Describes a strategy for teaching blues improvisation to beginning and intermediate level improvisation students. Focuses on three aspects of the method: (1) phrase structure; (2) dramatic shape; and (3) thematic development. Includes a bibliography of resources and a list of terminology. (CMK)

Offers suggestions for students and teachers for learning jazz improvisation. Discusses listening, practicing scales, chords, phrasing, developing a sense of swing, and shaping creative ideas through structural features. Emphasizes the relationship between chords and scales as a critical key to improvisation. Recommends educational materials to…

Contends that only students with performance or composing abilities are given a chance to explore music in their education. Stresses the importance of teaching all students how to listen to music in an active, "minds-on" way instead of only teaching hands-on activities. Challenges the traditional music curriculum by refuting five myths…

Examines approaches and structures that students and teachers may use to explore connections between poetry and jazz. Suggests specific techniques for intermingling the two. Looks at the relationship between the two in terms of "mood,""program," and "allusion." Provides examples of paired pieces and marked-up poetry texts. (TB)

Describes how to teach elementary students about vocal improvisation using the Kodaly-based approach. Discusses the three steps involved in this technique: (1) develop familiar singing patterns; (2) use a question and answer format; and (3) begin improvisation. Includes examples of solfege patterns and a vocal question and answer. (CMK)

Offers ideas for teaching musicians to be improvisors. Suggests that structure, organization, and continuity are problems that can be solved by learning to improvise. Recommends exercises in building phrases to help students acquire a sense of the developing whole. Concludes that improvisation can be taught by showing students how to teach…

Contends that teaching contemporary music pieces that are largely improvised provides an ideal learning opportunity for students. Focuses on the piece "Improvisations I," stating that the version presented is intended for college students. Describes the performance of each section of the piece and provides suggestions for rehearsal. (CMK)

Addresses how the National Standards can be incorporated into band rehearsals using the music piece, "Balladair" (Frank Erickson), as an example when teaching techniques and musical concepts. Provides ideas such as using material from "Balladair" to create warm-ups or relating the piece to other arts. (CMK)

Describes a unit used with sixth-grade students focusing on jazz and blues that taught improvisation. Discusses the different levels of improvisation that were used, providing the beginning activities, and describes activities that focus on the third level of improvisation called product-oriented improvisation. (CMK)

Discusses how to teach improvisation to younger students by utilizing genres other than jazz, such as bluegrass, blues, ska, reggae, rap, klezmer, and rock. Describes each of these genres and gives a sequence of six steps to help music teachers organize classroom improvisation. (CMK)

Presents a collaborative composition project for use in junior high bands that incorporates three standards from the National Standards for Music Education: (1) Standard 3: improvising melodies, variations, and accompaniments; (2) Standard 4: composing and arranging music; and (3) Standard 9: understanding music in relation to history and culture.…

Focuses on the use of technology to assist students in composing and improvising music. Discusses the benefits of composing using computer software; addresses types of tools that can be used; explores different teaching strategies for teachers to utilize; and describes the organization of the music classroom. (CMK)