Performance Ear Training for Percussion 1
Ear training with an emphasis on practical performance experience. Recognizing pitch, rhythm, harmony, and timbre by ear and responding on the student's instrument in class. Some dictation. Some nonsyllabic sight-singing.
Performance Ear Training for Percussion 2
Continuation of PFET-370.
Performance Ear Training for Voice 1
Ear training with an emphasis on practical performance experience. Recognizing pitch, rhythm, harmony, and timbre by ear. Emphasis on sight-reading. Some dictation. Some nonsyllabic sight-reading.
Performance Ear Training for Voice 2
Continuation of PFET-373.
Performance Ear Training for Bass 1
Ear training with an emphasis on practical performance experience. Recognizing pitch, rhythm, harmony, and timbre by ear and responding on the student's instrument. Some nonsyllabic sight-singing.
Performance Ear Training for Bass 2
Continuation of PFET-376.
Advanced Rhythmic Techniques for Performers
A lab workshop specially designed to improve performers' understanding and mastery of different rhythmic concepts and their application on their instrument into various musical contexts. The students will learn percussion and speaking rhythms, which they will later apply on their own instrument. The course material will be based on different rhythmic approaches based on techniques applied in different cultures around the world, including: African, Indian, and Latin rhythmic systems and vocabulary. The workshop environment will be used to give the students practical examples of rhythmic concepts using prepared literature, specific compositions, audio tracks, and video material. They will practice performing these rhythms both individually and as a group.
Ensemble Ear Training for Performance
Being able to quickly learn music by ear and retain it, to accurately play or sing what you are hearing in your head, and to recognize and respond to what others play in real time are among the most important performance skills for contemporary musicians. Using call-and-response techniques in an ensemble-like setting, instrumentalists and vocalists will build their ear skills, connecting ear training to realistic performance situations on their instrument and developing greater acuracy of hearing and musical memory. Material includes melodies, harmony and counterpoint parts, and bass lines in a variety of styles.
Survey of Bass Styles
The study of the bass in the styles of Dixieland, swing, bebop, cool, experimental, fusion, and others. In-depth analysis of the function of the bass as part of the rhythm section and as a solo voice. Some of the players heard and discussed are Pop Foster, Walter Page, Jimmy Blanton, Oscar Pettiford, Slam Stewart, Paul Chambers, Charles Mingus, Ron Carter, Richard Davis, Eddie Gomez, and Jaco Pastorius.
Survey of Brass Styles
A study of the history of brass instruments (trumpet, trombone, French horn, euphonium, and tuba) in American music. Emphasis is on the performance styles of major players, including Herbert L. Clarke, Arthur Pryor, Louis Armstrong, Bix Beiderbecke, Jack Teagarden, Clifford Brown, Dizzy Gillespie, Miles Davis, J.J. Johnson, Harry James, Julius Watkins, Rich Matteson, and Harvey Phillips. Study will include articles as well as recorded and transcribed musical examples.
Survey of Guitar Styles
A survey of contemporary guitar players and styles as well as related doubling instruments. Emphasis on major players and various styles through tapes and transcriptions.
Survey of Drum Styles to the '60s
A study of the development of the jazz drummer from its early period through the 1960s. Analysis through recordings and transcriptions of various playing styles. Studies of Big Sid Catlett, Max Roach, Buddy Rich, and others.