The Role of Transcription in Jazz Improvisation: Examining the Aural-Imitative Approach in Jazz Pedagogy (PhD Dissertation)

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THE ROLE OF TRANSCRIPTION IN JAZZ JMPROVISATIO1' : EXAMINING THE AURAL-IMITATIVE APPROACH IN JAZZ PED/.GOGY

A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FUFILLMENT OF ":'HEREQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY ADRIEN MARCUS RE APPROVED BY:

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o_ose", could offer several solos-each progressively harder. Each solo could highlight a certain rhythmic, melodic or harmonic concept. Another item needed is a willing teacher who embraces the transcription approach and understands how to implement it. Perhaps the largest obstacle in implementing a program based solely on transcription may be instructor disinterest, particularly among

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those who have had little success teaching through transcription. Most of those interviewed have used transcription as part of their teaching strategy, however limited that may have been. In addition, virtually all those interviewed said they had transcribed as part of their jazz education. In other words, the process of transcribing is not foreign among those interviewed. This would suggest, at least philosophically, that a transcription-based method would not represent a complete departure from the learning experiences most jazz faculty have had. However, teaching through and deriving concepts rom the transcription would require expert teaching. Many teachers would be intimidated by such a method that did not give some form of instant gratification to both teacher and student. It is much easier for a teacher to proscribe something concrete, like scales or patterns (no matter how removed from the actual music it may be) that a student could demonstrate at the next lesson. Part of the challenge would be to introduce kchnique, theory, patterns and scale study as those concepts reveal themselves in the transcription-in context of the aural experience of the music. Another potential challenge facing a transcription-based method would be the alleged lack of initial progress among some students. Both teachers and students must keep in mind that transcription is not a process that promises instant resuh ). There is undoubtedly a good deal of 'aural weightlifting' involved. Yet, a tra·tscription-based method has the potential of offering what other approaches lack: a comprehensive study of the jazz genre that combines many elements at once. It is believed that this comprehensive approach would produce better absorption, retention and assimilation of the jazz language. Many of the above issues could be addressed by a packaged curriculum-one that would

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allow the student to see their progress by allowing them to graduating to the next transcribing unit. Ideally, a prepackaged curriculum would address the above issues by being 1) practical to implement, 2) progressive in format to allow for differing levels of student ability, 3) unit based to allow for administering flexibility, 4) representative in recorded resources to allow both teachers and students choice, and 5) accompanied by a 'teachers handbook' highlighting certain concepts in the transcription that cou d be excerpted as exercises. The curriculum could consist of actual printed materials or be downloaded from a main source. For example, the first unit could consist of five, short primer solos based on a twelve bar blues. Each progressively formatted primer could introduce some technical, theoretical, and/or stylistic concept that the teacher would elucidate upon. Any concept could be assigned to the student as an exercise that would be practiced for the following lesson. Upon finishing one or all of the primers, the student and teacher could choose graded blues melodies and solos by any of the recognized masters from different eras. The actual solos could be either included on a CD as part of a published r ackage or ideally downloaded from a dedicated music database, such as Mac iTunes. After the student memorizes the solo, he or she could then notate it and compare it to a previously notated example to check for accuracy. For additional practice, the student could play the solos and melodies along with an Aebersold play-along leading to improvising. The next unit could concentrate on a standard such as "Autumn Leaves" following the same procedure. Again, the student could transcribe none, one or all of the primers if necessary. With the conclusion of each transcription, the student would theoretically have more improvising

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resources and repertoire learned within the context of the music. If a concept, such as articulation, is not sufficiently addressed by a transcription, the teacher could do several things. One, the teacher could assign the appropriate transcription containing the recorded example of the concept. Two, the teacher could download both a notated transcription and its accompanying recording for analysis. Or the teacher could simply play and illustrate the concept making the student imitate it back to him or her. It is envisioned that the transcription approach described above could be the focal point of jazz improvisation instruction-all other materials would be supplemental to it. While the research suggests that transcription is not a dominant part of many jazz faculty strategies, it could become a larger part given the right curriculum development. As Engstrom mentioned, a transcription-based approacli could be either the core or a supplement, " ... if organized properly." It is this organized curriculum that would be the key to its effectiveness as a teaching tool. There are several reasons to believe this would be possible. First, virtually all of the interviewees currently use transcription to some degree as part of their overall approach. Some have a more incorporated " 1d structured transcription approach than others. It is conceivable that a curricuh,m that allows for differing levels of ability, flexibility, is progressive in design and gives access to a representative collection of recordings would be widely embraced. Some jazz faculty may use the representative database to simply augment their choices of transcribe-able material without using the rest of the curriculum. rl he popularity of the Jim Snidero series is testimony to materials based upon the aural-imitative paradigm. Indeed, Jim Snidero's Jazz Conception series and Wolfe's creative use of it as a 'primer' addresses

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'· perhaps one of the biggest obstacles to a transcription based method--the need for level appropriate transcribing materials. Perhaps an expanded version of Snidero' s Jazz Conception would convince those who claim that their students are not able to transcribe efficiently or effectively. Secondly, virtually of those interviewed have transcribed as part of their jazz education either formally or informally. The concept of transcriptitin, and the practice thereof, has already been indoctrinated. A fully developed transcription based method would not represent a complete departure from the way most teachers already teach. Third, about half (41 % ) of the interviewees were genuinely excited about the idea of a prepared curriculum using transcription as the strategic focus.

Twenty-four percent

thought that an approach could be viable and useful if certain issues, like access to resources and allowances for differing levels of student ability, were addressed. Again, a fully developed curriculum for each instrument, as outlined previously, would address these and other reservations. Fourth, the belief that transcribing is essential or helpful was virtually universal among those interviewed. Based on this premise alone, any curric lum that emphasizes the student's aural-imitative interaction with the music should be embraced. Indeed, the benefits accrued from an aural-imitative based curriculum might benefit other areas of music education. For example, the effectiveness of current sight singing and ear training courses is still a subject of debate (Covington, 1992). Part of the solution may rely on having students transcribe recorded examples using the reference point they are most accustom to, namely their major instrument.

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There is reason to believe that even if some did not use a transcription-based curriculum as a primary teaching approach, it still would have merit as a supplemental part of an overall approach. Any part of it could be used to supplement other approaches. A database of individual solos arranged by grade level or criteria, perhaps accompanied by a notated transcription, that could be downloaded, would still be an invaluable resource to both students and jazz faculty. For example, prior to th , research, the author did not know much about Hank Mobley. It was enlightening to dis,·over just how accessible Mobley's solos are as described by some of the jazz faculty. Had a database existed that was formatted in the proscribed way, this would be theoretically available. The 'primer' solo idea could be used as a supplement for those who lack basic auralimitative experience. Considering the concise and technically accessible nature of the Jazz Conception solos, more solos based upon this idea would allow faculty to incorporating some form of aural training without it becoming too cumbersome. A student who has had little exposure to jazz could be directed by an instructor to download historically significant, representative examples, such as Mile Davis' Kind of Blue. Lastly, while twenty-one of the respondents (51%)thought lhat transcribing should be supplemental to an overall approach, six (14%) thought

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could be the core of

an approach. There may be several reasons why this discrepancy exists. First, as Pope admitted, many of those interviewed perhaps never really thought about transcription as being the main focus of a method. This might be the case for those whose transcribing experience had been far from routine. Second, compiling a list of possible solos according to a set criterion is a rather daunting task. Many thought that such a list would be useful and helpful but had reservations about which solos to include and exclude.

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Some were outright hostile to the idea. An individual who would attempt to compile such a list may risk condemnation from their professional colleagues. Third, some admitted that their students need remediation in basic instrumental technique. The thought of transcribing solos might be beyond the capability of their students--it would take them simply too much time to be of any use. The concept of primer solos to encourage and aid transcribing would be particularly beneficial to l 1ese instructors. The question concerning the existence of a jazz canon was

source of much

debate. Is there such a thing as jazz 'canon'? Additionally, the other component of the question, whether students should transcribe solos considered part of the canon, elicited some very strong opinions for and against. Should students transcribe solos from the 'canon' in the same way classical musicians study the literature for their instruments? Third, many of the respondents offered many examples of what they thought were seminal jazz solos. What solos should be included in the 'canon'? The notion that such a 'canon' of jazz solos exists comes from the idea that the jazz genre, like any genre in other artistic disciplines, has its own rr·asterpieces-superlative examples that represent the highest form of artistic expression. For example, the Ken Bums recording anthology, the John Fordham's Jazz (1993) and the Smithsonian Classic Jazz recording anthology all feature Coleman Hawkins' 1939 recording of "Body and Soul". Fordham even calls Hawkins performance " ... one of jazz's great performances." These and other claims have spurred the notion that certain recorded examples have come to epitomize the best performances in jazz.

Seventeen of the

respondents (41%) said that there are recorded examples commonly accepted as

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exemplary of the genre. This group also agreed witn the notion that students should transcribe them, as well. However, twenty of the respondents (48%) stated that an accepted 'canon' of solos does not exist. Perhaps more interesting, many in this category claimed that such a canon should not exist Kennedy typified the sentiments of this group by claiming that, "I don't

recognize the term 'canon' of jazz. I only recognize what sounds g1eat to me in the tradition of jazz." Still others, like Griffith, responded that " ... havi.1g such a canon is detrimental to jazz." Even more repugnant than the idea that such a canon might exist is the idea that students should be made to transcribe solos considered 'masterpieces'. Haque feared that doing so would make jazz become" ... another classical music." Despite the rhetoric, several specific solos and/or recordings were mentioned that would support the idea that jazz 'canon' indeed does exist. Each respondent was asked to volunteer his or her own list. Miles Davis album Kind of Blue and specifically his solo on "So What" was mentioned no less than ten different times. John Coltrane's "Giant Steps" followed with eight specific citations. Also receiving multirle citations were Hawkins' "Body and Soul", Ben Webster's "Cottontail", Coltrane's "Countdown", Cannonball Adderley's "Easy to Love", Charlie Parker's "Now's the Time", Lester Young's "Lester Leaps In", and Sonny Rollins' "St. Thomas." Several other solos were mentioned once. Each of those might have been mentioned several times as well had there been more participants. Needless to say, any 0f the above solos could, and maybe should be part of a transcription-based method. This research also included interviews and observations at four schools for the blind. Since those who are visually impaired rely more so on their other senses, it was

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believed that they would have highly developed aural ability. Obviously, higher levels of musical aptitude depend on keen aural ability. Therefore, it was reasoned that music students, who are visually impaired, might display higher levels of aural-imitative ability. It was hoped that through interviews with their music teachers and observations of their classes, certain insights to the aural-imitative method could be gai1•~d. The interviews with four teachers revealed that each of their respective music programs were quite similar. Each offered music experience, some instruction in piano, voice and instruments (recorder, harmonica, some orchestral instruments) and various ensembles. Several major points emerged from the reserrch. While it would be improper to assume the universal application of these conclusions to a broad population, these insights do shed some light into the nature of the aural imitative process and how this knowledge may be applied to the transcription method vis-a vis jazz pedagogy. One of the more crucial aspects of jazz pedagogy is ear training. Since jazz musicians must process, assimilate and react to musical information nstantaneously, possessing the ability to audiate is paramount. Do those who are vis, 1allyimpaired have are more acute ability to audiate? How keen is their aural perception? The four teachers interviewed all agreed that their students have "adapted to listening" as a primary means of perceiving the world around them. Is their hearing more musically developed than that of a sighted person? That would largely depend on the mental capacity and musical talent of the individual. Stitka had some concern in that the lay public tends to view those who are visually impaired as potential" ... Stevie Wonders". Many of the students observed had varying degrees of mental capacity-from

mental retardation to normal cognitive

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functioning. Success in music still depends on the innate musical aptitude and nurtured ability of the student. However, according to those interviewed, those who are visually impaired, as Stitka pointed out, tend to imitate small nuances of inflection extremely well. Inflection and nuance is a very critical part of developing style in the jazz genre. For those who display musical talent, they seem to have a heightened aural-im; 'ative ability that may be keener than that of a similarly talented sighted person. How much of their musical ability is due to their reliance on their hearing? This research cannot and was not meant to quantify to what degree their reliance on the aural skills has attributed to their musical skills. Suffice to say, since the vast majority of the information about the world around them is processed mainly through their auditory systr m, including musical information. Some of those visually impaired students who have displayed musical talent have also displayed a well-developed sense of pitch, inflection and interpretation. Since these are goals of jazz pedagogy, a process that contains similar aural 'weightlifting' that visually impaired students rely on might help sighted jazz students. A transcription-based method may offer sighted jazz students similar ear training benefits. Another important ability that a jazz musician must possess,~ the ability to assimilate and retain musical information. One way to assimilate musical information is by rote learning, sometimes known as memorization. All four teachers interviewed attested to their students' exceptional capacity to memorize.

Each had an anecdote of some

instance whereby one or more of their students displayed an incredible feat of memory. In each instance, their aural recall contributed to their ability to remember minute details of things that happened relatively long ago. Interestingly, some of the jazz faculty interviewed claim that they still can remember to some degree those solos, which they

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transcribed years hence. The process of transcription involves a great deal of memorization. Each consecutive pass through a solo requires the jazz student to reinforce previously memorized material and to memorize new parts of a solo. Those who transcribe practice an intense form of aural memorization. Given the ability of visual impaired students to memorize, assimilate and retain musical information in great detail, , an a similar method of aural memorization be incorporated in jazz pedagogy? Any method hat stresses reliance on aural memorization, just as with visually impaired students, may produce similar feats of aural recall. If we are to assume that visually impaired students rely virtually on their auditory sense to gather and process musical information, exactly how do they perceive musical information? How much more sensitive or perceptive are they as compared to sighted students? The four teachers interviewed were sighted. They admitted that it would be hard for them to attest what it would be like to be blind. There was no consensus among the four of how their music students perceived musical information. The teachers simply did not know. The aspect of how the visually impaired aurally perceive musical information as compared to a sighted person, is still a subject of research. All of the four teachers rely heavily on the aural-imitative method. Each went into some detail of how they employ the method. While each adopts a specific teaching style that is appropriate for each classification of students (i.e. learning disabled or general population), the core of their approach remains very transcription-like. They all model new music, or musical concepts, first by singing and/or playing on an instrument. The students are then asked to repeat. This process is repeated until the concept is sufficiently duplicated by the students. Both instrumental and vocal students were taught the same

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way. All four teachers have at one time had or currently supply their students with cassette tapes of the music they are to practice. The addition of new material and the reinforcement of previous material, via the aural-imitative method, are very similar to the transcribing process outlined elsewhere in this research. The universality of the approach suggests that the aural imitative method may be applicable to other jazz concepts that are usually not introduced or reinforced via aurally. Another aspect of their teaching that was similar was the absence of teaching musical concepts through Braille notation. In none of the classes ob ~rved was Braille notation used. Perhaps the most important revelation is that visually impaired students tend to treat Braille notation as an impediment to learning musical concepts. The reliance on their aural ability is far greater than those who are sighted can understand or appreciate. Most cognitive functions have adapted to an aural-centric understanding about the world around them. It seems, then, that the visually impaii~d would much rather learn musical concepts via the most natural and logical way--through listening. Sighted students (and sighted instructors), conversely, may not realize how much music education is disseminated not through the aural realm, but rather through the visual realm. This, of course, is one of the main criticisms leveled at current jazz pedagogical practices. Published transcriptions, jazz theory books and, to varying degrees, J lZZ instruction with a teacher may all rely on reading music. How much is reading the note ion actually hindering the absorption and retention of jazz concepts? It must be understood that the author is not advocating the elimination of reading notation. However, western-classical music is fundamentally different in jazz in this one respect: reading notation is an integral part of its tradition. Jazz, with improvisation at its core and seeped in an aural-imitative tradition is

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heavily reliant on the aural-imitative ability of the jazz musician. Therefore, it is logical that aural-imitative procedures be the principle way of introducing and reinforcing jazz concepts. This research suggests that only a limited upplication of notation should accompany the aural-imitative procedures. Another interesting aspect that arose from the interviews with the Klopp, Powell, Stitka and Marchand is the apparent lack of music education materials geared specifically to visually impaired students, particularly for instrumental instruction. Many of the learning aids are recorded or prepared by the teachers themselves. S, ,me band methods do come with a demonstration CD, but not with the corresponding Brai.'•e notation. Even less available are materials geared toward instrumental ensembles for the visually impaired. Is it even possible to have large instrumental ensembles composed entirely of visually impaired students? Small jazz groups, like the one at Indiana School for the Blind, successfully integrate both visually impaired and sighted students. The author did conduct a similar group at Florida Atlantic University, which included a blind music student. It can be assumed that examples of smaller groups exist elsewhere. Furthermore, large vocal ensembles are taught using the aural-imitative method within these schools. Given that the visually impaired rely heavily on their auditory senses, and that jazz has an aural tradition, could not a large jazz ensemble be taught using the aural imitative method? Each of the four teachers thought it could be possible. Stitka thought it would be feasible as long as the students could manipulate certain aspects of the format. He suggested that a MIDI type format might be better because it would give the visually impaired student a greater degree of control over how they learned the music. Additionally, he thought that such a format

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would help motivate students, since they could here their parts within the context of the larger group without having to necessarily wait for the next rehearsal.

It may be that aural imitative materials formulated to teach jazz improvisation would be applicable to both sighted and non-sighted students alike. Implications of research

The implications of this research could influence future jazz pedagogical practices, ear-training techniques, and music programs for the visually impaired and redefine the teacher student/teacher relationship as it applies to ins1~umental study. The research presented here could potentially influence th,. curricular structure of jazz education to include more aural-imitative procedures. To aid them, students need aural examples of jazz concepts at all levels of the instruction. In order to absorb, assimilate and reinforce all facets of jazz improvisation, the student must transcribe and memorize. Some jazz education materials currently include an audio CD. In the future, many more published jazz education materials may include an audio CD, MIDI files, .MUS or .WA V files or even designated web sites so that students could download specific exercises, artists and/or solos via iTunes or other similar programs. This could also have the potential of giving the student unlimited access to a ,1 ealth of jazz recordings. A student could conceivably build a rather representative and practical library--one of the cost-prohibitive, but necessary tools in a transcription based method. Students would also have a wealth of choices. For example, if a teacher suggests that a student transcribe a solo based upon the chord changes to "Autumn Leaves", the student could choose among hundreds of MP3 downloads. The Internet would be one way to accommodate those instructors that insist that the student choose the solo to transcribe.

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One problem often facing beginning jazz students and those who teach them is finding representative examples of easily transcribe-able material. The Jim Snidero Jazz Conception series is one example. The booklet and CD contain relatively easy solos based on the chord progressions of standard tunes. They are relatively easy and short, which make the solos transcribe. Indeed, Wolfe uses this series as a transcribing 'primer'. However, the Snidero concept could be expanded to include multiple solos on a given chord progression. Each solo would introduce certain improvisational concepts dealing with rhythm, harmony, and/or melody. For example, a solo that inc uded a diminish scale or pattern based on the diminish scale could be used to introduce tl, 1t concept. The student would have ideally transcribed the aural representation first. Notation would be used only to clarify certain concepts. The emphasis would be on the internalization of all aural components of the jazz language. Another potential outcome of this research is the pursuit of the classification of transcribe-able solos based upon certain criteria. Direct and active listening via transcription is an essential pedagogical application in order to assimilate the jazz vocabulary. A system that can guide students toward solos that could and perhaps should be transcribed may encourage both students and teachers to include more aural-imitative procedures. Such a system may encourage more transcribing across instrumental families. Some of the current transcribing technologies would necessarily be involved in an aural-imitative centered approach. These technologies help novice transcribers to unravel and imitate those solos thought to be beyond their rer1.ch.Most of these technologies allow for an unprecedented level of manipulation. Fast passages and tempos can be slowed. Keys

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of tunes can be changed. Looping features allow certain sections to be repeated ad infinitum. So of the more sophisticated programs and devices can digitize and single out individual notes in a long, complicated run. Some mute certain frequencies thereby eliminating vocal or other instrumental parts. And all this can be done without changing the original pitch if one so desires. Consider this: not very long ago, the only technologies most had to aid them in transcribing were phonographs, cassettes, Marantz recorders (which dropped the pitch one octave and the speed by half), reel to reel tape and the like. One could argue that this antiquated technology may have even disccuraged transcribing since it was not designed for that purpose. The new technologies are designed to offer the user an unprecedented amount of control. It is interesting then that many jazz faculty in the interviews did not use or embrace the current technologies. This may change as older faculty, who may not be as knowledgeable about these technologies, retire and are replaced by younger faculty who are knowledgeable. Students may one day go to their university bookstore and purchase a version of Slogold or Transkriber! along with their jazz textbooks. While the emphasis of this research is placed on the necessity of transcribing in jazz education, non-jazz musicians may also benefits from a similar' ranscribing routine. There exists a link between the necessary ear training involved in jazz training and ear training courses in colleges and universities. How effective are ear-training courses? Judging from some of the criticism leveled at them, one could argue that these courses fail to accomplish their goal. Students still cannot audiate. Their sense of pitch and interval remains undeveloped. What may be even more dist1 rbing is that students are rarely asked

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to demonstrate the ability to audiate once they have finished the perfunctory ear-training course. Why do students fail to audiate? The answer may lie in that the intemalizatior. of pitch and interval is not reinforced throughout the students' education. In other words, students are not required to practice ear training as part of their every day routine. Students should incorporate ear training in their routine instrumental or vocal practice. One way to accomplish this is by routine or daily transcribing. Indeed, incorporating the students' principal instrument in ear training courses has already been suggested. Each instrument could theoretil 1lly have classical, Western European type ofrelatively simple and short etudes on CD, WAV or MP3 (or MP4) formats, which students could transcribe. A progressive series could be developed for all instrumentalists. The same digital technologies could be used, if needed, for classical, non-jazz oriented transcribing. Indeed, another impact of this research may be in the area of classical- oriented transcribing. Again, the emphasis would be on imitating the notes, rhythm, and all inflection and nuance as much as possible. This would also address another criticism leveled at ear training courses-these

courses fail to incorporate other

musical concepts other than interval and pitch. Interval and pitch would be but one aspect of an instrumentalist's daily transcribing practice. Other concepts, such as intonation, dynamics, and vibrato (were applicable) would have to be imitated aj well. Including a students major instrument in the ear training process would benefit them greatly. Accomplished jazz musicians/teachers can sing intervals and, in some cases, match pitch, by mimicking the fingering of their instruments. They are able to audiate by associating a note fingering with the related pitch. Vocalists use a similar system by incorporating hand gestures with solfege syllables. Daily transcribing for non-jazz instrumentalists may

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produce similar results. One way to quickly incorporate ear training in a daily practice routine is have the student play familiar melodies, such as "Happy Birthday", starting on different notes strictly by ear. While the students may be able to audiate and sing the melody correctly, playing it on one's instrument could be challenging. Considered in this light, aural-imitative procedures could have a wider application outside of jazz education. Indeed, aural imitative procedures may have an equally dynamic impact on how music students absorb, assimilate and retain musical information. How better to understand this than to study those who have little or no visual facu-.ty? It was believed that some study of those who are visually impaired would lend a different perspective to the aural-imitative concept. While not conclusive, the interviews and observations in this study suggest several things about those who are visually impaired. First, learning through aural-imitative procedures may improve retention of musical information relating to melody, harmony, inflection and nuance. Seconf'., those who learn musical information via aural-imitative procedures may have a faster rate of absorption. Third, the use of some symbolic representation that is removed from the aural experience, i.e. notation or Braille notation, may hinder and not help learn certain musical concepts. Fourth, processing musical information strictly through one's hearing, without the aid of eyesight, might foster a keener sense of relative pitch and may promote exact pitch derencing. Future research will perhaps establish the validity and, even quantify these )bservations. If this can be done, then it may be possible to apply some aspects of how the visually impaired learn musical concepts to sighted music students. Two other pertinent issues surfaced during the interviews and observations with the teachers from the four schools for the blind.

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First, Powell, Marchand, Klopp and Stitka have all intimated that publishers rarely produce materials with the idea that they may be used with visually impaired students. All four rely heavily on their ability to demonstrate concepts and whole musical arrangements using aural-imitative procedures. Often, the teachers themselves devised any learning apparatus necessary--from creating cassette tapes to modifying and superimposing large print and literary Braille text on musical scores. Braille notation is used by only a handful of students. One can only imagine the time-consuming effort involved in recreating fully published materials so as to be used effectively by the visually impa; 1·ed. Yet, these four teachers do this consistently. Second, each thought that at least a large jazz ensemble consisting of all visually impaired students was possible. When the author explained his aural-imitative procedure for learning jazz band arrangements to the four teachers, each thought to varying degrees that the procedure might be viable. Aside from the small combo at the Indianapolis School for the Blind, no other school program had an instrumental ensemble. At the very least, instrumental programs could be instituted to a greater degree than they are now if materials and procedures geared towards the visually impaired were more readily available. Perhaps this research will influence the publication or adaptation of musical materials expressively for the visually impaired. All four seemed enthusiastic about the ide of having published materials and methods geared toward the visually impaired. All of these potential outcomes would probably redefine the relationship between both students and teachers. The approach to learning would be centered on the transcription. The goal is to have the student become an independently creative and improvising jazz musician. Just as Vinci defines hir11selfin a role as a saxophone 'tour

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guide', teachers would become facilitators, guiding and assisting the students along the aural imitative path. The recordings themselves, in the words of Andrew Speight would be the teachers. While this apprenticeship type of relationship exists in the classical realm, the objective is quite different. The objective being the realization of established pieces of the literature according to two basic criteria: 1) the intentions of the composer, or 2) the aesthetically correct interpretation for the genre or chronological period. The objective in jazz education is not only to have the student improvise successfully in the jazz idiom but to do so with a unique style or voice. To accomplish this, the teacher, without imposing his

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or her own aesthetic will, must know how to balance what the studer.t needs with what student wants to learn. The overall approach must be 'student cente1 ~d', which means that the student must make choices about what solos and artists they will ultimate transcribe. It would be the responsibility of the teacher to guide them along by discovering and redefining their students' interests. Music is ultimately an aural experience. There are dedicated parts of the brain devoted solely to musical cognition. Scientists at Dartmouth College have recently displayed, by using an fMRI scanner and willing musicians, how sound patterns in the music literally become an imprinted pattern in the brain (Hotz, 2002). If the brain registers musical information by actually re-mapping and changing its the phy ,ical structure while processing aural information, all the more important that musical concepts constantly be accompanied by their aural representations. While this seems obvious, the author can, upon reflection, remember many music classes and private lessons in which concepts were not reinforced by their aural representation.

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All music ultimately relies upon the listening ability of the musician in both jazz and non-jazz music. However, the cornerstone of the jazz genre is improvisation. Jazz improvisation relies heavily upon audiation, memorization, ear training, and spontaneous creation. To accomplish this, the aural imitative procedures used in the transcription process are a necessary tool. Perhaps the most direct path to the internalization of the jazz language is through imitating masters of jazz improvisation. Therefore, jazz pedagogical practices should include aural-imitative procedures for all concepts related to jazz. To that end, a method that includes aural-imitative procedures at all levels of jazz instruction is essential. Suggestions for future research As the research for this project progressed, several issues related to transcribing and the aural-imitative method surfaced. Further questions related to visually impaired music students and their music programs also arose. There are several possible topics rising from this research, which could be addressed by further inquiry. Among the topics arel)further research into the nature and principles of transcribing and the aural-imitative method, 2) research into schools for blind and their music programs, 3) research dealing with visually impaired music students themselves, 4) comparative research of both visually impaired and sighted music students, and 5) an audit of college curricula for aural epresentations and content. Several issues related to transcribing and the aural imitative method could be illuminated with further research. The first issue concerns transcribing devices. During the interview process, some jazz faculty were clearly against the use of such transcribing devices while others advocated using them. The der 1te centered on the issue whether or

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not these digital transcribing devices aid or hinder whatever benefits transcribing might afford. To understand this question, it would be relevant to explore just how many students actually use these devices. A comprehensive survey of music students from around the country would illuminate the percentage of those who use transcribing devices and whether they thought these devices were beneficial. Part of the survey could be dedicated to the type or brand of transcribing devices that are used. A similar line of questions would be relevant given the fact that most jazz faculty probably do not realize if and how their own students actually use these technologies. A further study designed to test the efficiency and effectiveness of these technologies would also be beneficial. A one-group, pretest-posttest, could compare a randomly selected group of students from a given population that currently do not use any transcribing devices. Have them use certain transcribing technologies and then gauge their reactions. Still another design, a static group comparison, could be administered to two randomly ,elected groups--one that does use transcribing devices and one that does not use any devices. A listening test based upon jazz concepts could be given to both groups to see if there is a correlation between those who use these devices and their aural perception. Still, another debate, which arose from the interviews--just how effective can a transcribing-only method be? A pretest-posttest equivalent-group dt ,ign could compare a group that does no transcribing with one that does only transcribing. Students from both groups could be individually recorded improvising a solo over an Aebersold accompaniment of a tune such as "Autumn Leaves." The group selected to receive the transcribing treatment would transcribe several solos based upon the chord changes to "Autumn Leaves" for two semesters while the control group did not. The applied teacher

112

{_

interaction would have to be limited only to helping the student through difficult parts of a transcription. No discussion of theoretical or interpretive concepts would be allowed. After administering the treatment, re-record improvised solos from both groups. Assemble a panel of judges to critique according to a given criteria the pretest-posttest solos of both groups. Another issue that arose from the interviews is the idea of producing a list of graded solos, based upon given criteria, that could be transcribed by beginning, intermediate and advanced students. Some faculty expressed that such a list would be· invaluable. Others thought that such a list would be irrelevant to their teaching needs. Those who were most vehemently opposed to a graded solo list thought the idea not only arrogant but also "dictatorial" and too "academic". Several from both groups did express that compiling such a list would be an enormous task. While the list itself may not be applicable to intermediate or advanced transcribers, the need for r('presentative solos that are accessible to beginning transcribers has been raised. The challenge then would be to compile a list of representative solos from different instrument families that are readily accessible. These solos would have to be technically easy and within the given instruments practical range. To address this particular issue, a small group of those interviewed have compiled their own primer CDs and one faculty member uses the Jim Snidero Jazz ~onception series as a 'primer'. Indeed there may be a ready market for transcribing 'primers' based upon the Jim Snidero Jazz Conception series. To test the idea, a list of solos identified as easily to transcribe could be compiled. The recording could then be administered to novice transcribers. The student would then proceed to transcribe the solos form the recordings. A survey of the students after would reveal if those choices were truly easy to transcribe.

113

I ......__

i.

Another idea that elicited emotional responses for and against was the idea of an established jazz 'canon' that is equivalent to classical repertoire. Even with forty-one faculty members, a relatively small sampling, certain consistencies did start to emerge. These consistencies suggest that, indeed, jazz musicians/instructors have identified certain 'masterpieces' within the jazz genre. To further understand the breadth of the jazz canon idea, interviews with a greatest possible number of both jazz instructors and professional jazz musicians, may be necessary. A survey of this nature may reveal a 'canon' across instrumental families. Another aspect of this question is whether different generations identify similar or different solos as part of the jazz canon. Obviously, a survey of this type would have to include such demographic information as age. Whethtr students should transcribe solos identified as 'masterpieces' also raised emotional responses both for and against. Judging from the disparate answers the author received during the interviews, it is hard to estimate what the responses would be to this question given a larger sample of respondents. Music programs for the visually impaired would benefit greatly from further research. There exist no prior dissertations researching music programs in schools for the blind. This research into music programs for the visually impaired was done to gain an insight into the aural-imitative process and its implications for jazz

r ~dagogy.

However,

several other issues surfaced which require further investigation. Surveys, observations and interviews from a broad sampling of schools for the blind could answer each of the following questions. First, what materials for visually impaired music students exist? The four music teachers interviewed for this research were not cognizant of published music materials specifically adapted for their visually impa:red students. All four teachers often

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i_

had to adapt or develop aural-imitative procedures for their existing materials. How many more teachers in similar teaching situations do this? What are their systems of teaching like? How different or similar are their systems? How reliant are they on aural-imitative procedures? Also revealed in this research was how similar the music programs were in the four different schools. Each had a large music experience, choral and applied piano and/or voice programs. Only one had some semblance of an instrumental program. How consistent is this design? If it is consistent, could a full-fledged instrumental program be implemented? Would such a program be feasible? All four teachers reported similar experiences with Braille notation. Visually impaired students find E aille notation confusing and difficult to read. Consequently, they rely almost exclu"ively on their aural imitative ability. How universal is this experience? Do the vast majority of visually impaired students find Braille notation a hindrance? Could a more comprehensible system of tactile notation be devised? Or could an aural imitative method, like the one proposed for learning jazz band music, be designed? Further research is needed into the very nature of how visually impaired students perceive and process musical information. Again, a broader survey of music teachers at visually impaired schools may be in order. However, different comparative research approaches could include a sampling of visually impaired based upon musical ability or even visually impaired students compared to sighted students. One o.:'the issues that could be enlightened by this kind of comparative research is pitch recogniti.-m. Klopp, during her interview, observed that her visually impaired students had a more secure and accurate sense of relative pitch. Several had perfect pitch. Klopp sensed that a greater majority of her visually impaired students had this keen sense of pitch than her sighted students. Do a

115

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{_

greater majority of visually impaired music students have better sense of pitch than sighted students? All four teachers had a different sense of how their visually impaired students perceive musical information in general. The question remains just how do the visually impaired perceive musical information? Is there a quantifiable difference? Do they absorb, retain, assimilate and memorize musical information more readily and completely than their sighted counterparts? During the visitations to each school, the author did observe some visually impaired students that displayed a high level of musical ability. Powell knew that some of her musically inclined students went on to further study music at the collegiate level. What percentages of visually impaired music students go ontu careers in music? How do they fair as compared to sighted counterparts? Do they use l raille notation once they start their collegiate education? Research into schools for the blind and of visually impaired students may lead to restructuring of current college curricula. If further research suggests that visually impaired music students have a musical advantage over their sighted counterparts, is it possible to transfer or duplicate to some degree the advantage to sighted students? To what degree does the aural imitative method, such as a jazz transcription method, duplicate how the visually impaired perceive musical information? Or, will further research suggest restructuring the learning environment to include more reliance on reliance on visual information?

a1

ral stimuli and less

This line of inquiry may ultimately lead to an audit of

current college curricula for aural representations throughout each course offering. In closing, jazz transcription as a pedagogical tool has its foundation in the auralimitative tradition that is an integral part of the genre. While many recognize transcription as a necessity to learning how to acquire the jazz lanr;uage, almost no structure is involved

116

'· in employing it. Formalized jazz education has been criticized in print for relying on visual and theoretical based materials instead of aural materials. Only a fev. interviewed had incorporated a purposely-designed transcribing component as part of their teaching strategy. A list of graded solos would be a valuable resource to both students and teachers, especially for beginning transcribers or teachers whose expertise is not in the jazz genre. Transcribe-able materials, such as the Jim Snidero series, may serve as a template for more comprehensive 'primer' and even more progressive 1~arning resources. This research also suggests an emergingjazz 'canon'-a body ofliterature identified as 'masterpieces'. What was equally enlightening was the emotional level of animosity directed toward some of these ideas. Some accused these ideas as "dictatorial" or "too academic." Digital technologies may further restructure some aspects of jazz pedagogy. Transcribing software and devices may play a greater role in transcribing approaches. The aternet may give both students and teachers access to both recordings and, more important!v, specific solos. For example, different renditions of "Autumn Leaves" could potentially be downloaded and compiled on a CD for study. The cursory research into schools for the blind and the visually impaired, while not conclusive, does suggest some interesting similarities between transcribing as proposed in this study and the aural-imitative procedures used by teachers at schools for the blind. Further study may reveal greater similarities in terms of musical cognition, memorization, assimilation and retention. Ultimately, this research and similar future research may lead to restructuring not only jazz curricula but also non-jazz curricula, particularly ear training to include aural-imitative procedures at all levels of instruction.

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APPENDIX A

Question 1: Do you employ transcription as part of your teaching method? If so, How? Question 2: Over the course of a semester, what percentage of time in lessons do you devote to the following: Transcription __ ; Patterns __ ; Tunes __ ; Improvisation (playing together in lessons, having them play over a tune) __ ; Jazz theory (scales, etc)__ ; Technique __ : Reading __ . (All numbers represent as percentages except for Gibble who prioritized the list.) Question 3:What do you feel are the benefits of trar scribing? Prioritize the following in importance: Style, patterns and vocabulary, ear training, understand chords and jazz theory, historical perspective. Highest priority: 1 Lowest prioriy: 5 Question 4:Did you transcribe as part of your jazz education? Did you memorize them or notate? Whole solos or parts of solos? Did you remember by whom? To what extent daily or ever so often? Question 5: Are you familiar with current transcribing technologie:? I so, what technologies do you/your students employ? Do you feel those tran cribing technologies help or hinder whatever benefits one might get from transcribing? Question 6: To what degree should students transcribe solos for their own instruments as opposed to other instruments, i.e. saxophonists transcribing trumpets solos? Question 7: Do you think there are solos that have become part of the 'canon' of jazz that should be transcribed by all students regardless of instrument? (In the same way that there is standard classical literature for, let us say, foe saxophone, i.e., Hawkin's Boday and Soul or James Moody's I'm in the Mood for Love is equivalent to Creston's Concerto/Sonata.) Question 8:What materials/solos do you recommend transcribing for beginning students, intermediate students and advanced students. Be as specific as possible-solos and/or artists. Question 9: What methods do you currently use, i.e. Aebersold, Gt 11-note,etc. What are their pros and cons? Question 10: Would you say transcribing is: Essential, Helpful, Somewhat helpful, Not helpful, No Opinion?

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~.

Question 11:Could transcribing be supplemental to a given methoc or the core of a method that is supplemented by other material? Core: meaning the nain emphasis is on the transcription itself from which other topics are derived. Question 12: Would an organized method based on a series of transcriptions be viable? Useful? (Perhaps, for example, something resembling a 'literature' list containing graded solos based upon difficulty.)

The design of the appendices is consistent. The questions asked the interviewees are given at the top. Each respondent is listed in the left column. Each subsequent column features the main point made by the respondent. For example, in question 1, column 4, if the respondent answered that he or she would suggest solos that a student should transcribe, it is listed as such. The last column is reserved for direct quotes from the respondents. If the author determined that a quote was valuable, then it was included in this column. All numbers in question 2 are listed by percentages. Question three is a prioritization list, I being the highest priority, 5 being the lowest. Questions 6 -12 list quotes from each of the respondents that pertained to the question.

I

II l

l

119

APPENDIXB Question 1: Do you employ transcription as part of your teaching method? If so, How? Interviewee

Class/Lesson

How assigned

Suggest/ Assign? Quote/Comment

I) T. Walters

lessons/class optional

student chosen

suggest

"used as an ear-training tool"

2) D. Gibble

lessons/class

student chosen

suggest

encourages to do their own, transcribe to address certain issues, must perform transcription at end of semester.

3) G.Campbell

lessons

student chosen

suggest

uses transcription to address needs," ... my main guy for transcribing is Hank Mobley ... for developing basic vocabulary." "For those not articulating, I would tum them towards Sonny Rollins or Gerry Bergonzi as opposed to 'Trane, who is much more legato."

4) J.Salemo

lessons

student chosen

suggest

"I'd let them find something that struck their fancy. I found that to be the most successful than saying, 'This is a really classic thing ... '.

5) H.Mediema

class

student chosen

suggest

On Micheal Brecker: "When he was 19 he came to school and could play just ; whole bunch of Coltrane solos. And he couldn't read a note of music."

6) B. Kennedy

lessons

assigned

assigned

Choice of solos: ''Depends on the student's direction, interest, and patience. level of ear training, ambition." Usually suggests "historically significant" solos.

7) D. Demsey

class/lessons

student chosen

suggest

Will assign for group projects. Class has choice of 3. Does not recommend published transcriptions for beginning and intermediate students. "There couldn't be a worse way to learn this music." Solos chosen with approval from Demsey.

8) J.Carroll

class/lessons

student chosen

suggest

No transcription books. "I think the main thing is to get them to do something they like ... even if it's pop oriented to get them listening and starting to transcribe."

9) D. DiBlasio

lessons

student chosen

assign

Transcribe to address certain issues. No transcription books. "If somebody has bad time, I'll give them a Sonny Rolliu, solo. If somebody's rushing, I'll give them Dexter." First solo is assigned: "Usually in the beginning I pick it, I'll pick a Lester Young solo or something..".

'·

!

j

..........

I0)F. Borgiomo lessons

student chosen

suggest

"Transcriptions are used as sight tools as well as improv tools. Students learn anc memorize published transcriptions as •• as transcribe their own." A student sho, dd pick a solo that they like and is rhythmically and harmonically accessible.

11) G. Wolfe

lessons

advanced

first assigned

All solos are chosen with approval. The more advanced students get to choose, the beginning students get assigned solos. Uses the Snidero as 'primer'. He has used published transcriptions, but has chosen student transcribed versions recently. "Students just don't know what to bring in." Three assigned solos: George Coleman: "All ofYou"; Wayne Shorter: "Footprints"; Dexter Gordon: "Diggin' In"

12) K.Lidral

lessons

student chosen

suggest

"Generally, it seems to be a readiness issue, in that the tedium involved is such that the only people I have real success with are the self motivated. I am insistent to the greatest extent possible, that people transcribe the entire solo." "Find what tre student likes are pursue it." Does use tt Omnibook and other transcription booL by 'Trane, Henderson, Woods and Stitt.

13) E.MacDondald lessons/class

assigned

assigned

Will assign Miles "Kind of Blue". Discourages transcribing "young guys" 'I try to steer them toward players like Stitt." Transcribe solo to address certain deficiencies.

14) R. Blake

lessons

chosen

assigned

Two levels of transcription: assigned and chosen. "I usually have beginning students work on Lester Young, the I go from there. I go back to early swing players that aren't playing on a lot of changes ... then progress to harmonic things and stylistic approaches." Uses Lester Young trio on Verve label with Bat King Cole and Buddy Rich.

15) M. Waldrop

lessons

assigned

assigned

Uses own 'primer'. I give them solos that are sequenced and composed by me on a CD at a slow tempo, so that their first experience is not too difficult."

16) R. Washut

class

student chosen

suggest

"I think it is important that the student pick the solo. Hard bop solos tend to be good for vocabulary and are fairly accessible."

121

{

17) F. Haque

lessons

student chosen

no suggestions

-

"Organized transcription denies the player any choice and that is one of the crucial aspects of musicianship developed thour;h transcription."

18) S. Widenhofer lessons

student chosen

19) T.Tallman

ensemble

n/a

n/a

20) G. Towell

class

student chosen

suggest

"I am not really sure you should know some basic artist but when you are searching for your own voice, you should transcribe what interests you."

21) J Martin

lessons

assigned first

suggests

"Depending on the level of the student, transcribing is a main ingredient of jazz study in my studio. Everybody starts with "Kind of Blue".

22) G. Alper

lessons

assigned first

suggest

23) A. Kaplan

class/lessons

assigned

assigned

Solos are first assigned, then student chooses after a year of study. Tries to find things that are best for students' given abilities. Assigned from list of players/artists. Uses "Kind of Blue" often.

24) J. Blair

lessons

student chosen

assigns artists

Would rather student chose if at all possible. Will assign artists but not solos if needed to address certain deficiencies.

25)J. Shynett

lessons

student chosen

"All transcriptions are chosen by the student with approval from me." n/a

26) D. Engstrom class

student chosen

will assign

Will assign when a student can not chose. Typically assigns Chet Baker's "Autumn Leaves."

27) L. Fischer

lessons

assigned

assigned

"Too many to choose from. Depends on the student's need." Does not have a list of solos. Basically assigns from own collection as needed.

28) M. Vinci

lessons

assigned

assigned

"I've made very simple recordings for beginning students to transcribe. I have a master saxophone solo CD which l supply to my students w/ a" the original recordings in one action packed CD." "Go for the greatest solos first, then from anything that catches your ear."

29) R. Luckey

lessons

assigned 2nd year

122

Assigns transcriptions to address certai. deficiencies. Uses own transcription books. Recommends "Approaching the Standards" by Willie Hill.

'

...

30) J. Snow

lessons

student chosen

31) J. Cooper

class

student chosen

suggests

Recommends artists but not solos. Mak'..!s everyone transcribe at least one solo from different instrument family than their own.

32) K. Kjos

lessons

student chosen

suggests

Will suggest artists but not specific solos.

33) H. Halt

class

student chosen

Teacher approves student chosen transcription. "Students should develop their own interest in conjunction with a good library."

34) D. Champouillon lessons

assigned

assigned

Uses published transcriptions extensively with original recordings. "Why waste time on transcribing something already done?" Will memorize solos from published transcriptions. Suggests starting with easy "popish" tunes then " ... with jazz solos already transcribed to check your accuracy."

35) J. Griffith

lessons

student chosen

no suggestions

Refuses to suggest solos or artists. "I prefer that a student learn from the master that moves them the most."

36) D. Aliquo

lessons

student chosen

will assign

"The more motivated ones tend to cho< the less motivated get assigned.'' ListeL some that students have done. Has recommended Dexter: "It's You or No One"; Miles: "Straight, No Chaser". Starting to think that students should go, ' ... back to the trunk of the tree," before branching out. However, "if you're a young person and there's someone that absolutely fascinates you, you should go after that.

37) M. Nau

lessons

student chosen

suggests

"I recommend transcribing to a certain extent. I require my students to do it because it's required as part of the program."

38) D. Pope

class

student chosen

suggests

Mid Term: play with recording. Final: play transcription with live rhythm section. "All beginners should work on Miles' "So What".

39) A. Garcia

lessons

student chosen

suggests

123

~.

40) M. Denny

lessons

will assign

suggest

"I have the student transcribe solos and write them down rather than learning them only by ear. I choose modal and bebop solos. Students have transcribed Miles, Paul Desmond, Coleman Hawkins, Kenny Burrell."

41)V. Sielert

lessons/class

student chosen

suggest

"I think it's important to transcribe grea( artists, regardless of what instrument they play."

124

{"

Question 2: Over the course of a semester, what percentage of time in lessons do you devote to the following: Transcription __ ; Patterns __ ; Tunes__ ; Improvisation (playing together in lessons, having them play over a tune) __ ; Jazz theory (scales, etc)__ ; Technique __ : Reading __ . (All numbers represent as percentages except for Gibble who prioritized the list.) Interviewee

Trans. Patterns Tunes lmprov Theory Tech.

1) T. Walters 2) D. Gibble

0 5th

15 1st

10 2nd

50

25 3rd

w/theory l st

4th

Reading

Qi 1ote

0 "Patt, ms are a way to improve technique. With advance students I'll flip-flop that."

0

3) G. Campbell --

"I incorporate all those things, but

I don't have any method or way of doing it. It depends on what the student needs." 4) J. Salemo

15

15

15

15

15

15

1 "

)

"I would say it's split petty evenly among all those things. The lesser of the categories would be learning tunes. Reading, we don't do too much of that, although our lessons are never primarily jazz."

5)H. Mediema

5

10

10

10

10

15

40

6)8. Kennedy

"It varies w/each students." Refused to quantify.

7)0. Demsey

I0

5

5

JO

10

40

20

8) J. Carroll

10

JO

40

20

10

10

0

9) D. DiBlasio

"Depends on where they're at."

I0)F. Borgiomo combined 30

11) G. Wolfe

25

10

15-20

30

JO

10

25

10

"Depends on the student but, generally ... " Transcription and patterns are combined 30%.

0

" Depends on where they're at."

12) K. Lidral

"I do an integrated approach, so

it's hard to quantify your question." 13) E. Macdonald--

"All of the above are components of my private instruction. It is difficult to assign percentages .. I spend no time on reading."

14) R. Blake always

0

15) M.Waldrop 5

5

60

20

10

0

0

16) R. Washut 25

15

25

10

15

10

0

Listed things he does for each.

125

"This varies according to student levels and r,~eds."

{

Interviewee

Reading

Trans. Patterns Tunes Improv Theory Tech.

--

17) F. Haque

18). S. Widenhofer 15

--

15

15

"T, nes 100% We work on one tune and hit transcription technique, pattern creation, reading, improv through that one vehicle."

15

15

no lessons

20) G. Towell

15

15

IO

10

5

0

5

21)J. Martin

5

0

5

10

5

5

5

22) G. Alper

10

10

20

25

20

10

5

23) A. Kaplan

20

10

20

20

10

15

5

24) J. Blair

30

15

10

15

15

10

5

25) J. Shynett

30

0

40

20

0

JO

5

26) D. Engstrom

15

IO

20

25

10

10

10

27) L. Fischer

20

0

20

5

10

10

10

28) M. Vinci

20

5

25

30

15

15

15

29) R. Luckey

10

0

10

25

5

25

25

--

"Varies widely depending on student."

31) J. Cooper

15

15

15

15

20

IO

10

32) K. Kjos

5

10

10

10

10

40

0

33) H. Halt

2

5

10

18

15

35

15

34) D. Champouillon25

5

50

w/tunes class

10

10

35) J. Griffith

0

10

45

15

5

10

37) M. Nau

15

--

36) D. Aliquo

15

15

15

15

15

126 -----'-

"Pretty equal"

15

15

--

19) T. Tallman

30) J. Snow

Quote

--

"' 1at's a hard question to answer. l eally depends on the student. It varies from lessons to lesson. 1 v ish I can give you a more definitive answer."

15

15 "Over the course of a semester, I deal with all of those equally."

,_ Interviewee

Trans. Patterns Tunes Improv Theory Tech.

Reading

38) D. Pope

Quote

"We spend most our time in lessons on classical saxophone. Students w/ a jazz interest are encourage to spend most of their time on transcriptions, learning tunes and functional piano.

39) A. Garcia

15

5

25

30

10

15

0

40) M. Denny

5

15

20

20

10

10

20 "This is typical but I do vary the percentages depending on the needs of the student."

41) V. Sielert

15

15

15

20

15

15

15

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i_

Question 3:What do you feel are the benefits of transcribing? Prioritize the following in importance: Style, patterns and vocabulary, ear training, understand chords and jazz theory, historical perspective. Highest priority: 1 Lowest prioriy: 5 Interviewee

Style

PattemsN ocab Ear training

Jazz Theory

History

1) T. Walters

2

3

1

4

5

2) D. Gibble

3

2

I

4

5

3) G. Campbell

0

2

I

3

4

4) J. Salemo

I

2

3

4

5

5) H. Mediema

2

3

I

4

5

6) B. Kennedy

0

0

0

0

0

7) D. Demsey

I

2

8) J. Carroll

3

4

Quote

''I really don't teach style." "Sounds like you've got all the reasons right here. They're all so very close."

"Choose a historically significant player and solo to transcribe."

5

--

"I had trouble with that, too, because I though1

they are all equally important." 9) D. DiBlasio

--

I 0) F. Borgiomo --

11) G. Wolfe

"The reason you transcribe is because of all that. Maybe you could write it up that some ofus don't see it as prioritizing this kind of thing. "I'm not sure I can separate these since perceive these to be one entity that nee,ts to be internalized and conceptualized in order or any benefit to occur."

2

4

I

5

3

13) E. Macdonald 2

1

4

3

5

14) R. Blake

4

2

5

3

12) K. Lidral

1

15) M. Waldrop

--

16) R. Washut

2

17) F. Haque

--

3

1

--

"All of the above equally, with less emphasis on history."

4

5

--

--

"All are equally important."

18) S. Widenhofer 3

2

1

4

5

19) T. Tallman

t2

2t

4

5

I

128

i

Interviewee

Style

20) G. Towell

I

Pattems/V ocab Ear training

Jazz Theory

History

4

5

.,,.,

2

21) J. Martin

--

22) G. Alper

1

23) A. Kaplan

2

3

1

4

5

24) J. Blair

I

2

3

4

5

25)J. Shynett

3

5

I

4

2

26) D. Engstrom

--

27) L. Fischer

I

5

2

3

4

28) M. Vinci

5

3

I

2

4

29) R. Luckey

3

4

I

2

5

--

--

I

2

"I believe that the benefits from transcribing come primarily in the form of development o style and vocabulary." 3

4

2

3 I) J. Cooper

3

4

32) K. Kjos

--

--

33) H Halt

--

5

"For me, ear training was the greatest benefit of transcribing." "Only three qualify as benefits."

2

3

35) J. Griffith

2

I

3

3

4

--

37) M. Nau

"All of the above and more."

-I

2

"Sound, style, phrasing, history, theory."

"Style is by far the most important."

34) D. Champouillon --

I

5

--

30) J. Snow

36) D. Aliquo

Quote

4 5

--

"It benefits all those areas. The most

important I quess would be the language." 38) D. Pope

--

--

--

39) A. Garcia

I

3

2

4

5

40) M. Denny

4

3

I

2

5

41) V. Sielert

--

--

"All the items mentioned are of equal importance. I believe that they all exist together and are inseparable."

--

129

--

"I think these things are of equal importance. Deficiencies in any of these areas make improvising more difficult."

i

Question 4:Did you transcribe as part of your jazz education? Did you men,orize them or notate? Whole solos or parts of solos? Did you remember by whom? To what extent daily or ever so often? Interviewee

yes/no

mem/ notate

whole/part

daily/ not

1) T. Walters

yes

notate

parts

2) D. Gibble

yes

notate

n/a

3) G. Campbell

yes

memorize

parts

not

4) J. Salerno

yes

notate

n/a

every week

5) H. Mediema

yes

both

whole

6) B. Kennedy

yes

memorize

7) D Demsey

yes

both

whole

8) J. Carroll

yes

both

both

9) D. DiBlasio

yes

l 0) F. Borgiorno yes

11) G. Wolfe

yes

12) K. Lidral

yes

13) E. Macdonald yes

memorize both

memorize both

both

Quote/By whom

not

"Every one I did was an assignment. I never transcribed any solo that weren't an assignment."

one a semester "Woody Shaw-"What's New"

yes

whole

"I really didn't do that much transcribing, I probably should have ... " "I never really was assigned to do that. was told that it was important and I realized that very early." Published the first transcription books for Downbeat- "Jazz Styles and Analysis for The Alto Saxophone. "I took 110 solos for that bo1 k and those were from 1920 to lS 4."

n/a not

in binges

in binges

both

"The solos I transcribed were a major influence on me and my playing. I transcribed as much as solos." " It's entirely possible to transcribe an entire book of solos and not learn anything. It can be done without absorbing very much. I've found if I hit an impasse in my playing, that I always go back to transcribing." "Sonny Rollins, Coltrane, Johnny Griffin, Dexter."

daily routine "Big part of my own study of jazz improvisation."

n/a

parts

not daily

"very undisciplined. It did it for the enjoyment."

whole

25-35%

Dave Lei!· nan "Lookout Farm";" Now's the Time"-in all 12 keys."

depends

both

130

"Wynton Kelly, Bill Evans, Corea, Powell, Parker, I karned five solos from each. One or two from Lee Konitz, Sonny Rollins , Coltrane"

,{_

14) R. Blake

yes

both

whole

not daily

I 5) M. Waldrop yes

both

both

3-4per year

16) R. Washut

17) F. Haque

yes

both

whole

yes,

both

both

not daily

not daily

"Dexter solos from Blue Note, Coltrane 'azz on Atlantic, Miles, Kenny Dorham, Rollins, Gary Bartz, McCoy Tyner's "Have You Met Miss Jones", Shorter's "Speak No Evil", "It was more effective for me not to notate." "Jarret, Al Foster, Dave Samuels." "George Coleman-"Maiden Voyage", Lee Morgan-''Like Someone in Love", Lee Konitz, Miles-"Straight ,No Chaser", Freddie Hubbard-"Dolphin Dance" Pat Martino-"Line Games", "M'wandishi", "Road Song", Bill Evans-"1 Loves You Porgy", Booker Little, some Wes, some Jim Hall from 'The Bridge'

18) S. Widenhofer yes

notate

whole

19) T. Tallman

yes

both

both

20) G. Towell

yes

both

both

daily for awhile

21) J. Martin

yes

notate

parts

not daily

"First Transcriptions-Miles from "Kind of Blue". Bobby Shew and Blue Mitchell"

22) G. Alper

yes

notate

whole

not C:aily

"but more than every so often." See list of tunes

23) A. Kaplan

yes

both

both

not daily

"tune list"

24) J. Blair

yes

both

both

daily

Trane, Henderson, Rollins, Stitt, Leibman

25)J. Shynett

yes

not daily

J.J.-"Laura", Miles-"Minor Blues", "Bye Bye Blackbird", Trane-"A Night Has A 1,000 Eyes"

n/a n/a

memorize

whole

26) D. Engstrom yes

notate

both

27) L. Fischer

yes

notate

whole

28) M. Vinci

yes

both

mostly whole

29) R. Luckey

yes

notate

whole

30)J.Snow

yes

n/a

both

"Lots of rill Evans for my dissertation." Don Fagerquist-"Crescendo Date"; Chet Bakrr- "All the Things You Are", various Tum Harrell, Bix. Trane, Dexter, Mobley, Rollins, Brecker, Charlie Rouse, Joe Henderson

daily not daily daily

daily

Hawkins' B&S'"39, Prez- "Lester Leaps In" '39, Lady Be Good'"36, "Just finished 17 Cannonball "Worksongs", "Kind of Blue" published by Hal Leonard. Lester Young, Parker , Trane

several Xs a month-

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Interviewee

yes/no

31) J. Cooper

mem/notate

whole/part

yes

both

both

32) K. Kjos

yes

both

both

not daily

"Hubbard, Lee Morgan, Clifford Brown, Chet Baker, etc. This went on for a while."

33) H. Halt

yes

whole-

not daily

" Playing the solo benefited me more than writing it down."

mostly mem

daily/ not

Quote/By

not daily

v, horn

Lucky Thompson-"Cuban Fire", Prez-"Honeysuckle Rose", Bergonzi"Just Friends", Shorter-"Iris", Getz-"Wee and Bebop", Artie Shaw-"Continental", Woods-Milestones".

34) D. Champouillon yes

both

parts

35) J. Griffith

yes

both

whole

36) D. Aliquo

yes

notate

37) M. Nau

yes

memorize

both

not daily "Woods-"hst the Way You Are", Sonny Stitt."

38) D. Pope

yes

both

both

not daily

39) A. Garcia

yes

memorize

whole

daily

40) M. Denny

yes

memorize

parts

not daily "Hall, Burrell, Grant Green, Kessell. Later horn players: Trane, Eddie Lockjaw Davis, Miles, Shorter, Prez, Bean, Bird. "Exact solos would be to tedious too mention."

4l)V.Sielert

yes

both

both- whole

both

only for class not daily not daily

Long list.. ncluding Miles-" Straight, No Chaser

"Trane, Lateef, Parker, Rollins, ."

every week

Dorsey, Miller, J.J., Dexter, Sonny, Miles, Evans. "I've omitted scores of them."

i.

Question 5: Are you familiar with current transcribing technologies? I so, what technologies do you/your students employ? Do you feel those transcribing technologies help or hinder whatever benefits one might get from transcribing?

Interviewee I) T. Walters

Familiar Usage: you/students Yes CD player/?

Help or hinder If there's a spot ).JU can't figure out ...most of the spots you can't figure out aren't worth it. I think the end of the process when yo 1're writing it out would be probably be when I would use it."

2) D. Gibble

Yes

CD & tape/?

"I disagree with all of them. I transcribed before this technology and I still don't have any ofit. With the exception of slowing it down, I don't discourage technologies use but encourage less assistance to it."

3.) G. Campbell Yes

CD & tape/Transkriber!

No opinion.

4) J. Salemo

Transkriber! & tape/?

"I used Transkriber! then stopped. Don't know if any

yes

ofmy students use it. It wasn't necessary that I thought it wasn't a useful tool. I think it could be, but it was a matter of time." 5) H. Mediema

yes

Slowdowner & Marantz tape/?

"There's something that those programs take away. I would suggest not to use them. However, I would say the help, but I would use them as a last resort."

6) B. Kennedy

no

CD & tape/?

"The best techno Jgy is the way it's been done for many years."

7) D. Demsey

yes

½ speed tape/yes

"I just started using them. Many use old-fashioned method: put on a CD and learn an eight bar phrase by memory. I've always been a½ speed person. I don't think it hinders as along as a person is hearing the solo and memorizing it as part of the process. !flow speed playback helps to stop one from banging his or her head against the wall, the better ... "

8) J. Carroll

yes

CD &Transkriber!/Transkriber!

"I encourage them to use the½ speed thing. Like any tool, it can be used or abused."

9) D. DiBlasio

no

CD/?

"Don't have any use for it. Doesn't bother me because when I come in here I just put on the CD."

10) F. Borgiomo yes

Superscope ½ tape/?

'Tools should be used when necessary. Most probably nc these tools.

11) G. Wolfe

CD & tape/no

"I think they may be able to help in a fast double-time section. I don't see why they should hinder any of the benefits."

no

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.1

Interviewee

Familiar Usage: you/students

Help or hinder

12) K. Lidral

no

CD & tape/?

"I can see using t11edigital recording system that would allow 01 ; to slow the recording down with out changing the pitch, but I still don't think there is any real substitute for sitting alone in a room with a tar,! player or CD player and struggling through the agony of transcribing."

13) E. Macdonald yes

½ speed tape/yes-computers

"I have tried them, I haven't had much success. Some ofmy students use their computers ... usually the ones who use transcribing technologies are the least successful. .. most use a CD player, ax, paper and pencil."

14) R. Blake

no

CD/?

"I think anything that will assist on giving the students the initialpush towards transcribing is a plus."

15) M. Waldrop no

CD/?

"Slowing it down can be helpful on difficult passages."

16) R. Washut

no

CD & tape/?

No opinion

17) F. Haque

yes

CD & tape/no

"Hinder!"

18) S. Widenhofer no

CD & tape/?

"Depends on how they're used."

19) T. Tallman

Superscope CD/?

"Can both help er hinder."

Looping CD/yes

"J use a looping CD player. I know some of my students use computer programs. I think they can hinder."

20) G. Towell

yes yes

21) J. Martin

yes

CD & tape/yes

"I haven't used any, my students do. Sometimes I think it is better to do it the old-fashioned way. If used as an aid to be more accurate, I'm sure it can only help. If they take away from the process of hearing the original as it was meant to be heard, it could circumvent the process."

22) G. Alper

yes

CD & tape/?

"Neither helps or hinders as long as student does the transcribing.

23) A. Kaplan

yes

CD &Reed Kolter!?

"I tried the Reed Kolter. l use the new Marantz CD player. Anything that helps saves valuable time."

24) J. Blair

yes

Sabine Backtraklyes

"The help my students considerably. I would have taken advantage of them when I was a students ifl could have."

25)J. Shynett

yes

CD & tape/?

"The help very complex harmonically and rhythmically but I would not nse them exclusively."

26) D. Engstrom no

CD & tape/?

"Shouldn't make .t too easy because ear training and repetition are most important."

27) L. Fischer

CD & tape/?

"Student's choice"

yes

1 'l A

,_

Interviewee

Familiar Usage: you/students

Help or hinder

28) M. Vinci

no

CD &tape/?

"nothing can bea, a tape recorder, a pencil and eraser and your ears"

29) R. Luckey

yes

Akai-Rif-O-Matic/?

"I used a Marantz tape machine, now I use the Akai. They are a valuable tool."

30) J. Snow

yes

CD/?

No opinion

3 1)J. Cooper

yes

½ speed tape/ yes

"The help for certain things, but you have to always go back to things that happen in real time and pitch.

32) K. Kjos

no

CD & tape/?

"It's all by ear"

33) H. Halt

no

CD & tape/?

No opinion

34) D. Champouillon yes ½ speed tape and CD looper/yes

"If it helps, some things are just too fast."

35) J. Griffith

no

½ speed tape/?

"The technology helps"

36) D. Aliquo

yes

Sabine Backtrak I Sabine Backtrak "I used it on "Sid's Ahead"-There's no way I could have taken it off without slowing some of it down. If you slow it down, you're still listening to it."

37) M. Nau

no

CD & tape/?

"I think it would ,efinitely help ... depends on the player."

38) D. Pope

yes

Audiofile/?

"I make an audio file to facilitate looping small sections. It greatly speed~ up the process and provides greater accuracy. I don't think that changing the speed has much value if the intent is to learn it."

39) A. Garcia

yes

CD & tape/yes

"Nothing hinders unless the student is avoiding the phrasing."

40) M. Denny

no

CD & tape/?

"It's probably good"

4 I) V. Sielert

no

½ speed tape/?

"Great for fast stuff. However, I think they hinder the process. Sometimes part of the process is deducing what is being played.

135

'"Question 6: To what degree should students transcribe solos for their own instruments as opposed to other instruments, i.e. saxophonists transcribing trumpets solos?

Interviewee 1) T. Walters

"I think probably your own instrument would be a better choice. I think for note choice, all of them, but for learning how to play like your instrument ... "

2) D. Gibble

"My philosophy is that you should transcribe anything that interested you. If you're transcribing an instrument that doesn't feel very comfortable, it forces you into different directions that you wouldn't ordinarily do."

3) G. Campbell

"I don't know. I don't think so. Of course it's not going to do ,my harm, but I wouldn't really get into that. I just have them do transcriptions of people on their particular instrument."

4) J. Salemo

"I probably wouldn't because of time. I'd have them do the saxophone." Will have alto players transcribe tenor players.

5) H. Mediema

"I think initially, you have to transcribe your own instrument. My reason for that would be most people I see haven't figured out their sound yet."

6) B. Kennedy

"To the degree that each student wants to ~ow what is going on. If they serious, they will travel beyond their own instrument in the pursuit of development."

7) D. Demsey

" Other instruments are valuable in 2 ways. One, to become familiar with the great solos in jazz (Miles "so What, body and Soul). Two, to learn specific styles on other instruments (Miles use of space, etc.)"

8) J. Carroll

" When I fist start students I have them do their own instrument for a lot of different reasons. One, it's really hard for young students to transcribe. The other reason is you're more motivated because it's something you can use right away. Certainly you want to move on."

9) D. DiBlasio

"It's all good. In the beginning they should really get the feel, 1r what their instrument is What happens with the transcribing is develop a sound. Transcribing is big for sound conception-it's the only place you can get some semblance of sound. I think the best stuff to do is trumpet players. Trumpet players tend to be more line,;,r."

10) F. Borgiomo "Transcriptions should occur regardless of instrument, however have a good grasp of the language for ones own instrument before doing too much of others." 11) G. Wolfe

"I really don't get to that point were student transcribe trumpet solos. I think there's a value in having people learn what others are doing on other instruments"

12) K. Lidral

"Transcribing solos for one's personal inst, ument is invaluable, but when the need is felt, other instrumental approaches can yield valuable insights. As a soprano saxophonist, I have discovered an affinity with trumpet solos which are in my range .."

13) E. Macdonald "I think it makes sense to mostly transcribe players on your instrument. Some lines are not easily transferable to other instruments. However, ifleaming to play bebop is the goal, transcribing Parker or Stitt is logical" 14) R. Blake

"I think students should transcribe other instruments, especially more advanced students. It expands the range of their stylistic approach to try to play other instruments on the saxophone."

136

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I

15) M. Waldrop "Depends of students needs and inclinations." 16) R. Washut

"They should transcribe all instruments; vocalists too.

17) F. Haque

"Definitely there are advantages to Both, Start with your instrument. Later on, one can transcribe other instruments."

18) S. Widenhofer "Both are good." 19) T. Tallman

"A percentage; say 20% or so should be other instrumentalists."

20) G. Towell

"Start with own and branch out to others."

21) J. Martin

" It depends on the level of the student. Young players should listen to their own instruments to get on the right track."

22) G. Alper

"There' so much important piano music out there that that's what I have my students transcribe, but I occasionally had them transcribe a horn solo or two."

23) A. Kaplan

"I recommend that students transcribe the classic solos that are 'easier' at first, like Armstrong, Webster. They should listen to the greats on tenor sax, but also need to learn about their own instrument traditions."

24) J. Blair

"For saxophonists, once the basic style (articulation, mostly) has been assimilated, I would highly recommend the solos of other instruments."

25) J. Shynett

"Well in the end, we all play the same instrument when it comes to jazz, we are all responsible for the same things so I would go with transcribing whatever."

26) D. Engstrom "Both are great. I'd probably begin with one's own instrumer r." 27) L. Fischer 28) M. Vinci

"All are beneficial" "Go for the greatest solos first, then for anything that catches your mind or ear."

29) R. Luckey

"I feel that most solos transcribed, perhaps 75%, should be for that individual's instrument."

30) J. Snow

"Students should transcribe anything they are interested in."

3 1) J. Cooper

"The need to start transcribing on their own instrument but then slowly move onto different ones. In my jazz improvisation "'iass (level II) the have to do different instruments other than their own."

32) K. Kjos

33) H. Halt

" The should transcribe according to where they are maturity-wise. If a Dexter solo helps a bass player, great." "Probably their own first."

34) D. Champouillon "Best for your own instrument for range considerations, learning idiomatic licks and devices for you instrument, other instruments for variety and ear training." 35) J. Griffith

"Students should start with their own instrument."

137

~.

36) D. Aliquo "It's a good idea. I took some McCoy Tyner off, but the range was kind of prohibitive. I can't say I've done a ton of other instruments. You find different sounds just trying to emulate some of those." 37) M. Nau

"I don't know. Sometimes it doesn't feel like trumpet solos will work ... there are things you can do on trumpet you can't do on sax. I don't know how to answer that question."

38) D. Pope

" I think that beginners should focus on their own instrument. M )re advanced players should begin to incorporate other instruments Everyone shoul transcribe miles Davis. The Miles solo on "So What" is vital place to begin."

39) A. Garcia

"All instruments ."

40) M. Denny "It's all good, but really, transcribing from different instruments shows how some phrases are more idiomatic to certain instruments than others .." 41) V. Sielert

"In think it's important to transcribe great artists, regardless of what instruments they play. I definitely think people should branch out from their own instrument."

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Question 7: Do you think there are solos that have become part of the 'canon' of jazz that should be transcribed by all students regardless of instrument? (In the same way that there is standard classical literature for, let us say, the saxophone, i.e., Hawkin's Boday and Soul or James Moody's I'm in the Mood for Love is equivalent to Creston's Conerto/Sonata.)

Interviewee 1) T. Walters

2) D. Gibble

"No. No really. I don't think I could sit dowr and say 'these are the five we'd better learn,' For most students, they have done so little, just about anything they do is going to help them." "I don't think it's necessary. I thin people need to be aware of them, but not necessarily transcribe them."

3) G. Campbell "It depends. My main guy for transcribing is Hank Mobley ... for developing basic

vocabulary." 4) J. Salemo

"My feeling about this is, well, to hell with it. I mean, they're already done Find out why people did them, find out why they're good and play them but find the ones that haven't been done."

5) H. Mediema

"Well, that's a difficult question for me. I guess I'd have to say no."

6) B. Kennedy

"I don't recognize the term 'canon of jazz'. I only recognize what sounds great to me in the 'tradition of jazz.' Each person makes a personal decision on what is valid to transcribe. "

7) D. Demsey

"Absolutely, Miles' "So What" and Hawkins "Body and Soul "

8) J. Carroll

"Body and Soul", "Struttin' with Some Barbeque", Any blues or rhythm tunes by Charlie Parker, Miles' "So What", "Giant Steps", "Countdown."

9) D. DiBlasio

"I think all tenor players should cop a Lester Young solo and maybe a Coleman Hawkins solo. No specific one. It's unlike legit in a way, what you're going to learn as in a ballad you're not going to learn in an up-tempo tune."

10) F. Borgiomo

"Are their definitive solos and recordings a students should know? Yes."

11) G. Wolfe

"Yeah, I think so. "Body and Soul"-Hawkins, "Giant Steps". Beyond that, I have my own preferences. I think that George Coleman solo I spoke of earlier counts. More than specific solos, I want them to be exposed to different players that represent various styles. They ought to do some Getz, Shor 'r, Dexter, Parker, 'Trane.

12) K. Lidral

"Certainly, Parker's "Now's the Time". Other solos include C')ltrane's "Giant Steps" and Rollin's "St. Thomas."

13) E. Macdonald "I think everybody needs to transcribe a little bit of Coltrane's solo on "Giant Steps". With the exception of this solo, my answer is no." 14) R. Blake

"Definitely. Tough question. I would like to start with the Lester Young Trio on Verve with Nat King Cole and Buddy Rich ."

139

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15) M. Waldrop "I don't think there should be any must know solos. I think this runs counter to the jazz aesthetic ... I think it is senseless to apply classical music eliti t standards to jazz. In doubt that Omette Coleman could play the Moody's or Hawkin's solo. Does this make his creativity less valid?" 16) R. Washut 17) F. Haque

Bird's "Parker's Mood". Several of the "Kind of Blue" solos. "I don't agree that we should require anything, unless of course, one would like to jazz to become another classical music. Transcribe what you like that way your voice will be personal not institutional.

18) S. Widenhofer "Not necessarily." 19) T. Tallman

"Miles-"So What", Trane-" Giant Steps", Prez-"Fine and Mellow" (from the 'Sound of Jazz')

20) G. Towell

"I'm not sure you should know some basic artists ... Any basic bebop and hardbop along with some Louis Armstrong and Lester Young. I'm not sure I would use a must know category."

21) J. Martin

"The entire "Kind of Blue" album"

22) G. Alper

"Too many to list-I don't believe in the 'must know' category.

23) A. Kaplan

Solos by Louis Armstrong, Rollins, Mobley, Miles-"Kind of&.ue"

24) J. Blair

Yes. Rollins-"Blue 7", "St. Thomas"; Trane-"Giant Steps"," Countdown". Anything from Bird. Lester Young-"Lester Leaps In", Hawkins-"Body and Soul", However, I think the student should be given the right to choose his masters very quickly."

25) J. Shynett

"I feel this task should be fun and I would allow a student a lot of leeway in choosing their own transcription.

26) D. Engstrom "No. I think a student should transcribe what appeals to them." 27) L. Fischer

"Solos specific to the instrument being taught for sure ..i.e. Ray Brown's "Au Privave" ..too many to list."

28) M. Vinci

Hawkins "B&S"'39, Prez- "Lester Leaps In" '39, "Lady Be Good" '36, "Clap Hands, Here Comes Charlie" '39, Ben-"Cottontail" '40, Byas-"Harvard Blues" '41, Jacquet"Flyin' Home" '42, Byas- "I Got Rhythm" '45, Rollins-"Night in Tunisia" '57, "Jug Blues Up-n-Down" '61.

29) R. Luckey

"There are so many great solos out there to transcribe."

30) J. Snow

"NO."

31) J. Cooper

Trane-"Giant Steps", "Countdown", "Mr. PC"/ Miles-" So What"/ Any solos of jazz at Massey Hall/ Clifford Brown-"Cherokee", "Joy Spring"/ Satch-hot five and hot 7 stuff/ Webster-"Cottontail"/ Teddy Wilson from Benny's group ... too many to list

32) K. Kjos

"Not really, although Miles' "So What" solo is pretty close.

33) H. Halt

"Too many to list."

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34) D. Champouillon "Yes. Clifford and Parker solos. All instrumentalists should acquire their own litany of jazz on their instrument (Armstrong-Eldgridge-Glimpse-Brown-Miles-Hubbard) 35) J. Griffith

"No I think having a canon is detrimental to jazz."

36) D. Aliquo

"That's an excellent question. Leibman said you transcribe the roots of the tree. As a teacher I feel a little more that way. Did I do that? Yes and no."

37) M. Nau

"Sure, Coltrane's "Giant Steps". I think Cannonball's solo on "Easy to Love" is one of the great improvisations ever. But there are so many great solos I don't think there are certain solos that everyone should know."

38) D. Pope

"Yes, everyone should know Miles-"So What". Other important solos Cannonball's "Easy to Love" from Nippon Soul, Hank Mobley's "This I Dig of You". Webster's "Cottontail", Bird's "I Didn't Know What Time It Was".

39) A.Garcia

"Sure, Miles' "So What", etc. It would be too long ofa list.

40) M. Denny

" I would say a canon of solos is probably not as important as knowing a bunch of tunes by Parker, Trane Miles. There are so many good solos out there that it would be hard to narrow it down."

41) V. Sielert

Miles-"So What"/ Bird's "Now's the Time"/ Rollins and Stit "Eternal Triangle". Rollins and Coltrane's "Tenor Madness".

141

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Question 8:What materials/solos do you recommend transcribing for begim ing students, intermediate students and advanced students. Be as specific as possible-solos and/or artists.

Interviewee 1) T. Walters "I might have them do a little Miles Davis. Ifl wanted someone to learn that language which I think is important, then I would find some trumpet players that aren't terribly hard to transcribe like Chet Baker. Some Clifford Brown is very clear-very easy to hear. For sax, maybe Ben Webster, Paul Desmond." 2) D. Gibble

"People like Hank Mobley, Dexter Gordon. J.J. Johnson definitely because he's kind of like Miles. He can play fast but generally he plays very cohesive, simple ideas.."

3) G. Campbell

"My main guy for transcribing is Hank Mobley (Live at Cafe' Bohemia, "Mobley's Messages") and that's for ... developing basic vocabulary. For alto players I might Suggest something like Jackie McLean that's pretty accessible. Paul Desmond. He's sort of like Hank Mobley in that it's really clear and simple and good." "A lot of guys, my advanced students have done some Rick Margitza solos, one did a Gerry Bergonzi's "Our Love is Here to Stay"."

4) J. Salemo

"I might look for a little Phil Woods. There are a couple ofbl1es that Phil did ... Probably Sonny Stitt's "By Accident"."

5) H. Mediema

"I think Stanely Turrentine and Hank Mobley are really good because they don't play real complicated."

6) B. Kennedy

"Start with solos of Armstrong, Duke, Lester, Hawkins, Bird, Kind of Blue, Hank Mobley ..on and on ... Itjust depends on what the student that you are working with has in his/her vocabulary."

7) D. Demsey

" Solos by Miles, Desmond, other melodic players are great for beginning transcribers. For intermediate: Bird tunes, Stitt, Clifford Brown. Advance: Sky's the limit.

8) J. Carroll

"I think the main the thing is to do what they like. I've learned that's the best place to start. Miles solos are good. Hank Mobley I found is real good. Paul Desmond and maybe Stanley Turrentine."

9) D. DiBlasio

"So we've got an alto player who comes in, never transcribed in his life, I give him Paul Desmond. For tenor I'll usually go with Lester or Dexter. If the player likes Desmond, I'll do Art Pepper next because he's the next jump-a little more technical. Mobley's a great connector.

10) F. Borgiomo "A student should pick a solo they like that is rhythmically and harmonically accessible at first. Each instrument has a soloist that can fall in this cate ory (Miles, Hodges, early Jim Hall, Armstrong). 11) G. Wolfe

12) K. Lidral

"The reason I use the Snidero book is t that many young studt>11ts are not exposed to jazz enough to know-they don't' have the recordings. Uses Snidero as a primer. "Find what you like and pursue it. In practice, I often think that whatever motivates the student at the point where they are is worthwhile, even if we might consider it to be inferior."

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13) E. Macdonald "I recommend Miles Davis solos to beginning students, because they are not overly technical and are usually filled with strong melody. The "Kind of Blue" record is often used. I get my intermediate students to work on bebop. I try to discourage their transcribing 'young lions' like Joshua Redman. I try to steer them toward players lie Sonny Stitt With advanced students, I have them transcribe solos which address their specific deficiencies." 14) R. Blake

"I usually have beginning students work on Lester Young solos, then I go from there. Usually I go back to early swing players thaLaren't playing on a lot of changes as well just to get them in the groove of swinging. Two levels of transcribing: Those solos that I choose for their historical significance and those that the student selects with my approval."

I 5) M. Waldrop "Too many to mention"

16) R. Washut

"I think that it is important that the student pick the solo. If they have no idea, then I'll suggest something within their capability. Hard bop solos tend to be good for vocabulary and are fairly accessible."

17) F. Haque

"Players that play with clarity and simplicity are good for begi ,ers."

18) S. Widenhofer "I let them pick out the solo with my approval." I 9) T. Tallman

"Anything by Paul Desmond and Kenny Burrell."

20) G. Towell

"Sonny Stitt blues solos, Miles Davis, Clifford Brown, Hank Mobley."

21) J. Martin

"Miles, Getz, Blue Mitchell, Lee Morgan. I try not to get too specific. I let my students search and find artist that they can relate to."

22) G. Alper

"For beginning students: Red Garland, Wynton Kelly, Nat King Cole. Intermediate and advanced, too many to list."

23) A. Kaplan

"These are my favorite: Chet Baker-"Autumn Leaves" from the best of Paul Desmond CD; Sarah Vaugn-"My Funny Valentine"; Miles- "So What"; Dexter Gordon-"Body and Soul" from 'Round Midnight' soundtrack, Also Scott Reeves texts.

24) J. Blair

"Dexter and Woods for articulation, Cannonball for swing feel/time. Rollins for melodic development, Stitt and Griffin for technique and double time articulation. Bird for vocabulary. Advanced players need to get into Trane and his disciples along with Shorter and Henderson. "

25) J. Shynett

"It is a matter of preference, since the student is doing all the\ )rk they should choose for themselves."

26) D. Engstrom "If they have no idea, someone accessible and 'straight-ahead like Chet Baker's "Autumn Leaves" off 'She Was Too Good for Me' recording." 27) L. Fischer

"Too detailed to answer here."

28) M. Vinci

"I've made very simple recordings for beginning students to transcribe. I have a master saxophone solo CD, which I supply to all my students. "Hawkins B&S'39, Prez Lester Leeps '39, lady be good'36, Clap Hands, Here Comes Charlie '39, Ben-Cottontail '40, Byas-Harvard Blues '41, Jacquet-Flyin' H0 ne '42, Byas- I Got Rhtyhm '45, RollinsNight ion Tunisia '57, Jug Blues Up-n-down' '61.

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'"· 29) R. Luckey

"There are so many great solos out there to transcribe. I generally don't give my beginning students solos to transcribe."

30) J. Snow

"Anything the student is interest in and is excited about."

31) J. Cooper

"Beginning-Armstrong, J.J. Johnson and slower cool school players (Gerry Mulligan, Lennie Neihaus, Art Pepper, Stu Williamson, etc."

32) K. Kjos

"I prefer the students use pretty simple solos-Miles, Clifford, Dexter, so they can hear easier. Then they can move unto players like Wayne Shorter."

33) H. Halt

"They pick it. Whatever they're interested in."

34) D. Champouillon "Start with easy popish tunes. Then start jazz solos already transcribed to check your accuracy. 35) J. Griffith

"I have the student pick."

36) D. Aliquo

"It's you or No One" by Dexter. I like him a lot for students for beginning students: Miles-"Straight, No Chaser, Jerome Richardson."

37) M. Nau

"I'd tell him to look for players like Hank Mobley and Dexter Gordon because they play so hip but, the stuff they play isn't terribly complicated. I think that can really get you started."

38) D. Pope

"All beginners should work on Miles "So What". From there tis a matter of taste and guidance from the teacher. Intermediate and advanced player should know all the solos mentioned in the previous question. Other albums include Mooley's 'Soul Station', 'Coltrane's Sound' and any of the Wayne Shorter Blue Note Records stuff from the 1960's. "I believe in starting with swing and bebop and the basic vocabulary from which the student should grow forward."

39) A. Garcia

40) M. Denny

41) V. Sielert

" Beginning-slow tunes that are blues, easy ballads and easy standards. Intermediatequicker tempos, more complex rhythms and melodies. Advanced- more focus on articulation and style. Specific tunes and artists would be too tedious." "I don't know ... some Chet Baker, some Mil~s, Dexter."

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'"Question 9: What methods do you currently use, i.e. Aebersold, Goal-note, etc. What are their pros and cons?

Interviewee 1) T. Walters

"Goal-note method" Making it (transcription) an assignment would probably make half the class drop out. I use to give it as an assignment and then I just found that so few of them could do it and it would end up being the class. So we switched to the method that we use now, the Goal-Note method."

2) D. Gibble

"mixture"

3) G. Campbell

"I wouldn't say that the way I teach is a method. I really don·, have a method. I teach according to an individual's weaknesses and strengths."

4) J. Salemo

"In my case, it (transcription) needs to be supplemental. Our students here can barely play a major scale. I end up teaching a lot of fundamental th' 1gs."

5) H. Mediema

"I pretty much use my own stuff. I don't use any books, if it's time for a pattern, I come up with one. I've devised several chord substitution rules. I've started Sophie on 'Concepts for Jazz"'

6) B. Kennedy

"Pros and cons of methods ... that they are just that. The students need to get to the music and out of the Real Book. "

7) D. Demsey

"Scott Reeves, Creative Jazz Improvisation/Mark Levine, Jazz Harmony. They're all fine."

8) J. Carroll

"I use Jamey's books But the one thing I really try to do get away from is the simple scale approach. I think the scale approach is great, it's a wonderful way to start students. But to immediately get beyond that. The key is listening"

9) D. DiBiasio

"I have a mishmash of everything. I have the Jamey books to learn the tunes. Not necessarily for play-along. 50% of teaching is not the info you know. It's how to get through to these kids. Once I psyche out what's wrong, I throw stuff at them to see what's gonna stick. And usually transcribing, if you give th, m the right person-that sticks. They usually don't fall in love with theory, they usu, ly don't fall in love with tunes. Thing that really lights the fire-if she can sound kind of like Dexter, play two choruses of Dexter, she knows some stuff that sounds jazzy. They can't wait to buy another Dexter album. They're not going to learn all their Jo,.rian modes or half diminished and go, "Oh, Oh ... l wanna go buy Desmond. It's the thing that makes them part of the club as they perceive it. "

10) F. Borgionro "mixture." 11) G. Wolfe

"Well, one limitation of the Aebersold is that you're responding to and not interacting with a rhythm section. Spending time with the Aebersold stuff limits the time they spend in a real combo. They're going to loose tr.: interaction. I think the Aebersold has mostly pros. Omni book- But I just don't do that much anymore, I like the transcribing process better.

12) K. Lidral

"The Omnibook is essential. I also have solo transcription books of Henderson, Trane, Woods, and Stitt. For learning tunes, the legal materials currently available are the up side of the information-Chuck Sher's "The New Real Book"."

13) E. Macdonald "mixture."

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14) R. Blake

"beginning students are required to listen and learn through transcription. It connects so many things at once. The ii-v7 progressions using the seventh scale comes next. Then I keep adding different things so that the students doesn't get stuck in a routine."

15) M. Waldrop "mixture" 16) R. Washut

"Be able to sing thought the whole solo before playing it., Second, transcribe aurally (no Notation), phrase by phrase. Leave the difficult passages for last."" ... I also use a mix of things I put together over the years, like Aebersolds.

17 F. Haque

"All learning through tunes"

18) S. Widenhofer "mixture." 19) T. Tallman

"ensemble"

20) G. Towell

"Aebersold, It gets the students playing with the rhythm section but it isn't interactive ... "

21) J. Martin

"I use the Aebersold series along with the many transcribed solo books-only if the student has the original to listen to. There is no interaction among players"

22) G. Alper

"I use my own hodge-podge of teaching techniques. Each student has different learning styles. I do use Aebersold play-alongs."

23) A. Kaplan "Theory-Metaphors for Musicians, both Mark Levine texts-Jazz Piano and Jazz Theory. All Hal Crook books, Jerry Coker has a fine "chops" book-Elements of the Jazz Language for the Developing Improviser, Jerry Bergonzi's text-Vol. I and Vol. 2 patterns and pentatonics. Band in a Box is essential to work with all of the above. For beginnersShelly Bergs' chop Monster- great ear training-helps develop style VERY fast. 24) J. Blair

"Aebersold should be used for very specific purposes after the material has been learned. Too many students just 'jam' without getting much accompli:,'1ed."

25) J. Shynett

"Aebersold makes students lazy and their playing become very uninspired. I practice exclusively a cappella with a metronome".

26) D. Engstrom

"As much live as possible. We've expanded our combo program. Jamey can be helpful in hearing changes, but dangerous regarding learning how to play with others. "

27) L. Fischer

"Goal Note Method in theory class. Students utilize the Aebersold methods. I use the Style Books published by Alfred Music by Steve Houghton/Tom Warrington more than the Aebersold manuals."

28) M. Vinci

"Transcribing, playing with me and also wi h Aebersolds. Your methods must be tailored to the student. Every one needs a slightly different diet.

29) R. Luckey

"Aebersold. The student is able to practice playing heads and soloing with a great rhythm section. There can be no personal interplay between the soloist and the rhythm section."

30) J. Snow

"none."

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31) J. Cooper

"I really try to accompany my students by playing fours with them and playing piano with them. They need to learn how to play with live players and keep good accurate metronomic time themselves.

32) K. Kjos

"I'm a David Baker student, so mostly his stuff or stuff inspired by him ..

33) H. Halt

"mixture"

34) D. Champouillon "Aebersold. It isn't as stagnate as some think." 35) J. Griffith

"Some Aebersold, good for technique, bad for musicianship."

36) D. Aliquo

"Our university has an Aebersold room. Our students use them. I don't assign them, I try to play piano. I looked at Bergonzi's book. I transcribed the CD. I thought the stuff he was playing is way hipper than then book"

37) M. Nau

"I use the Aebersold a lot- the ii-v7-I. I use Blues in all keys. I use rhythm changes in all keys, minor blues all keys, Charlie Parker stuff. Joe Viola chord studies. The pros are you can play with a great rhythm section, the cons would be that it's live."

38) D. Pope

"My students learn rudimentary piano comping, and work in practice partner groupings. I believe in the concept of learning to play piano to hear and see the harmony, and then improvising with that visual-aural founda' ion in place. Play-alongs are fine, but they don't challenge the student's ear enough. There is no substitute for playing with human beings, no matter how basic the comping might be.

39) A. Garcia

"A hundred Aebersold play-alongs, not much else. The requirement is to experience the music, not to read about it."

40) M. Denny

" I do use the Aebersold, but have adopted the Snidero book of late. Aebersold is better for tunes, while Snidero's etudes are great for basic vocabulary."

41) V. Sielert

"I use the Aebersolds, Mark Levines' Jazz Theory and Scott Reeves's Creative Beginnings ..

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,_ Question 10: Would you say transcribing is: Essential, Helpful, Somewhat helpful, Not helpful, No Opinion?

Interviewee 1) T. Walters

"Helpful"

2) D. Gibble

"Helpful"

3.) G. Campbell "Essential" 4) J. Salemo

"Essential"

5) H. Mediema

"Essential"

6) B. Kennedy

"Essential "

7) D. Demsey

"Essential, as a crucial element in the study, but not as a stand-alone technique."

8) J. Carroll

"Essential. It's the most intensive form oflistening you can do."

9) D. DiBlasio

"Essential. Jesus, how are you going to learn this stuff."

10) F. Borgiomo "Essential if you know how to use it." 11) G. Wolfe

12) K. Lidral

"Helpful. I'm not convinced that a student who transcribes can 1ransferin every case stylistically to another. Stylistic aspects require a highly intuitive kind of musical intelligence that some have more than others." "Essential"

13) E. Macdonald "Helpful My piano teacher, Fred Hersch adamantly disagrees." 14) R. Blake

"Essential"

15) M. Waldrop "Essential" 16) R. Washut 17) F. Haque

"Essential" "Essential, but only in tandem with a complete study/practice routine."

18) S. Widenhofer "Essential" 19) T. Tallman 20) G. Towell 21)J. Martin

"Essential" "Essential" "Essential"

22) G. Alper

"Essential"

23) A. Kaplan

"Essential".

24) J. Blair

"Essential"

25) J. Shynett

" Helpful"

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26) D. Engstrom "Helpful" 27) L. Fischer

"Essential"

28) M. Vinci

"Essential"

29) R. Luckey

"Essential"

30) J. Snow

"Essential"

3 I ) J. Cooper

"Essential"

32) K. Kjos

"Essential"

33) H. Halt

"Essential"

34) D. Champouillon "Helpful" 35) J. Griffith

"Essential"

36) D. Aliquo

"Essential. My first successful attempts at this-doors just opened up. I felt like the secrets have been revealed."

37) M. Nau

"Essential"

38) D. Pope

"Essential"

39) A. Garcia

"Essential"

40) M. Denny

"It is essential to a point. I think the process of transcribing is probably more beneficial

to becoming a well-rounded jazz player than learning an entire solo." 41) V. Sielert

"Essential"

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Question 11:Could transcribing be supplemental to a given method or the core of a method that is supplemented by other material? Core: meaning the main emphasis is on the transcription itself from which other topics are derived.

Interviewee I) T. Walters

2) D. Gibble

"Well, we could bring let's say 20 "All the Things You Are" solos and then we could compare them chord by chord ... that's a good thing. I wish I I. .d the luxury of using transcription for a whole semester or year. Every time I brought it up, it turns out that I'd have to have another class in how to do it. It's way ahead of the students we have." "Patterns and technique are the number one priority. Second, tunes. Improv next. Jazz Theory. After that, transcription. For more advanced students I might flip-flop that.

3.) G. Campbell "I don't really know how to answer that one." 4) J. Salemo

"They're behind. In my case, it needs to be supplemental.

5) H. Mediema

"I think it certainly should be a part of a m 1. thod. I'm not sure how. I think it's important"

6) B. Kennedy

"If the given core method would be listening to 85 years or record jazz. So many students today blow off what happened before they came along. "

7) D. Demsey

"A mixture. It's not just a supplement, it should be part of a multifaceted core that includes: transcription/jazz harmony knowledge/repertoire building/general listening and historical background .. "

8) J. Carroll

"Hmm. That's a tough one. Transcription is important ... it all has to be balanced."

9) D. DiBlasio

"No. The whole idea is what the goal is. If your goal is to ha· ~ it written out, then you want to get it down on paper as quickly as you can. If your go ,Jis to benefit as a player from it, then I think you should just listen to it, because you have to listen to it eight million times. It's that millionth time of listening that things are going to start leaking out. You'll find that a lot of the education type-people are goiug to rate all this shit. If you asked any of these guys who play what solos should you rate, I don't know if they could do it. I don't know if they think that narrow. You're trying to make it look like the best way because you're trying to make it easy and clean. It's not easy and clean. This music is not easy. And you can't say do that and do this and that'll happen."

IO) F. Borgiomo "Yes, I use one in my teaching." 11) G. Wolfe

12) K. Lidral

"Well, yeah I think that would, with a CD, I lhink you can only go so much with that material because once a student transcribes so much, the value of the transcription starts to get depleted. If a person hasn't transcribed a certain player, like Dexter, then a person would benefit greatly even if they've transcribed 200 solos because you need to know that player." "Transcription is part of the total picture, which also includes technical development, internalization of all chord and scale types and learning tunes."

13) E. Macdonald "I see transcription as a means to learning to play. I believe it should not be the core of a method. Rather, it should be a component of private lesson'- or improvisational instruction." 14) R. Blake

"I think so."

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15) M. Waldrop "Supplimental" 16) R. Washut 17) F. Haque

"Either, depending on the focus of the class. It's usually supplemental for me." "Supplemental"

18) S. Widenhofer "I have no strong feelings either way." 19) T. Tallman 20) G. Towell 21) J. Martin

"Yes, core." "I do half an half. Scott Reeves book which combines both." "Yes as is the case with any 'method', a good teacher can derive other topics from almost any source."

22) G. Alper

"I think either method is valid"

23) A. Kaplan

"Yes, then the student would see the value in practicing the other elements such as patterns, licks, scales ... ".

24) J. Blair

"Jazz is and has been an aural art form. When you start talking about methodology, you run the risk of making it somewhat 'academic'. I don't believe it can be taught that way."

25) J. Shynett " Definitely supplemental.". 26) D. Engstrom "Either if organized properly .. " 27) L. Fischer

"Supplemental to the complete methodology involved. It cann, t do the job by itself."

28) M. Vinci

"Core, core, core. It's the key. It's like having a library card t0 everything that has been or will ever be recorded. What is that worth to you?"

29) R. Luckey

"I expect that transcription could be the 'main emphasis' from which other topics are derived."

30) J. Snow

"Either."

31) J. Cooper

"I think it is supplemental. Transcribing, as a creative process has no ends, it is a damn good as a means to the creative goal, thougn.

32) K. Kjos

"I bet it could".

33) H. Halt

"Probably more supplemental."

34) D. Champouillon "Academic jazz study is about cramming in ten years of in-the-club-street playing into four years. The real learning begins after the classes and lessons when you apply what you have been shown. The core should be being able to play your horn inside and out." 35) J. Griflit

"Yes."

36) D. Aliquo

"I use transcription to start topics off with a lot."

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37) M. Nau

"No. Transcribing is going on all the time. Ear training and transcribing are, to me, the same thing. There is no one method for teaching jazz. Academ a would love to do that, wouldn't they?"

38) D. Pope

"This is surely possible. I haven't really thought about it enough to answer thoughtfully."

39) A. Garcia

"Transcription- or the history or jazz improvisation prior to the student IS the core of all jazz courses, one way or another."

40) M. Denny

"Depends on how you organize the whole thing."

41) V. Sielert

"I think its usefulness would be evident either way. Using transcription as a starting point can lead to everything else that is necessary in learning this skill such as eartraining, vocabulary, style, interpretation, ct ord/scale relationships."

~.

Question 12: Would an organized method based on a series of transcriptions be viable? Useful? (Perhaps, for example, something resembling a 'literature' list containing graded solos based upon difficulty.)

Interviewee 1) T. Walters

"Maybe"

2) D. Gibble

"Yes"

3.) G. Campbell "If you really want them to hear something, make them transcr be it because they're going to have to hear it a zillion times." 4) J. Salerno

"It has to be self-directed by the student."

5) H. Mediema

"I don't think as a basis for a method. I'm not sure if that's right. I don't know how I would use that in my teaching."

6) B. Kennedy

"Not really. Who would you include and who would you leave out? We don't want everybody sounding the same or influenced by the same references. It is great the way it is. Everyone takes it upon themselves to search out what is relevant and put themselves together. "

7) D. Demsey

"I thin transcription is already integrated in our program quite a bit."

8) J. Carroll

"Yes."

9) D. DiBlasio

"No. The whole idea is what the goal is."

10) F. Borgiorno "Yes. I use one in my teaching." 11) G. Wolfe 12) K. Lidral

"Would I think that would, Perhaps." "Sure, if you need to compartmentalize the curriculum. For a halanced curriculum, there is no reason to not be comprehensive."

13) E. Macdonald "Jazz education is already to systemized. An organized transcription method denies is not viable in my opinion .." 14) R. Blake

"Yes"

15) M. Waldrop "Not for me." 16) R. Washut

"Yes, definitely."

17) F. Haque

"Absolutely not! Same reasoning as before. Organizing transcription denies the player any choice and that is one of the crucial aspects of musicianship developed through transcription. Choosing what you like is an artistic decision that sets the groundwork for creative individuality."

18) S. Widenhofer "Don't really know" 19) T. Tallman

20) G. Towell

"Yes. Both-with many solos in each graded level, determined by a pre-set group of criteria" "Yes. I like to have the students do their own or it can become a reading exercise."

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21) J. Martin

'"Viable perhaps, but who would deem one solo 'elementary' over another solo that was supposedly 'more advanced'. Could it be determined that a solo by Miles be less sophisticated than a solo by someone who uses a lot of notes? As with any method, you would have to determine your propose for putting together such a 'graded' list and do it in a way that would not demean the artists that you have chosen to represent the different levels. Transcriptions are not etudes. I would be weary of such a project."

22) G. Alper

"I think it might be viable, but there's no reason to organize it rs such. I find teaching jazz is a more personal endeavor than that. "

23) A. Kaplan

"Yes-then he student would see the value in practicing the other elements such as patterns, licks, scales ... ".

24) J. Blair

"Perhaps for the very early stages. Sometimes what may seem like a simple solo may be deceptively difficult. For example, the use of space in a Miles solo can be studied at great length by the most advanced players. Again, this 'graded' repertoire list smacks of the academic."

25) J. Shynett

"No, I think as educators it is not necessary to codify everything."

26) D. Engstrom "Yes, such a list could provide students with a jumping off place." 27) L. Fischer

"I don't think transcribing alone can do the job. But an organized method book could possibly be helpful. .. don't think it would be extremely useful to most folks however."

28) M. Vinci

"Absolutely, of course."

29) R. Luckey

"Yes. This already exists. 'Approaching the Standards by Dr. Willie Hill is now filling that void that used to exist with jazz education materials."

30) J. Snow

"I'm sure some would find it interesting and helpful. However, such a method would be dangerous and more that a little authoritarian. Students shoulr develop their own interested in conjunction with a good library and research skill;."

31) J. Cooper

"Sure, again you have to put it into context of it serving as a m.·ans and not an end. Let me give you something on this: I recently refused a student's acceptance into our OMA program due to their tape-all they played were transcribed solos. They had memorized everything, it was a tape from their masters recital. ls this jazz? This was the equivalent of copying all the writing for your research thesis from a book." "

32) K. Kjos

"Well, this like most methods would get a lot of the kids, but not all. I think teaching this music must be an apprentice/master relationship. A I'll-do-it-you-repeat-it teaching technique. So methods only go so far."

33) H. Halt

"Probably not very viable."

34) D. Champouillon "Yes. Exactly what I have been talking about in the previous answers." 35) J. Griffith

"It could be helpful to band directors. I also teach a class in improvisation which is a small combo format. I do use transcribing as apart of my teaching and I believe that transcribing. I don't think that there should be a set artists or solo that everyone should learn. Jazz is already, in my opinion, being stifled by an over emphasis on the language of bebop. The study of patterns I feel is particularly detrimental in the development of the individual voice." "

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36) D. Aliquo

"Yes. High school All State band auditions would be much hipper if they used a list. It would be much hipper to hear someone trying to play a Dexter solo. I suppose the list would be useful."

37) M. Nau

"Yes, because it will be more inspiring to these student to hear how his horn is supposed to be played."

38) D. Pope

"Yes. This is a great idea. Of course, the list would need to be expansive to cover all the instruments and styles. I like this idea a lot.""

39) A. Garcia

"Sure. People make such lists all the time."

40) M. Denny

"On the most basic high school level, perhaps. But in college, I think any attempt at devising a canon is already pretty well established-fro better or worse. It could potentially preclude an instructor from devising a curriculum ti f equally stimulating and vital solos from musicians who are arguably not as well establ ,hed in everyday discussions as Miles, Trane, Ron Carter, J.J. Johnson, Dexter, de."

41) V. Sielert

"Yes, yes"

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APPENDIXC

Question 1: What kind of music program do you have? Choral, instrumental, musical experience? Question 2: To what degree are your students visually impaired? Are their differing levels of mental retardation among your students? Question 3: Do they rely mostly on their ears? Have you had students who have been exceptional at listening and learning? Question 4: Have you done any work with Braille notation? To What degree do you use Braille notation? Do your students respond positively or negatively to the Braille notation? Question 5: Have you employed elements of the aural-imitative method in your own teaching procedures? Question 6: Compared to their visual abilities, do you find that ther~'s a difference in their ability to assimilate and retain musical information? In other 1ords do you fell that since they're using their ears more, do you fell that they retain it much more readily, much more thoroughly? Question 7: In a large group do blind students typically hear their own parts isolated from the group or in context of the group? Do you think they have problems tuning out other parts in order to focus on their own? Do you think they rely more on listening to someone next to them? Question 8: Based upon your experience, how feasi½le would an all aural-imitative system for teaching jazz band arrangements be? For example: A CD containing a 1) complete arrangement followed by 2) the individual parts (I st alto, 2nd alto, etc.) followed by 3) a track containing their part in context of the section.

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APPENDIXD Question I: What kind of music program do you have? Choral, instrument !, musical experience? Donna Marchand: "I have the choral program. I teach some recorder, different kinds ofrhythm instruments. I teach piano and voice. I also have group instruction groups of students who co, te in one at a time. (I witnessed the harmonica class and a piano lesson) Jim Stitka: It's definitely musical experience. We use drums and piano to a certain degree. We use recorders. We have dancing and that sort of thing. Bonnie Powell: (/ witnessed a voice lesson, bell choir rehearsal and a choral rehearsal.) Do you have an instrumental program? No. Within my time teaching here, we've had two different instrumental teachers. But we were only able to hire them for one or two mornings a week. After having them for a year, they accepted full time jobs. Julie Klopp: (I witnessed a jazz combo rehearsal comprised of students from the school for the blind and the private school.) We have choral, music experience, lessons in piano and voice and the jazz combo. Question 2: To what degree are your students visually impaired? Are their differing levels of mental retardation among your students? Marchard: "I have some who are totally blind and some who are just visually impaired. Most of mine are totally blind. They might have some light perception, some can see figures. But they can't distinguish colors or anything of that nature. As far as their mental capacity, most of the would be , ta medium level. They're not classified as mentally retardation, just learning disabled. There is one boy th ; I have that is blind and deaf ... he has hearing aids, he's the only one that I have like that. Stitka: They are definitely legally blind. Legally blind here is 22. But there's diierent levels oflight perception. In some minute respects they can see. But something that's farther away is tough. Powell: Every one has to be legally blind. 22 or worse. ( I witnessed a choral class that was categorized as mild mental retardation.) Klopp: Every student at the Indiana School for the Blind, since this is the most restrictive environment within the Special Education Continuum, must be visually impaired to attend school here. Student's visual impainnents range throughout the visual continuum from havi 1g field loss (central vision, peripheral vision), acuity that are low (for example 5/200), all the way to light perception (they can see that the lights are on, but can not identify the source), even to no light perception (I have a few students that were either born without eyes-anophthalmia- or had them surgically removed-enucleated- either way, they have prosthetic eye(s). Some like Philip {drummer) have sight in only one eye. Others have varying degrees of impainnent. There are different levels of mental capacity among some of them. Question 3: Do they rely mostly on their ears? Have you had students who have been exceptional at listening and learning? Marchand: "Their senses are heightened. They can tell when someone comes into the room and when somebody is close to them even if they're not saying anything. Stitika: "They rely on their ears. And they get by pretty well using them." Powell: Ears mostly, Some of their memories are astounding. Klopp: Yes. Josh (the keyboardist) has perfect pitch. He hears something twice and he has it. It's just pure sound to him.

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Question 4: Have you done any work with Braille notation? To What degree do you use Braille notation? Do your students respond positively or negatively to the Braille notation? Marchand: "I have a program called "dancing dots". I have a manual that has Br,-"illemusic notation that explains how that's done. The music teacher that was here before me used those books. She was blind as well. There are some students who now know how to read the Braille notation. I:' 1t I have not used that as yet. The ones I talked to responded positively. Particularly with piano. I had to tell them what notes they were and they would play them. They would like to have it in Braille Notation." Stitka: "We're just introducing it, but we're not really using it to any real degree because they're just learning to actually manipulate an instrument. They're just starting out. Powell: "We have five Braille music students right now. We have 2 students who use Braille music in their learning process, the others are learning Braille music. They a-reall really enthusiastic about it. Klopp: For some students, Braille music is the only method of written music that they can use (because of their visual impairment, they can not read print), but that is either too hard or too long of a process and they get frustrated. For some, it is a matter of cognitive functioning- they just don't "get" Braille music (they get confused because it uses the same symbols as literary Braille, and they can not differentiate between the two). Because of these issues, they have their music put on tape. Question 5: Have you employed elements of the aural-imitative method in your own teaching procedures? Marchand: That is basically what I use. Particularly with the vocal, we listen. If i 's a piece that I'm playing and they're singing I'll sing one line and the repeat it. Then I'll go through the 1 ;xt line. We'll do that a couple of times. We'll then go back and see what we remember. Do you do that with piano, too? I do. There are two pianos in my room so I can play one and they can repeat. I have one student who has hearing aids plays very well and he can pretty much hear a song and play it. He'~, very talented that way. It may not be exact, but he has the rhythm, melody and basic chords. Some educators make tapes of a students given part in order to help them learn it. Do you recommend this approach? What are your thoughts about this? In fact, I did that. What I do with the recorder is that they learn their part with a CD accompaniment that goes with it. I taped that for them. Their part is on the tape also. One has the recorder playing with the background and one does not have it. Stitka: I'll do little imitative things of how to sound. I'll do a quiet sound, for instance and they'll get quiet. So they imitate well. When you work with them in singing grr '-'PS,how do you go about presenting the music to them? We have the original recordings that they listen to an awful lot in the crafts room and the residence building. Also imitating-presenting the words. We have staff reinforce the words to all our songs. As far as instruments, we use recorders and they're practicing a lot. We let them take them home. They're working on it but a lot of it is still rote learning. Some educators make tapes of a students given part in order to help them learn it. Do you recommend this approach? What are your thoughts about this? I definitely use it myself. I'll give it to their class room teacher. I don't think listening to a tape won't necessarily make them not want to learn notation. I think the tapes are just a little bit quicker way to do it. introduce the recording first. I found that when I give them the recording, they tend to think they have to learn it all quickly. So I'll reintroduce the recording midway. Powell: Almost exclusively. We are teaching print readers and Braille readers ir, the same way. It is very difficult to teach them using either large print or Braille. Se we teach almost exc. 1sively by rote. How do you model music concepts? I give them their lyrics in Braille and in large print and always make a tape of their part at the beginning of the learning process. I would teach an instrumental ')rogram the same way. A piano teacher comes in and she teaches them the way she would teach anybody. 3he has a Suzuki background.

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Klopp: Yes, most students do, although to different degrees, and to different def Jes of success. For some, all I need to do is play it a few times and they can remember it, for others, listeni,1g to it for a while longer is necessary. I do not have (right now) any students doing transcriptions of any jazz solos. I have started introducing jazz soloing to a few of my freshmen, and have them listening to a fr"" jazz artists, but as of yet, they have not started to try to play how/what those artists are. Question 6: Compared to their visual abilities, do you find that there's a difference in their ability to assimilate and retain musical information? In other words do you fell that since they're using their ears more, do you fell that they retain it much more readily, much more thoroughly? Marchand: Than a sighted person? I think so. Stitka: "As far as using words, they'll surprise you. A lot of our students you saw today pick up words very quickly. I would say for the vocal thing, depending on the complexity, three weeks. I notice though, especially when memorizing something, that they never forget it. We did some songs with another school four years agoi, they still remember the songs. Do you see a difference in their ability to absorb the words or the pitches? I think they get the pitches first. Definitely. They'll know the instrumental parts. There are certain nuances and iriflections in music that aren't necessarily notated. How well do they pick up on those little nuances? They really do.I think they listen to the inflections more so that the words which is kind of better way because the notes to them are more important. Powell: Again, some of their memories are astounding. They're used to listening to music. This in one of the reasons why we encourage them to be in the music program-to develop their hearing. So whether people who are sighted have this same ability to listen? I have no idea. Klopp: It seems as if many more students here at ISB than in the public schools (and this is just from 3 years experience of teaching in public schools before 3 years here at ISB) have f. ther perfect pitch or relative pitch. I see it more with students who are totally blind (light perception or no light perception) than students who have low vision. I am guessing that this is because they can not rely on visual cues for anything, and so they have adapted to listening more and more critically than sighted peers. Question 7: In a large group do blind students typically hear their own parts isolated from the group or in context of the group? Do you think they have problems tuning out other parts in order to focus on their own? Do you think they rely more on listening to someone next to them? Marchand: Yes. We go over their part individually and play their parts. Then we put them together. If you took one person from each of the sections and put them together, and if they 're singing different notes or counter melodies, how well would they be able to sing? Some could, not all of them. There are some more musically talented than others who could do that. Stitka: That's definitely the goal. But I think being visually impaired, I think their attention to listening is a little bit better. They hear their part but they hear all this other stuff that's going on I think more so in the beginning. Do you think they have problems tuning out other parts in order to focus on their own? I think they can manipulate that. Sometimes they have to stop and help them with their part. But I think for the most part, our singers here can hear the whole thing. Powell: It really depends on the individual. I don't believe any from the group y, u observed would be able to do that. Klopp: I don't know what they typically hear. I try to have them hear how their ;.,art fits in with the group and who to listen to that has a similar part to them/different than they do. What I noticed when I first came to ISB is that the students could learn their parts individually, but when it came time to put it with the group, they couldn't. We have been working on playing as a group, not a group of people all playing at the same time.

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Question 8: Based upon your experience, how feasible would an all aural-ii, itative system for teaching jazz band arrangements be? For example: A CD containing a 1) l ,mplete arrangement followed by 2) the individual parts (1st alto, 2 nd alto, etc.) followed by 3) a track containing their part in context of the section.

Marchand: Sure. They do that with vocal arrangements. The series of books that I use have CDs to go with them. And they do divide parts on some songs. They would have part, then one sections singing. Then they would have another section with another part. And then they would show how it would sound together. Stitka: Absolutely. If you had a CD or a recording or midi system and sequencer, and if they can take it home and switch between tracks and on their own, they'll hear that within the other sections-as long as they can do it on their own. They must use their own learning process .... ifthere was some way they could mute parts-they can add that in, they'll learn quicker because they r.m say, "Great, I'm with the whole band now. I can't wait to get into school." I think listening to it as a whole, and then individual parts is definitely good because they can add the meat and potatoes. But especially the whole band together, with the verses, chorus-here's how the whole thing's going to sound. I think it's definitely a way, especially for the visually impaired. Powell: I don't know all that much about jazz or instrumental music for that matter, but I know when I occasion I'll make a tape for a part, I'll have a recording of all four parts and I'll put it on a another tracktheir part. I think it would be certainly feasible. Klopp: In theory, that sounds like a great idea. The problem that I personally have with this is that I try very hard to get the students reading music and writing music. Until students ge· to high school, there are Indiana State Music Standards for every level involving reading and writing mm c. If they have learned how to read and write music, why, then, would you not use it when they get to high school and can be in a jazz combo/ensemble? I think the CD idea is great to enhance what is written in print/Braille, but should not be used instead of. All of my students that use taped music as their primary :-.ourceof learning music (dare I say reading music) are also learning how to at least recognize notes in Braille and to write them out for theory assignments. Another problem with using only a CD or tape of the music is that many ofmy students will not play any other way than the recording of the song (very rigid in their playing). Creativity of solos and improv becomes just that much harder to teach, because that's not what they heard as an example on the recording Some unique insights:

Marchand: Are there publishers that tailor their musical offerings for students who are blind? I don't know of any. I've asked one of the companies, Pepper, if they had anything geared toward blind students. Another one, Plan Road, I've used some their things and they said the same thing. It would be very useful. Stitka: So if they learn something by rote, though the aural-imitative process method, you haven't found that they 're locked into it? No I have no experiences with that. They actually start adding their own personalities to it. Sometimes they'll add words. So they're able to assimilate it and the change and manipulate it? Right You had mentioned that there's this misconception about students who are visuallyimpaired-that they have this heightened musical ability that has more potential for development than someone who has all their visual faculties. Do you have any students who might have that gift for music that might carry on with it? I know we have students who have moved away to ther states, and they're playing and singing along. I think there's an unfair expectation because someone is blind they'll be a prodigy. After all, if you're blind, you must hear really well. Must have perfect pitch. Must be like Stevie Wonder. Powell: Have some of your music students gone onto careers in music? Yes. How closely related in music notation to alpha/numeric Braille? You mean literature Braille? They're both based on the six-dot cell. Music Braille is another language. It is easy to confuse the two.

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