Download the PDF Handout 1

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band: Tips and Takeaways for Sonic Success.”

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band: Tips and Takeaways for Sonic Success”

McCormick Place West - Room W192Thursday, December 17, 2009

8:30 - 9:30 AM

Glenn Williams- Clinician

BandSource Company- Clinic Sponsor

Clinic Overview

Introduction

Plagiarism in other subjects is research in jazz education.Two things that must happen- Listen & Major Scales.

Logistics

Parent Open House- Expect Parent Partnership and ParticipationJazz Starter Kit- tell the parents what every every starting jazz musician should ask them to buy for their kids.

Free Pass- Advance Conflict Resolution for StudentsSet-Up parameters with which you are comfortable.Personalize the matrix.

Curriculum

Blues Packet (with homage to Marty Kochman)Focus QuestionsBenchmarksRepertoire“A String of Tunes”K-PROV= “All improve, all the time.”Teachable things in the bluesOne Approach to entering the bluesAssessment Literacy Tool- “Do you know what your kids know and can do?”Sample Modal UnitGroup Think: Developing ideas from the experience in the room.

Scales- The Ionian DoorwayParameter to the ProjectPersonalized Scale MatrixOne Approach to teaching scales

Warm-Ups- “We all start concert band so well. Why not jazz band?”Call and Response / ImitationBass Drives the BusDrummer Drives the BusCircle of Fourths

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band: Tips and Takeaways for Sonic Success.” Page 1 Glenn Williams

Clinic Overview

Curriculum- (cont.)

Warm-Ups- “We all start concert band so well. Why not jazz band?”- (cont.)Read the Room6th Grade, Here we Come!Backwards Day“That Warm Feeling” / “Lil’ Darlin”

TuningEvery day, in every wayTwo tuners, alternate front to backALWAYS close with an ensemble event

Combo Unit- “Ever have too many of one instrument in a second band?”Pick music, set expectations, then perform.Listen. Discuss. Analyze. Repeat as needed.

Record / Listen / Reflect / Write / ImproveHow do you record your group rehearsals for playback?

Repertoire40 Tunes that are certain to be successful- I guarantee it!

Emerging as a teacher from the Dump Truck MethodIdeas / Takeaways from the clinic participants- What are you going to try?Space for your Notes

General Clinic Information

Glenn Williams- BiographyAbout Downers Grove South High School Fine Arts DepartmentAbout BandSource CompanyGlenn’s Contact Information:

South High School 1436 Norfolk Street Downers Grove, IL 60516 Phone: 630.795.8681 Email: [email protected] Blog: http://southfinearts.blogspot.com/

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band: Tips and Takeaways for Sonic Success.” Page 2Glenn Williams

mailto:[email protected]

mailto:[email protected]

http://southfinearts.blogspot.com

http://southfinearts.blogspot.com

JAZZ STARTER KIT

PLAY ALONG CD’S:http://www.aebersold.com While jazz educator Jamey Aebersold currently has 114 play along books and CD’s on his web site, Volume 54 – “Maiden Voyage” is the ultimate starter set. With tunes like Cantaloupe Island, Watermelon Man, Satin Doll and Impressions, this is the best play along for an emerging jazz improviser. While the book and CD on this web site are $14.90, you can also purchase these at local print music retailers for a slightly increased price.

NOTATION/ACCOMPANIMENT SOFTWARE:http://www.finalemusic.com/notepad/Attention parents – this notation software is extremely inexpensive!!! After a 30 day free trial, the download is only $9.95. While numerous packages exist for creating printed music electronically, given the price this is by far the best deal. Download this and experiment with creating music and representing it through printed notation, then work your way up the ladder in terms of difficulty and cost.

http://www.band-in-a-box.com/The first time purchase price for this incredibly powerful and versatile software starts around $129. This software has HUNDREDS of tunes and styles available for play-along practice. Additionally, you can create your own tunes and styles and use this software as a vehicle for composing. For a student eager to learn improvisation and a student who likes to manipulate sound through electronic means, this is an amazing learning tool!

ESSENTIAL JAZZ RECORDINGS:While any list by nature is exclusive, these are three CD’s that a “start-up” set for students should definitely have:

Kind of Blue – Miles DavisThis is arguably the most influential recording of the past century. The musicians (Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, Wynton Kelly and Jimmy Cobb) are a DREAM TEAM of players. The tunes (So What, Freddie Freeloader, Blue in Green, et al) changed the jazz landscape. It is still available in any store and easy to find on Amazon.

Straight Ahead – Count BasieEvery element of swing and Basie style is encoded in this historic recording. This is the first group of tunes that were recorded by professionals that were accessible to school bands. Tunes like Hayburner, Fun Time, Magic Flea, Queen Bee et al) set the standard for a generation of jazz musicians both professional and institutional. It is till available in any store and easy to find on Amazon.

The Best of Herbie Hancock – The Blue Note YearsGreat tunes (Watermelon Man, Maiden Voyage, Canteloupe Island, Dolphin Dance, et al) and great players (Herbie Hancock, Freddie Hubbard, Wayne Shorter, Dexter Gordon, Hank Mobley, et al) make this a must for the starting jazz player. The tunes and the solos are all accessible and great entry level vocabulary and repertoire. It is still available in any store and easy to find on Amazon.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band: Tips and Takeaways for Sonic Success.” Page 3 Glenn Williams

http://www.aebersold.com

http://www.aebersold.com

http://www.finalemusic.com/notepad/

http://www.finalemusic.com/notepad/

http://www.band-in-a-box.com/

http://www.band-in-a-box.com/

SUGGESTED JAZZ ARTIST LISTENING LIST

TRUMPET Louis Armstrong, Chet Baker, Bix Beiderbecke, Chris Botti, Randy Brecker, Clifford Brown, Don Cherry, Miles Davis, Roy Eldridge, Jon Faddis, Dizzy Gillespie, Roy Hargrove, Tom Harrell, Freddie Hubbard, Arturo Sandoval, Doc Severinsen, Woody Shaw, Marvin Stamm, Clark Terry, Ray Vega, Allen Vizutti, Scott Wendholt

SOPRANO SAXOPHONEMichael Brecker, Joe Farrell, Wayne Shorter

ALTO SAXOPHONECannonball Adderly, Ornette Coleman, Paul Desmond, Eric Dolphy, Vincent Herring, Lee Konitz, Jackie McLean, Lennie Niehaus, Charlie Parker, Art Pepper, Bud Shank, Sonny Rollins, David Sanborn, Tom Scott, Phil Woods

TENOR SAXOPHONERalph Brown, Michael Brecker, John Coltrane, Stan Getz, Benny Golson, Dexter Gordon, Coleman Hawkins, Jimmy Heath, Joe Henderson, Branford Marsalis, Bob Mintzer, Ralph Moore, Hank Mobly, Sonny Rollins, Wayne Shorter, Zoot Simms, Ernie Watts, Ben Webster, Lester Young

BARITONE SAXOPHONEPepper Adams, Denis DiBlasio, Harry Carney, Serbe Chaloff, Gerry Mulligan

TROMBONEDavid Baker, George Bohanon, Jimmy Cleveland, Carl Fontana, Curtis Fuller, Slide Hampton, Bill Harris, J.J. Johnson, Frank Rosilino, Roswell Rudd, Jack Teagarden, Steve Turre’, Phil Wilson, Kai Winding

FLUTERoland Kirk, Yusef Lateef, Hubert Laws, Herbie Mann, James Moody, Dave Valentin

CLARINETBuddy DeFranco, Eric Dolphy (bass), Eddie Daniels, Benny Goodman, Jimmy Guiffre, Woody Herman, Pee Wee Russell, Artie Shaw

GUITARGeorge Benson, Kenny Burrell, Charlie Christian, Larry Coryell, Herb Ellis, Stanley Jordan, Jim Hall, Barney Kessel, Pat Martino, Pat Metheny, John McLaughlin, Wes Montgomery, Joe Pass, John Scofield, Jimmy Raney, Django Reinhardt, Lee Ritenour

PIANONat “King” Cole, Chick Corea, Bill Evans, Tommy Flanagan, Red Garland, Erroll Garner, Benny Green, Herbie Hancock, Ahmad Jamal, Keith Jarrett, Kenny Kirkland, John Lewis, Ellis Marsalis, Thelonius Monk, Oscar Peterson, Bud Powell, Marcus Roberts, Horace Silver, Art Tatum, Lennie Tristano, McCoy Tyner, Fats Waller, Mary Lou Williams, Joe Zawinul

BASSRay Brown, Ron Carter, Paul Chambers, Stanley Clarke, Richard Davis, Jimmy Garrison, Eddie Gomez, Robert Hurst, Christian McBride, Charlie Mingus, Mark Montgomery, Jaco Pastorius, John Patitucci, Oscar Pettiford, Rufus Reid, Steve Swallow

DRUMSLouis Bellson, Art Blakey, Kenny Clarke, Billy Cobham, Jack DeJohnette, Roy Haynes, Elvin Jones, Philly Joe Jones, Shelly Manne, Buddy Rich, Mac Roach, Marvin “Smitty” Smith, Grady Tate, Jeff “Tain” Watts, Dave Wecki, Tony Williams

VIBESRoy Ayers, Gary Burton, Dave Friedman, Terry Gibbs, Lionel Hampton, Milt Jackson, Red Norvo, Cal Tjader

VOCALISTSDee Dee Bridgewater, Rachel Caswell, Ray Charles, Billy Eckstine, Ella Fitzgerald, Michael Franks, Billie Holiday, Carmen McRae, Anita O’Day, Lou Rawls, Frank Sinatra, Mel Torme’, Dianne Schurr, Sarah Vaughan, Joe Williams

BIG BANDSAirmen of Note, Toshiko Akiyoshi, Count Basie, Mario Bauza, Louis Bellson, Les Brown, Duke Ellington, Don Ellis, Gil Evans, John Fedchock, Bob Florence, GRP All-Stars, Gordon Goodwin, Woody Herman, Thad Jones-Mel Lewis, Stan Kenton, Jimmie Lunceford, Rob McConnell, Rob Mintzer, Oliver Nelson, Rob Parton, Buddy Rich



JAZZ LAB ENSEMBLESemester One

PROJECT / STUDY PassesStudent’s Name

Page 5 Glenn Williams


Community High School District 99 – Downers Grove South High School

Fine Arts Department

“Igniting a passion for the arts in every learner.”

JAZZ LAB ENSEMBLE

Blues Unit

September 2009

Bass Clef Packet

CONTENTS

Curriculum Map

#8 – “A Little of This?”

Billie’s Bounce w/Parker Transcription

#10 – “Tootsie”

Pages 4-12 of Jamey Aebersolds’ The Blues

Suggested Jazz Artist Listening List

Jazz Starter Kit

Page 6Glenn Williams





Jazz Lab Ensemble

Curriculum Map

BLUES UNIT

FOCUS QUESTIONS

1) What are the different meanings of the phrase “The Blues?”

2) Why is form essential in all art?

3) Is simplicity a facet of enduring art forms?

4) What is the meaning of the word improvisation as it applies to jazz

performance?

BENCHMARKS

By the end of the unit, every student will be able to:

• Play an F blues, roots of the chords, from memory• Construct a blues scale from any starting note.• Improvise on a standard F blues• Perform Charlie Parker’s Now’s the Time• Explain Charlie Parker’s role in jazz history


Glenn WilliamsPage 7 Glenn Williams


DGS Fine Arts Jazz Lab Ensemble Name _________________

GOALS: Understanding The Blues Opening score: ______/72

September 2009 Ending score: ______/72

Knowledge Yes! I

Rock!!!

I’m getting there Help me please!!!

1. I can recognize, through listening, blues

related tunes from outside of the jazz idiom

6 5 4 3 2 1 0

2. I can explain the evolution and the history

of the blues scale

6 5 4 3 2 1 0

Reasoning

3. I can appraise Charlie Parker’s role in jazz

history.

6 5 4 3 2 1 0

4. I can justify why simple form is pervasive

in all art.

6 5 4 3 2 1 0

5. I can compare/contrast the different

meanings of the word “blues.”

6 5 4 3 2 1 0

Skills

6. I can perform from memory the concert

pitch F, Bb and C blues scales.

6 5 4 3 2 1 0

7. I can tell you the formula of how to build a

blues scale from a major scale.

6 5 4 3 2 1 0

8. I can accurately sing a blues scale. 6 5 4 3 2 1 0

Products

9. I can, in writing and playing, construct a

blues scale from any note.

6 5 4 3 2 1 0

10. I can improvise two consecutive choruses

on an F blues.

6 5 4 3 2 1 0

11. I can perform a basic 12 bar blues from

memory, playing the roots of the chords in

time with a rhythm section.

6 5 4 3 2 1 0

12. I can, in my own key, write a standard 12-

bar blues in the concert key of F.

6 5 4 3 2 1 0


Glenn Williams Page 8Glenn Williams





Modal Tunes – Coltrane and Miles

Curriculum Map

REPERTOIRE

Milestones, Impressions, So What, Red Clay, Maiden Voyage

FOCUS QUESTIONS:• What is a modal tune?• What is a Coltrane matrix?• What are 20th Century “serial” techniques and how do they apply to jazz

performance?

What is the place of Coltrane and Miles in jazz history?• Each student will be able to play mixolydian and dorian scales in all 12 keys.• Each students will be able to describe the harmonic relationship between Ionian,

dorian and mixolydian.• Each student will be able to improvise over a standard 32-bar modal tune.


Glenn WilliamsPage 9 Glenn Williams

Emerging School Jazz Bands / Partner Project Curriculum Map Worksheet

UNIT TOPIC

FOCUS QUESTIONS

BENCHMARKS

THINGS ON YOUR GOAL ASSESSMENT SHEET



Community HS District 99 – Downers Grove South High School

Fine Art Department


Jazz Lab Ensemble

SCALES TEST

February 2009

PARAMETERS

Every player will play the expected number of scales on the matrix.

No practicing in front of the director.

Scales must be slurred, not slower than eighth notes at 100 beats per minute.


Scales may be tested in any order, at any time (other than class time), and in any amount. In other words, one at a time or 48 at a time – have it your way.


Catch Mr. Williams during lunch, during resource, before 7:02 AM or after jazz band. Catch him after school – any time but during class time.

All scales must be passed by every player on or before Thursday, May 21, 2009.


Each scale is worth 10 points. 1 point will be deducted for any error (notes or rhythm). Every scale must get a 7/10 or better to be considered

acceptable.

Bebop scales are only played descending.



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Community HS District 99 – Downers Grove South High School


“Igniting a passion in the arts for every learner.”

JAZZ LAB ENSEMBLE - COMBO INFO SHEET

Semester I – 2007-2008

WEEK #1 – Personnel

Justin Proksa, tenor

Vijay Subramanian, alto

Elliot Bild, trumpet

Austin Klinker, trombone

Danny Jama, drums

Kevin Kral, guitar

Hank Gordon, bass

WEEK #1 – Repertoire

Watermelon Man

Doxy

Song for my Father

WEEK #1 – Expectations

• Read through all through tunes. For the recital on Friday, you’ll play two for the class.

• You’ll rehearse Monday, Tuesday and Thursday then play for the class – NO FRIDAY REHEARSAL!!!

• Every person has to improvise at least once.

• Every tune must have an intro and ending.

• Every tune must have backgrounds.

• Form, solo order and overall organization must be clear to the listener.

• You must listen to at least one recording of these tunes during the week.

• You must bring the recordings in to class.

• Elect one person to be the group announcer for the recital on Friday.



Community High School District 99 – Downers Grove South HS


“Igniting a passion in the arts for every learner.”

Concert Reflection

Jazz Lab Band

December 2, 2008

NAME________________________________________

ENSEMBLE/HORNS - ______/50

Beauty

Control

Balance

Intonation

Individuals

Sections

RHYTHM SECTION - _____/20

Coherence

Tightness

Stylistic Hipness

Individuals

Groove/Feel

SOLOIST - _____/20

Phrasing

Expression

Tempo

Dynamics

Style

Melodic/Harmonic Fluency

OTHER FACTORS - _____/10

Stage Presence

Decorum

Repertoire

TOTAL - _____/100



Concert/Rehearsal Reflection

Point Distribution

10-9 Several authentic comments under each caption.

Scores authentically tabulated and reasonable.

All words spelled properly.

Legible.

All comments show command of musical vocabulary.

Able to recognize deficiencies and find a viable solution.

8-7 One or two comments under each caption.

Some words spelled incorrectly.

Some non-legible penmanship.

Grasp of musical vocabulary is less than stellar.

Cannot hear problems.

6-5 No comments under several captions.

Several incorrect spellings.

Penmanship takes too much energy to decipher.

Musical vocabulary not present in writing.

Thinks the ensemble is perfect.

4-0 Everything else.

SHORT ANSWER

What do we need to do, individually and as an ensemble, to ensure success for our performance at

Purdue and for the Jazz Café?



Emerging High School Jazz Ensembles Repertoire List

“A Top 40 list of tunes for your emerging school jazz band” McCormick Place West

Thursday, December 17, 2009 8:30 AM – Room W192

Glenn Williams, clinician

Adelieland from Happy Feet Grade 4

John Powell Victor Lopez Alfred Music Company

There is only about 30 seconds of this tune on the Happy Feet soundtrack (which by the way, is worth owning just for Robin Williams

version of My Way) Great groove, playable and accessible parts. Kids will love this one.

Afro Blue Grade 3 +

Mongo Santamaria Mike Sweeney Hal Leonard Great voicings, accessible ranges. Great tune to teach the universal rhythm (think AMERICA from West Side Story.) Improvisation

is made clear for all players – g minor pentatonic information is provided in a clear and succinct manner. Hardest thing getting this to

work was getting the drummer to nail the cascara ride cymbal patter – having the whole band clap the pattern moved toward success a

bit faster than me singing it or him listening to it.

Black Orpheus Grade 3+

Luiz Bonfa Paul Murtha Warner Brothers This chart was written as a latin chart with a swing section in the middle. I’ve actually done it on two separate performances reverse

of that – swing for the bulk and a latin section in the middle during the alto solo. With a few rhythm modifications and some nice

class dialog about how to write for different styles, the kids were able to make the switch relatively easy.

Blue Bossa Grade 3+

Kenny Dorham Mark Taylor Hal Leonard Wonderful chart to teach alongside the head chart to this standard. This has a substantial sax soli that is a happy medium between

tsoli’s that are too easy and Groove Merchant. Kids love this chart – nice shout chorus, accessible parts that challenge each section of

the ensemble.

Blues in Hoss’ Flat Grade 3+

Frank Foster Mark Taylor Hal Leonard Class tune to teach triplet swing style and feel. Great recordings are easily available. Trumpet/brass ranges are on the higher end of

the tessi tura – be certain you’ve got a trumpet player with a consistent high C or this one won’t be worth the effort.

Cabeza de Queso Grade 3

Fred Sturm Fred Sturm Heritage Jazz Written for the Wisconsin All-State Band, this “cheese head” has a quality a cappella rubato introduction. The latin figures and ranges

are accessible – nice changes. Kids love this chart, and not just for the title.


There are only about 30 seconds of this tune on the Happy Feet soundtrack (which by the way, is worth owning just for Robin Williams version of My Way) Great groove, playable and accessible parts. Kids will love this one.

Great voicings, accessible ranges. Great tune to teach the universal rhythm (think America from “West Side Story”.) Improvisation is made clear for all players - G Minor pentatonic information is provided in a clear and succinct manner. The most difficult part to implement is getting the drummer to nail the cascara ride cymbal pattern. Having the whole band clap the pattern moved toward success a bit faster than my singing it or his listening to it.

This chart was written as a latin chart with a swing section in the middle. I’ve actually done it for two separate performances reverse of that - swing for the bulk and a latin section in the middle during the alto solo. With a few rhythm modifications and some nice class dialog about how to write for different styles, the kids were able to make the switch relatively easily.

This is a wonderful chart to teach alongside the head chart to this standard. This has a substantial sax soli that is a happy medium between solis that are too easy and “Groove Merchant”. Kids love this chart - nice shout chorus, accessible parts that offer a challenge for each section of the ensemble.

This is a classic tune to teach triplet swing style and feel. Great recordings are easily available. Trumpet / Brass ranges are on the higher end of the tessi tura. Be certain that you have a trumpet player with a consistent high C or this one won’t be worth the effort.


Canteloupe Island Grade 2

Herbie Hancock Mike Kamuf Hal Leonard Another great entry point to teach a simple standard head alongside of a big band chart. The shout chorus on this is simple but

extremely effective. This tune is playable from a 7th

grade jazz band to a emerging high school band. Worth the time and effort for a

myriad of reasons – not a ton of work to get this learned, lots of learning and performance impact.

Chameleon Grade 2+

Herbie Hancock Mike Sweeney Hal Leonard The original to this classic has been out of print for far too long. I know many of you were just like me – weaned on early Maynard

and could play this tune backwards and forwards. Kids love this tune – think it is the slickest thing ever written. Embedding the half

note feel (versus the quarter note) was way harder than I imagined, and, the tune rushed like you know what at first. Lots of great

recordings easily available. In the original key, so you won’t have to re-learn the bass line………………

Children of Sanchez Grade 3

Chuck Mangione Victor Lopez Hal Leonard Playing this tune is like riding a moped – it’s really fun to do, but you don’t want your friends to see you doing it. Accessible ranges

and simplified rhythms make this one easier to teach than most charts. I was surprised at how many kids knew of Chuck Mangione

(even if it was from King of the Hill.)

Choo Choo Ch’ Boogie Grade 3

Louis Jordan Mike Sweeney Hal Leonard This is absolutely one of my favorite tunes – I program it as often as the kids and audiences will tolerate. The original Louis Jordan

recording is accessible. The chart has alto sax and piano solo transcriptions from the original recording, so kids have a nice

aural/visual point of departure. It always takes longer than I expect to get the ending correct – rehearse the ending early in the process.

C Jam Blues (ala mambo) Grade 3

Duke Ellington Michael Philip Mossman Alfred Music Company Another great vehicle to learn a standard head alongside of a big band chart. Mossman definitely puts old wine in new bottles in this

arrangement. The latin percussion figures are understandable and will help the students begin to get a grasp on the style. Ranges are

accessible – very playable. Crowd and student favorite.

Count Bubba’s Revenge Grade 4

Gordon Goodwin Ralph Ford Alfred Music Ralph Ford does a super job of maintaining the meaning of the original tune while still making this accessible for younger bands. I

usually am a snob about simplified arrangements, but I liked this arrangement and the kids really dug in. Nice tune to do in the spring

– it will push them in a lot of positive ways.

Dat Dere Grade 4

Bobby Timmons Mark Taylor Jenson Music This arrangement is a great way to teach differences in playing between a small group and a big band. The small group version of this

classic blues head is trumpet, alto and vibes. Solo section can be modified to be a c-minor blues to simplify (leave out the bridge.)

Multiple heavy recordings available.



Don’t Get Sassy Grade 4

Thad Jones Mike Carubia Smart Chart Music This chart swings hard – imagine, you can actually teach rondo form in a jazz band. Take the time to do detail work on the “A”

section and it will pay huge sonic dividends on the rest of the chart.

Emancipation Blues Grade 4+

Oliver Nelson Oliver Nelson Sierra Music 95% gravy, 5% sheer terror. This can be done with a really strong “second” band that has a good soloist in both alto saxophone and

trumpet. The final pre-shout chorus swings like you can’t believe – well worth the effort to learn this one.

Evil Ways Grade 2+

Tito Puente John Berry Hal Leonard Again, just like riding a moped……………… Kids love playing this tune, and it is a standard. If you don’t use this on a concert, you

can use it at basketball games/assemblies/pep events. Playable arrangement – won’t take much time to master. I suggest listening to

multiple recordings and making your own “arrangement” once the kids are comfortable with and have memorized the parts.

Filthy McNasty Grade 4

Horace Silver John La Barbera Kendor This is a classic arrangement – totally swings. Solos in the chart for alto, trumpet and trombone. Tasty backgrounds and a relatively

simple shout chorus make this one that every jazz library should have as a staple. Great opportunity to learn how to actually perform a

shuffle feel.

Footprints Grade 4

Wayne Shorter Matt Harris Kendor This is such a great arrangement – it stays “inside” while just dipping one toe into some really cool contemporary arranging things

(mutes, harmonies, etc.) Trumpet goes to a high D, but not for very long. Teach the whole band the head prior to learning the chart

and the chart will go much quicker.

Gatito Grade 2+

Matt Harris Matt Harris Heritage Jazz Matt is well known for some of his more difficult arrangements and compositions, but this tune clearly shows his ability to write

quality music for younger bands. Great straight eighth note chart – a lot of pertinent Latin music concepts can be drawn out of this

one.

Hayburner Grade 4

Sammy Nestico Sammy Nestico Kendor This is a classic tune that should be in every jazz library. This is just one of those tunes that kids always seem to like. Purchase every

tune of the Basie Straight Ahead CD and teach them and play them every year.

Latin Injection Grade 3

Denis DiBlasio Denis DiBlasio This calypso is fun to play for every part. It has a typical DiBlasio transition/modulation (drum solo,) and playable changes. This

tune works well as either a closer or an opener.



Leap Frog Grade 2+

Joe Garland Paul Lavender Hal Leonard This arrangement is a great way to teach differences in playing between a small group and a big band. F blues solo sections with

quality backgrounds and an easy to learn shout chorus. This should be a staple/standard chart in your library. Chart swings hard –

accessible by a second band, playable by a top band.

Meeting Place Grade 3

Thad Jones Mike Carubia Smart Chart Music Great video of the entire Suite on youtube.com – what a fabulous gift Thad gave to the world with this composition! It makes second

bands feel important when they play music that is historically poignant – imagine playing all three movements of “Suite for Pops”

with your second band – it is possible!

Moanin’ Grade 3

Thelonius Monk Mark Taylor Alfred Music Company Great tune, great arrangement. Starts with a simple piano solo, then the melody passes through the rest of the ensemble. Staple tune

to have in your library – so many great concepts can be taught in this arrangement. Can’t go wrong with this one.

Night Train Grade 4

Jimmy Forrest Gordon Goodwin Hal Leonard I just found this tune this fall – it is really fun! Toughest thing about this tune is moving pain-free through the modulations.(Bb, B, C

and D.) We are actually doing a “transportation set” for our fall concert (Rockabye River, Blue Train, Night Train.) Getting the kids

to think about groove framed over rivers and trains has been an interesting process. Fun tune, kids know it, challenging arrangement.

This one is a keeper.

On Green Dolphin Street Grade 3

Bronislau Kaper Frank Mantooth Alfred Music Company Mantooth does a superb job of making a really challenging tune simple, yet fun to play for the kids in the band. Bass ostinato is a nice

unifying element. The ranges for the brass players are acceptable. If you are looking for a nice partner chart in a program, this tune

will work wonderfully well.

Ran Kan Kan Grade 4

Tito Puente Michael Philip Mossman Hal Leonard Music Mossman understands how to teach and how to write Latin tunes in a way that people like me (non-Latino) can move down the

pathway of actually understanding the music. This chart has accessible ranges and fun parts for every section. The rhythm section

parts actually have notation meaning – take the time to learn the stuff on the parts as a point of departure. Multiple heavy recordings

available.

Revenge of the Chili Pepper Grade 3

Doug Beach & George Shutack Kendor 2 + Like Latin Injection, this is a tune that kids just love to play. If you need a straight eighth note tune that grooves almost immediately,

this tune will help get some traction and forward motion with your ensemble.


This arrangement is a great way to teach differences in playing between a small group and a big band. F blues solo sections with quality backgrounds and an easy to learn shout chorus. This should be a staple / standard chart in your library. This chart swings hard, and is accessible by a second band, playable by a top band.

Great video of the entire Suite on youtube.com - what a fabulous gift Thad gave to the world with composition ! It makes second bands feel important when they play music that is historically significant. Imagine playing all three movements of “Suite for Pops” with your second band - it is possible.

You can’t go wrong with this one.

I just found this tune this past fall - it is really fun! The toughest thing about this tune is moving pain-free through the modulations . (Bb, B, C and D.) We are actually doing a “transportation set” for our fall concert (“Rockabye River”, “Blue Train”, and “Night Train”.) Getting the kids to think about the groove framed over rivers and trains has been an interesting process. Fun tune, kids know it, challenging arrangement. This one is a keeper.

within your ensemble.


Rockabye River Grade 4

Duke Ellington transcribed by David Berger Warner Brothers What a simply amazing work. This tune swings beyond belief, and technically, is one of the most accessible Essentially Ellington

tunes. The bulk of the work here will in feel/ artistry, and voicing comprehensions. This one has 5 trumpet parts and a printed guitar

part, a bonus for a second jazz band. If you want to begin to teach the Ellington concepts, use this as an entry point.

Rhythm of the Masses Grade 4

Frank Mantooth Frank Mantooth Heritage Jazz What a great “rhythm” tune put together by Mantooth! It is so nice to have a rhythm changes tune that will push the kids a little bit but is still accessible. To me, this tune is a gem – buy it now and put it in your library.

Second Line Blues Grade 2

traditional Victor Goines Warner Brothers This is from the Essentially Ellington series – one of those tunes that sounds great on bands on a myriad of levels. I stole this idea

from Craig Roselieb – start this tune with the saxes and bones in the back of the house with their parts memorized. Have them then

“march” in like a New Orleans processional to start your concert. Can’t miss idea and arrangement.

Semi-Mental Journey Grade 3

Jim Martin Jim Martin pdf.com Jim always writes such tasty, non-generic things. So much fun to study, so much fun to play all of the time. If you don’t know his

web site, you really should check-it out. Charts are $19.95, and you get the pdf file on your computer once you pay with your

PAYPAL account.

Sidewinder Grade 3+

Lee Morgan Mark Taylor Hal Leonard I told a colleague once that I think this is the best “second” band tune ever written and I still believe it. What a great opportunity for

kids to have an entry portal into listening to Lee Morgan. Ranges and parts are all accessible – this one is should be a staple in your

library.

Song for My Father Grade 2

Horace Silver Mark Taylor Hal Leonard Easy, easy big band arrangement of this great Horace Silver tune. Teach your kids the head out of Volume 64 first and the chart will

take about 15 minutes to learn. Great, great chart to have a lot of kids solo.

Soul Sauce Grade 3

Dizzy Gillespie Steve Owen Lorenz Music

Great arrangement of a classic tune. I’ve done this with both middle school and high school big bands – it works well in both places.

Easy solo sections – you can even start to teach some diminished stuff.

Straight, No Chaser Grade 3

Thelonius Monk Mark Taylor Hal Leonard Once again, a very playable arrangement of a jazz standard. Teach the kids the head away from the arrangement, teach the kids about

Monk, THEN play the chart. Mark Taylor arrangements always sound good and give the kids lots of work.


My colleague at Blue Lake, James Hughes, reminded me to this tune during this past summer. Right now, I’m using it as a warm-up tune - Just a chance to groove and play. So much great rhythmic and harmonica vocabulary to be learned from this tune. Easily accessible recording matches the arrangement perfectly. Again, another stellar opportunity to embed the Basie style.


Teddy The Toad Grade 3

Neal Hefti Neal Hefti Neal Hefti Music My colleague at Blue Lake, James Hughes, reminded me to this tune during this past summer. Right now, I’m using it as a warm up

tune – just a change to grove and play. So much great rhythmic and harmonic vocabulary to be learned from this tune. Easily

accessible recording matches the arrangement perfectly. Again, another stellar opportunity to embed the Basie style.

The Farewell Grade 3

Thad Jones Mike Carubia Smart Chart Music I would play Thad Jones tunes on every concert with every band. I’m talking marching band, jazz band, concert band, orchestra – the

whole array of ensembles. Unfortunately, at some point we have to think about the audience. Trumpet I goes to a high “C”, but only

for a little bit during the intro. Well scored, well written parts – your band will sound great on this one.

The Jazz Police Grade 3+

Gordon Goodwin Gordon Goodwin Warner Bros A strong second band can really dig in and play this chart well – great tune to use in the spring to continue to push the kids towards

sonic excellence when they don’t feel so much like working too hard. A lot of really fun “police” clichés that the kids will really

enjoy working on during the development of the tune.

Tow Away Zone Grade 3+

Thad Jones Mike Carubia Smart Chart Music Amazing arrangement of the classic original. Maintains the style/feel/vibe essence of the authentic Thad chart. I’ll be honest – I was

an “arrangement” snob until I encountered Mike Carubia at the Mantooth Jazz Festival at New Trier. We all got a free chart for

coming to the festival. I would never have bought this chart because of my uppity attitude. Now, I can’t imagine not having charts

like this in the library. Kids need access to this music!!!!

Other Tunes / Charts:


Ideas / Takeaways from the clinic participants- What you going to try?

General Notes:


Glenn Williams- Biography

As a professional performer, Mr. Williams has performed with numerous entertainment and jazz luminaries, including The Four Tops, Frank Sinatra, Jr., Michael Brecker, Kenny Wheeler, and the Blue Lake Faculty Jazz Septet. Mr. Williams has also performed with numerous community ensembles including the North Shore Concert Band. Mr. Williams now is a member of the music ministry at Glen Ellyn Bible Church in Glen Ellyn, Illinois, where he also serves as an Elder in the church community. In January of 2010, Mr. Williams will be part of a team that is launching a new church in Downers Grove called Four Corners Community Church.

Mr. Williams is in demand as a clinician/adjudicator in throughout the Midwest, having recently judged regional and state festivals in Illinois, Michigan and Indiana. In January of 2007, Mr. Williams was part of a panel presentation at the Illinois Music Educators’ State Convention discussing perpetuating student composition in the schools. In January of 2009, Mr. Williams presented a clinic on Emerging School Jazz Bands at the Illinois Music Educators’ Association State Convention, and will present a similar clinic at the MidWest Band and Orchestra Clinic in December of 2009

Mr. Williams is a recipient of Who’s Who Among Americans and America’s Teachers, and was a first round Golden Apple Award nominee in 1995. Mr. Williams is a member of MENC, IMEA. While a member of the Michigan School Band and Orchestra Association, Mr. Williams served as the District 10 Vice-President of Jazz Activities from 1999-2005.

A native of Denver, Colorado, Mr. Williams holds a bachelor degree in Music Education Indiana University-Bloomington, a Masters degree in Music Education from Northwestern University and a Masters Degree in Instructional Leadership from Concordia University-Chicago. Mr. Williams has also completed coursework towards a DMA in Wind Conducting at Michigan State University. In November of 2009, Mr. Williams earned National Board Certification from the NBPTS and a Master Teaching Certificate from the state of Illinois. Mr. Williams resides in Downers Grove with his wife, Terri, and their two children, Josiah and Allison.


Glenn Williams is the Fine Arts Department Chairperson at Downers Grove South High School in Downers Grove, Illinois. In addition to instructional leadership duties with visual art and music at Downers South, Mr. Williams also teaches Jazz Lab Ensemble, Wind Symphony, and Concert Band Brass. Previously, Mr. Williams was the band director and K-12 Instrumental Music Coordinator at Forest Hills Central High School in Grand Rapids, Michigan, and the band director at Highland Park High School in Highland Park, Illinois. During his tenure in Highland Park, Mr. Williams also served as K-8 Instructional Associate for Music in North Shore District 112. During the summer months, Mr. Williams is on the brass/jazz faculty of the Indiana University Summer Music Clinic, and is a member of the jazz faculty at the Blue Lake International Fine Arts Camp in Twin Lake, Michigan.


About Downers Grove South High School Fine Arts Department

“Igniting a passion in the arts for every learner.” is the vision for the Fine Arts Department at Downers Grove South High School. In 1992, the department received the “Outstanding Total Music Program” Award from the Illinois Music Education Association. The department also received a 1999 “Grammy in Our Schools” Award as one of the top 250 high school music departments in the country

The quality of education and opportunity at South can be found in every corner of the Fine Arts Department. In the fall of 2009, DGS placed 61 student musicians in the IMEA District 1 Band, Choir, Orchestra, Jazz Band, and Vocal Jazz Ensembles. Over the past 6 years, DGS has averaged just over 54 musicians annually into IMEA District Festivals. DGS articulates with and is sent student musicians from Eisenhower Junior High School in District 61, Jefferson Junior High School in District 68, Lakeview Junior High School in District 66, and O’Neill Middle School in District 58. The Jazz Ensemble and Jazz Lab Band have recorded four CD’s, and have hosted the NIU Jazz Ensemble with their guest artists such as Benny Golson, Ernie Watts, Ed Thigpen, Lou Marini, Jiggs Whiggham, Jimmy Heath, and will host trombonist John Fedchock in February of 2010. Currently, more than 70 musicians participate in three jazz bands. Jazz Workshop, conducted by Ron Hornish, meets twice a week for no credit during Early Bird. Jazz Ensemble, conducted by Craig Roselieb, meets daily for a full fine arts credit, and jazz lab band, conducted by Glenn Williams, meets daily for a full fine arts credit.

About BandSource Company

But perhaps, BandSource is known best as the repair shop of choice by most of Chicago’s elite professional wind instrumentalists. Jarod Bufe, Woodwind Specialist, and Matt Johnson, Brasswind Specialist, are co-owners of the company and the sole repair specialists. In addition, Pete Biedron, School Music Services & Sales / Marketing, is also a co-owner and conducts school music calls in order to provide exceptional service to surrounding school districts, colleges and universities.

Downers Grove Community High School District 99 and Downers Grove Elementary School District 58, amongst others, have recently chosen BandSource as their recommended music vendor for rentals and school music services. A passion for music education and the impact that it has upon our community, have been instrumental in fostering a mutually beneficial relationship between local schools, music educators, families and BandSource. We our honored that Mr. Williams selected our company to provide sponsorship for his Midwest clinic. Please check out our website, www.bandsourcecompany.com, to read our testimonials or visit our store to find out more.


Established in the fall of 1964, Community High School District 99 Downers Grove South High School is located 30 miles Southwest of Chicago's Magnificent Mile in suburban DuPage County. The Fine Arts Department currently has six music faculty members, a staff accompanist and numerous instrumental and vocal private teachers. More than 630 student musicians participate in band, orchestra and choir on a daily basis. Nearly 200 student musicians study Guitar, Pop Music, and MIDI music composition on a daily basis. Just over 500 student artists study 2D and 3D visual art on a daily basis. In total, just over 60% of the Downers Grove South student population will study either art or music in the course of a school year.

Founded in July of 2008, BandSource is fast becoming the destination in Chicagoland for professional to aspiring wind musicians. Located at the intersection of Maple and Belmont Avenues, in Downers Grove, IL it is conveniently accessible from I-355, making it extremely easy to get to from anywhere in the Chicagoland area. The store features the most comprehensive selection of intermediate to professional level wind instruments in the area, along with an incredible selection of music and accessories, cementing its reputation as Chicago’s only true “One-Stop Pro Shop.”

http://www.bandsourcecompany.com

http://www.bandsourcecompany.com

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