Jazz Clarinet Curriculum
Level 1
Goals
Development of basic rhythmic sense (self contained time feel)
Development of basic jazz phrasing concepts, (swing eighth note interpretation, characteristic articulation and style)
Ability to improvise over simple harmonic frameworks such as:
- Basic 12 bars blues
- One or two chords of relatively long duration
- Modal tunes.
Methods
William Bay – Complete Jazz Clarinet Book
Keith Stein – The Art of Clarinet Playing
Improvisation Concepts
Major and Minor Pentatonic Scales.
Blues scales introduced.
Introduction to Modes of Major Harmony
Motive soloing and Development
Improvisation
Jamey Aebersold Vol. 24 Major and Minor
Level 2
Methods
John O’Neil – The Jazz Method For Clarinet Vol. 1
Theory
Intervals
Ear Training – Singing and recognizing intervals
Jazz sequences introduced based on intervallic relationships
Pentatonic and blues sequences
Modes of Major Harmony continuation
Attention to color tones of scales
Improvisation
Jamey Aebersold Vol. 1 – How to Play Jazz and Improvise
Level 3
Method
John O’Neil – The Jazz Method For Clarinet Vol. 2
Theory
Modes of Major Harmony continuation
More on Jazz sequences based on intervallic relationships
Ear Training – Singing and recognizing more complex intervals
II-V-I Patterns
Understanding and use of the circle of 5th
Diatonic triads and 7th chords in all major and minor keys
All Major, Minor, Diminished and Augmented Triads Straight and Broken Patterns All Keys.
Understanding of functional harmony (V-I, v-I, ii-V I, I VI ii V, etc.)
Jazz Repertoire
Introduction of Modal Tunes
- So What
- Cantaloupe Island
- Little Sunflower
- More on Bb Blues
Keep working on more tunes accordingly.
Improvisation
Jamey Aebersold – Vol. 1 How to Play Jazz and Improvise
Jamey Aebersold – Vol. 21 Getting it there
Jamey Aebersold – Vol. 3 II-V-I
Level 4
Methods
John O’Neil – Developing Jazz Technique for the clarinet Vol. 1 & 2
Performance
One ECMS recital performance required
Theory
Ear Training – Ability to discern all 7th chord types
Triads All Cycles and Permutations by Memory
Arpeggios of all 5 Basic Chord Categories (Major, Minor, Dominant, Minor 7th b5 and diminished) All keys all Inversions by Memory
More on major and minor II-V-I
Ear Training – Singing and recognizing Major minor diminished and augmented triads
Jazz Repertoire
Blues in Bb, F
Blue Bossa
C Minor Blues
Improvisation
Jamey Aebersold – Vol. 54, Maiden Voyage
Charlie Parker – Omni book (Bb)
Musicianship
Ability to sing simple solos
Doing and analyzing simple Jazz transcriptions for development of the language.
Listening to Favorite Jazz Artist
Common Notes and Voice Leading Exercises
Chord Tones Exercises
Introduction of more complex chord progressions and tunes
Ensembles
Perform in school jazz ensemble. Perform regularly in small group setting. (Combo)
Level 5
Methods
Benny Goodman – Benny Goodman’s Clarinet Method
Artie Shaw – Artie Shaw’s Jazz Technique
Skills and Techniques
Continuation of Level I through IV Skills
Whole Tone, Diminished and Augmented Scales Introduced
Melodic and Harmonic Minor Scales and Related modes
Jazz
Coker – Patterns for Jazz
Nelson – Patterns for Improvisation
Baker – Bebop
Theory
Utilization of Bo-bop era non-harmonic tones or approach notes patterns:
- Upper diatonic Neighbor
- Lower Chromatic Neighbor
- Rotation/Enclosure
- Double Chromatic Approach
Jazz Repertoire
Various Real Books focusing on Standards such as
- Take the A Train
- Night in Tunisia
- Autumn Leaves
- All the Things You Are
Improvisation
Jamey Aebersold – Vol. 54, Maiden Voyage
Charlie Parker – Omni book
Musicianship
Ability to sing more complex solos
Doing and analyzing more complex Jazz transcriptions for development of the language
Listening to recordings of jazz clarinet artists.
More on II-V-I, Sequences etc.
Ear Training – Ability to discern all 7th chord types
Performance
One regularly schedule ECMS recital required during senior when graduating at this level of playing.
Participation in honor bands (concert and jazz) encouraged.
Level 6
Methods
Eddie Daniels – The Music of Eddie Daniels
Hal Leonard – The Buddy DeFranco Collection
Jazz
Coker – Patterns for Jazz
Nelson – Patterns for Improvisation
Baker – Bebop
Ricker – Advanced Etudes (Pentatonic, Augmented, Coltrane)
Theory
Mastery of levels I through V
Ear Training – Ability to discern tritone and harmonic substitutions
Tetratonics
Jazz Repertoire
Various Real Books focusing on Standards such as
- Just Friends
- Rhythm Changes
- Cherokee
Improvisation
Jamey Aebersold – Vol. 54, Maiden Voyage, Vol. 34
Charlie Parker – Omni Book.
Use of other transcriptions books depending on student interest to develop his / hers own voice.
Musicianship
Ability to sing more complex solos. Motive Soloing and Motive Development continued.
Doing and analyzing more complex Jazz transcriptions for development of the language
Listening to recordings of jazz clarinet artists.
Introduction of various techniques of out-side improvisation
Introduction of Free Form improvisation
Performance
Required: Pass Honor’s Jury (20 minutes) for permission to perform solo recital.
Prepare and perform one full length solo recital during senior year.
General:
- Perform in Jazz Ensemble
- Audition for honor bands
- Prepare for college auditions
- Attend live performances
Last updated: February 4, 2010