My first task was to compile a bibliography of resources which I am to use in order to create a glossary of key terms of jazz theory. This is to help with answering What are the key aspects of the theory of improvisation and how is this applied practically? So far this comprises
Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hal Leonard
Boyd,B.(1997)Jazz Chord Progressions, Hal Leonard
Bearman,N.(2003),Big book of Jazz Piano Improvisation, Alfred
Hussey,C.(2007)Great Jazz piano solos,(Music scores), Wise publications.
Levine,M.et al.,(1995),The Jazz Theory Book, Sher Music
NewJacksWing, (1974) Oscar Peterson and Andre Previn,(Web Video), Available at http://www.youtube.com/watch?v=55wYm8csHC4&feature=related (Accessed 29th December 2011
Peterson,O.(2005),Oscar Peterson-Jazz exercises, Minuets, Etudes and Pieces for Piano, Hall Leonard
Thunderfunkamp,(1979) Oscar Peterson Piano Lesson,(Web Video), Available at http://www.youtube.com/watch?v=ec-FrnaU0rs&feature=socblog_th (Accessed 29th December 2011).
Friday, 30 December 2011
Friday, 9 December 2011
First tasks Pre Production
My first objective is:
With reference to existing improvisations, 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. (For example see Hussey, 2007, p5)
I am due to start this in December and so have to think about what resources I will need. As the chord progression is I-II-II-V-I, I am in the process of gathering recordings where improvisations over this can be heard. Among this includes
Oscar Peterson- Girl from Ipanema
Take the A Train- George Benson
Moon Indigo- Duke Ellington
As these are recordings, it will require me to transcribe improvised sections in order to see the association between harmonic and melodic structures. It is hoped that the act of trascription, by way of the concentration that it involves will result in a strong understanding of the melodic and harmonic association of the improvisation. In adition to this, I will study music scores which already have improvised sections transcribed. Following this stage, I will have to analyse the transcriptions to look for recurring themes and to understand the varied harmonic possiblities possible with just the one chord progression. In order to demonstrate this, I have decided that I will post recordings of myself playing these different possibilities along with an analysis.
With reference to existing improvisations, 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. (For example see Hussey, 2007, p5)
I am due to start this in December and so have to think about what resources I will need. As the chord progression is I-II-II-V-I, I am in the process of gathering recordings where improvisations over this can be heard. Among this includes
Oscar Peterson- Girl from Ipanema
Take the A Train- George Benson
Moon Indigo- Duke Ellington
As these are recordings, it will require me to transcribe improvised sections in order to see the association between harmonic and melodic structures. It is hoped that the act of trascription, by way of the concentration that it involves will result in a strong understanding of the melodic and harmonic association of the improvisation. In adition to this, I will study music scores which already have improvised sections transcribed. Following this stage, I will have to analyse the transcriptions to look for recurring themes and to understand the varied harmonic possiblities possible with just the one chord progression. In order to demonstrate this, I have decided that I will post recordings of myself playing these different possibilities along with an analysis.
Thursday, 8 December 2011
Project proposal
In completing the project proposal I had to slightly alter the objectives that were stated in earlier drafts of the learning contract. Now that the primary focus of the project concerns creating a self-development learning resource for classical pianists, I have added an objective about identifying the limitations of a classical education in respect of improvisation. I feel that this is crucial in order for me to plan the project effectively as understanding and addressing these limitations forms the basis of my project.
AG1064A: Professional Practice – Project Proposal
Project Title:
Improvisation method for classical musicians
Proposer: Frazer Mitchell
Student Number:
Programme: Music Performance
Specialism(s): Improvisation, Pedagogy, Musicology, Harmony
1. Abstract (Approx 250 words)
It is a recognised problem that when classically trained musicians attempt to improvise, they often experience great difficulty as their training does not best facilitate the skills needed for effective improvisation. This difficulty is perhaps most clearly exemplified by the emphasis placed in a classical approach on playing the music exactly as notated. The overall aim of the project is therefore to create a self-development method, aimed at the classical musician that forms an accessible guide on how to improvise effectively. The guide will focus on the I-II-II-V-I chord progression, which should make the project of manageable scope and provide a critical framework. The methods used will involve researching the following: transcriptions of improvisations, teaching theory, limitations of a classical education in respect of improvisation, harmony and experts opinion. With reference to these research sources, an informed guide will be created that specifically addresses the needs of the classical musician. Along with the guide will be audio and visual recordings of what is taught which will act as a further aid to learning. In order to measure the success of the project, participants will contribute to a survey, questionnaire and performance that will ascertain their understanding and ability to improvise after using my method. In order to ensure that the testing measures the project accurately, participant’s knowledge and ability to improvise will be determined before they use the method. The participants will be gathered by contacting all pianists at Stevenson College.
2. Project Aim and Objectives
The aim of the project is to create a guide and DVD, which will form a self-development approach to jazz improvisation, aimed at the classically trained pianist.
On completion of this project the objectives are to
1. With reference to existing improvisations, 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. (For example see Hussey, 2007, p5)
2. Identify limitations of a classical education within the context of jazz improvisation. Addressing these limitations will form the basis of the guide.
3. 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.
4.
From research done on existing improvisations, establish the critical framework to be used in order to design and develop the methods. Produce a self-development resource comprising an instruction guide and DVD that should ensure that a classical musician has an accessible resource which they can use to learn to improvise effectively.
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.
3. Rationale
It is a recognised problem that a musician who has been classically trained often finds the transition to improvisation uncomfortable as their training, with such an emphasis on notation, does not best facilitate the skills required for it. “The very thought of making music apart from the printed page can be intimidating for many musicians, and this challenge may be exasperated when style- specific constraints are imposed at the onset”.(Sarath 2009) The aim of this project is to create an important self-development resource which aims to bridge this gap by teaching concepts using methods that a classical musician would understand. Relevant studies done so far include "Investigating musical performance: commonality and diversity amongst classical and non-classical musicians", (Creech,et,al 2008)
This review article focuses on aspects of musicianship that are similar amongst classical and non-classical musicians and where the differences lie. The study presents evidence from questionnaire data of 246 undergraduates and professional musicians. The results show that classical musicians place the advancement of notation based skills as their main priority. (Creech, et,al 2008 p1) They regard the ability to improvise as the "least important skill" (Creech, et al, 2008 p8) This gives evidence as to the problem that this project attempts to address. If classical musicians prioritise notation based skills, then it suggests that emphasis on notation becomes a characteristic feature of a classical musician. It is understandable then, that the classical musician finds this difficult to escape from.
“A classical approach to jazz piano improvisation” (Alldis, 2008) is a teaching method tailored to pianists from a classical background. The author states in the preface “like many jazz pianists today, I have a background in classical music. Since 1993, I have taught jazz piano to classical pianists at the Royal Academy of Music in London “(Alldies, 2008, preface) It is clear then, that there is a group of people who are classically trained, but who aspire to extend their musicality beyond the classical genre. “A classical approach to jazz improvisation”, teaches concepts with much emphasis on notation, therefore being accessible to its intended audience. It explores what scales to use over what chords, left hand accompaniment patterns and has a chapter on Be-bop. As the proposer’s method is going to use the I-II-II-V-I chord progression throughout its entirety, there is a different framework applied. This should result in the user becoming especially proficient at improvising over the one chord progression.
Other key references include ‘Music and mind in Everyday life’. This book discusses musicology and has a chapter on improvisation which will inform the delivery of teaching methods. By understanding the psychological elements involved in the process of improvisation, this should help in establishing the correct mindset to improvise. This may be one of the underlying reasons classical musicians find difficulty in improvising. ‘Spontaneous creation is a fiction: A free improviser always starts from some state of consciousness’ (Clarke, Dibben, Pitts, 2008) As the finished product is to be a self-development learning resource then understanding and applying pedagogy within this context is crucial. ‘Practical piano pedagogy’
Focuses on how students learn and the best way of communicating what is to be learnt. It discusses structure and how students can learn by association of knowledge that they already have. (For example see Jordan, 2003, p75) Jazz pedagogy, gives advice on how to teach jazz, recognising it is a different discipline to that of classical music. (For example see Baker, 1978, Preface). ‘Diverse methodologies in the study of music teaching and learning’, details different methods to use for a variety of learning settings. (For example see Thompson, Campbell, 2008, foreword) Drawing from these different methods and applying them to the context of the project should help address the problem that the project will attempt to address.
(Clarke, Dibben, Pitts, 2008)
4. Project Methodology
The project aims to create an accessible teaching guide aimed at classical musicians that allows them to improvise. The methods associated with this involve:
For the first objective- analysing the theory of improvisation. This will involve researching existing improvisations and guides on improvisation. Recurring relationships between harmony and improvisation can be observed and analysed. This should form an in-depth understanding of the theory which can then be put into practice come the production stage of the guide.
For the second objective- Identify limitations of a classical education within the context of improvisation. This will involve researching classical tuition methods and the ABRSM classical syllabus to identify what is lacking in a classical training in respect of improvisation. The guide will attempt to address these difficulties which form the rationale of the project.
For the third objective- Understand learning theories. This will involve researching pedagogy within the context of a self-development learning resource. This will ensure concepts are taught in the most appropriate manner. This objective will be informed by the intended audiences needs.
For the fourth objective- Production of the guide. This involves establishing the critical framework from research done which should facilitate the design, development and justification of the methods used in the creation of the guide.
For the fifth objective- This involves finding a reasonable sample of participants in order to measure the success of the project. In devising the test, the participants existing knowledge will be carefully analysed so that results are objective.
5. Outcomes and Deliverables
Submission Deliverables
1.1.1- Bibliography to be included on blog.
1.1.2- Glossary to be included on blog
1.1.3- Analytical framework to be discussed on blog and as part of methodology section of dissertation.
1.1.4- Identify recurring relationships to be included on the blog and to be included as part of pre-production/ project portfolio.
Transcription of interview to be included on the blog and the main points summarised in the dissertation
2.1.1 Bibliography to be included on blog.
2.1.2- Identify and describe aspects of classical training which could help the classical pianist to improvise to be discussed in Methodology section of dissertation and on blog.
2.1.3- Identify and describe aspects of classical training which acts as a barrier to improvisation to be discussed in Methodology section of dissertation and discussed on blog.
2.1.4- Drawing conclusions from research to be included as part of Methodology section of dissertation.
.
3.1.1- Prepare bibliography of pedagogy resources to be included on the blog
3.1.2- Identify and describe appropriate learning strategies to be done on the blog, also as part of the literature review in the dissertation and the research proposal.
3.1.3- Transcription of views to be included on blog and recording to be included as part of the pre-production portfolio.
4.1.1- Establish critical framework to be discussed on blog and as part of methodology section of dissertation. Research needed for this to be included as part of the research proposal.
4.1.2- Decide on software to be included as discussion on blog and as part of methodology section of dissertation.
4.1.3- Layout and format to be apparent in final product which will be a paperback guide.
4.1.4- Provide a suitable rhythmic backdrop to be evident on the DVD.
4.1.5- Paper back guide and DVD to be submitted as evidence of the finished product.
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.
5.1.2- Testing method to be discussed in blog and as part of methodology section of dissertation.
5.1.3- Existing knowledge to be discussed on blog and included as part of the methodology section of dissertation.
5.1.4- To be actively updated on the blog and the process summarised in results and discussion section of dissertation.
5.1.5- Results of testing to be included on blog and as part of the results and discussion section of dissertation.
5.1.6- Analyse results to be included in the results and discussion section of dissertation. It will also be included as part of the conclusion.
6. Expertise and Experience of Project Proposer
The project proposer currently has knowledge of most scales and understands what ones to use over what chords. Going a stage further, the proposed can apply this knowledge to an extent to improvisation so an initial idea develops. This is however limited to certain keys and so the proposed will have to apply this knowledge to all keys which recognises the importance of transposition within jazz. In addition, the proposed is familiar with how to voice chords particularly over the II-V-I progression and understand the considerations that have to be taken when doing so, e.g., when playing as a soloist or as part of an ensemble. The proposed knows how to alter chords (For example using the b9). Again, the application of this knowledge is limited to certain keys. In understanding further how to develop an improvisation into an effective composition, the proposed will study transcriptions of improvisations and analyse recurring themes to understand what aspects make it a composition rather than just a series of ideas. The ability to be analytical will therefore need to be developed as the proposed can’t simply list every aspect of the improvisation; rather, the need to understand how all these components work as a whole is required to fully understand the improvisation. The proposed has some understanding of teaching from teaching piano and keyboard. For example, breaking each concept down into the simplest of steps and then by means of repetition reinforce the knowledge. The proposed 3rd year project consisted of creating a beginners course for the piano. In doing this pedagogy was researched and applied within the context of a teaching course. There was however some limitations of the teaching apparent in the end product. This regarded the consistency of the methods used. Therefore, in creating this method, the proposed will be sure to study pedagogy further within the context of an instruction method in order to fulfil the aim of the product being an effective teaching resource. In addition to this, it has been identified that psychology has a role to play in improvisation. (For example see Clarke, Dibben, Pitts 2010 p50) This is an area where the proposed has very little knowledge and so will study musicology to develop this understanding. For the testing part of the project, the proposed has no real experience devising a formal, objective testing process. The ability to be objective about the testing process and how to formalise the approach will need to be developed so that the project can be measured accurately.
9. Resources
The resources required will comprise of classical pianists who are willing to participate in the testing. An e-mail will be sent to all pianists studying at Stevenson to ask if they would like to be involved with the project. In addition, musicians will be required so that the rhythmic and harmonic backdrop can be provided. Using the jazz trio that the proposer is a member of would provide a solution to this. To have recordings done, gaining access to the recording facilities at Stevenson would be the most practical way to do this. The guide will be paperback and so it will be required to be printed professionally. This will probably cost some money which the proposer is willing to provide.
10. References
Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Baker,D.(1978)JAZZ PEDAGOGY, Alfred
Campbell,M. and Thompson.L.(2008)Diverse methodologies in the study of music teaching and learning, Information age publishing
Creech,et,al(2008) Investigating musical performance: commonality and diversity amongst classical and non-classical musicians, Music Education Research,10(2)p215-243
Clarke,Dibben,Pitts(2010)Music and Mind in everyday life, Oxford university press
Hussey.C(2007)Great Jazz piano solos,(Music scores), Wise publications.
Jordan,M,B.(2003)Practical piano pedagogy, Alfred Music publishing
Sarath.E(2009)Music Theory through improvisation, Taylor and Francis
AG1064A: Professional Practice – Project Proposal
Project Title:
Improvisation method for classical musicians
Proposer: Frazer Mitchell
Student Number:
Programme: Music Performance
Specialism(s): Improvisation, Pedagogy, Musicology, Harmony
1. Abstract (Approx 250 words)
It is a recognised problem that when classically trained musicians attempt to improvise, they often experience great difficulty as their training does not best facilitate the skills needed for effective improvisation. This difficulty is perhaps most clearly exemplified by the emphasis placed in a classical approach on playing the music exactly as notated. The overall aim of the project is therefore to create a self-development method, aimed at the classical musician that forms an accessible guide on how to improvise effectively. The guide will focus on the I-II-II-V-I chord progression, which should make the project of manageable scope and provide a critical framework. The methods used will involve researching the following: transcriptions of improvisations, teaching theory, limitations of a classical education in respect of improvisation, harmony and experts opinion. With reference to these research sources, an informed guide will be created that specifically addresses the needs of the classical musician. Along with the guide will be audio and visual recordings of what is taught which will act as a further aid to learning. In order to measure the success of the project, participants will contribute to a survey, questionnaire and performance that will ascertain their understanding and ability to improvise after using my method. In order to ensure that the testing measures the project accurately, participant’s knowledge and ability to improvise will be determined before they use the method. The participants will be gathered by contacting all pianists at Stevenson College.
2. Project Aim and Objectives
The aim of the project is to create a guide and DVD, which will form a self-development approach to jazz improvisation, aimed at the classically trained pianist.
On completion of this project the objectives are to
1. With reference to existing improvisations, 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. (For example see Hussey, 2007, p5)
2. Identify limitations of a classical education within the context of jazz improvisation. Addressing these limitations will form the basis of the guide.
3. 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.
4.
From research done on existing improvisations, establish the critical framework to be used in order to design and develop the methods. Produce a self-development resource comprising an instruction guide and DVD that should ensure that a classical musician has an accessible resource which they can use to learn to improvise effectively.
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.
3. Rationale
It is a recognised problem that a musician who has been classically trained often finds the transition to improvisation uncomfortable as their training, with such an emphasis on notation, does not best facilitate the skills required for it. “The very thought of making music apart from the printed page can be intimidating for many musicians, and this challenge may be exasperated when style- specific constraints are imposed at the onset”.(Sarath 2009) The aim of this project is to create an important self-development resource which aims to bridge this gap by teaching concepts using methods that a classical musician would understand. Relevant studies done so far include "Investigating musical performance: commonality and diversity amongst classical and non-classical musicians", (Creech,et,al 2008)
This review article focuses on aspects of musicianship that are similar amongst classical and non-classical musicians and where the differences lie. The study presents evidence from questionnaire data of 246 undergraduates and professional musicians. The results show that classical musicians place the advancement of notation based skills as their main priority. (Creech, et,al 2008 p1) They regard the ability to improvise as the "least important skill" (Creech, et al, 2008 p8) This gives evidence as to the problem that this project attempts to address. If classical musicians prioritise notation based skills, then it suggests that emphasis on notation becomes a characteristic feature of a classical musician. It is understandable then, that the classical musician finds this difficult to escape from.
“A classical approach to jazz piano improvisation” (Alldis, 2008) is a teaching method tailored to pianists from a classical background. The author states in the preface “like many jazz pianists today, I have a background in classical music. Since 1993, I have taught jazz piano to classical pianists at the Royal Academy of Music in London “(Alldies, 2008, preface) It is clear then, that there is a group of people who are classically trained, but who aspire to extend their musicality beyond the classical genre. “A classical approach to jazz improvisation”, teaches concepts with much emphasis on notation, therefore being accessible to its intended audience. It explores what scales to use over what chords, left hand accompaniment patterns and has a chapter on Be-bop. As the proposer’s method is going to use the I-II-II-V-I chord progression throughout its entirety, there is a different framework applied. This should result in the user becoming especially proficient at improvising over the one chord progression.
Other key references include ‘Music and mind in Everyday life’. This book discusses musicology and has a chapter on improvisation which will inform the delivery of teaching methods. By understanding the psychological elements involved in the process of improvisation, this should help in establishing the correct mindset to improvise. This may be one of the underlying reasons classical musicians find difficulty in improvising. ‘Spontaneous creation is a fiction: A free improviser always starts from some state of consciousness’ (Clarke, Dibben, Pitts, 2008) As the finished product is to be a self-development learning resource then understanding and applying pedagogy within this context is crucial. ‘Practical piano pedagogy’
Focuses on how students learn and the best way of communicating what is to be learnt. It discusses structure and how students can learn by association of knowledge that they already have. (For example see Jordan, 2003, p75) Jazz pedagogy, gives advice on how to teach jazz, recognising it is a different discipline to that of classical music. (For example see Baker, 1978, Preface). ‘Diverse methodologies in the study of music teaching and learning’, details different methods to use for a variety of learning settings. (For example see Thompson, Campbell, 2008, foreword) Drawing from these different methods and applying them to the context of the project should help address the problem that the project will attempt to address.
(Clarke, Dibben, Pitts, 2008)
4. Project Methodology
The project aims to create an accessible teaching guide aimed at classical musicians that allows them to improvise. The methods associated with this involve:
For the first objective- analysing the theory of improvisation. This will involve researching existing improvisations and guides on improvisation. Recurring relationships between harmony and improvisation can be observed and analysed. This should form an in-depth understanding of the theory which can then be put into practice come the production stage of the guide.
For the second objective- Identify limitations of a classical education within the context of improvisation. This will involve researching classical tuition methods and the ABRSM classical syllabus to identify what is lacking in a classical training in respect of improvisation. The guide will attempt to address these difficulties which form the rationale of the project.
For the third objective- Understand learning theories. This will involve researching pedagogy within the context of a self-development learning resource. This will ensure concepts are taught in the most appropriate manner. This objective will be informed by the intended audiences needs.
For the fourth objective- Production of the guide. This involves establishing the critical framework from research done which should facilitate the design, development and justification of the methods used in the creation of the guide.
For the fifth objective- This involves finding a reasonable sample of participants in order to measure the success of the project. In devising the test, the participants existing knowledge will be carefully analysed so that results are objective.
5. Outcomes and Deliverables
Submission Deliverables
1.1.1- Bibliography to be included on blog.
1.1.2- Glossary to be included on blog
1.1.3- Analytical framework to be discussed on blog and as part of methodology section of dissertation.
1.1.4- Identify recurring relationships to be included on the blog and to be included as part of pre-production/ project portfolio.
Transcription of interview to be included on the blog and the main points summarised in the dissertation
2.1.1 Bibliography to be included on blog.
2.1.2- Identify and describe aspects of classical training which could help the classical pianist to improvise to be discussed in Methodology section of dissertation and on blog.
2.1.3- Identify and describe aspects of classical training which acts as a barrier to improvisation to be discussed in Methodology section of dissertation and discussed on blog.
2.1.4- Drawing conclusions from research to be included as part of Methodology section of dissertation.
.
3.1.1- Prepare bibliography of pedagogy resources to be included on the blog
3.1.2- Identify and describe appropriate learning strategies to be done on the blog, also as part of the literature review in the dissertation and the research proposal.
3.1.3- Transcription of views to be included on blog and recording to be included as part of the pre-production portfolio.
4.1.1- Establish critical framework to be discussed on blog and as part of methodology section of dissertation. Research needed for this to be included as part of the research proposal.
4.1.2- Decide on software to be included as discussion on blog and as part of methodology section of dissertation.
4.1.3- Layout and format to be apparent in final product which will be a paperback guide.
4.1.4- Provide a suitable rhythmic backdrop to be evident on the DVD.
4.1.5- Paper back guide and DVD to be submitted as evidence of the finished product.
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.
5.1.2- Testing method to be discussed in blog and as part of methodology section of dissertation.
5.1.3- Existing knowledge to be discussed on blog and included as part of the methodology section of dissertation.
5.1.4- To be actively updated on the blog and the process summarised in results and discussion section of dissertation.
5.1.5- Results of testing to be included on blog and as part of the results and discussion section of dissertation.
5.1.6- Analyse results to be included in the results and discussion section of dissertation. It will also be included as part of the conclusion.
6. Expertise and Experience of Project Proposer
The project proposer currently has knowledge of most scales and understands what ones to use over what chords. Going a stage further, the proposed can apply this knowledge to an extent to improvisation so an initial idea develops. This is however limited to certain keys and so the proposed will have to apply this knowledge to all keys which recognises the importance of transposition within jazz. In addition, the proposed is familiar with how to voice chords particularly over the II-V-I progression and understand the considerations that have to be taken when doing so, e.g., when playing as a soloist or as part of an ensemble. The proposed knows how to alter chords (For example using the b9). Again, the application of this knowledge is limited to certain keys. In understanding further how to develop an improvisation into an effective composition, the proposed will study transcriptions of improvisations and analyse recurring themes to understand what aspects make it a composition rather than just a series of ideas. The ability to be analytical will therefore need to be developed as the proposed can’t simply list every aspect of the improvisation; rather, the need to understand how all these components work as a whole is required to fully understand the improvisation. The proposed has some understanding of teaching from teaching piano and keyboard. For example, breaking each concept down into the simplest of steps and then by means of repetition reinforce the knowledge. The proposed 3rd year project consisted of creating a beginners course for the piano. In doing this pedagogy was researched and applied within the context of a teaching course. There was however some limitations of the teaching apparent in the end product. This regarded the consistency of the methods used. Therefore, in creating this method, the proposed will be sure to study pedagogy further within the context of an instruction method in order to fulfil the aim of the product being an effective teaching resource. In addition to this, it has been identified that psychology has a role to play in improvisation. (For example see Clarke, Dibben, Pitts 2010 p50) This is an area where the proposed has very little knowledge and so will study musicology to develop this understanding. For the testing part of the project, the proposed has no real experience devising a formal, objective testing process. The ability to be objective about the testing process and how to formalise the approach will need to be developed so that the project can be measured accurately.
9. Resources
The resources required will comprise of classical pianists who are willing to participate in the testing. An e-mail will be sent to all pianists studying at Stevenson to ask if they would like to be involved with the project. In addition, musicians will be required so that the rhythmic and harmonic backdrop can be provided. Using the jazz trio that the proposer is a member of would provide a solution to this. To have recordings done, gaining access to the recording facilities at Stevenson would be the most practical way to do this. The guide will be paperback and so it will be required to be printed professionally. This will probably cost some money which the proposer is willing to provide.
10. References
Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Baker,D.(1978)JAZZ PEDAGOGY, Alfred
Campbell,M. and Thompson.L.(2008)Diverse methodologies in the study of music teaching and learning, Information age publishing
Creech,et,al(2008) Investigating musical performance: commonality and diversity amongst classical and non-classical musicians, Music Education Research,10(2)p215-243
Clarke,Dibben,Pitts(2010)Music and Mind in everyday life, Oxford university press
Hussey.C(2007)Great Jazz piano solos,(Music scores), Wise publications.
Jordan,M,B.(2003)Practical piano pedagogy, Alfred Music publishing
Sarath.E(2009)Music Theory through improvisation, Taylor and Francis
Planning of Project
In the run up to the production of the guide, there are several areas that need to be addressed.
Commencing in December through to 17th January, I will analyse existing improvisations with the view that I will acheive an understanding of the relationship between harmony and improvisation within the context of the chosen chord progression. The differing harmonic possibilities possible will be studied and analysed and so should provide an initial framework for what is to be taught ahead of the production of my own method. This seems to be a logical first stage as I can then consider the difficulties a classical musician would face with these concepts.
Commencing on the 18th of January- 13 Feburary, I will study the limitations of a classical training in respect of improvisation. I will study the literature associated with a classical training and consider what aspects of this education are missing in order to be able to improvise effectively. I will also consider what aspects of a classical training could be beneficial to improvisation, such as scales and arpeggios. Therefore, drawing on aspects that a classical musician is familiar with should make the transition to improvisation more accessible.
I have given myself almost a month to carry this out this objective as understanding and addressing the needs of the audience is crucial if the product is to address the problem surrounding classical musicians and improvisation.
The next objective concerns understanding learning theories. I have given myself from the 16th of Feburary through to the 6th of March. This is the third objective, as by understanding the limitations of a classical education, it allows this objective to be contexulised. Once I know what will be taught in the guide and the intended audiences difficulty with this, I can research and apply pedagogy specific to the intended audiences needs.
Production of the Guide
This is objective four which I intend to implement between 5th of March and the 14th of April. This comes after:
1. Researching and understanding what concepts will be taught in the guide.
2. Understanding the intended audiences difficulty with such concepts.
3. Researching what learning stratagies will work in teaching these concepts.
During the production I will decide on what software to use to create the guide and the layout and format of the guide. I feel that the layout and format of the guide should come at this stage as it will be informed by the research done on classical education and pedagogy. For example, there will perhaps be an emphasis on notation to start with and gradually there is more spaces for improvisation. Another crucial task is to organise that a dvd is made which provides a suitable harmonic and rhythmic backdrop for participants to practice improvising. To do this, I will be using the jazz trio that I am a member of to record examples. Rehearsals will be organised from the start of the production objective as I need to have some material to work with first.
The last objective is testing. This is scheduled to last from 1st of Feburary- 26th of March
I need to gather participants while the guide is still in production and ask for their initial opinion on the guide. I will also ask my piano teacher for his opinion. I should be able to judge be peoples responses if the guide is going in the correct direction. I will do this at the start of Feburary as it could take time to gather participants. As part of this stage, I will also devise a test which analyses the participants existing knowledge on improvisation. This should ensure that the final test, which mesaures participants knowledge after they have used the method, is objective and yields accurate results.
Commencing in December through to 17th January, I will analyse existing improvisations with the view that I will acheive an understanding of the relationship between harmony and improvisation within the context of the chosen chord progression. The differing harmonic possibilities possible will be studied and analysed and so should provide an initial framework for what is to be taught ahead of the production of my own method. This seems to be a logical first stage as I can then consider the difficulties a classical musician would face with these concepts.
Commencing on the 18th of January- 13 Feburary, I will study the limitations of a classical training in respect of improvisation. I will study the literature associated with a classical training and consider what aspects of this education are missing in order to be able to improvise effectively. I will also consider what aspects of a classical training could be beneficial to improvisation, such as scales and arpeggios. Therefore, drawing on aspects that a classical musician is familiar with should make the transition to improvisation more accessible.
I have given myself almost a month to carry this out this objective as understanding and addressing the needs of the audience is crucial if the product is to address the problem surrounding classical musicians and improvisation.
The next objective concerns understanding learning theories. I have given myself from the 16th of Feburary through to the 6th of March. This is the third objective, as by understanding the limitations of a classical education, it allows this objective to be contexulised. Once I know what will be taught in the guide and the intended audiences difficulty with this, I can research and apply pedagogy specific to the intended audiences needs.
Production of the Guide
This is objective four which I intend to implement between 5th of March and the 14th of April. This comes after:
1. Researching and understanding what concepts will be taught in the guide.
2. Understanding the intended audiences difficulty with such concepts.
3. Researching what learning stratagies will work in teaching these concepts.
During the production I will decide on what software to use to create the guide and the layout and format of the guide. I feel that the layout and format of the guide should come at this stage as it will be informed by the research done on classical education and pedagogy. For example, there will perhaps be an emphasis on notation to start with and gradually there is more spaces for improvisation. Another crucial task is to organise that a dvd is made which provides a suitable harmonic and rhythmic backdrop for participants to practice improvising. To do this, I will be using the jazz trio that I am a member of to record examples. Rehearsals will be organised from the start of the production objective as I need to have some material to work with first.
The last objective is testing. This is scheduled to last from 1st of Feburary- 26th of March
I need to gather participants while the guide is still in production and ask for their initial opinion on the guide. I will also ask my piano teacher for his opinion. I should be able to judge be peoples responses if the guide is going in the correct direction. I will do this at the start of Feburary as it could take time to gather participants. As part of this stage, I will also devise a test which analyses the participants existing knowledge on improvisation. This should ensure that the final test, which mesaures participants knowledge after they have used the method, is objective and yields accurate results.
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