Ann Collins Teaching
PREPARING STUDENTS FOR THE SCHOOL JAZZ BAND
THINGS THAT BAND DIRECTORS MIGHT NOT KNOW
ABOUT THE INSTRUMENT
Pianists are too often given an inadequate instrument--like an old upright piano turned so the band can sort of hear it, but the pianist can barely hear himself. Then, for the concert, the piano is miked and the difference is a difficult adjustment. If a quality grand piano or a well-miked and tuned upright is not a possibility, consider an electronic keyboard that stays in tune and has infinite volume control. Be sure the pianist can clearly hear what is being played.
ABOUT BENCH HEIGHT
It is extremely important that the elbow is parallel with the hand when sitting with the fingers resting on the keys. Buy adjustable benches rather than use any old chair that happens to be in the band room. Pro shops have inexpensive but durable adjustable benches.
ABOUT FINGERNAILS
When they are too long the student cannot produce a good tone or move around the keys easily. Look at the hands with the palms facing you at eye level. If you can see nails, they are too long. Check this regularly if it's a girl who is not
currently taking piano lessons. Keep nail clippers in your desk.
ABOUT MARKING FINGERING
Writing in the fingerings, before rehearsing with poor fingering choices, can save much time and produce much better results. Students are often lazy about this so you have to not only give them the opportunity to do this with a new chart, but also check to make sure they've done it.
ABOUT TONE PRODUCTION
Young pianists too often do not play to the bottom of the key bed so the tone is shallow. The tendency to pull out of the key and overuse the pedal instead of feeling legato connections with the fingers is also common.
ABOUT CHORD VOICINGS
If the written-out chords are too complex and/or are coming too quickly, play at least the 3rd and 7th with the left hand, and add at least a triad in the right hand. In subsequent practice, be sure that all alterations are being considered and try to include any extensions like 9th, 13ths.
ABOUT WORKING WITH THE PIANO TEACHER
Most independent piano teachers are both willing and capable of helping the student be a more successful jazz band pianist. Let the teacher know what needs to be done from your point of view. You can work together to improve
poorly written piano parts.
ABOUT PEDALING
Young pianists need to be reminded that comping sounds much, much better without sustaining pedal. Too often, a nervous beginning jazz pianist unconsciously depresses the pedal and may need many reminders before this bad habit gets corrected.
THINGS THAT THE STUDENT MAY HAVE NEVER ENCOUNTERED
COUNTING MEASURES OF REST & NOT GETTING LOST IN THE SCORE
If the student has had no instrumental ensemble experience this can be a major problem during the first few rehearsals. Initially, the student may need to just point and count measures through the chart before trying to actually play the part. Pianists are not accustomed to seeing so many repeats,
measures of rest, skipping to the coda, etc., that are found in most band charts.
FOLLOWING A CONDUCTOR
Again, if the student has not had instrumental or choral ensemble experience, some instruction in this area will be helpful.
NOT BEING ABLE TO HEAR THEMSELVES CLEARLY
Solo pianists are accustomed to hearing themselves and only themselves while playing, and playing with the band can be very frustrating in this regard. It takes a while to learn to listen to the entire ensemble and hear how the piano fits in. A poor instrument makes this even more difficult.
SPENDING QUALITY TIME DURING LITTLE SECTIONALS
Pianists can become impatient while the conductor works with other sections. It often does not occur to young pianists that they can do more than daydream while the conductor is focusing on the trumpet section. This is a good time to work on fingering, do silent pattern practice, etc.
HOW TO SIMPLIFY AND CONQUER: THE FINE ART OF WHAT TO LEAVE OUT
When new charts are passed out, the jazz band pianist is sight-reading complex jazz rhythms and big chords. Sight-reading skills developed in all styles of music are especially important in jazz ensemble.
TO STAY OFF THE PEDAL
There are very few instances where the sustaining pedal should be used in jazz styles. It is difficult for insecure beginning jazz pianists to remember to keep the foot off the pedal.
THINGS THAT PIANO TEACHERS MIGHT NOT KNOW
WHAT JAZZ BAND CHARTS LOOK LIKE
The student is likely encountering some huge six- and eight-voiced written out chords that are beyond anything encountered in the classical repertoire at this level. The piano teacher can help the student learn which tones are most
important and how to effectively reduce the chords that are physically beyond the student. Many piano parts are not pianistically well written and may need modification.
HOW TO TEACH CHORDS AND CHORD VOICING
Chords are chords—in jazz or classical music. The teacher does not have to be a jazz player to teach the harmonic theory that the student needs. Check with the band director about voicing preferences and follow suggestions in a number of good voicing texts. (Jazz Works by Ann Collins; Jazz Chord Voicing by Bill Boyd; Jazz Piano Voicing
Skills by Dan Haerle; Voicings for Jazz Keyboard by Frank Mantooth; Jazz Piano Concepts & Techniques by John Valerio; Beginning Jazz Keyboard by Noah Baerman)
HOW TO HELP WITH THE IMPROVISED SOLO
Students should learn to improvise in all styles of music. Teachers should include a short improvisation segment in every lesson from beginners to advanced for general musicianship purposes. The student will be able to then apply
basic melodic/rhythmic construction principals to jazz style by listening to lots of good jazz recordings. Start with Approaching the Standards by Willie Hill which includes CDs (vol. 1-3)
