Jazz Mallets Curriculum

Level IV

(Note: For levels I – III follow classical mallet curriculum)

Methods

Dave Friedman—Vibraphone Technique, Dampening and Pedaling
Gary Burton—Four Mallet Studies
Ron Delp—Vibraphone Technique – Four Mallet Chord Voicing
Ramon Ricker—Pentatonic Scales for Jazz Improvisation
Ramon Ricker—Technique Development in Fourths for Jazz Improvisation
Dave Samuels—A Musical Approach to Four-Mallet Technique for Vibraphone Vol. I, II

Technique

Vibes

Introduction to end of the bar playing, mallet dampening and pedaling. Rhythmic improvisation over all major, minor and dominant static key centers. Introduction to the eight 4-mallet “rudiments”

Theory

Understanding of, and regular use of the Circle of 5ths

  • All major and minor scales (full range)
  • Diatonic triads and 7th chords in all major and minor keys
  • Understanding of functional harmony (V I, V i, ii V I, I VI ii V) in all keys
  • Know various blues scales
  • Know all pentatonic scales

Improvisation/Musicianship

  • Ability to play folk tunes in multiple keys
  • Ability to play blues heads in multiple keys
  • Ability to sing solos while playing solos
  • Ability to sing head while comping chords
  • Improvise on a particular chord/scale around the circle of 5ths and chromatically up and down
  • Improvise over blues in G, C, F and Bb. Ability to hold form and to play in slow and medium tempos.
  • Improvise accompaniments – 2 and 3 note rootless voicing on Blues in G, C, F and Bb utilizing smooth voice-leading. Comping without a bass player – ability to play roots in LH and color tones in RH.

Ear Training

  • Ability to discern all triad types
  • Start transcribing favorite artists
  • Ability to play back notes and note groups

Repertoire

Classical – Ian Finkel-Solos for the Vibraphone Player, Royal Conservatory Guitar Series – Albums 2 – 4.

Jazz – Various Real Books (focusing on blues, and modal tunes)

Ensembles

Perform in school jazz ensemble and audition for All-County Jazz Ens. Perform regularly in small group setting

 


ECMS Jazz Mallets Curriculum
Level V

Methods

Continue with methods from level IV – Plus –

Dan Haerle—Jazz/Rock Voicing for the Contemporary Keyboard Player
Mark Levine—The Jazz Piano Book
Jerry Coker—Patterns for Jazz

Technique

Complete understanding and regular development of the eight 4-mallet “rudiments”

Theory

  • Ability to play ii V I in descending whole steps (all keys) both melodically and harmonically.
  • Ability to play I VI ii V in all keys both melodically and harmonically.
  • Ability to play major, dominant, minor, half dim and dim 7th chords in closed and open position and in all inversions.
  • Ability to play rootless 2, 3 and 4 note upper-structure chords

Improvisation / Musicianship

  • Ability to play major and minor blues changes and rhythm changes in all keys
  • Ability to sing solos while playing solos
  • Ability to sing simple folk tunes while playing appropriate chords
  • Ability to sing head while comping chords
  • Melodic Solos – Blues in all major and minor keys and rhythm changes in all keys. Ability to hold form and to play in slow, medium and fast tempos.
  • Comping – 2, 3 and 4-note rootless voicing on Blues in all major and minor keys.
  • Comping without a bass player – ability to play walking bass line in LH and color tones in RH.

Ear Training

  • Ability to discern all 7th chord types
  • Transcribe favorite artists
  • Ability to play back simple pentatonic, major and minor melodies

Repertoire

Classical – Solos of Ian Finkel, Royal Conservatory Guitar Series – Albums 5 – 7. J.S. Bach – Sonatas and Partitas for Violin.

Jazz – Charlie Parker Omni book, Various Real Books focusing on standards

Ensembles

Perform in school jazz ensemble and All-County Jazz Ens. Perform regularly in small group setting (combo)

 


ECMS Jazz Mallets Curriculum
Level VI

Methods

Continue with methods from levels IV and V

Mark Levine—Jazz Theory

Technique

  • Ability to create all possible mallet textures over any set of changes.
  • Ability to create complete arrangements of pieces from the standard repertoire

Theory

  • Ability to play wide variety of chord voicings.
  • Ability to re-harmonize pieces from the standard repertoire.

Improvisation / Musicianship

  • Ability to play in and out of the changes
  • Utilize multiple textures
  • Be able to create a variety of textures and solo and comp in
    • Large group setting
    • Combo setting
    • Trio setting
    • Duo setting
    • Solo setting
  • Relate improvisation to the tune over which you are improvising
  • Ability to play what is heard in your head – sing first, copy on instrument second
  • Comping – Ability to comp in any groove with a wide array of chord voicings.
  • Comping without a bass player – ability to play roots in LH and color tones in RH.
  • Melodic Solos – Ability to hold form and to play in slow, medium and fast tempos on any piece from the standard repertoire.

Ear Training

  • Ability to discern harmonic substitutions
  • Transcribe favorite artists
  • Play (solo over) any tune by ear
  • Ability to play back any chord

Repertoire

Classical – Solos of Ian Finkel, Royal Conservatory Guitar Series: Albums 7 – 10. JS Bach Sonatas and Partitas and 2-Part Inventions etc…

Jazz – Pieces with rapidly changing key centers (Coltrane et al).

 


Preparation for college auditions

Ensembles

Perform in school jazz ensemble and for All-County Jazz Ens. All-State etc… Perform regularly in small group setting (Combo)

 

Last updated: October 22, 2007


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