IAJE STRING CAUCUS DIGEST:
emails from all the folks involved.
Please send your ideas and input to the new String Intranet site for discussion and broadcast to the Caucus.
Before you read the whole early history of this movement to develop a viable and effective String Organization within the IAJE, I have placed one of the very latest results of our work right at the top of this email trail. It says, "Success!" and now we can build on it! Also, check this brand-new letter that is being sent to every string teacher we can reach.
Cellist/Clinician and String Caucus co-chair Renata Bratt spoke with IAJE Executive Director Bill McFarlin today about our proposed
initiatives. Here are his comments.
In the 2001 IAJE Convention program there will be a feature article by Los
Angeles Times' Don Heckman on the Mancini Institute's orchestra/jazz summer
program.
1. The creation of a string track for conference events until strings attain
parity as improvisers with other instruments.
2. A string track as part of the Teacher Training Institutes, perhaps a
joint venture between IAJE and ASTA. We would like to test a track at one or
more of the 2001 TTI's
3. The Jazz String Caucus as an official part of the IAJE. The IAJE String
Chair would be the director of that organization, with various officers
below that position.
4. A read-through of new jazz works for strings and jazz combo or jazz band
as an official part of the convention. Most music will not be
sent out ahead of time as it should be mainly for junior and senior high
levels. As more music becomes available we hope to have the process of
choosing music become a juried affair. I believe we will need 2 blocks of
time for the session (2 hours). In later years, we might even consider 2
different 2 hour sessions...different days and different levels. We will
choose someone to facilitate the session(s) to make sure things keep moving
along smoothly. We have already had several offers to do so.
Renata Bratt
This exchange grew out of a frustrating series of International Association of Jazz Educators conferences at which strings and string education was, in some peoples' opinion, under-represented. This is not for lack of interest in jazz on strings; in fact, among students and players from classical through all fiddle styles, interest has never been greater, and in fact is approaching explosive proportions!
Herewith, the email series so far:
As was groused fully at the conference this year, the string presence at the conferences and the amount of educational information getting out to educators is... not so great. Everyone has been working their butts off sorta by themselves. We can remedy this and have greater resources and inspiration for string students and teachers all over the place, if we just do a bit of work together.
I am gonna call the IAJE administrative office soon and root around & find out details on how proposals get approved. Asked Rufus Reid and he didn't have any idea!! He did say that the sooner clinic & performance proposals come in, the better chance they have of being accepted. Let's get our preliminary ideas on paper by the end of January, preferably by the end of this week, and see what a nice pile o' ideas we have. The nominal deadline is May or April but let's just get these happening while we're in the mood to. I will be glad to coordinate all this & make sure everybody sees everything.
I just called Lesa Terry (she doesn't have email yet, fax her at 818-507-5057) and she suggested also a letter to the Prez & whomever else saying it's time for better representation of the string community in IAJE for this & that reason (I'm sure everybody has some, let's have the reasons) and that kinda thing. I think that's a good idea, and the idea of a String Caucus is a good idea too. And we all are it! And we want to be recognized as such within the organization, and take on sresponsibility for ensuring that enough attention gets paid to the strings at the conferences, etc. What else? Money? What? suggestions welcome.
Here's my initial proposals, to be bent or fixed:
1) reception: All the string players show up on one room and eat! Can we get a sponsor?
2) panel: what is available for a complete (elementary--through college & beyond) jazz string program
3) panel or clinic: How do you start the young kids improvising? How can you segue from Suzuki or whatever into the jazz idiom? I'd like John Blake on this, also Randy, Lesa, whoever has something to say on this subject.
4) performance: ALL generations of jazz violin large band; 4 good arrangements with rhythm section. & at least one chunky solo for 10-15 players.
I think also that we can take some ideas from what the jazz vocal contingent has done, whoever knows anybody in that crowd, please ask them some questions about what they've done to raise their profile.
Here's who's on my email list, and is hereby a charter member of the IAJE String Caucus.
Let me know if you want out, or know somebody who should be on this list! Also, if anyone wants to take over some thing that they see needs doing, great! Let me know.
Thanks for your continued existence!
DA
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FROM LESA TERRY (by fax)
Establish a highly visible String Caucus within the IAJE
This caucus would make sure that proposals submitted for various string related events would get special consideration and acceptance into IAJE programming.
Contact David Baker or Billy Taylor or some string-committed person at IAJE who can rally support for a string caucus.
Develop visibility at IAJE with a booth space and advertising in the conference catalog.
IAJE would be instrumental in helping the String Caucus set up and perpetuate jazz styring education and awareness on a national and international level--through grants, collaborative efforts with other nationally recognized string organizations, community outreach, and special projects (such as a String Teachers' Jazz Resource Guide!---DA)
It would be nice to develop String Summit ideas-- i.e., an annual jam at IAJE or a club in the city where the conference is - a university that could host a summit ( not necessarioly the same place every year) like Matt's school, U. of San Diego, or other learning institutions where we have connections, etc.
So [Darol, and everyone] let me know what you think and where we go from here. I think we can make something really special happen in the string world.
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FROM SHERI MARGRAVE... [It's a JOKE!!!!]
Hi, IAJE people,
I can provide some musical demonstrations from my new recording, "Blue Sunrise". Now, I'm sure you're aware that the title is merely a sexual reference, but, hey, sex sells records! Besides, a dance segment can be provided by a well-known porn-star, thus increasing the marketability to the movie-going community.
And if *this* isn't enough to whet your whistle, I'd also be happy to have Disneyworld's famous Abraham Lincoln animatron conduct a question and answer session, which will just be a metaphor for the "jazz is dead" conspiracy theory. which should cause the big-wigs from Washington to show up cuz they'll determine there's been a breach of national security.
I am also considering having this presentation upscaled to a national touring show, so if you could forward this proposal to the NEA immediately, I'd appreciate it.
Don't you think this would work?
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Received: 1/18/00 7:43 AM
Just motivate me and I'll finish this survey article.
Till next time,
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Received: 1/18/00 7:43 AM
Jazz stings at my home base, U of North Texas is booming. Last semester we
got official credit and for the last 2 semesters we've been coached
personally by Dan Haerle! Last November Bert Ligon from USC came down and
performed with us - he writes the bulk of our repertoire right now. Now
this semester we've broken down into combos as well as our large group and
we've started performing around the Denton area. AND.....
(big excited pause for the rookies here)
we've got Tracy Silverman to come give us a masterclass and concert in
April! YES!!!!! UNT is behind us in our zeal, but I don't know how much
money we can squeeze out of them - we are still, after all, renegades of 2
departments :) We've begun taking gigs and putting whatever we make into a
Jazz Strings account, but still... any ideas how we can raise the funds? We
are dying to show the music school and community how legit we are. For now
they come and enjoy our concerts, but as for a permanent group, we're not
sure how things stand yet. Any advice or help would be appreciated!
Oh, and how many strings groups came to the conference? We were hoping we
could audition last year, but we were still in the infant stages (we're
almost to the terrible twos now:). maybe this year....
Thanks for your ear!
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Received: 1/18/00 7:43 AM
1.) Student string groups to perform (all ages and levels) Let's all
contact any string teacher we've worked with and get them to submit
tapes of their groups for consideration. Just like Deb Ankney did this
year from Faribault,MN.
2.)Jazz string workshops - let 's see what all of us have to offer as
clinicians. If we can get a few student groups on board as performers,
they can come with their instruments and play. Also open to teachers
(string and wind) who want to play or just observe. Maybe a section
specifically for teachers to give tips on how to work this into their
program and go over what materials there are and how to use them.
3.) Jazz string jam session - kind of an open stage setting where anyone
can pop up and play a tune or two with a house rhythm section so we can
see who's out there. I'm thinking this would be for adults/pros but
maybe we could have a seperate one for kids though they will have
performed on stage already and participated in clinics.
4.) Showcase jazz string player(s) in one of the big evening slots. I
plan to lobby IAJE hard for my six-piece group featuring Clyde
Stubblefield on drums realizing that they may want more of a "name" like
Regina (though she's had a shot already) or John Blake or......Darol
Anger. If it turns out to be more of a "jam" or "summit" that features
several of us that would be cool, too. I promise not to be miffed if my
band doesn't get invited.
Those are the four main categories of activities that I envision. I
plan to add as many people to our "list" as possible both pro-players
and teachers. I think if the entire jazz string community knew what
each of us is up to, we could be more effective. The main goal, I
think, should be to provide the maximum support and inspiration to all
the string students from elementary on up. I will encourage string
teachers I know to join IAJE and submit performance proposals. So
that's it for now. I have three big shows with my 6 piece band this
weekend - Milwaukee, Rockford, IL, and Madison. I go to the Ohio State
Music Teachers convention 1/28 in Cleveland and will broadcast all this
new info to my groups there. It was great seeing you in New Orleans and
I'm very excited about what we're all doing here. Stay in touch.
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Received: 1/18/00 7:43 AM
Reception-Hotels charge a lot to rent rooms for receptions. ($500) They also sometimes force you to buy their food, liquor, etc. Therefore, I would suggest that either we choose a time and commandeer a section of the hotel lounge or if someone can get a suite (rather than a regular room) we could hold the reception there. Two or more people could share that space and cost and it might come out to around the same price as a single room, or perhaps even better. Obviously this should be in the headquarters hotel. I think we'd have to take care of letting everyone know where and when since I don't think the hotel would let us post it on their board if we don't rent their space...but I'm not sure of this. (How do I know this titillating information?...I'm the immediate past-president of the RI Music Educators Association -MENC therefore have some experience with this stuff)
Are you familiar with New Directions Cello Association-Chris White at Ithaca College? There are probably many people in that organization who would like to attend the next conference, especially since it is in NYC. We might find people willing to propose a clinic or workshop or performing ensemble...just a thought.
I think we should advertise our ideas in the JEJ, the ASTA journal, State and/or national MENC journals...where to get the money? I don't know...yet. You know that our National Standards, as well as every State's Educational Standards for the Arts, recommend improvisation for all students? Yet how many music teachers know how to teach this stuff or even know how to do it themselves? Not too many! I think they will be hungry for any information, tools, etc. that they can get their hands on. We should get our acts together and propose something for the next MENC convention, too. If you agree, I'll find out what the deadline is...soon I think.
In addition to a panel, which I think is a great idea, we need performing groups. Ensembles to play at the hotel bar, for concert hours; basically everywhere this year's professional ensembles performed. (You know, all those places where you saw and heard NO strings!) We need to find performing student ensembles to perform as well as demonstrate in workshop settings.
We need a read-through session where we, the teachers, can try out whatever music is available. (MENC does this and provides some instruments from local school systems...cellos and basses only.) Maybe excerpts from Randy's and Martin's books. Anything that is out there. Music for each level. I see this as the biggest problem.
So, we need to get people to write, arrange, transcribe music for strings so they are not left out forever. New compositions are great but they should have access to the older standards too.
So that's it for today. I wasn't sure whether I should send this to the entire committee or not so forward it to them if it's appropriate, or tell me and I will. You realize that it is going to happen. As soon as the conversation begins, and it has, things become reality. I'm really excited! Thanks for your efforts. Keep me posted.
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Received: 1/18/00 7:43 AM
OK! Glad to hear from you. I thought you had stepped off the planet or
something. You must be very busy. I had a feeling I might hear from you
around the time of the IAJE.
Your ideas on this String Caucus thing as it pertains to the IAJE is great.
We need a collective voice. My beliefs and opinions about the jazz string
thing and why it's not happening as fast as we'd like it to take on a
bigger picture and are as follows:
1. Until universities start requiring their string education majors to
study jazz with improv classes and participation within jazz ensembles and
jazz string ensembles, how can we expect them to teach the medium? How can
we expect string educators / teachers to teach jazz if they can't blow over
a 12 bar blues? Sort of ludicrous don't you think?
2. I've said this before and I'll say it again. There must be a
substantial compositional resource base of tunes to choose from. Jazz
bands at the middle and high school levels have literally hundreds and
hundreds of tunes to choose from at numerous levels of difficulty. They
have enjoyed this situation for decades. The tunes need to be composed in
the same manner as conventional jazz bands: head, solo sections (with
written out solos as an option) with back-up string parts, bridge and
codas. If jazz strings are to succeed a flood of compositions needs to be
made available. In large part this is the resposibility of the publishing
houses. But the publishers keep saying there is no demand in the
marketplace for this type of material. Catch 22. I guess we'll have to
scream louder.
All the people you have on your list for the jazz string caucus are great.
Ask them each to arrange a few of their tunes for jazz string orchestra
with rhythm section. See what their responses.
By the way I have been leading one of the conventional jazz bands at my
high school because they could not find anyone else to do it. I have found
it to be a real eye-opener. This is Jazz 3 and it is the beginning jazz
band out of 3 bands total. No one in this band can blow an improvised
solo. They read the solos. On the other hand Jazz 1 went to the
Essentially Ellington competition in New York 2 years ago and they placed
3rd overall. You might have met the director, Steve Sveum. He's the state
rep for Wisconsin in IAJE.
By the way I did make contact with A. Homzy and purchased Stompin At the
Savoy. We're rehearsing it now. Nice arrangement. He should try and get
it published.
I'd like to talk with you more on this collective string caucus thing. It
really needs some organization, direction, focus, energy , you name it.
Most of the time I feel like I have been taking a shotgun approach, shoot
enough and I'm bound to hit some targets once in awhile. That approach
burns up way too much energy.
What is the name of Randy Sabien's book? Who is the publisher?
Take care, and we'll talk again.
Regards,
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Received: 1/18/00 2:18 PM
"From: schrank@itis.com (schrank)
Fred, you've hit the nail on the head! One of the primary issues that
needs to be addressed here is jazz string teacher education. Every year
IAJE offers teacher training courses in 2 or 3 different locations
around the U.S., but there is no offering of training for jazz string
teachers. If we offer general string teachers a course on *how* to teach
jazz strings, I think that it would a starting point. We need to offer
our services to IAJE in this direction. I'd be happy to spearhead this
if someone can give me a kick in the right direction.
As far as university requirements here in Florida, it's nil. They allow
string players to enroll in the improv classes, but there are no
mandatory requirements.
And while I'm at it, I'll tell you all what the basic situation *is*
here in Florida. In the Orlando area, where I'm located, there's
nothing. I'm it...both player *and* education-wise. In south Florida,
Glenn Basham, at the University of Miami, does the jazz string thing,
but again, it's more of his own thing. He did head up a jazz string
weekend this past year, which I understand was very well received.
Northern Florida...again, nothing of which I'm aware. I have begun
drafting letters as of this morning to the string teachers at the
universities to begin talks about this, so I'll keep you updated as to
the outcome.
" If jazz strings are to succeed a flood of compositions needs to be
made available. The publishers keep saying there is no demand in the
marketplace for this type of material. Catch 22. I guess we'll have to
scream louder."
Yes, you are so right. The squeakiest wheel will get the oil.
"Ask them each to arrange a few of their tunes for jazz string orchestra
with rhythm section. See what their responses."
Again, this is a good point. I have a couple of arrangements ready right
now, and would actually love to do more. Anybody else?
Sheri
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Received: 1/19/00 6:34 PM
Panel : "How to structure a jazz string curriculum". Should there be set
standards for juries each semester? How much should different styles be
incorporated? Etc. etc.
Such a panel discussion should be of great interest to school administrators
and jazz string teachers of all levels. It will show these folks that there
are programs out there and people from the IAJE that we are serious about
structure and content of our programs. This way we can present a united
front that can press for higher visibility in the IAJE.
Here at Belmont University in Nashville where we have a commercial(for lack
of a better term) string program, I have worked on a fairly standardized
curriculum for private lessons and juries over the past couple of years. At
the end of the sophomore year the string players know(or should know) bebop
and altered scales, tritone substitutions etc in all keys and some advanced
concepts like Hal Galper's theory on forward motion. They have four solos of
different styles memorized, one for each semester (a cello student learned a
Stuff Smith (violin down an octave), George Ricci (pizz. cello solo from
Cannonball and Strings), Paul Chambers (bowed double bass up an octave) and
a Gerry Mulligan solo). They can analyze and creatively learn from the
theory behind most licks they choose from their solos in styles ranging from
swing to early post-bop (one violin student took a Cannonball lick around in
all keys and learned about chromatic approach notes and tritone
substitutions by analyzing the lick). These requirements are supported by
classes in improvising, arranging etc. plus a jazz seminar class for lead
players covering the jazz repertoire. Ensembles include a jazz string
quartet and various jazz, bluegrass and rock small groups plus the Belmont
Symphony.
In the Junior and Senior years I'm planning on opening the curriculum up to
different styles. The hardcore jazz student can continue with fourths,
pentatonics and bitonals using David Baker's incredible books and study
players like Zbigniew Seifert. Other students will want to go into various
rock, country, western swing and fiddle styles studying with Buddy Spicher
and others in the Nashville Community.
I would love to hear how other programs you have come into contact with are
structured. You mentioned Lesa Terry is working on something similar. I am
very exited about the possibility of you coming to Nashville. THANKS FOR
TAKING THE IAJE STRING VISIBILITY INITIATIVE!!!!!!
Sincerely,
Email: Martin@jazzfiddlewizard.com
Web: www.jazzfiddlewizard.com - A Practical Guide To Jazz Improvising For
Strings.
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Received: 1/19/00 6:34 PM
We really need to get in touch with the New York string jazz community as
this is their home turf. I'm thinking of Regina Carter and Eric Friedlander
in particular, and any others we can think of.
Let's network. I don't have Randy Sabien's email. but I will send a copy of
this to Julie L.
Great seeing you.Let's kick butt for IAJE 2001.
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Received: 1/19/00 6:34 PM
I've got so many ideas rolling around in my head on IAJE that it sounds
like a bowling alley on a Friday night.
1. The IAJE Teacher Training Program - Like I said, I will be happy to
spearhead it. I need to know *who* in the IAJE upper eschalon to begin
hounding. Like I said in the previous e-mail, string teachers in general
need to be trained to teach basic jazz fundamentals and they don't know
how. Most won't admit to it, because being the nature of the beast, are
intimidated by the new and unchartered waters. If we go at them in a very
*user-friendly* course of action, I think we'll make tremendous ground. And
let's make sure that we include not only the high-school and collegiate
levels, but the elementary and middle-school children.
In our caucus here, we have the geographical U.S. covered in terms of those
of us who can offer our services to IAJE to implement this, considering the
fact that they offer 3 courses during the year. (maybe more, but I can't
remember) I would be willing, at my own expense, to travel wherever, to do
this. Of course, the best way would be to get IAJE to cover travel expenses
& perhaps a little $$ on top of that, but that shouldn't be the focus. A
little sacrifice won't hurt any of us to get this rolling! I need a list
of volunteers who would be willing to teach at these sessions. When we
offer it to IAJE, we need to already have names in place. A MINIMUM of 3
volunteers should be alloted per 3-day session, thus also allowing a
diverse performance basis during the 3 days.
That brings us to a basic draft of a 3 day training course. Let's submit
it. If you have a bare minimum, basic method that you think you could use,
let's hear it! If not, then start working on one now! If you disagree
with me on this, please say so, but I feel that we should start with the
foundation before we put the roof on the house, so to speak.
And I have one more thought...jazz string players always seem to refer to
themselves as renegades. The world's view of us is going to be exactly what
*we* project, so maybe we should steer away from that view. If we want to
be accepted, then our total image-projection should be that we *do* belong
there. We are not different! We are as normal (ha!) as the rest of the
jazz world, so move over and let us sit down at the table!
Adieu,
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Dear String Caucuseers (iods?)
I have another question:
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Received: 1/22/00 9:32 AM
Concerning the ASTA/MENC conference:
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From: GlennBash@aol.com
And, to anybody else who's been running a program;
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Subject: IAJE String Caucus
RE: "it's time for better representation of the string community in IAJE for
this & that reason (I'm sure everybody has some, let's have the reasons)"
Some quick thoughts:
Subject: IAJE Strings Caucus, string training
Sheri Margrave wrote:
Here is the method I use for my workshops, and it works quite well for short
term basic jazz skills training with students or teachers who are at least
intermediate level players:
1. Basic Jazz Rhythmic Structures - call and response over G or D Major
scales (Aebersold Major & Minor CD). Handouts with basic rhythmic structures
Hope this seems useful,
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Subject: Jazz Strings, IAJE, and more
CC: steve Houghton, shperc@earthlink.net (IAJE Resource prez)
Dear Darol and company,
Here are my thoughts re: questions that I have seen posted thus far:
(1) IAJE Conference
(2) IAJE Teacher Training Institutes
(3) IAJE Artist Outreach
(4) IAJE Journal
A "String Resource" issue of the JEJ is a great idea. However, I must
confess that the logistics of coordinating such an issue are incredibly
numerous; so I personally doubt it would happen. (That doesn't mean it
_can't_ happen.) I would also caution against a goal of reprising in the
JEJ listings that have already appeared in the JEJ (such as Kuzmich's
superb annotated reviews of charts, recordings, resources, etc.). Instead,
I would suggest that NEW information be targeted for the JEJ, published as
soon as can be made ready, with specific references to the preceding
issues/articles as appropriate; and that a comprehensive COLLECTION of all
such material, older and newer, be compiled for potential publication by
IAJE as a short book to be sold within its Publications catalog (as are a
collection of Kuzmich's reviews, etc.). For that reason, I will copy this
e-mail to IAJE's Director of Publications, Sandy Nelson.
(5) IAJE Curriculum Committee
The Curriculum Committee is dedicating energy to collecting information
about UPDATES for that book; and realizing that MENC may not revise the
text any time soon, intends to publish updates on the IAJE web site ASAP
and free. When I left that meeting just weeks ago, one of the concerns was
finding persons willing to assist in the cause for strings. I believe I've
just found a few-which is why I'm copying this e-mail to Pat Crichton (IAJE
Board Member and liaison to the Curriculum Committee), Pat Harbison
(Committee Co-Chair), and Gordon Vernick (Committee Co-Chair).
I personally believe that IAJE Publications and Curriculum would be pleased
to see compilations of jazz string pedagogy information made available via
their materials and web site.
(6) Midwest Clinic
(7) Future Action
I hope that this e-mail has been of service to you; and again,
congratulations to Darol for mobilizing such a wealth of thought from all
of you.
Best regards,
Tony
P.S.- The Guidelines for the JEJ are pasted below:
Guidelines for Contributing Authors
Approximately 80% of recent JEJ authors were publishing their first IAJE
Journal article. How about YOU?
The Jazz Educators Journal welcomes manuscripts concerning all aspects of
jazz education. We are not generally interested in articles simultaneously
submitted to other publications; however, if you have authored appropriate
material that has been released in a publication of limited distribution,
you may submit it for reprint consideration. It is not our policy to pay
JEJ authors.
ASSISTANCE
STYLE AND LENGTH
SUBMITTING YOUR MATERIAL
FORMAT
Computer word-processing software is the norm; forward a copy of the
diskette (typically 3.5"). The disk should contain only the submitted
article, with the hard copy printed from that disk. Label the disk with the
format (PC or Macintosh), word-processing software (i.e., "Microsoft Word
6.0"), article title, and your name. To assist editing, your article should
be saved in single-spacing on the disk. (Generate the double-spaced
hard-copy via a command before printing.)
THE DECISION PROCESS
ONCE IN PRINT
Antonio J. Garcia, Associate Professor
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1st DRAFT OF ACTION LETTER
For General IAJE:
Work on articles for an issue of JEJ with Tony Garcia ---SEE BELOW [FOR MAGAZINE]
Put together a Jazz String Curriculum (input from D Baker, Matt Glaser, Martin Norgaard, Glenn Basham, others?)
Draft a 3 Day Jazz String Teacher Training Course ((Martin, Sheri, Matt? Whoever wants to be involved call or email them!)
IAJE JAZZ STRING RESOURCE SUMMIT: A traveling performance/instruction/discussion Chatauqua with a floating cast.
For Conference:
PERFORMANCES:
[FOR MAGAZINE]
For inter-organization stuff:
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Subject: IAJE
Hi Darol,
When I have more time in a week I'll spend more time on this. In the
meantime, have fun!
Randy
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Subject: IAJE & Strings
IAJE JAZZ STRING CAUCUS:
I know of three schools that have a jazz string ensemble:
Are there others?
I currently have around 50 charts for the group. Several are for the
strings plus rhythm section, some are for strings alone. Some are
fiendishly difficult and others are simple and were arranged for when we
play dance music at the President's parties. (It helps when we ask for
money like our trip to IAJE in January of 1998.)
Someone brought up the question: "How to structure a jazz string curriculum."
Wouldn't a jazz program of study be essentially the same for all
instruments? Of course there are aspects of individual instruments that are
different, but the nature of the music is essentially the same. All manner
of instrumentalists attend improv classes across the world, I would think
string players would be expected to do the same things as any others. I
would be afraid that having a separate string curriculum might isolate
string players and make potential teachers shy away fearing the
specialization.
There may be supplements that could be added to the improvisation materials
that specifically address string concerns. Some bowing concepts, and other
things unique to the instruments.
One supplement area might include something for cellists.
When my cellists learn a new tune, they are expected to learn it three
different ways:
I have sent out two cellists and a violin player for a fake tune gig. The
cellists switched roles from comping to walking and had to cover all the
basses (bad pun).
The idea of a string ensemble performance at IAJE would be great. There are
certainly enough big band formats. Having a concert where all students
could hear a group of seasoned string players improvising side by side with
all different approaches would be educational and inspiring. I volunteer to
be in the rhythm section, organize the rhythm section, and would offer
arrangements and compositions for the group.
On a grass roots level here in SC (of all places) there is an increasing
level of interest in string players learning about improvisation. I
directed a workshop at USC just for string teachers at their request. They
have now invited me to do a workshop at the state MENC conference in
February. I have an hour to teach them everything they need to know about
improvisation!
Bert Ligon
Books for Jazz Improvisation:
Subject: student jazz cd listening project
From: renata@scruznet.com (Renata Bratt)
Dear String Jazz performer,
For myself (a cellist), a couple of the most personal CDs in my jazz library are the first Turtle Island String Quartet album (so named, from Windham Hill Jazz) and Lester Young's "the Complete Small Group Sessions", especially Volume 3 (Blue Moon). The TISQ album changed my life. It changed the course of my musical endeavors from classical to jazz (and rock and Latin and bluegrass and?). I had never heard a cello play in a jazz context that was not totally written out.
Lester Young's playing touches me like no other. His rendering of the ballad "Ghost of a Chance" gives me a thrill every time I listen or play along with it. Early in my jazz education, I played in a jazz opera in San Diego with some real jazz musicians (professionals, not like in the college jazz band that I also played in). The wonderful bass player of that group made me a tape of Lester Young's small group sessions and I was blown away by the celloness of the tenor sax solos. Those sounds remain for me as a model of the way that I want to play. I don't want to copy Mr. Young's playing, but boy do I want to sound like that!
If you know of other jazz string players who might be interested in a project of this nature, please ask them to respond to this email.
Thank You,
Renata Bratt, member of IAJE, ASTA, SAA, NDCA
From: pat harbison, (Patrick Lewis Harbison) pharbiso@indiana.edu
Hi there,
Pat Harbison
---------- Forwarded message ----------
Hi Bert,
I want to again tell you how impressed I was with your string group when I
visited. I think this is a great idea. I feel that strings are
underserved currently in IAJE and jazz education in general and that they
will be one of the major growth areas in the next few years.
I would like to suggest that you make your proposal based on this sort of
rationale. Also, it seems that the IAJE leadership gives a great deal of
credence to the opinions of the various resource team members in selecting
conference events. I am the post-secondary team member and Darrol Anger
is the string guy. I would like to conspire with you, Tony, Darrol, etc.
to endorse an entire slate of string events at IAJE '01-perhaps even an
entire "string track". In addition to your suggestion we could try to find
a variety of string clinics and concerts featuring Darrol, David Baker,
Matt Glaser, etc. as well as student groups and some sort of forum/panel
discussion. I know that time is short. We need to find out what string
events are being proposed and act if this is to come to fruition this
year.
Please forward this to anyone who you think might be making a string
proposal for 2001...and let's stay in touch. The deadline is next Monday.
Pat Harbison
On Mon, 27 Mar 2000, Bert Ligon wrote:
> My question is how to apply for this group. It does not fit under the
> student group as we will not be representing any one school. (It will
> probably include students from Berklee, Indiana, and the Universities of
> North Texas and South Carolina.) It is more professional than student
> oriented, but not an established group as yet. I could send a CD of USC
> jazz strings as a demo of the ensemble music, but it won't necessarily
> represent the group we want to present. Do you have some advice as to how
> best to present our case? I would appreciate
> Bert Ligon
> Books for Jazz Improvisation:
Hi guys. Just to let you know in light of our New Orleans huddle, that I sent in a proposal to IAJE titled: Jazz Violin is Here To Stay! The description reads: An historical overview of jazz violin starting with the black blues fiddlers of the turn of the century. Jazz violin styles will be discussed historically and technically and will then be demonstrated by JLL, DA, and RS.
I think the power comes in numbers and am hoping that you, too, will submit stuff that is a joint effort, and shows our organization in numbers!
To: shermar@ibm.net (Sheri Margrave), DAnger4444@aol.com (Darol Anger), Martin@jazzfiddlewizard.com (Martin Norgaard)
Renata
I'm not officially the co-chair, though now it *is* a good idea, since
this is taking off like a rocket. I initially jumped in so that we could
help Darol get things rolling, but now I'm committed to doing this full
warp speed.
Everyone will *always* be included in all discussions, decisions, etc.,
that occur. That's the whole point of this endeavor....team-work.
But we do need different folks to take the reins and head up various
sectors of this, if it's to run smoothly.
This is so exciting!
I would be happy to volunteer, perhaps in addition to Renata, to sit on the
IAJE curriculum committee. I need a copy of "Teaching Jazz: A Course Study"
in addition to minutes and emails. I plan on being at the ASTA seminar in
May though only on Saturday. We could meet and exchange materials.
> I just had another brainstorm (I think that is caused by a low pressure
> area!).
On Thu, 13 Apr 2000, Martin Norgaard wrote:
It is our goal to add strings to the mainstream of all jazz instruments. We
want to integrate into jazz education at every level, primary through
university and beyond into the professional world. Our mission is two-fold;
to reach out to jazz educators and also to string educators. Because of the
National Arts Standards which are now being implemented all over the
country, string educators at the K-12 levels are eager for improvisation
methodology. Sheri Margrave has just been asked to write a monthly column
for "All About Jazz Magazine". Many of us are giving clinics at string
conferences in the near future. We need jazz educators to help us by
incorporating strings into their programs.
So far, we have created an annotated listing of jazz string and related
methods, and are in the process of finding or generating jazz charts with
strings. We have submitted proposals for the IAJE 2001 conference for
clinics, panels and concerts on a variety of topics:
IAJE 2001 CLINIC PROPOSALS
2. submitted to IAJE by Bert Ligon
3. submitted to IAJE by Tracy Silverman?
4. submitted to IAJE by Darol Anger
IAJE 2001 PANEL DISCUSSION PROPOSALS
1. submitted to IAJE by Sheri Margrave
2. submitted to IAJE by Darol Anger
IAJE 2001 PERFORMANCE PROPOSALS
1. submitted to IAJE by Sara Caswell and Pat Harbison
2. Submitted to IAJE by Darol Anger
3. submitted to IAJE by Martin Norgaard
4. Submitted to IAJE by Randy Sabien
5 Submitted to IAJE by Darol Anger
Other events we hope to add to the IAJE
1. A string new music reading session
Jazz String Caucus members upcoming events:
Suzuki Association of Americas Ninth Conference in Cincinnati: May 27th at
4:30 and May 28 at 9:15; Renata Bratt, Clinic; "Playing Over Changes".
In the future: Part of another event like ASTA's "Extreme Strings" at Miami
University (hosted by IAJE and jazz string caucus member, Glenn Basham
Members of Jazz String Caucus
The Jazz String Caucus'mission is to is to assure the continued growth and
development of string jazz and jazz education by promoting
improvisational skills for all string players.
April 14, 2000
The first of these concerns is the need to include jazz training in the
curricular training of every music education student in our colleges and
universities. We need to infiltrate and create relationships with
organizations such as NASM, CMS, MENC, ASTA, MTNA, and NSOA. We need to
eliminate the fear and reticence that these groups (perhaps naturally)
feel about changing their standards and approach to include jazz. We need
to present sessions at our conferences that will attract the members of
these organizations to IAJE and create a groundswell of interest in the
shifting paradigm of 21st century music education as we envision it.
Additionally, we must have an IAJE presence at as many of these
organizations' events as possible. In turn we must present things at our
events that will attract their participation, create enthusiasm for jazz,
eliminate fear of the unknown, and equip them with strategies for
including jazz in what they do.
The second of these areas of concern has to do with the inclusion of
strings in jazz education in general and IAJE in particular. Until
relatively recently I had been oblivious to the plight of string players
in jazz education. Over the past decade I have had the opportunity to
work with several outstanding string playing students. This has brought
me into contact and discussion with the members of the nascent IAJE String
Caucus (or whatever you care to call it until it achieves official
recognition).
I think several things should be done to increase the effectiveness of our
mission to string players and teachers. Jazz education and IAJE seems to
be doing a very good job of reaching woodwind, brass, percussion, piano,
bass, and guitar students and performers. It seems to me that string
players are the final group of instrumentalists that are not being
effectively reached by IAJE and jazz education. Greater participation in
IAJE by string players and teachers will bring many new members into the
organization and will carry our message to places that have not yet been
reached.
I think IAJE needs to encourage and formally recognize the excellent work
that the string caucus has been doing informally and strive to bring
string players and interested supporters into every phase of our
organization. We should encourage this string caucus in their attempts to
strategize and make long-term plans. We should instigate dialogue between
their group and our leadership regarding their concerns and vision. We
should inaugurate a string track of events at our conferences and support
that track until such time as strings have achieved parity with other
instrumentalists in jazz education and are then integrated into our
general slate of activities.
We need to establish formal relationships with groups such as ASTA and
NSOA. In that regard, I am going to attend a good portion of an ASTA/NSOA
event that will occur here in Bloomington in May. I would like to have
the imprimatur of IAJE support so I could make official first contact with
the leaders and members of this organization (in my role as Post-Secondary
Resource Chair) on behalf of IAJE. I would eventually love to pursue a
relationship with these groups that is similar to the work David Roth and
Nancy Ferguson are doing with MTNA.
I have found two members of the string caucus who would like to
participate on our IAJE Curriculum Committee. To this point the string
area seems to be the one underrepresented aspect of jazz education on this
committee. It is the one area where non-committee members wrote the
majority of "Teaching Jazz". I will contact Pat Crichton and Gordon
Vernick regarding this and endeavor to include Renata Bratt and Martin
Norgaard in all future committee work.
I have given much thought and attention to these matters since the last
conference. New Orleans was a wonderful conference experience...the best
yet. I think that with an increased emphasis on these few points we can
keep the educational aspects of IAJE strong and continue to reach new
people and advance the cause of jazz into the future.
Sincerely,
Cc: Bill McFarlin, Steve Baker, Darol Anger, Anthony Garcia, Willie Hill,
Ron McCurdy
I forgot to mention to Renata that the Metropole Orchestra will also be on
the Conference program.... their first performance ever in the United
States. I'm assuming that most of the people in the string "caucus" are
familiar with this group, but just in case, it's a 60 piece jazz chamber
orchestra based in the Netherlands. They will be
performing with Randy and Michael Brecker as guest artists!
I also spoke with Bert Ligon and provided him with a few recommendations on
how to get the "special" string group in the door on a slot at the
conference. Since there is no documented recording of the proposed
ensemble, my recommendation is to propose it as a demonstration orchestra
for a clinic session which would explore various topics such as.."how to"
integrate jazz in the school string program, arranging for the school string
ensemble, addressing music standard #3 in the school string ensemble, etc.
The ensemble could also serve as a good vehicle for the "proposed" new music
for string ensemble reading session. Since we have not identified an
entitlement slot for the group on the conference, we'll need to go through
the proposal process this year and then see how we can work in an
entitlement slot for the following years.
I hope these ideas help and look forward to reviewing all the strings
related proposals.
On another note, I'm sorry I have not had time to reach you and respond more
in depth to several questions you posed at the Curriculum committee meeting
in January. My schedule has been "out of control". In any case, I do owe
you a call and do want to visit with you about several items including...
1. Teaching Jazz: A Course of Study (2nd Edition)
Perhaps we can carve out some time to speak when school lets out for you.
Mid-May is looking best for me at this time. Drop me an email line when you
have a moment. We can identify a time then.
Sincerely,
1.. Q. Is it all right for us to use the name IAJE String Caucus?
2. Q. We would like to reserve a room and time for a proposed IAJE String Caucus Long-Term Planning and Strategy Sessions. It is our goal to add strings to the mainstream of all jazz instruments and jazz to the mainstream of string education. Our mission is two-fold; to reach out to Jazz educators and also to string educators.
3. Q. How about a "Strings Track" for the 2001 conference similar to the other tracks they have (vocal, music industry, K-12 teachers, etc.). We know that participation in a newly
established track for string players will be lighter in the first few
years than other areas. With the String Caucus members writing articles and doing clinics and outreach programs at string conferences, IAJE summer clinics, University/Conservatories etc. we should be able to add numbers of IAJE string participants very quickly.
4.Q. Could we add a proposal for a string new music reading session?
5. Q. What about the fact that we expect to have less strings at this upcoming conference than in each following conference, and if our clinic or panel proposal is accepted now, we won't be able to program it in the future?
6. Q. Could we add a co-chair with Darol Anger; Sheri Margrave?
I will be sending Greg Carroll an email listing all of the IAJE "String Caucus" proposals that I know about, the members of our group, and upcoming ASTA/MENC, Suzuki Association Clinic/panels with our group members as leaders.
He also asked to be kept in touch with our plans, and that we touch base again with him toward the end of May.
Darol Anger
For consideration by the IAJE Executive Board, the Jazz String Caucus made
four requests. Following each item is the response of the IAJE Board.
YES, starting in New York City at the IAJE 2001 Convention.
YES. IAJE Executive Director Bill McFarlin will be at the National Music
Education Summit this October. This is a bi-annual meeting including
organizations affiliated with MENC and others such as ASTA, College Music
Society, IAJE, etc. During that forum Mr. McFarlin hopes to begin planning
with ASTA's Executive Director, Ellen Barclay, about joint ventures with
the IAJE. Ellen Barclay is currently in Europe for the next three weeks, but
Mr. McFarlin has communicated with ASTA's organization about initiating an
ASTA/IAJE Teacher Training Institute next summer.
IAJE currently has no policy about rules, recognition, etc. of specific
constituencies (such as the Jazz String Caucus). However, we can refer to
ourselves as an official part of the IAJE. In fact they are working very
directly with us at this time.
YES. A one hour reading session is available at this time for the Long Beach
Convention. In the fall publishers are sent out a letter from the IAJE
advising that vocal, Instrumental, (and next year, strings) will be having a
reading forum. Now would be a perfect opportunity for the Jazz String Caucus
to educate and reach out to publishing companies about the reading forum
which will take place for the first time for jazz strings in 2002 at Long
Beach.
There seems to still be a scarcity of both qualified string teachers, and materials to teach with, but the reality may be somewhat different. The IAJE String Caucus' aim and sacred mission is to make jazz string information and materials available to all who need them, promote jazz string players' and students' visibility, and play some cookin' stuff.
Subject: IAJE String Caucus
Sent: 1/16/00 2:45 PM
To: Randy Sabien, fidlhead@win.bright.net
David Baker, bakerd@indiana.edu
Matt Glaser, mglaser@berklee.edu
Lesa Terry--no email
Martin Norgaard, norgaardm@home.com
john Kuzmich, jkuzmich@jeffco.k12.co.us
christine harrington, cellobrate@aol.com
Renata Bratt, renata@scruznet.com
David Balakrishnan, dbalak@ratedg.com
evan price, Evnprice@aol.com
Sheri Margrave, shermar@ibm.net
Antonio Garcia, ajgarcia@nwu.edu
fred schrank, schrank@itis.com
reynard Burns, reyb@earthlink.net
John Clayton, JCJCBASS@aol.com
regina carter, ladeebah@aol.com
christian Howes, chris@christianhowes.com
Bert Ligon, BLigon@mozart.music.sc.edu
Tracy Silverman, tracy@tracysilverman.com
Glenn Basham, gbasham@miami.edu
john blake, jazfiddler@aol.com
OK Folks!
While we're thinking about it......... lets' brainstorm on this string educational jazz presence thang a bit.
Let's make 2001 String Year.
Lesa will fax me her initial ideas later today and I'll get them out to you all and we can collectively draft this letter & all sign it.
Compose a letter written by by a self-appointed string committee voicing concerns and solutions to establishing a stronger representation at and for the IAJE conference.
--Lesa Terry
no email yet, phone & fax at 818-507-5057
I can't sleep and so I'm reading this book....unbelievable. There's an essay on Disneyland so scarily true that it gives me the creeps.
After I read "My NEA Application" and got enough of the tears out of my eyes to see (that was SO funny), I had an idea...we should write our proposals to IAJE in this manner:
This is Sheri, just like it says on the form. I know I'm only 28 years old, but I think you should consider my fine proposal, because I'm cute and I've played everywhere and if you don't, I'll invited my ex-boyfriend, Robert Plant, to show up at next years' conference, and I can assure you that you wouldn't want that. And I also know this guy named Darol Anger. He's about 45 years old and produces lots of major jazz violin stuff, if he can get the money together. I bet you know how it is, cuz if you're reading this, you're probably a musician, too, and none of us have any money. Anyway, he needs to be included him in the presentation, because he's cute, and all the high school girls will flock to see him. I mean, after all, the point of of this whole thing is publicity, right?
From: John Kuzmich, jkuzmich@jeffco.k12.co.usFrom: jkuzmich@jeffco.k12.co.us (John Kuzmich, Jr.)
Dear Darol:
I probably can have some additional book reivew materials for you plus a
survey of jazz strings education with selected educators across the country
who are doing it!
John Kuzmich, Jr.
From: princessreva@hotmail.com
From: princessreva@hotmail.com (Reva Kuzmich)
Darol,
Howdy! Reva Kuzmich, the younger of the IAJE Kuzmiches here. Dad has been
telling me how pumped you are about uniting the renegades of the string
world. Sounds beautiful! This summer I got to go to Jazz in July and play
with TISQ and also study with David Baker at Aebersold and got to meet many
more of our odd breed.
http://people.unt.edu/~rk0008/jazz.html
(the pics are of our summer institue in Crested Butte, CO this past year....
Reva Kuzmich
From: randy Sabien, fidlhead@win.bright.net
Hi Darol,
... Off the top of my head, I have the following general ideas that are much like yours.
Randy
From: Christine Harrington, Cellobrate@aol.com
...I'm with you! Here are my thoughts so far.
I have a very strong string program and I WANT to teach them jazz and improvisation but where is the music that I can use for third, fourth, and fifth year (and maybe even 1st and 2nd year) players? They are not Suzuki trained and most do not take private lessons. (This, by the way, is more the norm in our country than the Suzuki-trained private lesson-taking student)
I really wonder why we continue to spend such a high percentage of our time teaching European classical music to our students but then I remember that I can't look in my Pepper catalogue and order American (Jazz) for my students whereas there is a wealth of classical music available. I would rather flip the tables and spend a lot more energy on American music and a smaller percentage on European...and I do love classical music but it seems to be a terrible loss for string students in their own country.
Christine
From: schrank@itis.com (schrank)
Fred
From: shermar@attglobal.net
1. Until universities start requiring their string education majors to
study jazz with improv classes and participation within jazz ensembles and
jazz string ensembles, how can we expect them to teach the medium? How
can we expect string educators / teachers to teach jazz if they can't blow over a 12 bar blues? Sort of ludicrous don't you think?"
The Official Sheri Margrave Website:
http://www.sherimargrave.com
From: Martin@jazzfiddlewizard.com (Martin Norgaard)
To: DAnger4444@aol.com (Darol Anger)
Hi Darol,
It was great to meet you at IAJE. I am totally pumped about your call to
arms in jazz string education and am closely following the responses. I
totally agree with Randy's four proposals for the IAJE convention in 2001
and with Sheri's ideas for a jazz string teacher "how to teach" course. Did
you hear the panel discussion Saturday on "How Much Classical Music Should
Be Required of Jazz Majors?" It was very interesting to hear representatives
from different schools compare curriculums. So here is my idea:
Martin Norgaard
From: renata@scruznet.com (Renata Bratt)
OK, so far I think I've identified three problems that we're going to have
to deal with.
1) Identify and locate jazz string players and any programs
with students that may be out there.
2) Evangalize both the string community
and the jazz community to include string jazz. and
3) Integrate string jazz
players with other jazz players. We certainly do not need to belong to a
strings only ghetto.
Renata
From: shermar@ibm.net (Sheri Margrave)
To: DAnger4444@aol.com
Sheri
WOW!
Could it be? is it true that jazz strings are finally on the move? I am printing out all the email I've received so far and will actually look at them on paper soon. we have so much talent and energy, and great ideas just in this first week that I'm a bit overwhelmed. It's fantanstic. I think we really have something here.
I will, over the weekend:
compile all the email into a digest which I will put up on my website at
www.darolanger.com/iajestringcaucus.html
That way, all of it will be in one place and people can pick it over and start thinking about it.
I've got calls in to the various honchos of the IAJE, esp. Steve Houghton, and Bill McFarlin and Gregory Carroll for procedure toward recognition of the String Caucus and and details of the clinic and performance approval process.
Is anybody on this list a member of ASTA? Who is going to the conference in March?
Can we start thinking about sending a representative of IAJE to the MENC/ASTA conference to stir up interest in a jazz string teacher training program? Will anyone volunteer? ( I have a conflict).If I can get some money out of IAJE for a booth or literature or a hotel room, would someone do it?
DA
From: Martin@jazzfiddlewizard.com (Martin Norgaard)
Hi Darol,
Thanks for the great feed-back on my IAJE thoughts and proposal.
I was thinking of going so if you can't find anyone that already has plans
to go let me know. I am a member of both associations but am a little
strapped for cash (to much good food, music books etc in New Orleans). Also
Crystal Plohman at Blair is big into MENC but she is still in Canada so I
don't know if she is going. Crystal and I are working on a "Intro To Jazz
Improvising For Strings" curriculum proposal meant as an elective for string
students at Blair. Of course I don't know if Dean Mark Wait is going to go
for it. I can send you a copy of the proposed syllabus if you like.
MN
To: DAnger4444@aol.com
"I have been teaching Improv for Strings at UM for five years now, and I got stuff to show you
..curriculum, exersizes,etc.
glennno"
TO: Glenn Basham, University Of Miami
Dear Glenn,
I've been talking to Matt Glaser about this too, and it would be great to get in one accessible place all the teaching resources that have worked for you, what hasn't worked, etc.
It would be an invaluable document-- probably a GREAT short article for the Jazz Educators' Journal- and AST also!
We're going to convince Antonio Garcia to do a String Resource Issue of JEJ, and once we get all these ideas and articles together, we can do a comprhensive poposal and send it to him, signed by the IAJE String Players' Caucus, bla bla. Can you sic a couple of interns on putting an overview together?
this is fantastically useful information, particularly for Sheri and Martin, (and who else wants to be involved? write them & copy me! who are compiling an IAJE Teacher Training Program.
OK
DA
Sent: 1/23/00 10:51 PM
From: renata bratt, renata@scruznet.com
1) Jazz is all inclusive. Any instrument can learn.
2) New timbres and textures are the lifeblood of an art form
3) Classically trained performers have excelled in jazz.
4) Bowed string players have long been a part of the jazz landscape (e.g.
Stuff Smith, S. Grapelli, etc.)
5) String teachers and students want to learn and must learn how to
improvise according to the recently revised guidelines of both the National
Standards and the State Educational Standards for the Arts.
6) String students want to be included in Jr. and Sr. High Jazz Bands but
their directors either a) don't know what to do with them within the context
of the band, or b) are afraid that their competetive category will be
changed (for example, directors are afraid that including strings will
disqualify the band from competition).
7) If all students, including those that play tradionally orchestral
instruments, are included at University level jazz training programs, we
will have an exceptional crop of jazz educators, performers, and composers
in the future.
8) Summer course such as the Mancini Institute, where students learn all
variety of musical styles, are at the edge of the new wave.
Sent: 1/24/00 2:14 AM
From: renata@scruznet.com (Renata Bratt)
"That brings us to a basic draft of a 3 day training course. Let's submit
it. If you have a bare minimum, basic method that you think you
could use, let's hear it!"
2. Blues Scale - how to play it, how to do a rudimentary solo using it. More
call and response utilizing blues scale and basic rhythmic structures.
3. Blues Tune and learning to follow a jazz chart - 12 bar blues form
discussed. Handout with tune.
4. Basic Melodic Motifs - over twelve bar blues chart play roots using basic
rhythmic structures, play root plus 9, root plus 7, root plus 3, root plus 9
and 3, root plus 3 and 5, root plus 3,5,7, root plus 3,4,5. Mix up the
melodic motifs. (bar structure of hand may become obvious at this time).
Handout
5. Simple 32 Bar Tune such as Autumn Leaves, following dominant, minor, and
major chords - Overview of 32 bar form, go through tune as above using Basic
Melodic Motifs. Handout with tune
6. Simple 3 note chords to strum harmony - dominant, major, and minor.
Handout with chording structures
7. Backup Harmony using 3rds and 7ths - Use Basic Rhythmic Structures.
8. Basic Jazz Bowing Techniques
9. Easy Backbeats
10. Incorporating Jazz melodic motifs into scale studies for students - hand
out
11. More Tunes - Blues, Easy blowing tunes transposed into string keys.
Handout
12. Handout and Discussion of Basic jazz methods and theory books, list of
important jazz recordings, with or without strings, list of jazz string
arrangements (whatever we can find!)
13. Discussion of transcribing solos from CDs for later study - What to
listen for, how to make your own library of basic melodic motifs
14. Handout of more advanced melodic motifs.
Renata
Sent: 1/24/00 11:36 PM
From: antonio garcia, ajgarcia@nwu.edu
CarrollG@iaje.org
midwestc@wwa.com
P.Crichton@cowan.edu.au
pharbiso@indiana.edu
musgjv@panther.gsu.edu
Wow! It's great to see the stream of responses that Darol has prompted by
his "call to action" to jazz strings. It's taken me a while to dig out from
the pile of e-mail. For those of you I have not yet met, I am the IAJE
Journal Editor and also serve on the board of The Midwest Clinic.
Apply! Apply! Go for it! (But I have nothing to do myself with the
selection process.)
The person in charge, as I understand it, is Greg Carroll, Director of
Education for IAJE (e-mail above in the Cc's). Assisting in that plan is
Steve Houghton, IAJE Resource Team Chair; so I am copying him as well.
Obviously Darol, who is an RT member, can coordinate efforts to form a team
or teams before forwarding them to Greg and Steve.
Also be aware that IAJE has a relatively new program which supports artists
visiting an area which lacks funding. Basically, an artist willing to stay
over a night to do some workshops where s/he might not otherwise be able to
do so can request IAJE funding for the extra night's stay (not for any
fee). Greg Carroll is your contact person on this.
Manuscripts are ALWAYS welcome. I will paste a version of the guidelines
for authors at the end of this e-mail for those of you who have not spotted
it in the JEJ.
Before or after such a collection might exist in print, I would STRONGLY
encourage that all such material be made available to the IAJE Curriculum
Committee, which is working to update the IAJE/MENC Jazz Curriculum Guide,
"Teaching Jazz: A Course of Study." I wonder how many of you know of it.
It's been out for several years (sold by MENC) and includes among many
other things rationales for jazz ed, listening lists (including strings),
charts, tunes graded by difficulty, etc. (BTW, if you're an IAJE member,
you can join that committee!)
Also be aware that The Midwest Clinic has featured jazz string performances
and workshops virtually annually (if not every recent year) and has great
interest in doing so. Though I do not have permission to release e-mail
addresses of some folks, I will blind-copy them a copy of this e-mail as
well. The Midwest Clinic office e-mail is copied above; please contact it
for further information. The deadline is March 1 for the 2001 Clinic. And
if you have excellent student groups to submit, by all means do!
If I can be of assistance regarding the IAJE Journal, please let me know.
Otherwise, feel free to contact the persons above who best match your
goals.
The JEJ Editor is willing to assist your developing a manuscript. Seek
input via any or all of the following by mail, e-mail
(
* Suggest one or more topics.
* Provide a topic and brief outline.
* Provide a preliminary draft.
Any of these steps may allow you to proceed with greater confidence toward
publication. Or you may simply send in your completed manuscript for
consideration; please review the following editorial guidelines and
policies.
Carefully constructing and tightly editing your manuscript prior to
submission will ensure the best possibility for publication. Use
sub-headings to organize your article. Avoid wordiness and write with
clarity and purpose. Write in a comfortable, conversational style; but do
not stray into tangents.
Feature-article manuscripts typically range from 7 to 10 double-spaced
pages, while "Take Note" entries are usually 3 to 7 pages. Articles can be
in-depth philosophical, historical, or interview subjects; a briefer
"how-to" article might focus on a single pedagogical issue and relative
solutions.
Submit three, single-sided copies of all written materials, along with a
disk and pertinent photos, if possible. Transcribed-solo contributors
should also include a recording of the solo on audio cassette. Include a
cover letter stating your name, address, home and work phone number, fax
number, and e-mail address (if available). As indicated above, the JEJ is
not generally interested in articles submitted to or already printed by
other publications; be sure to acknowledge your understanding of this in
your letter as well. Send your materials to:
Antonio J. Garcia, Editor
IAJE Jazz Educators Journal
Northwestern Univ. School of Music
1965 South Campus Drive-REG Hall
Evanston, IL 60208-2400 USA.
While unsolicited authors may e-mail preliminary materials to the Editor,
the completed manuscript must be submitted via traditional mail with all
required materials.
If your article contains musical examples created via notation software,
please submit them as separate files on your disk (not interspersed within
text) or on a separate disk prepared and labeled according to the above
guidelines. Since we cannot publish copyrighted music without permission,
either seek and forward written consent or include as much copyright
information as you have.
Manuscript hard-copies must be typewritten (preferably via computer) and
double-spaced, with one-inch margins, printed on white 8.5" x 11" paper (or
21cm x 30cm international). Each musical example or other graphic should be
clean, camera-ready, and also submitted within following sheets of 8.5" x
11" paper, not interspersed throughout the text. You should refer to
examples in your text, and each should be clearly labeled. Endnotes and
quotations from other authors should be kept to a minimum but should be
cited accurately at the ends of articles. Suggested captions and photo
credits for images should also follow in typed, double-spaced format,
numbered correlating to markings on the images (and included on the
disk-file). You should also submit a brief biographical statement, usually
one paragraph, on a separate, final sheet of your manuscript. Due to a
solo's potential rhythmic intensity, solo transcribers are encouraged to
submit their written music in lines of a maximum of 4 measures each,
numbering each measure below it.
Authors are encouraged to send photographs/slides pertinent to their
article's content. Black-and-white, glossy photos are preferred;
exceptional color images are usable for cover features. We cannot publish
copyrighted photos without permission. There is no need to include your own
photo with your initial mailing.
The JEJ is a refereed journal. You will receive an "IAJE Publication
Release Form" acknowledging receipt of your manuscript; your signature
authorizes our use of your material in print and/or Internet publication.
Submitted articles are then referred without the author's name or bio to
IAJE Resource Team members and other professionals for "blind" review
(though text content may make identification possible). Every effort will
be made to determine the article's status promptly, but this process can
take several months. If your article is accepted, we will request your
photo; and your manuscript may be edited. This usually entails condensing
the material, refining the language, resequencing portions of the article
for continuity, and tightening the focus. Therefore, final decisions such
as grammar, style, content, artwork, lay-out, title of the article, and
deleted material are determined and remain in the domain of JEJ. Because
there are only 6 issues per year, the actual publication date generally
follows submission by a year or more. However, care will be taken to
preserve the timeliness of article content as best is possible.
If your article is rejected, we will return your material as quickly as
possible with the specific reasons for rejection, which may include the
following:
(a) poorly written or prepared, (b) a restatement of material
already published by the JEJ or others, (c) so research-oriented as to be
more appropriate for IAJE's Jazz Research Proceedings Yearbook, (d) too
narrow or too general in scope, (e) too regional in nature, (f) promotes
personal or commercial interests, (g) covers material that is dated or no
longer relevant, and (h) reflects a philosophy that is too personal. Even
if your article is not accepted, if you persevere and pay attention to the
information provided above, your chances will improve for the publication
of one of your articles. For more information on the review process, visit
IAJE's web site.
Diskettes, visual images, and other materials submitted that lead to JEJ
articles are typically returned to the author after publication.
The JEJ is copyrighted: our edited version of the article remains the
property of IAJE unless specified otherwise in advance. The authors are
free to make reprints available for their own, non-commercial use (such as
within a workshop handout); however, copyright law requires that the JEJ
edition be identified as the source. It is not our policy to grant
permission for later commercial use by others unless the author provides
consent. If you wish to reprint your article in another publication (for
instance, a newsletter), you must seek written permission from the IAJE
office in Manhattan, Kansas.
Editor, IAJE Jazz Educators Journal
Northwestern University School of Music
1965 S. Campus Dr.-REG Hall
Evanston, IL 60208-2400
(O) 847/491-4772
(F) 847/467-2364
Letter: IAJE String Caucus/ IAJE String Resource Board
Work on special jazz string publication with Sandy Nelson
CLINICS/PANELS:
(Obviously, people will submit their own clinic & panel proposals. This is just so we don't have clashes of content, etc.)
Panel: How To Structure A Jazz Sring Curriculum (Norgaard, Glaser, Baker,Basham, Margrave)
Panel: From Suzuki To Salt Peanuts: First Steps to String Jazz Improviation (Sabien, Anger, Terry, ??)
Panel: What is Available for Strings to Play? ( Schrank, Norgaard, Blake, Glaser, Schrank)
Clinic: The IAJE String Teacher Training Program: An Introduction (Norgaard, Margrave,? )
Clinic2: An IAJE String Teacher Training Session: All string teachers welcome. (Norgaard, Margrave,? )
Clinic: The IAJE String Curriculum: A Resource (Anger, whoever has gotten this together)
Clinic: Fiddling and Jazz: Closer Than You Think (Anger, Glaser, Margrave)
Clinic: Tips And Tricks For String Teachers (Sabien, ?)
Clinic: Chameleonics: Assuming a stylistic voice on your intrument (Silverman, Anger, ?)
Evening: String Teachers' tribute to Joe Kennedy (various)
Evening? Brian Torff's composition w/student String Qt
1st Annual String Players' Jam
I remember Stephane: performance and stories (Torff, Glaser, Anger)
All contact known teachers to submit tapes of their school groups
String curriculum article
String resource articles, overview of previous Kuzmich articles
NEW SEPARATE COLLECTION for publication
IAJE string presence (booth, clinics, perfs) at ASTA, Midwest B&O, and MENC conventions
IAJE String Resource Guide / IAJE STRING CURRICULUM GUIDE
Mission Statement: (we need a better one. Any suggestions?)
As it is the IAJE's role to provide Jazz information, instruction and resources to the members of these other teaching organizations, so it is the IAJE String Resource Board's responsibility to provide specialized string curriculum, training, and resource information to the string teachers' world at large.
Sent: 1/26/00 3:29 AM
From: randy Sabien, fidlhead@win.bright.net
I've been real busy playing gigs
but I've enjoyed all the flow of ideas. Here are a few quick items.
In
answer to someone - my book will be called "Jazz Philharmonic" as it is
a follow up to the Fiddler's Philharmonic also published by Alfred and
co-written by Bob Phillips.
Bob and I have worked on the jazz book
together. It is on the editors' desk at Alfred as I write this and is on
the fast track full steam ahead all systems go and will be in print this
spring but not into their string promotion blitz until the summer. It
will have a play along cd with my group and is geared for students who
are learning their instruments and at the same time learning basic jazz
concepts. It is written to accommodate a wide range of ability in the
classroom as teachers often have mixed groups. The parts are for string
orchestra - violin, viola, cello, bass, and there are easy piano parts
for the teacher or student plus very simple drum patterns.
I believe,
( and I hope I'm not being too optimistic) that this will be the missing
link to starting all this stuff from the get go. The other problem of
the music education courses at colleges is another thing entirely. In
all the 25 years that I have been presenting jazz string instruction, I
have given about 2 college workshops (outside of Berklee of course) .
Most recently at the UW River Falls. I don't know quite how to tackle
that baby.
I am a member of ASTA and have done workshops for them and written
articles. (well, one.) I'm on the staff for the International String
Workshop in Europe and used to do the American String Workshop in Ann
Arbor when it was going. I don't have plans to go to the March
convention. I still find it difficult to get super active in either
ASTA of IAJE because I think of myself as a performer who makes his
living playing gigs and giving up weekends of work to attend these
events is a sacrifice. But I am being inspired here by all these other
players and if it's a way for me to get to know other players that
certainly is a perk for me. I mean it was great to run into you, Darol,
and I wouldn't have sitting here in the middle of the northwoods of
Wisconsin. Some career move that was, huh?
So I'm off to the Ohio state music teachers convention to give two
workshops to teachers there. I'll mention what we're up to here. i
also play with a high school orchestra in Appleton, WI and will tell
Gary Wolfman there.
Sent: 1/26/00 6:11 PM
From: Bligon@mozart.sc.edu
I would be happy to be involved with the String Caucus though not a string
player (unless you count piano & guitar.)
University of South Carolina (where I am the director)
University of North Texas (Dan Haerle supervises)
Berklee (Matt Glaser)
(1) be able to walk a bass line
(2) play comping chords (two-note 3rd & 7th voicings) in the role of guitar
or piano
(3) be the melodic instrument; play the melody and be able to improvise
Director of Jazz Studies
University of South Carolina
Columbia, SC 29208
Phone: 803.777.6565
Fax: 803.777.2151
www.music.sc.edu/Departments/Jazz/
www.music.sc.edu/Departments/Jazz/books.html
I am compiling a list of jazz CDs for string students and their teachers. I would like this to be more than just a dry recitation of important contributions to the field. That is taken care of in many other places, particularly in the International Association of Jazz Educator's own "Teaching Jazz, a Course of Study". My thought is that we performers come up with a list of seminal jazz performances on CD that have touched our hearts or changed our lives. If we as string players love these works, so will our students and colleagues.
Delighted and amazed, I wanted to do it too. And because of that album all of my students, privately and in schools and at workshops, have learned something of what improvising is about. I myself embarked on a journey that will never end, the land of chord changes and fascinating rhythm. A new realm of creating sound and music opened for me.
Email renata@scruznet.com
Subject: Re: IAJE proposal (fwd)
Sent: 4/4/00 5:04 AM
To: DAnger4444@aol.com
matt, mglaser@berklee.edu
What do you think? Do we have time to put together some organized list of
recommended string proposals? This thing of Bert's sounds interesting. I
heard his USC group in rehearsal and it was very hip. I'm also
encouraging Sara Caswell to put together both a clinic proposal and a
quartet performance proposal. I hope you are each considering doing
something as well.
Thoughts?
Date: Mon, 3 Apr 2000 17:36:17 -0500 (EST)
From: Patrick Lewis Harbison
To: Bert Ligon
Cc: ajgarcia@nwu.edu
Subject: Re: IAJE proposal
> Gentlemen:
>
> I have been asked to put together a proposal for the IAJE 2001 convention
> in New York. To address the growing interest in string participation in
> jazz education and performance, we'd like to have a Jazz Strings Caucus
> performance at the IAJE 2001 convention. I am assembling an string ensemble
> of professionals and educators with some outstanding students. The soloist
> will be some of the best in the business including Darol Anger (IAJE string
> interest chair) and Tracy Silverman. We hope to include David Baker, Joe
> Kennedy, Lesa Terry and others.
> Director of Jazz Studies
> University of South Carolina
> Columbia, SC 29208
> Phone: 803.777.6565
> Fax: 803.777.2151
> www.music.sc.edu/Departments/Jazz/
> www.music.sc.edu/Departments/Jazz/books.html
Subject: Re: IAJE Proposal
Sent: 3/22/00 2:44 PM
From: Julie Leiberman, JulieHMus@aol.com
To: DAnger4444@aol.com
randy Sabien, fidlhead@win.bright.net
much love, Julie
From: renata@scruznet.com (Renata Bratt)
Sheri, Martin, and Darol too,
When Sheri, Renata, and Martin had a three way phone conversation last week,
one of the topics we discussed was having a non-public discussion with all
interested jazz string educators during the IAJE Conference. This focus
group would eventually lead to a "standardized method of jazz string
education" aimed primarily at non-jazz string educators and perhaps also to
non-string jazz educators. I think a two hour time period would not be
excessive for such an undertaking. Or perhaps more than one such session
could be programmed. It is my understanding that the various "tracks",
vocal, general music, etc. have conferences within the larger conference.
How do we program this event? Is it a feasible idea?
Christine wrote:
> "IAJE String Caucus" sounds best to me.
I agree.
> I thought Sheri was the co-chair (if
> she needs a second, I'll gladly do it)...but I also think that anyone who has
> the time, inspiriation, organizational skills, etc. should be included in the
> discussion. These group discussions are terrific. Everyone knows what the
> others are thinking (!!?-at least about IAJE!) and planning. In order to be
> taken seriously we want to be a united front and not running off in a
> milliion directions, with many people making contradictory statements. I
> also agree with Tony that it is important to be officially recognized by IAJE
> in order to call ourselves representatives of IAJE.
Sheri
CC: DAnger4444@aol.com (Darol Anger), renata@scruznet.com (Renata Bratt)
Patrick,
I teach jazz to strings individually and direct the jazz string quartet at
Belmont University in Nashville. In addition it looks like I got a course
approved at Blair School of Music, Vanderbilt (I'll know for sure next week)
called "Intro To Jazz Strings". I also have a jazz instruction book coming
out on Mel Bay in July, geared towards high school and college students.
Thanks,
Martin Norgaard
Email: Martin@jazzfiddlewizard.com
Web: www.jazzfiddlewizard.com - A Practical Guide To Jazz Improvising For
Strings.
From: pharbiso@indiana.edu (Patrick Lewis Harbison)
To: Martin@jazzfiddlewizard.com (Martin Norgaard)
Excellent. I'll start the wheels turning.
> Patrick,
> I teach jazz to strings individually and direct the jazz string quartet at
> Belmont University in Nashville. In addition it looks like I got a course
> approved at Blair School of Music, Vanderbilt
From: renata@scruznet.com (Renata Bratt)
To: carrollg@earthlink.net (Gregory Carroll)
CC: DAnger4444@aol.com (Darol Anger), shermar@attglobal.net (Sheri Margrave), Martin@jazzfiddlewizard.com (Martin Norgaard)
Jazz String Caucus Doings
1. submitted to IAJE by Julie Lyon Lieberman
"Jazz Violin is Here To Stay!"
An historical overview of jazz violin starting with the black blues
fiddlers of the turn of the century. Jazz violin styles will be discussed
historically and technically.
Clinicians: Julie Lyon Lieberman,Darol Anger,Randy Sabien
a clinic of a Professional Jazz String Ensemble for the 2001 convention.
Chameleonics: Assuming A Stylistic Voice On Your Instrument, Clinic Members:
Silverman, Anger, Margrave
"Fiddling and Jazz: Closer Than You Think"
Clinic Members: Glaser, Anger, Margrave
"Why Strings Should Be Part of Every Jazz Program". Panel members:
Anger, Margrave, Glaser, Basham, Norgaard, Bratt, Ligon
"From Suzuki To Salt Peanuts:1st Steps to Jazz String Improvisation".
Panel Members: Sabien, Anger, Terry, Bratt,
"Sara Caswell Quartet"
A performance of material from her upcoming CD. It should be out in June on
Double-Time.The label is sponsoring the proposal . Players from the CD
include Lynne Arriale, Steve Davis, etc.
"I Remember Stephane". Performance and stories. Participants: Torff,
Glaser, Anger
Belmont University's Belmont Jazz String Quartet
A concert with his own group
"A Tribute to Joe Kennedy"
2. A long-term planning session for jazz strings (to take place
concurrently during the conference)
3. TBA
MENC/ASTA Conference in Bloomington Indiana May, 13th 9:00 am "Alternate
Routes: Non-Classical Performing and Teaching"
Diane Monroe, chair, Temple University
*David Baker, Indiana University
John Blake, Manhattan School of Music
*Sara Caswell, Indiana University Student
Carroll Dashiell, East Carolina University
*Matt Glazer, Berkelee College of Music
(IAJE and jazz string cuacus members)
Etienne Abelin abelin@world.oberlin.edu
Darol Anger, danger4444@aol.com IAJE String Resource Chair
David Baker, bakerd@indiana.edu Chair Jazz Department, Indiana University at
Bloomington
David Balakrishnan, dbalak@ratedg.com member Turtle island String Quartet
Glenn Basham, gbasham@miami.edu jazz strings Miami University, and ASTA's
Extreme Strings
John Blake, jazfiddler@aol.com
Renata Bratt, renata@scruznet.com
John Clayton, jcjcbass@earthlink.com IAJE bass chair
Sara Caswell, scaswell@indiana.edu
Erik Friedlander, erikf@friedlander.com
Pat Harbison, pharbison@indiana.edu IAJE post secondary education chair
Antonio Garcia, ajgarcia@nwu.edu JEJ editor
Matt Glaser, mglaser@berklee.edu chair jazz strings, Berklee
Christine Harrington, cellobrate@aol.com
Bert Ligon, BLigon@mozart.music.sc.edu chair jazz dept, University of South
Carolina
John Kuzmich, jkuzmich@jeffco.k12.co.us JEJ Methods column
Sheri Margrave, shermar@ibm.net
Rebecca Molinar, praha27@altavista.com
Sarita Molinar, bonoculars@aol.com
Evan Price, Evnprice@aol.com member Turtle Island String Quartet
Martin Norgaard, norgaardm@home.com
Randy Sabien, fidlhead@win.bright.net
Fred Schrank, schrank@itis.com
Tracy Silverman, tracy@tracysilverman.com
Lesa Terry--no email
Renata Bratt, Ph. D.
(831) 461-0584
118 1/2 S. Navarra Dr.
Scotts Valley, CA 95066
Gang,
Here is the letter I am sending to the IAJE honchos in support of all of
your various overtures. It is long and I apologize. I'm going on the
time honored academic adage that quantity is a good thing.
Pat
Dear Greg:
I wanted to correspond with you in my role as Post-Secondary Education
Resource Team member as we enter the planning process for the 2001
conference and begin to evaluate and prioritize the various event
proposals. In talking and corresponding with my post-secondary education
constituents and in our IAJE Curriculum Committee discussions two things
seem to recur. I want to stress the importance I see in directing the
clinic/performance selection process and the long-term goals of IAJE in a
way that addresses these concerns.
Pat Harbison
Associate Professor of Jazz Studies
IAJE Post-Secondary Education Resource Chair
IAJE Curriculum Committee Member
Dear Pat,
Thanks for the update on the string related proposals. I had a good
conversation with Renata regarding the overall string caucus idea. Wow!
This group really has it together!! Exciting stuff.
2. NASM efforts and status update
3. Goals of the Curriculum Committee
4. MTNA Jazz Studies Module and IAJE/ MTNA Alliance update
5. General Jazz Curriculum initiatives
6. Strategies for Teaching Jazz (MENC Publication)
7. Traditional Jazz Educators Network (TJEN) update.
In the meantime, best wishes for continued success and thanks for all you do
Pat.
Gregory A. Carroll
IAJE Director of Education
(785) 776-8744/ Office
(785) 776-6190/ Fax
PO Box 724
Manhattan, KS 66505
4/13/00 Questions to Greg Carroll, IAJE Director of Education, and his answers
A. Not until we submit this request to the executive board. The IAJE Board meeting will be in August. The question in approximately one page format should be submitted to Bill McFarland (or Ron McCurdy). At first Greg was resistant to this idea, but I pointed out to him that our identification as a body allied professionally with the IAJE, rather than as individual members will help the IAJE reach out to string professors and teachers at Schools, Universities and Conservatories of Music. Then I mentioned the National Standards and the fact that our members are even now giving jazz clinics/panels at national string conventions. At that point he said we should definitely include that information with our proposal, and that he thought that the IAJE Board might indeed act positively towards the implementation of an IAJE String Caucus.
A. We need to write an email with our proposal to Steve Baker, the executive producer for IAJE 2001 Conference, swbaker@flash.net Greg said that space was at a premium, and that Steve would discuss costs (!) with us. Then he said that he thought the IAJE would support a mini-retreat for our group to take place concurrently with the conference. I mentioned a time frame of two hours, and he said that our time did not have to align with the conference tracks. (we can certainly propose more or less time if we agree on that). We can also meet on more than one day. (I forgot that we would also like to have some sort of mixer for all strings, we can propose that, I guess, in the same email)
A. He believes that we do not need to add another track. He said they try to balance the amount of proposals, and add more to an instrument that seems to be requesting more (the squeaky wheel). Many of our proposed clinics and panels would fall under the teacher-training track. For instance, he spoke with Bert Ligon about the proposed professional jazz string ensemble and suggested that it be regarded as a clinic. An example to jazz educators of what a jazz string ensemble is capable of.
A. Yes, in fact he believes we should add more proposals at this time pertaining to pedagogical questions. He thought that band directors and string attendees would be drawn towards nuts and bolts how-to-do-it sessions. He listed off some of his ideas: Starting, Implementing and Maintaining a jazz string curriculum (I mentioned Darol's proposed panel, From Suzuki to Salt Peanuts, first steps to Jazz String Improvisation); String Jazz Administration and Advocacy; Rehearsal Techniques for jazz strings (bowing techniques, etc.); How to Integrate Strings with a Rhythm Section; What Tunes are available for Jazz Strings or Jazz Ensembles with Strings; and the New Music Reading Session.
A. More events will mean more participation by the targeted group. (Plus we can always change the names later, but keep the same general content)
A. Yes, in fact he believes that about three co-directors are the right amount. He mentioned Martin Norgaard and myself as well, and asked if we would like to help and also if Sheri had agreed to be co-chair. I answered yes to all of the above.
Renata Bratt