Don Zentz The Bolles School Jacksonville, FL FMEA 2008

1. Jazz Chart Selection What's in YOUR Folder? Don Zentz The Bolles School Jacksonville, FL FMEA 2008

2. Man, That’s a Good Chart!

3. What are the features of a good chart? Reference Download: “Characteristics of a Good Chart”

4. Great charts are aesthetically pleasing in some way(s) - they offer a balance of accessible (familiar) melodic, harmonic, rhythmic & timbral elements with new or surprise twists that prevent the predictable & mundane. As always, good music should mirror the good life - a balance of routine & spice. This, of course, has to be couched in good logic - melodic & harmonic material must "lay well" (make sense). One of the best examples of this supposition is the writing of Rob McConnell - he arranges great charts on well-worn standards by maintaining interest through new combinations of melody, harmony, rhythm, timbre - all in good taste & within an accessible framework. Of course this leads to the fact that most good charts are done by a few good writers, whose names should be familiar. Bob Greenhaw Director of Jazz Studies (retired) Valdosta State University

5. Chart List - Grades 2 -5 (Over 575 listings) Swing ~ Latin ~ Latin-Swing Ballads ~ Jazz Waltz Rock/Funk ~ Other Reference Download: “Chart Recommendations for School Jazz Ensembles - DZ”

6. Key to Grade Leveling +/- denotes which end of grade level (3- / less difficult grade 3)

7. The grade leveling on my chart list is realistic. • A publisher “grade 2” rank may appear as a 3- on my chart list. • A publisher “grade 4” rank may appear as a 5 on my chart list. • Even with the FBA concert band list, we find publisher rankings being bumped up a notch so that it’s realistically accurate.

8. Key Elements That Should Be Present on Charts Grades 1 - 3 • Full score • Full recording of chart • Notes to the conductor, with rehearsal suggestions • Clear information on the style of the chart • Written-out rhythm section parts • Reasonable ranges for all players • Reasonable and repeated jazz figures for the ensemble • Complete dynamic and jazz articulation markings throughout • Solo sections with simple chord changes that can be opened up for more instruments • Consistent notation of chord symbols • Emphasis is on educational material, both in theory and practice. • (from Jazz Pedagogy / Dunscomb & Hill / 2002 / p.165)

9. Grade 4 • Because of a higher standard of technique, range proficiency, and overall stronger musicianship in the developmental process, Grade 4 charts provide more meat to sink your teeth into. • The result is a more mature sounding musical product all the way around, if the band is truly at this level. (Just like with concert band grade leveling) • The challenges promote educational growth. • Most of the charts on my list are Grade 4 – common HS situation.

10. Grade 4 • Whereas a Grade 2 or 3 / Grade 5 or 6 is more gray to determine, a Grade 4 chart is pretty clear in terms of where it falls. • It should still have fully written out rhythm section parts. This fades with Grade 5 and 6. • More complex harmonies – affects improv • More technical demands in playing lines and keeping up with the time. • Ensemble precision is a challenge - comes through rehearsal. • Stylistic integrity and uniformity of articulation a must. • There is an opportunity to make mature sounding music.

11. Sampling of HS charts from DZ list • There Will Never Be Another You (arr. Tomaro - 4) • Samantha (Nestico - 4) • A Minor Excursion (Caffey - 4+) • ‘Round Midnight (arr. Tomaro - 4) • Some Kind of Blue (arr. Tomaro - 4) • Darn That Dream (arr. Mantooth - 3+) • Willow Gold (Nestico – 3+) (c) 2008 Don Zentz

12. Sampling of MS charts from DZ list • The Q.C. Shuffle (Chris Sharp – 3+) • Mister Cool (Mike Steinel – 2) • T.M.I. (Ralph Ford – 2+) • If I Could Fly (Mike Smukal – 3-) (c) 2008 Don Zentz

13. For Middle School • Mike Sweeney • Peter Blair • Carl Strommen • Lennie Niehaus • Sammy Nestico • Ralph Ford • Mike Kamuf • Erik Morales • Paul Cook • Mike Dana • Doug Beach • George Shutack • Chris Sharp • Greg Yasinitsky Charts by these folks are going to work! (c) 2008 Don Zentz

14. Mark Taylor Mike Tomaro Lennie Niehaus Matt Harris Peter Blair Dave Wolpe Doug Beach Sammy Nestico Victor Lopez George Holmes Steve Wright Paul Murtha George Stone Les Hooper Paul Lavender Carl Strommen Paul Jennings Erik Morales Frank Mantooth Dave Barduhn Bob Lowden David Caffey Greg Yasinitsky John Berry Roger Holmes For High School

15. The Chart Hunt • Bulk is in print for only short period of time • Worthy of continued play (and not just the classics) • Like we do with out of print symphonic band music, we need to network to locate and borrow jazz charts. (c) 2008 Don Zentz

16. Where to look • Eau Gallie HS – Melbourne • Satellite Beach HS • Orange Park HS – Jacksonville • St. Augustine HS • Wolfson HS - Jacksonville • Apopka HS - Orlando • University HS – Orlando • Colonial HS – Orlando • West Orange HS – Orlando • Gainesville HS (c) 2008 Don Zentz

17. Where to look • Fort Walton Beach HS • Pace HS – Pensacola • Tarpon Springs HS • Boca Ciega HS • Mainland HS – Daytona • North Ft Myers HS • Spruce Creek HS – Pt Orange • Florida Community College at Jacksonville • Daytona Beach Community College • Seminole Community College (c) 2008 Don Zentz

18. Where to look • Lake Sumter Community College • Broward Community College • Central HS – Macon, GA • Walton HS – Marietta, GA • Lowndes HS – Valdosta, GA • Valdosta State University • Miami Senior HS • Hialeah Lakes HS • Piper HS – Ft. Lauderdale • Taravella HS – Ft. Lauderdale (c) 2008 Don Zentz

19. Your Ensemble Strengths & Weaknesses We all have them. We must assess accurately and honestly.Select music that is suitable for your jazz band.Use Common Sense!! (c) 2008 Don Zentz

20. Choosing Music For MPA Showcase your strengths. It is a time for the authentic assessment of your students’ mastered skills and musicianship to date. Select material that meets this goal. A good fit is everything! (c) 2008 Don Zentz

21. SELECTING YOUR MPA PROGRAMSuggested order

22. SELECTING YOUR MPA PROGRAMMost common order

23. Some things for fun at Spring Concert only • Pop tunes of the day • Old Time Rock and Roll • Theme from Shaft • Evil Ways • Brick House • Born to be Wild • Car Wash • I Feel Good If you have to… (c) 2008 Don Zentz

24. Not at MPA An All Glenn Miller Program • String of Pearls • Tuxedo Junction • In the Mood • This is dance band music of the 1930’s. • It’s important to trace back to the roots of the big band - program on other concerts. • Furthermore, these three selections are all blues based. (c) 2008 Don Zentz

25. For Old School, try these: • Middle School Jericho – arr. Chris Sharp – 3- • High School Tickletoe – Lester Young/arr. Wolpe – 4+ (c) 2008 Don Zentz

26. Authentic Duke Ellington Look for the charts published in conjunction with the Essentially Ellington Festival that Wynton Marsalis is affiliated with via the Lincoln Center Orchestra!!! Stylistic integrity is a must with these charts! Great stuff if you have the soloists! Much research required!! (c) 2008 Don Zentz

27. I would not recommend an all-Ellington program for MPA because you want diversity and contrast in that venue.There are some issues with how things are scored and voiced on the Ellington charts that make it very difficult to satisfy fundamental requirements of the MPA sheet in a superior manner.Balance ~ Blend ~ PitchAs with transcriptions of any sort, there is a strict standard in authentically reproducing the music.

28. Grooving in "3" Search out charts that are in ¾ time. These are often overlooked. They have a time feel all their own and challenge performance skills in different ways because of the beat displacement. They swing hard in a special way, especially when in the modal minor blues format. Buddy Rich taught us this with Bob Florence’s “Willowcrest”.

29. Grooving in "3" • Blues for McCoy (Jim Cifelli – 3+) • Three for Bea (Dean Sorenson – 3+) • Footprints (arr. Berry - 3) • All Blues (arr. Sweeney – 2+) • Here, There, & Everywhere (arr. Taylor - 4) • Alice in Wonderland (arr. Holmes – 4) For MPA, I would slot these in the opening position. (c) 2008 Don Zentz

30. HOW TO DEAL WITH INCOMPLETE INSTRUMENTATION If you have incomplete jazz band instrumentation and the ability level of the band is about average, check out what used to be the Kendor Konvertible Series via the current Jazz Gateway and Jazz Journey Series through Kendor. These charts really work and there are many to pick from. It is amazing how full they sound with incomplete instrumentation, playable with 9-17. Some of Kendor’s best writers contribute to this series, including Matt Harris, Lennie Niehaus, Greg Yasinitsky, Maria Schneider, and Les Sabina.

31. INCOMPLETE INSTRUMENTATION The Doug Beach counterpart to the old Kendor Konvertibles is indicated “...playable by 12-17 pieces.” Some of these were collaborations – Doug Beach & George Shutack. The FJH Beginning and Developing Jazz Ensemble Series address groups with incomplete instrumentation. The Hal Leonard’s Discovery Jazz, Easy Jazz Ensemble, and Essential Elements series can all be played with incomplete instrumentation. The Heritage Jazz Works Series can be played with incomplete instrumentation. This does not include the Heritage charts as part of Matrix Publishing Co. The Standard of Excellence Series published by Kjos accommodates incomplete instrumentation.

32. JAZZ CHART CALLS FOR STANDARD INSTRUMENTATION Not enough kids to cover parts, or too many kids in some sections What to do…?

33. In general, drop lower parts (4th trumpet, 4th bone, 2nd tenor) • If no bari sax, you may want to drop 3rd bone if you have only 3 players in the trombone section • Depends on scoring. Lots of times, the 3rd bone or 2nd tenor will have 7th of chord voicing above root in the 4th bone or bari. This presents a problem if you don’t have the 7th present. At other times they may have the 5th, which is much less critical.

34. Use baritones or euphoniums in trombone section, especially if 7 trumpets and 2 bones!! • Rewrite parts! Take the time to remedy problems. It matters!! • Too many brass, double lower parts. Typically weaker players - builds bottom. • Do not double lead trumpet. Do split lead. Need one leader at a time.

35. Do not double 2nd trumpet. Too heavy vs. lead. Top tones heard naturally and strongest players. • There is a a delicate balance and blend brilliance that must exist between trumpets 1 & 2 if band is going to have “that sound” on block tutti’s without being too heavy. Do not make this impossible to achieve by doubling either top two trumpet voices. • If you are moving solos around, the part that is being left open because of shifted solo moves needs to be covered. Background figures need balance, too!!

36. FROM SOLO TO SHOUT Cover soloist’s part until he/she makes way back if you have extra players. If you don’t have extra players, have the soloist play his solo from within the section. It matters!!

39. Here comes the Saxophone Army! • Do not double lead alto • In typical situations, the lead alto player is much stronger than the 2nd alto player. Double 2nd alto. • Do not double 1st tenor. This huskier sounding instrument is already potentially dominant over the alto sound as the typical 3rd voice in the stack. And usually the 1st tenor player is strong, anyway. (c) 2008 Don Zentz

40. Double the 2nd tenor. This part then balances better against the big bad bari sound (and can help make up for weaker bottom bone players.) • Still another player to deal with? Double the bari, but split them left and right in section so we don’t tip. (c) 2008 Don Zentz

41. T1 A2 A1 T2 T2 B Best 6 configuration = Not as good as above T1 A2 A2 A1 T2 TB

42. T1 A2 A2 A1 T2 T2 B B T1 A2 A1 T2 T2 B Best 7 configuration = Max preferred A2 YIKES!! 8 is enough!

43. No more players allowed in section! Our sax section sound is already dangerously heavy and thick. If there’s an up-tempo, we are dead! • Rotate players in and out. • 10 saxes and 2 trombones! Put two tenors or tenor/bari in bone section! And have them sit in the 2nd line trombone section. (c) 2008 Don Zentz

44. Saxophone MOUTHPIECES • Don’s mouthpiece chart (c) 2008 Don Zentz

45. Standard of Excellence Jazz Ensemble Methodby Bruce Pearson & Dean SorensonDesigned to help both you and your jazz ensemble students explore the world of jazz through easy-to-use Rhythm Studies, Improvisation Studies, Instrument Specific Exercises, and full ensemble jazz charts. The approach is non-theoretical and aurally-based. Each part book comes with an accompaniment CD, so students learn to play jazz by listening! (c) 2008 Don Zentz

46. Standard of Excellence ADVANCED Jazz Ensemble Methodby Bruce Pearson and Dean Sorenson Building upon the rhythm-centered pedagogy introduced in the first book, the ADVANCED method focuses on improvisation. Concepts introduced and reinforced are applied in charts designed to be played by the full jazz ensemble.The Director's Score is an invaluable resource of jazz pedagogy. Parts available for flute, clarinet, French horn, and tuba ensure that the study of improvisation is also accessible to students of non-traditional jazz instruments. (c) 2008 Don Zentz

47. Heritage JazzWorks Jazz Basics by Peter BlairThe fundamentals of improvisation for young musicians (grades 6-9).Designed for use with jazz ensemble.Covers rhythm section skills, voicings, bass lines, drum styles and set ups.Laid out very logically. (c) 2008 Don Zentz

48. Digital Dexterity Students can work out on logical scale material and patterning that is the basic DNA of all jazz improvisation.Available from Z&Z Publications (c) 2008 Don Zentz

49. PIANO (c) 2008 Don Zentz By Dan Haerle By Frank Mantooth

50. BASS (c) 2008 Don Zentz By Kris Berg By Todd Coolman