Foreword and Acknowledgments

How to use this book:

This texr reflects the basic way in which I have taught my jazz
theory and improvisation courses at a variety of primarily college-
level institutions over the past twenty years. The state of jazz
pedagogy has changed radically during that time, as have my per-
sonal educational perspective and experience.
This text constitutes an updated, hopefully more clearly orga-
nized version of my 1983 rext/azz Theoy, reflecting the changes
in my teaching style and organizational method which have been
a result of this evolving experience, both musically and pedagogi-
cally. It is designed in a topic-by-topic format, including biblio-
graphy, discography, and relevant suggested assignments at the
end of each chapter. The discography is quite specifically related
to the musical examples referenced in the text, and all the record-
ings are listed in their curently available forms, so that even an
institution or individual wishing to start from scratch in reaching
such a course could do so. Likewise, I feel that the bibliography is
quite comprehensive, relevant, and up to date.
When I began writing Jazz Tbeovy nearly twenry years ago, jazz
pedagogy was at a much more formative stage, and my own
teaching experience had been primarily defined by my experiences
in institutions with well-established jazz programs. Having spent
a good deal of time since in liberal arts institutions, or in other
educational and musical situations where the primacy of the jazz
idiom (or even its validity as a field worthy of serious academic
pursuit) was not taken for granted, I have had to reassess the
assumptions one makes in structuring such a course of study.
The text, then, can be regarded as a fleshed-out syllabus, reflect-
ing the manner in which a course can be taught today in a liberal
arts or undergrade institution, where students need first of all to
be acquainted with the basic language of jazz harmonic theory,
‘, , then taken progressively through an examination of the various
topics necessary to achieving an understanding of jazz harmony
&d improvisation. The text’s organization is also designed to
Show the teacher and student alike how to integrate the various
,xxcellenc pedagogical resources available today into a structured
study of music.
The order in which these topics are explored has been carefully
organized so that the student can proceed from the most access-
ible concepts in harmony and improvisation to those which are
most complex. Once a foundation of basic theoretical language
has been established, the topics of modal playing, melodic embel-
lishment and improvisation, form, and the Blues are presented.
More complex theoretical topics such as the uses of secondary
and substitute Dominant harmonies, key-of-the-moment, inter-
polated chords, modal interchange, and Blues and “I Got Rhy-
thm” variations are then introduced. This order of topical discus-
sion does not mirror the historical evolution of the music, rather

.7
it introduces the concepts in an order which has proven mosr
accessible to students, moving from the simpler improvisational
concepts through the most complex.

I cannot overstate the importance of doing many, many, in-class

performance projects to reinforce what is being studied in the
text. Every assignment or exercise which is done should reflect the
fact that, first and foremost, jazz is an aural tradition. To study
melodic variation, listen to and transcribe several interpretations
of the same melody. To study Blues, write one! Several transcrip-
tions should be undertaken over the course of the year, per-
formed by the transcriber and collectively analyzed by the class.
When studying “Rhythm Changes,” write one! Eartraining and
keyboard voice-leading exercises should be a regular part of the
in- class routine.

Having established artists make guest appearances to speak with,

coach, and orhenvise share their experiences with the students is
an invaluable method of enlivening and enriching the course-
work. Guest artists have had a terrific impact on the programs I
have developed.

I welcome any comments or suggestions on how the organization

of this text works for you, or how it might be improved. I would
also be happy to communicate with anyone who might want
some help in setting up or implementing this sort of curriculum.

Finally, I would be remiss were I nor to thank the various people

whose behind-the-scenes work helped ro make this text what it is.
Thomas M. Zentawer and Michael Ebert, whose expertise in
graphic calligraphy brought the musical examples to life, Dan
Richter for his editorial assistance; Ann Maggs, whose attention
to detail and knowledge of the recorded jazz repertoire created
our bibliography and discography, Fred Tillis for being an inspi-
ration, mentor, and role model for an aspiring jazz advocate for
over twenty years, and of course Hans Gruber, for making our
work available to you.

This book is dedicated to the great masters of the jazz tradition,

the most important artform to have evolved in the 20th century,
in hopes that in some small way it will help give something back
IO this wonderful tradition which has so enriched all of our lives.