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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    Miles Davis: Kind of Blue
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    Lesson time: Show up at least a few minutes early, with your instrument assembled and ready to play. (You may or may not actually play in this first lesson, but it’s good form to come prepared.) If you feel nervous, take a few deep breaths. Use the restroom. Mute your phone.

    Some teachers tend to run a little late, and they might be finishing up the previous lesson when you arrive. Unless they have instructed otherwise, I think the best thing to do is go ahead and knock right at the stroke of your lesson time so they know you are there. Give a real knock that they can hear, not a timid/quiet one they might miss. Then wait patiently if they take a few more minutes to finish up with the previous student.

    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.

    Don’t try to write down everything they say, but taking a few notes might be appropriate. If you need another moment to write, or you’re afraid it will be rude to look down at your notepad, you could try asking, “Do you mind if I write that down?” Definitely write down what they assign you to work on for next time.

    Depending on your teacher’s personality, the teacher might dive right into lesson stuff, or may want to spend some time getting to know you.

    After the lesson: Review your notes and edit/clarify if needed while it’s still fresh in your mind. Make a practicing plan for the week to make sure you prepare your assigned materials as best you can for next time.

    If your teacher asked you to purchase some repertoire or other materials, do this right away! I usually try to help my students out with a photocopied page or two so they can get started while they wait for their own copies to arrive, but some teachers may expect you to get it on your own and be prepared by the next week. (Tip: if you’re at a large music school, the university library might have copies of some materials, which you can use until you get yours.)

    If, during the week, you realize you are unclear or have forgotten something, visit your professor during their office hours (probably posted on the LMS and/or their door) or send an email. Much better to ask for help while there’s still time to practice, than to show up unprepared at your next lesson.

    Make friends: You will hopefully be meeting some other students who play your instrument and take lessons from your same teacher. (If you arrived on campus early for marching band camp, that’s a nice advantage.) Those people remember what it was like to be brand new, and if they are nice (they probably are!) they won’t mind answering some questions about the teacher, giving you a few lesson tips, and maybe even loaning you an old étude book while you order your own. Sometimes the students know the processes and procedures (signing up for classes, getting your ID card, logging into the LMS) better than the professors do.

    Have a great semester!

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