Continuation of PFET-373.
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.
Continuation of PFET-376.
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.
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.
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.
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.
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.
In this course students will develop musicianship, ensemble performance, and improvising skills as they play in various sub-styles within the historical timeline of jazz drumming. They will strengthen their critical thinking skills by reading, listening, watching, analyzing, critiquing, and evaluating music performances. They also will be cognizant of the historical, sociological and technological impact of jazz, including its influence on other styles of music and develop a global perspective for music and society. Students will also be urged to apply skills and knowledge acquired in this course into their own experiences in real world musical situations.
In this course students will develop musicianship, ensemble performance, and improvising skills as they play in various styles within the historical timeline of modern drumming. They will strengthen their critical thinking skills by reading, listening, watching, analyzing, critiquing, and evaluating music performances. They also will be cognizant of the historical, sociological and technological impact of these styles (and their influence on each other): jazz, rock, funk, fusion, Brazilian, Latin, reggae, and other global styles. Through this course, students develop a global perspective for music and society. Students will apply skills and knowledge acquired in this course into their own experiences in real world musical situations.
A study of the history and development of the music of Latin America and the Caribbean, with particular focus on hand percussion playing. Emphasis will be on the music of Cuba and Brazil, and on the development of Latin American music in New York from the 1920s to the present. Musical relationships to the European and African traditions will be studied as well as specific instruments, song styles and rhythms, composing and arranging styles, and significant artists in the idiom.
A study of the history and development of the art of jazz piano and the lives and times of the artists themselves. Through listening to archival and contemporary recordings and analysis and discussions, the rich diversity of the different jazz styles will be examined, along with the artists associated with certain styles. Solo piano and group playing from ragtime to contemporary will be addressed.