Teacher Lesson Plans PDF

Explanation of Lesson Plan Format
Teacher’s “Lesson Plan 5A” =

Student’s “Lesson 5”
Lesson Plans B, C, and D

are shorter than the A’s, and focus
on Warm-Up exercises and review
Learning Activity #1 of previous Learning Activities.
(Do This First)
Lesson Plan 5A
1 Make sure students have Warm-Up #2, and direct their attention to the “I” Chord Inversions section.
The main purposes of this exercise are to:
1) Reinforce students’ skill playing AND hearing the chord tones.
These boxes show you 2) Help all students learn to “shape” long notes - fp attack, then crescendo to a tongue cut-off.
3) Help the piano and guitar players become familiar which good chord voicings
what the students’ 4) Help the drummer develop Ruffs/Drags and solid 16th-note fills in a Rock style
“Lesson” sections look like.

Only work through this exercise one or two times - you are just introducing it today, not polishing it.
1. Vocab Pathway
Root: A special name for the first note of a scale or chord. Walking Bass Line: A bass line made up of steady
In other words, “ 1 ” can also be called “the Root”. quarter notes. It is usually improvised, and is an impor-
tant part of the jazz “swing” style.
3rd, 5th and 7th: Notes “ 3 ”, “ 5 ”, and “ 7 ”are
also called “the 3rd”, “the 5th”, and “the 7th” of the chord.
Learning Activity #2 2 Have students open to Lesson 5, and begin reading through the Vocab Pathway section. Discuss the
meaning of “Root” and the 3rd, 5th, and 7th of a chord.
(Do This Second) Listen briefly to “Solo Section - Once In A While (Bass & Drums Only)” (Track 9) to hear just a walking
bass line playing with drums.
The main purpose of Lesson 5 is to help everyone learn to improvise a walking bass line.
Learn the rules for creating

2. Idea Pathway: Walking Bass Line
a great Walking Bass Line.
Text in Bold Italics represent

Rule 1: Play the Root on beat 1 every measure or two
Example 1 Example 2 Wrong #1
CD Tracks. See page 2 for a

complete Recordings Track List. 3 Direct students’ attention to Idea Pathway: Walking Bass Line.
Ask students to read Rule 1 out loud. Make sure they understand that the Root can be played on beat 1
either every measure or every two measures. (In the real world of jazz, sometimes the Root may only be
played every 4 measures, but we are keeping it simple here.)
Have students play Example 1 on their instruments, repeating it several times with no stopping or paus-
ing. Do the same with Example 2. Then have them play Examples 1 & 2 back-to-back, repeating the
four-measure pattern a few times.
Ask the students to play “Wrong #1” a few times, and then discuss why it is “wrong”.
Learning Activity #3 Teacher - p. 20
(Do This Third)

...and so on.
©2012 Curtis Winters Teacher - p. 1

Recordings - Track List
Recordings: Track List
Pattern Tracks:
1. Patterns: I Chord – Level 1
Call & Response Track:

7. Call & Response
Solo Section Tracks:

8. Solo Section – Once In A While
9. Solo Section – Once In A While
(Bass & Drums Only)
10. Solo Section – One For The Road
Sample Solo Tracks:

Once In A While
11. Sample Solo – Tenor Sax
12. Sample Solo – Trumpet
13. Sample Solo – Trombone
14. Sample Solo – Piano
15. Sample Solo – Bass
16. Sample Solo – Drum Set
One For The Road
17. Sample Solo – Tenor Sax
18. Sample Solo – Trumpet
19. Sample Solo – Trombone
20. Sample Solo – Guitar
21. Sample Solo – Drum Set
Recording Artists:
Tenor Sax – Derrick Dymalski
Trumpet – Tyler Webb
Trombone – Curtis Winters
Guitar – Ivan Gygi
Piano – Tony Elison
Bass – Brett Howard
Drums – Mitchell Anderson
Teacher - p. 2
Lesson Plan 1A
1 Play 3-4 “Sample Solos” (Tracks 11-21) as students are setting up and preparing to play.
2 Rehearse Warm-Up #1: Scale Workout for a few minutes, emphasizing a swing feel with a “dot” articu-
lation on every vertical accent ( ).
1. Vocab Pathway
Scale: A series of tones that are arranged in a step-by- Pattern: A short melody using specific scale tones:
step ascending or descending pattern:
3 Ask students to open to Lesson 1.
Briefly discuss the Vocab Pathway words, and allow students to try playing the Scale and Pattern (they
are transcribed for each instrument).
2. Pattern Pathway Patterns: I Chord - Level 1

Use scale tones 1-2-3 to sing and play back what you hear.
Staff Notation with Fingerings Staff Notation with Numbers
1 2 3
4 Ask students to play the THREE SCALE TONES under Pattern Pathway (each instrument’s staff nota-
tion and fingerings are unique). Help with fingerings if needed. Tell them they will use these three scale
tones with the “Patterns: I Chord - Level 1” track, which is a recorded “Call & Response” exercise.
Rhythm Section:
During this exercise all rhythm section instruments play only the “response”
to each “call” (no comping).
The drummer will also play the rhythm of each “call” as a “response” using
a variety of drums, including: Snare, Bass, and Toms.
Instruct students to repeat what they hear. It is recommended that for each pattern they should SING the
first two responses and PLAY the second two. However, in any of these exerices you may choose to have
them play all responses.
Play Track 1, and participate with the students in this Pattern exercise.
Lesson Plan 1A - con’t
Use scale tones 1-2-3 to carry on
3. Improvisation Pathway
a musical conversation.
When you are talking to a friend you simply say the things that come into your head. You don’t read a script or
give a memorized speech. Improvising on your instrument should be like talking in a conversation.
1) Using scale tone 1 to answer your teacher’s questions

Improvise a Musical
2) Using scale tone 3 to have a conversation with another student
Conversation By:
3) Using scale tones 1-2-3 to have a conversation with another student
5 Direct student’s attention to the Improvisation Pathway section of Lesson 1. Read and discuss the quote:
“When you are talking to a friend you simply say the things that come into your head. You don’t
read a script or give a memorized speech. Improvising on your instrument should be like talking in
a conversation.”
1) Ask students to use only SCALE TONE 1 to “answer your questions”. You (the teacher) will ask ques-
tions with your voice, and they (the students) will respond with their instruments.
Possible Questions could include:
“What is your name?”
“What did you have for breakfast this morning?”
“What kinds of pets do you have?”
“What are their names?”
“What is the best thing you did all summer?”
Etc...
2) Instruct students to use only SCALE TONE 3 to have a conversation with another student. You can
have them turn in their seats toward a partner, or invite them to stand up and spread around the room in
groups of 2 or 3. You might want to demonstrate this with your instrument and one student before you set
them loose. Let them “converse” for about a minute.
3) Instruct students to continue the conversation, but now using SCALE TONES 1, 2, AND 3. Again, you
may want to demonstrate this first. Point out that you are not trying to play any particular melodies or
rhythms, just using the three scale tones instead of their voice as they imagine words they are saying to the
other student.
Con’t on next page
Teacher - p. 4
Lesson Plan 1A - con’t
Music can be written down (notated) in many different
4. Idea Pathway: Notation
ways. Here are some examples of music notation.
Tibetan Chant Mozart Manuscript
Medieval Chanson
Gregorian Chant
Guitar Tablature
Renaissance Lute Tablature

Improv Pathways
6 Direct student’s attention to the Idea Pathway section of Lesson 1. Point out and discuss the appearance
of some of these forms of music notation. Especially point out the “Improv Pathways” form of notation.
Ask if they can make sense of the “Improv Pathways” notation. Help them understand that it shows them
which SCALE TONES to play, and it shows them how the notes are rhythmically spread across measures.
Level 1 - Scale Tones 1-2-3

A1 A2 A3 A4
B1 B2 B3 B4
Instruct students to turn to the “Patterns” pages in the back of their Improv Pathways materials. Help
them all find “Level 1” of the Patterns. Tell them you are going to play through the recorded Call & Re-
sponse exercise again, but this time they can look at the patterns. Remind them each pattern will be per-
formed 4 times - sung twice and played twice.
Play Track 1, and participate with the students in this Pattern exercise. You may want to shout out the pat-
tern numbers, like “A3”, during the exercise to help them keep up.
After the recorded exercise, you may wish to discuss the educational value of playing the patterns both
“by ear” (without looking at them) and “by sight” (looking at them).
End
Lesson Plan 1B
1 Begin with a Call & Response activity, using Patterns Level 1 and “Call & Response” (Track 7).
Teacher-led call & response allows you to monitor which patterns are more challenging and need more
repetition. Unless you want to, don’t worry about singing the patterns and play them only. Students should
be instructed to play by ear this time. You can use the iconic version of patterns or the notated version
(both are at the end of these lesson plans).
2 Rehearse Warm-Up #1: Scale Workout a few times, reminding students about the “dot” articulations.
3 Rehearse Warm-Up #1: The “I” Chord for a few minutes. This is pronounced “The One Chord”, mean-
ing it focuses on the Tonic chord in traditional diatonic harmony.
There are three main purposes for this exercise:

1. Students become more familiar with scale/chord tones, and are provided the opportunity to hear the
sound of each chord tone within the context of full chords.
2. Students practice articulating the note with an accent, shaping it with a fp followed by a crescendo, and
releasing it together.
3. The drummer practices hitting the beginning of each chord with a combined bass pedal/crash cymbal,
then filling the held note with different drums and cymbals, then crashing again on the release. At the end
of some of the Sample Solos you can hear examples of this common drum set practice.
End
Lesson Plan 1C
1 Begin with “Patterns: I Chord - Level 1” (Track 1), and join the students in singing and/or playing the
responses (your choice). Students should be instructed to look at the patterns (Patterns Level 1) as they
play through them this time.
2 Direct students’ attention to the Warm-Up #1: Group Improvisation exercise. Explain to the students
that each part of this exercise (Riff 1, Riff 2, and Bass Line) is to be repeated over and over until you sig-
nal them to stop. That is to say, you would never play the three parts in a row, but rather choose one (Riff
1, for example) and play it like a vamp (Riff 1, Riff 1, Riff 1, etc.).
First have the entire class play each part at the same time. Then invite each student to choose any of the
three parts while they all play together, creating essentially 3-part harmony. There will be no improvisa-
tion involved in this lesson, just an introduction to the group improv parts.
During Group Improvisation exercises the DRUMMER can choose to play any of the three timekeep-
ing patterns his part suggests. If the drummer is ready for a greater challenge, invite him/her to play the
rhythms of various patterns (from Patterns Level 1) on the snare drum while keeping the timekeeping
pattern going.
Teacher - p. 6
Lesson Plan 1C, con’t
3 Rehearse Warm-Up #1: Melody for a few minutes. This introduces all of the students (except the drum-
mer) to an excerpt of the melody from the jazz chart Once In A While. It is a great exercise to help all
students develop a good sense of swing style (see suggestions below).
During this exercise the drummer works on both timekeeping and playing fills. Suggested fills are written
out (but do not need to be followed verbatim). The drummer can choose any timekeeping pattern to use
during the measures with slash notation.
Swing Style Suggestions:

1) The downbeats are extra long or stretched, while the upbeats are extra quick.
Remind students that swinging 8th notes go, “LooooongQuickLooooongQuick...”.
2) Swing is a LEGATO style. EVERYTHING is legato (except for the “Dot” notes described next).
Swinging 8th notes are sung, “DaaaaahDahDaaaaahDah...”, not “Taaaah Tah Taaaah Tah...”
3) Quarter and eighth notes followed by a rest are usually played “Dot”.
These notes should be started with the tongue and ENDED with the tongue. Teachers unfamiliar
with jazz articulation may feel unsettled about telling their woodwind and brass students to END
notes with the tongue (“tongue cut-off”), but this is the way most jazz musicians do it.
4) When a downbeat 8th note precedes a “Dot”, it is often stretched EXTRA LONG, and played “Doo”.
This suggestion can help your band to sound like they are “swinging hard” even if
they struggle with swinging all the 8th notes leading up to the final “DoooooooDot”.
End
Lesson Plan 1D
2 Begin with teacher-led Call & Response, using Patterns Level 1 and “Call & Response” (Track 7).
Students should be instructed to play by ear this time. You can use the iconic version of patterns or the
notated version (both are at the end of these lesson plans).
3 Rehearse Warm-Up #1: Scale Workout a few times. This time focus on stretching the “doos” (marked
tenuto) extra long, like “DoooooooDot”.
4 Rehearse Warm-Up #1: The “I” Chord for a few minutes.

End
Lesson Plan 2A
1 Begin by reviewing Warm-Up #1: Group Improv. After reviewing all 3 parts separately, let students
choose which part to play as a 3-part group. After repeating it 4-6 times, signal them to switch to a differ-
ent part, and after 4-6 more repetitions signal them to switch one last time.
2 Rehearse Warm-Up #1: Melody for a few minutes.
1. Vocab Pathway
Octave: Matching tones with a 1:2 harmonic ratio. Flat 7: The lowered (or “flatted”) 7th tone of a scale.
The octave allows tones to be organized in groups of 7, Upper Octave Lower Octave
with the 8th tone having the same name as the 1st.
B C D E F G A B C D
Transcribe: The act of listening to music and writing

on paper (notating) what you hear.
Briefly discuss the Vocab Pathway words, making sure they understand the “Octave” and “Flat 7”
concepts (have them play the 1 and in both octaves). Inform students that they will be transcribing later
in the lesson.

Use scale tones 7-1-2-3 to sing and play back what you hear.
4 Ask students to play the FOUR SCALE TONES under Pattern Pathway (each instrument’s staff notation
and fingerings are unique). Help with fingerings if needed. Ask them to find Patterns: Level 2 and look at
these new patterns as they play the call & response exercise. Again, students may be instructed to sing and
play, or just play.
Instruct the drummer to listen for longer notes. He/she can play cymbal/bass crashes on long notes, and
choose from the snare, toms, and bass drum for all the other notes.
Play “Patterns: I Chord - Level 2” (Track 2), and participate along with the students.
Teacher - p. 8
Lesson Plan 2A, con’t
Try to play simple musical ideas
3. Improvisation Pathway
that come into your head.
If we break words down into their syllables, we realize that we speak very rhythmically. For example, one word
(improvisation) is really “im-prov-i-sa-tion”, or “tah-tah-tah-tah-tah” on your instrument. To create a good solo
that sounds interesting and natural, it is important to play very rhythmically.
1) Using scale tone 1 to echo your teacher’s sentences.

Practice Playing
2) Using scale tones 2-3 to echo your teacher’s sentences
Rhythmically By:
3) Using scale tones 7-1-2-3 to have a conversation with another student
5 Direct student’s attention to the Improvisation Pathway section of Lesson 2. Read and discuss the quote:
“If we break words down into their syllables, we realize that we speak very rhythmically. For
example, one word (improvisation) is really “im-prov-i-sa-tion”, or “tah-tah-tah-tah-tah” on
your instrument. To create a good solo that sounds interesting and natural, it is important to
play very rhythmically.”
1) Instruct students to use only SCALE TONE 1 to “echo” your statements. You (the teacher) will say
things with your voice, and they (the students) will echo your statements with their instruments.
Possible statements could include:
“Talking is very rhythmic.”
“Most people don’t realize that when they speak...”
“...some of the words come out very quickly.”
“If we can learn to play our instruments like that...”
“...then we’ll sound exciting and expressive.”
2) Instruct students to now use SCALE TONES 2 & 3 to echo your statements. Use a little extra inflection
in your voice so they can sense the higher/lower intonation
Possible statements could include:
“Now we’re using two different scale tones...”
“...to play our instruments as if we’re speaking.”
“You don’t need to use a lot of different scale tones...”
“...to sound interesting, as long as you play rhythmically.”
3) Instruct students to use SCALE TONES 7, 1, 2, and 3 to have a conversation with another student. You
can have them turn in their seats toward a partner, or invite them to stand up and spread around the room
in groups of 2 or 3. You might want to demonstrate this with your instrument and one student before you
set them loose. Let them “converse” for about a minute.

4. Transcribing Pathway On Worksheet 1 write numbers to represent the notes
you hear. Then play them to see if you got it right!
Jazz musicians get better at improvising by transcribing
other people’s solos. To get started: Great Jazz Trombone Players
Jack Teagarden
1) Listen to a solo several times to get familiar with it J.J. Johnson
Frank Rosolino
2) Hum the first note and find it on your instrument Carl Fontana
3) Work through the solo 2-3 notes at a time Bill Watrous
Wycliffe Gordon
4) Write down the scale tone numbers as you go
6 Direct student’s attention to the Transcribing Pathway section of Lesson 2. Read through the purposes
and steps of transcribing. If students don’t already have them, pass out Transcribing Worksheets. Tell the
students you will play a one-measure pattern several times (using only the four scale tones they’ve prac-
ticed so far), and each of them will write down the numbers they hear in measure #1 at the top.
Transcribing Exercise 1
If needed, explain that the dotted lines through the empty measures on the Worksheet show the placement
of the low-octave 1 and high-octave 1. After the students are done writing, check their answers and help
them make any needed corrections. Have the entire class play it together a few times.
7 Lastly, point out the “Great Jazz _________ Players” box within the Transcribing Pathway section.
Have students read through the names, and recommend (or give an assignment) that they look up at least
one of these jazz musicians and listen to some of their recordings. If you wish, talk about some of your fa-
vorites and/or play some of your favorite recordings. See below for the lists of influential players on each
instrument (the trombone list is above).
Sax Players Bass Players Drummers
Coleman Hawkins (Tenor) Ray Brown Gene Krupa
Charlie “Bird” Parker (Alto) Oscar Pettiford Max Roach
John Coltrane (Tenor) Charles Mingus Elvin Jones
Cannonbal Adderly (Alto) Jaco Pastorius Vibraphonists
Gerry Mulligan (Bari) Brian Bromberg Lionel Hampton
Michael Brecker (Tenor) Victor Wooten Milt Jackson
Guitar Players Piano Players Trumpet Players

Charlie Christian Fats Waller Louis Armstrong
Django Reinhardt Art Tatum Roy Eldridge
Wes Montgomery Thelonious Monk Dizzy Gillespie
Joe Pass Bud Powell Clifford Brown
John McLaughlin Bill Evans Miles Davis
Pat Metheny Herbie Hancock Freddie Hubbard
End
Teacher - p. 10
Lesson Plan 2B
1 Begin with a teacher-led Call & Response activity, using Patterns Level 2 and “Call & Response”
(Track 7). Students should be instructed to play by ear this time.
2 Rehearse Warm-Up #1: Scale Workout several times, reminding students about the “dot” articulations.
Be more detailed about each student’s playing, and review “Swing Style Suggestions” from Lesson Plan 4
as needed (longer downbeats, legato 8th notes, “dots”, and “doo-dots”).
End
Lesson Plan 2C
2 Review Warm-Up #1: Group Improv. Right away let students choose which part to play but signal them
to switch parts several times while keeping the groove going.
3 Rehearse Warm-Up #1: Melody for a several minutes. Begin focusing on the details of swing style with
this exercise.
4 Direct student’s attention to the Improvisation Pathway section of Lesson 2. Work through all three parts
of this exercise with the students again, but feel free to move it along more quickly.
5 If you haven’t already passed out the chart “Once In A While”, today would be a great time to start
working on it. You can use either the short Combo version or the Full Band chart.
End
Lesson Plan 2D
responses (your choice). Students may choose whether to look at the patterns or not (Patterns Level 2)
as they play through them this time.
2 Rehearse Warm-Up #1: The “I” Chord for a few minutes.

End

Lesson Plan 3A
1 Begin by reviewing Warm-Up #1: Melody for a few minutes. Continue helping the students play with
good swing style.
1. Vocab Pathway
I Chord: Usually pronounced “The One Chord”.
Chord: A group of tones that Musicians use Roman Numerals to label chords,
are played together - typically
and “I” refers to the main chord used in a song.
1, 3, 5, & 7 of a scale.
Roman Numerals
Arpeggio: The use of chord tones I = 1
one at a time, often in ascending and II = 2
descending patterns. III = 3
IV = 4
Passing Tone: A scale tone that
is between two chord tones. 3 5 V = 5
Help students understand the Vocab Pathway words through playing “The I Chord”, the Arpeggio, and
the Passing Tone between 3 & 5. You can also have the students identify and play the passing tones be-
tween 1 & 3 and 5 & 7.
2. Group Improv Pathway Improvise in small groups, like a

traditional Dixieland band.
Riff 1:
Play these patterns in groups of
3 or 4, and improvise by:
Easy: Using the given scale tones, but changing

Riff 2: the rhythm each time you repeat the pattern.
Challenging: Changing the rhythm AND using

passing tones between the given tones.
Bass:
3 Direct the students’ attention to the Group Improv section of Lesson 3.
The students have already played these patterns in Warm-Up #1, but now they are going to begin impro-
vising with them. Here is a suggested proceedure:
1. Have everyone play Riff 1 a single time through.
2. Ask one student to play it again, but make it a little different by changing the rhythm. Help that
student succeed through offering suggestions or examples, as needed.
3. Choose 2-3 other students to do the same thing.
4. If the students are struggling to be successful with what you are asking, you may want to
demonstrate a few ways to change the rhythm while still playing all of the same scale tones in
the same order.
Teacher - p. 12
(Group Improv, con’t)
5. Repeat steps 1-4 with the Bass Line.
6. Have everyone pick a part (Riff 1, Riff 2, or Bass Line) and improvise with it (with the
entire band at the same time) by changing the rhythm on each repetition.
Become a better improviser by studying the

3. History Pathway: Dixieland
influential performers and styles of jazz.
“Dixieland” is the common name for the earliest style of jazz music. It was extremely popular during the 1920’s and 30’s.
A traditional dixieland band has 5-8 members that are all improvising around the chord tones at the same time!
Rhythm Section Front Line
Tuba or String Bass: provides either an Clarinet or Saxophone: improvises

“oom-pah” or a “walking” bass line fast-moving arpeggios and scale
patterns, often called “noodling”
Drum Set: complements the bass Trumpet or Cornet: plays the melody
line pulse, adds rhythmic variety, with improvised rhythms and variations
and provides unique “tone colors”
Trombone: creates a simple counter-

Banjo or Piano: plays the chords - often melody that emphasizes chord tones,
with rhythmic, accented “punches” especially tones 3 and 7
3 Direct the students’ attention to the History Pathway: Dixieland section of Lesson 3.
Take some time to read through and discuss the main points of this History Pathway section. If possible,
play some brief audio or video examples of dixieland jazz, drawing the students’ attention to the sound of
each instrument in order to reinforce understanding of the traditional role of the instruments in early jazz.
Above all, help students understand that in a Dixieland group everyone is improvising at the same time.
In more modern styles of jazz the rhythm section members still improvise much of the time, but typically
only one horn improvises at a time during solo sections of jazz music.
4 Return attention to the Group Improv section, and continue the group improvisation exercise:
1. Split the band up into groups of 3-4 and have each group stand together in a different area of the
room. You may want to keep the rhythm section intact as a group. (Invite the piano player to
play all 3 parts at the same time...or at least two of the parts at the same time.)
2. For the next 2-3 minutes, all the groups will play at the same time, with each group member
improvising on their part by ONLY changing the RHYTHM. (Make sure each group has at least
one member playing each part.)
3. Now have each group play alone - about 4 repititions of the pattern. Make sure the students are
all clapping for each other and being supportive. Your job is to not critique at this point - just
say, “Thank you for playing for us.”
4. Lastly, have the groups play again all at the same time, but this time invite them to play
PASSING TONES between their chord tones. Let them play for another 2-3 minutes.
In future lessons there will be opportunities to improvise with this Group Improv pattern again, so it is
okay if many students don’t seem to “get it” yet.
End
Lesson Plan 3B
1 Lead a Call & Response activity, using Patterns Level 2. FROM NOW ON you have TWO OPTIONS
with Call & Response activities:
Option 1. Use Track 7, “Call & Response” as before.
-or-
Option 2. Give your drummer a challenge by having him/her play a timekeeping pattern (from
Warm-Up #1) constantly, while also playing the “Response” on the Snare Drum/Toms.
Either way, students should be instructed to play by ear this time.
2 Rehearse Warm-Up #1: Scale Workout a few times, reminding students about swing style as needed
(longer downbeats, legato 8th notes, “dots”, and “doo-dots”).
3 Instruct students to open to Lesson 2, and draw their attention to the Transcribing Pathway section.
Briefly review the four steps listed there: (1) Listen, (2) Hum and Find 1st note, (3) Find 2-3 notes at a
time, and (4) Write down the numbers as you go.
Have students get out the Transcribing Worksheet, and tell them they are going to transcribe the first
measure of the Tenor Sax Sample Solo. Begin listening as soon as possible to Sample Solo - Tenor Sax
(Track 11).
1. Only listen to the first 14 seconds, but listen two times.
2. Listen a 3rd time, but stop after the first tenor sax note you hear. Ask students to hum the note.
Do this again, and let them start trying to find it on their instruments.
3. Help them all identify and find scale tone 3 (ignore the flat-3 grace note for now).
4. Have them write down a 3 in the first measure of the Solo Transcription section on the
Worksheet (in the MIDDLE of the measure, because the note starts on beat 3).
5. Listen again and help them figure out the next 3 notes through repeated listenings.
6. Help them write these numbers in the right places, vertically and horizontally. (Perhaps write
answers on the board.) This is a great time to reinforce concepts of pitch and rhythm, as needed.
7. Make sure students add a horizontal line to the final note, as shown below.
8. Have students play the first measure several times, then play along with the recording one time.
Lesson Plan 3C
responses (your choice). Students may choose whether to look at the patterns or not (Patterns Level 2).
2 Ask students to open up to Lesson 3, and briefly review the Vocabulary Pathway terms.
Teacher - p. 14
3 Draw their attention to the Group Improv patterns, and prepare them to improvise the Challenging way
by reviewing the concepts of changing the RHYTHM and using PASSING TONES. You may want to play
some examples on your instrument, or invite students to play some examples.
Depending on how much time you want to spend, you can divide students into groups and spread them
around the room (as in Lesson 3A), or have everyone play at the same time in their normal seats.
End
Lesson Plan 3D
1 Begin by reviewing Warm-Up #1: Melody for a few minutes. Continue helping the students play with
good swing style.
2 Rehearse Warm-Up #1: The “I” Chord only one time through, and move on.
3 Have students get out the Transcribing Worksheet, and tell them they are going to finish transcribing the
first 4 measures of the Tenor Sax Sample Solo. Begin listening as soon as possible to Once In A While:
Sample Solo - Tenor Sax (Track 11).
1. Again, only listen to the first 14 seconds.
2. Play the track again, and invite students to play along (as far as they can).
3. Help them figure out what note follows the long 1 . . . it is Flat-7!
4. Have them write down the Flat-7 a 3 in the middle of the 2nd measure.
5. Play the track 2 more times to listen for the next 2 notes, but the can only hum (no playing).
6. Ask them to write down the next two notes. They can now play as they try to figure it out.
7. Check for correct answers, and help them all get the numbers written in the correct places (see
below, and use the board as needed).
8. Have students play along with the solo as you play Track 11 a few more times.
End

Lesson Plan 4A
1 Rehearse Warm-Up #1: Scale Workout one or two times to get started, reminding students about swing
style as needed (longer downbeats, legato 8th notes, “dots”, and “doo-dots”).
1. Vocab Pathway
Inversion: A chord in which the bottom note is any Audiation: Imagining the sounds of music in your
chord tone other than 1. head instead of hearing the sounds with your ears.
Basic Chord Inverted Chords
Ear-to-Hand Coordination: Ability to play the
notes you are hearing or audiating on your instrument.
Often called “playing by ear”.
Help students understand the Vocab Pathway words through having the piano player play a Basic Chord
followed by the 3 Inverted Chords. Discuss Audiation and Ear-to-Hand Coordination, and ask who can
play “Twinkle, Twinkle Little Star” (starting on 1) by hearing it in their heads (Audiation) and playing it
on their instruments (Ear-to-Hand Coordination). Invite students to try it. If you wish, you can write the
scale degrees on the board to help them all play it correctly.

Use scale tones 7-1-2-3-4-5 to sing and play back what you hear.
3 Ask students to play the SIX SCALE TONES under Pattern Pathway. Help with fingerings if needed.
Ask them to find Patterns: Level 3 and look at these new patterns as they play the call & response exer-
cise. Again, students may be instructed to sing and play, or just play.
Instruct the drummer (as before) to listen for longer notes. He/she can play cymbal/bass crashes on long
notes, and choose from the snare, toms, and bass drum for all the other notes.

Teacher - p. 16
3. Idea Pathway: Scoops & Bends Your instrument should sound

expressive like the human voice.
The human voice is full of expressive possibilities. Jazz musicians try to make their instruments sound like the
human voice rather than a mechanical device. One way to do this is to “bend” or “scoop” notes.
“Bending” Notes on the Trombone

Trombone players can use their embouchure to scoop or Scoop
bend notes, but usually prefer to use the slide. To scoop
simply reach out one position beyond the target note and
Bend
gliss up into it, or gliss out and back for a bend.
4 Direct the students’ attention to the Idea Pathway section of Lesson 4.

Emphasize the concept that “Jazz musicians try to make their instruments sound like the human voice
rather than a mechanical device” by playing about a minute each of “Once In A While: Sample Solo -
Trumpet” (Track 12) and “Once In A While: Sample Solo - Trombone” (Track 13). While listening, have
the students raise their hands when they hear a “scoop” or “bend”.
Have the students read the section on how to bend notes on their particular instrument (see below). Help
any students with questions, and allow students to try playing the scale tone pattern in the Idea Pathway.
“Bending” Notes on the Saxophone “Bending” Notes on the Bass

Saxophone players can scoop or bend notes in 2 ways: Add a quick grace note one fret below the given note to
1) Loosen the embouchure or drop the jaw make it sound “bent” or scooped. On both electric and
2) Press the nearest open key MOST of the way (but upright bass you can use a “hammer-on”, but on upright
NOT ALL of the way) down you can also shift your hand and slide into any note.
“Bending” Notes on the Trumpet “Bending” Notes on the Piano

Jazz trumpeters can scoop or bend notes in two ways: Add a quick grace note a half step below the given
(1) using their embouchure and (2) playing “half- note to make it sound “bent” or scooped. This is es-
valves”. Your teacher can give you suggestions for pecially effective at the beginnings of phrases and on
making both ways work for you. “doo-wahs”.
“Bending” Notes on the Guitar

Guitarists can “scoop” into a note with a “hammer-on” or
“bend” a note up by literally bending the string upwards.
Sometimes a note is plucked as it is bent, then relaxed down-
wards, as in the “bend” example to the right. All of these
techniques are used frequently by jazz guitarists.

4. Improvisation Pathway Break out of your comfort zone and
express yourself through music!
When you talk or read, you sometimes pause between ideas - for commas and periods. When improvising it
sounds good if you put some empty space in your solo rather than trying to play constantly.
1) Using scale tones 3-4-5 with more space than sound

Improvise a
2) Using scale tones 7-1-2-3 with lots of rhythmic playing
solo by:
3) Using scale tones 7-1-2-3-4-5 with both space and rhythmic playing
5 Direct the students’ attention to the Improvisation Pathway section of Lesson 4.

Read and discuss the quote about pausing for commas and periods when you read or talk.
Tell students they are going to improvise today with Track 8 from the CD, “Solo Section - Once In A
While”. If you don’t want to take the time to have each student improvise one at a time, there are at least
two strategies for having multiple people improvise at the same time (without too much noise and chaos):
Strategy 1: By Section - meaning everyone in a certain section improvises at the same time.
Strategy 2: From Side to Side - meaning the teacher has the first one or two students in each row
improvise together (staring on one side of the room). Then, as the teacher signals, the next
1 or 2 people in each row take a turn, etc.
Begin playing Track 8, and have students take turns improvising by:
1. Using scale tones 3-4-5 with more SPACE than sound (drummers can use any drums)
2. Using scale tones 7-1-2-3 with lots of short and RHYTHMIC playing (like in Lesson 2)
3. Using scale tones 7-1-2-3-4-5 with BOTH SPACE and RHYTHMIC playing.
Even when having several students play at the same time, this exercise will take a long time - you’ll prob-
ably have to restart the CD at least two times.
End
Lesson Plan 4B
2 Lead a Call & Response activity, using Patterns Level 3 and EITHER (1) Track 7: “Call & Response”
OR (2) the DRUMMER playing a timekeeping pattern (see Lesson Plan 3B for more information).
Students should be instructed to look at the patterns this time. Try to notice which patterns they are
struggling with, and repeat those patterns more times.
3 Rehearse Warm-Up #1: Melody a few times, reminding students about swing style as needed (longer
downbeats, legato 8th notes, “dots”, and “doo-dots”).
End
Teacher - p. 18
Lesson Plan 4C
1 Rehearse Warm-Up #1: The “I” Chord only one or two times to get started. This will be the last time
they play this exercise, so make sure they have learned to play it well.
2 Have students open to Lesson 4, and review what they learned from the Improvisation Pathway section
a few days ago.
Today instead of going through all 3 exercises, have the students focus on only the 3rd one, which uses
scale tones 7-1-2-3-4-5 with BOTH SPACE and RHYTHMIC playing.
Play “Solo Section - Once In A While” (Track 8) and do the following:
1. Have all the students practice improvising at the same time for about 1 minute.
2. Have one student at a time improvise for approximately 8 measures (about 14 seconds).
3. Play an improvised solo yourself (you can do it!) for about 16 measures...or more!
4. Have all of the students improvise together for about 30 more seconds.
3 Rehearse Warm-Up #1: Melody a few times, if you’d like. This will be the last time they play this exer-
cise, so you may want to be extra picky about helping every student play with a good swing style (longer
downbeats, legato 8th notes, “dots”, and “doo-dots”).
End
Lesson Plan 4D
3 Review the concepts from the Lesson 4 Idea Path: Bends & Scoops. Ask students to try scooping into
scale tone 3 a few times. Check with each unique instrument or section and offer suggestions for getting a
better “scoop”.
4 Have students get out their Transcribing Worksheet, and help them find the blank measure marked with
a 2 under Exercises. Play the following pattern several times, and help students write it down correctly on
the worksheet. Then have everyone play it together several times. Use CD Track 7, if desired.
End
Lesson Plan 5A
1 Make sure students have Warm-Up #2, and direct their attention to the “I” Chord Inversions section.
The main purposes of this exercise are to:
2) Help all students learn to “shape” long notes - fp attack, then crescendo to a tongue cut-off.
4) Help the drummer develop Ruffs/Drags and solid 16th-note fills in a Rock style
Only work through this exercise one or two times - you are just introducing it today, not polishing it.
1. Vocab Pathway
Root: A special name for the first note of a scale or chord. Walking Bass Line: A bass line made up of steady
In other words, “ 1 ” can also be called “the Root”. quarter notes. It is usually improvised, and is an impor-
tant part of the jazz “swing” style.
3rd, 5th and 7th: Notes “ 3 ”, “ 5 ”, and “ 7 ”are
also called “the 3rd”, “the 5th”, and “the 7th” of the chord.
2 Have students open to Lesson 5, and begin reading through the Vocab Pathway section. Discuss the
meaning of “Root” and the 3rd, 5th, and 7th of a chord.
Listen briefly to “Solo Section - Once In A While (Bass & Drums Only)” (Track 9) to hear just a walking
bass line playing with drums.
The main purpose of Lesson 5 is to help everyone learn to improvise a walking bass line.
Learn the rules for creating

2. Idea Pathway: Walking Bass Line
a great Walking Bass Line.
Rule 1: Play the Root on beat 1 every measure or two
3 Direct students’ attention to Idea Pathway: Walking Bass Line.
Ask students to read Rule 1 out loud. Make sure they understand that the Root can be played on beat 1
either every measure or every two measures. (In the real world of jazz, sometimes the Root may only be
played every 4 measures, but we are keeping it simple here.)
Have students play Example 1 on their instruments, repeating it several times with no stopping or paus-
ing. Do the same with Example 2. Then have them play Examples 1 & 2 back-to-back, repeating the
four-measure pattern a few times.
Ask the students to play “Wrong #1” a few times, and then discuss why it is “wrong”.
Teacher - p. 20
Rule 2: Approach the Root with 7, 2, or 5
Example 3 Example 4 Example 5 Wrong #2
1 1 1 1
4 Direct students’ attention to Rule 2, and have students read it out loud.
Make sure they understand that, although you CAN GET BY playing any scale tone before the Root, it
sounds BEST if you play 7, 2, or 5 before the Root.
Have students play through Examples 3, 4, and 5 on their instruments. Also have them play “Wrong #2”,
and discuss why it is “wrong”.
Rule 3: Only arpeggiate chord tones

5 Direct students’ attention to Rule 3, and have students read it out loud.
This provides a great opportunity to review the meaning of “arpeggio” and therefore “arpeggiate”.
As before, have the students play through Examples 6 and 7, as well as “Wrong #3”.
6 Instruct students to now play a continual Walking Bass Line by playing the good Examples in
different orders, or by repeating one Example several times before moving on to a different one. Ask them
to try to play every Example at least once in the next minute. The drummer can help by provided a steady
timekeeping pattern. Count off, and go!

3. Group Improv Pathway Improvise in small groups, like a
traditional Dixieland band.
Riff 1: Improvise in groups of 3 or 4, and take

turns creating a Walking Bass Line
Riff 1 should be played by higher instruments, like

Riff 2: Trumpet and Alto Sax.
Since Riffs 1 & 2 already use passing pones,

improvise the Easy way by changing only the
rhythm each time you repeat the pattern.
Improvise a
Bass: Walking Bass Line
7 Direct students’ attention to the Group Improv Pathway section, and play the NEW Riff 1 & Riff 2 as a
class. Then follow these procedures:
1. Tell them they will each take a turn improvising a Walking Bass Line in groups of 3-4. Then,
each group will perform for the class with the HIGHEST instrument playing Riff 1, and the
LOWEST instrument playing the Bass Line.
2. As before, split the band into groups of 3-4 and have each group stand together in a different
area of the room. You may want to keep the rhythm section intact as a group. (Invite the piano
player to play all 3 parts at the same time...or at least two of the parts at the same time.)
3. For about 30 seconds each, have group members take turns playing the different parts.
4. Now tell them to decide who should play the Bass Line, and who should play Riff 1 (as well
as Riff 2). Practice this way, all at the same time, for about a minute.
5. Performance time! Help establish a positive environment for creative effort by encouraging
everyone to clap for each other. Each group only needs to play for about 20 seconds.
End
Lesson Plan 5B
Instruct students to play by ear today (no looking at the patterns). Try to notice which patterns they are
struggling with and repeat those patterns more times.
Teacher - p. 22
Lesson Plan 5B - con’t
2 Rehearse the Altered Mixolydian Workout at the beginning of Warm-Up #2 for a few minutes. Focus
on only the first four measures today, and try to help each student play accurately and expressively.
Two extra things to be aware of are:
1. The piano player adds left-hand punches using two different voicings, along with playing the
melody in the right hand
2. As in Warm-Up #1, the drummer is provided with four different timekeeping patterns, marked
Level 1, 2, 3 and 4. Each timekeeping pattern also has a new “fill” to work on. Rather than play-
ing what is written from measures 1-16, the drummer should choose one Level and repeat it
throughout the entire exercise.
3 Have students get out the Transcribing Worksheet, and tell them they are going to transcribe the next 3
measures of the Tenor Sax Sample Solo. Begin listening as soon as possible to Once In A While: Sample
Solo - Tenor Sax (Track 11).
1. If possible, listen from 0:13 to 0:20 several times.
2. Tell students the first note in measure 5 is 1, and see if they can figure out the next two notes.
3. After listening a few more times, and letting them play their instruments between each listening,
ask students to share what they think the next two notes are. Ask several students, then reveal
the answer: 3 and 2!
4. Make sure they have written down the first 3 numbers in measure 5 before proceeding (write
them on the board in the right position).
5. Now focus on the next 3 notes, encouraging students to hum and use their instruments.
6. Make sure everyone has written the next three notes (3, 4, 5), and have the whole class play the
first 6 notes together with the correct rhythm.
7. Only 5 notes to go! See if they can figure them out with a few more repititions of listening,
humming, and playing instruments.
8. Check to see that everyone has written all the numbers for measures 5-8 (see below), and have
the class play along with the recorded solo a few times.
End

Lesson Plan 5C
1 Play 3-4 “Sample Solos” from “One For The Road” (Tracks 17-21) as students are setting up and
preparing to play. (Start emphasizing the Rock style of playing, improvising & comping.)
2 Rehearse the Melody from Warm-Up #2 for a few minutes. Don’t plan to do any improvisation during
the exercise today, although don’t discourage any students who spontaneously start improvising during the
solo breaks.
Tell the rhythm section members that they will learn about “Comping” in Lesson 6. Meanwhile, the piano
and guitar players can rest and let the bassist and drummer play through the “Comp or Solo” sections.
The focus today should just be on getting the written melody right - the fingerings, rhythms, and
articulations.
3 Review the 3 Rules from the Lesson 5 Idea Pathway: Walking Bassline. You can choose to take the time
to break out into groups, or just have everyone play the group improv exercise at the same time from their
normal seats. Remember that, although exercises like this sound noisy and chaotic, each student is likely
having a positive musical and improvisatory experience in his/her mind during them.
You may want to take a minute to hear the bass player improvise a walking bass line, since this is a
particularly important skill for him/her.
End
Lesson Plan 5D
on measures 5-8 today, and try to help each student play accurately and expressively.
Remember the unique comping skills included in these two parts:
1. The piano player adds left-hand punches using two different voicings, along with playing the
melody in the right hand
2. As in Warm-Up #1, the drummer is provided with four different timekeeping patterns, marked
Level 1, 2, 3 and 4. Each timekeeping pattern also has a new “fill” to work on. Rather than play-
ing what is written from measures 1-16, the drummer should choose one Level and repeat it
throughout the entire exercise.
3 Rehearse the three parts in Warm-Up #2: Group Improv. There are no Group Improv sections in the
upcoming student Lessons, so you can use some time today to begin improvising with these group
improvisation patterns in small groups or as a whole band (by altering the rhythm), or just play them “as
written” as a whole band several times.
Teacher - p. 24
Lesson Plan 5D, con’t
4 Depending on how self-reliant your students are becoming, and how much class time you want to take for
this, you can EITHER:
1. Assign students to transcribe the next 4 measures of Once In A While: Sample Solo - Tenor Sax
on their own, due in 3 class periods (during Lesson Plan 6 C).
-or-
2. Take time today to transcribe the next 4 measures as a class.
If you choose Option 2, use the board to write answers as you go, and encourage students to use their
instruments to help figure out what the scale tones are.
**Remember, transcribing is a very challenging skill, so this early in your students’ development you have
to expect lots of mistakes. Be supportive and enthusiastic about any small successes and focus on what
they CAN do correctly as much as possible, while minimizing the impact of what they CAN’T do YET.
Use prior experience and your own intuition to accomplish this suggested outline of procedures:
1. If possible, listen from 0:17 to 0:30 several times (starting with measure 7).
2. Focus on the two pick-up notes in measure 8.
3. Focus on the 5 notes in measure 9.
4. Focus on the first 3 notes in measure 10.
5. Focus on the next two notes (pick up to measure 11).
6. Focus on the last 3 notes.
7. Check to see that everyone has written all the numbers for measures 8-12 (see below), and have
the class play along with the recorded solo a few times (from beginning to measure 12).
Measures 5 - 8: Pick-Up Notes:
Measures 9 - 12:
End

Lesson Plan 6A
1 Begin rehearsing Warm-Up #2: “I” Chord Inversions. Remember these objectives:
1. Vocabulary Pathway
Mixolydian Scale: The name for a major Comping: Playing accompaniment for a song or solo.
scale that has a “Flat 7”. Although piano and guitar are the main “comping”
Dominant 7th Chord: The name for a instruments, any member of the jazz band can “comp”
major chord that has a “Flat 7”. by playing comping rhythms with chord tones.
Chord Symbol: An abbreviation that shows what chord and scale to use when improvising.
Note: Due to different transpositions, instruments may start on different Roots
in order to match each other. Therefore, when talking about this chord with the
whole band, we call it the “Concert B-Flat 7 Chord”, or “The I Chord”.
7th = 7
Root = B
2 Have students open to Lesson 6, and begin reading through the Vocab Pathway section. Briefly discuss
the terms Mixolydian (refers to the SCALE) and Dominant (refers to the CHORD), remarking that we
have already been working on these - we are now just giving them a more specific name.
Spend some time analyzing the two main parts of a chord symbol - the Root part and the Number part.
Lastly, discuss the term “Comp” or “Comping”. You may want to have the class listen briefly to “Solo
Section - Once In A While” (Track 8) to focus in on what the piano and guitar players are doing to comp.

Use all 8 tones from the Mixolydian Scale to sing and play back what you hear.
3 Ask students to play the MIXOLYDIAN SCALE under Pattern Pathway. Help with fingerings if needed.
Ask them to find Patterns: Level 4 and look at these new patterns as they play the call & response
exercise. Again, students may be instructed to sing and play, or just play.
Instruct the drummer (as before) to listen for longer notes. He/she can play cymbal/bass crashes on long
notes, and choose from the snare, toms, and bass drum for all the other notes.
Teacher - p. 26
Play chord tones with these “Comping
3. Comping Pathway
Rhythms” to accompany a solo.
Play these comping rhythms to accompany a soloist. Try choosing a different chord tone each time you repeat.
Comping Comping
Rhythm 1 Rhythm 2
4 Direct students’ attention to the Comping Pathway section. Start by having everyone choose a chord tone
and play Comping Rhythm 1 in a swing style (repeated several times). If needed, help students play the
rhythms and articulations correctly.
Announce that everyone in the band is going to comp while volunteers take turns improvising a solo.
Different instrument groups have different responsibilities when comping, as outlined below:
1. Horn players choose and play a different chord tone on each repitition.
2. The Drum Set player chooses a timekeeping pattern, and improvises simple 2-3 note rhythms on
the snare drum with LOTS OF SPACE in between the snare notes. You can demonstrate this
yourself on the drum set, or play Track 7 “Call & Response” for an excellent example.
3. The Bass player IMPROVISES a bass line (student Lesson 5)
4. Guitar and Piano players COMP using the given Comping Rhythm while switching VOICINGS.
Again, Track 7 “Call & Response” offers excellent examples of piano and guitar comping. (For
suggested voicings, direct them to their part for Once In A While, which has a special page
offering voicing possibilities.)
Lead the class in playing the comping exercise with Comping Rhythm 1. Stop every minute or so to
offer suggestions and switch soloists. When they seem fairly confident with rhythm 1, switch everyone to
Comping Rhythm 2, and suggest the drummer try a different timekeeping pattern. Move on after working
on this section for about 10 minutes.

4. Improvisation Pathway Use patterns you have already
learned to build a solo.
Use a single pattern to build a solo by changing the rhythm and adding passing tones. To make the solo sound
connected, use one or two tones to fill up some space between each pattern. For example:
Whole Pattern Pattern - 1st Half Pattern - 2nd Half
Use 1 & 7 Use 5 Use 3 & 5
5 Direct attention to the Improvisation Pathway section, and announce that they are going to practice
building a solo from only ONE PATTERN. (During this activity the drummer just plays the rhythm of the
patterns on snare, tom, and bass drums.) Recommended procedure:
1. Have the entire class play the “Whole Pattern” (pattern A4 from Patterns: Level 3).
2. Have the entire class play through “Pattern - 1st Half” and “Pattern 2nd Half”. Point out that
these patterns are made from two notes of the “Whole Pattern” PLUS “Passing Tones”, and
practice them as needed.
3. With Track 8 “Solo Section - Once In A While” playing, have the entire class play the 3
patterns in a row with a MEASURE OF REST in between each. This results in 3 measures of
space after the 3rd pattern, during which you can restart the class at the beginning. Do this
several times.
4. Now, invite students to improvise with the given tones (“Use 1 & 7”) BETWEEN the patterns.
Use Track 8 “Solo Section - Once In A While” again as the class practices this exercise for
several more minutes.
5. Invite students to share their feelings about this “way” to improvise. Discuss as desired.
End
Lesson Plan 6B
preparing to play.
Students can choose whether or not to look at the patterns as they play. Try to notice which patterns they
are struggling with and repeat those patterns more times.
Teacher - p. 28
Lesson Plan 6B, con’t
3 Rehearse the Melody from Warm-Up #2 for several minutes.
During the Solo/Comping sections (called “SOLO BREAKS” because they are short):
1. Guitar & Piano players should COMP, using different chord voicings and comping rhythms.
The comping rhythms learned in student Lesson 6 work equally well in a Swing style and Rock
style. However, the students can also create their own comping rhythms based on what they’ve
heard from the accompanying CD or other jazz/rock listening.
2. The Bass player should COMP as written, unless they are taking a turn to solo. However, they
should be encouraged to alter the rhythm and note choices of the written bass line if they want...
kind of like they have done during Group Improvisation activities.
3. Students should be given the chance* to play short, improvised solos. Tell them you will be
extra proud of them if you hear a PATTERN somewhere in their solo.
As you work on the melody, continue improving the rhythm, style, and articulation.
*There are many ways to do this. You can go down each row and point to the next student
in line before each solo, or focus on just one group of people each day so that those students get
multiple opportunities to try soloing in the solo breaks. You can also take volunteers, letting those
highly-motivated students refine their skills through genuine improvisational experience. The
GUIDING PRINCIPLES are that every student should be given opportunities to improvise when:
(1) they are NOT the center of attention (because several people are improvising at the same
time), AND when (2) they ARE the center of attention (so they are prepared for the pressures of
live performance).
Solo improvisation opportunities are also important to allow the teacher to hear individuals.
This allows the teacher to become aware of, and therefore address improvisational successes and
failures with the whole class. Talking about how students can improve their solos, at this point,
should always be done without singling out particular individuals. Instead, talk in general terms
of what you are hearing from the class overall. Remember that at this stage most students are
exploring improvisation. If they ever hear or feel any negative judgement coming from the teacher
(or other students) they will likely shut down future exploration efforts and give up trying to learn
to improvise.
4 Have students get out their Transcribing Worksheet, and help them find the blank measure marked with
a 3 under Exercises. Play the following pattern several times, and help students write it down correctly on
the worksheet. Then have everyone play it together several times. Use CD Track 7, if desired.
Remind students the next 4 measures of the solo transcription is due at the next class (if you assigned it).
End
Lesson Plan 6C
After students can play measures 9-12 reasonably well, you should model playing measures 1-12 on your
instrument for the class, or ask for volunteers to model it for the rest of the class. During this modeling,
you can use Track 10, “Solo Section - One For The Road” or have the rhythm section comp.
Lastly, have everyone play measures 1-12 a few times.
2 Ask students to open up to Lesson 6, and briefly review the Vocabulary Pathway terms.
3 Draw students’ attention to Lesson 6: Improvisation Pathway, and announce that they are going to
review how to build a solo from a single pattern. Assess if there is any confusion about the graphics or
patterns in this section, and try to help all students understand how the Whole Pattern can be divided into
two parts (the 1st Half and the 2nd Half) in order to build a solo.
Play through the exercise in the following two ways:
1. With Track 8 “Solo Section - Once In A While” playing, have the entire class play the 3
patterns in a row with a MEASURE OF REST in between each. This results in 3 measures of
space after the 3rd pattern, during which you can restart the class at the beginning. Do this
several times. (The drummer plays matching rhythmic patterns - no timekeeping.)
2. Now, invite students to improvise with the given tones (“Use 1 & 7”) BETWEEN the patterns.
Use Track 8 “Solo Section - Once In A While” again as the class practices this exercise for
several more minutes. (The drummer plays matching rhythmic patterns - no timekeeping.)
4 If you assigned students to transcribe measures 9-12 of “Once In A While: Sample Solo - Tenor Sax”,
check their work now, and help them adjust the pitch or rhythm of their transcription. If needed, refer back
to Lesson Plan 5D for suggestions on helping students transcribe it.
End
Teacher - p. 30
Lesson Plan 6D
1 Play “Once In A While: Sample Solo - Tenor Sax” (Tracks 11) 2-3 times as students are setting up and
preparing to play. (Allow students to play along, if they spontaneously begin to do so.)
2 Play “Patterns: I Chord - Level 4” (Track 4), and join the students in singing and/or playing the responses
(your choice). Students may choose whether to look at the patterns or not (Patterns Level 4).
3 Have students open to Lesson 6: Comping Pathway.
Review with students any of the Comping roles you feel may be needed:
1. Horn players choose and play a different chord tone on each repitition.
2. The Drum Set player chooses a timekeeping pattern, and improvises simple 2-3 note rhythms on
the snare drum with LOTS OF SPACE in between the snare notes. You can demonstrate this
yourself on the drum set, or play Track 7 “Call & Response” for an excellent example.
3. The Bass player IMPROVISES a bass line (student Lesson 5)
4. Guitar and Piano players COMP using the given Comping Rhythm while switching VOICINGS.
Again, Track 7 “Call & Response” offers excellent examples of piano and guitar comping. (For
suggested voicings, direct them to their part for Once In A While, which has a special page
offering voicing possibilities.)
As in Lesson Plan 6A, lead the class in playing this exercise with Comping Rhythms 1 & 2 (only one at a
time, of course). Remember to stop every once in a while to offer suggestions and switch soloists.
4 Announce that today they are going to finish transcribing a full “Chorus” of the Sample Tenor Sax Solo.
(If you wish, explain that a chorus implies one repetition of the Solo Section of a jazz chart.)
Hopefully by now you (the teacher) have acquired a feel for how you can effectively work through tran-
scribing a solo with the class. You can approach this however you’d like. However, these last 4 measures
are probably the most challenging, so feel free to offer a lot of help (otherwise it may take too long).
I have provided the full transcription on the next page so you may place it on a projector or pass out cop-
ies to the students, if desired. The main objectives of this whole transcription exercise has been to:
1. Teach students, through experience, how to transcribe

2. Increase student confidence in their own abilities to hear and transcribe scale tones
3. Reinforce concepts of pitch and rhythm represented in this curriculum’s iconic notation
After transcribing measures 13-16, have the class play through the entire transcribed solo, first WITHOUT
the recording, and then WITH it (Track 11).
End

Sample Solo - Tenor Sax
Measures 1 - 4:
Measures 5 - 8:
Measures 9 - 12:
Measures 13 - 16:
Teacher - p. 32
Lesson Plan 7A
Try playing through the entire exercise at least one time.
1. Vocab Pathway
Head: The main melody of a jazz chart, which is Improvise: Two Different Definitions:
usually near the beginning after the “Intro” section.
1. Make something up as you go along, without preparation
Solo Section: Most jazz charts have a section near “She improvised a bedtime story for the children.”
the middle for band members to improvise solos.
2. Make something by assembling existing materials
Shout Chorus: Many jazz charts have a section near “He improvised dinner from leftovers in the refrigerator.”
the end that is extra loud and exciting.
2 Have students open to Lesson 7, and begin with the Vocab Pathway section. Briefly discuss “Head”,
“Solo Section”, and “Shout Chorus”. Later in the lesson we will talk more about these.
Spend some time discussing the “Two Different Definitions” of Improvise. Try to help students
understand the huge difference between the two, and inform them that both definitions can be applied to
jazz improvisation.
2. Improvisation Pathway Use patterns you have already

learned to build a solo.
Instead of trying to “make something up as you go along”, improvise by “assembling existing materials”. In this
example three patterns are used to build a solo, with a few “pattern tones” filling the space between them.
Pattern 1 Pattern Tones Pattern 1 Again Empty Space
5
3 3
Pattern 2 Pattern Tones Pattern 3
6 7 7
3 Direct students’ attention to the Improvisation Pathway section. Tell students that they are going to
practice building an improvised solo by putting together three patterns.
With Track 10 “Solo Section - One For The Road” playing, have the entire class play through the
8-measure exercise “as written”. Repeat this at least one more time, until students are able to play it well.
Discuss how they feel about this method of creating an improvised solo. Ask them how easy it is to use
“Pattern Tones” to fill in the space between full Patterns, and offer suggestions if needed.
Now give them a moment to choose any 3 patterns from Patterns: Levels 3 or 4. With Track 10 playing,
give them 4-6 opportunities to improvise by putting their chosen patterns together (the entire class at the
same time...yes it will be very noisy).

Become a better improviser by studying the
3. History Pathway: Big Bands
influential performers and styles of jazz.
“Swing” was the most popular style of music during the 1930’s and 40’s. It spread from America to the rest of the world,
through radio, records, and touring bands. “Big Band” refers to a jazz band with the following instrumentation:
Rhythm Section Horn Sections

Bass, Drum Set, Piano, Guitar, and Saxophones, Trombones, and Trumpets: A typical big
Vibraphone (optional): The rhythm section band has 5 saxophones, 4 trombones, and 4 trumpets. Members
is the heart of the big band, and each member is of the 3 horn sections play exactly what is written in their
expected to improvise most of their comping. music, and only improvise during solo sections.
Great “Big Band” Leaders

Duke Ellington Woody Herman
“Swing Era” Big Other Jazz Big
Glenn Miller Stan Kenton
Band Leaders Count Basie
Band Leaders Bob Mintzer
A Typical Big Band Chart
Head Solo Shout Out

Intro Head
(Again) Section Chorus Chorus
4 Direct students’ attention to the History Pathway: Big Bands section. You can take as much or as little
time as you’d like reading through and discussing all the information in this section. However, you may
want to reserve plenty of time to discuss and learn about “A Typical Big Band Chart”.
Splanky, recorded by Count Basie and his Orchestra, is an excellent example of a typical big band
chart. However, you can use any other chart you might prefer to use. The important thing is to listen to a
chart all the way through, from beginning to end. “Splanky” is only 3:30 long, and perfectly illustrates the
typical sections of a big band chart.
As you listen, signal where each new section begins. While listening, you may also want to ask students:
1) What is different about the 2nd Head compared to the 1st Head?
2) What instrument is soloing during the Solo Section?
3) Can you hear Comping happening during the Solo Section?
4) How is the Out Chorus similar to and/or different from the Head?
You may finish this lesson by talking about one of your favorite big bands and playing a few minutes of
a favorite chart by that band. Encourage students to listen to these bands through getting CD’s from the
library, searching music download sites like iTunes, and so forth.
Teacher - p. 34
Lesson Plan 7B
Ask students to not look at the patterns this time. Try to notice which patterns they are struggling with and
repeat those patterns more times.
2 Rehearse Warm-Up #2: “I” Chord Inversions. Remember these objectives:

3 Have students get out their Transcribing Worksheet, and tell students they are going to transcribe
Exercise 4 today. Play the following pattern several times (in a Rock style), and help students write it
down correctly. Then have everyone play it together several times with CD Track 10, if desired.
End
Lesson Plan 7C
1 Rehearse Warm-Up #2: Group Improv, inviting students to alter the Riff rhythms and the Bass Line.
Ask for volunteers (or choose students) to form two small trios that will each perform “group
improvisation” for the class.
2 Have students open to Lesson 7, and breifly review the Vocab Pathway section.
3 Direct students’ attention to the Improvisation Pathway section. Review all or some of the procedures
from Lesson Plan 7A so that students can try building a solo out of 3 patterns again.
4 Using Track 11 and students’ Transcribing Worksheets, review the Tenor Sax Sample Solo again, and
then play along with it one or two times.
End
Lesson Plan 7D
2 Rehearse the Melody from Warm-Up #2 for several minutes, trying to give every student a chance to
improvise a solo at least once.
Remind students, as needed, that during the Solo/Comping sections (called “SOLO BREAKS” because
they are short):
1. Guitar & Piano players should COMP, using different chord voicings and comping rhythms.
The comping rhythms learned in student Lesson 6 work equally well in a Swing style and Rock
style. However, the students can also create their own comping rhythms based on what they’ve
heard from the accompanying CD or other jazz/rock listening.
2. The Bass player should COMP as written, unless they are taking a turn to solo. However, they
should be encouraged to alter the rhythm and note choices of the written bass line if they want...
kind of like they have done during Group Improvisation activities.
3. Students should be given the chance* to play short, improvised solos. Tell them you will be
extra proud of them if you hear a PATTERN somewhere in their solo.
3 Have students get out their Transcribing Worksheet, and tell students they are going to transcribe
Exercise 5 today. Play the following pattern several times (in a Rock style), and help students write it
down correctly. Then have everyone play it together several times with CD Track 10, if desired.
End
Teacher - p. 36
Lesson Plan 8A
preparing to play.
2 Rehearse Warm-Up #2: “I” Chord Inversions. Remember these objectives:

1. Vocab Pathway
Altered Tones: Scale tones that have been raised “Blue” Note: A flatted tone, especially the 3rd or 7th of a scale.
or lowered a half-step. Sometimes we call them
“chromatic tones”. “Blue” notes reflect the African American origin
of jazz, because Field Hollers, Gospel Music, and
Enharmonics: Two pitches that sound the same, The Blues were sung with flatted tones well
but have different names, such as F# and G . before the first jazz band appeared.
3 Have students open to Lesson 8. Direct attention to Vocab Pathway, and discuss Altered Tones and Blue
Notes. Draw connections between the Blue Notes concept and “Scoops and Bends” that they have worked
on before. You may want to spend a little time sharing what else you may know about the African Ameri-
can roots of jazz music.
Discuss what Enharmonics refers to, and quiz students on the enharmonic equivalents to certain notes, like
E-Flat and C#.

Use the Mixolydian Scale plus 4 Altered Tones to sing and play back what you hear.
4 Ask students to play the 4 ALTERED TONES under Pattern Pathway. Help with fingerings if needed.
Ask them to find Patterns: Level 5 and look at these new patterns as they play the call & response
exercise. Again, students may be instructed to sing and play, or just play.

Play chord tones with these “Comping
3. Comping Pathway
Rhythms” to accompany a solo.
Use upper and lower altered tones with this comping rhythm. Try playing it with both swing and rock styles.
Comping
Rhythm 3
Whatever chord tone And the SHARPED

you are playing here Play the FLATTED version here
version here
5 Direct students’ attention to the Comping Pathway section. Before the band can play Comping Rhythm
3, make sure every student can alter every chord tone by:
1. Giving them a moment to figure out how to play a Flatted 1 and a Sharped 1.
2. Direct the entire class in playing Comping Rhythm 3 starting on Chord Tone 1.
2. Repeat step 1 with each chord tone (1, 3, 5, and Flat-7 )
Now have everyone choose a chord tone and play Comping Rhythm 3 in a Swing Style (repeated several
times). If needed, help students play the rhythms and articulations correctly.
Announce that everyone in the band is going to comp while volunteers take turns improvising a solo.
If you or the students need a reminder of their comping responsibilities, refer to Lesson Plan 6A.
Lead the class in playing the comping exercise with improvised solos. Stop every minute or so to offer
suggestions and switch soloists.
After a few choruses of Swing Style, try playing the same exercise in a Rock Style. Rhythm section
members can refer to Warm-Up #2: Melody for comping ideas in a Rock Style.
4. Idea Pathway: Growling Your instrument should sound

expressive like the human voice.
Growling adds an extreme sense of emotion to your solo. Growling can make you sound excited, surprised,
thrilled, mournful, angry, or even ferocious! Try adding this effect to some of your solos.
Growling Pattern 1 Growling Pattern 2

To Growl on the Trombone:
1) Hum loudly as you play
- or -
2) Use a “flutter tongue” (roll your
tongue like the Spanish R’s in “Arriba”)
Growl!
6 Direct attention to Idea Pathway: Growling. After a brief discussion of how growling can affect the emo-
tional impact of your solo, try to help each instrument learn how to growl on the two Growling Patterns.
Look on the next page for the instructions given to each instrument type.
Teacher - p. 38
To Growl on the Trumpet: To Growl on the Saxophone:
1) Hum loudly as you play 1) Hum loudly as you play
- or - - or -
2) Use a “flutter tongue” (roll your 2) Use a “flutter tongue” (roll your
tongue like the Spanish R’s in “Arriba”) tongue like the Spanish R’s in “Arriba”)
To Growl on Bass or Guitar:

To Growl on the Drums:
Play repeated hammer-on’s as To Growl on the Piano:
fast as you can. Play a drum roll on the Snare
Play a rapid tremolo in Octaves or
Drum while playing the Bass
(Finger one note, pluck, then slam other large interval, such as a 6th.
Drum rhythmically.
another finger above the first one)
End
Lesson Plan 8B
Instruct students to look at the patterns as you go through them. Try to notice which patterns they are
struggling with and repeat those patterns more.
2 Rehearse Warm-Up #2: Altered Mixolydian Workout for a several minutes. Try to help the students
succeed at playing it all the way through with good rhythm, style, and expression.
3 Have students open to Lesson 7: Improvisation Pathway. Review all or some of the procedures from
Lesson Plan 7A, so that students can try building a solo out of 3 patterns again.
End
Lesson Plan 8C
1 Rehearse the Melody from Warm-Up #2 for several minutes, trying to give every student a chance to
improvise a solo at least once.
2 Have students open to Lesson 8, and breifly review the Vocab Pathway section.
3 Direct students’ attention to the Comping Pathway section, and play through this exercise a few times
using a Rock Style. (See Lesson Plan 8A for more guidance, if needed.)
4 Tell students that they are going to try some “Loose Transcribing”. This means that as you are listening to
a solo you also play along, by trying to imitate patterns or ideas you hear. You DON’T try to play
EVERYTHING, you just play the things that catch your attention, often repeating each idea a few times
before you start listening for the next idea.
Play Track 18, “One For The Road: Sample Solo - Trumpet” and demonstrate Loose Transcribing for
about 30 seconds to make sure students understand what they are supposed to do.
Start at the beginning of Track 18 again, and let 4 students at a time try it until the track reaches 34
seconds. Switch to a different group of 4 students and start at the beginning of the track again. Repeat
enough times to let everyone have at least one turn.
End
Lesson Plan 8D
2 Rehearse Warm-Up #2: Altered Mixolydian Workout for a several minutes. Try to help the students
succeed at playing it all the way through with good rhythm, style, and expression.
3 Have students open to Lesson 8: Idea Pathway, and briefly review how to Growl (review both Growling
Patterns).
4 Return to Warm-Up #2, and look at the Group Improv section. Either as a whole band, or in groups of
3-4 (you decide), play through this exercise while trying to add some Growls throughout. This may take
some practice, as students may lose track of the time in their efforts to growl.
End
End of Unit 1
Teacher - p. 40

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Explanation of Lesson Plan Format

Teacher’s “Lesson Plan 5A” =

Lesson Plans B, C, and D

“Lesson” sections look like.

Learn the rules for creating

Text in Bold Italics represent

CD Tracks. See page 2 for a

Learning Activity #3 Teacher - p. 20

(Do This Third)

©2012 Curtis Winters Teacher - p. 1

Call & Response Track:

Solo Section Tracks:

Sample Solo Tracks:

3 Ask students to open to Lesson 1.

2. Pattern Pathway Patterns: I Chord - Level 1

Staff Notation with Fingerings Staff Notation with Numbers

1) Using scale tone 1 to answer your teacher’s questions

Con’t on next page

Renaissance Lute Tablature

Level 1 - Scale Tones 1-2-3

There are three main purposes for this exercise:

Swing Style Suggestions:

4 Rehearse Warm-Up #1: The “I” Chord for a few minutes.

2 Rehearse Warm-Up #1: Melody for a few minutes.

Transcribe: The act of listening to music and writing

3 Ask students to open to Lesson 2.

2. Pattern Pathway Patterns: I Chord - Level 2

1) Using scale tone 1 to echo your teacher’s sentences.

Con’t on next page

©2012 Curtis Winters Teacher - p. 9

Guitar Players Piano Players Trumpet Players

2 Rehearse Warm-Up #1: The “I” Chord for a few minutes.

©2012 Curtis Winters Teacher - p. 11

2 Ask students to open to Lesson 3.

2. Group Improv Pathway Improvise in small groups, like a

Easy: Using the given scale tones, but changing

Challenging: Changing the rhythm AND using

3 Direct the students’ attention to the Group Improv section of Lesson 3.

Become a better improviser by studying the

Tuba or String Bass: provides either an Clarinet or Saxophone: improvises

Trombone: creates a simple counter-

©2012 Curtis Winters Teacher - p. 15

2 Ask students to open to Lesson 4.

2. Pattern Pathway Patterns: I Chord - Level 3

Con’t on next page

3. Idea Pathway: Scoops & Bends Your instrument should sound

“Bending” Notes on the Trombone

4 Direct the students’ attention to the Idea Pathway section of Lesson 4.

“Bending” Notes on the Saxophone “Bending” Notes on the Bass

“Bending” Notes on the Trumpet “Bending” Notes on the Piano

“Bending” Notes on the Guitar

Con’t on next page

©2012 Curtis Winters Teacher - p. 17

1) Using scale tones 3-4-5 with more space than sound

5 Direct the students’ attention to the Improvisation Pathway section of Lesson 4.

Play “Solo Section - Once In A While” (Track 8) and do the following:

Learn the rules for creating

3 Direct students’ attention to Idea Pathway: Walking Bass Line.

Rule 3: Only arpeggiate chord tones

Con’t on next page

©2012 Curtis Winters Teacher - p. 21

Riff 1: Improvise in groups of 3 or 4, and take