Unit summary. Year 9 Unit 1 Chords into jazz

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1 Year 9 Unit 1 Chords into jazz Unit summary Title Key objective Musical ingredients Features of musical elements Development of skills Outcomes Chords into jazz Learning how jazz musicians use chords as a basis for creating and improvising melodies. This unit explores: the structure and effect of chords in jazz music; the use of chord sequences and walking bass lines in jazz; the use of jazz chords in music from the stage and popular song. The main focus of this unit is texture: primary chords, chord sequences, added note chords and 7th chords. Pupils will also explore structure (12- bar blues, riff) and pitch (blues scale). Listening: to a range of different jazz pieces. Composing: creating a piece of chordal jazz using different chords. Performing: using jazz chords, chord sequences and jazz riffs in a variety of styles. Improvising: using notes of the blues scale over a chord sequence. Most pupils will demonstrate their knowledge and understanding by: identifying and appraising the use of chords in a variety of jazz music adding notes to the 12-bar blues chord sequence and performing this as a walking bass line in the key of C composing a piece of jazz that uses primary chords, added note chords and improvisation. Some pupils will not have made as much progress and will demonstrate their knowledge and understanding by: identifying different chords in jazz music performing the 12-bar blues chord sequence in the key of C composing a piece of jazz that uses primary chords and some other features. Some pupils will have progressed further and will demonstrate their knowledge and understanding by: identifying and appraising the use of chords and describing how they create different effects in a variety of jazz music performing a melody in a swing style over a walking bass line in time and with a jazz feel composing a piece of jazz that uses primary chords, added note chords, improvisation and jazz riffs.

2 Activities summary Pupils will learn: Activities Learning outcomes how chords are used in different pieces of jazz and blues music. how extra notes added to the primary chords of a 12-bar blues chord sequence make a walking bass line. how the blues scale is used in jazz improvisations. how melodies are performed with a swing in jazz and blues music. to combine features of jazz and chords to make a performance of a piece of jazz with improvisation sections and with a jazz style and feel to the music. how chords are used in a modern jazz song written for the stage. how 7th chords contrast in sound to other chords. how chords can be used in their own jazz music. to refine, rehearse, perform and evaluate their own work. Introduction to jazz music and how chords are used; pupil card sort starter to three different pieces of jazz music. Performing a walking bass line by performing In the Mood by Glenn Miller. Recognising that notes have been added to primary chords to construct the walking bass line and aurally identifying added note chords. Playing up and down the blues scale. Using the notes of the blues scale in individual improvisations. Performing a boogie-woogie in strict time and then in a swing style. Performing the melody of In the Mood with a swing style. Performing In the Mood using 12-bar blues chord sequence, walking bass line, swing style melody plus improvisation using notes of the blues scale. Performing a riff based on the notes of primary chords from All That Jazz. Performing a chord sequence from All That Jazz that uses a variety of chords pupils have learnt. Selecting and combining chordal resources in paired composition work. Using appropriate notation to record ideas. Listening to the work of other groups. Evaluating own and others work against assessment criteria. Listen to different types of jazz and blues music focusing on how chords affect the texture of the music. Perform a famous piece of jazz that uses a walking bass line from In the Mood. Improvise using the notes of the blues scale over a walking bass line. Perform the melody to In the Mood in a swing style over the 12-bar blues chord sequence. Perform the melody and 12-bar blues walking bass line of In the Mood and alternate this with improvisation sections using the chords of the 12-bar blues and notes of the blues scale. Sing and perform All That Jazz from the musical Chicago. Perform the chord sequence to All That Jazz using 7th chords, added note chords and primary chords. Work with others to compose own piece of jazz that uses different chords, chord sequences and features of jazz. Explore and review musical ideas, selecting and combining them effectively.

3 Lesson Plan 1 Feelin blue in just three chords Resources Information sheet 1; Worksheets 1a c; Audio tracks: Take Five ; Dinah ; In the Mood. Other: keyboards. Learning objectives Pupils will be able to: learn to play the 12-bar blues chord progression listen to and perform a walking bass line. Pupils will learn by: listening to three pieces of jazz music identifying a walking bass line performing a walking bass line. Why? So that they can: understand how jazz music uses the 12-bar blues chord progression perform, in pairs, a walking bass line Learning outcomes Pupils should be able to: listen to different types of jazz and blues music and identify key features perform the 12-bar blues chord sequence and a walking bass line. Key words Blues; chord(s); primary chords; chord sequence; improvisation; 12-bar blues. Starter To introduce the unit, write the word JAZZ on the board and work with the class to produce an ideas storm drawing on any possible prior knowledge and understanding. Suggestions might include different types and styles of jazz (e.g. swing, blues, modal, ragtime) that pupils have encountered, instruments used in jazz and any other features of jazz music (e.g. improvisation, 12-bar blues). Next, write the word CHORD on the board and produce another ideas storm on what pupils know and understand about chords. Suggestions might include major and minor chords, ways of playing chords on a keyboard (fingered, single finger), formation of chords, chord spacing, and so on. Development Link the starter to the development of the lesson by explaining to pupils that the purpose of this unit is to explore how chords are used in jazz. Listening: For task 1, photocopy and cut out the card sort activity on Worksheet 1a. Put the cards into envelopes prior to the lesson enough for one between each pair of pupils. Then ask pupils to listen to tracks 1,2 and 3 three excerpts of jazz performed by different jazz musicians. You might want to ensure that pupils are familiar with all of the terminology on the worksheet and information sheet. As pupils complete the task for each track, discuss their descriptions. As a class make a list of features that pupils strongly agree with. Some of the features on the cards occur in more than one of the excerpts.

4 Before moving on to task 2, read through the section entitled How does jazz music use chords?. This will introduce pupils to the importance of chords in jazz and recap the origins of blues music. Performing: Task 2 is supported by Worksheet 1b and allows pupils to perform the primary chords of C, F and G on keyboards. Give pupils some time to learn the chords and practise changing between them. Next, progress to using the three chords to perform the 12-bar blues chord sequence. Pupils can work individually or in pairs. Ask pupils to select a suitable jazz timbre from their keyboards. Higher ability pupils could perform their 12-bar blues chord sequence to a swing/shuffle rhythm. Allow pupils suitable time to rehearse and emphasise the importance of smooth changes between chords and a suitable tempo. Read about walking bass lines on the information sheet before moving onto tasks 3 and 4. Explain that the twelve-bar chord sequence is going to be taken a stage further by adding a walking bass line. Explain to pupils that this involves adding notes to the chords and performing the notes individually. Demonstrate two bars of the walking bass line on the piano so that pupils can hear the two notes that have been added to the chord of C to produce the walking bass (A and Bb). Play Track 3 and ask pupils to listen carefully for the bass line. Pupils work in pairs to play the walking bass line on the information sheet. You can also use Worksheet 1c to support this task, which includes a full and simplified version of the walking bass line to In the Mood. Review/plenary Ask pupils to perform the 12-bar blues chord sequence with the walking bass line as a class. Pupils can choose whether to play the chords, the full bass line or the simplified bass line. Some pupils may be able to play two parts together. Pupils who play drums or percussion can be invited to add a suitable rhythm to accompany the performance or provide a rhythmic introduction. Emphasise the need to change between each chord smoothly and play at an appropriate tempo. Points to note Lower ability pupils can use the single-finger chord function (if available on keyboards) if they are having difficulty performing the basic chord patterns. When teaching the chords, the analogy of play one, miss one, play one, miss one, play one works well for pupils who are having difficulty with this task.

5 Lesson Plan 2 Swinging the melody Resources Information sheet 2; Worksheets 2; Other: Keyboards and/or tuned percussion. Learning objectives Pupils will be able to: learn how melodies are performed with a swing in jazz and blues music perform the melody of In the Mood in a swing style put together a jazz performance to include a walking bass line and swing style melody. Pupils will learn by: clapping swing rhythms using triplets learning to play the melody of In the Mood working with a partner to combine a walking bass line and a swing style melody. Why? So that they can: effectively perform the melody to In the Mood in a swing style. Learning outcomes Pupils should be able to: perform the melody to In the Mood in a swing style over the 12-bar blues chord sequence. Key words Added note chords; walking bass; blues scale; improvisation. Starter Introduce swing by clapping a regular quaver rhythm with the class, as below. Demonstrate the swing rhythm using triplets (as below) and allow pupils to clap the swing rhythm. Establish a regular pulse, but introduce a change i.e. when you shout the word SWING, the class changes to the swing rhythm. When you shout the word REGULAR, the clapping returns to a regular quaver rhythm.

6 Development Performing: Before task 1, ask pupils to read the section on Boogie-woogie on the information sheet. For task 1, ask pupils to look at a boogie-woogie riff. The notation appears on the information sheet. Explain to pupils that they will play this riff in two different ways: strictly as it is written in a swing style. Play these different styles for the pupils. Then ask them to work in pairs to play both ways themselves. Ask some pupils to share what they have done. For task 2, tell pupils they are about to learn to play the melody of In the Mood. Refer back to the two different ways of playing boogie-woogie in task 1. Then play the melody for In the Mood exactly as it is written, keeping strict time. Finally, play the melody again with a swing rhythm. Emphasise once more that this is one of the features of jazz and blues. The notated version appears on the information sheet. Give pupils a few moments to discuss task 2a, which asks them to compare the melody line of In the Mood with the notes used in the accompanying chords on the information sheet. Check that they understand that the notes used in the melody are all common to the accompanying chord of C (C, E, G). For task 2b, ensure that pupils see how the notes of the rest of the melody (except the final 12 bars) are all taken from the appropriate accompanying chord. For task 3, once pupils can perform the melody in a swing style they can work in pairs with one pupil performing the melody line and the other performing the 12-bar blues walking bass line. They should then swap parts, so that each pupil in the pair can perform both parts. Higher ability pupils can add the introduction of In the Mood to the start of their performances. This is supported by Worksheet 2 Review/plenary Review progress made so far on the performance activity started in task 3. Invite pairs to share work in progress. Points to note If any pupils play the drums and a drum kit is available, they can back each performance with a soft swing/ shuffle rhythm. A keyboard backing track or a pre-recorded rhythm can be used with lower ability pupils to encourage them to play the walking bass chord sequence in time.

7 Lesson Plan 3 Performing In the mood Resources Information sheet 3; Worksheets 3a - b; keyboards or other tuned instruments Learning objectives Pupils will be able to: learn how the blues scale is used in jazz improvisations learn to combine the features of jazz and chords to create a performance of a piece of jazz with improvisation sections and with a jazz style and feel to the music. Pupils will learn by: performing eight-beat improvisations on the blues scale putting together a jazz performance of In the Mood to include a number of elements. Why? So that they can: understand how the blues scale provides a framework for improvisation in jazz music give a jazz performance of In the Mood. Learning outcomes Pupils should be able to: use the blues scale as a framework for creating improvisations refine, rehearse and perform In the Mood to include some or all of the following elements: the melody in swing rhythm; the 12-bar blues chord progression; the walking bass line; jazz improvisations using the notes of the blues scale. Key words Swing; boogie-woogie; riff; trills Starter Write the notes of the blues scale from the information sheet on the board. Revise staff notation by asking pupils the names of the different notes and allowing them to write these down if required. Use a prepared tuned percussion instrument such as a xylophone or glockenspiel with the notes of the blues scale on to perform a short improvisation to the class. Ask pupils what you have just done and establish how improvisation is used in jazz music. Invite other pupils to come and improvise using the notes of the blues scale. Development For task 1, allow pupils to familiarise themselves with the notes of the blues scale (printed on the board or on the information sheet) using keyboards or tuned percussion. Encourage them to play up and down the blues scale in a variety of rhythms, improvising until they are familiar with the notes. Improvising on the blues scale: For task 2, explain to pupils that an eight-beat improvisation using the notes of the blues scale will be passed around the classroom while the other pupils perform the 12-bar blues chord sequence. Explain that the 12-bar blues chord sequence will need to be looped so that all pupils can have the opportunity to improvise and ensure a steady tempo is kept throughout. Some pupils may need help to pick up the 12-bar chord sequence once they have performed their eight-beat improvisation.

8 Alternatively, pupils could do this in pairs, with one playing the chords and the other improvising. Allow time for some pairs to share their ideas. For task 3 ask pupils to put together a performance of In the Mood using some or all of the features indicated on Worksheet 3a. Explain to pupils that when they accompany the improvisations they can perform the chords in any way/style they think is suitable to the type and style of the music. Review/plenary Ask pupils to think about two things they liked about their own performance and two things they would like to improve. Ask them to make a note of these at the bottom of worksheet 3b. As a class, share responses. Points to note Board markers can be used on keyboards to mark the notes of the blues scale to help lower ability pupils find their way around. Alternatively, prepare some chromatic glockenspiels/ xylophones with the notes of the blues scale and all other notes removed. You may like to group pupils in pairs with a higher ability and lower ability pupil (learning partners) working together during the learning of the melody to In the Mood.

9 Lesson Plan 4 All that jazz! Resources Information sheet 4; Worksheet 4a-d; audio track: All that jazz. Keyboards or guitars or other pitched instruments. Learning objectives Pupils will be able to: learn how chords are used in a modern jazz song written for the stage learn how 7th chords contrast in sound to other chords. Pupils will learn by: listening to All That Jazz performing the riff and chord progression to All That Jazz. Why? So that they can: develop their vocal skills perform three different types of chords: primary chords, added note chords and 7th chords. Learning outcomes Pupils should be able to: sing and perform All That Jazz from the musical Chicago using primary chords, added note chords and 7th chords. Key words 7th chords; primary chord; root; semitone. Starter For task 1, distribute Worksheet 4a. You may also want to read through the text about Chicago on the information sheet. Ask pupils to complete Worksheet 4a as they listen to the track. This will focus their attention on instrumentation, context and venue, chords, the introduction and other musical features. Invite the class to discuss their findings. Development Explain that pupils will learn to sing and perform All That Jazz, and analyse the chord progressions that it uses. Begin with task 2 singing the song with the pupils. The lyrics are on Worksheet 4b. At this stage, it is probably best to let pupils sing along to track 04. Ensure that all pupils are familiar and confident with the song. Task 3 looks at the effect of 7th chords, which occur in the track. Read through the text on 7th chords on the information sheet as a class. Play a normal chord of C, then add a B flat to the top of the chord so that pupils can hear the difference between the sounds of the two chords. Discuss the word colour in relation to 7th chords. What effect does adding the extra note have on the sound of the chords?

10 Performing: For task 4, ask pupils to work in pairs to rehearse and perform the opening jazz riff from All that Jazz, based on the chord of C. This riff is given on the information sheet and Worksheet 4c. Player 1 plays the C chord seven times followed by a rest. (Ask them to notice how the notes of the C chord have been inverted with G placed at the bottom of the chord.) Player 2 plays the bass line riff based on the notes of C and G with an added note A. Remind pupils to play smoothly and in time. They do not need to play too fast! For task 5, explain to pupils that they will now have the chance to rehearse and perform the chord sequence to All That Jazz which uses 7th chords, added note chords and primary chords all of which they have learnt about during this unit. Distribute Worksheet 4c. Play through the chords with pupils pausing at the added note and 7th chords so that they can revise the construction and aurally recognise these chords as different from normal primary chords. Higher ability pupils can perform the melodic line to All That Jazz along with the chord sequence. This is supported by Worksheet 4d. Appraising: For task 6, allow time for pupils to rehearse the chord sequence and then perform to the rest of the class. Pupils who have not managed to play the full chord sequence could perform the opening jazz riff instead. Review/plenary Using the piano or guitar, play pupils a variety of chords some 7th chords, some primary major chords. Ask them to identify, either in a quiz or in a hands up/hands down game, whether they hear the chord to be a 7th chord or a normal chord. Allow each pupil the opportunity to aurally recognise the sound of the 7th chord. Alternatively, task 6 can be used as the plenary. Ask the class to think about questions a d on the information sheet. Points to note You may want to use the DVD film version of Chicago during the starter activity. Worksheet 4a can still be used for this. It may be necessary to undertake some basic theory work on tones and semitones, and to ensure that pupils are confident with forming the primary chords in the key of C major before introducing 7th chords. A backing track could be used for lower ability pupils to perform along to when playing the opening riff of All That Jazz to help pupils play in time. The first four chords of C major given on Worksheet 4c form the basis of the introduction to All That Jazz with the verse beginning at bar 5 on the second line.

11 Lesson Plan 5 and 6 Jazzing it up! Resources Information sheet 5; Worksheets 5a b and 6; Other: classroom instruments and pupils own instruments as appropriate. Learning objectives Pupils will be able to: learn how chords can be used in their own jazz music refine, rehearse, record, perform and evaluate their own and others work. Pupils will learn by: working in pairs to plan a chordal jazz piece Why? So that they can: create a jazz performance using different chords, chord sequences, improvisations and jazz riffs. Learning outcomes Pupils should be able to: work with others to compose their own piece of jazz that uses different chords, chord sequences and features of jazz learnt about in this unit explore and review musical ideas, selecting and combining them effectively. Key words All key words used so far in this unit Starter Lesson 5: Distribute the definition dominoes from Worksheet 5a. Use this activity as a way of reviewing key words and theory about chords from this unit in preparation for the composition work. Pupils could work individually, in pairs or small groups. Point out that each key word must be connected to its definition on a different card and if done correctly, the last key word and definition should connect to complete the circle. Lesson 6: Pupils listen to one or more pieces of work in progress. They feed back their views on how the pieces fit the criteria given on Worksheet 6. Invite pupils to say whether they like the piece the group created. Ask them to give reasons. Development Lesson 5 (Composing): For lesson 5, task 1, divide the class into pairs or small groups and distribute Worksheet 5b. Tell pupils they are about to use everything they have learnt during this unit to compose their own piece of chordal jazz. The composition process is broken down into stages and gives pupils a clear structure for their pieces. (They have clear instructions on the information sheet and on Worksheet 5b.) Within this structure, pupils are given the chance to create their own chord sequences. Allow suitable time at the end of lesson 5 for pupils to complete the plenary task, recording ideas in an appropriate notation or inviting some groups to perform their work to date. Lesson 1.6: Allow pupils suitable time to refine and rehearse their chordal jazz pieces before recording (or videoing if possible) performances. Ask pupils to listen to or watch the performances. Worksheet 6 supports this evaluation and appraisal.

12 Extension: Higher ability pupils can compose an introduction and ending to their piece. Suggest they start by using a dramatic sounding added note chord or introduce the piece by starting a suitable jazz rhythm. Review/plenary Lesson 1.5: Share some of the work in progress. Encourage pupils to talk about what needs to be done to complete and improve their own work next lesson. Allow each group enough time to record their ideas from the lesson and set individual or group targets as appropriate. Lesson 1.6: Ask pupils to complete the evaluation sheet that accompanies this unit. Points to note Worksheets: If time is short, pupils could be given Worksheet 6 to complete as groups perform their chordal jazz pieces. ICT suggestions: Pupils could use ICT software to create their chord sequences or could record their chord sequences on keyboards. Some pupils could explore certain features on software such as pitch bend and how this can be used to create different effects with jazz chords.

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