to just point and count measures through the chart before trying to actually play the part. Pianists are not accustomed to seeing so many repeats,
measures of rest, skipping to the coda, etc., that are found in most band charts.

FOLLOWING A CONDUCTOR
Again, if the student has not had instrumental or choral ensemble experience, some instruction in this area will be helpful.

NOT BEING ABLE TO HEAR THEMSELVES CLEARLY
Solo pianists are accustomed to hearing themselves and only themselves while playing, and playing with the band can be very frustrating in this regard. It takes a while to learn to listen to the entire ensemble and hear how the piano fits in. A poor instrument makes this even more difficult.

SPENDING QUALITY TIME DURING LITTLE SECTIONALS
Pianists can become impatient while the conductor works with other sections. It often does not occur to young pianists that they can do more than daydream while the conductor is focusing on the trumpet section. This is a good time to work on fingering, do silent pattern practice, etc.

HOW TO SIMPLIFY AND CONQUER: THE FINE ART OF WHAT TO LEAVE OUT
When new charts are passed out, the jazz band pianist is sight-reading complex jazz rhythms and big chords. Sight-reading skills developed in all styles of music are especially important in jazz ensemble.

TO STAY OFF THE PEDAL
There are very few instances where the sustaining pedal should be used in jazz styles. It is difficult for insecure beginning jazz pianists to remember to keep the foot off the pedal.

THINGS THAT PIANO TEACHERS MIGHT NOT KNOW

WHAT JAZZ BAND CHARTS LOOK LIKE
The student is likely encountering some huge six- and eight-voiced written out chords that are beyond anything encountered in the classical repertoire at this level. The piano teacher can help the student learn which tones are most
important and how to effectively reduce the chords that are physically beyond the student. Many piano parts are not pianistically well written and may need modification.

HOW TO TEACH CHORDS AND CHORD VOICING
Chords are chords—in jazz or classical music. The teacher does not have to be a jazz player to teach the harmonic theory that the student needs. Check with the band director about voicing preferences and follow suggestions in a number of good voicing texts. (Jazz Works by Ann Collins; Jazz Chord Voicing by Bill Boyd; Jazz Piano Voicing
Skills by Dan Haerle; Voicings for Jazz Keyboard by Frank Mantooth; Jazz Piano Concepts & Techniques by John Valerio; Beginning Jazz Keyboard by Noah Baerman)

HOW TO HELP WITH THE IMPROVISED SOLO
Students should learn to improvise in all styles of music. Teachers should include a short improvisation segment in every lesson from beginners to advanced for general musicianship purposes. The student will be able to then apply
basic melodic/rhythmic construction principals to jazz style by listening to lots of good jazz recordings. Start with Approaching the Standards by Willie Hill which includes CDs (vol. 1-3)