IAJE-WI News: v5.1 October 2006

Thursday, October 26, 8:30 - 9:45

Teaching Jazz Improvisation: Where Do I Start?
Lecture Hall, Monona Terrace
Willie Hill
Alfred Publishing Company

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Thursday, October 26, 10:45 am-11:25 am

Lawrence University Jazz Trio
Lecture Hall, Monona Terrace
Trio Members: Lee Tomboulian (Keyboard); Mark Urness (Bass); Dane Richeson (Drums)

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Thursday, October 26, 11:25 – 1:00

Jazz in the Technology Age - Getting the Most from the IAJE-Website

Facilitator: Brad Curran, Oshkosh
Thursday, October 26, 11:25 – 12:15
Location: Founders Room, Hilton Hotel

A panel discussion of the various resources available on the IAJE and IAJE-WI websites, and the NEW IAJE-WI Discussion Group and how best to make use of these valuable resources.
Attendees will be encouraged to share their experiences and and to offer suggestions.

NOTE!! IAJE-WI general meeting to IMMEDIATELY follow

IAJE-WI GENERAL MEETING

Thursday, October 26, 12:15 – 1:00
Location: Founders Room, Hilton Hotel

The annual membership meeting of IAJE-WI. Come and meet the officers and take part in shaping the direction of our organization. We will be talking about a number of continuing initiatives proposed at previous sessions and hope to entertain any new ideas from the floor. This is your chance to voice your opinions, offer suggestions or raise any questions you may have concerning jazz education in our state.

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Thursday, October 26, 2:30 – 3:45

Teaching Beginning Jazz Improvisation
Room I, Monona Terrace
Robert Washut

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Thursday, October 26th, 9:00 PM – 12:00 AM

IAJE-WI Open Jam Session
Restaurant Magnus
IAJE-WI Members/Officers

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Friday, October 27th, 8:00 – 9:15

Jazz Combos: Getting Everyone Into the Act (Strings Too!)
Room J, Monona Terrace
Dean Sorenson
Neil A. Kjos Music Company

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Friday, October 27th, 9:30 – 10:45

Jazz Reading Session

(Sponsored by IAJE)

Facilitator: Greg Bunge, Lake Geneva
WMEA Jazz Chair
Friday, October 27th, 9:30 – 10:45
Location: Lecture Hall, Monona Terrace

Please plan on attending the JAZZ READING SESSION on Friday October 27th at 9:15am in the Lecture hall of the Monona Terrace.
We will read all the new selections from the WSMA list in all classes. In addition to the new selections, we will hear some of the
"HOTTEST" selling charts of the past year. The "Dream Band" is comprised of Wisconsin IAJE members. The WMEA hopes
to continue this valuable session on an annual basis, so please come show your support and hear great music read by a great band.
This session is possible only through the fabulous cooperation of the WSMA, WMEA and IAJE.

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Friday, October 27, 11:00 am-11:40 am

Shell Lake Arts Center 40th Anniversary Big Band
Community Terrace, Monona Terrace

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Friday, October 27th, 1:15 – 2:30

Jazz Improvisation: One Step at a Time
Room H, Monona Terrace
Dean Sorenson
Neil A. Kjos Music Company

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Starting a Jazz Program from Scratch: Ideas for the Classically Trained
Founders Room, Hilton Hotel
Bob Baca

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Friday, October 27, 4:00 pm-5:00 pm

WSMA High School State Honors Jazz Ensemble
Madison Ballroom, Monona Terrace
Robert Washut, Waterloo, IA

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A MESSAGE FROM THE V.P. -

AN UPDATE ON JAZZ IN ARGENTINA

This past year has seen some extraordinary growth in our musical exchange program in Cordoba, Argentina.

In January and February of this year German Siman from the Esculita de Musica in Cordoba spent four weeks Wisconsin. During his time here he did guest appearances at the Slinger Jazz Festival, Carthage college, Sheboygan and Janesville. German's expertise as a Latin Percussionist and a representative of the country of Argentina was very well received by all he visited.

During April, I returned to Argentina to premiere the Cordoba Jazz Orchestra. a traditional big band of roughly twenty musicians was well received by a large audience in the new Ciudad de Arts (City of arts) recently opened in the City of Cordoba. A drumset clinic was also presented by myself and German to a very receptive audience sponsored in part by Sabian Cymbals.

During July German was a guest artist at the Shell Lake Arts Center. His playing of Latin American instruments, as well as drumset, was a wonderful addition to the curriculum of the camp. He also taught a one week graduate class in Latin Percussion to a very enthusiastic group of teachers. Two students of the Combo Camp were awarded scholarships to next years Cordoba Jazz Camp.

The highlight of the summer was the first Cordoba Jazz Camp that was held in the small city of Jesus Maria, Argentina. The sight of the camp was an old Jesuit Monastery that has been expanded over the years to be a regional Catholic Secondary School. I was accompanied by Tim Bell from UW-Parkside and Lennie Foy of Depauw University; both faculty member of the Shell Lake Arts Center. The folks from Cordoba spent many hours cleaning and refurbishing some of the old monks living quarters to accom modate both students and staff. The attendance was small but very enthusiastic. With approximately 35 students and ten Argentine teachers and technicians there were enough students to create five combos.

The students were good learners and the teachers were excellent in communicating the artistry of jazz. The language barrier presented very few problems as each combo had at least one bilingual member. Later in the week everyone assembled for a traditional Argentine "asado" or barbeque. The event was extraordinary as everyone was drawn together by the common love of music. The final concert was held at a local club. Parents and friends of the musicians were astounded at the growth that occurred within five short days. As! the evening concluded, scholarships were awarded to two of the most improved students of the camp to attend two weeks at the Shell Lake Art Center next summer. Most students couldn't wait to return next year.

The Cordoba Jazz Orchestra was featured at the "Teatro de San Martin", one of the oldest and most magnificent theatres in south america. the band was well received with excellent reviews. Lennie, Tim and I were featured soloists along with the Argentine musicians.

German will return to the United States in January and February for another four weeks of appearances and clinics. If you have an interest in featuring him at your school, please contact the Shell Lake Arts Center (715-468-2414) to make arrangements. He will again be part of the Shell Lake faculty this summer offering an Introductory course in Latin Percussion as well as a follow up to last years class. Graduate credit is available through the College of St. Thomas.

We are hoping that more Americans can take part in this truly unique experience. This years Cordoba Jazz Camp will be held the third week in July. Anyone interested in offering assistance would be most welcome. The ideal stay in Argentina is two weeks, allowing extra time to explore this beautiful country.Six graduate credits from the University of St. Thomas can be obtained through Global_Links.com, under the supervision of Carol LeBreck, Faculty Emeritus at UW-River Falls if an additional week of study is included. If interested call me:

Steve Zenz
dadzomar@aol.com
414-352-5659

This is just the start of a wonderful relationship between jazz educators of the United States and Argentina.

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ELECTION TIME NEARS!

Lisa Werner
Secretary, IAJE-WI

As nomination for election of officers draws near, perhaps the reader should think about running for an office in the IAJE-WI unit.
Below is an overview of the offices so that you can start thinking about if you would like to jump aboard. All of the terms are 2 years
with the exception of President-Elect, which is a six year committment ( 2 as Pres-Elect, 2 as Pres. and 2 as Past-Pres.)

Additionally, all officers write newsletter articles (or search out people to contribute to the newsletter) for each of the quarterly
IAJE-WI newsletters. All of the officers also meet at least twice a year at a location of the president’s choice to review the ongoing
initiatives of the state chapter (and communicate through e-mail frequently). Also, chapter officers are required to run the IAJE-WI
booth at the WMEA convention each October and be present for the IAJE-WI annual membership meeting at that convention.

Serving in an office in the IAJE-WI unit is quite rewarding. It is very exciting to be a part of the many programs IAJE-WI hosts,
and to learn about all of the amazing jazz education going on in our state!
Please consider joining in on the fun and sharing your strengths with IAJE-WI!

U.S. Section State Unit OFFICER RESPONSIBILITIES:

Here are guidelines for specific duties for each officer:

PRESIDENT

    1. Maintain a current IAJE membership.
    2. Preside over unit meetings.
    3. Delegate prescribed duties, including
      a) newsletter and/or website
      b) correspondence
    c) membership directory (see item #14 below)
    d) fundraising
    4. Administer elections as chair of the nominating committee
    5. Contribute regular columns to the unit newsletter and possibly to other regional or national music education publications
    6. Act as the liaison with other area educational, arts, news, and professional organizations
    7. Respond to email and letters from individual IAJE members in your unit.
8. Attend at least one of IAJE International Conference/Leadership Training Workshop (PreConference Officer Training Session),
        or designate a replacement representative from the current state unit executive board.
    9. Attend all IAJE sponsored conventions and workshops
10. Maintain timely contact with the regional coordinator as outlined in the U.S. Section State Unit Review Process.
11. Keep current records and make all of these available to any new administration
12. Provide as much help as possible during any change of administration.
13. Make certain all informational portfolios containing notes of the state unit operation are passed from person to person
        during officer transition periods as appropriate.
14. Maintain membership lists (President and Secretary jointly).

PRESIDENT-ELECT

Attendance of at least one Annual IAJE Pre-Conference Officer Training Sessions immediately after assuming the office is a
requirement of the U.S. Section State Unit Minimum Standards. The President-Elect should work closely with the President on
as many of the duties as possible, in order to prepare for assuming the President’s office in two years. It is recommended the
President-Elect be placed in charge of the Newsletter, because of the important nature of the materials within pertaining to the
state unit day to day operations and activity. The President-Elect does not necessarily have to be the Editor, especially if a well-run
newsletter is already in place, but hands-on involvement is imperative to understanding the inner workings of the state unit.
    1. Maintain a current IAJE membership
    2. Respond to email and letters from individual IAJE members in your unit.
    3. Must attend IAJE Leadership Workshop (PreConference Training Session) before or during the first year in office.
    4. Study all information relating to assuming the Presidency.

PAST-PRESIDENT

The Past-President remains on the board and offers a historical perspective of the organizations daily operations/activity,
and should make certain that business continues as usual in an orderly manner.
    1. Maintain a current IAJE membership.
    2. Respond to email and letters from individual IAJE members in your unit.

VICE PRESIDENT

    1. Maintain a current IAJE membership.
    2. Be prepared to assume Presidential duties in the absence of the president.
    3. Provide IAJE input/leadership on selected committees i.e., All State Jazz Ensemble or international equivalent.
    4. Promote communications - be responsible for newsletter or membership.
    5. Disseminate information to schools i.e. career counseling.
    6. Make regular contributions to the newsletter.
    7. Membership. This would add the following duties:
        a) Check monthly rebate forms.
        b) Contact delinquent members. (Sample letter pg. 36)
        c) Solicit Associate, Patron and Super Patron members.
        d) Encourage formation of Student Chapters and school groups.
    8. Respond to email and letters from individual IAJE members in your unit.
    9. Must attend IAJE Leadership Workshop (PreConference Training Session) before or during the first year in office.

SECRETARY

1. Maintain a current IAJE membership.
2. Oversee newsletter and/or website/supervise editor of such.
3. Oversee distribution of Unit Newsletter to all IAJE members in unit area.
4. Record minutes at general meetings.
5. Maintain correspondence with Executive Board.
6. Maintain correspondence with members from other regional organizations.
7. Maintain membership list (President and Secretary jointly).
8. Respond to email and letters from individual IAJE members in your unit.
9. Must attend IAJE Leadership Workshop (PreConference Training Session) before or during the first year in office.

TREASURER

1. Maintain a current IAJE membership.
2. Maintain checking account in the name of the unit.
3. Collect and distribute funds.
4. Prepare financial reports for unit.
5. Keep unit membership and financial records.
6. Audit books annually.
7. Respond to email and letters from individual IAJE members in your unit.
8. Must attend IAJE Leadership Workshop (PreConference Training Session) before or during the first year in office.

Are you a qualified Jazz Ensemble Judge?
How about giving up one Saturday a year to judge a solo/ensemble festival?

A concern about the judging of our jazz ensembles and combos at WSMA Festivals has been a concern of the IAJE-Exec Board and band directors in the past two years. Several members on the board feel that WSMA is not providing people that are qualified to judge this category. A concern about what is required of the group performing has also been in question. A workshop for jazz ensemble and jazz combo judging was held Monday, October 9th at Pulaski Middle School. A number of questions came up during private and group discussions about jazz judging:

1.    What about requiring one piece to be swing?
2.    Should Class A Jazz Ensembles be required to improvise on both songs?
3.    Should Class B Jazz Ensembles be required to improvise on one song?
4.    When there is an improvisation category on the rubric form and the band does not improvise, how do we give them a rating in that category?

These are all loaded questions, and everyone has a very strong opinion. Could you please send me any thoughts/suggestions/answers that you have on these questions. I think it is important that we take the time to answer some of these concerns.

Karen Johnson and I came up with a suggested list of comments for each category of the jazz ensemble list. If you have more to add, please send me an e-mail, and I will continue to update the list. The sample list follows this article.

I believe a step in the right direction was made last night. IAJE has a great partnership with WSMA. I think if we continue to work together on these questions, we can provide quality jazz education for our jazz students in Wisconsin.

Jazz Adjudication - Sample Comments

TONE
    -be careful on the loud end of your playing. Power comes from a full, controlled sound.
    -bass tone quality needs to emulate the characteristic sound for the style of the piece
    -the guitar tone quality needs to work within the characteristic sound for the style of the piece
    -saxophones need to “blow”, fill the horn, and match the projection of the other sections.

INTONATION
    -Tune individually and in your sections.   Everyone needs to listen and adjust within your section and across the band.
    -Always be aware of sudden temperature changes between your warm-up room and the performance site.
    -Remember to tune the bass to the piano.   The bass is the foundation for all of those cool jazz harmonies and you will
      need to listen to those reference pitches throughout your performance.
    -It’s obvious that this piano is out of tune, you did a fine job of making the best of a difficult situation.
    -Tune to your section leader.

TECHNIQUE
    -In playing swing you must work for a legato tongue, think/say “do dah do dah dot”
    -A helpful tool in playing swing style is to: “Talk the talk” Talk the chart/say your part.
    -In playing swing, the quarter note/eighth note articulation rule is “long notes are short and short notes are long” unless marked otherwise.
    -Time is unstable, everyone needs to get into the “groove”, it’s not just the rhythm section’s job.
    -The rhythm section needs to “groove” together, play as a team, not 3 or 4 soloists. Discuss what each of you should be doing for a particular
     style and work together.
    -Listen to your lead trumpet player.   Your lead trumpet is the lead voice (melody) of the band for ensemble sections.
     The lead trumpet’s stylistic approach to the piece sets the style for the entire band.
    -This swing chart needs the guitarist to play a Freddie Green style.
    -Drummers: In playing a basic swing, think of playing 75% of your work on the cymbals and 25% on the drums.
     When playing latin think in terms of 50/50, and rock/funk is 25% cymbals and 75% drums.
    -In swing style, the hi-hat must set up a solid 2 and 4.
    -In swing style, be careful that you do not play a heavy bass drum.
         There are two schools of practice for the bass drum in a basic swing style:
              1 – a “feather” lite 4-beat bass drum, barely audible.
              2 – no bass drum in the basic groove, use only for hits/fills
    -Piano players should stay away from the sustain pedal.
    -Listen to a recording of the Count Basie Band for developing a good swing style.

EXPRESSION
    -make sure every note you play has a purpose
    -play musically, move with the melodic lines
    -repetitive notes/phrases need some direction

BALANCE
    -You need to work as an ensemble within an ensemble.
-Each section has a lead player and you need to balance/blend within your sections.
-All voices need to be heard, including the 3rd and 4th parts – everyone is important.
-Make sure your bells are up and out of the stands so all voices project.
-Suggest setting up the sections so the lead voices are in a line. See diagram.
    -Be careful that you don’t over-balance your lead voice in your section.
    -Be careful that you don’t over-balance your lead voice in the band.
    -Be aware of your soloist, don’t allow the backgrounds to cover them.
    -Be aware of your “part’s” position within the entire band.
    -Keep your energy level/drive going through the last note of the piece.

IMPROVISATION
    -Think about the style of the piece when you are improvising.   “Speak the same language”
    -Sometimes, less is more – play/create a melody.
    -Don’t forget to take a “rest”.   Music is contrasts, without silence would we appreciate the sound?
    -Find the common tone(s) in the changes and use those notes as your “safety net”
    -Thank you for playing a solo today.   It takes a great amount of courage to do what you just did.
    -Don’t apologize when you’re playing, say it like you mean it. “This is who I am today”
    -Rhythm section players need to support and encourage your soloists.
-Rhythm section: keep the energy going, encourage your soloist and interact with the soloist.
-You made excellent note choices, now work on developing your solo by
        changing the rhythms
        increasing the range you use
        dynamics
        repetition
        repetitive notes
        repeat the phrase again and add to it
        repeat the phrase but invert it
        quotes
-Nice use of the pentatonic (or blues/universal) scale for your solo. The next step in developing your improvisation
is to work on playing the changes.   Start by playing the roots of the chords, then practice the roots/thirds, then 1, 3, 5 and so on.
Use the notes in between the chord tones to help create a melody.
-As you practice playing the changes, start improvising in limited regions until you get comfortable with the piece.
Focus on the root and third of each chord along with the note in between to create some ideas.
Play in that region, move to the next and you’ll continually develop your ear and feel for the progression.

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

The Wisconsin Unit of IAJE is pleased once more to present a jam session at this year’s annual WMEA State Music Conference. The session will take place on Thursday, October 26, 2006, beginning at 9:00pm (following the Honor’s Concerts.) The Restaurant Magnus has again 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 another truly exciting evening.

This year’s IAJE-WI Jam Session is the fourth of what has now become an annual event. Last year's event was well attended and a lot of fun (see pictures from last year on the IAJE-WI Discussion Group web page.) IAJE-WI members will be anchoring the house rhythm section for a night of hot (or cool) jazz. Be sure to bring your axe to the convention so you may join in the festivities - the more the merrier. With the wealth of talent we have in our state, this jam session again promises to be an exciting one. See you there!

Teaching Jazz Improvisation Fundamentals in the School Jazz Band Rehearsal

Teaching Jazz Improvisation Fundamentals in the School Jazz Band Rehearsal

Jazz in the Technology Age - Getting the Most from the IAJE-Website

IAJE-WI GENERAL MEETING

Jazz Reading Session

AN UPDATE ON JAZZ IN ARGENTINA