The purpose of this warm-up set is to provide the students with a group of warm-ups that will help them with the conception of jazz rhythms and language. In addition, I am hoping to find a way to help each student learn how to improvise through the use of call and response exercises by supplying him or her with blues licks and ii V7 patterns. By providing students with this material, we are giving them the tools to be successful, as well as giving them the ability to go out and practice the material.

However, the purpose of this set of warm-ups and exercises is two-fold. I feel that one of the biggest misconceptions about improvisation is that EVERYTHING is spontaneous. It is true that to improvise means one is making up a solo on the spot. However, the individual should plan out their solo as if they were writing a short story. There needs to be a beginning, a middle and an end. Some of the most famous jazz musicians plan out their solos to insure that they play a coherent solo for the audience or the recording session they are playing in. Students should use the materials in this warm-up set and write out their ideas on paper. For example, if a musician were to play a blues solo for 2 choruses, they would write out which blues licks they were going to use in their solo, which ii V7 licks they were going to use, and where they were going to use them all. This will help each student gather and organize their ideas to play an organized solo.

Warm-ups #1-8:
The purpose of these warm-ups is to teach students about proper voice leading in the blues form and to show them common rhythms and articulations that they will see in their ensemble music. The warm-ups can be played on their own one at a time, or they can be played in succession.  In addition, the warm-ups are designed to increasingly challenge the students by using chord substitutions and using harder rhythms and melodic lines. Lastly, the warm-ups are written out in all twelve keys. This will help promote that there are not hard keys and easy keys, but instead it will teach them that there are familiar keys and unfamiliar keys. 
 **(recordings are only provided for Concert C, F, Bb, and Eb.)

Blues Licks:
The blues licks are intended to have multiple uses. The main purpose of the blues licks was to give the students something tangible to use in their solos. A lot of students experience anxiety when soloing because they are either unsure about what notes to use or they are afraid to make a mistake. Hopefully these blues licks will ease their nerves and give them something to help them get started and on the right track to improvisation. The greatest compliment a jazz musician can receive is knowing that some liked their solo so much that they transcribed their solo and used some of their language in their own solo. Other uses for the blues licks can include call and response, background figures, and ensemble style. When playing along with the recordings, utilize the space after the band plays the lick to imitate their style and sound. Imitation is the best way to learn how to play and solo in jazz music.
**(recordings are only provided for Concert C, F, Bb, and Eb.)

ii V7 patterns (Key Specific):
These patterns are designed to help our students understand how to navigate through chord changes. Although this is more of an advanced technique, ii V7 patterns are a great way to help students start gaining a basic understanding of jazz theory, in addition to helping them navigate their way through more difficult chord changes. The end goal, however, would be for the students to transcribe these licks into all 12 keys to give them a greater understanding of the jazz language.

ii V7 patterns in the Blues Progression (Key Specific):
This exercise helps students apply the knowledge they just learned in the previous section. The students will be asked to improvise for three measures and then play the ii V7 pattern in the fourth measure of each sequence. The idea is to get them to use the patterns to sound more sophisticated and to apply the patterns in a musical setting.
**(recordings are only provided for Concert C, F, Bb, and Eb.)

ii V7 I warmups (not key specific):
ii V7’s are the building blocks to the jazz language and understanding how they function is essential. These ii V7 I warm-ups are designed to be used on their own and teach the students about proper voice leading from one chord to the next. The first page of the student’s music has three guide tone warm-ups. The voice leading is labeled and shows the student when the 7th of the chord moves by a half step to the 3rd of the following chord. In addition, labeling also identifies when the 3rd of the chords moves by a half step to the 7th of the following chord. The purpose of these exercises is to teach the students how one chord will resolve to the next and how to use proper voice leading when you see the chords in a piece of music. The second page of the student’s material uses the same pattern in all twelve key areas. The rhythm section provides the backing track while the wind players play the pattern. The progression follows the circle of fourths.

Recording Personell:

Chris Werve - Alto Saxophone

Rich Moore - Tenor Saxophone
Matt Todd - Bari Saxophone
Dave Kaiser - Trumpet
Clint Hafenrichter - Trumpet
Josh Kaminsky - Trombone 
Luke Malewicz - Trombone
Tony Kidonakis - Piano
Andrew Hassel - Bass
Glen Schneider - Drums
Aaron Kreuger - Guitar
Travis Duffield - Recording Engineer