A jazz improvisation curriculum: Junior high through college

The following is a suggested curriculum for teaching jazz style and improvisation to students from junior high school through college. The materials listed are geared toward the developing saxophonist, but may be substituted or adapted to meet needs of other instrumentalists. The curriculum assumes the student has a basic command of the instrument, and should be used in conjunction with classical study. The layout of the curriculum suggests materials for junior high, high school, and college, but will of course need to be altered to fit each individual student’s needs.

Junior High School

Basic

  • Command of basic instrumental technique
  • Able to play all major scales from memory
  • Able to sightread at a basic level
  • Listening to jazz

Advanced

  • Able to construct and play dorian and mixolydian scales
  • Able to construct and play major, minor, and dominant chords to the 9th
  • Introduced to basic rules of articulation and swing
  • Transcribing heads of simple standard tunes

High School

Basic

  • Able to construct and play blues scales, natural and harmonic minor scales
  • Able to use scales, arpeggios, and simple licks to improvise over simplechord progressions (blues, Impressions, etc.)
  • Niehaus Basic Jazz Conception for Saxophone, Vol. I. Able to identify and correct printed articulation errors. Able to play exercises with consistent style
  • Transcribing simple solos from recordings of great jazz musicians

Advanced

  • Able to construct and play jazz minor and bebop scales
  • Developing vocabulary of digital patterns and II-V-I licks
  • Niehaus Intermediate
  • Improvising over tunes using II-V-I’s (Tune Up, Satin Doll, etc.)
  • Transcribing more advanced solos, able to identify scales, arpeggios, etc. within the solo

College

Basic

  • Able to construct and play whole tone and diminished/half-diminished scales and chords
  • Developing vocabulary for use with altered and minor II-V-I’s
  • Charlie Parker Omnibook using appropriate articulation and style, perhaps at reduced tempi
  • Transcribing solos; learning transcribed licks in all 12 keys
  • Improvising over tunes with diminished/half-diminished chords and/or minor II-V-I’s

Intermediate

  • Able to construct and play altered scales
  • Improvising over blues in all 12 keys
  • Charlie Parker Omnibook
  • Transcribing solos, transposing to all twelve keys
  • Memorizing standard tunes

Advanced

  • Able to play modes of major and harmonic minor scales
  • I Got Rhythm in all 12 keys
  • Charlie Parker Omnibook
  • Transcribing influential players, able to identify and imitate style and sound characteristics
  • Memorizing tunes

Above and Beyond

  • Cherokee in all 12 keys
  • Tunes in odd meters
  • Tritone substitutions, Coltrane changes, etc.

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    Manuscript paper
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    • Demonstrating musical effects for students/ensembles (theory, aural skills, keyboard skills). Good music teachers don’t let the instrument(s) collect dust, even if their primary outlet is as a conductor. Music is an aural tradition, and a “picture” is worth a thousand words. (“Instruments” in this situation includes the voice, for singers and non-singers alike.)

    That list is teaching-focused; as a performer I use all of those skills just as much, if not more. Study hard!

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    Gather your materials:

    • Your instrument and all accessories
    • Your list of previous repertoire, if you have any, and your copies of the most recent ones you worked on. Your teacher may find this helpful in evaluating your level and deciding which materials to have you work on next.
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    Call your teacher by their academic title (like “Dr. Pimentel” or maybe “Professor Pimentel” if you’re not sure), unless they tell you to call them something different. You might be able to figure this out by reading their biography on the university website, or by checking to see how they sign emails they send to you.

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    Have a great semester!

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    “I want to be a flute major. Which college should I go to?” This is the kind of question that I often see asked on internet message boards, Facebook groups, and email threads. If you’re asking that question and people are giving you lists of schools, you probably shouldn’t take them too seriously. And if you’re answering someone else’s question by tossing out a recommendation, you might reconsider whether this is really helpful.

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  • Why college music education majors need applied study

    Most of my university students are music education majors, with plans to become public school band directors. Their academic schedules are absolutely packed full with core music theory and musicology classes, keyboard proficiency, teaching methods, ensembles, and of course general education requirements. There isn’t room for anything extra. And yet they are required to take “applied” private lessons on their major instrument every semester in residence (on paper, that’s seven semesters, with the eighth being a student teaching assignment; for many students it turns into more semesters than that). At my school, I think the requirements for the music education applied sequence are pretty typical: weekly 1-hour lessons, 12 or more hours of practice per week (that’s my studio requirement for music education students), a scale/arpeggio exam, juried playing exams each semester, and a small juried recital. That’s a pretty serious multi-year commitment for a student who is already swimming in term papers, exams, rehearsals, and probably a part-time job.

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    Photo, Andrei Z

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    If you’re a classical musician, these are the kinds of things I want you to know about jazz playing: Read More “Classical musicians and jazz music”

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