Middle School Lesson 16: January Week 1 Razzamajazz or Oscar Peterson Copy
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FormGrades(s):
Middle School
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Concepts
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Introduction
In this lesson you will have 2 options.
Option 1: Learn the song “Razzamajazz” and begin working on a musical revue
•. watch a brief video on jazz music
• learn the song “Razzamajazz”
• read scene 1 from the script for revue “Razzamajazz”.
“Razzamajazz” could be a spring performance, an in-class performance project, or you could perform part of it at a school assembly.
Option 2 follows: Learn about Oscar Peterson. (this lesson will be repeated in Feb if you choose option 1)
- learn about Oscar Peterson
- learn about some jazz piano techniques
- #56 “Hymn to Freedom” – listen, sing, read notes and rhythms
Objectives
- I can describe some of the characteristics of jazz music.
- I can read and sing melodies.
- I can describe Oscar Peterson's piano playing.
Watch a short video that talks about jazz.
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Learn to sing the song, "Razzamajazz"
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Learn the choreography for the song "Razzamajazz"
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When you are ready, try the full choreography for "Razzamajazz"
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Read Scene 1 of the script for the musical revue "Razzamajazz"
The script follows the notation of the"Razzamajazz" song.
Media Transcript
* Transcripts have been auto-generated and may contain errors.
Page Controls
Page: 1
I am music
Page: 2
RazzamaJAZZ!
A New Jukebox Musical
By John Jacobson
Page: 3
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Page: 4
Razzamajazz
Music by John Jacobson and Walter Jack
(J=120) Swing!
Start with some be-bop and may-be some blues. Bring a bit of big band; there’s nothing to lose.
Play a little something that everyone has! That’s razza-ma-jazz.
Everybody’s singing so what do you know. Add a rip of ragtime and put on a show. Keep it nice and cool just a little pizzazz.
Bee bop! Bop ba ba ree bop!
That’s razza-ma-jazz.
Whoa, whoa, whoa, whoa! What he has! Shoo hop! Ski-dilly bop pow!
Page: 5
Razzamajazz
Swing it like Ella or That’s raz-za-ma-jazz.
Duke Ellington. Charlie Parker Jelly Roll we’re gonna have fun.
Dizzy, Louie, Billie will add plenty of snazz!
That’s raz-za-ma-jazz.
Bee bop! Bop ba ba ree bop! Whoa, whoa, whoa, whoa! What she has!
Shoo bop! Ski-dil-ly bop pow!
That’s raz-za-ma-jazz.
Yeah!
Shoo bee doo bee do ba ba bo
Page: 6
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Page: 8
When the Red, Red, Robin
Comes Bob, Bob Bobbin’ Along
doing what I did again, singing a song, when the red, red robin comes
singing my song when the red, red robin comes
bob, bob, bobbin’ along. When the
bob, bob, bobbin’ along. There’s a
When the red, red robin comes bob, bob, bob, bob, bob, bob, bobbin’ along.
When the red, red robin comes bob, bob, bob, bob, bob, bob, bobbin’ along.
Yeah!
Yeah!
Page: 9
Scene 2:
LADY DAY:
I get it. So jazz music uses a big band!
SARAH VAUGHN:
Now just hold on a minute right there.
BENNY:
Look who’s here. The Divine One….Ms. Sarah Vaughan!
SARAH VAUGHN:
Now I’m telling you that a lot of jazz music is played by a big band, especially when Duke Ellington is around. But a big band isn’t always necessary to make some jazz music.
ELLA:
She’s got a point fellas.
SARAH:
Thank you Ella…as in Fitzgerald…as in The First Lady of Song!
ELLA:
Aw shucks, thank you, The Divine One…Sarah!
SARAH:
I think Jazz has all the elements that other music has: It has melody- that’s the tune of the song, the part you’re most likely to remember. It has harmony- the notes that make the melody sound fuller.
ELLA:
It has rhythm, which is the heartbeat of the song.
SARAH:
But what sets jazz apart is this cool thing called improvisation. That means making it up on the spot.
LOUIS:
No music in front of you. No long discussion with your bandmates. You just play.
ELLA:
Or sing!
BUDDY:
And if you can make it swing….well then, all the better!
Page: 10
When the Red, Red, Robin Comes Bob, Bob Bobbin’ Along
get up, get up, get out of bed. Cheer up, cheer up, the sun is red, out of your bed and Cheer up, cheer up the sun is red.
live, love, laugh and be happy. What if I’ve been blue, now I’m walkin’ through fields of flowers. Rain may glisten, but blue now I’m walkin’ through the rain while I still I listen for hours and hours. I’m just a kid again, listen for hours and hours.
Page: 11
ELLA:
That’s Buddy Rich. One of the greatest drummers of all time. You know he was gonna make sure jazz has rhythm!
SONG 3: BYE BYE BLACKBIRD
Page: 12
Bye Bye Blackbird
late to-night. Blackbird Blackbird Bye bye.
late to-night. Blackbird Blackbird Bye bye.
Page: 13
Bye Bye Blackbird
Make my bed and light the light I’ll arrive late tonight. Blackbird bye bye.
Make my bed and light the light I’ll arrive late tonight. Blackbird bye bye.
Bye Bye Blackbird. Bye Bye.
Make my bed and light the light, I’ll arrive.
Page: 14
Page: 15
Scene 3
LADY DAY:
Well, after all that good-bying I just feel real, real sad!
CAB:
Sad? What are you feeling so sad about?
LADY:
Oh I don’t know sometimes the world just gets me makes me feel down, out, you know…..blue.
FRANK SINATRA:
Well, blues is a big part of jazz.
BUDDY:
Oh boy, look who showed up. Old Blue Eyes himself! Frank Sinatra.
FRANK:
Well, if you look at jazz “My Way”….get it….”My Way?”
ELLA:
(rolling her eyes) Yeah, we get it Frank…we get it.
FRANK:
Blues is a big part of jazz music and nobody does it better than you Billie Holiday…I mean Lady Day!
LOUIS:
Come on, let’s sing some blues and make everybody feel so bad they feel good.
LADY DAY:
That makes no sense at all. But, why not? Let’s give it a shot!
SONG 4: BIRTH OF THE BLUES
Page: 16
The Birth of the Blues
They heard the blues.
Page: 17
The Birth of the Blues
Words by Lew Brown and Buddy Desylva
Music by Ray Henderson
Arranged by W. Jack
To be sung as a partner song.
d=110 All sing part 1, then all sing part 2, then combine for 3 repeats and ending.
swing-in’ breeze
They heard the breeze in the trees
sing such weird melodies and they made that
singing weird melodies and they made that
the start of the blues. And from a busy jail came a wail
Page: 18
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Page: 19
The Birth of the Blues
came a wail from a frail and they played that
of a down-hearted frail and they played that
as part of the blues. From a whip-poor-will out on a hill,
as part of the blues. From a whip-poor-will out on a hill,
they took a new note, pushed it through a horn ’til it was worn
they took a new note, pushed it through a horn ’til it was worn
into a blue note. And then they carefully nursed
into a blue note. And then they nursed it, rehearsed
Page: 20
Deck the Halls
Music by arr. Walter Jack
J=120
Fa la la Fa la la
Fa la la Fa la la.
Deck the halls with boughs of holly, fa la la la la
See the blazing yule before us, fa la la la la
‘Tis the season to be jolly, fa la la la la la
Strike the harp and join the chorus fa la la la la la
Page: 21
Deck the Halls
is i z + + = e ee se =
la la la Don we now our bright apparel fa la la la la la la
la la la Follow me in merry measure fa la la la la la la
Troll the ancient Yule-tide carol, fa la la la la la la la
While I tell of Yule-tide treasure fa la la la la la la la
Fa la la Fa la la la
Fa la la Fa la la.
Page: 22
Deck the Halls
Fa la la— Fa la la la
Optional Solo or Small Group
Fast away the old year passes fa la la la la la
Hail the new, ye lads and lasses fa la la la la la
Sing we joyous all together fa la la la la la la
Heedless of the wind and weather fa la la la la, fa la la la la la la la
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Fidgety Feet
from Oh, Kay! Music by G. and I. Gershwin
Arranged by W. Jack
J = 200
Swing! JJ = 4 à First time all on melody (part 2).
Second time add descant.
I’ve got fidgety feet, fidgety feet, fidgety feet!
Oh, what fidgety feet. Say, mate,
Oh, what fidgety feet, fidgety feet, fidgety feet! Say, mate,
come and be my sway mate; How can anyone resist that rhythmical beat?
Page: 26
Fidgety Feet
You will never go wrong, never go wrong, never go wrong!
If you toddle along. All I need’s a partner to make my life complete, Two more fidgety, fidgety feet.
Fidgety feet, fidgety feet, fidgety feet.
Page: 27
Fidgety Feet
Fidgety feet, fidgety feet, fidgety feet.
You will never go wrong! If you never go wrong, never go wrong, never go wrong! If you
toddle along. All I need to
toddle along, toddle along, toddle along. All I need’s a partner to make
make life complete, Two more fidgety, fidgety feet.
my life complete, Two more fidgety, fidgety feet.
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Media Transcript
* Transcripts have been auto-generated and may contain errors.
No extracted text available
Media Transcript
* Transcripts have been auto-generated and may contain errors.
No extracted text available
Media Transcript
* Transcripts have been auto-generated and may contain errors.
No extracted text available
Media Transcript
* Transcripts have been auto-generated and may contain errors.
No extracted text available
In this interview, Oscar demonstrates the following techniques:
1. stride piano
2. two-fingered percussiveness of Nat King Cole
3. lyric octave work of Erroll Garner
4. relaxed block chords of George Shearing
5. double octave melody lines
7. tonality-based improvising
Have students take notes on what each of these techniques means.
Pause and replay the video as needed. If students can print, or if you are teaching in-person, there is a worksheet (and answer key) in Supporting Resources.
This is a YouTube link.
If the link doesn't work, search internet for "Oscar Peterson piano lesson".
Note: This video is from 1979, and may use a word that is not appropriate to use today.
Preview the video before showing to students.
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Listen to the choir.
Pause at the end of each phrase and repeat.
Play the video again and sing along.
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A worksheet is found in Supporting Resources.
If students can print, or if you are teaching in-person, print and have students complete the worksheet.
If not, have students answer the questions during a live online session.
Media Transcript
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No extracted text available
This is a YouTube link.
If the link is not working for you, search internet for "Oscar Peterson documentary".
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