5 6 5 jazz, jazz, jazz TG

It also introduces three jazz legends: Louis Armstrong, Fletcher Henderson, and Duke Ellington.. LESSON VOCABULARY bass clarinet secondhand INTRODUCE THE BOOK INTRODUCE THE TITLE AND A

Jazz, Jazz, Jazz

SUMMARY This reader discusses the Harlem

Renaissance and the national and world

events that led to the rise of this cultural

phenomenon It also introduces three jazz

legends: Louis Armstrong, Fletcher Henderson,

and Duke Ellington

LESSON VOCABULARY

bass clarinet

secondhand

INTRODUCE THE BOOK

INTRODUCE THE TITLE AND AUTHOR Discuss with

students the title and author of Jazz, Jazz, Jazz

Encourage students to comment on how the

photograph on the cover relates to the title

BUILD BACKGROUND Play recordings of jazz,

blues, ragtime, and/or scat Ask students to

compare forms of jazz with the popular music

of today Have students speculate how new

music forms emerge and become accepted

PREVIEW/USE TEXT FEATURES Have students

practice scanning text by asking them to

scan for different U.S cities and the people

associated with each city in the text Then

ask them to mark each city on a map of the

U.S Tack an index card next to the marked

cities and ask students to write the names

of people on the corresponding card Next

have students look at the photographs Ask

students to comment on how the historical

photographs help them imagine what it was

like to live during that time

READ THE BOOK

SET PURPOSE Have students set a purpose

for reading Jazz, Jazz, Jazz For example,

if students are familiar with some of the musicians discussed in the book, they may want to choose one and look for that

musician’s specific contribution to jazz as they read

STRATEGY SUPPORT: PRIOR KNOWLEDGE

Review with students the three types of

prior knowledge connections they can make:

text-to-self—the feeling of hearing or playing jazz, text-to-world—general knowledge of jazz and U.S history, and text-to-text—books about jazz or U.S history Discuss how the author makes these connections for the reader on pages 20–23

COMPREHENSION QUESTIONS

PAGE 6 When you read that the music scene would change forever because of Armstrong, Henderson, Ellington, and others, what does

that suggest? (Possible response: Music continues to be influenced by these musicians.)

PAGE 10 How would the fact that a musician improvised make his or her music exciting

and lively? (Possible response: You would not know what to expect each time you heard the musician play the same song.)

PAGE 11 How did Armstrong make jazz an

accepted art form? (by inventing scat)

PAGES 13–17 Was it fortunate or unfortunate that Henderson could not find work as a

chemist? (Possible response: fortunate, as he became a successful and influential musician instead)

PAGES 16–18 Which happened first—Fletcher Henderson playing at the opening of the Savoy ballroom or Duke Ellington being hired

to perform at the Cotton Club? (Fletcher Henderson playing at the Savoy)

5.6.5

SEQUENCE PRIOR KNOWLEDGE

Jazz, Jazz, Jazz

128

Skill Work

TEACH/REVIEW VOCABULARY

Remind students that when they encounter unfamiliar words, they can use context clues

in the sentence and surrounding sentences

to help them get a sense of the word’s

meaning Start with the word influence on

page 6 Invite students to say the meaning

in their own words, then explain which context clues helped them understand the word Repeat each vocabulary word

Write each vocabulary word on a separate index card as well as any addi-tional words you think might be difficult for English language learners Discuss the meanings Have students work in pairs to sort the words by parts of speech

TARGET SKILL AND STRATEGY

SEQUENCE Ask students to plot the

sequence of major events of the history of

jazz on a time line as they read First have students scan for the earliest and latest years mentioned in the book—1890s and 1930s Instruct students to draw a time line that starts in 1850 and ends at 1950 Guide students to problem solve how to plot inter-mediate points on the time line as they read

PRIOR KNOWLEDGE Students may find it helpful to think of this book as a compilation of biographies Each section about a particular musician contains facts

in sequence or chronological order Ask

students to activate their prior knowledge

of biographies to help them understand the events happening to different people about the same time and how they fit in the

overarching sequence of the history of jazz

ADDITIONAL SKILL INSTRUCTION

FACT AND OPINION Remind students that a

statement of fact is one that can be proved true or false A statement of opinion is

someone’s judgement or belief Students can clarify this distinction by looking at page 10

Have students point out a few of the state-ments of fact and of opinion on that page

REVISIT THE BOOK

READER RESPONSE

1 Possible response: 1922: Armstrong moved

to Chicago; 1924: Armstrong invited to New

York to play with Henderson’s band; 1926:

Armstrong makes New York his home base

2 Responses will vary, but might include

slavery before the Civil War, inequality after

the Civil War, civil rights issues, or African

American influence on music ranging from

rock and roll to rap

3 Possible response: The phrase “mixing

ragtime and blues music” suggests that

jamming is a spontaneous activity, and “he

jammed with local pick-up bands” implies

that he was participating by playing an

instrument

4 Possible responses: 1890–1900—Jazz is

born in New Orleans; 1926—King of Jazz

joins Henderson’s band for the first jazz

big band; 1927—Cotton Club gives Duke

Ellington the visibility he needs

EXTEND UNDERSTANDING When students come

to pages 22–23, point out the time line

Ask students how their time lines from the

Sequence activity compares with the one in

the book Prompt students to recognize that

their time line is much more detailed than the

one in the book Ask students to comment on

how the text is organized on pages 20–23

RESPONSE OPTIONS

WRITING Have students imagine what is

was like to live in Harlem during the Harlem

Renaissance Ask them to write a fictional

letter to a family member and describe what

they imagine

SOCIAL STUDIES

CONNECTION

Many aspects of life

during the Roaring Twenties

will interest students to research

further on the Internet or at a library Spark

their interest by briefly discussing inventions,

fashion, and popular culture of the 1920s

Jazz, Jazz, Jazz 129

© Pearson Education 5

Name

Sequence

• Sequence refers to the order of events in both fiction and nonfiction

• Sequence can also refer to the steps in a process

Directions Reread the following paragraphs from Jazz, Jazz, Jazz Write the five most important

facts in sequence on the lines below

Louis Armstrong grew up in New Orleans When he was seven years old, he bought his first

trumpet As a teenager, he jammed with local pick-up bands that were mixing ragtime and blues music

In 1922 Armstrong left New Orleans for Chicago There, he joined King Oliver’s Creole Jazz Band The band was popular, but it was Louis Armstrong who was the real star

In 1924 Armstrong was invited to join Fletcher Henderson’s big band based in New York City He moved to Harlem Armstrong stayed with Henderson’s band for only one year But he

would return to New York again in 1926 and make it his home base for the rest of his life

1.

2.

3.

4.

5.

Directions Write how someone might become a musician like Louis Armstrong Use time-order

words such as first, next, then, and last.

Jazz, Jazz, Jazz

130

© Pearson Education 5

Name

131

Vocabulary

Directions Read each list of words Choose a word from the box that best fits in each category.

Check the Words You Know

bass jammed

clarinet nighttime

fidgety secondhand

forgetful

1 midnight

evening

nightfall

2 nervous uneasy squirmy

3 recorder flute whistle

4 guitar violin banjo Directions Write a sentence using each of the words below.

5 clarinet

6 fidgety

7 forgetful

8 jammed

9 nighttime

10 secondhand

Jazz, Jazz, Jazz