About 4 months ago, we brought you a post about how to get the most out of jazz improvisation (”The Key To Jazz Improvisation: Be a Storyteller”). While that article addresses some specific points for individual learning and practice, the current one will help to focus more on the instruction in the classroom. Specifically, it will address some concerns that many jazz teachers have – getting students interested, keeping their focus, and application from practice to performance.

We hope that the following article will give instructors more ideas regarding their role as teacher and how their active involvement during instruction can help can act as a springboard toward students’ motivation. We also talk about the student’s role in the classroom, focusing on their active participation and collaboration with the teacher.

The Students’ Perspective:

Students of jazz, like in any other subject, benefit most from instruction that actively involves them in the learning process. Passive instruction they receive from the teacher, as well as from any theory or listening examples is good for establishing a foundation and providing context for the material to be learned; however if the students are not actively engaged with these examples, it is difficult to to apply the material – especially since music is performance-based.

When practicing, students benefit most from collaborative tasks, in which other students are also involved. In other words, sectional work can only take one so far, without the opportunity to apply everything and learn to play with others. This is, after all, the end goal in this whole process.

One of the most important points, which is related to student motivation, is to have the opportunity to collaborate with the instructor(s). Students need role models, and they often turn toward the teacher for more specific and critical information that can guide them toward the next step, always encouraging them to move a little beyond where they currently are. It is not just advice and verbal feedback that plays a role in this process; rather it also comes from the teacher playing with the students. As was said before, while passive instruction in the form of verbal comments and advice can go a long way, the experience of learning while playing (namely with the teacher), can help offer guidance and direction that is often difficult to explain in words.

Teacher Involvement:

There are many different things that teachers can do to get involved in the instruction. Regardless of the type of involvement (whether passive or active), it should be kept in mind that the students are often more comfortable when allowed to relate to the on their level. This means that the teacher should be willing to check his/her ego at the door and subject him/herself to the same peer evaluation that the other students are held to.

Not only does this allow more opportunities for open discussion and true collaboration, but it switches the role of the student from passive, subordinate learner, to active and equal participant. Even if you do not feel completely comfortable with jazz (if it is not your primary subject area), there are a variety of approaches to fit any type of instructional situation.

Strategies:

(1) Beginning Teachers and Beginning Students

You, the teacher, should be willing to try some things that are outside of your comfort area. This type of exploration, despite mistakes here and there, shows the students that you are also learning the material at the same time, always expanding on your knowledge and experience. This should make the students feel a little more comfortable, willing to follow in your steps of exploration, without fear of making mistakes or ridicule.

(2) Beginning Teachers and Intermediate to Advanced Students:

Even if the students are a little above your level, the teacher can still do a lot in terms of building confidence in the students and encouraging them to explore. The teacher’s efforts to explore on their own and reach their level is proof that they should not be afraid to reach beyond their level. Asking them questions, and commenting on your experience in an honest and welcoming atmosphere also instills in them the very nature of jazz, where all are welcome to contribute in the “dialog” of music.

(3) Advanced Teachers and Beginning Students

The teacher should consider taking the roll of the bass when playing with the students. A strong sense of rhythm and time is crucial for building a solid foundation in jazz (and most other forms of music for that matter). With the teacher modeling the bass, they are holding the group together and keeping everything in time. The students need this element from the beginning, and this is a great way for the teacher to be involved actively with the students.

(4) Advanced Teacher and Intermediate to Advance Students

At this point, you are using all of you knowledge and experience of the whole-group sound to offer advice to each of the different sections as applies to them. This is a good time to model concepts that may allow them to reach a better understanding of this whole-group sound, not just on an individual basis. Of course, as we prescribe active involvement with the students, comping different rhythms and solo sections is a good approach, modeling things like emphasis on dynamics and different chord progressions. The teacher is encourage to do this on different instruments, if possible. This will allow them to better convey each section’s role toward the group-sound. Listening plays a crucial role at all times; however instead of focusing on listening passively, they should be asked to listen while playing, noting their contribution to this overall whole-group sound.

Summary

Students at all levels need to have reinforcement in terms of their motivation, goals, and general interest in jazz. This means that while the teacher is seen as the primary role model, they may also turn to other resources as well. This may come in the form of an advanced player in the band, offering tips and feedback. The students should also be encouraged to look for outside resources such as private instructors. This will allow them to time to hone their skills on a one-on-one basis. Finally, they should be encouraged to look at and listen to the greats. Having a role model in a a famous artist and musician can help keep them motivated, and at the same, better shape their goals as aspiring musicians.

We hope these tips can prove useful in the classroom (whether in private, small-group, or ensemble situations). Please let us know what you think about the article and if there are any other elements or concepts we should add to it.

Related Posts

1. “Jazz Saxophone Duets”: Great book for jazz saxophonists
2. Jamey Aebersold Summer Jazz Workshops At The University of Louisville
3. Strumming For The Fun Of It: Learning jazz guitar and loving it
4. Video Game Orchestra Highly Anticipated For March 5th Concert At Berklee Performance Center
5. Poetic License Band & David Gonzales Featured At Dizzy’s Club Coca-Cola: Latin jazz meets the spoken word