IAJE-Wisconsin News On-Line The Newsletter of the Wisconsin Chapter of The International Association for Jazz Education www.iajewi.org   Volume 2, Number 1: October, 2004
In This Issue:   Contributing Authors:   All Students Can Listen To Jazz, And Transcribe Solos! By Sam Fettig   The Value of Practice Sheets by Dr. Lou Fisher 2004 WSMA Honors Jazz Band Director   The Case for Student IAJE Chapters By Matt McVeigh Director of Bands at Flambeau   "A View From The Schools"   An Interview with Ryan Alban New Teacher at Pulaski H.S. by Tom Busch   From the IAJE-WI Exec Board:   Jazz Events at The WMEA Sate Music Conference By Steve Wiest   IAJE/Shell Lake Jam Session ready to Wail! By Brad Curran   WANTED! Wisconsin's Best Jazz Students! (WSMA Honors Jazz Auditions) By Bill Dennee   What's Happenin' in the Schools. by Brad Curran _____________   iaje-WI Contact Information:   iaje-WI Executive Board   iaje-WISCONSIN website   IAJE National Website		IAJE-Wisconsin President's Message   Welcome to October! I hope that everyone has successfully survived the first full month of school year 2004-05 activities. So when is that break in December?   This issue of the IAJE-Wisconsin Newsletter is once again packed full of insightful articles that offer up a wealth of practical information concerning many areas of jazz education.  As has been stated many times, we certainly have a wonderful knowledge-base here in Wisconsin with some of the best educators/artists in the country.  I believe that IAJE will be able to bring those educators and other resources to every educator in the state that is looking for help in the area of jazz pedagogy.   As always, the offer is good for you to contact us through my e-mail: wiests@uww.edu or via any of our Exec Board Officers and enlist our help with any jazz education questions and challenges you may have.   The annual WMEA convention in Madison this year is shaping up to be one of the best ever in the area of jazz.  In this issue of the newsletter, you will find a JPEG of a flyer that we are putting together to make available at the Conference.  There are so many great presentations and concerts, that you will want to give the flyer a look and write down the times, and locations in your daily planner, palm pilot, on the back of your hand, etc, etc.  Many thanks to WSMA's Linda Petersen for all of her help in securing and coordinating these exciting events!   Our IAJE-WI General Meeting will take place directly after the panel discussion "Teaching Jazz" at 10:00am on Friday: October 29 in the Hilton Founders Room.  The idea this year was to have the meeting in conjunction with a big event.  The panel discussion is such an event, consisting of the following educators: Bob Baca Bob Kase Fred Sturm Cliff Gribble Karen Johnson Steve Sveum Steve Wiest   Therefore, come armed with questions, and great ideas because this will be a big crowd!   There is also a great event shaping up for April, 2005.  The IAJE Chicago Regional Conference will be held at Columbia University  on April 8 & 9 2005.  Check out the website and slap it on your calendar as it is looking to be a very cool get-together!   So, please enjoy the fine articles in this month's newsletter and drop us an e-mail if we can be of any help at all.   I hope to see you at our IAJE-WI booth, or at one of the great events at this year's conference.   All the best,   Steve Wiest President, IAJE-Wisconsin wiests@uww.edu http://www.stevewiest.com/         Copyright 2004  iaje-Wisconsin  All Rights Reserved		2004 WMEA Convention in Madison       Frank Mantooth Memorial Concert         2004 Honors Jazz Ensemble Director Lou Fischer     Extraordinary Schedule of Jazz Events at the 2004 WMEA State Music Conference

THE VALUE OF PRACTICE SHEETS

By Dr. Lou Fischer

The following is an excerpt of the letter Dr. Lou sent to the 2004 WSMA State Honors Jazz Ensemble students. Hear this year’s State Honors Jazz Ensemble perform under the direction of Dr. Lou Fischer on Friday, Oct. 29^th at 4:00 p.m. at Monona Terrace Convention Center. The ideas here are so valuable, you’ll want to share them with your students! By the way, be sure to encourage your students to audition for the WSMA High School State Honors Music Project – especially in the JAZZ ENSEMBLE! Registration information can be found at www.wsmamusic.org.

A really great idea takes some time and work….BUT pays extremely  high dividends… is to prepare a PRACTICE SHEET for the chord progression you are playing over. You will need staff paper or computer music notation software such as Finale or Sibelius.  You can lay out the pages for the exact number of bars you need for the chord progression…i.e. 12 bars for a twelve bar blues…BUT lay out four staff lines, as you are creating a practice score for the progression,  as follows:

•Line #1: One the top line enter the melody of the tune

•Line #2: On the second line place the chord change notation (nomenclature)  above the staff, between line #1 and #2….on line #2 spell out the chord structure, stacking the notes of the chord vertically I whole notes ….i.e. CMA7 = C, E, G, B and D (as the ninth can always be used on any chord and it is an exceptional color tone to use in your solos….then also write an appropriate scale for that chord in a linear manner,  perhaps using eighth notes….i.e. for CMA7 write out the C Major scale;

•Line #3: On the third line of your score write out the various inversions of the chord arpeggio, eliminating the root from your spellings, replacing the root with the ninth of the chord….i.e. for CMA7 you would spell out four arpeggio inversions as follows: D-E-G-B, E-G-B-D, G-B-D-E, and B-D-E-G, again perhaps using eighth or sixteenth notes; 

•Line #4: On the remaining line, using roman numerals, write out a numerical analysis of the chord progression.  Use UPPER CASE for Major and Dominant chords…i.e. CMA7 in the key of C would be IMA7…in the key of G it would be IVMA7…a C7 chord would be respectively in the key of C a I7, and in the key of G a IV7 chord.  For minor chords use LOWER case roman numerals…i.e. for CMI7 in the key of C it would be i7 (the mi is not necessary as the lower case indicates minor already)…in the key of G a CMI7 would be iv7…with a roman numeral analysis you can then practice the chord progression of the song in ANY key you desire.  You will find this especially helpful with learning the blues progression, as it is most beneficial to learn it in all TWELVE  keys!

NOW….what to do with this sheet!  First of all, you have already begun putting the chord spellings and appropriate scales to memory by writing them out and thinking them through.  Now you need to develop the aural and tactile skills to go along with the visual skill you have worked on.  You can know go into the practice room and from Line #1, practice the MELODY of the song, from which perhaps you might use short quotes in YOUR solo!  From line #2 you can practice visualizing the chord structures….but most importantly, you can practice and review the spelling of the various CHORDS and an appropriate scale which is applicable to each chord!  I recommend you do this at the piano as well as with your horn….AND remember, you do not need to be a pianist to do this! From Line #3 you can practice the various ARPEGGIOS of the chords in the chord progression! You will find these to be the most melodic information you can use!  From line #4 you can begin the process of recognizing the chord progression by NUMBER, which is a key element to transferring tunes to other keys…as mentioned earlier you will need to develop skill at playing the blues in several keys!

Be patient with yourself!  Music is very time consuming, but ever so rewarding when you practice the right information! The good news is this….as you write out practice sheets for the tunes you are learning, you will find you develop the ability to do each one FASTER than the one before that one!  Soon, you will no longer need to write them out, as you will learn to recognize each and every chord (and chord progressions) VISUALLY, AURALLY, and on your instrument KINETICALLY!  All three skills must be developed in order to be a successful musician!  Recognize WHICH is your weakest and work towards developing all THREE equally!

Good Luck!!!

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An Interview with Ryan Alban

By Tom Busch

Tom Busch: Did your conceptions of teaching jazz change after you started teaching?

Ryan Alban:    Before I started teaching, I anticipated working a little extra outside of the normal school day in preparation for jazz rehearsals.  I was fortunate enough to come from a high school program that allowed time for jazz band during the school day.  The school where I was hired did not have a daily class period for jazz.  This is where the real work started.  In the past, the top jazz band met at 6:30am on Tuesday and Thursday mornings and held student-run sectionals on Wednesday and Friday mornings at the same time.  I had been advised by veteran music teachers not to drastically change things that the students are used to, so I kept the schedule as it had been in the past and learned that my “little extra outside work” really meant hours of time before the first bell rang.

The idea of having jazz band meet everyday during the school day is really an attractive idea to me; however, I found something better in my first year of teaching.  As the new jazz director, I also had the responsibility of teaching a class called jazz studies.  In this class, I taught jazz theory, jazz history, how to listen to jazz, transcription, how to memorize tunes and much more.  Students were able to take this material to their jazz band rehearsals and excel in their performance and understanding of jazz music.

T.B. What is the biggest challenge that you have encountered in teaching jazz for the first time?

R.A.    The biggest challenge that I have found is listening to your band.  I was first worried that I would have difficulty filling up an hour with rehearsal.  The latter has become the easiest thing for me.  Being able to listen attentively enough to discern parts, intervals, intonation and articulation is something that I know I will improve on as I continue teaching.  Sharp ears and the control of a language to effectively communicate what you are hearing is a characteristic that is possessed by every good jazz director.  I don’t so much think that a rookie jazz director can step into a gig knowing how to hear his/her band the right way.  Experience I think might be the best way to know that the 3^rd trumpet #5 is out of tune in that Db Alt. chord that composers just love to write.

T.B.  How have veteran jazz teachers been able to help you as your start your teaching career in jazz?

R.A.     I have been fortunate enough to start my teaching career under the wing of a 15 year veteran teacher.  What is more, I am taking over the jazz program that he ran for the past 8 years.  I have found that the transition process of taking the jazz program over has been exceptionally smooth because he is right there to answer my question about the lead trumpet player’s range, or the reed players ability to double, or what the rhythm section’s strengths and weaknesses are in regard to style.  I can only imagine what my band might sound like if I did not know this information going into the music selection process.

T.B. Where do you see your band in 5 years?

R.A.      My vision of my jazz band in 5 years is much like it is now, only with much more ink on the resume.  I hope to maintain the rehearsal environment where students take a lot of pride in what they play, which will in turn guarantee sectionals and effective rehearsals.  I intend on playing in the community a great deal and working for the band to participate in at least one jazz festival per year.  I also want to carry on the tradition of “Jazz at Kelly Lake,” a weekend of clinics and performances for the jazz band held at a resort where members of the band can get to know each other.  This event takes place the weekend before school starts.  I also hope to have achieved some large goals for the band within the next five years.  For example, performing a concert of original music composed by jazz students in a conservatory, make a recording, or perform a concert where the students transcribe solos exactly from the recording.

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Jazz Events at the 2004 WMEA State Music Conference

By Steve Wiest

Woooo EEE and Oop Bop she BAM!  We have a fantastic line up this year at the WMEA Conference!  Many thanks to Linda Petersen for her coordination supreme and everyone involved with IAJE-WI.  There really is something for everyone this year, so get out your daily planners and schedule these events on your must-do list!

I have included a JPEG of the flyer that you all will receive in your folders when you register this year. All of the events are highlights, but I wanted to point out a couple of extraordinary events. 

1. The Frank Mantooth Tribute: Thursday, Oct 28 1:00pm: Community Terrace

This will be an astounding musical event offered up as a tribute to the great Frank Mantooth.  Composed of many of the musicians that recorded with Tooth on his very successful series of CDs, this big band will perform a "greatest hits" of Tooth music.  I do hope you will be able to attend, it will be one of the best ways to remember this wonderful friend of jazz.

The Frank Mantooth Tribute Band:

Trumpets:

Kirk Garrisson: Lead

Jeff Jarvis

Dominic Spera

Bob Kase

Trombones:

Steve Wiest: Lead

Tom Garling

Dave Pavolka

Tom Matta: Bass Trombone

Saxophones:

Tim Bell: Lead Alto

Steve Sveum: Alto II

Sam Fettig: Lead Tenor

Greg Keel: Tenor II

Tom Newburg: Baritone

Rhythm Section:

Geoff Keezer: Piano

Lou Fisher: Bass

Steve Houghton and Steve Zenz: Drums

Mike Irish: Guitar

2. "Teaching Jazz: A Panel Discussion"

Friday, October 29 8:30am: Hilton Founders Room

This gathering of Wisconsin jazz educators will represent a one-time chance to have all of these hoodlums in the same room at the same time!  A great opportunity to ask questions

and learn some tricks of the trade from some very cool grizzled vets.

Featuring:

Bob Baca

Bob Kase

Cliff Gribble

Karen Johnson

Fred Sturm

Steve Sveum

Steve Wiest

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WANTED

Wisconsin’s Best Jazz Students

December 1^st is the Deadline for 2005!

In an effort to increase the number of students auditioning and the quality of auditions, IAJE – Wisconsin has come up with a couple of ways to help student progress.  WSMA has changed the audition material in an effort to improve high school jazz programs and individual student performance.

The audition material can be found on the WSMA website – www.wsmamusic.com

Students will have the opportunity to audition for solo or section chairs.  The solo chairs will require a higher improvisation level.  There is also a separate etude for the lead trumpet.

The material will include:

1.                  Scales

2.                  Improvisation

3.                  Etude

4.                  Sightreading

IAJE – Wisconsin is asking directors to encourage their outstanding soloists, jazz camp students, and strong section players to audition for the honors project.  The Wisconsin Chapter of the IAJE is also working on recognizing jazz students that have received outstanding soloist awards or scholarships for camps.  A letter would be sent out in September to the students and their director, congratulating them on their accomplishments and encouraging them to apply and audition for the WSMA honors project.

In an effort to further support the honors project, IAJE – Wisconsin is launching a new opportunity for students to rehearse and fine tune their audition material.  Students will have to opportunity to attend local colleges around the state to rehearse their audition material with college directors.  High School directors will be contacted to send their students to a local site in an effort to increase their student’s knowledge of the audition material.  College directors will be working with area directors, college students, or student IAJE chapters to provide help with this clinic experience.

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JAM SESSION READY TO WAIL !

By Brad Curran

 

Jam Session : An informal performance of musicians, involving a degree

of improvisation. Jam sessions also serve as training sessions for young musicians. Common in jazz, also pop and folk music.

   
As you might have read in the previous issue of this newsletter, the Wisconsin chapter of IAJE is pleased to present a jam session at this year’s annual WMEA State Music Conference. The session will take place on Thursday, October 28, 2004, beginning at 10:00pm (following the Honor’s Concerts.) The Restaurant Magnus  has agreed to host this gathering. Located a block from Monona Terrace at 120 East Wilson Street, the Magnus is a great jazz club - complete with a stage, piano, and the ambience to make this a truly exciting evening.

This year’s IAJE-WI Jam Session is being sponsored in part by the Shell Lake: Indian Head Arts and Education Center. Faculty members Nick Schneider, bass, and Steve Zenz, drums, will be anchoring the house rhythm section for what we hope to make an annual affair.

We are still looking for some additional rhythm section players to spell our “house”  rhythm section. If you are interested in being involved in the rhythm section please e-mail Brad Curran with that information. If you are a wind  or string player be sure to bring your axe to the convention so you may join in the festivities. With the wealth of talent we have in our state, this jam session promises to be an exciting one. See you there!

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WHAT’S HAPPENIN’ IN THE SCHOOLS . . .

By Brad Curran


Welcome to the new school year!  You know things are in full gear when your middle school jazz band has two public performances under its belt by the second Friday of the year.  A performance at the Fox Jazz Festival (Menasha) over Labor Day weekend, and another the following Friday at the Twin Cities Seafood Fest, enjoined my students to not only relearn some music but also overcome their "summer chops" in a big hurry. Since our school is blessed with a good measure of talent and an even larger measure of enthusiasm we were able to pull off this feat in four rehearsals. The students received positive reviews for both performances, but we all are looking forward to things settling down a little bit.

As a teacher I know the P.R. value of having your kids perform in settings outside of the school, but I also am concerned that my students get the proper fundamentals of this language called jazz. We'll be stepping back a bit, and the new kids (6th graders) in the group will be able to catch up to the veterans. The early focus will be on feeling the swing style and applying correct articulations. Concurrent with that will be a study of the blues form, leading to beginning improvisation, based on the blues. This approach has proven to be successful for my students, leading to a confidence in their playing that is evident in their performances.

What things are you doing that work for your students (middle and high school)? What texts (if any) are you using? What charts work well and inspire the students? How do you go about teaching improvisation? Do you know of any web sites that offer help in some of these areas? I would like to make this column a forum for all of you to share your experiences, good and not so good, with the rest of us. We can all learn from one another when we share ideas in this fashion. Send your experiences, tips, and resource ideas to me at jazztrp@curranmusic.com and I will publish them for benefit of the rest of us. I hope that your school year is off to a great start and I look forward to hearing from many of you as we all endeavor to help jazz live on through our students.

Here's a couple of nice web sites to start you off:  

   Jazz in America - the National Jazz Curriculum  •   http://www.jazzinamerica.org/home.asp
   A Passion for Jazz!™  Music History & Education   •   http://www.apassion4jazz.net 


Brad Curran
President-elect, IAJE-Wisconsin

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Student IAJE Chapters

Support the Comprehensive Music Educator

By Matt McVeigh

What is the ultimate goal of music education?  While an open ended question like this is sure to elicit a variety of responses, in my discussions, a common thread eventually emerges.  Concepts such as self expression within an aesthetic art form, and individual creativity are often at the heart of what educators feel is essential in the noble pursuit of music.  But do students in today’s classroom meet these goals on a daily basis?  In the hands of a master educator who intentionally creates meaningful strategies to meet the goals of creativity and self expression these are possible in daily musical experiences.  Still, for many students, the only thing they are taught to express is their music teacher’s interpretation of a particular piece.  Student creativity is often put on the backburner because we have to get ready for the concert. The truth is, while these aspects are central to the importance of music education, there is a lack of teacher training which targets strategies which promote the creative element of music- Jazz and Improvisation.

Student IAJE chapters, both at the High School and College level, can be the answer for many emerging educators without a strong background in Jazz and Improvised music.  The days that the Jazz Ensemble would be the only place where students or teachers would have these experiences is long over.  Jazz education has become so widespread that its inclusion in the more traditional ensembles is a living reality.  Furthermore, it is difficult for teachers to maintain a program that seeks a comprehensive musical experience for students, where jazz does not exist.  Teachers must be educated in the idiom of jazz so that they can truly provide students a comprehensive music experience that is in line with their own philosophy.

The Need for Quality Jazz Educators

Music education continues to diversify in today’s schools.  While the standard repertoire in traditional concert ensembles is alive and well, an equally profound movement exists in less traditional mediums.  A solid background in jazz and improvised music is not simply, “nice to have,” it is the sharpest tool an educator has to offer these diverse and comprehensive experiences for their students.  Yet these are skills that are usually reserved only for the few students that have chosen to be a part of the jazz ensemble.  Further, it is difficult for music education curriculums to modify an already rigorous degree plan.  If aspiring music educators are lucky, they may have one semester-long class devoted to these issues.  Quite plainly, this is not enough.  Educators need more opportunities to refine their creative skills and develop a sound pedagogy for teaching jazz and improvisation.

Benefits of a Student IAJE Chapter

Regardless of students’ background in Jazz, IAJE will enhance their understanding and interest because of the wealth of resources that are available to its members.  In addition to The Jazz Educators Journal, which features articles dedicated towards teaching jazz, student members can also utilize the IAJE resource team.  Here, high school and college students have the opportunity to ask experts in the field of jazz education questions on a variety of topics.  Like any other professional organization, it is the personal bonds that are forged which have the most lasting impact. For college students, membership in such an organization is vital to their professional development; it is an instantaneous networking opportunity that will enhance their teaching.  Students involved in a high school IAJE chapter will benefit from the companionship that can be shared among those who share a love for jazz.

How to Start

It has never been easier to start an IAJE chapter because the executive board has placed a high emphasis on building this aspect of their membership.  All that is needed is 15 interested members, a faculty advisor who is currently a member of IAJE, and a chapter constitution.  For more information, or to download a registration form, log onto www.iaje.org/memstudent.asp.

Jazz saxophonist John Coltrane frequently used the term, “Cleaning the Mirror,” to describe moments of deep reflection in which he could more clearly see the musician he was.  In the same way educators must clean their mirrors and look at the quality of music education which they have put in front of their students.  A student IAJE chapter would enhance this experience, while helping to advance the next generation of Jazz Educators.

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Matt McVeigh is Director of Bands at Flambeau School in Tony, Wisconsin.  He is the former Central Division Collegiate representative for MENC, and former President of the UW-Eau Claire IAJE Chapter.  Please email him at mmcveigh@flambeau.k12.wi.us with questions about beginning a student IAJE chapter

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ALL STUDENTS CAN LISTEN TO JAZZ -
AND TRANSCRIBE SOLOS!
Sam Fettig, Fort Atkinson Middle School

Would you like students in your jazz ensemble to listen to great jazz recordings and even transcribe solos? Would you like your saxophone section to swing like Count Basie’s? Would you like your soloists to understand and use phrases invented by John Coltrane, Freddie Hubbard, J.J. Johnson, and the like? Such an accomplishment may seem daunting. If you’re like me, you’ve asked “How can my students and I find time to tackle such a thing? How do I go about teaching students to listen and transcribe?”

This article contains strategies that have been successful with middle school students and can apply to any age and ability. The strategies are fleshed out in three areas:

1. Building a Jazz Library...without breaking the bank

2. Guidelines for Student Listening (Download worksheets!)

3. Guidelines for Transcribing (Download worksheets!)


WORTH THE EFFORT!

I often ask my students to recall an image of someone doing an impression of someone else - whether it’s a stand up comic or someone that does a good "Mr. Fettig" behind my back. Then I ask them a rhetorical question: is it possible for a person to do an impression without ever seeing or hearing the person they are imitating? Likewise, to imitate jazz on your instrument requires that you know what it sounds like, and that requires you to listen.

There is no amount of talking and teaching that can replace a musical model for students. It’s something we all know but often forget or neglect. The first step in encouraging students to listen to jazz is to provide them with recordings to listen to.


BUILDING A JAZZ LIBRARY

Build a jazz CD library for your program. This can be done without breaking the bank; you can budget for as few as two to three CDs per year for several years. The good news is that your library will be adequate with as few as five CDs that represent the instruments in your ensemble. With a library in place, students can check out a CD to enjoy during study hall or take home for further study.

The jazz library in our middle school band room is comprised mostly of CDs from my personal collection. This is an option you may want to consider if you have jazz recordings of your own. I would not risk my personal collection had I not entered each CD onto a computer database. While it was quite an arduous task to enter all the data, it serves several purposes: to hold students accountable for returning the CDs, to keep a history of who listened to what or how many times a particular CD was checked out, and to give a jazz nerd like myself an excuse to pour over my collection. In addition, it offers me the luxury of referencing the CDs in every way imaginable; I’m able to search for all CDs that contain a particular song, instrument, date, or publisher. The ability to reference is also a helpful tool for the full jazz rehearsal. I can have students listen to original recordings of songs that they are rehearsing in the ensemble setting.

For help in determining which CDs your students should be listening to, check out www.doubletimejazz.com. You can’t go wrong with their list of "100 Historically Significant Recordings." Doubletime Jazz is also an excellent place to purchase CDs at a good price. Furthermore, Jamey Aebersold has compiled a comprehensive list of important jazz artists for each instrument:

GUIDELINES FOR STUDENT LISTENING

Listening to jazz can be accomplished on three different levels. First, students simply gain initial exposure. Students in your ensemble certainly have the capacity to appreciate jazz with a measure of sophistication, but there must first be a period of discovery. In order to accomplish this, the listening assignment must be broad and, in a word: easy. You can download the following worksheet to accomplish this “entry-level” listening:

The second level of listening requires students to identify elements of a standard small group jazz arrangement: form, head, and solos. In this activity, students’ listening will be focused on a single track as opposed to the entire CD. Students may need guidance to come up with the right answers. The initial purpose is not necessarily to assess the students’ ability to identify these advanced concepts (at first). Rather, the value is in learning terms and getting a feel for what to listen for. Feel free to use the following sample worksheet:

The third level of listening involves internalizing the music so it can be played. This brings us to :

TRANSCRIBING: FROM LISTENING TO PERFORMANCE

Now comes the exciting part! Students are ready to implement material from the recordings into their own solos. There are two misnomers regarding this practice that need to be addressed here: 1) Transcribing jazz is too hard, and 2) Playing practiced material takes away from the improvisational nature of jazz solos.

First, transcribing is accessible to students of any ability. To play a single sustained pitch in the spirit of the jazz artist that recorded it has great value. One characteristic of great jazz artists is their ability to put meaning behind a simple two-note phrase. These simple phrases should be singled out and learned. The degree of difficulty can be increased as student progress warrants. Everyone starts somewhere.

Secondly, playing material that has been practiced and committed to finger memory is exactly what jazz artists do when they improvise. The memorized material becomes the musicians’ vocabulary list, their clichés, their catch phrases and poignant remarks. Imagine trying to speak verbally with no vocabulary or grammatical system. To improvise without these elements would be equally messy.

I have found the following worksheet to be successful when the students are introduced to the transcription process:

The activity guides students through the following transcription process:
repeated listening
identifying an excerpt they wish to learn
learning and memorizing it
writing it down
transposing it to at least one different key

It is important to set the students up for success. There are no age limits. The following transcription assignment was completed by 7th and 8th graders:

 The scanned image may be difficult to read, but serves as an example of the transcription worksheet put to use. Notice that the excerpt is rather small. The principle is that students are successfully experiencing the process.

The student example above uses the Miles Davis album "Kind Of Blue", which is an excellent starting point for young jazz musicians.