18 minute read
Creating and Connecting - Dr. Carol Rena Shansky
Creating and Connecting:
The Latin American Ensemble at New Jersey City University's Caroline L. Guarini Department of Music
Dr. Carol Rena Shansky Assistant Professor/Coordinator of Music Education Caroline L. Guarini Department of Music, Dance and Theater New Jersey City University, Jersey City, NJ
New Jersey City University’s Caroline L. Guarini Department of Music, Dance and Theatre Department boasts a student demographic that is approximately 73% Hispanic and African-American and the University has for many years been proud to note that it is a Hispanic-serving institution. The department doesn’t pay only lip-service to these statistics but they are embedded in our academic programming. The Jazz Studies program has a particular focus and expertise in Latin Jazz and students in the Music Education program have the advantage to study the mozaic of Latin American musics through participation in the NJCU Latin American Ensemble. This group is led by master percussionist and Broadway artist Prof. Rolando Morales-Matos.
The Latin American Ensemble was started in 2016 at the request of the department chair, Dr. Min Kim, as a means of capturing the unique performance and teaching experience of Prof. Morales-Matos and impart it to the students in the school. Open to all students in all majors, Prof. MoralesMatos developed an approach that allows for different instruments (he even had a singer once!) and different levels of student readiness each semester. The result mirrors what music educators find in the field, adjusting for new students and changes in section balance in ensembles, thus creating a real-life experience for students while they are still in the degree program. At first offered to Music Education students outside of their required classes. Participants reported that it was one of the most impactful experiences of their time in school. It then became an option to the chamber ensemble requirement for Music Education majors in Spring 2021.
The work done in the Latin American ensemble represents a hands-on learning approach to understanding and applying the Core Standards for Music. While Performing and Responding is understood through their applied lessons and performance ensembles, the two Artistic Processes that they may not be as aware of, Creating and Connecting, can offer a challenge to new teachers and are confronted here in a hands-on paradigm. TEMPOThe curricular approach to the ensemble is very much focused on preparing the students to teach this music once in the field. Too often, Latin American music is lumped together as a monolithic style, which does not respect the varied approaches to music making in the countries that make up Latin America. To counter this, Prof. Morales-Matos focuses on the variety of musics in these countries, providing students with a keen awareness of the importance of inclusion and belonging in music education. This extends to consideration of the music of their own cultures, and he challenges students to bring in music that they may have grown up with, that their family engaged in or is otherwise meaningful for them. By doing this, he reinforces to these pre-service teachers that many students today are not aware of the music of their heritage, an important lesson as there is often an assumption by educators that students automatically know what these songs and dances are. For example, if a student’s family origins are in Italy, he encourages them to research and discover (if they don’t already know) the vernacular music from there and bring it to the ensemble for study. There may have to be some adjustment to the music to fit the particular instrumentation of the Latin American ensemble, but that in itself is a lesson in style and adaptation. In addition, it illustrates to the music education majors in the ensemble of a valuable lesson in the Core Standard area of Connecting.
Students are encouraged to play their secondary instruments in the ensemble. While this enables them to have extra time to improve their skills, it also highlights to them what it will be like for their future students who are just developing skills and playing in a school ensemble. Further, students playing instruments that are not typically found in a Latin music-based ensemble such as this can participate, but the students must write arrangements (with Prof. MoralesMatos’ guidance) to incorporate that instrument. Questions about idiomatic tendencies and the roles held by bass or treble instruments are addressed as part of this process. This is another invaluable aspect to their training as many of the students in the music education program are likely to start their careers at schools that have incomplete ensemble instru-
mentation, so students can apply what they have learned in their academic classes to an active ensemble situation.
Improvisation is a key area that students work in and become comfortable with. As a component of the Core Standards for Music (Creativity), it is an area that many preservice (and dare I say, in-service) find daunting. Through progressive exercises that reinforce their music theory class work, students can improvise in the ensemble’s performances. For many, this is the first-time improvising, especially in public performances.
Students comment on each other’s arrangements and solos. This peer-review is valuable and always done with respect and support. The result is a community atmosphere that they will want to replicate in their future classrooms. The contribution of music that is not Latin American in origin encourages the development of strong skills in adaptation and arrangement in considering how a given piece of music can work with the instruments more typical of Latin American group. But, no one is turned away, and everyone’s culture is respected. Prof. Morales-Matos believes that there are two areas that represent people: music and food. He refers to the contributions of music for the ensemble as a “potluck” where “everyone brings a dish.” Students are asked to investigate the origins of the music they work on to understand it beyond the notes on the page, which instructs them in how they, as teachers, can create lessons in the Core Standard Artistic Process of Connecting.
The students are indeed lucky to have Prof. Morales-Matos as their director. He is an internationally known performer, performing with artists such as Paquito D’Rivera, Dave Valentin, Willie Colon, Ron Carter, Celine Dion, Michael Bolton as well as numerous film soundtracks and classical works. In 2006, Prof. Morales-Matos was the recipient of Drum Magazine’s World Beat Percussionist of the Year Award and since 1997, he has been the percussionist and Assistant Conductor of the Tony Award-winning Broadway musical, “The Lion King.” He brings a rare depth of experience to the students at NJCU, paired with his concern for their training and education. His bio is much longer and can be seen at: http://www.rolandomoralesmatos.com/bio
There is no doubt that the experience working with the Latin America Ensemble is a very positive one for students. They report feeling more confident in their abilities in improvisation and arranging as well as benefitting from working with students from a variety of musical and cultural backgrounds. The number of students originally taking the ensemble outside of their required classes is a testament to its impact and value to music education majors.
Learning to perform Latin American music does not have to be restricted to college music majors. For those K-12 teachers interested in introducing Latin American music to their students, rhythm work would be an effective means of introducing this music. Teachers should focus on rhythm and rhythmic patterns as that is so central to most of the musics of this area. An example of how to approach this would be to work on several rhythm samples, then with a video or audio track of a song or dance, have them improvise selecting from those rhythms. Dances and the melodies of songs are based on particular rhythmic patterns, and this would be a fine introduction to the music and culture of the tapestry known as Latin America.
If you are interested in seeing videos of the NJCU Latin American Ensemble, visit their Facebook page: https://www. facebook.com/NJCULatinEnsemble/?ref=page_internal.
All-State Orchestra High School Scales
Revised 05/04/20
All scales are to be memorized. Please no vibrato. Judges/Audition Chair will select which scale(s) is/are to be played. A metronome tempo will be given before each scale. Students will not receive extra points for additional octaves or a faster tempo. Do not repeat tonic within the scale. Repeating highest note is acceptable.
VIOLIN
All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 3 octaves, 8 slurred to a bow as 8th notes, with the quarter note = 120mm
A Melodic minor B Melodic minor C Melodic Minor
The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm
VIOLA-CELLO
All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 3 octaves, 8 slurred to a bow as 8th notes, with the quarter note = 120mm
D Melodic minor E Melodic minor F Melodic Minor
The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm
BASS
All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 2 octaves*, 4 slurred to a bow as 8th notes with the quarter note = 96mm
A Melodic minor C Melodic minor F# Melodic Minor
The 3 minor scales above must be played in the following manner: 2 octaves* separate bows as quarter notes with the quarter note = 96mm *No octave drop.
All-State Intermediate Orchestra Scales
Revised 05/04/20
VIOLIN
All scales are to be memorized. Please no vibrato. Judges/Audition Chair will select which scale(s) is/are to be played. A metronome tempo will be given before each scale. Students will not receive extra points for additional octaves or a faster tempo. Do not repeat tonic within the scale. Repeating highest note is acceptable.
9 Major scales:
D, Eb, E, F in 2 octaves; G, Ab, A, Bb, C in 3 octaves Separate Bows: each note will be played as a quarter note with the quarter note = 104mm. Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.
VIOLA
9 major scales:
G, Ab, A, Bb, in 2 octaves; C, D, Eb, E, F in 3 octaves Separate Bows: each note will be played as a quarter note with the quarter note = 104mm. Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.
CELLO
9 major scales:
G, Ab, A, Bb, in 2 octaves; C, D, Eb, E, F in 3 octaves Separate Bows: each note will be played as a quarter note with the quarter note = 104mm. Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.
BASS
9 major scales:
G, E, F, Ab, in 2 octaves*; A, Bb, C, D, Eb in 1 octave* Separate Bows: each note will be played as a quarter note with the quarter note = 84mm. Slurred Bows: 4 notes slurred to a bow, as 8th notes, with the quarter note = 84mm. *No octave drop.
Please check the solo list at njmea.org for up-to-date information.
The online list supercedes lists printed in this magazine.
Cadenzas are never required in any solos.
INSTRUMENT COMPOSER TITLE & EXCERPT EDITION
VIOLIN Haydn Concerto No. 1 in C Major First Movement Excerpt 1: m57 - m81 Excerpt 2: m205 - m230
VIOLA & Bach Suite No. 2 in D minor
CELLO
Prelude & Gigue Excerpt 1: Prelude m36 - m48 Excerpt 2: Gigue m1 - m32; no repeat
BASS Scarlatti Sonata No. 2 in C minor First & Secomd Movements Excerpt 1: 1st mvt - m1 - m7 beat 1 Excerpt 2: 2nd mvt - PU to m13 - m20 Peters
Any
Schirmer
Cadenzas are never required in any solos.
INSTRUMENT COMPOSER TITLE
VIOLIN Nardini Concerto in E minor First Movement
VIOLA Telemann Sonata in A minor Third & Fourth Movements
CELLO Squire Bouree Complete work
BASS Beethoven Sonatina Complete work
EDITION
International
International
Fischer
Schirmer (fr Solos for the Double Bass Player, ed. Zimmermann)
All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org
***IMPORTANT DATES FOR ALL REGIONS***
Audition Date: Monday, March 14, 2022 Rehearsals: March 21 & 28 (4 – 8 PM) April 1 & 2 (9 AM - 3 PM) Concert: April 3 (3 PM)
***Audition Requirements for ALL INSTRUMENTS***
• SOLO - All students are required to prepare the solo listed below in its entirety.
All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org
• SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below.
Scale sheets & basic drumset patterns may be downloaded from the NJAJE Website: www.njaje.org
• SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.
All Saxophones:
*Required solo: NJAJE Junior Saxophone Etude No. 4A
*Scales [ALL SCALES MEMORIZED]:
Alto/Bari : G & D Blues - 2 Octaves, A Blues - 1 octave. G & A Dorian mode - 1 octave, D Dorian mode - 2 octaves. Tenor : C, D, & G Blues - 2 octaves. C & D Dorian mode - 2 octaves, G Dorian mode - 1 octave.
Trumpet:
*Required solo: NJAJE Junior Trumpet Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, D, & G - 1 octave.
Trombone:
*Required solo: NJAJE Junior Trombone Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 1 octave.
Piano:
*Required solo: NJAJE Junior Piano Etude No. 4A *Scales [ALL SCALES MEMORIZED and 2 HANDS]: Blues & Dorian mode C, F, & Bb - 2 octaves.
Guitar:
*Required solo: NJAJE Junior Guitar Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves.
Bass:
*Required solo: NJAJE Junior Bass Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves.
Drums:
*Required solo: NJAJE Junior Drum Etude No. 4A *Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, fast w/sticks), Jazz Waltz,
Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba).
Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase. *Free Improvised Solo included as part of the solo etude.
Students should demonstrate creativity, technique, and musicality.
2022 Region and All State Jazz Bands Senior Jazz Band Audition Requirements (Grades 9 - 12)
All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org
***IMPORTANT DATES FOR ALL REGIONS***
Audition Date: Monday, March 14, 2022 Rehearsals: March 21 & 28 (4 - 8 PM); April 1 & 2 (9 AM - 3 PM) Concert: April 3 (3 PM)
***Audition Requirements for ALL INSTRUMENTS***
•SOLO - All students are required to prepare the solo listed below in its entirety.
All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org
•SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below.
Scale sheets for all instruments may be downloaded from the NJAJE Website: www.njaje.org
•IMPROVISATION - All students are required to play an improvised solo demonstrating creativity, technique, & musicality. *Saxes, brass, piano, guitar, and bass students must improvise a solo over 2 choruses of Blues in F or Bb concert using the Jamey Aebersold "New Approach to Jazz Improvisation, vol. 1." Student will pick a card to determine key. *Drum improvisation is included as part of the solo etude. • SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.
Saxophones:
*Required solo: NJAJE Senior Saxophone Etude No. 4A NOTE - Bari Sax: Students will play the entire saxophone etude using the bottom lines in the ossia section.
*Scales [ALL SCALES MEMORIZED]:
Alto/Bari: C, G, D Blues - 2 octaves, A Blues - 1 octave. G & A Dorian & Mixolydian modes - 1 octave. C & D Dorian & Mixolydian modes - 2 octaves. Tenor: F, C, G, D Blues - 2 octaves. G Dorian & Mixolydian modes - 1 octave. F, C, D Dorian & Mixolydian - 2 octaves.
Trumpet:
*Required solo: NJAJE Senior Trumpet Etude No. 4A NOTE - Lead Trumpet: Students will play the entire trumpet etude using the top lines in the ossia section. *Scales [ALL SCALES MEMORIZED]: C, D Blues - 2 octaves; F, G Blues - 1 octave. C Dorian & Mixolydian modes - 2 oct.; D, F, G Dorian & Mixolydian modes - 1 oct.
Trombone:
*Required solo: NJAJE Senior Trombone Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Bb, C Blues - 2 octaves; Eb, F Blues - 1 octave. Bb Dorian & Mixolydian modes - 2 oct; C, Eb, F Dorian & Mixolydian modes – 1 oct.
Bass Trombone:
*Required solo: NJAJE Senior Bass Trombone Etude No. 4A *Scales [ALL SCALES MEMORIZED]: Bb, C Blues, Dorian & Mixolydian modes - 1 octave (begin below the staff.) Eb, F Blues, Dorian & Mixolydian modes - 2 octaves (begin below the staff.)
Piano:
*Required solo: NJAJE Senior Piano Etude No. 4A *Scales [ALL SCALES MEMORIZED and 2 HANDS]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.
Guitar:
*Required solo: NJAJE Senior Guitar Etude No. 4A *Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.
Bass:
*Required solo: NJAJE Senior Bass Etude No. 4A *Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.
Drums:
*Required solo: NJAJE Senior Drum Etude No. 4A *Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, and fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba). Styles must be memorized. Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase.
All Solos, Scales, Audio Tracks, Applications & Audition Submission Guidelines may be found on the NJAJE Website: www.njaje.org ***IMPORTANT DATES FOR ALL REGIONS***
Audition Video Submission Deadline: Monday, February 28, 2022, BY 11:59 PM Rehearsals: March 21 & 28 (4 - 8 PM) April 1 & 2 (9 AM - 3 PM) Concert: April 3 (3 PM)
Audition Video Information
• Auditions are accepted via YouTube only. • Applicants must include all components of the audition on ONE VIDEO without edits. • Each application video must contain the following audition materials in the order below: 1. SLATE: student’s full name & school 2. Low Major Scale 3. High Major Scale 4. Chromatic Scale 5. Solo 1 6. Solo 2 • Complete Instructions for compiling and submitting the audtion video can be found on the NJAJE
Website: www.njaje.org. • Videos and online registration must be submitted NO LATER than 11:59 PM 2/28/2022.
***Audition Requirements***
• Low Major Scale: (sung a cappella on “AH”, ♩= 80 approx. – starting pitch provided, or use your own pitch source) ü Soprano – C, Alto – F (student may choose to descend first) ü Tenor – D, Bass – G (student may choose to descend first) • High Major Scale: (sung a cappella on “AH”, ♩= 80 approx. – starting pitch provided, or use your own pitch source) ü Soprano – G, Alto – D, Tenor – G, Bass – C • Chromatic Scale: (sung a cappella on “AH”, ♩= 80 approx. – starting pitch provided, or use your own pitch source) ü Soprano/Tenor – G - D (and descending), Alto/Bass – C - G (and descending) (P5 only) • Solo 1: ü Must be sung in one of the two keys provided. ü Must be accompanied (Student may use either the track provided online or their own accompanist. If choosing the latter, accompaniment must be consistent with recorded track.) ü Student may include vocal stylings to demonstrate understanding of jazz style. • Solo 2: ü Must be sung in the key provided. ü Must be accompanied (Student may use either the track provided online or their own accompanist. If choosing the latter, accompaniment must be consistent with recorded track.) ü Student may sing the solo in any of the following manners: Ø Sing as written Ø Sing the melody as written with student’s own syllables Ø Sing an altered version of the melody using syllables of the student’s own choosing. Ø Sing an entirely improvised scat solo.
