This course examines jazz with a focus on understanding the provenance of the music itself; in this case, the African continent, and in particular West African countries such as (modern day names) Benin, Togo, Senegal, and others. This class will focus on exploring the music of some of these cultures and in particular students will discuss and learn the rhythms that connect the music from these countries to their musical culture here in the United States and in the Americas. They will learn rhythms such as bembé and Abakuá and others, and how these are connected to jazz music.
In this course, students will learn how to use technology as an extension of their instrument in a solo setting. In-depth presentations and hands-on interaction with a wide variety of FX pedals are combined with required weekly lab use to provide students with an extensive survey of sonic possibilities. Students learn to use preamps, equalizers, harmonizers, delay, reverb, envelope filter, chorus, phasers, and compressors in coordination with a loop station culminating in a solo performance as the class’s final. Various assignments and projects along the way will help refine students' visions for the final exam.
This course focuses on the study and application of the improvisational approaches developed by John Coltrane during his first three periods: hard bop, tonic systems, and modal jazz. For each of the three periods, Coltrane’s improvisational vocabulary, harmonic and rhythmic approach, repertoire, and unique techniques will be covered. Students will gain a working understanding of these various approaches as well as an ability to apply them to their own music in their own way. In-class playing, transcriptions, handouts, and systematic approaches will be covered. Transcriptions will be analyzed in class.
A continuation of ILWD-211 Woodwind Improvisational Lab 1, designed for the intermediate woodwind principal. Continued work with chord scales, jazz articulation, and standard jazz repertoire; study and performance of jazz solo transcriptions.
This course focuses on the study of atonal or "free" improvisation, over structured harmonic continuity, through the use of triads. The four triad groups are used (major, minor, augmented, and diminished). They are played in random sequences where the concept of any triad over any chord is implemented. This gives the improviser complete harmonic and rhythmic freedom over the flow of traditional chord structures. After the study of triadic freedom with only one half step in between each triad group, the student moves on to the study of George Garzone's RCA (Random Chromatic Approach). This concept restricts the improviser to play chromatically up and down the length of the instrument, without expanding larger than a major third as the widest interval. Once students master the RCA, a combination of the four triad groups is used with the RCA played in between each triad to give the sound a kind of bebop flow. With the four triad groups and the RCA, this sound is placed over the harmonic continuity to cause a random harmonic non-sound, based off of the twelve-tone row.
This course will introduce jazz articulation applications on flute and tonguing techniques. Students learn about jazz flute players past and present. Weekly assignments introduce jazz standards, improvisation techniques, jazz flute articulation applications, and jazz flute études. Midterm and finals include transcribing a flute (or possible other instrument) solo.
The study of the flute as a doubling instrument for all majors, from beginners to more advanced instrumentalists. Fundamentals of embouchure, breathing, intonation, articulation, and technique are studied, using representative methods, études, and solos. Emphasis is placed on establishing good practice routines.
The study of the clarinet as a doubling instrument for the woodwind principal. Fundamentals of embouchure, breathing, and technique are presented using representative methods, ‚études, and solos. Emphasis is placed on doubling situations.
This course prepares students for a career as a theater and pit musician, including Broadway shows, Las Vegas, Hollywood, cruise ships, and film. This course covers saxophone/clarinet and flute/piccolo doubling, with concentration on tone quality, intonation, and facility. Instruments include: clarinets (piccolo, soprano, bass and contra-alto); saxophones (soprano, alto, tenor, and baritone); and flute/piccolo.
This course continues ILWD-323 and prepares students for a career as a theater and pit musician, including Broadway shows, Las Vegas, Hollywood, cruise ships, and film. This course covers double reed instruments, with concentration on tone quality, intonation, and facility. Instruments include: oboe/English horn and bassoon.
The study of the MIDI wind controller as a doubling instrument. Fundamentals of technique are presented with representative literature and MIDI sequences using various kinds of synthesized voices. Instruments will be provided for student use. Students are recommended to have an intermediate level of woodwind experience.
A study of the core works essential for any professional flutist's repertoire. Through an interactive master class setting, students will learn performance practices in a wide range of styles, including baroque, classical, and 19th-century; explorations of extended and experimental techniques found in 20th- and 21st-century compositions for the flute; and selections from flute music from around the world. Students will work with their own accompanists, including piano, guitar, and harp, and perform frequently, including in an end-of-semester in-class or public concert.