Jazz it Up! In the National Symphony. Jazz and Classical Music Meet at the Center. The Concert Program

Transcription

1 Jazz it Up! Jazz and Classical Music Meet at the Center In the National Symphony Orchestra s Jazz it Up! concert at the Kennedy Center, you will hear music by some American composers who have written jazz or have included jazz in their compositions for symphony orchestras. Although they have different traditions and different sounds, there are many ways in which jazz and orchestral music are similar, and there are special ways in which they influence one another. Listen carefully and you will discover the musical magic that happens when jazz and classical sounds meet at the center the Kennedy Center! The Concert Program The program consists of four works by American composers: Theme and Variations by Dr. Billy Taylor, page 3 Lions (A Dream) by Ned Rorem, page 4 C.A.G. by Dr. Billy Taylor, page 6 An American in Paris by George Gershwin, page 8 National Symphony Orchestra Meet the Orchestra Concerts Leonard Slatkin, Conductor Featuring the Billy Taylor Trio April 22 23, 1996

2 2 Jazz and Classical Music Meet at the Center The Concert Program Theme and Variations by Dr. Billy Taylor Lions (A Dream) by Ned Rorem C-A-G by Dr. Billy Taylor An American in Paris by George Gershwin Jazz developed more European classical than a hundred years music began as the ago in cities in the There are similarities and differences among music of wealthy, southern United States. the four pieces in the concert. Those similarities powerful people, and It is a mixture of musical traditions: African music sung and played by slaves in the southern United States and differences can be understood by thinking about size, leadership, notation, and technique. has existed for several hundred years. It s many styles range from religious music to chamber music to and the melodies and harmonies of European religious hymns. Because jazz was created in this country, it is often called America s classical Size Both jazz and classical groups vary in size. Jazz groups usually range from two to 20 players, while European classical groups range from two to more than 100 players. Billy Taylor s jazz group consists of three musicians, while the National Symphony Orchestra consists of 103 musicians. Leadership The conductor of a symphony orchestra leads the players throughout the performance of a piece of music. Symphony musicians are expected to play together as an ensemble, following the conductor s leadership. In a jazz group such as a trio, the musicians are expected to transfer the leadership responsibility to one another during the performance of a piece of music. Each expresses his or her individuality by interpreting and improvising in certain parts of the piece. opera, and to music written for large groups of musicians called symphony orchestras. The European immigrants who came to the United States brought music. Jazz has many styles (such as ragtime, swing, bee-bop, and cool), strong emotional qualities, unexpected (syncopated) rhythms, and melodies composed Notation is the writing down of notes and other symbols for a musical composition. In European classical music, all the notes are written down for the performers to play as indicated. Jazz musicians play from a lead sheet, a road map of the melody and organization of a composition. As the piece is performed, the players are free to improvise, or compose spontaneously, using the outline as a guide or a point of reference. As a result, the notes of a jazz piece vary each time it is performed, and compositions never sound exactly the same way twice. Europe s musical legacy, and now their descendents help to develop and carry on this classical tradition. (improvised) on the spot. Technique is the skill required for playing a musical instrument. Although jazz and classical musicians use the same instruments, how they play them makes a big difference. Jazz musicians sometimes improvise sounds on musical instruments that imitate the human voice and explore and expand the highest and lowest ranges of sound that can be made on their instruments.

3 Jazz and Classical Music Meet at the Center Theme and Variations by Dr. Billy Taylor Size The jazz trio plays with symphony orchestra. Sometimes the trio plays by itself, sometimes written score, but some varia- Notation The piece has a part of the trio plays with parts of the orchestra, tions are improvised. The composition is written in a key common and sometimes the whole trio plays together with the orchestra. to jazz (D-flat Leadership is shared at times by members of the major, which jazz group and at other times leadership is maintained by the orchestra has five flats.) conductor. Technique In a symphony orchestra, the string bass is usually played with a bow (arco), while in a jazz group, the bass is played by plucking the strings (pizzicato). In one of the variations, the basses and cellos in the orchestra play both pizzicato and arco throughout. 3 Variations are changes. In music, variations are changes made to a musical theme. A premiere is the first time a musical composition is played in public. A countermelody is a new melody created to interact (complement and harmonize) with the original melody. Theme and Variations, a new work by Dr. Taylor, will have its premiere performances at the Kennedy Center. Its title tells us that the musical theme will be varied or changed throughout the work. In one part of the composition, the woodwind instruments (the clarinet, oboe, and flute) play a new melody based on the chords of the theme. When the theme is heard again later in the work, this new melody is brought back as a countermelody, interacting with the original theme. The Billy Taylor Trio is a group consisting of three musicians who play the piano, bass, and drums. In the trio, Dr. Taylor, who is the leader, plays the piano; Chip Jackson plays the string bass; and Steve Johns plays the drums. The trio has made many recordings and performs throughout the United States and the world.

4 4 Size A jazz quartet (a saxophone, piano, bass, and jazz drum set) performs as a part of the symphony orchestra. The symphony orchestra uses fewer woodwinds and brass instruments than usual. The vibraphone (a jazz instrument) is added to the orchestra s percussion section. A harp is also included in this composition. Lions (A Dream) by Ned Rorem Leadership The orchestra conductor directs all the musicians. Technique The violins of the symphony orchestra use a sliding Notation (glissando) effect and the flutes The jazz Listening Map: use flutter tones (made by a rapid quartet s Lions (A Dream) vibration of the tongue while music is a blowing into the instrument). Ask your teacher to play Lions (A written part Sliding and flutter-tonguing are Dream) on the audiotape (Side 1: of the techniques associated with jazz. Listening Activity 1). Use the symphony s The bass musician in the jazz Listening Map on pages 4 5. The score. It is not quartet plucks the strings (pizzicato), while the bass musicians in correspond with the numbers on numbered items on page 4 improvised. the symphony orchestra bow the Listening Map on page 5. (arco) and pluck the strings. The sleeper begins to dream. Woodwinds and strings play long tones and trills. Two notes alternate back and forth. The Composer: Ned Rorem Music and zoology have fascinated Ned Rorem since he was a boy. Lions (A Dream) is one example of how he has combined both interests. Once, when he was 13, he had to choose between his interests. When he heard modern symphonic music for the first time, he became so excited by it that he sold his collection of canaries, parakeets, finches, and waxbills in order to buy musical scores and recordings. As a teenager, his interest in jazz and popular music grew as he listened to records at home and heard performers at local nightclubs. At the same time he was strongly influenced by two African- American female musicians, blues singer Billie Holiday and pianist/composer Margaret Bonds. Each Saturday Rorem studied piano with Miss Bonds. She also taught him how to write down (notate) the songs he had composed, many of which used jazz rhythms he heard and song phrasing like Billie Holiday s. Rorem, who is 73 years old, continues to compose and write about music. Jazz and Classical Music Meet at the Center Ned Rorem says that he wrote Lions (A Dream) in honor of [one of] my favorite animals. It was based on a dream he once had. The dreamer walks into a room which grows larger and larger. Trumpets play sustained tones beginning softly and getting gradually very loud (crescendo). The dreamer hears recordings of jazz. Jazz quartet, with a saxophone solo, plays with the orchestra. The dreamer watches kittens playing. Violinists imitate the sounds of a cat purring by sliding their fingers up and down the strings; flutists imitate the sound of purring with flutter tones; the xylophone player imitates kittens running and jumping by playing rapid notes which start and stop. The dreamer becomes aware of lions watching him. Trumpets and trombones growl back and forth. The dreamer hears the sound of a grandfather clock. A gong strikes the hour; wood blocks, chimes, and the xylophone make clock sounds. A lion swallows the dreamer. Two full orchestra chords play loudly. At peace again, the dreamer hears jazz fading into the background. The jazz quartet plays with the orchestra.

5 Listening Map for Lions (A Dream) 5 Dreams occur because the brain remains active during sleep. Sometimes dreams are like stories in which we participate.

6 6 Size C.A.G. is played by the Billy Taylor Trio. Improvisation Some people think jazz just happens, that the music comes out of nowhere. Jazz musicians are able to improvise or compose music on the spot, out of their heads because they have studied hard and are excellent musicians. When they improvise, jazz musicians know the melodies, harmonies, and rhythms on which they will make variations. They know the order in which each of them will play. They extend and develop the music as they go along. Jazz and Classical Music Meet at the Center C.A.G. by Dr. Billy Taylor improvised (composed We were spontaneously) and invited will be different at each to play performance. at a dinner, hosted by the National Council for the Arts in Government says Dr. Taylor. One person asked whether I could improvise something on their initials, N.C.A.G. I said, Well, the N would give us lots of trouble since there is no N on the musical scale, but we can certainly do something with C.A.G. That s how the piece, starting with those three notes, was born. Listening to C.A.G. Ask your teacher to play the excerpt from C.A.G. on the audiotape (Listening Activities 2A, 2B, and 2C) and follow the Listening Map on page 7. Leadership Dr. Taylor leads the trio, but each musician has the freedom to take leadership and compose on the spot (improvise) during agreed-upon parts of the piece. Notation The score is outlined on a lead sheet. A lead sheet is a shorthand version of a score. Some sections are Technique In a symphony orchestra, several musicians play the different instruments of the percussion section, while in a jazz group one musician plays several percussion instruments on a drum set. The drum set allows the jazz drummer to perform different rhythms at the same time, simultaneously playing the floor bass drum, tom toms, snare drum, cymbals, sock cymbals, and hi-hat. The piano is played in both jazz and classical music. It plays the melody, harmony, and rhythm. The piano, which is not always a part of the symphony orchestra, is important to small classical (chamber) groups and jazz trios and quartets.

7 Listening Map for C.A.G. Based on the Lead Sheet for 7 Main Theme The Main Theme is played on the piano. Part A Listen for the melody made up of three different notes C, A, and G. This combination of notes is repeated, and then played three more times. C A G / C A G / C A G / C A G /C A G / C G F / C G F / E C B C Part A repeats Part B is made up of three notes that go higher, as if walking up steps, and is followed by an improvised section improvisation Part A returns to close the Main Theme. A C A G / C A G / C A G / C A G /C A G / C G F / C G F / E C B C

8 8 Size The piece is played by the symphony orchestra. Although the saxophone was invented for the orchestra, it has become one of the trademarks of jazz, playing the blues in this composition. A battery of percussion instruments is used. Jazz and Classical Music Meet at the Center An American in Paris by George Gershwin Leadership The orchestra is led by the conductor. Notation The piece has a written score. Technique Musicians in the orchestra, whose training may not include jazz, are required to play in the jazz style. The saxophone solo in The Blues section on the Listening Map on page 9 is a good example. The score requires playing a syncopated beat. The Composer: George Gershwin As a young boy growing up in New York City, George Gershwin was surrounded by the exciting sounds of jazz musicians playing in Harlem, popular songs, and the classical music of the New York Philharmonic Orchestra. By the time he was 12 years old, he had taught himself to play popular songs on a neighbor s piano. He studied classical music when his parents bought a piano. By the time he was 15, Sad feelings are Gershwin got a job as a pianist, playing popular songs. often called the blues. The When he began writing music as an adult, Gershwin used the form of music sounds he had known all his life. He borrowed from jazz and the called the blues blues to give his music a new and energetic feel, whether he was was created by writing popular songs or classical music. Gershwin died suddenly African-Americans and was often from a brain tumor in 1937, just before his 39th sung to express sadness. birthday. However, the blues tradition has I took the blues and put them in a larger and more a wide range of expression, from musically lasting form (the symphony). If I had taken the sadness to satire to humor to same themes and put them in songs, they would have self-deprecation. been long gone. George Gershwin A symphony is a multisection piece of music written for an orchestra. The sections of a symphony are called movements. Listening to An American in Paris Ask your teacher to play George Gershwin s An American in Paris on the audiotape (Side 2: Listening Activity 3) and refer to the Listening Map on page 9. Syncopation uses accents in unexpected places. For example, the word syncopation is pronounced with the accent as follows: syn-co-pa-tion. If a different syllable is stressed, it might be pronounced syn-co-pa-tion. What other ways could the word be accented in an unexpected way?

9 Listening Map for An American in Paris 9 Walking through Paris An energetic American tourist goes sightseeing in Paris on a sunny June morning. Soon the tourist hears taxicab horns, among the sounds of the city. Next, the tourist passes the open door of a cafe where lively music is being played. The tourist continues and passes impressive buildings, slowing down to look at them carefully. Next, a Frenchman speaks to the tourist, indicated by a violin solo. The Blues The tourist strolls into a cafe and becomes homesick, indicated by a saxophone playing the blues. Enjoying Parisian Life Again The tourist meets other Americans and begins to feel happy again, indicated by trumpets. The tourist feels the blues again, indicated by the saxophone. Finally, the tourist decides to enjoy the night. After all, THIS IS PARIS!

10 10 Music has always been an important part of Leonard Slatkin s life. His parents were musicians in Hollywood movie studio orchestras and founders of the Hollywood String Quartet. He first played violin when he was 2 1/2 years old. Later he studied piano and viola. At 15, he discovered his greatest talent was conducting. The same year that Slatkin graduated from the Juilliard School, a famous school for the arts in New York City, he became the Assistant Conductor of the St. Louis Symphony Orchestra. Later, he became the Orchestra s Music Director, leading it to become one of the best orchestras in the United States. Slatkin is invited to conduct orchestras throughout this country, Europe, and Asia. Slatkin is now Music Director Designate of the National Symphony Orchestra and in September 1996 will become its full-time Music Director. Leonard Slatkin When he is not making or Over time, composers and performers have borrowed listening to music or spending from various musical periods and styles. Today we time with his wife and their 2- recognize that jazz and European classical music have year-old son, he is watching or much in common and, increasingly, are meeting at the talking about baseball, especially his favorite team, the St. Louis center. Leonard Slatkin Cardinals. Dr. Billy Taylor Musicians are the product of their total experiences. Listening to and learning about a wide range of music styles is essential. Dr. Billy Taylor Growing up in Washington, D.C., Billy Taylor was surrounded by different styles of music. He heard a form of African-American music, known as spirituals, at his grandfather s church, where his father was the choral director. He heard music in his home everyone in his family played the piano and sang. He heard his uncle play ragtime music on the piano. On the radio, in movies, and in theaters, he heard jazz, European classical music, and popular music. Beginning at age 7, Taylor studied piano. Then he switched to guitar, then to drums, and then to saxophone. High school friends, who exemplified high standards of practice and musical accomplishment, caused him to change his mind about the piano. He concentrated on it with more determination, taking private lessons and learning European classical music. He and his friends at Dunbar High School enjoyed playing jazz during lunch and after school. After college, where Taylor studied classical music, he continued to study and earn the highest university degrees. He is one of four jazz musicians to have been awarded the National Medal of the Arts. Taylor and his jazz trio have represented the United States on several international tours in Europe, South America, Africa, and Asia. Today Taylor is an award-winning pianist and composer. He is also a teacher, a television and radio personality, a recording artist, and an author. At the Kennedy Center, Taylor is the Artistic Advisor for jazz, and hosts a popular jazz discussion and performance series.

11 Going to a Concert 11 After an usher shows you to your seat in the Concert Hall, take time to read the program for the Jazz it Up! concert. Shortly before the concert begins, musicians will come on stage to warm up and review the parts of the music they will play. The audience lights will dim, and the lights on stage will become bright. Then the Concertmaster will arrive. The Concertmaster will lead the musicians in tuning their instruments and will make sure that each group of musicians is ready to play. The musicians and the audience will become quiet and attentive. Mr. Slatkin will come on stage, go to the podium, bow, and begin the concert. During the concert, it is important to watch the conductor and listen carefully to the music. Remember that talking and moving about disturbs the musicians and other audience members. At the end of each part of the concert, Mr. Slatkin will turn and face the audience. At that time, he and the members of the orchestra will be happy to hear your applause. When the concert is over, stay seated until the lights in the Concert Hall come on again. If you attend one of the daytime concerts, follow ushers directions for returning to your bus. Mr. Slatkin and members of the orchestra enjoy hearing what audience members think about their concerts. Write and tell them what you thought about the Jazz it Up! concert. Meet the Orchestra Concert, Education Department, The Kennedy Center, Washington, D.C The concertmaster is the first violinist of the orchestra, who sometimes plays violin solo parts and assists the conductor with decisions about the music. The Kennedy Center is a living memorial to John F. Kennedy, a popular president of the United States from 1961 to As a living memorial, the Kennedy Center is a place where dance, music, theater, and film can be experienced every day. This year, the Kennedy Center is celebrating its Visiting the 25th anniversary. Kennedy Center There are six The Kennedy Center has two theaters in the entrances: the Hall of Nations and Kennedy Center. the Hall of States. You will enter You will attend through the Hall of Nations. the Jazz it Up! Overhead, you will see flags of 140 concert in the countries. At the end of the Hall of Concert Hall. The Nations you will enter the Grand 2,759-seat Foyer. It is longer than two football auditorium is the home of the National Symphony Orchestra. fields. When you enter the Grand Foyer, to the right you will see a statue of President Kennedy s head that is seven feet high and weighs 3,000 pounds.

12 12 You and the NSO The NSO offers several programs for students. For further information and applications, write: Carole Wysocki, NSO Education Director, The Kennedy Center, Washington, D.C Career Day (grades 9 12): Become acquainted with the NSO by attending a rehearsal and listening to a panel discussion on music careers. Free, reservations required. (In 1996: Thursday, April 25, 10 a.m. 1:30 p.m.) Young Associates Program (grades 10 12): A six-week opportunity to learn more about the NSO, life as a professional musician, and the profession of arts management. Observe rehearsals, attend a master class with a performing artist, and participate in discussions with musicians and NSO/Kennedy Center management. By application. Young Soloists Competition (grades 10 12): The winners perform as soloist(s) with the NSO. The High School Division is open to pianists and orchestral instrumentalists who are residents of or students of a private teacher in the Washington, D.C., metropolitan area. By application. Free Concert/Competition Finals: Hear finalists in the Young Soloists Competition perform in the Concert Hall (offered annually). Youth Fellowship Program (grades 10 12): An orchestral training program for students interested in pursuing orchestral music as a career. This full-scholarship program offers the opportunity to study with an NSO musician; observe rehearsals and attend concerts; and participate in master classes and discussion with musicians, conductors, guest artists, and NSO/ Kennedy Center management. Priority is given to students entering 10th grade in order to provide sustained training. Open by audition. (1996 Application deadline: Monday, April 22; Auditions: Saturday, May 18). National Performing Arts College Fair (grades 9 12): Learn about educational and career opportunities; admission and financial aid; audition and entrance requirements; meet with representatives from colleges, universities, conservatories, festivals, and other educational institutions throughout the country. Free, offered each fall. For information call National Association of College Admission Counseling (NACAC) at (703) You and Jazz Billy Taylor s Jazz at the Kennedy Center is a series of 26 jazz programs designed to acquaint listeners with the rich history and diversity of American jazz through performance, musical examples, and discussion. Hosted by Billy Taylor, these sessions feature Dr. Taylor, his Trio, and special guest artists playing and talking about their music, answering questions from the audience, and demonstrating how jazz is created. The series is co-produced with National Public Radio and recorded for future broadcast. (upcoming dates: May 13 and June 3) The Billy Taylor Trio Demonstration/Performance Dr. Billy Taylor and the Billy Taylor Trio demonstrate the characteristics of jazz and perform works that show how various styles have developed over the years. (Offered annually at the Kennedy Center) Kennedy Center Presents Jazz and the Billy Taylor Trio The Kennedy Center, the Prince William Network, and the Prince William County Schools (VA) present programs with Dr. Taylor and his trio discussing and demonstrating many aspects of jazz as well as working with young jazz performers selected by audition from area schools. This and other programs, such as What is Jazz? led by Dr. Taylor, are available free to Virginia schools with a satellite dish. Programs can be downloaded for use in classrooms. For information, call Lawrence J. Wilker, President Leonard Slatkin, National Symphony Orchestra (NSO) Music Director Designate Derek E. Gordon, Associate Managing Director, Education National Symphony Orchestra Meet the Orchestra Concerts Leonard Slatkin, Conductor Jazz It Up!: Jazz and Classical Music Meet at the Center Featuring the Billy Taylor Trio April 22-23, 1996 Executive Editors: Lynne Silverstein and John C. Carr. Contributing Writers: Larry Bohnert, John C. Carr, Marcia Daft. Design: Paul Dupree Communications. Special Thanks to: Dr. Billy Taylor; Martin Verdrager, NSO Artistic Consultant; Carole Wysocki, NSO Education Program Director; Merithew Benington, NSO Education Program Assistant; Kathleen Winston, NSO Education intern; Julie Anne Green; and AudioMaster Inc. Cuesheet is funded in part through the support of the U.S. Department of Education, The Kennedy Center Corporate Fund, and The Morris and Gwendolyn Cafritz Foundation. Production expenses for the Meet the Orchestra Concert Cuesheets are funded in part by a generous grant from Ronald McDonald House Charities The John F. Kennedy Center for the Performing Arts.