ally articulated by slurring the first
I feel like I usually tongue the second and slur the next two. I think that sounds hip
13 Matching Annotations
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e d
I like the dn syllable. I think all these rules are too much and too specific to remember and stick to, but I think over time students will learn what is appropriate. I will have to inquire to see what they think to ensure they are thinking and engaged when playing the music
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hth-note/quarter-note/eighth- note syncopation pattern
all of these rules can be learned by listening. Would I expect students to remember these rules?
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hich is achieved by stop- ping the tone with the to
hmm
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the upbeat eighth notes are often slurred into the next down- be
I like to do this personally, and I think it would help young groups a lot. I wonder how hard this is to implement and learn
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he swing feel in moderate to slower tempos is characterized by an underly- ing subdivision of the eighth notes into triplets as shown in Figu
I dont think its this simple
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Dit
I struggle with tongue stops. I dont think theyre necessary, but what are alternatives
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). A combination of long and short syllables, such as doo , dah , day, ba, da, va, daht, dow, an
I did this in middle and high school with eraybar. Should I set syllables in stone or should I let them express themselves more?
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. Listening, therefore, is crucial to suc- cessfully and authentically playing jazz in the swing styl
so then how do you get kids to listen
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e, the printed page merely approximates the ultimate soun
this is very important and one of the roots of the issue
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zz, from its inception, has always been a performer's and an arranger's music rather than a compos- er's mus
I see what he is saying- but I feel jazz composition is very valuable too
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f general guideline
if they are following general guidlines, is it truly authentic?
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Williams was asked to define it, he j
I was hoping for a definition I can explain to students, even if it takes a long time for it to unfold
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