Jazz Flute 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 Flute Book
Edwin Punick – The Art of Playing the Flute

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

Method

John O’Neil – The Jazz Method For Flute

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

Methods Continuation

William Bay – Complete Jazz Flute Book
Edwin Punick – The Art of Playing the Flute

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

Claude Bolling – Suite for Flute and Jazz Piano Trio 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 and 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 ©

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

Victor Young -Solos for Jazz Flute

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 flute 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

Sample Solos

Transcriptions of Hubert Law

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’s – 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 flute 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 a 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

 

Student Handbook Table of Contents