Abstract: Many jazz theory texts present their theoretical material without providing advice regarding topic-specific ear training activities. This essay offers an alternative by presenting a system for training students about jazz theory while simultaneously presenting ear training exercises, thereby integrating ear training and theory. The theoretical information presented in this essay is intended to be used in conjunction with the suggested activities which primarily involve movable do solfege singing. The theory topics covered in this essay are limited to those appropriate for a beginning college-level jazz theory course. Popular jazz theory texts were consulted to determine which topics are necessary for such a course. Jazz recordings and transcriptions were studied to find musical examples appropriate to each topic. The majority of the activities were developed as the result of two years spent observing and participating in an integrated traditional theory course. Other activities were developed by consulting various theory texts, KA²dly concept of music education manuals, sight singing and ear training books. The result is a set of carefully sequenced activities which are integrated with beginning jazz theory topics. Performance practice issues and specific applications of jazz theory ideas in a performance context are, for the most part, avoided. Thus, this essay is not a beginning jazz improvisation manual. It is hoped that the subject matter and its method of presentation will allow this essay to be of assistance to jazz theory educators or traditional theory educators who wish to incorporate jazz into their theory courses.This essay offers an alternative by presenting a system for training students about jazz theory while simultaneously presenting ear training exercises, thereby integrating ear training and theory.
|Title||:||An Aural Approach to Teaching the Fundamentals of Jazz Theory|
|Author||:||William Edward Swann|