T.K. Blue   workshops

C.V.  on request at
 tkblue@comcast.net

1.

2.

THE DIFFERENT STYLES OF JAZZ - for group

3.

JAZZ IMPROVISATION - solo or group

4.

THE ROLE OF EACH INSTRUMENT IN A JAZZ BAND  WITH VOCALIST - for group

5.

BLUES WORKSHOP - instrumental

6.

BLUES WORKSHOP - vocal

7.

1.

A.

Discuss the four categories of traditional African Instruments
  - areophones - instruments using air to produce a sound
  - membranophones - instruments using skins to produce a sound
  - idiophones - instruments that vibrate in order to produce a sound
  - chordophones - instruments using strings to produce a sound
 

B.

C.

Focus on the African hand piano -

    a/k/a kalimba, mbira, sanza and lukembi.
  - actual performance of this instrument
  - the role of this instrument in a group
  - the use of this instrument by storytellers or griots
  - actual construction of the kalimba using some basic materials
 

2.

THE DIFFERENT STYLES OF JAZZ (FOR GROUP)
 

A.

Discuss a general overview of various styles of jazz performance.
 

B.

Categories:
 - early jazz - Dixieland
 - ragtime
 - blues
 - swing
 - bebop
 - latin (Afro Cuban Brazilian style)
 - modal
 - avant-garde
 - jazz fusion/funk/rock
 

C.

Play and discuss each style.
Compare the differenced of each style.
Discuss major innovators of each style.
 

3.

JAZZ IMPROVISATION (SOLO OR GROUP)
 

A.

What is improvisation?

B.

Explore the development and styles of improvisation

C.

Discuss scales, chords, chord progression, harmony and
  melodic approach to soloing.

D.

II V l chord progression is analyzed

E.

Soloing across ll V l changes using various sequences

F.

The use of 7th scale and modes

G.

Students create their own ll V l sequences and
  use them as a basis for improvisations
 

4.

THE ROLE OF EACH INSTRUMENT IN A JAZZ BAND
   (FOR GROUP) WITH VOCALIST
 

A.

What is a jazz band?
 

B.

What are the traditional combination of instruments
 - duo
 - trio
 - quartet
 - quintet
 

C.

The role of the vocalist
 - brief history of jazz vocalists
 - scat singing
 - ballads
 - accompanying a vocalist
 

D.

Interaction of band members during performance
 

E.

Trading fours, call and response, shout chorus, vamps,
beginning and endings, (introductions and codas)
group improvisation, supporting the soloist
 

F.

Building a relationship with the audience
 

G.

Big bands, a brief history and analysis
 

5.

BLUES WORKSHOP - INSTRUMENTAL
 

A.

Concentration on instrumental styles
 

B.

Starting with early styles of piano-playing
with emphasis on the Blues, Ragtime, Stride, Boogie-Woogie
 

C.

Swing That Blues taking a simple riff (C-Jam Blues by Ellington)
and developing a melody and improvisation
 

D.

Bop the Blues - Dizzy, Bird, Monk,
their impact and stylistic development of blues playing.
The melodic, harmonic and rhythmic complexity that becomes
Bebop is deeply rooted in the Blues
 

E.

Some of the tunes performed: Blue Monk, Now’s the Time,
Billie's Bounce, Parker’s Mood, etc.
 

F.

End with a tune by B. B. King, Johnny Copeland or others
 

G.

This demonstrates the enduring impact the Blues has on humanity
 

6.

BLUES WORKSHOP - VOCAL
 

A.

Concentration on the vocal tradition
 

B.

Starting in Africa and sprouting in early America
as witnessed in the early slave work songs of the south and
early “Negro Spirituals”
 

C.

Several early Blues singers will be discussed and
some of their repertoire will be performed.
Bessie Smith, Billie Holiday, Etta James, Joe Williams,
Ethel Waters, B. B. King, Aretha Franklin, etc.
 

D.

Some of the repertoire to be performed :
It Ain’t Nobody’s Business, Down Home Blues, Fine and Mellow,
All Right, OK You Win, I’m In Love With You,
City Called Heaven, Never Make Your Move Too Soon,
God Bless the Child, Sometimes I Feel Like a Motherless Child
 

E.

Question-Answer Period
 

F.

Ending with audience participation on the Blues,
call and response, etc.
 

7.

WORKSHOPS ON JAZZ PERFORMANCE IN BIG BAND
     AND SMALL ENSEMBLE

T.K.Blue - international jazz educator, recording and
performing artist topics covering big band performance:
 

1.

COMMUNICATION
It is very important to have good communication skills.
There is no need to shout.
Try to create a good relaxed atmosphere.
Convey your idea by example (play or sing a phrase for the students as opposed to explaining it).
 

2.

TUNING
Make sure everyone is aware of tuning their instrument to a common pitch. (usually A-440)
 

3.

SECTION LEADERS
Make sure all members are aware of their section leaders which are generally the first alto ,first trumpet ,and first trombone in each section.
The section leaders are responsible for shaping their sections ,phrasing particular passages , making sure their section is aware of particular dynamic markings , and in general being a bridge between the sections and the band director.
 

4.

DYNAMICS
Dynamics are very important and crucial to the overall sound of any band.
Make sure your students are aware of the different dynamic markings and how to execute these differences
In general background parts behind a soloist should be played softly while soli and unison sections can be played with more volume.
Everyone in their particular section should be able to hear their entire section ,especially the lead player. If they can’t ,it’s usually because they are playing too loud.
 

5.

BALANCE AND BLENDING
It is always desirable to have a good balance in the band.
Everyone should try to blend together and sound as if they are one instrument!!!
No one should be so over-powering that you cannot hear the other players.
 

6.

RHYTHM SECTION
It is crucial that you have a good rhythm section.
The piano ,bass ,and drums should play like a team.
The tempos and rhythms should be consistent and steady.
 

INTERPRETATION
It is advisable to discuss the piece of music…the title…what does it represent…is it a ballad or love song……
 

POSTURE
Have your students sitting or standing correctly….no slumping.
This will help with execution and breathing
 

IMPROVISATION
This is the essence of Jazz Artistry….to be able to express your feelings and emotions spontaneously through your instrument.
For those students who will take solos…make sure they understand the chord sequence and harmonic movement.
They should have a basic understanding scales (all major ,minor ,augmented ,and diminished).
Also seventh scales, triads, and chords should be studied. It would be advisable to have some basic two-five-one exercises available for practice.

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