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Book
Editor:
Bonnie
Ross
Music
Editing
&
Copying:
Derek
B omback,
Sherry
Luchette
Music
Arrangements:
Sherry
Luchette,
Tamir
Hendelman
Book
Design
&
Layout:
Sherry
Luchette,
Michael
Cullen
Illustrator:
Tiffany
Harris
2004,
2011
Doubletazz
Music,
2nd
Edition
All
rights
reserved,
Printed
in
USA
ISBN:
978-0-9831501-0-7
Any
duplication,
adaptation,
or
arrangement
of
t he
compositions
in
this
book
requires
the
written
consent
o f
the
publisher.
With
the
purchase
of
t his
book/CD
set,
you
(one
teacher)
m ay
legally
duplicate
sheets
from
t he
reproducible
section
of
this
book
for
use
w ith
your
students.
Permission
to
copy
or
share
any
other
part
of
this
book
or
recording
with
another
person
is
NOT
granted
and
considered
a
copyright
infringement
Table
of
Contents
I. Introduction..........3
II. Acknowledgements..........4
III.
Terms
Used
I n
This
Book...5
IV.
Rhythmic
Activities
Jazzy
Names...6
Fun
with
Beats
2
&
4...........................8
Swingin
Shakers............10
Chugga
Train................12
Scat
Cards...........14
Scat
Echoes................16
Scat
Games.................18
Line-Up.........20
3-2-1
Game..........................................22
Switch-A-Roo........24
V.
P itched
Classroom
Instument
Activities
Blues
Form
Activities.......25
Xylophones.........28
Recorders.29
Scale
Choices..30
C
B lues
Progression
Map....32
G
B lues
Progression
Map....33
B
Blues
Progression
Map....34
E
Blues
Progression
Map.35
VI.
Blues
Songs
Swingin
The
Blues
Away
i n
C......36
Swingin
The
Blues
Away
i n
E......37
No
Math
B lues
i n
C......38
No
Math
B lues
i n
B......39
Scooby
Doo
B lues
in
G..........40
Scooby
Doo
B lues
in
E.......41
Freddie
Cat
Blues
in
G...........42
Freddie
Cat
Blues
in
E............................................43
VII.
Reproducible
Sheets
Lyric
Sheets.............44
Scat
Word
List..............................46
Scat
Cards.............47
VIII.
About
the
Author....................................54
The
Musicians............55
IX.
CD
Track
Listing.......................56
Introduction
Welcome
to
The
Flying
Jazz
Kittens,
Volume
1.
This
book
and
CD
contain
music
and
activities
that
explore
jazz
style
rhythms
and
beginning
improvisation
activities
for
children
in
the
general
music
classroom.
It
is
designed
for
the
elementary
and
middle
school
music
teacher
who
is
looking
for
some
fun,
hands-on
activities
in
the
area
of
jazz
music
to
incorporate
into
the
curriculum.
Finally,
here
are
some
materials
designed
just
for
you!
All
the
activities
in
this
book
have
been
used
in
the
authors
own
music
classroom
and
have
been
edited
with
the
help
of
other
music
teachers,
jazz
musicians
and
many
classroom
experiments.
Each
activity
is
simple
with
many
variations
to
try
so
that
teachers
can
use
what
works
best
for
them.
The
activities
can
also
be
adapted
easily
for
traveling
music
teachers.
The
instruments
used
for
the
activities
in
this
book
are
centered
around
those
typically
found
in
a
general
music
classroom.
This
could
include
drums,
xylophones,
various
small
percussion
instruments,
and
recorders.
Also
included
in
this
book
are
four
blues
melodies
with
fun
kid
friendly
word
to
sing.
The
CD
contains
recordings
and
performance
tracks
of
these
melodies
in
various
keys
as
well
as
open
blues
tracks
to
practice
the
activities
in
this
book.
Everything
you
need
to
get
started
is
right
here.
You
and
your
students
can
take
off
from
this
point
and
create
your
own
ideas
and
blues
songs.
The
possibilities
are
endless!
It
has
been
a
labor
of
love
to
write
this
book,
and
I
hope
you
and
your
students
find
it
as
much
fun
as
I
did
putting
it
together.
Keep
on
Swingin,
Like
a
Jazz
Kitten!
p.
3
Acknowledgements
Thank
you
to
The
Buckley
School
students
and
faculty
who
were
the
first
to
try
these
wonderful
activities
and
help
fine
tune
them
to
work
in
the
classroom.
Thank
you
to
John
Clayton
and
Tamir
Hendelman
for
encouraging
me
to
write
my
ideas
into
book
form
to
share
with
other
teachers.
Thank
you
to
Jennifer
Barnes,
Steve
Barnes,
Tamir
Hendelman,
and
Paul
Taverner
for
their
amazing
musical
and
recording
talents.
Thank
you
to
Sharon
Burch
for
understanding
my
vision,
and
giving
great
feedback,
ideas,
and
support.
Thank
you
to
Tiffany
Harris
for
your
amazing
talent
and
making
the
Jazz
Kitten
drawings
come
to
life.
Thank
you
to
Michael
Cullen
for
you
never
ending
support
and
feedback
on
the
material.
Thank
you
to
Bonnie
Ross
for
your
editing
prowess
and
incredible
attention
to
details
that
have
made
this
book
first
rate.
Thank
you
to
Derek
Bomback
for
your
music
copying
talents
in
this
book.
Thank
you
to
friends
and
family
who
have
always
believed
in
me
and
always
shown
their
support.
p.
4
Terms
Used
In
This
Book
Eighth
Note
Rhythms:
All
of
the
eighth
notes
in
this
book
should
be
played,
sung,
and
chanted
with
a
jazz
swing
feel.
Body
Percussion:
This
refers
to
any
body
movement
used
to
help
understand
and
feel
a
rhythm
or
rhythmic
pattern.
This
would
include,
but
is
not
limited
to
clapping,
patting,
and
tapping
various
parts
of
ones
body.
Patting:
In
the
Flying
Jazz
Kittens
book,
patting
refers
to
patting
out
a
rhythm
on
the
front
of
the
thighs.
Small
Percussion
Instruments:
Refers
to
any
small
sized
percussion
instrument
available
to
you
in
your
teaching
space.
This
would
include
sticks,
bells,
shakers,
etc.
Scat
Words:
Nonsense
words
and
syllables
used
by
jazz
vocalists
to
improvise
with
their
voices
to
perform
a
solo,
known
as
scatting.
Scat
words
are
used
in
this
book
as
a
vehicle
to
teach
jazz
style
rhythms
to
children
in
a
fun
way
.
Scat
Word
List
&
Scat
Cards:
The
entire
list
of
scat
words
used
in
this
book
is
printed
on
one
page
that
can
be
copied
and
enlarged
for
classroom
use.
The
scat
cards
are
used
in
various
activities
in
this
book,
and
are
listed
two
per
page
in
the
back
of
the
book
so
that
copies
can
be
made
and
laminated.
Variations:
Related
activities
and
ideas
based
on
the
original
are
listed
at
the
end
of
each
activity
and
usually
suggest
more
challenging
ideas
to
try.
Kitten
Wing
Tips:
Suggestions
or
ideas
that
the
author
has
found
helpful
for
teachers
to
keep
in
mind
when
presenting
an
activity
to
their
classes.
p.
5
Jazzy
Names
Materials:
Flying
Jazz
Kittens
CD
open
blues
tracks
17-20
(your
choice),
CD
or
Mp3
player
(variations
on
this
activity
will
use
small
percussion
instruments
of
your
choice).
Purpose:
Getting
acquainted
with
students,
and
to
introduce
the
jazz
swing
feel
by
hearing
it
and
feeling
it.
Skills:
Matching
body
percussion
and
speech
(echoing)
in
a
jazz
swing
feel.
Activity:
Students
are
seated
in
a
circle
with
one
of
the
blues
tracks
playing.
The
teacher
begins
the
activity
by
patting
and
saying
the
rhythm
out
loud
of
his
or
her
name
to
the
students
in
time
with
the
music,
followed
by
saying
a
cool
Yeah!
Students
are
then
invited
to
echo
the
teachers
name
by
patting
it
and
saying
it
out
loud
to
the
beat
of
the
music,
followed
by
saying
a
cool
Yeah!
The
teacher
then
asks
the
students
if
anyone
in
the
circle
would
like
to
try
and
pat
and
say
his
first
name
out
loud,
followed
by
saying
a
cool
Yeah!
so
that
the
class
can
echo
him.
Go
around
the
circle,
and
let
each
student
who
would
like
to
try
it
have
a
turn.
Teacher
says
&
pats
Students
echo
by
saying
Continue
with
other
student
names
his/her
name
out
loud
&
patting
out
loud
KITTEN
WING
TIPS
Encourage
children
to
echo
the
inflection
of
a
students
voice
accurately.
It
adds
to
the
fun!
When
the
swing
feel
of
the
jazz
CD
is
playing,
try
to
give
any
instructions
to
the
children
with
a
rhythmical
feel
in
your
voice
with
the
music,
almost
like
a
chant.
Kids
really
respond
to
this
animated
approach.
p.
6
Jazzy
Na mes
Variation s :
1.
Have
students
give
a
specific
body
gesture
on
the
word
Yeah!
for
students
to
echo.
(Example:
putting
your
hands
in
the
air)
2.
With
practice,
children
can
try
patting
and
saying
their
first
names
two
or
three
times
in
a
row
with
the
music
before
ending
on
the
word
Yeah!
to
create
a
longer
pattern.
3.
Using
one
large
drum,
a
student
can
come
up
to
the
instrument
and
play
and
say
his
first
name
out
loud
for
the
class.
The
class
can
then
echo
this
by
patting
and
saying
the
name
out
loud,
or
they
can
use
small
percussion
instruments
to
play
and
say
their
echo
out
loud.
4.
Give
every
student
a
small
percussion
instrument
to
play
and
say
for
this
activity.
With
practice,
the
children
can
learn
to
pass
different
instruments
around
the
circle
so
that
they
can
play
and
say
on
different
percussion
instruments
during
the
activity.
(Younger
children
will
need
to
practice
passing
instruments
first
before
doing
the
actual
activity;
see
Switch-A
Roo
p.
24.)
5.
This
activity
can
be
transferred
to
xylophones
and/or
recorders.
The
rhythm
of
the
scat
word
or
words
is
played
and
said
out
loud
on
the
instruments.
The
teacher
provides
the
correct
scale
or
notes
on
the
instruments
for
the
students,
and
then
plays
the
corresponding
Flying
Jazz
Kitten
CD
tracks.
(For
more
information,
see
the
xylophone
section
of
this
book,
p.
28.)
p.
7
F un
with
Beat s
2
&
4
Materials:
Flying
Jazz
Kittens
CD
open
blues
tracks
17-20
(your
choice),
CD
or
Mp3
player
(variations
on
this
activity
will
use
small
percussion
instruments
of
your
choice).
Purpose:
To
introduce
and
feel
the
emphasis
of
beats
2
&
4
of
the
jazz
swing
style.
Skills:
Be
able
to
demonstrate
an
emphasis
on
beats
2
&
4
using
body
percussion
with
jazz
swing
style
music.
Activity:
Students
are
seated
in
a
circle
with
one
of
the
blues
tracks
playing.
The
teacher
begins
counting
out
loud
with
the
beat
of
the
music,
accenting
beat
numbers
2
&
4
with
her
voice
while
patting
on
beat
numbers
2
&
4
at
the
same
time:
1
-
2
-
3
-
4
(pat)
(pat)
As
the
teacher
keeps
repeating
this
pattern,
the
children
are
then
invited
to
try
and
copy
with
their
voices
and
their
bodies
what
the
teacher
is
doing.
If
the
teacher
observes
that
most
of
the
students
are
catching
on
to
this
activity
and
can
follow
along
fairly
easily,
then
he/she
can
begin
to
switch
the
location
of
the
body
movement
from
patting
on
the
thighs
to
patting
on
the
knees,
head,
or
tummy.
Change
the
movements
slowly
and
repeat
them
several
times
before
switching
them.
KITTEN
WING
TIPS
This
can
be
a
fun
e xercise
to
teach
a
rhythm
of
any
song
that
needs
review.
The
big
band
music
of
Count
Basie
and
Duke
Ellington
can
also
work
very
well
with
this
a ctivity.
p.
8
F un
with
Beat s
2
&
4
Variati ons:
1.
Have
a
student
leader
pick
a
body
movement
for
the
class
to
try.
2.
Use
small
percussion
instruments
to
play
on
beats
2
&
4.
This
could
also
include
moving
the
instruments
around
slightly
from
side
to
side
or
up
and
down
on
beats
2
&
4.
3.
For
a
challenge,
try
changing
the
body
movements
on
beats
2
&
4
more
frequently.
This
can
become
quite
tricky
with
many
combinations
of
body
movements,
but
its
also
a
lot
of
fun!
4.
Fun
Game:
Challenge
students
to
follow
you
on
beats
2
&
4,
no
matter
what.
The
teacher
gradually
fades
out
her
voice
on
the
counting
and
accenting
of
beats
2
&
4
until
she
is
only
mouthing
them
silently
to
the
children.
Continue
the
body
movements
on
beats
2
&
4
with
the
music
and
see
how
many
students
can
continue
to
accurately
follow
along.
p.
9
Swingin
Shakers
Materials:
Flying
Jazz
Kittens
CD
open
blues
tracks
17-20
(your
choice),
CD
or
Mp3
player,
maracas,
or
shakers.
Purpose:
To
introduce
and
feel
swing
style
eighth
notes.
Skills:
Being
able
to
play
an
eighth
note
swing
style
rhythm
to
music
using
body
percussion
and
a
small
non-pitched
percussion
instrument.
Activity:
Have
students
pretend
they
are
going
fishing.
Tell
children
that
everyone
now
has
a
fishing
pole
in
his/her
hand,
and
that
they
are
going
to
practice
casting
those
fishing
poles
out
into
the
water.
The
teacher
then
bends
one
arm
so
that
his
hand
can
touch
his
shoulder,
and
asks
students
to
try
this
as
well.
Then,
the
teacher
makes
the
motion
of
casting
the
fishing
pole
out
into
the
water
by
extending
the
arm
straight.
Have
students
copy
the
teachers
movements.
While
playing
one
of
the
blues
tracks,
practice
this
movement
over
and
over
with
the
music
while
saying
the
word
Swing-in.
Swing
is
said
when
the
arm
is
bent
and
the
hand
is
touching
the
shoulder;
in
is
said
with
more
emphasis
when
the
arm
is
extended.
The
fluent
motion
of
the
arm
while
saying
Swing-in
creates
an
accurate
rhythmic
feel
of
swinging
eighth
notes.
Doing
this
exercise
is
great
practice
for
the
swing
style
concept.
Maracas
or
shakers
can
then
be
added
to
the
arm
movements.
Playing
the
eighth
note
swing
rhythm
on
beats
1
&
3,
resting
on
beats
2
&
4.
Note
the
e mphasis
on
the
second
eighth
note
of
each
pair
of
swinging
eighths.
Be
careful
not
to
make
that
note
too
short;
its
emphasized
but
not
staccato.
p.
10
S winging
Shakers
Variations:
1.
Try
a
faster
blues
track
on
the
Flying
Jazz
Kittens
CD
once
students
are
more
familiar
with
this
exercise.
2. Allow
students
to
come
up
with
another
two
syllable
word
that
they
can
say
in
place
of
the
word
Swing-in
for
this
activity.
3. With
practice,
older
children
can
transfer
the
eighth
note
feel
from
Swing-in
maracas
to
percussion
instruments
that
are
more
challenging
to
handle
such
as
drums,
bongos,
guiros,
or
triangles.
4. End-of
Class
Game
Idea:
Students
sit
in
a
circle
and
are
given
a
small
percussion
instrument
to
play.
One
at
a
time
around
the
circle,
each
student
plays
and
says
out
loud
Swing-in
to
the
beat
of
the
music.
If
a
student
misses
his
entrance,
he
hands
in
his
instrument
and
lines
up
at
he
door
to
get
ready
to
leave
class.
5. Try
moving
the
swinging
eighth
note
pattern
to
beats
2
&
4
while
resting
on
beats
1
&
3.
.
KITTEN
WING
TIPS
Younger
children
will
need
to
practice
body
percussion
slowly
and
without
music
to
start
Then,
try
introducing
o ne
of
the
blues
tracks
so
children
can
feel
their
movements
with
the
music.
p.
11
C hugga
Train
Materials:
Flying
Jazz
Kittens
CD
open
blues
tracks
17-20
(your
choice),
CD
or
Mp3
player
(variations
on
this
activity
will
use
small
percussion
instruments
of
your
choice).
Purpose:
To
introduce,
feel,
and
move
to
beats
2
&
4
with
a
swing
style.
Skills:
Be
able
to
use
body
movements
and/or
small
percussion
instruments
to
emphasize
and
feel
beats
2
&
4
to
jazz
style
music.
Activity:
Students
form
a
single
line
behind
the
teacher.
The
teacher
tells
students
that
they
are
forming
a
jazz
chugga
train
today,
and
that
the
teacher
will
start
being
the
engine
of
the
train.
Students
follow
the
teacher
in
a
single
file
around
the
room.
The
teacher
models
the
following
movements
for
the
students
to
try:
1.)
Take
one
step
forward
on
beat
1,
and
say
chugga
out
loud
on
beat
2.
2.)
Take
another
step
forward
with
the
other
foot
on
beat
3,
and
say
chugga
on
beat
4.
This
pattern
is
continued
slowly
at
first
as
the
jazz
chugga
train
begins
to
move
around
the
room.
After
a
few
minutes
of
practice,
the
teacher
stops
the
train
by
calling
out:
Train
Stop,
woot,
woot!
while
bending
her
arm
with
a
pulling
down
motion
on
woot,
woot!
(Children
like
this
part,
and
can
join
in
.)
The
train
stops,
and
the
teacher
goes
to
the
end
of
the
line
to
become
the
caboose
of
the
train.
The
student
who
was
directly
behind
the
teacher
now
gets
to
be
the
train
engine,
and
the
activity
continues
in
this
manner,
giving
as
many
turns
as
you
can.
Make
sure
children
are
moving
to
the
beat
established
by
the
group
as
consistently
as
possible,
and
continue
to
model
the
movements
for
them.
Once
the
movements
have
been
practiced
and
the
students
are
comfortable,
try
playing
an
open
blues
track,
and
have
the
children
try
their
movements
to
the
beat
of
the
music.
(A
slower
tempo
track
is
recommended
to
start.)
p.
12
C hugga
Train
Variation s:
1. Various
small
percussion
instruments
can
be
added
to
the
chugga
train
once
the
activity
has
been
practiced
several
times.
Children
would
then
play
and
say
chugga
with
their
instrument
in
the
train
line.
2. Try
a
faster
blues
track
while
maintaining
the
same
movements
and
adding
instruments
(great
challenge
for
older
elementary
children).
Chugga
Train
Movements:
KITTEN
WING
TIPS
Students
will
need
to
be
reminded
to
take
turns
being
the
train
engine,
KITTEN
WING
TIPS
and
that
everyone
may
not
get
a
Teaching
the
chugga
train
movements
slowly,
and
practicing
turn
on
the
same
day,
and
this
is
ok.
There
will
be
other
opportunities!
them
without
the
music
first
is
the
key
to
success,
especially
with
younger
students.
p.
13
S cat
Cards
Materials:
Flying
Jazz
Kittens
CD
open
blues
tracks
17-20
(your
choice),
CD
or
Mp3
player,
scat
cards
(you
can
make
copies
and
laminate
cards
yourself;
words
are
located
on
the
last
pages
of
the
book.)
Purpose:
To
introduce
and
pat
out
jazz
style
rhythms
and
phrases
using
scat
words.
Skills:
To
be
able
to
match
body
percussion
and
speech
in
a
jazz
rhythmical
feel
with
the
music.
Activity:
Students
are
seated
in
a
circle.
Explain
to
students
that
scat
words
are
fun
and
silly
words
used
in
jazz
when
someone
wants
to
sing
a
jazz
solo.
Using
these
words
is
called
scatting.
You
might
also
want
to
mention
to
students
that
a
solo
is
when
someone
sings
or
plays
music
on
his/her
own,
and
it
is
a
great
way
to
express
yourself.
Let
students
know
that
they
are
going
to
learn
some
scat
words
today
so
that
they
can
scat
and
play
jazz
solos,
too.
While
playing
one
of
the
blues
tracks,
hold
up
a
scat
card
for
the
students
to
see.
The
teacher
then
says
the
scat
word
out
loud
to
the
beat
of
the
music.
Students
are
then
invited
to
echo
the
teacher
in
the
same
manner.
Continue
this
process
for
each
scat
word,
one
at
a
time
to
start.
Once
you
have
spoken
the
words,
try
saying
and
patting
the
words
out
loud
to
the
beat
of
the
music.
The
children
will
have
a
lot
of
fun
with
this
activity
because
they
love
to
say
these
words!
KITTEN
WING
TIPS
When
presenting
the
scat
words,
make
sure
to
say
the
words
out
loud
for
younger
students
who
are
just
learning
how
to
read.
Older
children
will
be
able
to
read
the
words
quickly
after
a
one
time
introduction.
p.
14
S cat
Card
Variation s:
1. Let
a
student
come
to
the
front
of
the
room
and
hold
up
a
scat
card
for
the
class.
(Older
children
will
be
able
to
read
the
card
out
loud,
younger
students
may
need
help
pronouncing
the
words.)
2. Go
through
the
scat
word
cards
at
a
quicker
pace
and
increase
the
tempo
of
this
exercise
once
students
are
more
familiar
with
the
words.
3. Try
holding
up
two
scat
word
cards
side
by
side
and
saying
them
one
after
another.
This
helps
to
form
the
beginnings
of
a
jazz
phrase.
4. Give
each
student
a
small
percussion
instrument.
Try
saying
and
playing
the
rhythm
of
the
scat
word
using
the
instruments.
With
practice,
children
can
learn
to
pass
different
percussion
instruments
around
the
circle
so
that
they
can
play
and
say
scat
words
on
different
percussion
instruments
during
the
activity.
(Make
sure
you
practice
this
slowly
without
music
with
your
younger
students;
see
Switch-A
Roo
p.
24.)
5. With
practice,
older
children
can
pick
their
own
scat
words
to
say
and
play
or
pick
from
the
scat
word
list.
(The
scat
word
list
is
located
in
the
back
of
the
book.
You
are
welcome
to
make
copies,
enlarge,
and
laminate
it
into
a
poster
for
classroom
use.)
See
if
students
can
say
and
play
two
words
in
a
row,
three
words
in
a
row,
four
words
in
a
row.
A
game
can
be
created
from
this:
see
which
students
can
say
or
play
the
most
scat
words
in
a
row
without
stopping.
6. Let
students
make
up
their
own
scat
words
to
play
and
say.
7.
This
activity
can
be
transferred
to
xylophones
and/or
recorders.
The
rhythm
of
the
scat
word
or
words
is
played
and
said
out
loud
on
the
instruments.
The
teacher
provides
the
correct
scale
or
notes
on
the
instruments
for
the
students,
and
then
plays
the
corresponding
Flying
Jazz
Kitten
CD
tracks.
(For
more
information,
see
the
xylophone
section
of
this
book,
p.
28.)
p.
15
S cat
Echoes
Materials:
Flying
Jazz
Kittens
CD
open
blues
tracks
17-20
(your
choice),
CD
or
Mp3
player,
scat
cards,
scat
word
list,
1
large
drum.
Purpose:
To
feel
and
play
jazz
style
rhythms
on
an
instrument.
Skills:
Being
able
to
play
and
say
a
jazz
style
rhythm
on
the
drum
in
in
time
with
the
music.
Activity:
Students
are
seated
in
a
circle
with
the
blues
track
playing.
The
teacher
begins
the
activity
by
sitting
at
the
head
of
the
circle
with
a
large
drum,
and
saying
a
scat
word
out
loud
while
playing
the
rhythm
of
the
word
with
the
music.
Students
echo
the
teacher
by
repeating
the
scat
word
out
loud
and
patting
the
rhythm
of
it
with
the
music.
This
pattern
is
repeated
several
times
with
different
scat
words.
After
practicing
this
for
a
while,
allow
each
student
around
the
circle
to
come
up
to
the
drum
individually
and
say
and
play
a
scat
word
out
loud
with
the
music
for
the
class.
The
rest
of
the
class
echoes
the
word
from
their
seats
by
saying
it
and
patting
it
out
loud
with
the
music.
This
process
continues
until
everyone
has
had
a
turn.
For
older
children,
a
scat
word
list
that
is
posted
where
they
can
see
it
is
helpful
so
that
they
can
choose
a
scat
word.
For
younger
children,
the
teacher
may
need
to
verbally
give
a
scat
word
to
play
and
say
out
loud
if
they
cannot
think
of
one
on
their
own
or
do
not
read
yet.
KITTEN
WING
TIPS
This
can
be
a
fun
e xercise
to
teach
a
rhythm
of
any
song
that
needs
some
review.
KITTEN
WING
TIPS
If
a
student
misses
tapping
out
a
scat
word
syllable
or
forgets
to
say
the
word
while
playing
it,
have
the
student
do
it
again
after
you
model
it
for
them
one
more
time.
p.
16
S cat
Echoes
Variat ions :
1. With
practice,
have
students
try
playing
and
saying
two
scat
words
in
a
row.
Then
go
for
three
or
four
in
a
row
to
increase
the
length
of
the
rhythmic
phrase
being
played.
2.
Try
a
faster
CD
open
blues
track.
3.
The
teacher
can
change
vocal
inflections
and
accents
on
the
syllables
of
the
scat
word
and
have
students
echo
it.
4.
After
some
practicing,
allow
a
student
to
be
the
leader
of
the
activity.
5.
This
activity
can
be
transferred
to
xylophones
and/or
recorders.
The
rhythm
of
the
scat
word
or
words
is
played
and
said
out
loud
on
the
instruments.
The
teacher
provides
the
correct
scale
or
notes
on
the
instruments
for
the
students,
and
then
plays
the
corresponding
Flying
Jazz
Kitten
CD
tracks.
(For
more
information,
see
the
xylophone
section
of
this
book,
p.
28.)
p.
17
S cat
Ga mes
Materials:
Flying
Jazz
Kittens
CD
open
blues
tracks
17-20
(your
choice),
CD
or
Mp3
player,
scat
cards,
scat
word
list
(variations
use
small
percussion
instruments
of
your
choice).
Purpose:
Become
more
familiar
with
jazz
style
rhythms
using
scat
words
with
music;
begin
to
hear
and
create
phrases.
Skills:
To
be
able
to
say
and
play
scat
words
in
time
with
the
music;
to
be
able
to
create
small
jazz
style
phrases
using
scat
words
and
percussion
instruments.
Activity:
Students
sit
in
a
circle
with
the
blues
track
playing.
The
teacher
counts
out
loud
to
the
beat
of
the
music
one,
two,
three,
holds
up
a
scat
card
to
the
class,
and
points
to
a
student
in
the
circle.
The
student
then
pats
and
says
the
scat
word
out
loud
in
time
with
the
music.
For
younger
students,
the
teacher
can
say
the
word
out
loud
when
holding
the
card
up
and
pointing
to
a
student.
This
way,
if
a
young
student
cannot
read
yet,
he
or
she
can
simply
hear
the
scat
word
being
said,
and
then
pat
it
and
say
it
out
loud.
KITTEN
WING
TIPS
Feel
free
to
change
the
inflections
in
your
voice
when
presenting
these
scat
words.
Its
fun
and
keeps
students
alert
and
listening.
KITTEN
WING
TIPS
If
a
child
says
and
pats
a
scat
word
completely
out
of
time
from
the
music,
demonstrate
again
to
the
student
how
the
scat
word
sounds,
and
how
it
is
patted
with
a
slower
tempo.
Have
the
student
practice
and
try
a gain.
p.
18
S cat
Games
Variat ions:
1. Have
each
student
play/say
a
scat
word
on
a
small
percussion
instrument
in
place
of
patting.
2.
Allow
another
student
in
the
circle
to
count
one,
two,
three,
and
then
point
to
someone
in
the
circle
to
say
his
scat
word
out
loud
for
the
class.
3.
Have
students
memorize
their
scat
word
when
they
are
pointed
to,
then
pat
out
the
rhythm
of
the
word
while
they
say
it
out
loud.
A
small
percussion
instrument
can
be
used
to
play
the
rhythm
of
the
word
in
place
of
patting.
4.
Students
can
play
and
say
the
rhythm
of
their
memorized
scat
word
on
a
large
drum
in
the
center
of
the
circle.
5.
Reverse
the
process
and
give
each
student
a
card
to
hold,
and
let
the
teacher
or
class
leader
count
one,
two,
three,
point
to
a
student,
and
then
that
student
says
and
pats
or
plays
his/her
scat
card
out
loud.
6.
Each
student
can
hold
a
scat
card,
count
themselves
off
one,
two
,
three,
pat
or
play
and
say
his/her
scat
word,
and
then
point
to
another
student
so
that
every
one
in
the
class
can
have
a
turn.
7.
Give
students
more
than
one
scat
card
or
a
series
of
scat
words
to
hold.
See
if
they
can
say
all
the
words
they
have
in
a
row
with
the
music.
8.
This
activity
can
be
transferred
to
xylophones
and/or
recorders.
The
rhythm
of
the
scat
word
or
words
is
played
&
said
out
loud
on
the
instruments.
The
teacher
provides
the
correct
scale
or
notes
on
the
instruments
for
the
students,
and
then
plays
the
corresponding
Flying
Jazz
Kitten
CD
tracks.
(For
more
information,
see
the
xylophone
section
of
this
book,
p.
28.)
p.
19
L ine
Up
Materials:
Flying
Jazz
Kitten
CD,
open
blues
tracks
17-20
(your
choice),
CD
or
Mp3
player,
scat
word
cards,
small
percussion
instruments.
Purpose:
To
create
a
jazz
style
rhythmic
phrase
in
time
with
music;
to
work
with
a
group.
Skills:
To
be
able
to
say
and
play
jazz
style
rhythms
fluently
in
small
phrases;
to
be
able
to
work
with
a
large
group
to
create
music.
Activity:
Students
are
seated
in
a
half
circle
and
given
small
percussion
instruments
to
play.
Select
two
to
four
students
to
come
up
to
the
front
of
the
students
and
hold
up
scat
cards.
The
cards
should
be
held
in
a
row
across
so
that
the
students
looking
at
the
word
cards
can
read
them
left
to
right.
Going
across
the
row,
have
each
student
who
is
holding
a
scat
card
say
it
out
loud
to
the
class.
Next,
put
on
a
blues
track,
and
have
all
the
students
reading
the
cards
say
and
play
the
rhythm
of
each
scat
word
card
from
left
to
right
without
stopping.
This
will
form
a
longer
jazz
style
rhythmical
phrase.
Continue
this
process
so
that
each
student
gets
a
chance
to
be
a
scat
card
holder
and
many
turns
to
play
and
say
scat
word
phrases
on
the
small
percussion
instruments.
For
younger
children,
be
sure
to
help
pronounce
the
scat
words
correctly
and
slowly,
especially
if
they
are
not
reading
yet.
KITTEN
WING
TIPS
Using
various
small
percussion
instruments
adds
to
the
fun
of
this
activity.
Each
time
students
come
to
the
front
of
the
class
to
be
scat
card
holders,
other
students
sit
in
their
p lace,
and
can
have
a
chance
to
play
a
different
instrument.
p.
20
L ine-Up
Variation s :
1. Try
a
slightly
faster
blues
track.
2. Increase
the
number
of
scat
word
cards
that
are
held
up
in
a
row
to
the
class.
3. Have
the
students
try
memorizing
a
line
of
scat
words
after
a
few
practices
and
see
if
they
can
remember
the
entire
phrase
by
playing
it
on
their
instruments
while
saying
the
words
out
loud.
4.
This
activity
can
be
transferred
to
xylophones
and/or
recorders.
The
rhythm
of
the
scat
word
or
words
is
played
&
said
out
loud
on
the
instruments.
The
teacher
provides
the
correct
scale
or
notes
on
the
instruments
for
the
students,
and
then
plays
the
corresponding
Flying
Jazz
Kitten
CD
tracks.
(For
more
information,
see
the
xylophone
section
of
this
book,
p.
28.)
p.
21
3 -2-1
Game
Materials:
Flying
Jazz
Kitten
CD
open
blues
tracks
17-20
(your
choice),
CD
or
Mp3
player,
1
large
drum,
scat
cards.
Purpose:
To
become
familiar
with
jazz
style
rhythms
using
scat
words.
Skills:
To
be
able
to
play
and
say
a
jazz
style
rhythm
out
loud
in
time
with
the
music.
Activity:
Students
are
seated
in
a
circle
and
each
is
given
a
scat
card.
Place
the
large
drum
in
the
center
of
the
circle.
As
one
of
the
blues
tracks
is
playing,
the
teacher
points
to
a
student
in
the
circle
and
then
counts
out
loud:
Three,
two,
one,
to
the
beat
of
the
music.
The
student
then
has
those
three
seconds
to
approach
the
drum
and
play
and
say
the
scat
word
out
loud
to
the
beat
of
the
music.
Continue
around
the
circle,
giving
each
student
a
turn
in
the
same
fashion.
Encourage
students
to
play
and
say
their
scat
word
out
loud
to
the
beat
of
the
music
at
all
times.
For
younger
children,
you
can
simply
give
them
a
scat
word
to
say
verbally
if
they
cannot
read
them.
KITTEN
WING
TIPS
A
round
of
practice
on
the
movements
of
this
game
without
the
music
is
suggested.
Students
are
then
very
clear
on
what
to
do
when
they
are
pointed
to
and
have
three
seconds
to
come
up
to
the
drum.
p.
22
3-2-1
Game
Variatio ns:
1.
Pick
different
percussion
instruments
to
go
in
the
center
of
the
circle.
2.
Pass
one
small
percussion
instrument
around
the
circle
to
the
music.
When
the
teacher
says
3-2-1,
the
student
who
has
the
small
percussion
instrument
in
her
hand
on
the
number
1,
plays
and
says
her
scat
word
out
loud
for
the
class.
3.
Allow
a
student
to
be
the
leader
and
say
3-2-1,
and
point
to
a
fellow
classmate.
4.
This
activity
can
be
transferred
to
xylophones
and/or
recorders.
The
rhythm
of
the
scat
word
or
words
is
played
&
said
out
loud
on
the
instruments.
The
teacher
provides
the
correct
scale
or
notes
on
the
instruments
for
the
students,
and
then
plays
the
corresponding
Flying
Jazz
Kitten
CD
tracks.
(For
more
information,
see
the
xylophone
section
of
this
book,
p.
28.)
p.
23
Switch-A
Roo !
Materials:
Flying
Jazz
Kittens
CD
open
blues
tracks
17-20
(your
choice),
CD
or
Mp3
player,
small
percussion
instruments
Purpose:
Play
and
say
jazz
rhythms
fluently
in
small
phrases;
work
in
a
group.
Skills:
To
be
able
to
say
and
play
jazz
style
rhythms
on
instruments
quickly
and
fluently;
to
develop
eye
and
hand
coordination
when
playing
and
switching
instruments;
to
make
music
with
a
group.
Activity:
Students
form
a
circle,
sitting
or
standing.
Each
student
is
given
a
small
percussion
instrument
to
play.
(The
more
variety
you
can
use,
the
better.)
The
teacher
then
starts
then
game
by
putting
on
an
open
blues
track
and
saying
a
phrase
of
scat
words
out
loud
to
the
students.
The
students
then
echo
the
phrase
back
by
playing
it
on
their
instrument
and
saying
the
word
out
loud
with
the
music.
The
teacher
continues
the
echoing
with
a
few
more
scat
word
phrases,
and
the
students
respond
with
their
voices
and
instruments.
The
teacher
then
calls
out
Switch-a-roo,
you
know
what
to
do!
The
students
then
put
their
instruments
down
on
the
floor
or
chair
and
move
over
one
to
the
right.
The
student
then
picks
up
the
next
instrument
and
gets
ready
to
repeat
the
game.
This
continues
around
the
circle,
giving
students
a
chance
to
really
practice
saying
and
playing
jazz
phrases
as
well
as
playing
a
variety
of
instruments.
Once
the
children
are
comfortable
with
this
game,
the
teacher
can
add
singing
to
the
scat
words
while
playing
the
percussion
instruments.
You
can
also
experiment
with
slower
and
faster
blues
tracks.
Obviously,
younger
students
will
need
to
practice
moving
over
one
to
the
right
to
perfect
their
switch-a-roo.
Students
who
have
already
had
some
experience
with
echoing
scat
words
and
playing
small
percussion
instruments
will
catch
on
quickly
to
this
game.
p.
24
B lues
Form
Act ivity
Materials:
Flying
Jazz
Kitten
CD
open
blues
track
in
G,
CD
or
Mp3
player,
at
least
3
xylophones/glocks
&
mallets,
drums
or
other
non-pitched
classroom
percussion
instruments,
color-coded
blues
progression
map
drawn
poster-size
for
class
viewing,
or
draw
on
wipe
board
in
class.
Purpose:
To
familiarize
students
with
a
blues
progression
by
playing
through
the
form,
keeping
a
steady
beat
with
a
group
ensemble
Skills:
Form
identification,
steady
beat,
playing
with
a
group
Activity:
The
teacher
sets
up
the
room
in
the
shape
of
a
square.
Three
sides
of
the
square
are
set
up
with
xylophones,
glocks
or
resonator
bells.
The
last
side
is
set
up
with
drums
or
other
classroom
percussion.
On
each
side
of
the
square
with
xylos,
the
teacher
sets
up
specific
chord
tones
with
the
instrument
bars
that
are
found
in
each
chord
of
a
G
blues.
Please
note
that
in
a
blues
form,
all
of
the
chords
are
dominant
7th
chords.
The
set-up
is
as
follows:
Side
I-
The
I7
Chord
known
as
G7:
G-B-D-F
(Any
of
these
bars
are
placed
on
the
xylos
in
any
order.
The
other
bars
are
removed.)
Side
II-
The
IV7
Chord
known
as
C7:
C-E-G-Bb
(Any
of
these
bars
are
placed
on
the
xylos
in
any
order.
The
other
bars
are
removed.)
Side
III-
The
V7
Chord
known
as
D7:
D-F#-A-C
(Any
of
these
bars
are
placed
on
the
xylos
in
any
order.
The
other
bars
are
removed.)
Side
IV-
This
side
is
for
drums,
sticks,
or
other
non-pitched
percussion.
The
students
on
this
side
of
the
square
will
play
a
steady
beat
on
beats
1-4
throughout
the
form.
The
color-coded
blues
map
is
taped
in
a
place
where
all
the
students
in
the
square
can
see
it.
As
an
example,
color-coded
means
that
you
would
color
all
measures
of
the
I7
chords
green,
IV7
chords
blue,
and
the
V7
chords
red.
Obviously,
you
can
pick
any
three
colors
that
you
would
like.
(Please
refer
to
the
G
Blues
progression
map
on
p.
33
for
reference
when
creating
one
for
your
students.)
p.
25
Blues
Form
Activity
(Contd.)
Students
pick
or
are
assigned
to
a
side
of
the
square
and
either
pick
up
a
mallet
to
play
one
of
the
xylo
bars,
or
pick
a
drum
or
other
non-pitched
percussion.
Once
students
have
either
picked
or
been
assigned
a
spot
in
the
square,
the
teacher
lets
each
group
know
which
chord
and
color
they
will
be
playing.
The
black
slash
marks
that
are
found
throughout
the
blues
progression
represent
quarter
note
beats
going
constantly
through
the
form.
The
non-pitched
percussion
group
follows
and
plays
on
each
of
the
slash
marks
throughout
the
piece.
The
teacher
points
to
each
slash
mark.
When
the
measures
are
green,
the
I7
chord
group
will
play
quarter
notes
along
with
the
percussion
group
on
their
xylophone
bars.
(One
student
per
bar,
unless
you
have
a
small
group,
the
students
might
be
able
to
have
their
own
xylo
or
share
with
only
a
few
students.
In
this
case,
students
can
play
more
than
one
bar
at
a
time,
as
long
as
they
keep
a
steady
beat
and
play
only
during
their
color
group.)
When
the
measures
are
blue,
the
IV7
chord
group
will
play
their
quarter
notes
along
with
the
percussion
group.
When
the
measures
are
red,
the
V7
chord
group
will
play
their
quarter
notes
along
with
the
percussion
group.
The
goal
is
to
have
each
chord
group
keep
a
steady
beat
and
play
only
when
their
color
is
appearing
in
the
blues
progression
map.
At
first,
this
exercise
should
be
practiced
slowly
and
without
any
accompaniment.
As
the
students
become
more
fluent
and
familiar
with
the
blues
form,
they
will
start
to
hear
the
harmonic
progression
of
the
three
chords
in
the
context
of
the
blues
and
become
quite
proficient.
At
this
point,
the
teacher
can
add
the
CD
open
blues
track
in
G.
Students
can
then
try
to
keep
a
steady
beat
through
the
blues
form
with
the
CD.
Be
aware
that
the
group
will
have
to
start
right
with
the
first
beat
of
the
progression,
and
will
also
have
to
listen
carefully
to
keep
in
tempo
with
the
recording.
This
is
challenging,
but
also
a
lot
of
fun!
p. 26
Blues
Form
Activity
Variation s:
1. Try
using
only
non-pitched
percussion
in
the
square
formation.
This
is
especially
useful
if
you
do
not
have
enough
xylophones,
glocks,
or
bells
for
your
students
to
use.
You
can
still
assign
a
chord
&
color
to
each
group,
and
have
them
play
the
steady
beat
on
their
instrument
for
their
chord
and
color.
You
can
also
use
simple
body
percussion
or
singing
the
root
of
the
chord
in
place
of
other
instruments.
2.
This
activity
can
be
done
in
a
triangle
formation
as
well.
If
you
have
a
smaller
group
of
students
or
a
more
advanced
group,
you
can
leave
out
the
steady
beat
group
and
just
focus
on
the
three
chord
color
groups.
3.
One
of
the
groups
in
the
3
or
4-sided
formation
could
be
a
recorder
group.
Those
students
can
start
by
playing
the
root
of
the
chord
in
a
steady
quarter
note
beat
pattern.
The
teacher
can
add
more
patterns,
such
as
playing
the
other
chord
tones
or
changing
the
rhythm
of
the
pattern
to
make
it
more
fun.
4.
Try
a
switch-a
roo:
once
students
are
comfortable
playing
in
a
particular
color
chord
group,
have
students
rotate
so
they
can
try
playing
in
another
color
chord
group,
or
try
being
in
the
steady
beat
or
recorder
group.
p.
27
X ylophones
Many
of
the
activities
in
this
book
can
work
very
well
on
classroom
xylophones.
After
students
have
practiced
scatting
and
become
familiar
with
some
of
the
activities
in
this
book
using
non-pitched
percussion
instruments,
they
will
be
ready
to
transfer
their
knowledge
to
the
xylophones
Any
scat
words
or
phrases
that
your
students
have
practiced
through
singing
and
playing
on
body
percussion
or
non-pitched
classroom
instruments
can
now
be
played
on
the
xylophones.
Once
your
students
are
familiar
with
holding
mallets
and
can
play
the
xylophone
properly,
you
are
ready
to
start.
Students
begin
by
saying
the
scat
words
out
loud
while
playing
the
rhythm
of
the
words
on
the
xylophone
at
the
same
time.
In
other
words,
for
this
exercise,
singing
is
replaced
with
saying
the
scat
words
out
loud
and
then
playing
the
rhythm
of
those
scat
words
on
the
xylophone.
The
initial
focus
on
this
introductory
exercise
is
proper
playing
technique
and
playing
the
rhythm
of
scat
words
accurately
in
a
swing
style
on
the
xylophones.
The
notes
of
the
xylophones
are
not
of
any
concern
yet.
Students
should
feel
free
to
play
any
notes
they
wish.
No
accompaniment
or
music
is
added
during
this
exercise.
This
is
a
chance
for
students
to
get
used
to
playing
jazz-style
rhythms
on
the
xylophone
and
to
begin
to
say
and
play
these
rhythms
accurately.
Once
these
skills
have
been
practiced
and
students
are
comfortable
with
the
activity,
the
teacher
can
now
construct
specific
scales
on
the
xylophone
bars.
There
are
certain
scales
that
work
very
well
for
improvising
over
a
blues
form.
This
book
shows
teachers
some
of
these
scales
so
that
you
can
set
up
the
xylophone
bars
accordingly.
This
allows
students
to
focus
on
improvising
and
creating
jazz-style
phrases
within
a
blues
form.
There
are
no
wrong
notes
to
play,
so
students
will
feel
successful
and
free
to
play
and
improvise!
Please
refer
to
the
scale
choices
and
blues
progression
maps
pages
in
this
book.
The
blues
form
is
written
out
in
four
different
keys:
C,
G,
B
&
E.
If
you
are
not
sure
about
the
type
of
scales
to
use,
or
how
to
construct
a
scale
or
blues
form
to
use
for
your
classes,
these
pages
will
show
you
how.
Please
note
that
there
is
at
least
one
CD
track
that
your
students
can
play
along
with
for
every
scale
and
music
blues
map
activity.
Teachers
generally
find
that
once
they
try
these
exercises
a
few
times,
theyre
not
as
hard
as
they
thought
it
would
be.
Both
the
students
and
teachers
can
have
a
lot
of
fun!
p.
28
Recorders
For
children
who
have
some
basic
recorder
experience,
improvising
with
the
Flying
Jazz
Kittens
blues
tracks
is
so
much
fun!
In
particular,
playing
the
open
E
blues
track
while
playing
notes
from
the
E
minor
pentatonic
scale
works
very
well
on
soprano
recorders:
E-G-A-B-D.
(See
bottom
of
p.31.)
This
is
because
it
contains
three
notes:
B-A-G,
that
are
commonly
taught
on
beginning
recorder,
which
makes
this
accessible
for
your
students
to
play
and
improvise
on
their
recorders.
Please
refer
to
the
scale
choices
page
in
this
book
to
see
the
E
minor
pentatonic
scale
and
fingerings
for
the
recorder.
Using
scat
words
for
rhythms,
begin
by
having
students
play
only
the
note
B
while
articulating
the
rhythm
of
the
scat
words
on
the
recorders.
For
example,
students
play
the
rhythm
of
scoo-scat-scoo
on
the
recorders,
but
only
on
the
note
B.
The
teacher
then
says
or
taps
out
another
scat
phrase,
and
students
echo
the
rhythms
of
the
words
on
the
note
B.
As
students
become
more
comfortable
with
this
exercise,
the
teacher
can
add
the
note
A.
Now,
students
echo
the
rhythm
of
the
words
given
to
them
by
the
teacher
on
the
note
A.
At
this
point,
the
notes
B
and
A
can
now
be
combined.
The
teacher
says
and
taps
out
another
scat
word
phrase,
and
the
students
echo
the
rhythm
of
the
words
on
the
notes
B
and
A
in
any
order
they
wish.
This
continues,
adding
G
and
eventually
E,
and
D
as
the
students
progress
in
their
recorder
playing.
Before
you
know
it,
the
students
will
be
able
to
play
the
scale
fluently.
After
practicing
a
note
and
echoing
it
rhythmically
to
the
teachers
scat
phrase,
try
playing
along
with
the
open
E
blues
track.
The
E
minor
pentatonic
scale
is
harmonically
correct
to
work
over
the
entire
blues
form
at
any
time.
Because
of
this,
you
and
your
students
can
start
on
any
note
of
the
e
minor
pentatonic
scale
anywhere
in
the
form,
and
it
will
sound
pleasing
and
correct.
This
is
nice
to
know
because
it
takes
the
pressure
off
the
teacher
and
students
to
have
to
start
at
a
certain
place
in
the
accompaniment
track.
You
can
simply
have
fun
and
not
worry!
As
the
students
and
teacher
become
more
comfortable
with
this
exercise,
you
will
find
that
it
becomes
quite
natural
to
begin
improvising
on
your
own
using
the
notes
from
the
scale
on
the
recorder.
Students
can
start
by
doing
some
group
improvisation
where
everyone
is
playing
various
scale
tones
at
the
same
time
with
their
own
scat
word
rhythm
choices.
As
long
as
your
students
can
play
gently
and
with
focused
intention,
you
will
hear
that
everyone
is
sounding
good,
playing
with
purpose
and
with
appropriate
jazz
rhythmical
feel,
and
staying
in
the
key
of
the
E
blues!
As
students
progress
and
gain
more
confidence,
they
can
try
playing
actual
solos.
Each
student
takes
his/her
own
turn
soloing,
while
other
students
listen
and
wait
for
their
turns.
More
experienced
students
can
learn
to
play
one
of
the
blues
melodies
in
this
book
on
their
recorders.
Please
refer
to
the
Blues
Songs
pages
to
view
the
printed
melodies,
or
the
CD
tracks
to
hear
the
melodies
sung.
p. 29
Scale
Choices
When
playing
a
blues
in
the
key
of
E,
try
constructing
the
scales
listed
below
with
the
xylophone
bars.
Your
students
can
then
play
along
with
the
Flying
Jazz
Kitten
open
blues
track
in
E.
E
Blues
Scale
E-G-A-Bb-B-D-E
When
playing
a
blues
in
the
key
of
B,
try
constructing
the
scales
listed
below
with
the
xylophone
bars.
Your
students
can
then
play
along
with
the
Flying
Jazz
Kitten
open
blues
track
in
B.
B
Blues
Scale
B-D-E-F-F#-A-B
A
blues
scale
contains
both
the
natural
fifth
and
lowered
fifth
scale
degree.
(In
the
key
of
B,
F
#
and
F.)
A
minor
pentatonic
scale
only
contains
the
natural
fifth
scale
degree.
In
jazz,
a
lowered
fifth
is
commonly
referred
to
as
a
flatted
fifth,
or
flat
five
(b5).
Because
of
the
half
step
tension
between
the
fifth
and
flatted
fifth
of
the
blues
scale,
the
scale
produces
a
bluesy
sound
familiar
to
most
of
us
when
hearing
a
blues
solo.
Either
of
the
scales
will
work
just
fine
over
a
blues
form.
It
is
interesting
to
note
that
blues
in
the
key
of
E
or
B
are
not
as
commonly
played
as
a
blues
in
the
key
of
F
or
Bb
concert.
However,
in
the
elementary
music
classroom,
the
keys
of
E
and
B
allow
us
to
use
the
xylophone
bars
that
are
most
commonly
found
on
the
instruments:
C-D-E-F-G-A-B-C,
Bb
&
F#.
p.
30
S cale
Ch oices
(Contd. )
When
playing
blues
in
the
key
of
G,
try
constructing
the
scale
listed
below
with
the
xylophone
bars.
Your
students
can
then
play
along
with
the
Flying
Jazz
Kitten
open
blues
track
in
G.
G
Minor
Pentatonic
Scale
G-Bb-C-D-F-G
The
key
of
G
is
also
a
great
choice
if
you
would
like
to
set
up
chord
tones
on
the
xylophones
for
the
three
blues
chords
in
G:
I7:
G-B-D-F;
IV7:
C-E-G-Bb;
V7:
D-F#-A-C.
For
more
information
on
how
to
set
up
this
exercise,
read
Blues
Form
Activity
on
p.
25.
When
playing
a
blues
in
the
key
of
C,
try
constructing
the
tones
listed
below
with
the
xylophone
bars.
Your
students
can
then
play
along
with
the
Flying
Jazz
Kitten
open
blues
track
in
C.
C-F-G-Bb-C
(If
you
happen
to
have
an
Eb
bar,
bell
or
resonator
bar,
please
include
it!)
You
might
notice
that
this
is
not
a
complete
scale.
If
you
are
able
to
find
any
Eb
tones,
than
the
scale
would
be
a
complete
C
minor
pentatonic
scale.
Obviously,
it
is
not
the
first
choice
of
keys
when
constructing
an
exercise
with
the
xylophone
bars.
However,
it
is
included
in
this
book
because
the
key
of
C
is
a
common
key
for
vocals.
If
you
find
that
the
key
of
C
works
well
with
your
students
vocally,
and
you
want
to
include
a
playing
exercise
with
the
vocals,
then
you
can
use
this
option
to
keep
your
jazz
exercise
in
the
same key.
Recorders
The
E
minor
pentatonic
scale
is
the
best
choice
for
your
beginning
recorder
players,
because
the
scale
contains
notes
that
are
commonly
taught
in
beginning
recorder
class;
the
B-A-G
notes.
For
more
information
on
how
to
use
recorders
with
jazz
improvisation,
read
Recorders,
p.
29.
E G A B D
p.
31
C
Blue s
Prog ression
Ma p
p.
32
G
Bl ues
Progress ion
Map
Track
#
18-Open
blues
track
in
G
6
choruses
Intro:
4
clicks
Time:
3:35
= 100
p.
33
B
Blue s
Prog ression
Ma p
Track
#
19-Open
blues
track
in
B
6
choruses
Intro:
4
clicks
Time:
3:30
=
88
p.
34
E
Blues
Progres sion
Map
Track
#
20-Blues
Track
in
E
6
choruses
Intro:
4
clicks
Time:
2:53
=
108
p.
35
Swing in
The
Blues
A way
in
C
Track
#1
Melody
2 xs
Time:
3:58
5
open
choruses
Intro:
4
clicks
plus
4
measures
Melody
2 xs
&
coda
ending
=
120
2004
Doubletazz
Music
Composed
by
Sherry
Luchette
Suggested
Tracks:
Suggested
Pattern:
#1-Instrumental
with
vocals
C-F-G-Bb-C
(add
Eb
if
available)
#9-Instrumental
only
#17-Open
blues
track
in
C
p.
36
Swingin
The
Bl ues
A way
in
E
Track
#
2
Melody
2xs
Time:
3:56
5
open
chouses
Intro:
4
clicks
plus
4
measures
Melody
2xs
&
coda
ending
=
120
p.
38
N o
Math
Blues
in
B
Track
#4
Melody
2
xs
Time:
3:43
5
open
choruses
Intro:
4
clicks
plus
4
measures
Melody
2xs
&
coda
ending
=
126
No
Math
Blues
C-Jam
Blues
by
Duke
Ellington
1942
(renewed
1969)
by
Famous
Music
Corp.
U SA;
This
arrangement
2004
by
Famous
Music
Corp.
U SA
Rights
outside
USA
controlled
by
E MI
Robbins
Catalog,
Inc.
&
Warner
Bros.
Publications
U.S.
International
copyright
secured.
All
rights
reserved.
Suggested
Tracks:
Suggested
Patterns:
#4-Instrumental
with
vocals
B-D-E-F-F#-A-B
(B
blues
scale)
#12-Instrumental
only
B-D-E-F#-A-B
(B
minor
pentatonic
scale)
#19-Open
blues
track
in
B
p.
39
S cooby
Doo
Blues
in
G
Scooby
Doo
Blues
Blues
by
Five
by
Red
Garland
1965
Prestige
Music
(BMI)
Courtesy
of
Fantasy,
Inc.
All
rights
reserved.
Used
by
permission.
Suggested
Tracks:
Suggested
Pattern:
#5-Instrumental
with
vocals
G-Bb-C-D-F-G
(G
minor
pentatonic
scale)
#13-Instrumental
only
#18-Open
blues
track
in
G
p.
40
S cooby
Doo
Blues
in
E
Scooby
Doo
Blues
Blues
by
Five
by
Red
Garland
1965
Prestige
Music
( BMI)
Courtesy
of
Fantasy,
Inc.
All
rights
reserved.
Used
by
permission.
Suggested
Tracks:
Suggested
Pattern:
#6-Instrumental
with
vocals
E-G-A-Bb-B-D-E
(E
blues
scale)
#14-Instrumental
only
E-G-A-B-D-E
(E
minor
pentatonic
scale)
#20-Open
blues
track
in
E
p.
41
Freddie
Cat
Blues
in
G
Track
#7
Melody
2xs
Time:
4:39
5
open
choruses
Intro:
4
clicks
plus
4
measures
Melody
2xs
&
coda
ending
=
104
SCOOBY
SHOOBY
SKIDDLEY
DOOBY
SCOO
WOP
BUM
WAP
BAM
BOP
DO-DAT
SCAT
WAH-WAH
WOOBY
p.
46
SCOOBY
SHOOBY
SKIDDLEY
________________________________________________________________________________________________________________________________________
DOOBY
SCAT
________________________________________________________________________________________________________________________________________
SCOO
WOP
________________________________________________________________________________________________________________________________________
BUM
WAP
_________________________________________________________________________________________________________________________________________
BAM
BOP
DO-DAT
WOOBY
________________________________________________________________________________________________________________________________________
WAH-WAH
About
the
Author
Sherry
Luchette
has
combined
her
love
and
expertise
as
a
jazz
bassist
with
her
love
of
introducing
jazz
music
to
young
students.
The
result
is
the
creation
of
her
first
book
and
CD
set,
The
Flying
Jazz
Kittens,
Volume
1.
Sherry
has
presented
numerous
clinics
and
workshops
to
teachers,
college
students,
and
elementary
students
across
the
country.
She
has
been
a
presenter
for
several
state
MENC
events,
national
MENC
division
events,
the
JEN
(Jazz
Educators
Network)
conference,
head
chair
of
the
JEN
elementary
jazz
K-8
committee,
as
well
as
presenting
internationally
at
the
International
Society
of
Music
Education
Conference
(ISME).
Sherry
continues
to
be
in
demand
as
a
clinician
for
teachers
interested
in
implementing
jazz
into
their
general
music
programs,
as
well
as
working
with
young
children
in
various
music
camp
and
school
residency
programs.
Sherry
has
also
developed
her
own
jazz
outreach
program
called
Music
Kittens.
Using
live
and
recorded
music,
Music
Kittens
is
an
interactive
assembly
program
where
children
not
only
listen
to
jazz,
but
get
to
participate
in
the
music
making
process.
Music
Kittens
has
been
in
demand
as
part
of
UCLAs
design
for
sharing
outreach
program
for
the
last
five
years,
and
has
also
made
appearances
at
The
Lionel
Hampton
Jazz
Festival
as
part
of
their
jazz
outreach
programming.
Sherry
earned
her
BM
in
music
education
from
Youngstown
State
University,
and
her
MM
in
Bass
performance
from
Cleveland
State
University.
Her
teaching
experience
includes
early
childhood
music,
elementary
and
middle
school
general
music,
as
well
as
music
theory
and
high
school
jazz
combo
coaching.
For
eight
years,
Sherry
taught
general
music
in
grades
K-3
and
6-8
at
The
Buckley
School
in
Sherman
Oaks,
Ca.
Currently
she
is
teaching
privately
on
both
bass
and
piano,
as
well
as
general
music
classes
for
3
-5
year
olds
at
The
Sherman
Oaks
Nursery
School.
Sherry
also
continues
to
freelance
as
a
jazz
bassist
in
the
Los
Angeles
area.
Other
Books
&
CDs
by
Sherry
Luchette :
The
Flying
Jazz
Kittens,
Volume
2:
Jazz
Music
Stories
For
updates,
clinician,
w orkshop,
and
elementary
jazz
resource
information:
E-mail:
doubletazz@mac.com
Site:
www.luchettebass.com
Phone:
(818)
981-6144
p.
54
The
Musicia ns
Tamir
Hendelman
Tamir
is
an
Israeli-born
award-winning
jazz
pianist
and
composer.
He
began
his
keyboard
studies
at
age
six,
and
Tanglewood
and
a
composition
degree
from
t he
Eastman
School
of
Music
followed.
Tamir
has
been
a
longtime
member
of
the
Jeff
Hamilton
Trio
and
t he
C layton-Hamilton
Jazz
Orchestra.
He
has
p erformed
and
recorded
with
James
Moody,
Barbra
Streisand,
John
Pizzarelli,
Tierney
Sutton,
and
numerous
others.
Tamir
is
also
a
lecturer
in
jazz
at
UCLA
and
has
taught
m usic
clinics
in
Europe,
Israel,
Japan
and
throughout
the
US.
Jennifer Barnes
Jennifer
is
a
highly
sought-after
vocalist,
clinician
and
vocal
arranger.
She
has
d irected
award-winning
vocal
jazz
ensembles
and
taught
p rivate
jazz
voice,
piano
and
improvisation
at
7
universities,
as
well
as
conducting
All-State
Vocal
Jazz
C hoirs
in
12
states.
Jennifer
has
released
highly
acclaimed
CD
recordings
both
as
a
j azz
soloist
and
with
the
professional
a
cappella
vocal
group
Sixth
Wave.
Her
voice
has
been
featured
in
television,
radio
&
films
including
Wall-
E,
Ice
A ge
2
&
3,
Enchanted,
Star
Trek,
and
the
Fox
smash
hit
Glee.
Steve Barnes
Steve
is
an
accomplished
d rummer
and
educator,
having
played
with
musical
greats
Hal
Galper,
Roberta
Gambarini,
Eddie
Harris,
Jay
Leonhart,
the
New
York
Voices,
Diane
Schuur,
Sonny
Stitt,
Tierney
Sutton,
Bill
Holmans
Big
Band,
and
the
Tommy
Dorsey
B ig
B and.
Steve
is
currently
drumming
for
t he
ABC
family
show
The
Secret
Life
of
the
American
Teenager.
He
has
over
30
years
experience
of
p rivate
teaching,
and
has
taught
d rums
at
the
Univeristy
of
C incinnati,
and
on
the
faculty
of
t he
Jamey
Aebersold
Summer
Jazz
Workshops.
p.
55
CD
T ra ck
L isting
&
Cred its
Full
Performance
1.
Swingin
the
Blues
Away
in
C
3:58
2.
Swingin
the
Blues
Away
in
E
3:56
3.
No
Math
Blues
in
C
3:42
4.
No
Math
Blues
in
B
3:43
5.
Scooby
Doo
Blues
in
G
3:53
6.
Scooby
Doo
Blues
in
E
3:52
7.
Freddie
Cat
Blues
in
G
4:39
8.
Freddie
Cat
Blues
in
E
4:39
Instrumental
Performance
Only
9.
Swingin
the
Blues
Away
in
C
3:57
10.
Swingin
the
Blues
Away
in
E
3:56
11.
No
Math
Blues
in
C
3:42
12.
No
Math
Blues
in
B
3:44
13.
Scooby
Doo
Blues
in
G
3:53
14.
Scooby
Doo
Blues
in
E
3:51
15.
Freddie
Cat
Blues
in
G
4:39
16.
Freddie
Cat
Blues
in
E
4:30
17.
Blues
Track
in
C
2:40
18.
Blues
Track
in
G
3:35
19.
Blues
Track
in
B
3:30
20.
Blues
Track
in
E
2:53
Instrumentalists/Vocalists
Credits
Jennifer
Barnes-
Vocals
Swingin
the
Blues
Away
(Tracks
1,2,9,10)
Tamir
Hendelman-
Piano
Composed
by
Sherry
Luchette
Sherry
Luchette
Acoustic
Bass
2004
Doubletazz
Music;
ASCAP
Steve
Barnes-
Drums
No
Math
Blues
(Tracks
3,4,11,12)
Recorded
at:
Big
City
Recording
Studio
C
Jam
Blues
Composed
by
Duke
Ellington
Chatsworth,
Ca.
1944,1971
Famous
Music
Corp;
ASCAP
Music
Engineering
&
Mastering:
Paul
Taverner
Scooby
Doo
Blues
(Tracks
5,6,13,14)
Arrangements,
recording
&
production:
Blues
by
Five
Composed
by
Red
Garland
Sherry
Luchette
1965
Prestige
Music;
BMI
Art
Work:
Tiffany
Harris
Graphics
&
Printing:
Arnolds
Copy
&
Freddie
Cat
Blues
(Tracks
7,8,15,16)
Printing
Studio
City,
Ca.
Nows
The
Time
by
Charlie
Parker
1945,
1973
Atlantic
Music
Corp;
BMI
Elementary
jazz
programs,
clinics,
and
workshops:
w ww.luchettebass.com
or
call
(818)
981-6144.
p.
56