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.
An overview of the history of contemporary string playing, with special emphasis on the work of major innovators: Joe Venuti, Stephane Grappelli, Jean-Luc Ponty, and others. Recordings and transcriptions used to analyze technique and improvisational skills.
A historical study of the development of the jazz vocalist and jazz vocal styles. Listening and style analysis through use of recordings and assigned student participation and performances. Singers covered include the Rhythm Boys, Bessie Smith, Sippie Wallace, Jimmy Rushing, the Boswell Sisters, the Mills Brothers, Ethel Waters, Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Frank Sinatra, Dianne Reeves, Al Jarreau, Bobby McFerrin, and representative contemporary artists.
The analysis of the history of woodwind instruments (saxophone, flute, clarinet) in jazz. Emphasis is placed on the various styles of major players. The study of woodwind players including Johnny Hodges, Charlie Parker, Cannonball Adderley, Lester Young, John Coltrane, Eric Dolphy, Frank Wess, Andy Kirk, Benny Goodman, John LaPorta, Gerry Mulligan, and others, through tapes, articles, and transcriptions.
The analysis of saxophone styles in the R&B lineage including players associated with smooth jazz, funk, blues, soul jazz, acid jazz, soul, pop, and fusion styles. Emphasis is placed on the various styles of major players including Earl Bostic, Grover Washington Jr., Red Prysock, Hank Crawford, David Sanborn, King Curtis, Kirk Whalum, Junior Walker, Maceo Parker, Tom Scott, Michael Brecker, Andy Snitzer, Gerald Albright, Ed Calle and others, through in-class playing, recordings, and transcriptions.