“The Care and Feeding of the Emerging School Jazz Program and / or the

“Second” Band: Tips and Takeaways for Sonic Success”

McCormick Place West - Room W192

Thursday, December 17, 2009
8:30 - 9:30 AM

Glenn Williams- Clinician

BandSource Company- Clinic Sponsor

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Tips and Takeaways for Sonic Success.”
 Clinic Overview

Introduction
Plagiarism in other subjects is research in jazz education.
Two things that must happen- Listen & Major Scales.

Logistics
Parent Open House- Expect Parent Partnership and Participation
Jazz Starter Kit- tell the parents what every every starting jazz musician should ask them to buy
for their kids.

Free Pass- Advance Conflict Resolution for Students

Set-Up parameters with which you are comfortable.
Personalize the matrix.

Curriculum
Blues Packet (with homage to Marty Kochman)
Focus Questions
Benchmarks
Repertoire
“A String of Tunes”
K-PROV= “All improve, all the time.”
Teachable things in the blues
One Approach to entering the blues
Assessment Literacy Tool- “Do you know what your kids know and can do?”
Sample Modal Unit
Group Think: Developing ideas from the experience in the room.

Scales- The Ionian Doorway

Parameter to the Project
Personalized Scale Matrix
One Approach to teaching scales
Warm-Ups- “We all start concert band so well. Why not jazz band?”
Call and Response / Imitation
Bass Drives the Bus
Drummer Drives the Bus
Circle of Fourths

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 1 Tips and Takeaways for Sonic Success.” Glenn Williams
 Clinic Overview

Curriculum- (cont.)
Warm-Ups- “We all start concert band so well. Why not jazz band?”- (cont.)
Read the Room
6th Grade, Here we Come!
Backwards Day
“That Warm Feeling” / “Lil’ Darlin”

Tuning
Every day, in every way
Two tuners, alternate front to back
ALWAYS close with an ensemble event
Combo Unit- “Ever have too many of one instrument in a second band?”
Pick music, set expectations, then perform.
Listen. Discuss. Analyze. Repeat as needed.

Record / Listen / Reflect / Write / Improve

How do you record your group rehearsals for playback?
Repertoire
40 Tunes that are certain to be successful- I guarantee it!

Emerging as a teacher from the Dump Truck Method

Ideas / Takeaways from the clinic participants- What are you going to try?
Space for your Notes

General Clinic Information

Glenn Williams- Biography
About Downers Grove South High School Fine Arts Department
About BandSource Company
Glenn’s Contact Information:
South High School
1436 Norfolk Street
Downers Grove, IL 60516
Phone: 630.795.8681
Email: gwilliams@csd99.org
Blog: http://southfinearts.blogspot.com/

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Glenn Williams Tips and Takeaways for Sonic Success.” Page 2
 JAZZ STARTER KIT
PLAY ALONG CD’S:
http://www.aebersold.com
While jazz educator Jamey Aebersold currently has 114 play along books and CD’s on his web site,
Volume 54 – “Maiden Voyage” is the ultimate starter set. With tunes like Cantaloupe Island,
Watermelon Man, Satin Doll and Impressions, this is the best play along for an emerging jazz
improviser. While the book and CD on this web site are $14.90, you can also purchase these at local
print music retailers for a slightly increased price.

NOTATION/ACCOMPANIMENT SOFTWARE:
http://www.finalemusic.com/notepad/
Attention parents – this notation software is extremely inexpensive!!! After a 30 day free trial, the
download is only $9.95. While numerous packages exist for creating printed music electronically, given
the price this is by far the best deal. Download this and experiment with creating music and
representing it through printed notation, then work your way up the ladder in terms of difficulty and
cost.
http://www.band-in-a-box.com/
The first time purchase price for this incredibly powerful and versatile software starts around $129. This
software has HUNDREDS of tunes and styles available for play-along practice. Additionally, you can
create your own tunes and styles and use this software as a vehicle for composing. For a student eager
to learn improvisation and a student who likes to manipulate sound through electronic means, this is an
amazing learning tool!

ESSENTIAL JAZZ RECORDINGS:

While any list by nature is exclusive, these are three CD’s that a “start-up” set for students should
definitely have:
Kind of Blue – Miles Davis
This is arguably the most influential recording of the past century. The musicians (Miles Davis, John Coltrane, Cannonball
Adderley, Bill Evans, Paul Chambers, Wynton Kelly and Jimmy Cobb) are a DREAM TEAM of players. The tunes (So
What, Freddie Freeloader, Blue in Green, et al) changed the jazz landscape. It is still available in any store and easy to find
on Amazon.
Straight Ahead – Count Basie
Every element of swing and Basie style is encoded in this historic recording. This is the first group of tunes that were
recorded by professionals that were accessible to school bands. Tunes like Hayburner, Fun Time, Magic Flea, Queen Bee et
al) set the standard for a generation of jazz musicians both professional and institutional. It is till available in any store and
easy to find on Amazon.
The Best of Herbie Hancock – The Blue Note Years
Great tunes (Watermelon Man, Maiden Voyage, Canteloupe Island, Dolphin Dance, et al) and great players (Herbie Hancock,
Freddie Hubbard, Wayne Shorter, Dexter Gordon, Hank Mobley, et al) make this a must for the starting jazz player. The
tunes and the solos are all accessible and great entry level vocabulary and repertoire. It is still available in any store and easy
to find on Amazon.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 3 Tips and Takeaways for Sonic Success.” Glenn Williams
 SUGGESTED JAZZ ARTIST LISTENING LIST
TRUMPET
Louis Armstrong, Chet Baker, Bix Beiderbecke, Chris Botti, Randy Brecker, Clifford Brown, Don Cherry, Miles Davis, Roy
Eldridge, Jon Faddis, Dizzy Gillespie, Roy Hargrove, Tom Harrell, Freddie Hubbard, Arturo Sandoval, Doc Severinsen,
Woody Shaw, Marvin Stamm, Clark Terry, Ray Vega, Allen Vizutti, Scott Wendholt
SOPRANO SAXOPHONE
Michael Brecker, Joe Farrell, Wayne Shorter
ALTO SAXOPHONE
Cannonball Adderly, Ornette Coleman, Paul Desmond, Eric Dolphy, Vincent Herring, Lee Konitz, Jackie McLean, Lennie
Niehaus, Charlie Parker, Art Pepper, Bud Shank, Sonny Rollins, David Sanborn, Tom Scott, Phil Woods
TENOR SAXOPHONE
Ralph Brown, Michael Brecker, John Coltrane, Stan Getz, Benny Golson, Dexter Gordon, Coleman Hawkins, Jimmy Heath,
Joe Henderson, Branford Marsalis, Bob Mintzer, Ralph Moore, Hank Mobly, Sonny Rollins, Wayne Shorter, Zoot Simms,
Ernie Watts, Ben Webster, Lester Young
BARITONE SAXOPHONE
Pepper Adams, Denis DiBlasio, Harry Carney, Serbe Chaloff, Gerry Mulligan
TROMBONE
David Baker, George Bohanon, Jimmy Cleveland, Carl Fontana, Curtis Fuller, Slide Hampton, Bill Harris, J.J. Johnson,
Frank Rosilino, Roswell Rudd, Jack Teagarden, Steve Turre’, Phil Wilson, Kai Winding
FLUTE
Roland Kirk, Yusef Lateef, Hubert Laws, Herbie Mann, James Moody, Dave Valentin
CLARINET
Buddy DeFranco, Eric Dolphy (bass), Eddie Daniels, Benny Goodman, Jimmy Guiffre, Woody Herman, Pee Wee Russell,
Artie Shaw
GUITAR
George Benson, Kenny Burrell, Charlie Christian, Larry Coryell, Herb Ellis, Stanley Jordan, Jim Hall, Barney Kessel, Pat
Martino, Pat Metheny, John McLaughlin, Wes Montgomery, Joe Pass, John Scofield, Jimmy Raney, Django Reinhardt, Lee
Ritenour
PIANO
Nat “King” Cole, Chick Corea, Bill Evans, Tommy Flanagan, Red Garland, Erroll Garner, Benny Green, Herbie Hancock,
Ahmad Jamal, Keith Jarrett, Kenny Kirkland, John Lewis, Ellis Marsalis, Thelonius Monk, Oscar Peterson, Bud Powell,
Marcus Roberts, Horace Silver, Art Tatum, Lennie Tristano, McCoy Tyner, Fats Waller, Mary Lou Williams, Joe Zawinul
BASS
Ray Brown, Ron Carter, Paul Chambers, Stanley Clarke, Richard Davis, Jimmy Garrison, Eddie Gomez, Robert Hurst,
Christian McBride, Charlie Mingus, Mark Montgomery, Jaco Pastorius, John Patitucci, Oscar Pettiford, Rufus Reid, Steve
Swallow
DRUMS
Louis Bellson, Art Blakey, Kenny Clarke, Billy Cobham, Jack DeJohnette, Roy Haynes, Elvin Jones, Philly Joe Jones, Shelly
Manne, Buddy Rich, Mac Roach, Marvin “Smitty” Smith, Grady Tate, Jeff “Tain” Watts, Dave Wecki, Tony Williams
VIBES
Roy Ayers, Gary Burton, Dave Friedman, Terry Gibbs, Lionel Hampton, Milt Jackson, Red Norvo, Cal Tjader
VOCALISTS
Dee Dee Bridgewater, Rachel Caswell, Ray Charles, Billy Eckstine, Ella Fitzgerald, Michael Franks, Billie Holiday, Carmen
McRae, Anita O’Day, Lou Rawls, Frank Sinatra, Mel Torme’, Dianne Schurr, Sarah Vaughan, Joe Williams
BIG BANDS
Airmen of Note, Toshiko Akiyoshi, Count Basie, Mario Bauza, Louis Bellson, Les Brown, Duke Ellington, Don Ellis, Gil
Evans, John Fedchock, Bob Florence, GRP All-Stars, Gordon Goodwin, Woody Herman, Thad Jones-Mel Lewis, Stan
Kenton, Jimmie Lunceford, Rob McConnell, Rob Mintzer, Oliver Nelson, Rob Parton, Buddy Rich

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Glenn Williams Tips and Takeaways for Sonic Success.” Page 4
 JAZZ LAB ENSEMBLE
Semester One
PROJECT / STUDY Passes
Student’s Name

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 5 Tips and Takeaways for Sonic Success.” Glenn Williams
 Community High School District 99 – Downers Grove South High School
Fine Arts Department

“Igniting a passion for the arts in every learner.”

JAZZ LAB ENSEMBLE

Blues Unit
September 2009

Bass Clef Packet

CONTENTS
Curriculum Map
#8 – “A Little of This?”
Billie’s Bounce w/Parker Transcription
#10 – “Tootsie”
Pages 4-12 of Jamey Aebersolds’ The Blues
Suggested Jazz Artist Listening List
Jazz Starter Kit

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Glenn Williams Tips and Takeaways for Sonic Success.” Page 6
 Community High School District 99 – Downers Grove South High School
Fine Arts Department

“Igniting a passion for the arts in every learner.”

Jazz Lab Ensemble

Curriculum Map
BLUES UNIT

FOCUS QUESTIONS
1) What are the different meanings of the phrase “The Blues?”
2) Why is form essential in all art?
3) Is simplicity a facet of enduring art forms?
4) What is the meaning of the word improvisation as it applies to jazz
performance?

BENCHMARKS
By the end of the unit, every student will be able to:

• Play an F blues, roots of the chords, from memory

• Construct a blues scale from any starting note.
• Improvise on a standard F blues
• Perform Charlie Parker’s Now’s the Time
• Explain Charlie Parker’s role in jazz history

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
“The Care and Feeding ofTips
the and
Emerging School
Takeaways forJazz Program
Sonic and / or the “Second” Band:
Success.”
Page 7 Tips and Takeaways for Sonic Success.”
Glenn Williams Glenn Williams
DGS Fine Arts Jazz Lab Ensemble Name _________________
GOALS: Understanding The Blues Opening score: ______/72
September 2009 Ending score: ______/72

Knowledge Yes! I I’m getting there Help me please!!!

Rock!!!
1. I can recognize, through listening, blues 6 5 4 3 2 1 0
related tunes from outside of the jazz idiom
2. I can explain the evolution and the history 6 5 4 3 2 1 0
of the blues scale

Reasoning
3. I can appraise Charlie Parker’s role in jazz 6 5 4 3 2 1 0
history.
4. I can justify why simple form is pervasive 6 5 4 3 2 1 0
in all art.
5. I can compare/contrast the different 6 5 4 3 2 1 0
meanings of the word “blues.”

Skills
6. I can perform from memory the concert 6 5 4 3 2 1 0
pitch F, Bb and C blues scales.
7. I can tell you the formula of how to build a 6 5 4 3 2 1 0
blues scale from a major scale.
8. I can accurately sing a blues scale. 6 5 4 3 2 1 0

Products
9. I can, in writing and playing, construct a 6 5 4 3 2 1 0
blues scale from any note.
10. I can improvise two consecutive choruses 6 5 4 3 2 1 0
on an F blues.
11. I can perform a basic 12 bar blues from 6 5 4 3 2 1 0
memory, playing the roots of the chords in
time with a rhythm section.
12. I can, in my own key, write a standard 12- 6 5 4 3 2 1 0
bar blues in the concert key of F.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
“The Care and Feeding ofTips
the and
Emerging School
Takeaways forJazz Program
Sonic and / or the “Second” Band:
Success.”
Glenn Williams Tips and Takeaways for Sonic Success.”
Glenn Williams Page 8
 Community High School District 99 – Downers Grove South High School
Fine Arts Department

“Igniting a passion for the arts in every learner.”

Modal Tunes – Coltrane and Miles

Curriculum Map

REPERTOIRE
Milestones, Impressions, So What, Red Clay, Maiden Voyage

FOCUS QUESTIONS:
• What is a modal tune?
• What is a Coltrane matrix?
• What are 20th Century “serial” techniques and how do they apply to jazz
performance?
What is the place of Coltrane and Miles in jazz history?
• Each student will be able to play mixolydian and dorian scales in all 12 keys.
• Each students will be able to describe the harmonic relationship between Ionian,
dorian and mixolydian.
• Each student will be able to improvise over a standard 32-bar modal tune.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
“The Care and Feeding ofTips
the and
Emerging School
Takeaways forJazz Program
Sonic and / or the “Second” Band:
Success.”
Page 9 Tips and Takeaways for Sonic Success.”
Glenn Williams Glenn Williams
 Emerging School Jazz Bands / Partner Project Curriculum
Map Worksheet

UNIT TOPIC

FOCUS QUESTIONS

BENCHMARKS

THINGS ON YOUR GOAL ASSESSMENT SHEET

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Glenn Williams Tips and Takeaways for Sonic Success.” Page 10
 Community HS District 99 – Downers Grove South High School
Fine Art Department

“Igniting a passion for the arts in every learner.”

Jazz Lab Ensemble

SCALES TEST
February 2009

PARAMETERS

Every player will play the expected number of scales on the matrix.

No practicing in front of the director.

Scales must be slurred, not slower than eighth notes at 100 beats per minute.

No practicing in front of the director.

Scales may be tested in any order, at any time (other than class time), and in any
amount. In other words, one at a time or 48 at a time – have it your way.

No practicing in front of the director.

Catch Mr. Williams during lunch, during resource, before 7:02 AM or after jazz
band. Catch him after school – any time but during class time.

All scales must be passed by every player on or before Thursday, May 21, 2009.

No practicing in front of the director.

Each scale is worth 10 points. 1 point will be deducted for any error
(notes or rhythm). Every scale must get a 7/10 or better to be considered
acceptable.

Bebop scales are only played descending.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 11 Tips and Takeaways for Sonic Success.” Glenn Williams
 Community HS District 99 – Downers Grove South High School
Fine Arts Department

Glenn Williams
“Igniting a passion for the arts in every learner.”

JAZZ LAB ENSEMBLE

SCALES TEST MATRIX
June 2009
Vitaliy Gavin

C F Bb Eb Ab Db/C# Gb/F# Cb/B E A D G

MAJOR
(IONIAN)

DORIAN

MIXO-
LYDIAN

Tips and Takeaways for Sonic Success.”

BEBOP

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 12
 Page 13
Sean Seelander
Has performed from memory whole tone,
diminished scales starting with a ! step, and

Tips and Takeaways for Sonic Success.”

diminished scales starting with a whole step in all
12 keys.
May 2009

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Glenn Williams
Glenn Williams
Mr. Williams still loves you, and, likes you even more. However, your work is
incomplete. This is important.

Tips and Takeaways for Sonic Success.”

To avoid a potential grade reduction, finish before 1:00 PM on Wednesday.
Otherwise, your quarter and semester grade will not be an “A”.

Andrada Pteanc

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 14
 Community HS District 99 – Downers Grove South High School
Fine Arts Department

“Igniting a passion in the arts for every learner.”

JAZZ LAB ENSEMBLE - COMBO INFO SHEET

Semester I – 2007-2008

WEEK #1 – Personnel
Justin Proksa, tenor
Vijay Subramanian, alto
Elliot Bild, trumpet
Austin Klinker, trombone

Danny Jama, drums

Kevin Kral, guitar
Hank Gordon, bass

WEEK #1 – Repertoire
Watermelon Man
Doxy
Song for my Father

WEEK #1 – Expectations

• Read through all through tunes. For the recital on Friday, you’ll play two for the class.
• You’ll rehearse Monday, Tuesday and Thursday then play for the class – NO FRIDAY REHEARSAL!!!
• Every person has to improvise at least once.
• Every tune must have an intro and ending.
• Every tune must have backgrounds.
• Form, solo order and overall organization must be clear to the listener.
• You must listen to at least one recording of these tunes during the week.
• You must bring the recordings in to class.
• Elect one person to be the group announcer for the recital on Friday.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 15 Tips and Takeaways for Sonic Success.” Glenn Williams
 Community High School District 99 – Downers Grove South HS
Fine Arts Department

“Igniting a passion in the arts for every learner.”

Concert Reflection
Jazz Lab Band
December 2, 2008

NAME________________________________________

ENSEMBLE/HORNS - ______/50
Beauty
Control
Balance
Intonation
Individuals
Sections

RHYTHM SECTION - _____/20

Coherence
Tightness
Stylistic Hipness
Individuals
Groove/Feel

SOLOIST - _____/20
Phrasing
Expression
Tempo
Dynamics
Style
Melodic/Harmonic Fluency

OTHER FACTORS - _____/10

Stage Presence
Decorum
Repertoire

TOTAL - _____/100

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Glenn Williams Tips and Takeaways for Sonic Success.” Page 16
 Concert/Rehearsal Reflection
Point Distribution

10-9 Several authentic comments under each caption.

Scores authentically tabulated and reasonable.
All words spelled properly.
Legible.
All comments show command of musical vocabulary.
Able to recognize deficiencies and find a viable solution.

8-7 One or two comments under each caption.

Some words spelled incorrectly.
Some non-legible penmanship.
Grasp of musical vocabulary is less than stellar.
Cannot hear problems.

6-5 No comments under several captions.

Several incorrect spellings.
Penmanship takes too much energy to decipher.
Musical vocabulary not present in writing.
Thinks the ensemble is perfect.

4-0 Everything else.

SHORT ANSWER
What do we need to do, individually and as an ensemble, to ensure success for our performance at
Purdue and for the Jazz Café?

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 17 Tips and Takeaways for Sonic Success.” Glenn Williams
 Emerging High School Jazz Ensembles Repertoire List
“A Top 40 list of tunes for your emerging school jazz band”
McCormick Place West
Thursday, December 17, 2009 8:30 AM – Room W192
Glenn Williams, clinician

Adelieland from Happy Feet Grade 4

John Powell Victor Lopez Alfred Music Company
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onthe
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this one.
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Afro Blue Grade 3 +

Mongo Santamaria Mike Sweeney Hal Leonard
voicings, accessible
Great voicings, accessible ranges.
ranges.Great
Greattunetunetototeach
teachthe
theuniversal
universalrhythm
rhythm (think
(think AMERICA
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from “West Side Side Story.)
Story”.) Improvisation
Improvisation is
is made
made clear
clear forfor
all all players
players - G–Minor
g minor pentatonic
pentatonic information
information is provided
is provided in ainclear
a clear
andand succinct
succinct manner.
manner. Hardest
The most thing part
difficult getting
to this to
implement
work was gettingis getting
thethe drummer
drummer to nail
to nail thethe cascara
cascara ride
ride cymbal
cymbal pattern.
patter Having
– having thethe whole
whole band
band clap
clap thethe pattern
pattern movedtoward
moved towardsuccess
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abitbitfaster
fasterthan
thanme
mysinging
singingititororhim
his listening to it.

Black Orpheus Grade 3+

Luiz Bonfa Paul Murtha Warner Brothers
This chart
chart was
was written
written as
as aa latin
latinchart
chartwith
withaaswing
swingsection
sectionininthe
themiddle.
middle.I’ve
I’ve actually
actually done
done it on
it for two
two separate
separate performances
performances reverse
reverse of
of that
that – swing
- swing for for
the the
bulkbulk
and and a latin
a latin section
section in thein middle
the middle
duringduring the solo.
the alto alto solo.
With With
a fewarhythm
few rhythm modifications
modifications and nice
and some someclass
nice
class dialog
dialog about about
how tohow to for
write write for different
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the kids kidsable
weretoable
maketothe
make the switch
switch relatively
relatively easily. easy.

Blue Bossa Grade 3+

Kenny Dorham Mark Taylor Hal Leonard
Wonderful
This chart to chart
is a wonderful teachtoalongside the headthe
teach alongside chart
headtochart
this standard. This has
to this standard. a substantial
This sax soli
has a substantial saxthat
soliisthat
a happy medium
is a happy between
medium
tsoli’s that
between arethat
solis tooare
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and “Groove Kids love
Merchant”. thislove
Kids chart – nice
this chartshout
- nicechorus, accessible
shout chorus, parts that
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parts that offereach section of
a challenge
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for ensemble.
section of the ensemble.

Blues in Hoss’ Flat Grade 3+

Frank Foster Mark Taylor Hal Leonard
Classistune
This to teach
a classic tunetriplet swing
to teach style
triplet and style
swing feel. and
Great recordings
feel. are easilyare
Great recordings available. Trumpet/brass
easily available. Trumpetranges
/ Brassare on the
ranges arehigher
on theend of
higher
the tessi
end of thetura
tessi– tura.
be certain you’ve
Be certain gotyou
that a trumpet player with
have a trumpet a consistent
player high C or
with a consistent this
high C one won’t
or this onebe worth
won’t be the effort.
worth the effort.

Cabeza de Queso Grade 3

Fred Sturm Fred Sturm Heritage Jazz
Written for the Wisconsin All-State Band, this “cheese head” has a quality a cappella rubato introduction. The latin figures and ranges
are accessible – nice changes. Kids love this chart, and not just for the title.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Glenn Williams Tips and Takeaways for Sonic Success.” Page 18
 Canteloupe Island Grade 2
Herbie Hancock Mike Kamuf Hal Leonard
Another great entry point to teach a simple standard head alongside of a big band chart. The shout chorus on this is simple but
extremely effective. This tune is playable from a 7th grade jazz band to a emerging high school band. Worth the time and effort for a
myriad of reasons – not a ton of work to get this learned, lots of learning and performance impact.

Chameleon Grade 2+
Herbie Hancock Mike Sweeney Hal Leonard
The original to this classic has been out of print for far too long. I know many of you were just like me – weaned on early Maynard
and could play this tune backwards and forwards. Kids love this tune – think it is the slickest thing ever written. Embedding the half
note feel (versus the quarter note) was way harder than I imagined, and, the tune rushed like you know what at first. Lots of great
recordings easily available. In the original key, so you won’t have to re-learn the bass line………………

Children of Sanchez Grade 3

Chuck Mangione Victor Lopez Hal Leonard
Playing this tune is like riding a moped – it’s really fun to do, but you don’t want your friends to see you doing it. Accessible ranges
and simplified rhythms make this one easier to teach than most charts. I was surprised at how many kids knew of Chuck Mangione
(even if it was from King of the Hill.)

Choo Choo Ch’ Boogie Grade 3

Louis Jordan Mike Sweeney Hal Leonard
This is absolutely one of my favorite tunes – I program it as often as the kids and audiences will tolerate. The original Louis Jordan
recording is accessible. The chart has alto sax and piano solo transcriptions from the original recording, so kids have a nice
aural/visual point of departure. It always takes longer than I expect to get the ending correct – rehearse the ending early in the process.

C Jam Blues (ala mambo) Grade 3

Duke Ellington Michael Philip Mossman Alfred Music Company
Another great vehicle to learn a standard head alongside of a big band chart. Mossman definitely puts old wine in new bottles in this
arrangement. The latin percussion figures are understandable and will help the students begin to get a grasp on the style. Ranges are
accessible – very playable. Crowd and student favorite.

Count Bubba’s Revenge Grade 4

Gordon Goodwin Ralph Ford Alfred Music
Ralph Ford does a super job of maintaining the meaning of the original tune while still making this accessible for younger bands. I
usually am a snob about simplified arrangements, but I liked this arrangement and the kids really dug in. Nice tune to do in the spring
– it will push them in a lot of positive ways.

Dat Dere Grade 4

Bobby Timmons Mark Taylor Jenson Music
This arrangement is a great way to teach differences in playing between a small group and a big band. The small group version of this
classic blues head is trumpet, alto and vibes. Solo section can be modified to be a c-minor blues to simplify (leave out the bridge.)
Multiple heavy recordings available.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 19 Tips and Takeaways for Sonic Success.” Glenn Williams
Don’t Get Sassy Grade 4
Thad Jones Mike Carubia Smart Chart Music
This chart swings hard – imagine, you can actually teach rondo form in a jazz band. Take the time to do detail work on the “A”
section and it will pay huge sonic dividends on the rest of the chart.

Emancipation Blues Grade 4+

Oliver Nelson Oliver Nelson Sierra Music
95% gravy, 5% sheer terror. This can be done with a really strong “second” band that has a good soloist in both alto saxophone and
trumpet. The final pre-shout chorus swings like you can’t believe – well worth the effort to learn this one.

Evil Ways Grade 2+

Tito Puente John Berry Hal Leonard
Again, just like riding a moped……………… Kids love playing this tune, and it is a standard. If you don’t use this on a concert, you
can use it at basketball games/assemblies/pep events. Playable arrangement – won’t take much time to master. I suggest listening to
multiple recordings and making your own “arrangement” once the kids are comfortable with and have memorized the parts.

Filthy McNasty Grade 4

Horace Silver John La Barbera Kendor
This is a classic arrangement – totally swings. Solos in the chart for alto, trumpet and trombone. Tasty backgrounds and a relatively
simple shout chorus make this one that every jazz library should have as a staple. Great opportunity to learn how to actually perform a
shuffle feel.

Footprints Grade 4
Wayne Shorter Matt Harris Kendor
This is such a great arrangement – it stays “inside” while just dipping one toe into some really cool contemporary arranging things
(mutes, harmonies, etc.) Trumpet goes to a high D, but not for very long. Teach the whole band the head prior to learning the chart
and the chart will go much quicker.

Gatito Grade 2+
Matt Harris Matt Harris Heritage Jazz
Matt is well known for some of his more difficult arrangements and compositions, but this tune clearly shows his ability to write
quality music for younger bands. Great straight eighth note chart – a lot of pertinent Latin music concepts can be drawn out of this
one.

Hayburner Grade 4
Sammy Nestico Sammy Nestico Kendor
This is a classic tune that should be in every jazz library. This is just one of those tunes that kids always seem to like. Purchase every
tune of the Basie Straight Ahead CD and teach them and play them every year.

Latin Injection Grade 3

Denis DiBlasio Denis DiBlasio
This calypso is fun to play for every part. It has a typical DiBlasio transition/modulation (drum solo,) and playable changes. This
tune works well as either a closer or an opener.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Glenn Williams Tips and Takeaways for Sonic Success.” Page 20
 Leap Frog Grade 2+
Joe Garland Paul Lavender Hal Leonard
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Meeting Place Grade 3

Thad Jones Mike Carubia Smart Chart Music
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Moanin’ Grade 3
Thelonius Monk Mark Taylor Alfred Music Company
Great tune, great arrangement. Starts with a simple piano solo, then the melody passes through the rest of the ensemble. Staple tune
to have in your library – so many great concepts can be taught in this arrangement. You
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Night Train Grade 4

Jimmy Forrest Gordon Goodwin Hal Leonard
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On Green Dolphin Street Grade 3

Bronislau Kaper Frank Mantooth Alfred Music Company
Mantooth does a superb job of making a really challenging tune simple, yet fun to play for the kids in the band. Bass ostinato is a nice
unifying element. The ranges for the brass players are acceptable. If you are looking for a nice partner chart in a program, this tune
will work wonderfully well.

Ran Kan Kan Grade 4

Tito Puente Michael Philip Mossman Hal Leonard Music
Mossman understands how to teach and how to write Latin tunes in a way that people like me (non-Latino) can move down the
pathway of actually understanding the music. This chart has accessible ranges and fun parts for every section. The rhythm section
parts actually have notation meaning – take the time to learn the stuff on the parts as a point of departure. Multiple heavy recordings
available.

Revenge of the Chili Pepper Grade 3

Doug Beach & George Shutack Kendor 2+
Like Latin Injection, this is a tune that kids just love to play. If you need a straight eighth note tune that grooves almost immediately,
this tune will help get some traction and forward motion within
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ensemble.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 21 Tips and Takeaways for Sonic Success.” Glenn Williams
Rockabye River Grade 4
Duke Ellington transcribed by David Berger Warner Brothers
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Rhythm of the Masses Grade 4

Frank Mantooth Frank Mantooth Heritage Jazz
What a great “rhythm” tune put together by Mantooth! It is so nice to have a rhythm changes tune that will push the kids a little bit
but is still accessible. To me, this tune is a gem – buy it now and put it in your library.

Second Line Blues Grade 2

traditional Victor Goines Warner Brothers
This is from the Essentially Ellington series – one of those tunes that sounds great on bands on a myriad of levels. I stole this idea
from Craig Roselieb – start this tune with the saxes and bones in the back of the house with their parts memorized. Have them then
“march” in like a New Orleans processional to start your concert. Can’t miss idea and arrangement.

Semi-Mental Journey Grade 3

Jim Martin Jim Martin pdf.com
Jim always writes such tasty, non-generic things. So much fun to study, so much fun to play all of the time. If you don’t know his
web site, you really should check-it out. Charts are $19.95, and you get the pdf file on your computer once you pay with your
PAYPAL account.

Sidewinder Grade 3+
Lee Morgan Mark Taylor Hal Leonard
I told a colleague once that I think this is the best “second” band tune ever written and I still believe it. What a great opportunity for
kids to have an entry portal into listening to Lee Morgan. Ranges and parts are all accessible – this one is should be a staple in your
library.

Song for My Father Grade 2

Horace Silver Mark Taylor Hal Leonard
Easy, easy big band arrangement of this great Horace Silver tune. Teach your kids the head out of Volume 64 first and the chart will
take about 15 minutes to learn. Great, great chart to have a lot of kids solo.

Soul Sauce Grade 3

Dizzy Gillespie Steve Owen Lorenz Music
Great arrangement of a classic tune. I’ve done this with both middle school and high school big bands – it works well in both places.
Easy solo sections – you can even start to teach some diminished stuff.

Straight, No Chaser Grade 3

Thelonius Monk Mark Taylor Hal Leonard
Once again, a very playable arrangement of a jazz standard. Teach the kids the head away from the arrangement, teach the kids about
Monk, THEN play the chart. Mark Taylor arrangements always sound good and give the kids lots of work.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Glenn Williams Tips and Takeaways for Sonic Success.” Page 22
 Teddy The Toad Grade 3
Neal Hefti Neal Hefti Neal Hefti Music
My colleague at Blue Lake, James Hughes, reminded me to this tune during this past summer. Right now, I’m using it as a warm up
tune – just a change to grove and play. So much great rhythmic and harmonic vocabulary to be learned from this tune. Easily
accessible recording matches the arrangement perfectly. Again, another stellar opportunity to embed the Basie style.

The Farewell Grade 3

Thad Jones Mike Carubia Smart Chart Music
I would play Thad Jones tunes on every concert with every band. I’m talking marching band, jazz band, concert band, orchestra – the
whole array of ensembles. Unfortunately, at some point we have to think about the audience. Trumpet I goes to a high “C”, but only
for a little bit during the intro. Well scored, well written parts – your band will sound great on this one.

The Jazz Police Grade 3+

Gordon Goodwin Gordon Goodwin Warner Bros
A strong second band can really dig in and play this chart well – great tune to use in the spring to continue to push the kids towards
sonic excellence when they don’t feel so much like working too hard. A lot of really fun “police” clichés that the kids will really
enjoy working on during the development of the tune.

Tow Away Zone Grade 3+

Thad Jones Mike Carubia Smart Chart Music
Amazing arrangement of the classic original. Maintains the style/feel/vibe essence of the authentic Thad chart. I’ll be honest – I was
an “arrangement” snob until I encountered Mike Carubia at the Mantooth Jazz Festival at New Trier. We all got a free chart for
coming to the festival. I would never have bought this chart because of my uppity attitude. Now, I can’t imagine not having charts
like this in the library. Kids need access to this music!!!!

Other Tunes / Charts:

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 23 Tips and Takeaways for Sonic Success.” Glenn Williams
Ideas / Takeaways from the clinic participants- What you going to try?

General Notes:

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Glenn Williams Tips and Takeaways for Sonic Success.” Page 24
Glenn Williams- Biography
Glenn Williams is the Fine Arts Department Chairperson at Downers
Grove South High School in Downers Grove, Illinois. In addition to
instructional leadership duties with visual art and music at Downers
South, Mr. Williams also teaches Jazz Lab Ensemble, Wind Symphony,
and Concert Band Brass. Previously, Mr. Williams was the band
director and K-12 Instrumental Music Coordinator at Forest Hills
Central High School in Grand Rapids, Michigan, and the band director
at Highland Park High School in Highland Park, Illinois. During his
tenure in Highland Park, Mr. Williams also served as K-8 Instructional
Associate for Music in North Shore District 112. During the summer
months, Mr. Williams is on the brass/jazz faculty of the Indiana
University Summer Music Clinic, and is a member of the jazz faculty
at the Blue Lake International Fine Arts Camp in Twin Lake, Michigan.

As a professional performer, Mr. Williams has performed with numerous entertainment and jazz
luminaries, including The Four Tops, Frank Sinatra, Jr., Michael Brecker, Kenny Wheeler, and the Blue
Lake Faculty Jazz Septet. Mr. Williams has also performed with numerous community ensembles
including the North Shore Concert Band. Mr. Williams now is a member of the music ministry at Glen
Ellyn Bible Church in Glen Ellyn, Illinois, where he also serves as an Elder in the church community. In
January of 2010, Mr. Williams will be part of a team that is launching a new church in Downers Grove
called Four Corners Community Church.

Mr. Williams is in demand as a clinician/adjudicator in throughout the Midwest, having recently judged
regional and state festivals in Illinois, Michigan and Indiana. In January of 2007, Mr. Williams was part
of a panel presentation at the Illinois Music Educators’ State Convention discussing perpetuating student
composition in the schools. In January of 2009, Mr. Williams presented a clinic on Emerging School
Jazz Bands at the Illinois Music Educators’ Association State Convention, and will present a similar
clinic at the MidWest Band and Orchestra Clinic in December of 2009

Mr. Williams is a recipient of Who’s Who Among Americans and America’s Teachers, and was a first
round Golden Apple Award nominee in 1995. Mr. Williams is a member of MENC, IMEA. While a
member of the Michigan School Band and Orchestra Association, Mr. Williams served as the District 10
Vice-President of Jazz Activities from 1999-2005.

A native of Denver, Colorado, Mr. Williams holds a bachelor degree in Music Education Indiana
University-Bloomington, a Masters degree in Music Education from Northwestern University and a
Masters Degree in Instructional Leadership from Concordia University-Chicago. Mr. Williams has also
completed coursework towards a DMA in Wind Conducting at Michigan State University. In November
of 2009, Mr. Williams earned National Board Certification from the NBPTS and a Master Teaching
Certificate from the state of Illinois. Mr. Williams resides in Downers Grove with his wife, Terri, and
their two children, Josiah and Allison.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Page 25 Tips and Takeaways for Sonic Success.” Glenn Williams
About Downers Grove South High School Fine Arts Department
Established in the fall of 1964, Community High School District 99 Downers Grove
South High School is located 30 miles Southwest of Chicago's Magnificent Mile in
suburban DuPage County. The Fine Arts Department currently has six music faculty
members, a staff accompanist and numerous instrumental and vocal private teachers.
More than 630 student musicians participate in band, orchestra and choir on a daily
basis. Nearly 200 student musicians study Guitar, Pop Music, and MIDI music
composition on a daily basis. Just over 500 student artists study 2D and 3D visual art
on a daily basis. In total, just over 60% of the Downers Grove South student
population will study either art or music in the course of a school year.

“Igniting a passion in the arts for every learner.” is the vision for the Fine Arts Department at Downers Grove
South High School. In 1992, the department received the “Outstanding Total Music Program” Award from the
Illinois Music Education Association. The department also received a 1999 “Grammy in Our Schools” Award as
one of the top 250 high school music departments in the country

The quality of education and opportunity at South can be found in every corner of the Fine Arts Department. In
the fall of 2009, DGS placed 61 student musicians in the IMEA District 1 Band, Choir, Orchestra, Jazz Band, and
Vocal Jazz Ensembles. Over the past 6 years, DGS has averaged just over 54 musicians annually into IMEA
District Festivals. DGS articulates with and is sent student musicians from Eisenhower Junior High School in
District 61, Jefferson Junior High School in District 68, Lakeview Junior High School in District 66, and O’Neill
Middle School in District 58. The Jazz Ensemble and Jazz Lab Band have recorded four CD’s, and have hosted
the NIU Jazz Ensemble with their guest artists such as Benny Golson, Ernie Watts, Ed Thigpen, Lou Marini, Jiggs
Whiggham, Jimmy Heath, and will host trombonist John Fedchock in February of 2010. Currently, more than 70
musicians participate in three jazz bands. Jazz Workshop, conducted by Ron Hornish, meets twice a week for no
credit during Early Bird. Jazz Ensemble, conducted by Craig Roselieb, meets daily for a full fine arts credit, and
jazz lab band, conducted by Glenn Williams, meets daily for a full fine arts credit.

About BandSource Company

Founded in July of 2008, BandSource is fast becoming
the destination in Chicagoland for professional to
aspiring wind musicians. Located at the intersection of
Maple and Belmont Avenues, in Downers Grove, IL it is
conveniently accessible from I-355, making it extremely
easy to get to from anywhere in the Chicagoland area.
The store features the most comprehensive selection of
intermediate to professional level wind instruments in
the area, along with an incredible selection of music and
accessories, cementing its reputation as Chicago’s only
true “One-Stop Pro Shop.”

But perhaps, BandSource is known best as the repair shop of choice by most of Chicago’s elite professional wind
instrumentalists. Jarod Bufe, Woodwind Specialist, and Matt Johnson, Brasswind Specialist, are co-owners of the
company and the sole repair specialists. In addition, Pete Biedron, School Music Services & Sales / Marketing, is
also a co-owner and conducts school music calls in order to provide exceptional service to surrounding school
districts, colleges and universities.

Downers Grove Community High School District 99 and Downers Grove Elementary School District 58, amongst
others, have recently chosen BandSource as their recommended music vendor for rentals and school music
services. A passion for music education and the impact that it has upon our community, have been instrumental in
fostering a mutually beneficial relationship between local schools, music educators, families and BandSource. We
our honored that Mr. Williams selected our company to provide sponsorship for his Midwest clinic. Please check
out our website, www.bandsourcecompany.com, to read our testimonials or visit our store to find out more.

“The Care and Feeding of the Emerging School Jazz Program and / or the “Second” Band:
Glenn Williams Tips and Takeaways for Sonic Success.” Page 26