Table of Content

CHAPTER ONE: INTRODUCTION​…………………………………………………………...1

Purpose of Study, Research Scope and Key Questions​………………………………..3
Delimitation of Study​……………………………………………………………………….. 4

CHAPTER TWO: LITERATURE REVIEW​…………………………………………………...5

Transition From Classical To Jazz​………………………………………………………...5
Instructional Approach​……………………………………………………………………... 8
Solos Transcription​…………………………………………………………………………. 9
Improvisation and Evaluation​………………………………………………………….. 11

CHAPTER THREE: RESEARCH METHODOLOGY​……………………………………...15

Research Methods and Design​…………………………………………………………..16
Data Collection, Sources and Analysis​…………………………………………………. 18
Research Ethics​…………………………………………………………………………... 20

CHAPTER FOUR: FINDINGS​………………………………………………………………. 22

Participants Interviews​…………………………………………………………………….22
Data Interpretation​………………………………………………………………………... 24
Discussion And Evaluation​………………………………………………………………. 27

CHAPTER FIVE: SUMMARY AND CONCLUSION​……………………………………….30

Research Summary​………………………………………………………………………. 30
Research Conclusion​……………………………………………………………………...31

REFERENCES​………………………………………………………………………………... 33

APPENDIX A: Participant #1 Transcripts​………………………………………………...36

APPENDIX B: Participant #2 Transcripts​………………………………………………...39
CHAPTER ONE: INTRODUCTION

The stylistic diversity in jazz music has led to difficulty to reach consensus of a
single definition. Still, Mark C. Gridley has regarded that both improvisation and jazz
swing feeling are the two elements commonly found in most jazz styles.1 In additional
context other than the two, Mervyn Cooke and David Horn have related jazz with
syncopation, blues feeling, call-and-response organisation as well as harmonic
complexity.2 It is widely perceived that improvisation is the spontaneous creation of
music. According to Jerry Coker, there are five main factors which affect improvisation
of a jazz player, namely, intuition, intellect, emotion, sense of pitch, and habit.3 He also
further stated that the four factors are generally subconscious except for intellect which
is responsible for ear training and to establish many helpful finger patterns. The latter
(intellect) is the only fully controllable factor which Coker emphasized solely in to
approach the difficulty in playing jazz. For the same reason, there are a number of
recurring problems jazz musicians encounter in the area of improvisation since it
involves other uncontrollable measures.

For instance, John Charles Paulson observed a group of college students

associated with beginning jazz improvisation class and jazz performance groups
encounter difficulty in executing effective improvisation.4 On the other hand, Richard
Andrew Schwartz in his past experience found difficulty performing long phrases of
improvisation and from one key area to another during his early study in jazz music.5

1
Mark C. Gridley, ​Jazz Styles: History and Analysis​, 9th ed (Tiffin, Ohio: Pearson Prentice Hall, 2005), 4.
2
Mervyn Cooke and David Horn, ​The Cambridge Companion To Jazz​, (New York: Cambridge University
Press, 2002), 114.
3
Jerry Coker, ​Improvising Jazz​, (New York: Simon and Schuster, 1986), 3.
4
John Charles Paulson, “The Development of an Imitative Approach to Improvising Effective Melodic
Statements In Jazz Solos” (Doctoral dissertation, University of Washington, 1985), 1, accessed March 5,
2018, Proquest Dissertation & Theses.
5
Richard Andrew Schwartz, “Transitions: A Graduated Method That Improves Jazz Musician’s Facility
and Improvisational Skills Through Use of the Major Scale and Sequenced Harmonic Motion” (Doctoral
dissertation, Boston University College of Fine Arts, 2010), vi, accessed March 12, 2018, Proquest
Dissertation & Theses.
1
Pedagogy wise, Anthony Maceli pointed from his view as an educator, for years
instructors have struggled with concept of how to teach jazz improvisation effectively.6

Hence, many researches have been done and published revolving the area in
jazz improvisation. Suggestive methods on how to improvise effective melodic and
rhythmic statement have been examined and proposed. Some focused on chordal
and/or scale systems while some examined exclusively on the rather significant
rhythmic elements in jazz pedagogy as well as learning experience. Schwartz has
​ hich include
proposed a formulated jazz method in his dissertation called ​Transitions w
patterns and perpetual motion, transitioning scales and non triadic tones, proper
articulations, and method of application.7 Though, the formation of this method is more
relevant for advanced jazz player with a certain extent of knowledge and experience in
the related field. For Coker, the knowledge of a jazz player is important which at
minimum has to cover (1) length of tune, (2) thematic and harmonic construction, (3)
tonality of tune and modulation involved, (4) chords progression and their relation, (5)
scales which fit the chords and tune, and (6) emotional equality or mood of the tune.8

One of the many other suggestive instructional approaches in jazz training is

transcription. Acevedo has conducted a research to explore and study the development
of saxophone technique in jazz idiom by means of interview with five experienced
pedagogues as participants. He demonstrated that solo transcription served as an
effective pedagogy for undergraduate saxophonists.9 However, there is a slight
negligence concerning how these suggestive jazz improvisation methods may affect
students from different background.

6
Anthony Maceli, “Cultivating the Imaginative Ear For Jazz Improvisation: A Study In Three Settings”
(Doctoral dissertation, Columbia University, 2009), 3, accessed March 2, 2018, Proquest Dissertation &
Thesis.
7
Schwartz, 10.
8
Coker, 4.
9
Andre Miguel Acevedo, “Jazz Solo Transcriptions As Technical and Pedagogical Solutions For
Undergraduate Jazz Saxophonists” (Doctoral dissertation, Graduate College of University of Illinios,
2014), 125, accessed March 15, 2018, Proquest Dissertation & Thesis.
2
 In light observation, a large number of music students enrolled in undergraduate
jazz-related music programme in Malaysia are from classically trained background. For
clarification purpose, ​jazz-related music programme ​in this research refers to tertiary
education which provide training in the area of improvisation and swing as well as jazz
theoretical and aural lesson. Since jazz may technically relates to a broad range of
genres from swing, cool jazz, bop, modal jazz and free jazz, to name a few, there is no
existing programme which covers training for these diverse jazz styles. Hence, the
scope in this study is narrowed to both improvisation and swing feeling which are
perceived as the most distinguishable elements of jazz as discussed earlier.

There is also a significant number of music students who developed from

particular skill of playing by ear with extensive hearing ability. The remaining are
comprised of those who practiced from commercial/popular music, those from jazz
music background and self taught amateur. Solo transcription may not affect music
students of different background the same way in learning jazz improvisation. Thus, this
area should be explored to gain insight on students’ experience in learning jazz
improvisation through solos transcription.

Purpose of Study, Research Scope and Key Questions

The purpose of the research is to examine how solo transcription affect learning
experience in improvisation of new beginner jazz students of classically trained
background over two months duration. The research questions which guided this study
are as below;
● How do new beginner jazz students with classically trained background adapt to
learn jazz improvisation from solos transcription?
● What are the difficulties and challenges faced by these students in the practice of
solos transcription?

3
 ● What are the students’ perception in learning jazz improvisation from solos
transcription?
● To what extent does solos transcription help in the progress of these students to
execute effective melodic and/or rhythmic improvisation in two months duration?

Delimitation of Study

The central focus of the research is targeting group of beginner jazz students of
piano major. Emphasis is given solely on piano majors as the study sample to fill the
void in exploration of transcription experience relating to their musical backgrounds.
This study does not involve other instrument major and assumption is made that the
study can be general representative of transcription experience in relation to musicians’
background. The sample size for this study is rather small as the research is likely a
preliminary exploration in this area. However, further potential research study could be
explored in depth from the findings of this study.

4
CHAPTER TWO: LITERATURE REVIEW

The key terms used to search for review of literature in this study included jazz,
improvisation, solos transcription, imitation, classical to jazz transition, as well as jazz
improvisation evaluation. To organise the sources, information and supporting materials
in a systematic approach, this chapter will include four sections; (1) transition from
classical to jazz, (2) instructional approach, (3) solos transcription, and (4) Improvisation
and evaluation.

Transition From Classical To Jazz

Gunther Schuller was once a veteran musician and composer in both classical
and jazz genres before his death in 2015 according to The New York Times.10 The late
Schuller has coined the term ​Third Stream music which drew forms and resources from
classical and jazz music. His book “Early Jazz: Its Roots And Musical Development” has
provided some brief information on how jazz may differ from classical music. Rhythm
and inflection are the two most distinctive elements that may distinguish jazz from the
other Western music.11 In rhythm, it is the quality jazz musician call ​swing and the
consistent ​democratization ​of rhythmic values.​ Louis Armstrong has stated that if you
don’t feel it, you’ll never know what it is. ​Schuller however in reference to the quote,
provided more insight to the term ​swing ​which is explained as a regular steady pulse.
He added two characters can be analysed from ​swing which do not generally occur in
classical music:

(1) a specific type of accentuation and inflection which notes are played,

10
Allan Kozinn, “Gunther Schuller Dies At Age 89; Composer Synthesized Classical and Jazz”, The New
York Times, June 21, 2015, accessed March 15, 2018, https://www.nytimes.com/2015/06/22/arts/music
/gunther-schuller-composer-who-synthesized-classical-and-jazz-dies-at-89.html

11
Gunther Schuller, ​Early Jazz: Its Roots and Musical Development​, (New York, Oxford University Press,
1986), 6.
5
(2) (continuity) the-forward-propelling directionality with which notes are linked together.
12
​ f rhythmic value in simplicity, refer to jazz ​weak beats
Meanwhile, ​democratization o
(weak part of rhythmic units) which are not underplayed as in classical music. Instead,
they are sometimes emphasized as strong as the units in strong beats if not beyond.13

Gridley has also pointed that in general, constant tempo is one easily defining
factor causing swing feeling in the instance of differentiating it from symphonic music
where the conductors are free to vary the tempo of a music piece.14 In addition, the
writer has related swing generally to ​cohesive group sound,​ ​rhythmic lilt,​ and ​spirit.​
Meanwhile, swing in jazz particularly, include ​abundance of syncopated rhythm​, ​swing
eighth-note pattern​, and ​alternation of tension and relaxation in the listener ​with
reference to suggestion by Harvey Pekar, a jazz historian.15 Clarification of the terms
Gridley addressed in his book is as follows:
● cohesive group sound-​ every member’s playing is synchronized with one another
(synchronization of rhythmic parts)
● rhythmic lilt​- rhythmic groove where ‘swing’ and ‘groove’ are commonly applied to
sound of jazz
● spirit-​ music which is ‘spirited’ is ‘liven up’
● syncopated rhythm-​ accenting notes that occur before or right after a beat
● swing eighth-note pattern-​ long-short sequence that is similar but not identical to
pattern duration of a tied triplet
● alternation of tension and relaxation in the listener​- alteration of more and less
activity in a jazz line

Tanner, Megill and Gerow on the other hand interpreted the differences between
jazz and classical music in four elements: (1) sound associated, (2) improvisation and

12
Schuller, 7.
13
Schuller, 8.
14
Gridley, 5.
15
Gridley, 6.
6
composition, (3) rhythm- syncopation and swing, and (4) form.16 In classical music, each
instrument has an ​ideal s​ ound or tone or at least a consensus to one. Jazz musician
instead finds the idea of ideal tone of little importance. In another meaning, it may
suggest that in jazz music it is more ​acceptable to experimenting sound and tone to be
incorporated in performance. ​Idiom i​ s the other term the authors addressed that
primarily differ the two styles from one another. Idiomatic execution is usually found in
jazz music but not in classical.17 The symbols in musical notation could indicate in a
general way ​what s​ hould be played, but not ​how it should be played. The three authors
also pointed that notes fall in between beats are usually accented more than the notes
on beat in jazz music which refer to the syncopation.

Caroline Mia Lee has conducted interviews with three prominent figures who
have transitioned to jazz from classical music during her research “An Introductory
Guide To Jazz Improvisation For The Classical Violinist”. Matt Glaser, Darol Anger and
John Blake were the three interviewees involved in the research project.18 From the
interviews, Glaser and Anger emphasized the importance of learning jazz improvisation
through solo transcription as they did during their training in the field. Blake, however,
did not have the same experience as the former two violinists. From the interview with
Blake, it suggested that his experience in jazz improvisation was more significantly
encouraged by innate talent. He has learned to improvise through practical
performances in gigs and this cumulative play has strengthen his ability as an
improviser. The only jazz lesson he has undertaken was theoretical lesson. Despite of
that, Blake agreed that listening and transcribing are very important especially for
classical player.

16
Paul O. W. Tanner, David W. Megril and Maurice Gerow, ​Jazz​, 9th ed (New York, Mcgrow-Hill, 2001),
10.
17
Tanner, David W. Megril and Maurice Gerow, 8.
18
Carolina Mia Lee, “An Introductory Guide To Jazz Improvisation For The Classical Violinist”, (Doctoral
dissertation, University of Miami, 2000), 1, accessed March 20, 2018, Proquest Dissertation & Theses.
7
Instructional Approach

J. Richard Dunscomb and Dr. Willie L. Hill, Jr. have published book entitled “Jazz
Pedagogy: The Jazz Educator’s Handbook & Resource Guide” in 2002.19 Improvisation
is the essence of jazz​. With the idea, the authors state that improvisation is learned from
developing jazz vocabulary and aural skills. The steps involved prior to that is:

listening-practicing-playing-transcribing-copying-analyzing

The authors pointed the necessity of mimicking someone’s playing in the process of
playing along is essential to internalize the nuances of jazz language. John Charles
Paulson’s “The Development Of An Imitative Approach To Improvising Effective Melodic
Statements In Jazz Solos” developed an instructional approach to learn effective jazz
improvisation centered on the idea of systematic utilization of imitation. With reference
to effective improvisation, the approach was constructed based on sequence which
should be followed in strict manner: (1) look at the starting note, (2) listen, (3) attempt to
imitate what is heard as accurately as possible, and (4) look at the notated example to
check accuracy.20 The writer stressed that participant must be able to imitate the
rhythmic pattern exactly the way it is played before permitted to check the notated
example. In addition, imitation in this approach should also inclusive of the articulation,
accents, syncopation, and separation exactly as what is heard. Though, the approach is
theoretically developed, it has not been tested in its effectiveness in the practical
means.

Ronald Brown has published his dissertation “Exploring Music Students’ Jazz
Improvisation Skills Through Listening Or Jazz Improvisation Theory Instruction: A
Qualitative Case Study” and the study has shown contradiction. On quest to weight
whether aural instruction or notation-based instruction is more effective to increase

19
J. Richard Dunscomb and Dr. Willie L. Hill, Jr., ​Jazz Pedagogy: The Jazz Educator’s Handbook &
Resource Guide, (​ Miami, Florida: Warner Bros. Publication, 2002), accessed March 2, 2018, 95.
20
Paulson, 114.
8
music creativity, finding has shown the latter proved to be option from students’
perspective.21 There was little indication participants felt they could develop knowledge
and skills to improvise melody through aural application. Participants felt listening to
professional players’ live performance or recording does not help them to identify the
scales employed in jazz improvisation. There was consensus chords were even more
difficult to detect and identify by just listening. Andria Smith presented a thesis entitled
“Cultivating A Collaborative Experience For Learning Jazz Based Improvisation In
Middle School” similarly indicated that listening or aural approach is not exactly the
method perceived best to help in learning jazz improvisation. Groups of middle school
students were asked on reflections on the approximately three months jazz lessons
provided by the researcher. When asked what methods helped to learn jazz
improvisation, majority, 17 indicated the ‘​blues scale’ helped them to improvise while 14
responded ‘listening/ear’, 4 said ‘repetition’ and 1 replied ‘try not to do the same’
respectively.22

Solos Transcription

Many scholarly works have been done revolving the study of solos transcription
in exploration of methods for learning jazz improvisation as well as pedagogy. The
published texts include critique, analysis, assessment and in depth study of the
transcription approach to internalize jazz vocabulary and style. Daniel Western’s
“Progressive Transcriptions For The Novice Jazz Saxophonist: A Starting Point For
Developing Improvisational Skills And Styles” stated that not many jazz solos
(transcription) are attainable technically or musically for novice musicians. The
reasoning that follows are the extreme tempi, double-time passages, and both harmonic
and rhythmic complexity that could discourage the inexperienced (and even some

21
Brown, 76.
22
Andria Smith, “Cultivating A Collaborative Experience For Learning Jazz Based Improvisation In Middle
School” (Master’s thesis, University of Massachusetts Lowell, 2015), 33, accessed July 2, 2018, Proquest
Dissertations & Theses.
9
experienced) players.23 Western added that many transcription books include solos from
advanced musicians at the height of their prowess in the likes of Parker, Coltrane,
Rollins, Hawkins, so on and so forth. He stressed that however, solo transcription is still
the method that student begins to learn jazz vocabulary and style. This approach also
involves learning of imitation and emulation in which the end results will often include
but not limited to; articulations, timbre, sense of swing, rhythmic placement etc.

Many transcription books are published and readily available for jazz musicians
of any level to pursue and strengthen skill particularly in the aspect of improvisation. But
not many provide analysis, listening guidance and/or exploration of the transcription
process itself. Philip Willard Stanley Small’s “Creating Your Own Voice Through Jazz
Transcription: A Teaching Method For Jazz Students” discussed the process of
transcription approach which was pointed often neglected by many. The true soul of
jazz improvisation lies in the ability to transcribe and it is this aural discovery of ​notes​,
articulations​, and ​nuances that move student to higher plane of learning.24 In slight
contrast to Western, Small pointed one true pleasure being a jazz musician is the
excitement of learning entire solo by a jazz master which is perceived by Western more
so of a difficulty or challenge for jazz students.

However, Small stressed that students must have strong musical background in
theory, performance and ear training in order to fully benefit from the transcription
approach. The process of transcription explored by Small involves nine basic steps:
(1) acquisition of correct materials, (2) choosing a jazz solo, (3) listening to jazz solo,
(4) writing out jazz solo, and (5) playing out jazz solo. Most jazz learners in general,
know and apply these steps as practice of solos transcription method. The more

23
Daniel Western, “Progressive Transcriptions For The Novice Jazz Saxophonist: A Starting Point For
Developing Improvisational Skills and Style” (Doctoral dissertation, The University of Alabama, 2014), 2,
accessed June 18, 2018, Proquest Dissertations & Theses.
24
Philip Willard Stanley Small, “Creating Your Own Voice Through Jazz Transcription: A Teaching
Method For Jazz Students” (Master’s thesis, California State University, 2018), 5, accessed May 28,
2018, Proquest Dissertations & Theses.
10
complete practice of jazz improvisation in relation to the method, nevertheless to Small,
also inclusive of (6) extracting melodies from jazz solo, (7) creating exercises from jazz
solo, (8) composing original melodies based on ideas from jazz solo, and (9)
incorporating those ideas into improvisational performance.25

Improvisation and Evaluation

Eric Mark Laughlin stated it is believed that those who learn to improvise begin to
internalize forms, solos, chords, melodic construction and development, harmonic
vocabulary, ear training and other aspects at a higher rate than those who do not.26 In
his dissertation, “Survey Of Improvisation In Group Piano Curricula In Colleges And
Universities Accredited by the National Association of Schools of Music”, it was noted
most improvisations are attained through paraphrasing improvisation, motives and
formulae, interrelated techniques, and modal improvisation. Interrelated techniques
stated here refer to jazz performer utilizing several improvisation approaches at the
same time or within the same improvised solo. For instance, a keyboardist may employ
the stated several improvisatory techniques by using one technique in the right hand
and another one in the left.

Similarly, Bert Ligon briefly regarded most jazz improvisations fall into two
categories which comprised of paraphrasing melody and improvising on the harmony.27
By paraphrasing melody, it could be adding and altering the melody, changing of
rhythmic content, or ornamenting the general contour. On the other hand, harmony
improvisation includes harmonic generalization and harmonic specificity. The book’s
real purpose however, is to provide many notated exercises as training for technique in
jazz performance. Theoretical knowledge of a jazz player is significantly important for

25
Small, 8.
26
Eric Mark Laughlin, “Survey Of Improvisation In Group Piano Curricula In Colleges And Universities
Accredited by the National Association of Schools of Music” (Doctoral dissertation, University of South
Carolina, 2004), 4, accessed July 10, 2018, Proquest Dissertations & Theses.
27
Bert Ligon, ​Comprehensive Technique For Jazz Musicians,​ 2nd ed (Houston Publishing Inc, 1999), vii.
11
Coker who stressed that subsequently, control over improvisation must originate in the
intellect which can be responsible for ear training as well as establishing finger patterns.
28
Nonetheless, there should be characteristics that define an effective improvisation.

Paulson has examined and reviewed the important elements in improvising

effective melodic statement. In his dissertation, four elements have been stated to
determine effectiveness of an improvisation which include (1) sound (timbre), (2)
rhythm, (3) pitch, and (4) dynamics.29 A good quality of tone which is essential for
effective passages of improvisation can be attained by timbral control of the instrument.
For instance, mouthpiece and reed combinations are critical for sound production just
as how breath supports are critical for players’ ability to control the sound. Rhythm wise,
the important elements in improvised jazz solo comprised of syncopation, accent,
articulation and separation. Scales derived from chords often contribute effective
pitches for improvisation. However, this scalar approach is sometimes criticized as
being too limited compared to the aural approach of finding appropriate pitches. Last but
not least, good use of dynamic contrast is also a factor determining effective
improvisation of melodic statement. Paulson with reference to Baker, pointed beginner
improvisor should attempt to build solo to emotional peak by means of dynamic
contrast. Besides the four elements, Paulson also examined the factors which affect
them in some particular ways. This include the arpeggiation, articulation, syncopation,
and pitch register.

On the other hand, Campbell has examined exclusively on rhythmic components

of jazz improvisation in his published study, “Beyond Harmony: Incorporating Rhythmic
Elements of Jazz Improvisation Through Pedagogy Curriculum”. In the study, seven
different rhythmic components of jazz improvisation were identified: (1) rhythm variety,
(2) time feel and beat placement, (3) syncopation, (4) polyrhythm, (5) rhythmic

28
Coker, 3.
29
Paulson, 22.
12
repetition, (6) rhythmic tension and release, and (7) rhythmic motivic improvisation.30
Review of each rhythmic aspect is summarised as below:
● rhythm variety- rhythmic variation is perhaps best understood and achieved by
incorporating a diverse ​palette​ of rhythmic values in improvisation
● time feel and beat placement- beat referred as the rhythmic pulse that
progresses over time and beat placement referred as the moment in which each
beat is placed in time
● syncopation- the occurrence of emphasizing weak beats in which slight
accentuation of offbeat eighth note is rather common performance
● polyrhythm- the multiple rhythmic strands which occur simultaneously
● rhythmic repetition- best examples for rhythmic repetition include walking bass
line as well as ride cymbal patterns (repetition is also common improvisational
device for musicians)
● rhythmic tension and release- tension and release in reference to rhythm refers
to creating rhythmic conflict followed by resolution of it (consonance is
established by emphasizing downbeats that reinforce time continuity whereas
dissonance occurs when the time continuity is disrupted)
● rhythmic motivic improvisation- small rhythmic ideas in which jazz improvisers
also structured solos around rhythmic motives

As far as significant aspects of jazz improvisation are examined, there should be

system which serves to evaluate and assess the improvisational achievement of jazz
players. David E. Hart has provided a good understanding on improvisation assessment
method through his dissertation “Beginning Jazz Improvisation Instruction At The
Collegiate Level”. Hart defined music achievement as student’s accomplishment in
music, particularly, for the nature of his study, in terms of improvisation, composition
and performance. The course of Hart’s study is similar in some particular aspects with

30
Jonathan M. Campbell, “Beyond Harmony: Incorporating Rhythmic Elements of Jazz Improvisation
Through Pedagogy and Curriculum” (Doctoral dissertation, University of Northern Colorado, 2015), 8,
accessed June 5, 2018, Proquest Dissertations & Theses.
13
the nature of this research. Hence, the term improvisation achievement, for justification
purpose, refers to student’s accomplishment in term of improvisation. In the text, Hart
stated Pfenninger (1990) has created a rating scale to improve objective assessment of
jazz improvisation based on three criteria which are ​tonal,​ ​rhythm and ​expressive​.31
Pfenninger has concluded that jazz improvisation educators are able to construct
reliable rating scale which serves to measure improvisation achievement. Hart used this
relative method to assess performance achievement while for improvisational
achievement, four-dimension rating scale is used based on (1) improvisation, (2)
rhythm, (3) expression, and (4) harmonic progression.

31
David E. Hart, “Beginning Jazz Improvisation Instruction at the Collegiate Level” (Doctoral dissertation,
University of Rochester, 2011), 17, accessed June 15, 2018, Proquest Dissertation & Theses.
14
CHAPTER THREE: RESEARCH METHODOLOGY

For this research to be relevant and purposeful, methodology and research

design were strongly reviewed to provide a systematic study. The purpose of the study
is to examine how solo transcription affect learning experience in improvisation of new
beginner jazz students of classically trained background. Data collection would require
much acquisition of perception from the participating students. Therefore, the nature of
this study is specified within the scope of qualitative descriptive study; in which,
grounded theory, phenomenology, ethnography, and narrative study are the excluded
research qualitative methods after in-depth evaluation. Firstly, the study focuses solely
on experience of a group of students without construction of theory. Hence, grounded
theory is deemed not an appropriate choice for this study. Phenomenology and
ethnography both focuses on opportunity to share lived experiences and culture
respectively.32 Narrative study is a method to co-construct experience expressed in lived
and told stories of individuals as interpreted by Creswell. Last but not least, case study
method is explored and chosen in relevance for the course of this research.

Case study is described as a qualitative approach to explore real-life,

contemporary bounded system (or multiple) through detailed, in-depth data collection.
For justification purpose, this research demonstrates the use of single instrumental case
study, which provides general understanding of a phenomenon using a particular case.
Yin, a well established researcher in the field of case study, further given case study a
profound definition: a method that (1) investigates a contemporary phenomenon ​case in
depth and within real-world context when (2) boundaries between phenomenon and
context may not be clearly evident which ultimately (3) relies on multiple sources of
evidence, with data needing to converge in triangulating fashion.33 There are 6 sources

32
Ronald Brown, “Exploring Music Students’ Jazz Improvisation Skills Through Listening or Jazz
Improvisation Theory Instruction: A Qualitative Case Study”, (Doctoral dissertation, Northcentral
University, 2017), 56, accessed March 20, 2018, Proquest Dissertation & Thesis.
33
Robert K. Yin, ​Case Study Research and Applications: Designs and Methods, ​6th ed (US of America:
SAGE Publication, 2018), 15.
15
of evidence in the context of case study as described by Yin, which are (1)
documentation, (2) archival records, (3) interviews, (4) direct observations, (5)
participant observations and (6) physical artifacts.

Research Methods and Design

The setting for this descriptive study was a music institution in a university
located in Kuala Lumpur, Malaysia. The Institute of music offers foundation,
undergraduate as well as postgraduate programmes in both classical and contemporary
music. The beginner jazz students (contemporary) from the music institution were
filtered with a set of prerequisites to reach the best possible participants. The
prerequisites were:

1) Students must possessed certificate for grade 8 classical piano or higher

from any professional music organisation (ABRSM, Trinity, LCM etc.)
2) Students have not undertaken any form of jazz music and improvisation
training.
3) Students must be in the first semester of enrolment in jazz-related
(contemporary) music programme.

Three students with criteria compatible to the prerequisites were invited to

participate in this descriptive case study. However, two of the three were studying under
one piano instructor while the other student was assigned to another instructor.
Therefore, only the two students with the same piano instructor were selected to
proceed with the research. This ensured a smooth overall research project in twofold:
(1) participants received similar information, knowledge, and instruction from one
instructor as to apply transcription (method) to learn jazz improvisation and (2) both
researcher and the piano instructor may provide insight to the transcription application
in a discussion setting without having conflict or disagreement with third party

16
(instructor). This case study seeks to obtain perceptions from participants regarding
transcription as the method to learn jazz improvisation at beginner level. Therefore, it
depends primarily on interviews as mean to obtain data and secondarily on
documentation/report as evidence of the transcription approach.

Both researcher and the piano instructor have discussed and explored jazz
pieces best used for transcription by beginner jazz students beforehand. The instructor
was well experienced in the field of teaching jazz related performance for many years.
Thus, advice was given to include swing and bossa nova pieces opted as best choices
for beginner students which resulted in the selection of ​C Jam Blues​ and ​Blue Bossa.​
The transcription approach was divided into two phases in which each phase was given
a duration of four weeks and second phase only started prior to the completion of the
first. Participants were required to transcribe the improvisation sections of the jazz
pieces given with ​C Jam Blues​ in the first phase and ​Blue Bossa​ in the second phase.

Interviews were planned and conducted in two parts: (1) first interview was
conducted as the first meeting between the researcher and the participants to acquire
more information regarding their musical backgrounds as well as to obtain informed
consent regarding this study and (2) second interview conducted after the two months
duration served to answer the questions which guided this descriptive case study.
Participants were required to undertake the method of solos transcription for the
specified duration in order to learn jazz improvisation. During the two months duration of
ongoing research, the participants attended their regular weekly major classes which
the piano instructor monitored their applications and progresses of the transcription
approach. As a result, the instructor took the indirect role as a participant observer
which justified the need to conduct a secondary interview. The secondary interview was
conducted between the researcher and the instructor (as participant observer) in end of
the conclusive week. Documents and reports of the transcribed solos were requested
from both participating students at the end of the research.

17
Data Collection, Sources and Analysis

In case study research, interviews serve as an important method to collect data

as researchers can initiate inquiry by posing questions that serve the researcher’s need.
This qualitative case study included two parts interview: (1) first was a semistructured
interview conducted in the beginning of the research method application and (2) second
was an open-ended, in depth, and fully structured interview conducted the week after
the conclusion week of the research method application. According to Kumar, both
structured and unstructured interviews may be beneficial in different circumstances in
term of flexibility.34 Unstructured interview would provide flexible setting in the likes of
structure, contents and questions while structured interview would provide formal and
rigid setting in those aspects.

The first interview was conducted to obtain thorough data on musical background
of the participants as well as to gain informed consent. Both participants were
interviewed separately:

Participant #1
First student who participated this research case study was eighth graded
classical pianist; obtained in 2017. Listening routine in the past included movie
soundtracks, jazz as well as popular (commercial) music. The student has mainly
trained on sight-reading skill and has no transcription experience before. There is a
slight familiarity on jazz music in term of listening but not in practical performance.

On a scale from 1 to 10, student was asked to do self evaluation/reflection in the

respective area:
● Listening (4)
● Sight-reading (6)

Ranjit Kumar, ​Research Methodology: A Step-By-Step Guide For Beginners,​ 3rd ed (Great Britain:
34

SAGE Publication, 2011), 144.

18
 ● Improvisation (1) (Scale given in bracket)
Participant #2
Second student who was involved in this research case study was eighth graded
classical pianist as well; obtained in 2015. Listening routine in the past included
traditional, tech-mix, world music, instrumental and movie soundtracks. The student has
mainly trained by learning classical pieces and has no experience of transcribing music.
Improvisation experience was solely based on ​feel without having much knowledge on
jazz.

Similarly, on a scale from 1 to 10, student was asked to do self

evaluation/reflection in the respective area:
● Listening (6)
● Sight-reading (5)
● Improvisation (5)

The second interview was a structured interview conducted in a rigid and formal
setting. Open-ended questions were constructed thoughtfully in advance by the
researcher relating to the research questions this study sought to answer. According to
Leavy, it is customary to transcribe recorded interviews in which many researchers
practice to preserve a complete record of those interviews.35 In light of that, these
structured interviews conducted after the conclusive week (8) were recorded with the
consent of each participant. The recordings were then transcribed and the data was
refined in such a way to better structure the questions relating to the purpose of study.

Yin noted that case study research relies on multiple data sources, in which
researchers must analyze data through ​triangulation.​ 36 Among the available methods of
triangulation, ​data source triangulation was chosen and used in this research case

35
Patricia Leavy, ​Research Design: Quantitative, Qualitative, Mixed Methods, Arts-Based, And
Community-Based Participatory Research Approaches,​ (NY, London: The Guilford Press: 2017), 141.
36
Yin, 15.
19
study. This type of triangulation method refers to using evidence from different types of
data sources, such as primary and secondary research or interviews, documents, public
records, photographs and observations. Multiple data sources employed in this
research case study were (1) primarily interviews between researcher and participants
as well as interview between researcher and instructor and (2) secondarily on
documentation and report acquired from participants as evidence of the transcription
approach. Data is organized from the interviews with the participants and the interview
with the instructor, in a complementary way so that data sources were relevant to this
research case study. The triangulation method was utilized through the use of pattern
matching in data analysis.

Brown described pattern matching as the method employed to evaluate and

examine the findings from coded data using patterns that were most relevant to
establish categorical comparisons. The data analysis in this research case study,
however, was not inclusive of any coding technique or method. Therefore, pattern
matching for analyzing data was utilized in such a way by identifying the similarities and
differences from the organized data.

Research Ethics

In every research, it is essential for researchers to weight the ethical obligations

and responsibilities in order to avoid potential unfolding of controversy over the quality
of study as well as the safety of subjects involved. According to the National Committee
for Research Ethics in the Social Sciences and the Humanities (NESH), ​research ethics
as a concept, r​ efers to a complex set of values, standards, and institutional schemes
that help in constituting and regulating scientific activity.37 In another explanation, the
term is based on general ethics of science the same relation as how general ethics

37
National Committees For Research Ethics In Norway. ​Guidelines For Research Ethics In The Social
Sciences, Law And The Humanities​. Retrieved from https://graduateschool.nd.edu/assets/21765
/guidelinesresearchethicsinthesocialscienceslawhumanities.pdf
20
based on common sense morality. NESH has grouped the standards of ethical
responsibilities into three categories which are (1) standard of research freedom, (2)
standard that regulates relationships of the groups and individuals affected by research,
and (3) standard regarding social relevance and users’ interest as well as regard for
cultural reproduction and nationality in the public debate.
American Sociological Association (ASA) has provided five general principles for
researchers in consideration for ethical course of action in various contexts which are
(1) professional competence, (2) integrity, (3) professional and scientific responsibility,
(4) respect for people’s rights, dignity and diversity, and (5) social responsibility.38
Besides these five principles, there is a well set parameter concerning each and every
circumstance in which ethical standards are to be adhered by researchers. In light of
this research revolving the study of transcription method affecting different
improvisational experience for beginner jazz students from classical background, there
were few ethical areas which significantly require clarification and considerate attention.

First and foremost, this research case study acquired much background as well
as personal information from the participating students. Under the classification of
confidentiality​, ASA has clarified that researchers have the obligation to protect the
confidentiality rights of participants even if there is no legal protection or priviledge to do
so. Therefore, strict affirmation was ensured to the understanding of the participants
that their privacy data would be kept as private and confidential. Secondly, as far as
informed consent is considered, researchers do not generally include human being as
​ as obtained as
the research subject without any agreement. Hence, ​informed consent w
the researcher provided full details on nature, duration and methods of study. The
students gained complete understanding (1) that participation in this research is fully
voluntary and (2) they have the right to decline or withdraw from the study at any point
without any consequences. In this specific research, there is generally no safety issue

American Sociological Association. ​Code of Ethics. W

38
​ ashington, DC: New York Avenue, 1999.
Retrieved from http://www.asanet.org/sites/default/files/savvy/images/asa/docs/pdf/Ethics%20Code.pdf
21
involved. However, participants were advised to apply the transcription method in timely
and orderly manners to avoid rise of health issue.

CHAPTER FOUR: FINDINGS

The purpose of this research case study was to examine how solo transcription
affect learning experience in improvisation of new beginner jazz students of classically
trained background. It was not clearly evident in the context on how beginner jazz
students in relation to their background may benefit and experience from the
transcription method which was generally presumed to be one of the most effective
ways to learn jazz improvisation. Research questions were developed to examine
in-depth perceptions of these students on the application of the method as to learn jazz
improvisation. Data were collected primarily from participants (students and instructor)
interviews and secondarily from students’ transcripts as source of evidence. Data
source triangulation was achieved by organizing the data from these multiple sources
and interpreting through the approach of pattern matching to enhance the validity of this
qualitative case study.

This chapter presents the findings to answer the constructive research questions
designed during the initial stage of the research planning through data analysis. It is
also a focus of this chapter to include discussion pertaining the results for the case
study. The order of content in this chapter is first a brief introduction followed by
participants interviews, data interpretation as well as discussion and evaluation.

Participants Interviews

Two students who participated in this case study were piano major in their first
semester of study in music foundation programme. The interviews that took place in the

22
conclusion of week 8 was fully structured with a set of preconstructed open-ended
questions. Individual interview (one to one) conducted with each of the participant lasted
approximately and similarly 30 minutes each. Both participants were briefed before the
start of the interviews that the whole process will be recorded and assured that the
recordings only serve for transcription purpose. The interview model constructed for this
research is as follows:

Interview Questions

1) What are the changes in training methods from learning classical in comparison
to learning jazz music?
2) From your understanding, what is solos transcription and how do you use the
method to improve jazz improvisation?
3) What (if there is) are the skills particularly helpful in the process of the solos
transcription?
4) In the transcription process, what musical details in the solos improvisation do
you listen and notate?
5) What are the difficulties and challenges faced during the process of the solos
transcription?
6) What are the methods that you use to complete the transcription of the jazz
improvisation? Specify.
7) Do you understand how the improvisation lines are constructed based on the
transcription? Specify.
8) How do you think this method (transcription) help in improving jazz
improvisational skill?
9) What is your perception pertaining this relatively new method in the routine of
learning jazz improvisation? Specify.
10)Would you consider of using other method such as reading published/compiled
jazz transcription to improve your improvisational skill? Why?

23
 11)In your perception, does theoretical jazz knowledge or aural ability (hearing) help
to understanding jazz improvisation better? Why?

Responses from the two participants were summarized and discussed in the data
interpretation section in this chapter. The two students who participated in this case
study attended their regular major (piano) classes in weekly basis. The piano instructor
took the role as a participant observer indirectly which justified the need to conduct a
secondary interview. The secondary semistructured interview involved both researcher
and the instructor and was conducted the same day as the primary interviews. The data
collected from this secondary interview served to complement the data from the primary
interviews to further strengthen the reliability of this study. These data were interpreted
as a whole based on pattern matching as described earlier in this research.

Data Interpretation

The research questions were constructed to examine perceptions of beginner

jazz students to examine their learning experience through solos transcription. These
research questions guided the study during the interviews in which participants’
responses were summarized and served as data used to examine their learning
experience as well as perception pertaining the method of solos transcription. The
summarized transcripts of interviews were analyzed for common themes and patterns
between both participants. Further data obtained from the interview with the instructor
were included and interpreted to solidify findings for this research case study. The
analysis and interpretation of data were as below.

Theme: Transcription awareness and adaptation​. To gain insight on

participants’ perceptions on the application of transcription method affecting their
improvisational learning experience, first, their awareness on the transcription process

24
itself was examined. Overall, both participants showed slight lacking of awareness
revolving the idea of transcription. Both responses were similar that transcription was
presumed solely a method of notating down the improvisation lines from the recording.
One participant added it was also a part of transcription to use the transcribed material
in own improvisation. The instructor clarified that no specific instruction on steps of
transcription was given to both participants. It was perceived by the instructor as a
necessity exploratory process which should be undertaken by the students themselves
to understand the approach of transcription. The instruction given to students was
merely to transcribe the improvisation section of the two recordings given to them in
each phase respectively. The participants were asked regarding their adaptation of the
method and the transition experience to jazz. Both of them responded similarly, for
classical music, details were written clearly in the score to strive for perfection but for
jazz music, many of these details were not written so players have to be creative. One
way to generate ideas quickly was to listen to many as many recordings as possible.

Theme: Difficulties and challenges​. It was one of the main research questions
to identify the challenges and difficulties faced by the participants in their application of
the process of transcription. Dynamic of the improvisation was one of the issues
perceived as a problem faced by the two participants. One of them responded that
“dynamic is up and down at some point of the improvisation and that makes it really
hard to listen during the soft part”. The other student similarly expressed that some
details of the improvisation were missed because of the dynamic. Both participants
pointed that fast running notes were difficult to identify. The reasoning that follows is the
two could not recognize patterns commonly used in jazz improvisation as well as
lacking of knowledge on the construction of improvisation lines. Although harmony is not
part of the musical element focused in this research study, one participant commented
that harmony was harder to identify than the notes and the other participant commented
it was harder to transcribe when chords were playing. The instructor described that
beginner jazz students may encounter more difficulties during transcription especially
for classical based students as this approach is relatively new to them. One important

25
aspect was that students were lacking of pattern recognition which was regarded as
important knowledge for a jazz player.

Theme: Significant musicianship skills​. As this study seeks to gain perception

of students pertaining the transcription method, students were asked to identify the
musicianship skills that assisted them during the process of application. Both
participants responded that hearing ability was one important skill that definitely helped
them in their transcription process. One of them clarified without hesitation that
theoretical knowledge was one equally important aspect of musicianship in jazz music.
In addition, imitation skill as well as singing (pitches) ability were mentioned that helped
in the solo transcription. The other participant briefly suggested that theoretical
knowledge were important but not as convincing as hearing ability. The instructor
however, pointed that ultimately pattern recognition was one skill developed from
learning theoretical knowledge as well as hearing experience which would help in music
transcription. “Hearing ability is good, theoretical knowledge even better”, said the
instructor.

Theme: Transcription and other methods perspectives​. Solo transcription

was examined pertaining the perception of the students relating to their improvisational
experience. In the responses, participants indicated that as beginner jazz student,
transcription method was rather difficult to practice since it was a relatively new training
method for them. The two participants expressed similar opinion however, that this
method helped to gain ideas and different kind of playing styles from the recordings.
Nevertheless, the two also added that listening and transcribing more could possibly
help them to generate more improvisation ideas.

In addition to the transcription method, students were also asked whether they
would consider of using other method with specification made by mentioning the used of

26
published or compiled written jazz transcription. The two students have varying opinions
in this aspect. One of them said yes because the details of jazz lines were clearly
notated and it could be much easier to learn the solo section of a jazz piece. The other
student in contrast, pointed that the method of learning through written transcription will
not be considered as this method suggested a pathway back to classical and the
improvisation ideas learned this way could be well limiting. However, this student
declared that this method may be considered as a beginner jazz student to understand
the improvising feel better.

For the instructor, statement was made that it is always never wrong to use the
transcription method in learning jazz improvisation. In fact, it is one of the methods jazz
players should ultimately utilize and train to develop. However, in the context of
beginner students, it could be difficult to evaluate which other methods might work
better as a start of the jazz learning experience. Since no such study has been done,
assumption could only be made that transcription works for jazz students regardless of
the level and their background. But specifically for classical background students, the
instructor expressed that the method of reading published written transcription may
work in the favor of the them.

Discussion And Evaluation

The research case study seeks to gain insight on how solo transcription affect
learning experience of beginner jazz students pertaining their musical backgrounds. A
case study method was appropriate and relevant as the research drew evidence from
multiple sources which ultimately analysed through triangulation. The researcher was
able to connect the interview questions directly to students’ perceptions on the applied
method in this study. Data were gathered and collected from (1) interviews conducted
between researcher and participants in the beginning phase and end phase, (2)
interview conducted between researcher and instructor during the end phase, and (3)

27
transcripts from participants which served as source of evidence for the study. The
purpose of the research is to examine how solo transcription affect improvisational
learning experience of beginner jazz students of classical trained background. This
purpose of research was met by collecting, gathering, analyzing and interpreting data
obtained from the interviews.

From the data collection, analysis and interpretation, an overall understanding

emerged on how beginner jazz students experience learning through transcription
method. Although transcription was presumed one of the most effective methods to
learn jazz improvisation in many studies, the research findings indicated other methods
should be implemented as a start for beginner jazz students transitioning from classical
background. The difficulties and challenges faced in the transcription approach by these
students arose from the unfamiliarity of finding pitches through aural application. It was
well noted that participants significantly lack of theoretical knowledge that could be
much beneficial to recognize patterns in solo transcription. As a result, new suggestive
pathways of research should be undertaken to examine effective methods for learning
jazz improvisation pertaining the musicians’ background. It was a delimitation that this
research study was conducted solely revolving the idea of transcription method from
students’ perspectives. The study did not measure the effectiveness or exploration of
other methods pertaining learning experience of jazz improvisation.

The research questions constructed for this research case study included: (1)
how do new beginner jazz students with classically trained background adapt to learn
jazz improvisation from solos transcription, (2) what are the difficulties and challenges
faced by these students in the practice of solos transcription, (3) what are the students’
perception in learning jazz improvisation from solos transcription, and (4) to what extent
does solos transcription help in the progress of these students to execute effective
melodic and/or rhythmic improvisation in two months duration. The answers relating to
these questions were obtained and achieved from the data analysis and interpretation
except for the last question in which the goal was to measure the improvisation

28
achievement by the participants. The researcher found two issues in this question as
the research concluded in the final two weeks: (1) method applied by the students over
two months duration was considered insufficient to measure any improvisational
improvement and (2) jazz improvisation was still in preceding stage for the beginner
jazz students which makes the rating scale initially planned for evaluating
improvisational achievement irrelevant for use. Therefore, justifications were made to
nullify the last research questions which could not generally serve as an objectivity of
the research. However, the overall study and objectivity of the research was still
preserved to be relevant and meaningful.

29
CHAPTER FIVE: SUMMARY AND CONCLUSION

Research Summary

The problem addressed in the research: it was not clearly evident how
transcription method may affect students of classical background differently. Therefore,
the purpose of the research was to examine how solo transcription affect learning
experience in improvisation of new beginner jazz students of classically trained
background over two months duration. The findings of the research provided an in
depth insight of students’ experience in application of the transcription method.
Research questions that were constructed and answered were:

● How do new beginner jazz students with classically trained background adapt to
learn jazz improvisation from solos transcription?
● What are the difficulties and challenges faced by these students in the practice of
solos transcription?
● What are the students’ perception in learning jazz improvisation from solos
transcription?

The final research question initially constructed was negated based on the justification
of irrelevance encountered by the researcher.

Research methodology was strongly reviewed and qualitative case study was the
chosen method for this research. Case study was described by Yin that relies on
multiple sources of evidence, with data needing to converge in triangulating fashion.
The several sources of evidence employed in this research study were: (1) interviews
between researcher and participants in two phases, (2) interview between researcher

30
and instructor in the conclusion week, and (3) transcripts from participants which served
as evidence following the solo transcription approach. Data from the interviews were
presented in a summarized forms which were categorized by pattern matching
accordingly to themes: (1) transcription awareness and adaptation, (2) difficulties and
challenges, (3) significant musicianship skills, and (4) transcription and other methods
perspectives.

Research Conclusion

Through the data interpretation and findings presentation, several conclusions

were reached: (1) transcription method is perceived as a difficult and inappropriate
approach for beginner jazz learner of classical background, (2) theoretical knowledge is
the other aspect which presumed to serve a better purpose for jazz learner of classical
background, and (3) there is a lack of awareness on the transcription approach as a
method to learn improvisation.

(1) Transcription method is perceived as a difficult and inappropriate approach

for beginner jazz learner of classical background. The data summarized from the
students’ responses indicate that transcription is a challenging starter method for
students to employ in learning jazz improvisation. The difficulties arise from the
unfamiliarity to find and identify the appropriate pitches through aural application.

(2) Theoretical knowledge is the other aspect which presumed to serve a better
purpose for jazz learner of classical background. Both participants responded that jazz
knowledge is one key component to analyse the construction of improvisation lines
which add to the understanding of jazz solo. With jazz knowledge, it is perceived by
both students and instructor to ease the identification of scales, chords and patterns
employed in jazz improvisation.

31
 (3) There is a lack of awareness on the transcription approach as a method to
learn improvisation. Both participants acknowledged transcription method as merely
notating down the notes and phrases as well as applying them in the practical
performance. The complete practice of transcription however, includes steps such as
analysis of transcript and formulation of jazz solo exercises as described by Small.

Overall, this research case study was considered as a preliminary study by the
researcher where there are some further potential areas for more exploratory research
to be done. For instance this study solely focused on the idea of transcription as a
method affecting the improvisational experience of the participated beginner students.
Transcription approach, based on the findings of this research was deemed resourceful
but may not serve as the best first approach for the beginner students in the learning of
jazz improvisation. Theoretical perspective could be explored constructively instead to
examine how it may assist beginner jazz student of classical background to understand
improvisational constructions. This research also did not include examination of the
effectiveness of these methods relating to participants’ background, hence, another
subjectively prospective area as well for exploration.

32
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APPENDIX A: Participant #1 Transcripts

36
37
38
APPENDIX B: Participant #2 Transcripts

39
40
41
42