QUOTE(sbhoa @ Jan 2 2009, 04:28 PM)
QUOTE(Violinia @ Jan 2 2009, 04:17 PM)
You make some good points, and I hadn't thought of the possibility of people wanting to do jazz exams but without actually intending at any point to go out there and play jazz in public. Seems like a weird idea to me - can you imagine wanting to learn to dance but without intending to put your dancing shoes on and actually dance with or in front of anyone? It would be a bit bizarre, surely!
I certainly never had any thoughts of playing in front of anyone when I started to learn piano. It's somethnig I've only come to very recently.
I'm sure lots of people want to learn just for themselves.
Yes, but one of the main points about jazz is that you're listening to and responding to other musicians in real time, creating a one-off piece of music between you. You can't really do that on your own, unless you're Keith Jarrett of course.
QUOTE(Violinia @ Jan 2 2009, 04:36 PM)
The thought of someone teaching jazz when they've never done a jazz gig themselves makes me almost lose my breath -
I've been thinking about this since you raised it, and whether I agree or not. As I said earlier, living in London there isn't exactly a shortage of highly experienced, gigging jazz musicians who are willing to teach -but that may not be the same everywhere in the country. Having said that, I can't comprehend a decent jazz musician who wouldn't want to perform and play with others - if you've got the necessary skills and love of the music than surely you're itching to put them into practice? So I wouldn't necessarily say that a good jazz teacher would have to have a professional gigging career, I'd expect them to be playing or have played regularly at e.g. decent jam sessions, to be enthusiastic about the music, to be able to pull together a list of several good recordings of most jazz standards (and be able to play them, of course), to be able to create an essential listening list, recommend gigs and guide a student through the repertoire.
QUOTE(jinxi @ Jan 2 2009, 04:51 PM)
The point I was making re: my teacher's fairly negative attitude to the ABRSM exams is: would that many 'real' jazzers want to teach it anyway...?
I don't know. Of course with the exams being so new most of today's jazzers haven't gone through the system themselves so don't see jazz exams as being as much of an essential part of musical education as most classical musicians in the UK, who will more than likely have gone through the grade system themselves.
QUOTE(Czerny @ Jan 2 2009, 04:54 PM)
QUOTE(Violinia @ Jan 2 2009, 04:36 PM)
I think the problem is that the AB and TG (or former Trinity and Guildhall) syllabi have been classical since whenever, so now they're making the foray into jazz, they may not have completely thought it through.
I think it's likely that an awful lot of thought went into it. I don't know about other instruments, but the panel of musicians who contribute to the piano syllabus is made up of some of the foremost composers, educators and performers in the world of jazz.
Without wishing to be unduly cynical the jazz exams are a commercial opportunity both for the ABRSM and those advising them.
Having said that I think that it's perfectly possible for a decent jazz teacher to incorporate the exams into their teaching. There's quite a nice list of standards, a blues at every grade - if students/parents want to see exam progress than why on earth not? I think that if you're spending more than a few weeks working specifically and only on the jazz exam pieces and scales you've probably missed the point though, and the idea of being able to get to grade 5 only ever playing with playalongs seems completely absurd.
QUOTE(jinxi @ Jan 2 2009, 03:17 PM)
The problem is, I think, that lots of 'proper' jazz teachers don't think much of the ABRSM syllabus and exams in general. My jazz teacher has agreed to work on the impro sections with me for grade 3 in lessons, but I can tell he is wondering why the ###### I'm doing it because, I guess, essentially I'm still learning pieces in one key, reading from the music.
You could always mollify him by learning your pieces in all 12 keys...Isn't one a blues anyway?