This course is intended to provide further study and advancement for students who have completed ILBS-P110, Electric Bass for Non-Bass Principals. The course will begin with refining and developing technique and sound on the electric bass. Exercises involving arpeggios, scales, intervals, etc. are utilized to further develop fretboard knowledge and awareness. Four-part chords, scales, and modes will be introduced and used in bass line application. In addition, students will also learn basic slapping technique. Each week the bass line to a song will be learned and performed along with the recorded song.
The student will study style, interpretation, and creativity, via performance of transcriptions and ‚études from various artists in the metal style. Weekly lessons will consist of harmonic, rhythmic, and technical aspects of metal bass playing. Topics will include playing in odd meters, tapping, finger style, energy level, attitude, picking, slap, alternate tunings, and focus on economy of motion.
This course explores Gary Willis’ approach to music and creativity in an interactive workshop environment. Students will learn from Willis’ experience in his 30+ year career in music and will have the opportunity to interact with him on a broad range of topics including technique, improvisation, composition, and more. The composer, recording artist, author and instrument designer will share his views on creativity and how it can relate to multiple aspects of a musician’s experience.
A bass lab designed to explore, examine, and perform both traditional and contemporary gospel music. This course will introduce the student to various styles of gospel, including hymns, spirituals, praise, and worship. This course will also explore major figures in the genre, such as Abraham Laboriel, Joel Smith, Andrew Gouche, and Fred Hammond, and their inspirations and mentors, including Anthony Jackson, Marcus Miller, John Patitucci, and Jimmy Haslip. Students will study from both historical and musical/technical perspectives, including the relationship between bass and organ, learning quickly by rote, and pertinent harmonic considerations for the various styles within gospel.
Students will develop basic skills using the turntable both as a means of live expression and performance and as a production tool. Weekly hands-on exercises will be emphasized. The course traces the historical development of the turntable from its origins in Jamaican music through its importance as a major expression of hip-hop culture, and to the turntable's prominence in contemporary music. Artistic, ethical, and legal issues surrounding the use of the turntable will be examined. For students with little or no prior experience.
A lab for the non-guitar principal focusing on technique for the development of basic lead, comping, and soloing skills for effective performance. Students are required to provide their own acoustic or electric guitar.
Instrumental labs for guitar principals with a minimum of second-semester standing. Offered in stylistically delineated sections (jazz, rock, funk, fusion, blues), these labs develop performance skills in the specified style.
A lab focusing on the development of lead, comping, and soloing skills necessary for effective performance in an ensemble. Aids to skills development include a graphic/electronic repertoire of rhythm tracks that provides effective ensemble environments. Planned outcomes include successful transition into the college ensemble program.
A course developed to aid guitarists in negotiating odd and compound meters. The student will explore meters based on groupings of 5, 7, 9, and 11 through a graduated series of exercises, ‚études, class demonstration, and participation. Some knowledge of chord voicings and the ability to solo over chord changes is strongly recommended, but not essential.
A weekly one-hour departmental lab to develop skills and repertoire in the traditional bottleneck blues guitar style.
This lab will explore creative applications for Guitar Department final exam materials with emphasis on improvisation, accompaniment, and composition in non-jazz contexts, including use of triadic and drone-based modal vamps to assist utilizing the less familiar modes in melodic minor, harmonic minor, and harmonic major; improvisation over common and nonfunctional harmony; and comping, voice leading, and voicing creation.
Standard tunes are prepared (melody, chords, bass lines, and improvisation) for critiqued performance on a weekly basis. Techniques for, and approaches to, improvisation, including solo transcription and analysis of chord progressions for scale relationship.