Jazz Education: Methods and Difficulties in Teaching Music Derived From An Oral Tradition

Joe Higham
MUSI2M 2012-2013
Jazz education: methods and difficulties in teaching

music derived from an oral tradition
Stages et pratiques disciplinaires en musique pratique

Professeur : Anne-Emmanuelle Ceulemans
Annee Academique 2012-2013

Universite Catholique de Louvain
Faculte de philosophie, arts et lettres
Departement histoire de lart, archeologie et musicologie
Louvain-la-neuve
Introduction
How does one teach jazz? The experiences of many musicians who try and find an answer to
this seemingly small question have, as yet, not been answered. The question, or conundrum, that
arises when approaching the subject of jazz pedagogy is how does one teach something that is, or
should be, intuitive? In an interview with Paul Haines, Steve Swallow says that jazz can be learned
but not taught1. What does that mean? Teachers try to pass on their love of jazz, technical details
such as scale use and chord manipulation, but also the history that is a part of that music, and
something of equal importance. Tony Whyton of the Leeds College of Music has written about the
difficulties in developing jazz education in his paper Birth of the school: discursive methodologies
in jazz education2. He quite rightly says that [...] jazz pedagogy is regarded as complex and
problematic, education having the potential to occupy the uncomfortable position between
autonomous art and music as social text. 3
In this presentation, I will try to outline some of the difficulties that a musician/teacher
encounters when faced with the task of passing on knowledge originally stemming from an oral
tradition, that has become an institutionalized field of music education. In the first part I give a short
outline of the development of jazz education and pedagogy in higher education, leading to the
second section which is a presentation of my experiences and ideas, based on my teaching
experience.
My original intention was to interview a selection of musicians and students. However, after
interviewing my first candidate, I became aware that getting musicians to answer precisely was
difficult and summarizing their answers into such a short paper would be awkward. As an
alternative, I asked a variety of musicians to fill in a brief and very general internet-based survey,
that has enabled me to have a quick glimpse at their experience(s) in jazz education. Although not
1
2
3
Paul Haines, Sienna/symposium: Coda, The Journal of Jazz and Improvised Music, January/February 2003, p.
39-40.
Tony WHYTON, Birth of the school: discursive methodologies in jazz education, Music Education Research, Vol.
8, No. 1, March 2006, pp. 65-81
Ibidem.
the most perfect or non-biased solution, it did however produce some interesting results, which I
have annexed to this paper4.
Lastly, although I have discussed forms of pedagogy and their evolution within higher
education, I have not explored the more practical problems of employment, subsidy systems or the
lack of venues in todays society. These also make up an important part of the musical development
for students; where can they play and what are their future prospects for employment? These
questions seem equally relevant when discussing jazz education and could be subjects for research
in a future paper.
Annex #1.
Part One: The Development of Jazz Pedagogy

in Higher Education.
Early stages and development

Teaching music in formal higher education is far more recent than probably most people
would expect, dating back as recently as the late 15 th century, when, interestingly, William Weber
points out that music was seen as social in context.5 Yet, music pedagogy was born later, as early
'conservatorio' were not necessarily music institutions but orphanages:
The origins of conservatories must be sought in communal rather than purely
ecclesiastical institutions, and the most probable source of the concept lies in the
humanist view of musics social and educational role, which affected the curricula
of schools and other institutions from the late 15th century. 6
By the late 1500s, music had started to be accepted as something profitable and
acceptable:
It was the Neapolitan conservatories that first discovered that music could be a
profitable activity. In Germany the music teachers and their charges had
augmented their stipends by singing at weddings and similar functions, and also
by giving street entertainments. 7
Although the scope of this paper does not cover the development of music education in the
conservatory, it is interesting to realise that classical music has not always been a major subject of
study in institutions.
Jazz was also added recently to the curriculum of high schools, universities and
conservatories. Bryce Luty's Jazz Education's Struggle for Acceptance, Part I 8 and "Jazz
Ensembles' Era of Accelerated Growth, Part II 9, give a brief outline of the development of jazz
education in America, one of the first countries to formalize the subject after the second world war.
5
6
7
8
9
Popular music, jazz as it became known, was also originally a 'social' music although it would take fifty years
before it was being taught within institutions.
William WEBER, et al. "Conservatories." Grove Music Online, Oxford University Press,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/41225>, (consulted 29 Jul. 2013).
Ibidem.
Bryce LUTY, "Jazz Education's Struggle for Acceptance, Part I", Music Educators Journal, Vol. 69, No. 3 (Nov.,
1982), pp. 38-39+53
Bryce LUTY, "Jazz Ensembles' Era of Accelerated Growth, Part II", Music Educators Journal, Vol. 69, No. 4 (Dec.,
1982), pp. 49-50+64
Originally, jazz education was developed for the many servicemen returning from the war.
With the passing of the G.I. Bill, soldiers were allowed to return to college, at the expense of the
government. Many had been involved with troop entertainment sections (as for example, the Glen
Miller big band). These bands played a largely jazz styled repertoire and military musicians were
keen to develop their skills and find work thanks to the qualifications they had acquired. Since
many young people found themselves in classical programs, that clearly did not teach them the
music they wished to play and learn, these jazz sections, disguised under the heading of 'concert
band' programs, gradually gained popularity, all the more since the introduction of credits lead to a
qualification. Luty states that [by] the early 1960s, jazz ensembles and jazz studies had made their
formal entry into the curricula of several leading music departments at the college and university
level.10
It is interesting to observe that some early opposition considered the music as a breeding
ground for delinquency (see note 10), jazz being monotonous, pornographic [...] outrageously
funny11 and a waste of resources:
Training a group of student instrumentalists to perform trite and transient music
in emulation of some of the more pretentious professionals seen and heard on
recordings, radio, and television is not a particularly good example of a
worthwhile educational project. 12
However, by the turn of the 60s', many talented professionals had accepted to join the jazz
education programs, giving the courses a certain legitimacy. At the same period, a surge in jazz
literature and learning material offered new possibilities for teaching and self-study. As Luty points
out13, much changed with the commercial advantages that publishers saw with so many students
attending the courses. There were also career possibilities for those selected from the university
concert bands by famous visiting stars, who often went to those schools looking for new talent.
At this period academics became aware that maybe the initial idea of teaching jazz in a
controlled education system may have its drawbacks:
10 Ibidem. p. 49.
11 Ernest BACON, Words on Music, Syracuse University Press, Syracuse, New York, 1960. [cit. Harry Allen FELDMAN,
"Jazz: A Place in Music Education?", Music Educators Journal, Vol. 50, No. 6 (Jun. - Jul., 1964), p. 62.]
12 Harry Allen FELDMAN, "Jazz: A Place in Music Education?", Music Educators Journal, Vol. 50, No. 6 (Jun. - Jul.,
1964), pp. 60+62-64. A well known quote concerning delinquency that is often cited from the paper is Training a
boy to blow a horn no longer insures that he will not blow a safe. It may well blow him into delinquency, for who
can deny the close association between jazz and delinquency?
13 Op. cit. Bryce LUTY, Jazz Ensembles' Era of Accelerated Growth, Part II.
The original jazz educator, who was the professional jazz musician, knew what
factors distinguished jazz from other forms of music. The spontaneity of
improvisation and the time feeling were of more importance to these early
educators than technical perfection. Some of the current academically oriented
groups present a certain staidness that does not lend to the original values
established by the art form.14
By the 1980s, several schools, mostly in the USA, had developed bachelor and masters
programs, with performance options in jazz. In 1981, my college in Newcastle-Upon-Tyne, College
of Arts and Technology was, along with the Leeds College of Music, the only school offering a
jazz-oriented program in the UK, although the emphasis was on performance and not on
improvisation. These courses covered the history of music studies, analysis of music (jazz and
classical). A concert and wind band program helped students develop reading skills in specially
adapted sight-reading ensembles, individual instrument lessons that touched on improvisation, and
jazz and pop orientated ensembles with a little improvisation. In 1984, this course only offered a
Diploma in Light Music. The bachelor program was finally introduced, in 1986.
Today there are many universities and conservatories in Europe offering jazz programs,
bachelors and masters, although few if any PhDs in jazz. In his essay15, lewis Porter warns that if
jazz is to develop, more PhD programs involving jazz performance are needed.
Finally, before briefly touching upon some of the quandaries in jazz pedagogy, it is
important to observe that, because differences in education outlooks, jazz pedagogy in Europe may
differ from the USA. Tony Whyton mentions that there are differences in how jazz is taught in
Europe as opposed to America and, although he gives few details, he does say,
I was invited to explore approaches to teaching jazz in Britain and to compare
European jazz education to what was assumed the more mainstream American
pedagogical model, using bebop as its centrepiece. At the very outset, this line of
questioning neatly illustrated the way in which jazz commentators seek to polarise
the debate, in this case assuming European jazz is more pluralistic. In general
terms, the suggestion was that many European jazz courses have a much looser
approach to jazz education, not rooted in one particular style,[...] 16
14 Ibidem.p. 50.
15 Lewis PORTER, Jazz in American Education Today, College Music Symposium, Vol. 29 (1989), pp. 134-139.
16 Op. cit., Tony WHYTON,Birth of the school: discursive methodologies in jazz education, p. 68.
What is jazz? Can it be taught?

Although jazz is now happily taught in many countries there is no common understanding of
what defines a good jazz musician, or of the best way of teaching jazz. Over the years, since music
has become part of formal institutions' curriculum, many dilemmas have arisen. They are partly due
to the absence of a definition of what [j]azz music is, who decides on what is good or what is a
good solo? I will outline a few of the issues that jazz educators are faced with, even though I
should add that I will not try to find solutions or answer these. Indeed, it is obvious that many
questions raised in jazz education are probably philosophical in nature rather than musical, and the
scope of this paper will not allow for such a discussion.
As already mentioned earlier, jazz can be learned, but not taught 17. One can teach the
technical aspects but not the soul of the music. This leads us to one of the main subjects of debate;
does or can one teach individuality? In a paper on Jazz in American Education Today, the
pedagogue Lewis Porter points out that,
Jazz education tends to be restricted to those things taught most easily in the
classroom theory, technique, composing and arranging, transcription and
reproduction of classic solos. The available books focus on these aspects. There
has been very little attempt to develop successful methods of approaching the
creative aspects of improvisation the process of composing on stage and what it
entails.18
Even so, what is individuality? And do people want to hear individuals? Philip Rice suggests that
the possibility for students to study other subjects apart from jazz is as beneficial. This is, an idea
which I strongly support. Rice mentions how Kurt Elling, a highly respected and individual jazz
singer, studied the philosophy of religion whilst at the University of Chicago;
The music he learned first-hand from artists he met at clubs, but the philosophy
was something he could only get from college. Both combined to make great
jazz.19
What seems clear is that education has somehow facilitated the access to all who wish to participate
in the creative process of jazz improvisation, but what is also interesting to consider is that many
people, listeners and musicians alike, are probably more impressed by technique than by
17 Op. cit., Paul Haines, Sienna/symposium: Coda, The Journal of Jazz and Improvised Music.
18 Op. cit., Lewis PORTER, Jazz in American Education Today.
19 Philip RICE, "Educated Jazz. What happened when jazz went to college", Seminar in Jazz and Pedagogy,
Westminster Choir College, 1 May, 2011.
originality.20
Paul Tanner's papers Jazz Goes to College: Part I & II, although a little outdated (1971),
make for an interesting read, when looking at the questions raised concerning jazz education. He
quotes some of the students' remarks: not enough listening time, too much emphasis on afroamerican jazz, class sizes, the negative image of the word 'jazz', do we need another term?
Teaching an oral-based tradition also cause other problems such as value judgements on how to
evaluate students, [o]ne of the most difficult problems that teachers have is testing and grading. 21
As Tanner mentions in his essay, it seems that it is difficult to decide in institutions what is
important:
One of the teachers emphasized technical aspects, while the other's forte was
history and sociology. They each gave their own tests and averaged the grades. 22
Does one ask students to provide written material? How important is it to have listening tests,
musical and technical?
As a result, schools differ in styles of pedagogy and teaching material. In my experience, it
seems that most techniques that we use (sight reading, oral tests, rhythmic studies, instrumental
skills and theory) are all rooted in the Northern American tradition. This is in part due to the
number of teachers taught and trained via American systems, (either directly in the USA, or via
textbooks such as those written Jamey Aebersold23, David Baker24, Jerry Bergonzi or Jerry Coker25,
to name just a few of the most well-known. However, I have noticed that schools and universities in
Nordic countries (Trondhiem's 'Norwegian University of Science and Technology', Denmark's
'Rhythmic Music Conservatory' for instance) seem to build their music courses relying less on jazz
as a model, than on contemporary music, as a whole i.e. pop, free jazz, electronics, contemporary
classical, rock and jazz. As yet, many European institutions are slow to integrate other areas of
music experimentation such as free-jazz or electronics, which are still subjects that only specialized
sections touch upon. It will be interesting to see how music education evolves in the next years if
establishments widen their approach to music, its place in society and something of importance for
20 Although not the place to discuss such an idea it is interesting to note that the sales of experimental and
contemporary musics, jazz included, are tiny when compared to sales figures of mainstream accessible musics.
Concert attendance figures also tend to back up this point.
21 Paul TANNER, "Jazz Goes to College: Part I", Music Educators Journal, Vol. 57, No. 7 (Mar., 1971), pp. 57+105109+111-113.
22 Ibidem.
23 Gary KENNEDY and Barry KERNFELD. "Jamey Aebersold", Grove Music Online. Oxford Music Online,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/J758100>, consulted, 19 Aug. 2013.
24 Paul RINZLER. "David Baker", Grove Music Online. Oxford University Press.,
25 Dave GELLY and Barry KERNFELD, "Jerry Coker", Grove Music Online. Oxford Music Online.,
investment and commercial development.26 In conclusion, it could be interesting to combine

departments, covering a wider scope of material. Computer programming, musicology, electroacoustics and jazz improvisation could all sit comfortably in one curriculum, giving students the
possibility to widen their knowledge and at the same time develop useful tools outside of music and
possibly beneficial to finding employment.
26 The MIT (Massachusetts Institute of Technology) works with its students in the development of saleable software.
Ex. Guitar Hero, a computer game involving music http://guitarhero.com/.
Part Two: Personal Observations

This section is based on brief observations made over my years of teaching music, and more
specifically jazz, at the Jazz Studio, in Antwerp. Although I would say that most of these methods
have been inspired by my teaching experience at school, others have come about from personal
experiences, private lessons that I have taught, or that I have taken.
Methodology: pedagogy and general concepts

a) ensemble work and lessons
One of the main difficulties in jazz education is teaching the art of improvisation, a musical
discipline which, although relatively simple once understood, may seem a rather nebulous concept
to students at first. I work in two areas of music teaching, the first being ensemble work and
individual lessons. The goals are clearly different in each case, the main objectives for working
with students in an ensemble are generally: learning to read music, interpreting chord progressions,
improvising and, of course, working as a group. In individual lessons, I am usually working with
saxophone (or clarinet) players. This means that lessons can range from first steps (learning to put
the reed on the mouthpiece), to more advanced topics such as improvisation. Of course, it is also
possible to work on more general topics also such as sight reading or harmony. However, most
individual students are more interested to learn improvisation related to their instrument in my
case the saxophone. In this section on methodology I will start by first looking at my experiences
teaching ensemble before tackling some ideas for individual lessons.
b) First contact, historical background and interactive communication
Working and teaching an ensemble is to introduce students to the many ways of working
with a song. In jazz, this means interpreting a standard27, experimenting with possibilities of
changing the harmony of a song and learning how to improvise on chord structures. Playing
together as a group is a concept that does not really have to be explained, as often students are
already involved in a band that plays rock or other pop musics. However, there are many aspects
that I can introduce to the students, a simple example could be to change the time signature of a
tune to create a more complex rhythmic feel. By working with the students it is possible to make
27 'Standard' is a term used by jazz musicians for a piece of music that is or was popular and well known.
suggestions when needed, and usually, I ask the group if they are interested in the concept. I feel
that imposing something that is either beyond the students capabilities or of little use to them can be
counter-productive. As for the concepts of harmony and improvisation, some students have had
initial experience whilst jamming28 with friends or improvising using simple static harmony, but for
most the concept is a new adventure. Let us also keep in mind that not all students wish to be great
improvisers. Many consider solos a small part of making music and will never really try to develop
this aspect. Generally singers seem less interested in learning to improvise, which is probably partly
due to a) the difficulties and b) most vocalists don't envisage a career in jazz. 29
Naturally the most important part of working with music is the practical fun of playing.
Having that, an interesting approach to teaching music is 'discussing'. Jazz can be quite confusing at
the early stages and talking about music, without referring to notes or technicalities, is easily
accessible to all in an ensemble. A second point which is equally important is communicating the
history of jazz through social context. In classical music, history is taught to students, from a social
aspect and is nothing more than a window through which we look to see how people in most cases
composers lived at a certain period. On the contrary, Jazz has an almost mythological image,
something which not only influences people but draws them into the music 'historically'. Tony
Whyton explains: .... this sense of the social is often constructed to create a romanticised depiction
of the jazz icon, and serves to further support common mythologies. 30 The importance of this idea
is that, for now, Jazz is a living music, much the same as pop music. Many of the initial reasons for
learning popular music are based on these 'romanticised depictions'. Therefore it is interesting to
introduce the students to jazz via stories and anecdotes, helping give them an overall picture of what
it is about and, hopefully, encourage them to discover more on their own.
I also find it useful to get them to tell me about their listening experiences, what music they
listen to often not jazz and their favourite artists. This serves several purposes: a) it is a useful
way of analysing progress over the year (who will they be listening to in 6 month's time). b) It helps
me the teacher build an understanding of the pupils intellectual listening level 31. c) It gives me
28 Jamming is a term used by musicians to talk about making music together with not particular goal or pre-formed
plan in mind.
29 There is very little improvisation in rock or popular music. There is however vocal improvisation in some ethnic
musics such as Arabic and Indian Classical music, but in general most 'jazz' teachers are not qualified to teach these
styles.
30 Ibid.
31 Intellectual listening levels are not unlike looking at books a person reads at a certain age. More sophisticated books
develop vocabulary and other intellectual ideas. What someone listens to shows to me how their ears and
understanding of form or harmony are developing. One imagines that a student that listens and idolizes a pop star
such as Madonna probably has a different image of music to that of a student who listens uniquely to Charles Ives.
10
the possibility to discover new music and make suggestions for expanding their listening horizons.
A student who listens to a lot of blues can be pointed in the direction of 'bluesy' style jazz players
which helps them develop their ear, their understanding of jazz improvisation, in a way which is not
alien to their world.
Furthermore, many students have little notion of earlier music developments. Some assume
that jazz began in the 21 st century, almost the year they started listening to it. Curiously one
saxophone student admitted they had no recordings of saxophone players and many of the students
come to the 'jazz studio' having never listened to jazz even. By presenting students with earlier
forms of jazz and other musics, they start to understand how much interesting music was made
before their time, and that innovation is not necessarily something restricted to their era. Although
most of the students are instrumentalists every year there is a new influx of singers, often because of
fashions in the pop world32. Many singers come to the Jazz Studio after hearing pop singers
approaching jazzy versions of tunes such as in 2002 Norah Jones Don't Know Why, Jamie
Cullum's album Pointless Nostalgic in 2001, or one of many Aretha Franklin hits. Most don't
realize that these singers are copying earlier singers, or influenced by them. By introducing the
singers to earlier jazz vocalists such as Billie Holiday, Ella Fitzgerald or modern equivalents such as
Kurt Elling, the student jazz singer is able to a) discover a new voice and b) establish historical
connections. Lastly it is often necessary to explain the different in styles (as hard-bop, be-bop or
swing). Finding categories that appeal to students helps make the learning process more fun.
Throughout the courses, I also ask the students questions or give them examples of ethics in
real professional life situations in music. Many years ago, one student was always arriving late. It
was the first lesson of the day and, as usual, the drummer was already set up and waiting. He came
from far away and had to get up at around 05h00 every morning, to catch his trains. He was never
late. The other student, the bass player, lived on the opposite side of the street and constantly arrived
half an hour late, and had us all wait for him. Finally I ended up explaining in front of the whole
ensemble that, firstly, it was very rude to arrive so late, not only for me but for his fellow students
and that if the drummer could arrive on time, surely 'he' could make the effort to get out of bed and
be there on time. The second point I made was equally as important, as I explained that if they
constantly arrived late to recording sessions, rehearsals and concerts, it was unlikely that anybody
would hire them. After all I said, time is money in studios, and arriving late means paying for
32 Whenever a pop idol has a major hit using jazz material the school often has a large influx of singers all hoping to
imitate 'this' person.
11
wasted time, I wouldn't hire you!. Interestingly, the student had never really thought about this and
his attitude changed radically for the better. These conversations aim at helping students
understand what a career in music means. Other topics such as money, reliability (ex: arriving on
time), politeness, dress codes, organisation, are essential in understanding the music world. Other
topics such as societys viewpoint on music and musicians can also inspire, or deter, students.
Unfortunately I explain, genius plays only a small part in your success in the music business.
There are many more areas which can be discussed in class, many of these tie in naturally
with practical work and any chance to play examples with the students is very beneficial.
c) Playing music and reading

Although playing music should be something natural, it becomes clear fairly early that one
of the most difficult things for beginners to do is just 'play'. A child will happily sing out of tune,
with little sense of timing33, whereas students are often nervous and reluctant to as they see it
'make fools of themselves' in front of their peers. This means that one of the earliest tasks for a
teacher is to give them a sense of fun and show them that mistakes are necessary. The quicker one
learns to make mistakes and use them to advantage, the better.
I would add that there is a clear difference between mens approach to learning jazz and that
of women. Women, mostly singers, seem to hesitate when improvising for the first time. Some men
also become frustrated with their own inability to improvise well, something that I think surprises
them. I have done little to study this aspect in my classes, but reading Erin Wehr-Flowers
"Differences between Male and Female Students' Confidence, Anxiety, and Attitude toward
Learning Jazz Improvisation"34 it becomes obvious that women are inwardly far less confident in all
areas looked at in the paper. Two simple examples from the paper show that boys feel more
confident attempting to improvise. The results35 are: males 3.73, females 3.07. However, when
asked I'm no good at jazz improvisation, the results are: males 3.86, females 3.11, showing
that women worry less about being able to improvise! On that basis it will be interesting to observe
and re-evaluate women's learning processes in future classes.
33 Timing is an understanding of ones own place within the music rhythmically. An example of this could be if I try to
sing every note of the melody on the click of a metronome I am 'on the beat'. However if I then sing the same
melody slightly after I hear the click of the metronome I am 'after the beat' or laid back. The difference is important
to understand and can be controlled and used to ones advantage.
34 Erin WEHR-FLOWERS, "Differences between Male and Female Students' Confidence, Anxiety, and Attitude toward
Learning Jazz Improvisation", Journal of Research in Music Education, Vol. 54, No. 4 (Winter, 2006), pp. 337-349
35 Results range from 1 = strongly disagree, 5 = Strongly agree.
12
Ideally, music should be taught as a living entity. I try to play music with the students, from
the very first day, even if they cannot play their instruments, read or write music. This enables them
to play, after only two or three months, and develop instrumental skills such as sight reading and
chord recognition. I remember my first ensemble lesson at Newcastle College as one such
experience. The teacher handed out the music and everybody stared blankly at the scores. As
someone who had never read a note of music in my life, I told my colleague and neighbour, another
saxophonist, that I could not read. He answered that nobody could! The teacher counted us in, an
instant twelve tone cacophony erupted, the teacher screamed STOP! We then worked on the tune
little by little and, by the end of the ensemble lesson, we could more or less play the melody.
Several weeks later it, sounded much better, and by the end of the year, we could all read quite well
(we had several ensembles plus a big band rehearsal every week). Seeing (hearing) and feeling
your own development is an important motivation, and usually after one academic year, most
students read and write music, and play their instruments reasonably well.
Although working with the ensemble on reading parts is important the most difficult aspect
of sight reading is transposing pieces into other keys at sight. Saxophone and trumpet players are
just two of the instruments that need to transpose their music because of their specifications. Every
piece needs to be either re-written, or more practically, transposed at sight.
d) Transposing
However, they are not the only ones to transpose music, all instruments need to work on this
skill. Often, singers who work in ensembles need to have the music transposed into other keys
although, for the piano, bass and guitar the most important part is transposing the chords even
though transposing the melody (if possible with the chords) is also very useful. I ask the students to
transpose pieces most usually the chords and, if too difficult, we do it together, as an ensemble.
Once they are accustomed to this difficult task, they quickly become able to transpose music and
chord progressions.
e) Choosing a repertoire
Choosing a repertoire that interests the students is also difficult. It has to match their level,
be interesting and encourage students to learn something (applying ideas learnt in another class,
demonstrate an idea). It also introduces them to a style of music.
There are two main categories, standard song form and blues, both of which have interesting
13
qualities and individual characteristics.

Blues is probably one of the most popular forms that musicians use, as a basis for writing
and improvising. Its tonic, sub-dominant- dominant relationships are perfect for teaching. A blues
also has the advantage of being a fixed chord scheme, which can have any blues melody played on
its chord progression. 'Jazz blues'36 are often made up of simple repetitive four bar motifs which
repeated three times over the twelve bar form 37. Consequently, students only have to learn one basic
chord pattern (ideally in twelve keys), yet can apply dozens of different melodies, depending on
their tastes, styles or ability. Simple examples of that style are Bags Groove or Sonnymoon for
Two (see footnote 36), and an excellent example, although not a traditional blues, is Watermelon
Man from Herbie Hancock's 1962 album Takin' Off38. Students relate particularly well to this fun
yet serious piece and, to add interest, it is also possible to work with the ensemble, either on the
original 1962 version, or for those more interested in pop styles on the 1970s jazz-fusion version.
Many standard songs can be used in ensembles. A well known show tune such as All of
Me39 could be played as a swing tune in the style of the 1940s, or as a modern bluesy version, such
as that of Eric Clapton and Paul McCartney 40. These standards often have chord progressions which
help explain and demonstrate harmony and chord/scale relationships used for improvising.
e) Scales and Chords
These standards or blues are the perfect place to introduce students to the use of scales and
chords. Although also taught in the harmony class, the ensemble class is the perfect place for
demonstrating and discussing the individual chord forms and their functions within harmony. The
advantage of talking about chords and scales in an ensemble is that they can be demonstrated and
immediately tested by the students. Each chord can have several scales played over it, depending on
keys (major/minor), sound colours41 and melody. The melody often implies, or defines, the use of
certain scales. So, demonstrating the connection between the melody being played and the scales
36 As opposed to traditional blues songs which are more part of the folk tradition which has now developed into its
own form and genre of popular music. The most basic form of blues can be harmonically simple such as a 'I' chord
played as a pedal point. An example of this could be Pony Blues from Son House. However, most of the simple
blues tunes use the format of chord degrees I, IV and V (ex: C major, F major and G major).
37 For an example see Bags Groove in Annex #2.
38 Herbie HANCOCK, Takin' Off, Blue Note Records, BST 84109, 1962.
39 "All of Me" is a popular song and jazz standard written by Gerald Marks and Seymour Simons in 1931. Many
versions have been recorded over the years. Some well known versions are those recorded by: Louis Armstrong,
Ella Fitzgerald, Frank Sinatra, Django Reinhardt, Billie Holiday, and more recently Paul McCartney and Eric
Clapton, The Muppets and Michael Bubl.
40 All of Me sung by Eric Clapton and Paul McCartney on Eric Clapton's album Old Sock, released on Duck
Records, 12 March, 2013.
41 The phrase Sound colours is a way of describing how scales, when placed against chords, can give the music
certain colours or atmospheres such as tension, dark, bluesy, bright etc.
14
chosen is easier to explain. In jazz, the soloist is free to choose the scales that he/she requires,
depending on what musical effect they wish to produce. As an example one could explain how a 1st
degree major chord the tonic of the piece can have two scales:
a) The major scale related to the key: example C major over a C major chord.
b) A lydian scale. The lydian mode or scale is taken from the IVth degree of a key. Example
C lydian (C lydian = C, D, E, F#, G, A, B, C or the scale of G major starting and finishing on the
note of 'C').42 The use of the lydian scale (b) will give a very colourful sound due to the raised 11th,
although the tonic solution (a) is just as good and probably used more often throughout. It is
particularly important to point out to students that simple chord/scale solutions are as good as the
complicated alternatives.
f) Rhythm
Working on chords and scales is important but jazz has important rhythm elements that
define its sound and feel. Someone with a good technical command of the instrument but poor time
will unfortunately not sound as good as someone with average technique but good timing. Much of
this is based on understanding how to manipulate the beat in a way that plays with the ambiguity
between triplets and eighth notes. In the example below we notice how two 8th notes become felt as
a triplet feel:
What musicians call 'swing' is based on this rhythmic subtlety. When played over a piece, scales can
either be swung using this phrasing or played as straight eighth notes. A second example of rhythm
is the importance of beats 2 and 4. These beats are accented to emphasise this swing feel, remember
that the 8th notes have a triplet feel!
Example:
Both these examples can be demonstrated either by playing or listening to recordings showing the
development of these rhythms through the history of jazz.
These are not the only timing details that can be demonstrated. Others include pushing or
pulling the beat slightly ahead, behind or directly on the beat. By accenting the beat, you can give
42 The system used to write (name) chords or scales is the anglo-saxon system of C, D, E, F, G, A, B & C, rather than
do-re-mi, etc. However, depending on the countries language people may use do-re-mi, etc., when referring to C, D,
E and so on.
15
your playing, or the groups', a sense of acceleration or you can drag the time feeling. This effect can
be either used in solos or by the bassist and/or drummer, to give energy or colour to the music.
Much of the success in playing jazz is the understanding and feel for time, and use of metronomes
for practicing these techniques is most important. There are several games and techniques which
students can learn to work with their metronomes. Two simple examples that I often use to start
with are:
Example 1: Place the metronome on 60 beats per minute. Normally this means that you would hear
(or assume) the beat as 1, 2, 3 and 4, or better still 1 and 3. One should now try to think of the
metronome beats as beats 2 and 4 in a bar. This changes the effect from [1, 2, 3, 4] to [1, 2, 3, 4].
Play scales, or other exercises up and down whilst hearing the beats metronome click as 2 and 4.
Example 2: After having understood and practiced hearing the beat as 2 and 4 by playing scales and
other patterns, try hearing the beat metronome click as the third part of a triplet. Ex: Tri-per-let
There are many more games that one can play with a metronome to develop a more in-depth
understanding of time and tempo.
Much of the work approached in the ensemble also allows them to try out their soloing
capabilities, which normally they have been developing with individual teachers. Sometimes I work
with the ensemble on some simple soloing techniques, but due to time constraints it is usually better
to work with students individually. The following section is a very brief outline of a few of the
possibilities for teaching solo development, either on a one-to-one basis or as a group when
appropriate.
d) Solo Development
Solo techniques are a vast topic and can be approached on many levels. Serious improvisers
spend years developing ideas, such as working with large intervals, irregular phrase lengths or by
extending the range of their instruments. However, the basic steps are easily taught, although
students must be dedicated and persevere for some time before seeing the benefits. At one point
several teachers from my school were curious to see a particular student's saxophone case left in the
16
teachers room all week long. When we inquired about the case, we were told that the student came
to collect his case minutes before the lesson, took his lesson and then immediately put the
instrument back in the teachers room until the next week! A humorous example of a student that
obviously misunderstood the dedication needed to succeed, and there are many more like this.
As a starting point, can be directed to recordings of soloists playing the same instrument43,
because when students start transcribing solos from recordings, the instrument played and the
instrument transcribed both have the same ranges, which facilitates the process. Imitation is highly
important in the initial stages of development and listening to soloists and imitating is the best way
to develop a solo language. Although obvious, most people forget that we learn to speak by simple
imitation and correction from our elders. Jazz improvisation is no different. Listening is of prime
importance and the more a student listens to recordings of famous soloists if possible
chronologically the quicker he/she will acquire an idea of sound and style, understand the
differences in timing and pitching.
However, before starting to transcribe, students should study scales and intervals, as it helps
them develop their soloing abilities and strengthen their ear. Being able to recognise scales will help
speed up the transcription process later. One of the first and most important things is to (have the
students) learn all the scales needed for improvisation:
- 12 scales made up from: major, minor melodic and the harmonic minor (= 36 scales).
- 2 Whole tone scales.
- 3 Diminished scales
In addition, there are 12 major pentatonic scales which can be altered several times to cover
dozens of options and chord-colours in both major and minor, altered and diminished.
From these scales, it is possible to make up altered-dominant scales and half-diminished scales.
Why don't I mention learning the seven modes: ionian, dorian, phrygian, lydian, mixolydian,
aeolian, locrian? Because by developing your major scales, one already 'integrates' the modes and
makes it relatively easy to look at the modes at a later stage. I also feel that it is more important to
understand music improvisation from a tonal viewpoint. Much 'media hype' has been made from
discussing Miles Davis' use of modes such as on his ground breaking Kind of Blue album 44. Even
43 Although soloing techniques are the same for each instrument, technical problems are not. As an example the
double bass does not (normally) have the same velocity as a saxophone. On a guitar, pentatonic scales are easily
played, yet be-bop melodies are notoriously difficult, because of melodic leaps which do not fall easily under the
fingers of a guitarist. Each instrument has its advantages and disadvantages.
44 Barry KERNFELD. "Miles Davis", Grove Music Online., Oxford Music Online,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/07310>, Consulted, 25 Aug. 2013.
17
if the music is modal, it is clear that the soloists use major or minor scales in a tonal way. This is
probably due to their musical schooling, which roots date back well before the modal harmony
fashion. Unfortunately, many teachers work on modes before scales. This is probably due to the fact
that it is easy to make music from modes at an early stage, whereas scales need a certain mastery
before being used.
These scales have to be studied in multiple ways as simple scales (up and down), in triads,
arpeggios, in intervals of thirds, fourths, fifth, sixths and sevenths. Many patterns can be built on
these intervals, triads and arpeggios. As we see in Example 1, a major scale is played ascending in
natural thirds the thirds within the scale.
In Example 2, I have taken the same major scale and made a variation using the same system of
thirds but combined ascending and descending.
In the last example (Example 3), I again use the pattern from Example 2 (of ascending descending),
yet, this time, I use the interval of a fourth, creating yet a new variation of the first simple pattern.
These simple patterns can be constantly developed using thirds, fourths, fifths, and so on. They can
also be developed rhythmically, using eighth notes or triplets. All have to be studied in 12 keys both
in major and minor tonalities.
A technique that uses patterns has been developed to develop solo ideas. These simple
patterns are also called motifs. You will notice that in the example, I talk about thirds, however,
once we start using motifs, we often use numbers to identify the pattern's shape. If one listens
carefully to improvisers post 1980, one will notice that soloists using this system have become the
norm. It has also enabled jazz schools and universities to have a stable assessment model for
judging pupils development (i.e. Can they or can they not play a particular pattern?).
18
- Some simple examples of motif (or pattern) playing using the 1,2,3,5 pattern:
- diatonic = c major, d minor, e minor .
- major chords on a cycle of fifths (C major, F major, Bb major, etc)
Once the students have started to master their instrument using scales and patterns it is easy
to start working with solo transcriptions. Transcribing solos has massive benefits. It strengthens the
ear, helps technique and develop vocabulary. There are several ways of transcribing solos; some say
that the solo should be written down, others say not. In recent years, musicians have started to
realise the benefits of working with the ear. The method was developed by Lennie Tristano 45 for his
pupils Warne Marsh and Lee Konitz in the 1940s. Due to the growing popularity of Tristano, some
teachers have again suggested that students should first learn the solo they work on, by singing
along with the recording. Next, they should be able to sing the solo without the help of the
recording. Only when they have entirely integrated it should they start playing it on their
instrument. This system works very well and is much fun with students. It also works extremely
well for learning scales, chords and phrases. By first singing an idea, chord or scale over a bass
note, the player is able to assimilate the idea and reproduce it on their instrument.
Having said that there are many excellent books with transcriptions of solos. One of the
most famous is the Charlie Parker Omnibook46 which appeared originally in the early nineteen
eighties. It is a book of Charlie Parker47 solos, transcribed and printed, so that students and players
can learn, play along and copy all or parts of the solos/phrases. It has become a very common way
of working, although it is clearly more beneficial for the individual to listen to, learn and transcribe
solos from records themselves, in order to develop the ear and work more in-depth.
One can never cover all subjects with the students and I think that having a few suggestions
for teach yourself books is important. These can be used as reference material and give students
another viewpoint on many concepts. Some of these books make it too easy, giving written
45 Bradford ROBINSON. " Lennie Tristano," Grove Music Online, Oxford University Press,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/28400>, (consulted 28 th July, 2013).
46 Jamey AEBERSOLD, The Charlie Parker Omnibook, New York, Pub., Hal Leonard, 1987.
47 Carl WOIDECK. "Charlie Parker", Grove Music Online, Oxford University Press,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2224954>, (consulted 28 th July, 2013).
19
examples in 12 keys and don't let the student work on the idea. One book that avoids this trap,
which I often refer to in classes, is Hal Crook's How to Improvise: An Approach to Practical
Improvisation48. It explores the essential ideas and concepts needed for soloing. Cleverly, the ideas
are presented step-by-step and accompanied by exercises, but there is no real written examples of
patterns, and students have to figure out their own solutions. Nevertheless, the material is presented
in such a way as to make the book endlessly fascinating.
Lastly, I should mention that in jazz literature more books have been dedicated to this
subject than to any other, showing the importance of that discipline for jazz musicians. The way
most teachers work is very similar to the material found in many of the books of well-known jazz
pedagogues mentioned earlier (Jamey Aebersold, David Baker, Jerry Bergonzi or Jerry Coker). In
addition, the internet is a vast source of information49, where one finds videos and presentations on
blogs and video channels. Those blogs are often written by ex-students from famous universities,
with high profile teachers and offer first-hand information on the latest thoughts and suggestions for
developing and working on solos.
e) What cannot be taught

In modern popular music, the concept of 'feeling' is a prevailing one, but can it be taught?
When a singer sings in their mother tongue, they have an intuitive understanding of the meanings of
words and the rhythm of sounds. The cultural differences between European 50 and American jazz
are also 'inbred'. Although it is virtually impossible to become someone else, it is nevertheless
possible to learn mannerisms by imitation, copying solos from recordings, by singing or other
transposition systems. Originality is another notion that is seemingly innate. However, inspiring
curiosity can help give students new ideas about the numerous possibilities available to them. 51
Intuition and the ability to think out of the circle is part of the teaching, even if, theoretically,
it cannot be taught. Most students do no believe that creativity is something that can be developed
or nurtured. Of course, one does not have to be original to play music, but composing and
48 Hal CROOK, How to Improvise: An Approach to Practical Improvisation, Rottenburg N., Germany, Advance Music,
1991.
49 One only has to type the phrase 'jazz solos teach yourself books' into a computer search engine to see the hundreds
of text-books and editions now available. 1,100,000 results on 25th of August, 2013.
50 One could also subdivide European jazz into French jazz, English jazz among others. Each country surely has
stylistic differences and influences both rhythmically and melodically.
51 Interestingly my experiences at art college in both Brighton (UK) and Lincoln (UK) demonstrated that originality is
something that can be nurtured. In my experience music schools are generally less interested in developing this
aspect of their art form.
20
developing new ideas bring their own benefits and rewards. Encouraging students to participate in
and listen to marginal music, to compose in different ways, helps them develop their creativity,
although it is also important to recognise that not everybody is interested in finding new paths. As
one student pointed out, opening new doors can cause confusion if they are not ready to do so.
Consequently, choice is beneficial only if students are well prepared. Even so, I feel one of the most
important aspects of teaching is the ability to pass on your enthusiasm for knowledge and learning.
Books such as Derek Bailey's Improvisation: Its nature and practice in music 52 or Nicolas
Slonimsky's53 Thesaurus of Scales and Melodic Patterns are just two examples of literature that
can allow the student to develop original ideas. Films and books 54 can also be used as starting points
and students should be given the possibility to play their own ideas in the ensembles or lessons.
-Thinking and breathing the music
As Steve Swallow explains to Paul Haines (see introduction), jazz has to be learned. One of
the very early teachers in jazz, Rev. George Wiskirchen, says:
I can't teach anyone improvisation, but I can teach them theories of harmony,
motion and rhythm. Then I tell them what is wrong with what they are doing and
how to make it better. I encourage them to improvise...improvisation is
contagious.55
Since there are few opportunities to play live jazz music regularly, it is important to try and
get the students to absorb the jazz culture from other sources. Playing along with recordings,
transcribing solos, listening to recordings and reading books and articles about/by musicians are
ways to fill the culture gap. Andrew Goodrich's fascinating article, "Utilizing Elements of the
Historic Jazz Culture in a High School Setting" 56, explains how jazz has been changed from a
socially learnt music to a high school art form:
[...] jazz culture is defined as transmission of knowledge of historical jazz
practices (both informal mentoring; and formal private lessons) through
52 Derek BAILEY, Improvisation: Its nature and practice in music, Ashborune, England, Moorland Pub., 1980.
53 Paula MORGAN, "Nicolas Slonimsky," Grove Music Online. Oxford Music Online,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/25972>, (consulted, 21 August, 2013).
54 All literature: mathematical, philosophical, historical among others can open many pathways for composition, or
practice ideas for improvisation even.
55 Chicago Tribune, Rev. George Wiskirchen, 76 (obituary), May 26, 2005, Retrieved April 28, 2011 from
<http://articles.chicagotribune.com/2005-05-26/news/0505260233_1_jazz- band-band-program-assistant-banddirector> [cit. Philip RICE, "Educated Jazz. What happened when jazz went to college", Seminar in Jazz and
Pedagogy, Westminster Choir College, 1 May, 2011.] This article seems to be no longer available online 29 th July
2013.
56 Andrew GOODRICH, "Utilizing Elements of the Historic Jazz Culture in a High School Setting", Bulletin of the
Council for Research in Music Education, No. 175 (Winter, 2008), pp. 11-30.
21
interaction between teacher and student via guided learning. The goal is for
students to become participants in jazz cultural community which may include an
accumulated store of symbols, ideas, and material products associated with a
social system(Johnson, 1995, p.68). Jazz music includes symbols (e.g., notation;
historic personalities; musical gestures), ideas (e.g., performance practices;
improvisation; cultural, ethnic, gender stereotypes), and materials (e.g;, charts,
recordings).57
He continues to discuss some of the studies that confirm the progress that students make when
working first hand with professionals. He also underlines the use of transcription, play-along
records and other teaching aids. It is clear that any possibility to involve the students directly with
the practicing musicians speeds up the learning process and the quality of the music. Although the
heyday of jazz (1940s and 50s) is long passed, it seems that the transmission of historical and
personal experiences from the past is more than beneficial in helping the students develop a
personal language.
Unfortunately, to my knowledge, there has been no in-depth study from a European angle,
and as influences surely differ from one continent to another a more modern approach may have to
be embraced that includes a variety of modern styles. These new influences may well have a
stronger connection and connotation for students in modern day Europe.
57 Ibidem.
22
Conclusion
It is evident that, although music improvisation has clearly become a mainstream art form,
not all developments have been beneficial. There are discrepancies as to technique, melody and
talent assessment. Many papers on jazz and improvisation highlight the importance of listening,
which naturally ties in with an art form heavily dependant on orality. It is impossible to improvise
and interact without listening to your fellow band members. Although many institutions agree on
methods for teaching improvisation it would also seem some areas are either neglected or not
adapted to modern techniques and newer styles of music, the danger being that the music, in this
case jazz, may become stifled as the word 'conservatory' suggests.
Lastly, the techniques that I have outlined in the second section 'Personal Observations' are
the main ideas used in the courses. However, as I have mentioned in passing, the best method for
learning jazz is self-motivation. Once a student understands the basic principles of each area of
study, the most beneficial way forward is probably practical experience, that cannot easily be taught
by any music institution.
23
Bibliography
Jamey AEBERSOLD, The Charlie Parker Omnibook, New York, Pub., Hal Leonard, 1987.
Lisa BASS and Billy TAYLOR, "Marathon Man of Jazz Education: An Interview with Billy Taylor",
Music Educators Journal, Vol. 68, No. 5 (Jan., 1982), pp. 31-34
Hal CROOK, How to Improvise: An Approach to Practical Improvisation, Rottenburg N., Germany,
Advance Music, 1991.
Bill DOBBINS, "Jazz and Academia: Street Music in the Ivory Tower", Bulletin of the Council for
Research in Music Education, No. 96, Research in Jazz Education II (Spring, 1988), pp. 30-41.
Harry Allen FELDMAN, "Jazz: A Place in Music Education?", Music Educators Journal, Vol. 50, No.
6 (Jun. - Jul., 1964), pp. 60+62-64
Dave GELLY and Barry KERNFELD, "Jerry Coker", Grove Music Online. Oxford Music Online.,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/J094300>, consulted, 19 Aug.
2013.
Andrew GOODRICH, "Utilizing Elements of the Historic Jazz Culture in a High School Setting",
Bulletin of the Council for Research in Music Education, No. 175 (Winter, 2008), pp. 11-30.
Maud HICKEY, "Teaching Ensembles to Compose and Improvise", Music Educators Journal, Vol.
83, No. 6 (May, 1997), pp. 17-21
Maud HICKEY, "Creativity in the Music Classroom", Music Educators Journal, Vol. 88, No. 1,
Special Focus: Composition and Improvisation (Jul., 2001), pp. 17-18.
Maud HICKEY and Peter WEBSTER, "Creative Thinking in Music", Music Educators Journal, Vol.
88, No. 1, Special Focus: Composition and Improvisation (Jul., 2001), pp. 19-23
Gary KENNEDY and Barry KERNFELD. "Jamey Aebersold", Grove Music Online. Oxford Music
Online, <http://www.oxfordmusiconline.com/subscriber/article/grove/music/J758100>, consulted,
19 Aug. 2013.
Barry KERNFELD. "Miles Davis", Grove Music Online., Oxford Music Online,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/07310>, Consulted, 25 Aug.
2013.
Bryce LUTY, "Jazz Education's Struggle for Acceptance. Part I", Music Educators Journal, Vol. 69,
No. 3 (Nov., 1982), pp. 38-39+53
Bryce LUTY, "Jazz Ensembles' Era of Accelerated Growth, Part II", Music Educators Journal, Vol.
69, No. 4 (Dec., 1982), pp. 49-50+64
Paula MORGAN, "Slonimsky, Nicolas." Grove Music Online. Oxford Music Online,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/25972>, (consulted, 21 August,
2013).
24
Lewis PORTER, Jazz in American Education Today, College Music Symposium, Vol. 29 (1989),
pp. 134-139.
Philip RICE, "Educated Jazz. What happened when jazz went to college", Seminar in Jazz and
Pedagogy, Westminster Choir College, 1 May, 2011.
Paul RINZLER. "David Baker", Grove Music Online. Oxford University Press.,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/J022300>, consulted, 19 Aug.
2013.
Bradford ROBINSON, "Lennie Tristano," Grove Music Online, Oxford University Press,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/28400>, (consulted 28th July,
2013).
Derek T. SMITH, Development and Validation of a Rating Scale for Wind Jazz Improvisation
Performance, Journal of Research in Music Education, Vol. 57, No. 3 (Oct., 2009), pp. 217-235
Paul TANNER, "Jazz Goes to College: Part I", Music Educators Journal, Vol. 57, No. 7 (Mar., 1971),
pp. 57+105-109+111-113.
Paul TANNER, "Jazz Goes to College: Part II", Music Educators Journal, Vol. 57, No. 8 (April.,
1971), pp. 45+85-93.
William WEBER, et al. "Conservatories." Grove Music Online, Oxford University Press,
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/41225>, (consulted 29 Jul.
2013).
Erin WEHR-FLOWERS, "Differences between Male and Female Students' Confidence, Anxiety, and
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July, 2013).
25
Annex #1
Jazz Education Survey

As mentioned in the main paper this is a short and very general survey that I sent out to musicians
that I know via professional connections or through personal contacts. Although the survey is far
from thorough it does have some interesting points. There were 40 questions to be answered. I
notice that there was a small drop-out rate and some people obviously decided to not answer some
questions moving directly to either the next, or another.
I didn't use the survey to answer questions in my paper, I was more interested to see if
musicians agreed with me and each other on certain points. In general the results seemed fairly even
and there were not too many surprises.
Some interesting points that I noticed are as follows (unfortunately no women answered
my survey):
I was not surprised to see that most people (87.5%) listened to rock music before studying jazz
question (question n9). In the Antwerp Jazz Studio where I teach I would say that most students
arrive at the school having listened to very little jazz, but plenty of rock music.
The figures connected to listening, singing were most revealing (#24). 93.55% of people practised
singing what they play. 64.52% of people try to sing someone's solo to learn it (#26). Both these
figures backed up my thoughts on working on solos with students as mention in the main paper. It
also linked with question n27 asking if people could sing chord tones over chord progression and
question n 29 where I asked peoples strengths and weaknesses when using their ears. All these
answers seemed to back up my thoughts on this subject. Some of the later questions also confirmed
the same thing. In question n34, 100% answered that the ear was essential for developing solos,
90.91% said listening to recordings was important also (#17).
Question n32 seemed to show that learning music was best done with others via an ensemble. I
would have been interested to know what the 16.13% of people who disagreed thought were better
options?
It was interesting to read in question n36 that free-improvisation was considered the most easy
thing to play showing how free-improv is rising in popularity.
Finally question n38 is particularly important to read as here the musicians commented on what
they find most important for learning to play jazz. Here again listening came up as probably the
most important point to focus on in one way or another.
Due to layout problems and character sizes I have left the survey in its original form.
Print report
http://app2.evalandgo.com/report/print_report2.php
What is your gender?

#
Question
1 What is your gender?
1 of 41
no.
no.(%)
33
100%
Male
32
96.97%
Female
3.03%
27/08/13 22:37
Print report
What country are you from (where are you living now)?
#
2 of 41
Question
What country are

you from (where
are you living
now)?
Text
- England
- USA
- USA
- Uk
- USA
- UK
- United States
- uk
- Australia
- England
- US
- Australia
- USA
- USA
- USA
- US
- USA
- UK
- Switzerland
- Belgium
- UK
- From the U.S. but now living in Japan.
- Belgium
- usa
- usa
- Scotland; Belgium
- belgium
- Canada
- United States
- sweden
- USA
- usa
- Belgium
27/08/13 22:37
Print report
Student or teacher?
#
Question
3 Student or teacher?
3 of 41
no.
no.(%)
33
100%
student
6.06%
teacher
20
60.61%
neither
11
33.33%
27/08/13 22:37
Print report
What instrument(s) do you play?

#
Question
Text
- double bass
- Piano, drums
- Trumpet
- Double bass
- clarinet
- Trumpet, laptop
- Saxophone
- guitar
- Drums
- Saxophone
- trombone, drums, bass, piano
- piano
- Trumpet, piano, euphonium, didgeridoo
- guitar
- Saxophone
- cornet, trumpet, flugelhorn, soprano cornet, alto horn
What instrument(s)
4
- Drums
do you play?
- Chromatic harmonica, Trumpet, Flugelhorn, Valve Trombone, Vox
- reeds
- Valve Trombone
- Saxophone & Flute (Specializing in soprano saxophone)
- Professionally-Trumpet
- guitar
- string bass
- saxophone
- Saxophone
- acoustic bass, electric bass, piano, recorder
- VIBRAPHONE, drum set, all hand drums & percussion
- Alto / Tenor saxophone, Bb / Bass Clarinet
- saxophones
- Trombone
- tuba
- sax
4 of 41
27/08/13 22:37
Print report
If you are a teacher where, or how, did you study (before you became a teacher)?
#
Question
no.
5 If you are a teacher where, or how, did you study (before you became a teacher)?
100%
conservatory
10
41.67%
university
14
58.33%
private courses
10
41.67%
music workshops or summer courses
10
41.67%
from recordings (CDs, LPs, tapes, etc)
15
62.5%
teach yourself books (play-alongs)
11
45.83%
25%
Other
#
Question
If you are a
teacher where, or
how, did you study
5
(before you
became a
teacher)?
5 of 41
no.(%)
24
View Other(s)
- junior and high school
- College
- N/A
- Private teachers
- Playing with others
27/08/13 22:37
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If you are a student did you study music before entering an institution, and if so where?
#
Question
no.
no.(%)
10
100%
private lessons
90%
music workshops
20%
academies (or music schools)
20%
50%
30%
Other
10%
6 If you are a student did you study music before entering an institution, and if so where?
Question
View Other(s)
If you are a
student did you
study music before
6
- N/A
entering an
institution, and if
so where?
6 of 41
27/08/13 22:37
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If you are neither a teacher or student - where did you learn to play jazz?
#
Question
no.
7 If you are neither a teacher or student - where did you learn to play jazz?
100%
conservatory
23.08%
academy
7.69%
private courses
30.77%
music workshops or summer courses
30.77%
10
76.92%
university
7.69%
53.85%
38.46%
Other
#
Question
If you are neither a

teacher or student
7
- where did you
learn to play jazz?
7 of 41
no.(%)
13
View Other(s)
- loads of ways - private lesson,s playing lots, transcribing, attended a MA programme but dropped out half way
through
- your question posits the notion that jazz is learned primarily through an education system
- Classically trained pianist
- on the stand
- Giging
27/08/13 22:37
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Teachers and students - did you listen to jazz records before studying jazz?
#
Question
no.
no.(%)
25
100%
yes
22
88%
no
12%
8 Teachers and students - did you listen to jazz records before studying jazz?
8 of 41
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What types of music(s) did you listen to before studying jazz?

#
Question
no.
9 What types of music(s) did you listen to before studying jazz?

rock (includes alt-rock, etc)
9 of 41
no.(%)
32
100%
28
87.5%
country
25%
folk music (includes world music)
20
62.5%
blues
17
53.13%
funk (or other dance music)
23
71.88%
classical (pre 1900s)
19
59.38%
classical (post 1900s)
15
46.88%
pop, chanson francaise, etc
15
46.88%
jazz (jazz-funk, jazz-rock, etc)
22
68.75%
Other
9.38%
Question
What types of
music(s) did you
listen to before
studying jazz?
View Other(s)
- improv, klezmer
- Salsa
- Anything that was going on including all the above
27/08/13 22:37
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Did (does) anyone in your family listen to jazz?

#
Question
10 Did (does) anyone in your family listen to jazz?
10 of 41
no.
no.(%)
32
100%
yes
18
56.25%
no
14
43.75%
27/08/13 22:37
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Did you hear any jazz when at school (primary or secondary)

#
Question
11 Did you hear any jazz when at school (primary or secondary)
11 of 41
no.
no.(%)
32
100%
yes
23
71.88%
no
28.13%
27/08/13 22:37
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Did your music lessons (if you had them) include improvising?
#
Question
12 Did your music lessons (if you had them) include improvising?
12 of 41
no.
no.(%)
32
100%
yes
19
59.38%
no
11
34.38%
no music lessons
6.25%
27/08/13 22:37
Print report
Did you play any other type of music before playing Jazz (i.e. I was in a rock band)?
#
Question
13 Did you play any other type of music before playing Jazz (i.e. I was in a rock band)?
13 of 41
no.
no.(%)
30
100%
yes
26
86.67%
no
13.33%
27/08/13 22:37
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If you answered yes to question 11. What type of music did you play?
#
Question
Text
- think you mean question 13? Played blues and rock guitar as a kid, got into improv early on, got serious about
playing jazz in my 20s
- Rock and Reggae
- Concert band/ marching band
- Classical, funk, rock
- rock, classical
- Classical
- alt rock, blues, and freeform improvisation
- Rock, musical theatre, school concert band, etc
- Rock
- rock, classical, marching band, concert band
- Classical, rock
- West European Concert Music
If you answered
- Rock and pop
yes to question 13.
14
- classical
What type of music
- Classical, folk, rock
did you play?
- R and B. Brass Bands. Military Bands.
- Any style or group of musicians that would have me, opra to punk its all playing
- Played classical and pop-rock.
- pop music
- classical and band music
- classical
- marching band, rock band
- Rock, R&B, British Invasion
- Middle & High school band music / wind ensemble
- progrock, psychedelic rock
- Classical piano
- classical
- Blues/folk/rock
14 of 41
27/08/13 22:37
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Do you listen to music every day?

#
Question
15 Do you listen to music every day?
15 of 41
no.
no.(%)
32
100%
yes - I have music on most of the day
25%
yes - when I have time to really listen
21
65.63%
no
9.38%
27/08/13 22:37
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How much music do you listen to?

#
Question
16 How much music do you listen to?
16 of 41
no.
no.(%)
33
100%
a lot
21
63.64%
sometimes
12
36.36%
occasionally
0%
27/08/13 22:37
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Do you think listening to recordings is essential to learn a style?

#
Question
17 Do you think listening to recordings is essential to learn a style?
17 of 41
no.
no.(%)
33
100%
yes
30
90.91%
no
6.06%
not sure!
3.03%
27/08/13 22:37
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If you are a teacher - do you make the students listen to recordings?

#
Question
18 If you are a teacher - do you make the students listen to recordings?
18 of 41
no.
no.(%)
21
100%
yes
20
95.24%
no
4.76%
27/08/13 22:37
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Do you play along with recordings (solos, or other music)

#
Question
19 Do you play along with recordings (solos, or other music)
19 of 41
no.
no.(%)
33
100%
often
10
30.3%
sometimes
19
57.58%
never
12.12%
27/08/13 22:37
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Do you transcribe other peoples solos?

#
Question
20 Do you transcribe other peoples solos?
20 of 41
no.
no.(%)
32
100%
yes
22
68.75%
no
10
31.25%
27/08/13 22:37
Print report
Do you transcribe solos of other instruments - other than the one you play?
#
Question
21 Do you transcribe solos of other instruments - other than the one you play?
no.(%)
33
100%
14
42.42%
no
27.27%
occasionally
10
30.3%
yes
21 of 41
no.
27/08/13 22:37
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Do you transcribe your own solos?

#
Question
22 Do you transcribe your own solos?
22 of 41
no.
no.(%)
33
100%
yes
12.12%
no
29
87.88%
27/08/13 22:37
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Do you think you should be able to sing what you play (or at least some of it)?
#
Question
23 Do you think you should be able to sing what you play (or at least some of it)?
23 of 41
no.
no.(%)
31
100%
yes
26
83.87%
no
16.13%
27/08/13 22:37
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How often do you practice singing what you play?

#
Question
24 How often do you practice singing what you play?
24 of 41
no.
no.(%)
31
100%
sometimes
29
93.55%
never
6.45%
27/08/13 22:37
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People who can sing what they play have more control over their solos?
#
Question
People who can sing what they play have more control over their
25
solos?
#
no.
min
avg.
max
29
7.14
10
Question
25 People who can sing what they play have more control over their solos?
0
25 of 41
Detail
no(%)
29 (100%)
1 (3.45%)
0 (0%)
1 (3.45%)
1 (3.45%)
2 (6.9%)
2 (6.9%)
3 (10.34%)
5 (17.24%)
3 (10.34%)
3 (10.34%)
10
8 (27.59%)
27/08/13 22:37
Print report
Do you ever try singing someones solo to learn it?

#
Question
26 Do you ever try singing someones solo to learn it?
26 of 41
no.
no.(%)
31
100%
yes
20
64.52%
no
11
35.48%
27/08/13 22:37
Print report
Can you sing the scales and chords of a tune - using guide tones etc?
#
Question
27 Can you sing the scales and chords of a tune - using guide tones etc?
27 of 41
no.
no.(%)
29
100%
yes
26
89.66%
no
10.34%
27/08/13 22:37
Print report
In the school you study (or studied) at, do they teach you to use your ears?
#
Question
no.
no.(%)
28
100%
yes
21
75%
no
25%
28 In the school you study (or studied) at, do they teach you to use your ears?
28 of 41
27/08/13 22:37
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When using your ears, can you...

yes
#
Question
sometimes
no.(%)
no.
no.(%)
no.
no.(%)
90
60%
3.33%
55
36.67%
play a solo without looking at the chords?
19
63.33%
0%
11
36.67%
recognise chords (if they're played one at a time)?
18
60%
3.33%
11
36.67%
recognise scales?
18
60%
3.33%
11
36.67%
sing the melody (in tune)?
21
70%
3.33%
26.67%
write out a simple melody after just listening to it?
14
46.67%
6.67%
14
46.67%
29 When using your ears, can you...
29 of 41
no
no.
27/08/13 22:37
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Did you (or have you) ever used Jamey Aebersold play-alongs to learn material?
#
Question
30 Did you (or have you) ever used Jamey Aebersold play-alongs to learn material?
30 of 41
no.
no.(%)
31
100%
yes
24
77.42%
no
22.58%
27/08/13 22:37
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Can you learn to improvise WITHOUT going to a school of music?

#
Question
31 You can learn to improvise WITHOUT going to a school of music?

#
Question
31 You can learn to improvise WITHOUT going to a school of music?
31 of 41
no.
min
avg.
max
30
9.37
10
Detail
no(%)
30 (100%)
0 (0%)
0 (0%)
0 (0%)
0 (0%)
0 (0%)
0 (0%)
0 (0%)
2 (6.67%)
4 (13.33%)
5 (16.67%)
10
19 (63.33%)
27/08/13 22:37
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Is it important to play in a group or ensemble to learn jazz and improvisation?

#
Question
32 Is it important to play in a group or ensemble to learn jazz and improvisation?
32 of 41
no.
no.(%)
31
100%
yes
26
83.87%
no
0%
could be useful!
16.13%
27/08/13 22:37
Print report
Do you need to 'know' the history of jazz to make good solos?

#
Question
33 Do you need to 'know' the history of jazz to make good solos?

#
Question
33 Do you need to 'know' the history of jazz to make good solos?
33 of 41
no.
min
avg.
max
26
6.5
10
Detail
no(%)
26 (100%)
2 (7.69%)
1 (3.85%)
0 (0%)
2 (7.69%)
1 (3.85%)
1 (3.85%)
5 (19.23%)
1 (3.85%)
6 (23.08%)
2 (7.69%)
10
5 (19.23%)
27/08/13 22:37
Print report
What are the most improtant things to develop if you wish to play jazz and improvise
not important
#
Question
What are the most improtant things to develop if you wish to play jazz and
34
improvise
34 of 41
useful
very improtant
no.
no.(%)
no.
no.(%)
no.
no.(%)
3.27%
57
26.64%
150
70.09%
the ear
0%
0%
31
100%
scales
6.67%
12
40%
16
53.33%
repertoire (tunes)
6.67%
15
50%
13
43.33%
knowledge of styles
3.23%
14
45.16%
16
51.61%
listening to CDs etc
0%
13.33%
26
86.67%
harmonic knowledge
3.23%
22.58%
23
74.19%
timing (metronome practice)
3.23%
16.13%
25
80.65%
27/08/13 22:37
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Do you practice with a metronome?

#
Question
35 Do you practice with a metronome?
35 of 41
no.
no.(%)
31
100%
yes
26
83.87%
no
16.13%
27/08/13 22:37
Print report
What type of situations do you find DIFFICULT?

difficult
#
Question
no problem
no.(%)
no.
no.(%)
no.
46
21.3%
70
32.41%
100
46.3%
ballads
9.68%
10
32.26%
18
58.06%
up-tempo (fast)
12
38.71%
25.81%
11
35.48%
free improvisation (just play!)
12.9%
19.35%
21
67.74%
odd time signatures (5/4,7/4,9/4,etc)
10
32.26%
13
41.94%
25.81%
modal
19.35%
22.58%
18
58.06%
complex chord structures
20%
15
50%
30%
written music (following a chart)
16.13%
11
35.48%
15
48.39%
36 What type of situations do you find DIFFICULT?
36 of 41
it's okay
no.
no.(%)
27/08/13 22:37
Print report
Do you enjoy .....

never
#
Question
37 Do you enjoy .....
37 of 41
sometimes
often
no.
no.(%)
no.
no.(%)
no.
no.(%)
5.2%
88
50.87%
76
43.93%
reading books about jazz (fiction/non-fiction)
3.45%
20
68.97%
27.59%
reading books about music theory
17.24%
17
58.62%
24.14%
watching music documentaries
3.45%
20
68.97%
27.59%
going to concerts
0%
12
41.38%
17
58.62%
buying CDs/LPs and other music supports
0%
31.03%
20
68.97%
composing music
7.14%
10
35.71%
16
57.14%
27/08/13 22:37
Print report
What are the most important things to work on if you want to learn to play jazz?
#
Question
Text
- so many things! hard to answer briefly - ear and time most of all
- Listening to yourself and others. Having a good feel and sound.
- Practice everything
- Understanding the underlying relationships within music- both theoretical, intangible and personal
- Developing appropriate techniques and listening skills, learning to be creative
- For me: listening to and copying great solos, and studying harmony/counterpoint on the piano.
- Ears!
- Vocabulary, concept, technique, listening (not necessarily in that order, different things are more important to focus
on at different times)
- Sound, time, feel/style
- being around and playing with players who push you to improve.
- your sound, hearing and time
- Developing a unique style that reflects your own personal inclinations and relation to jazz history.
- physicality, technique, interaction and agency
- Listening, locking in with fellow players, understanding both standard and unconventional forms of jazz,
facility/familiarity.
- Scales, chord sequences (start with blues), tone, intervals, listen to your heroes.
What are the most - Sound Metronome Harmony Listen to jazz and play along
important things to - LIsten to others
38
work on if you
- Scales and listening. Develop imagination.
want to learn to
- Learn a balanced approach that includes listening, scales and patterns, guide tones, contouring of solos, target or
play jazz?
goal note method, harmony and theory and rhythm studies.
- technique, timing, expressivity
- Listening comes first. Going to see top notch jazz performers on all instruments, including jazz vocalists. Having a
knowlege of how jazz relates to you. Having access to a decent instrument.
- Deeper aspects of music (rhythm-the true aspects of this abstract concept, that are waaaay deeper than just
swing eighth notes. harmony - as a maleable world of physics/tension-resolution/color/shape, BEYOND the idea of
rules. Melody - as something inherant in every culture, not just this scale fits this chord, melody exists within a sound
and is a very difficult thing to attempt to explain. Form - as a vehicle to explore and open oneself up instead of a
"paint-by-numbers" map to succesfully adhere to. AESTHETIC - that any element has behind it a nature of aliveness
will enact that element (melody, rhythm, etc) and should be at the centerpiece of one's musicality, ie, many people
find this in the element of time feel, ie that swing will happen more deeply if you can feel it.
- sound and time
- improvising
- Technique, ear training & Chord-scales.
- listening to what's going on around you (not just the music)
- Facility on the instrument, listening to recordings, playing what you hear and learning chords, scales and harmony
- general technique, and practicing material you like in all transpositions
- Ear/Rhythm/Imagination/Creative attitude towards practising & playing/ transcriptions/Repertoire
38 of 41
27/08/13 22:37
Print report
What's the jazz scene like in the area you live, and are there many opportunities to play and learn
(other than going to a school)?
#
Question
Text
- amazing musicians, hard to make a living

- There are a lot of restaurant gigs and weddings etc. There are not too many opportunities to play concerts in quiet
rooms dedicated to music although there are some. There are about 5-10 public jam sessions a week as well.
- There are not a lot of jazz venues, but there are a lot of opportunities to use skills you learn through jazz
improvisation.
- Very good,'plenty of opportunities
- Lots of opportunities to learn in London, both in institutions and by checking out gigs, but opportunities to play less
so, and increasingly competitive.
- It's OK in Seattle, definitely opportunities for playing/learning/and especially teaching. There are some really
exceptional High School programs. There is a resurgence of creativity and output from young musicians in their 20s
right now. The University of Washington Jazz program has gotten stronger than ever, but still can't compete with East
Coast music schools.
- Moderate scene, some great musicians but not loads of places to play.
- Very good scene (Sydney), not enough opportunities to play a lot but there are plenty of opportunities to play a
little (with each band/project). Some great players and a good community.
- More musos than punters, but we're working on it.
- numerous opportunities to play at formal and informal jam sessions. jazz gigs are less common.
- Great, plenty of people and places to play, but the funding is generally distributed towards a few outlets. i.e. most
gigs are not funded, but some are
- The jazz scene in Minneapolis is reasonable vibrant, and in Chicago it is fantastic. There are opportunities, but
What's the jazz
you must seek them out.
scene like in the
- Large community of relatively high-level jazz musicians, many opportunities to play (though not always ideal
area you live, and
venues).
are there many
39
- Jazz is not very popular with the public here or anywhere. 1). People are not exposed to it enough to allow them to
opportunities to
embrace it. 2). Jazz musician's can be too self indulgent. There is no point playing to a handful of geeks, you've got
play and learn
to draw people in slowly. We need audiences. 3). The word itself is far too vague, jazz is a very varied entity. I have
(other than going
often heard people say "I don't like jazz". When asked what they think it is, they usually refer to one particular type.
to a school)?
They maybe don't understand free / avant garde and yet if you mention Miles Davis, Nat King Cole, they may say
"That's different". What I'm getting at here is people's perception of jazz can be born out of ignorance of the varied
styles from different artists and eras. Education, education, education. let them be exposed to it and they will find
much pleasure.
- Many opportunities to play and to listen to jazz
- so so
- There are always oppertunities you just have to look
- There are over 200 clubs in Tokyo and clubs are generally relegated to three levels, advanced that has top
international acts, intermediate which has the top local acts and beginner which includes college students, amateurs,
etc.
- I live in a small town with no jazz scene. The nearest city is Antwerp with some jazz clubs, jam sessions etc...
- There are few jazz venues in the Boston area; We've performed at most of them.
- New York - it is a jungle of everything under the sun, good and bad.
- Ok
- difficult question, there can be more opportunities to play
- It's there but I wouldn't say "thriving". There are opportunities if you really want them.
- some
- A few non-profits that offer jazz education to kids and adults
- lots of players, few venues
- Changing jazzscene & not enough opportunities to play.
39 of 41
27/08/13 22:37
Print report
Is there any really improtant question that I left out that you think would make this survey better?
#
Question
Is there any really

improtant question
that I left out that
40
you think would
make this survey
better?
40 of 41
Text
- some of the questions are not really answerable in 'yes' or 'no' format
- What got you interested in playing jazz?
- Nope. Good luck!
- There can be a big distinction between playing jazz and improvising, not neccesarily the same thing!
- I'm interested in what relative emphasis is placed on 'knowledge' and the 'knower' (social relations / individual
ability), and how jazz is taught in relation to this. See Karl Maton's writing on legitimation code theory (LCT). I would
be interested in seeing research on how people perceive the value or importance of these things in jazz education.
This may be beyond your research but it's a relevant subject and some questions touch on this issue already.
- Why do you feel improvising is an important feature in the music that you play/aspire to play?
- I refer to the above : Why do the majority of people not understand jazz, not listen to it, reject it?
- Sound is important, especially for reeds and other wind instruments, then timing (metronome !), then knowledge of
harmony, etc DG
- Do you feel that jazz music has an import role within contemporary society. If not how could we improve matters.
- Do you genuinely belive you have something to say with your instrument & your music
- Instead of just yes or no answers, I think you should also have sometimes or occasionally as choices. Not much
on private teachers and lessons or jazz duets, texts, method books, transcriptions...
- Yes. You should ask, 1, "Do you play AND sing jazz?",2' "Are you a practicing jazz or jazz oriented musician?", 3,
"Do you believe you have an obligation to pass along your learning to others?" and, 4, "Do you have additionmal
comments?"
- The idea of what/how to practice is becoming an obvious defining element of what makes up a musician. In
creative music (composing, improvising, etc), what/how one RESEARCHES (listening, getting deeper with a kind of
music and figuring out why it feels that way, both in books and certainly out of books) will determine the player.
- break down of study materials (i.e. tunes and recordings) by decade of composition... relative importance of
pattern/sequence-based practice versus melodies taken directly from heads or solos
- Is it important to compose in order to develop a personal musical identity? Do you think that" innovation" is still
possible in Jazz or is" Innovation" an old way of thinking?Isn't it finally not a question of renewing oneself in order to
get better and a more personal jazzmusican?
27/08/13 22:37
Annex #2.

Jazz Education: Methods and Difficulties in Teaching Music Derived From An Oral Tradition

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Jazz education: methods and difficulties in teaching

Stages et pratiques disciplinaires en musique pratique

Annee Academique 2012-2013

Part One: The Development of Jazz Pedagogy

Early stages and development

What is jazz? Can it be taught?

investment and commercial development.26 In conclusion, it could be interesting to combine

Part Two: Personal Observations

Methodology: pedagogy and general concepts

c) Playing music and reading

qualities and individual characteristics.

- major chords on a cycle of fifths (C major, F major, Bb major, etc)

e) What cannot be taught

Jazz Education Survey

What is your gender?

1 What is your gender?

What country are

What instrument(s) do you play?

music workshops or summer courses

from recordings (CDs, LPs, tapes, etc)

teach yourself books (play-alongs)

academies (or music schools)

from recordings (CDs, LPs, tapes, etc)

teach yourself books (play-alongs)

music workshops or summer courses

from recordings (CDs, LPs, tapes, etc)

teach yourself books (play-alongs)

If you are neither a

What types of music(s) did you listen to before studying jazz?

9 What types of music(s) did you listen to before studying jazz?

folk music (includes world music)

funk (or other dance music)

classical (pre 1900s)

classical (post 1900s)

pop, chanson francaise, etc

jazz (jazz-funk, jazz-rock, etc)

Did (does) anyone in your family listen to jazz?

10 Did (does) anyone in your family listen to jazz?

Did you hear any jazz when at school (primary or secondary)

11 Did you hear any jazz when at school (primary or secondary)

Do you listen to music every day?

15 Do you listen to music every day?

yes - I have music on most of the day

yes - when I have time to really listen

How much music do you listen to?

16 How much music do you listen to?

Do you think listening to recordings is essential to learn a style?

17 Do you think listening to recordings is essential to learn a style?

If you are a teacher - do you make the students listen to recordings?

18 If you are a teacher - do you make the students listen to recordings?

Do you play along with recordings (solos, or other music)

19 Do you play along with recordings (solos, or other music)

Do you transcribe other peoples solos?

20 Do you transcribe other peoples solos?

Do you transcribe your own solos?

22 Do you transcribe your own solos?

How often do you practice singing what you play?

24 How often do you practice singing what you play?

Do you ever try singing someones solo to learn it?

26 Do you ever try singing someones solo to learn it?

When using your ears, can you...

play a solo without looking at the chords?