1. Any quarter or eighth-note followed by a rest is played (or sung) short. If not followed by a rest then they are played long unless the following rules apply.
2. Quarter notes that occur on the downbeats of 1 or 3 are usually played long.
3. Quarter notes that occur on the downbeats of 2 und 4 are usually played short.
4. Quarter notes (or the equivalent thereof) that occur on an upbeat between two eighth notes (or rests) are played short.
5. All upbeat entrances after a rest should be an- ticipated with an accent.
6. A succession (three or more) of quarters (or equivalent) on consecutive upbeats is usually played long.
7. Two eighth notes followed by a rest are articu- lated with the syllables doo-dot.
8. In a line of eighth-notes, accent the highest note and any wide leap changes of direction, and ghost (swallow) the lowest note.
9. Triplet eighth-notes are usually articulated by slurring the first two and tonguing the last one.
10. Any note longer than a dotted quarter moves dynamically up or down and is played long.
11. Dynamics in a line of eighth notes usually follow the direction of the line.
12. All three notes of a quarter-note triplet are played long.
Not all published jazz charts will be marked clearly. Many times you will have to add the markings, articulations, and shadings and make decisions about interpretations. To continue to grow and gain expertise in this area is essential. The way to accomplish this and most other jazz nuances is through continued listening (Dunscomb & Hill, 2002).
Most classically trained musicians have spent many years learning and perfecting the skills needed to be successful with traditional concepts, phrasing, and articulation. To expand, adapt, and vary the concepts for the jazz style is a skill acquired only by listening and imitating accomplished jazz masters. This authentic American art form has a nomenclature and language all its own, and according to Clark Terry, one of the great jazz trumpeters, the road to success in jazz is to imitate, emulate, and hopefully innovate. It is only through meticulous work and continued attention to detail that we are able to overcome our apprehensions and attain an authentic performance in any genre.
Resource Dunscomb, J. R., & Hill, L. W., Jr. (2002). Jazz pedagogy the jazz educator’s handbook and resource guide. Mi- ami, FL: Warner Brothers.
Kodaly of the Ozarks KOZ
November 2, 2013: 9:00am – 1:00pm Willard Orchard Hills Elementary “Ukuleles and More”
February 15, 2014
“Partner Songs” and “How to Advocate” Sandy Knudson, presenter
April 5, 2014: Willard High School Auditorium Annual Honor Choir for grades 3-6
June 22-July 3, 2014: Kodaly Certification Levels I, II,III Rene Spencer, instructor
For more information contact:
Natalie Miller,
nataliesneedmiller70@gmail.com, and visit
www.evangel.com
Fall 2013 13
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