From feedback regarding the last draft of the learning contract I was given advice that it wasn't completely clear what the aim of my project would be. The two options were that I was either going to give a performance that demonstrated my ability to improvise over the I,II,II,V,I chord progression or create a learning resource aimed at teaching classical musicians how to improvise over the progression. Upon consideration, I decided to choose the second option as I did not wish to be judged on my ability to improvise. In creating a learning resource, it should still give me the skills to improvise effectively over the chord progression, but will produce a product where the success of it can be measured using qualititive research. My project aim has therefore been adjusted to reflect this. In addition, there was too many objectives in the last learning contract so this has been condensed.
Aim of Honours
project
The overall aim of
this honours project is to create a leaning resource on how to improvise over
the common jazz chord progression I,II, II, V,I, aimed at classical musicians. It
is a recognised problem that classically trained pianists who attempt to
improvise often have great difficulty as their training does not always
facilitate the skills needed for effective improvisation. With a classical
training, this difficulty is perhaps best realised when the emphasis on playing
exactly what is notated on is considered. Improvisation, with its emphasis on
the freedom of the player, is completely at odds with this approach. Even with
high technical ability and knowledge of music theory the transition between the
two approaches is uncomfortable. This project will attempt to create a method
that greatly assists the classical player in making this transition. In
addition to the guide, there will be performance based examples included on a
DVD which should aid the learning process. One way of measuring the success of
the project would be to contact pianists that identify themselves as only
classically trained pianists and conducting a survey that ascertained their
understanding of improvisation before and after using the method.
Objectives of project
On completion of this
project, the objectives are to
1.
Define,
describe and discuss key aspects of the theory behind improvisation relating to
the associations between melodic structures which form the improvisation and
the differing harmonic structures which are possible within the chosen chord
progression. Do this with reference to existing improvisations.
2.
Define,
describe and discuss aspects of pedagogy, relevant to the appropriate teaching
theory context, required to ensure that the guide is of high educational value.
Also identify limitations of classical education in respect of improvisation.
3.
Apply
the research to produce a learning resource comprising an instruction guide and
DVD that fully explains the effect of harmony on improvisation and teaches the
practical application of this. This should ensure that a classical musician has
an accessible resource which they can use to learn to improvise effectively.
4.
Measure
the project by reference to the critical framework that should become
established as a result of using the one chord progression. E.G Explaining the
effect of harmony on improvisation by reference to what is normally done.
5.
Test
the overall aim of the project by contacting pianists who identify themselves as
classically trained and measure their ability and understanding, using a survey
and performance, before and after using the method.
Major tasks
For the first
objective
1.
Prepare
a bibliography of existing guides on improvisation and of transcriptions of
improvisations.
2.
Create
a glossary to define and describe key terms of improvisation theory and how
this is put into practice.
3.
Identify and describe recurring relationships
between improvisation and harmony that has been observed by reference to the
transcriptions.
4.
Ask
professional in field of jazz for advice on the application of the theory.
5.
Write
a review of these key terms and describe how this relates to the scope of my
project. E.G Identify difficulties that a classical musician would have in
applying this theory.
For
the second objective
1.
Prepare
bibliography of transcriptions and guides/ interviews of professional jazz
pianists on approaches to improvisation that use the chord progression I am
focussing on.
2.
Formulate
an appropriate analytical framework in order to make formative judgements.
3.
Identify
common approaches to improvisation over the same chord progression by reference
to the transcriptions and guides/interviews of jazz pianists. Analyse how different
harmonic structures over the same progression influences this. Look for
similarities in different musicians approaches.
For the third
objective
1.
Prepare
bibliography of books that explain teaching theory.
2.
Identify
and describe appropriate teaching strategies that will ensure that the learner
is engaged to what is being taught in the guide.
3.
Ask
professional jazz piano teacher for views on how to teach improvisation.
4.
Apply
the teaching theory to the guide to ensure its intended audience find it
accessible.
5.
Decide
what software I am going to use to create the guide.
6.
Decide
on the layout and format of the guide. This will be informed by reference to
teaching theory.
7.
Decide
on logistics of having performance based examples recorded. E.G, Will it
involve an ensemble?
8.
At
the end, have the guide professionally printed and any performance based
examples recorded onto DVD
For the fourth
objective
1.
Establish
the appropriate critical framework to measure the project against. This should
be achieved by taking the chord progression chosen and applying the research
that done on it. This way there is a justification for the methods that will be
explained in the guide.
2.
Ensure
testing is carried out whilst the guide is still in production. This will involve
gathering opinions of classically trained pianists and piano teacher. It will
identify whether the guide is achieving what it aims to do.
For the fifth
objective
1.
Contact
pianists at Stevenson that identify themselves as classically trained and ask
if they would like to be involved in the project.
2.
Devise
a testing method. To do this, concentrate specifically on what will be
explained in the guide.
3.
Test
their existing knowledge of improvisation before they use the guide using a
survey
4.
Test
their level of understanding after they have used it using a survey and a
performance.
5.
Analyse
results to determine how successful the project has been in achieving the aim.
Submission
Deliverables
1.1.1-
Bibliography
of guides on improvisation to be included on the blog.
1.2.1-
Glossary of terms to be included on the blog
1.3.1-
Identify and describe recurring relationships to be done on the blog and to be
included as part of literature review.
1.4.1-
Transcription of interview to be included on the blog and the main points
summarised in the dissertation
1.4.2-
Audio recording of interview to be included on blog and as part of the
pre-production/ project portfolio
1.5.1-
Review to be included in the literature review of the dissertation, the
research proposal and on the blog.
2.1.1-Bibliography
of jazz transcriptions and guides to improvisation to be included on the blog
2.2.1-
Formulate analytical framework to be included in the pre-production portfolio
and a full description of this process to be included in the blog and as part
of the methodology section of the dissertation
2.3.1-
Identify common approaches and analyse relationships between melodic and
harmonic structures to be done on the blog as it would include recordings.
Also, this could be included in the pre-production/ project portfolio.
.
3.1.1-
Prepare bibliography of teaching guides on the blog
3.2.1-
Identify and describe appropriate teaching theory to be done on the blog, also
as part of the literature review in the dissertation and the research proposal
3.3.1-
Transcription of views to be included on blog and recording to be included as
part of the pre-production portfolio.
3.4.1-
Applied teaching theory to be included in the methodology section of the
dissertation.
3.5.1-
Decide what software to be used to be included as part of blog.
3.6.1-
Layout to be discussed as part of methodology section of dissertation
3.6.2-
Final product will be a professionally produced guide where this can be judged.
3.7.1-
Performance aspects will be discussed on blog and as part of the discussion section
of the dissertation.
3.8.1--
A hardback copy of the guide will be submitted.
3.8.2-
CD’S and DVD’S of performance material will be submitted. This can also be
included on the blog.
4.1.1-Critical
framework to be discussed on blog and as part of the methodology section of the
dissertation. Also research needed for
this will be included as part of research proposal.
4.2.1-
Results of testing to be included on blog and as part of the results and
discussion section of the dissertation
.
5.1.1-
Gather list of all those involved. State how many people involved and musical
background on blog and testing section of the dissertation.
5.2.1-
Testing method to be discussed in blog and as part of methodology section of
dissertation.
5.3.1-
Existing knowledge to be discussed on blog and included as part of the
methodology
5.4.1-
Results of testing to be included on blog and as part of the results and
discussion section of dissertation.
Resources
The resources that I
need would comprise of musicians for any ensemble performances and a means to
record these. I am already in a jazz trio and could probably have access to
recording facilities at Stevenson in order to record compositions. If I am to
get the guide printed professionally then this will probably cost some money
which I am willing to fund myself. I also have a wide range of literature to
refer to, most of which can be borrowed from libraries. So far this consists
of:
Harmonic experience
W.A Mathieu Inner Traditions
International 1997 – This
explores harmony from its natural origins and so would be useful to form an all
rounded view of harmony.
Keyboard Jazz Harmony
Baerman 2000 Alfred- This teaches the
music theory side of jazz harmony.
Music and Mind in
Everyday Life Clarke, Dibben, Pitts Oxford
University Press 2010- This books discusses music and psychology which again
should help in understanding why certain intervals have particular effects on
people. It also has a chapter on improvisation, so by understanding the
psychological elements involved in the process of improvisation, this should
help in establishing the correct mindset.
Instrumental teaching
Janet Mills 2007 Oxford Music education series- This is beneficial in understanding
the teaching theory required for my project. It also has a section on improvisation.
Great Jazz Piano
solos Omnibus press wise 2005- This
comprises of transcriptions, some of which use the chord progression that I am
focussing on and so provides clear case study examples.
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