MUSC 270: Introduction to Jazz Improvisation VANGUARD UNIVERSITY DEPARTMENT OF MUSIC Course Syllabus Fall 2013 Title:

MUSC 270 – Introduction to Jazz Improvisation

Credits:

2.0 Units

Instructor:

Instructor Name: Dr. Kenneth Foerch office phone: 714-619-6415 e-mail: [email protected]

Office Hours:

Fine Arts 107 posted schedule and by appointment

Class Hours:

MW 2:30-3:20 PM, Hth 001

Final Exam:

Friday, December 13, 2013, 3:30-5:30pm

Required Course Materials:  Text: Jamey Aeborsold Vol. 21 ISBN-13: 978-1-56224-176-6
 ISBN-10: 1-56224-176-1
 UPC-A: 635621000216  Audio Recorder  “Transcribe” software, Get it from http://www.seventhstring.com/ or other similar.  Whiteboard Material: Provided by Professor Course Description: Prerequisite: Faculty Approval. Basic techniques in improvisation, beginning with simple question and answer phrases and progressing to extended solos. Development of modal and ii-V-I chord progressions through instrumental and vocal performance. Additional Course Information: This course addresses jazz improvisation through guided performance practices. The student upon course completion will have the tools to create jazz melodies at a simple harmonic level. Harmonically, the course starts with the major ionian mode and ends with the ii-V7-I chord progression. The teaching methodology involves rotating three areas of study. First the student practices a jazz ‘pattern, lick or cliché’, then transcribes portions of famous improvised solos and finally performs their own improvisations to pre-recorded play-along tracks. Student Learning Outcomes: STUDENTS WILL…

ACTIVITY/ASSESSMENT

Music Department SLO’s CCTC Domains NASM

Transcribe aurally presented musical excerpts into melodic, harmonic, and rhythmic notation

ACTIVITY: Transcribe famous improvised jazz solos ASSESSMENT: Written work reviewed and graded Perform Mid-Term Exam

Music Literacy CCTC: Domain 1 Artistic Perception NASM: (VIII.B.1.a.)

MUSC 270: Introduction to Jazz Improvisation Understand and demonstrate how to create melodic and rhythmic improvisations

ACTIVITY: Transcribe one hour a day

Basic jazz improvisation techniques, methods, and performance techniques

ASSESSMENT: Perform assignments at play-along recorded tempo

Communicate with their instruments an improvised solo.

ACTIVITY: Textbook and in class demonstration ASSESSMENT: Perform assignments before teacher and peers

Obtain a working knowledge of musical forms common to beginning jazz improvisation.

ACTIVITY: Textbook, hands on demonstration, outside class practice

Identify how to build an affective solo through imitation and transcribing.

ASSESSMENT: Perform assignments before teacher and peers ACTIVITY: Textbook, hands on demonstration, outside class practice

Identify and understand a variety of beginning jazz music literature.

ASSESSMENT: Written and Perform ACTIVITY: Textbook, handouts, transcriptions ASSESSMENT: Written and Perform

Understand how their Christian faith can impact their standards in Improvisation.

Lecture

Music Literacy CCTC: Domain 2 Creative Expression NASM: (VIII.B.1.a.) Music Literacy CCTC: Domain 2 Creative Expression NASM: (VIII.B.1.a.)

Music Literacy CCTC: Domain 1 Artistic Perception NASM: (VIII.B.1.a.)

Critical Analysis CCTC: Domain 1 Artistic Perception NASM: (VIII.B.1.a.) Music Literacy CCTC: Domain 3 Historical and Cultural Foundations NASM: (VIII.B.4.) (VIII.B.2.c.; 4.) Critical Analysis

ASSESSMENT: Classroom participation

Course Requirements and Expectations: Students are expected to practice and or transcribe one hour a day. The students are expected to come to class prepared to perform the assignments at the play-along recorded tempo. Late written assignments and transcription excerpts will be marked down one letter grade per class. No make-up performance tests or written exams will be given unless for a medical or family emergency. Course Design: Because of the nature of the class and different strengths of student abilities, the course syllabus will reflect ability of the students in current semester. Class participation: Your participation is crucial in attaining your objective in this class. I will deduct from your overall grade up to 10% for non-participation.

Required Course Materials:  Text: Chop Monster 1 for specific instrument (available at jwpepper.com)  Text: Jamey Aeborsold Vol. 21 ISBN-13: 978-1-56224-176-6
 ISBN-10: 1-56224-176-1
 UPC-A: 635621000216

MUSC 270: Introduction to Jazz Improvisation   

Audio Recorder “Transcribe” software, Get it from http://www.seventhstring.com/ or other similar. White Board Material: Provided by Professor

 Topics covered: Major Scale Dorian Mode (modal) Major Pentatonic Minor Pentatonic Blues Scale Be-Bop Scale Major ii7/V7 Progression Minor ii7/V7 Progression  Tunes covered: “So What” “Watermellon Man” The blues form “Tune Up” Rhythm Changes “Blue Bossa” “Take The A-Train” “”Autumn Leaves”  Week One Monday, Introduction to course 1. Assign 4 bar major pattern from page 51-57 Aeborsold Vol. 21, track 1 and 2. 2. Explore all major tracks 1-9 making sure you put chord tones on the down beats.  Week Two 1. Perform Aeborsold Vol. 21 track 1 and 2 2. Introduce the major pentatonic scale 3. Be able to make the appropriate note changes to track 11 Major to parallel Minor. 4. (Wednesday) Bring into class a recording of your favorite jazz artist.  Week Three (Wednesday) 1. Practice a 2 bar major dorian pattern along with the play along track 11 and change the lick to minor on the second two bars. 2. Introduce minor pentatonic 3. Start transcribing Miles Davis’s solo from “So What” 4. Sing a solo to “So What”  Week Four 1. Play minor pattern to track 18-24, utilize the minor pentatonic 3. Sing a solo transcription due to “So What” for Wednesday’s class 4. Miles’s solo transcriptions due on “So What”, be able to play along memorized and have a written copy Wednesday 5. Start transcribing Freddie Hubbard’s solo to “Watermelon Man” Performance Test #1 (Wednesday)

MUSC 270: Introduction to Jazz Improvisation 6. Improvise your own solo in the style of Miles Davis utilizing the following: Play a pattern in your solo Use a sequence Use a Miles quote Use the pentatonic scale 

Week Five 1. Introduce the Be-Bop Scale over the V7 chord. 2. Introduce the Blues Scale 3. Be able to play chord tones on the down beats (Major/Minor/Dominant) over track 4. Play “Watermellon Man” 5. Start transcribing Freddie Hubbard solo 6. Sing a solo to “Watermellon Man

12.

 Week Six “Watermelon Man” Continued 1. Due Freddie Hubbard solo 2. Singing solo  Week Seven The 12-Bar Blues 1. Start transcribing one chorus of a blues solo on blackboard 2. Sing the blues 2. Watch for the 7/3 voice leading lines  Week Eight 1. Play the blues, 2. Blues transcription due 3. Singing transcription due

 Week Nine Turn Around Progression ii-V7-I 1. Perform a turn around pattern in all keys using the play along on Blackboard (Vol 3 Aeborsold, track 1) 2. Introduce “Tune-Up”. 3. Watch for the 7/3 voice leading lines  Week Ten 1. Improvise to “Rhythm Changes” 2. Watch for the Dominant 7th cycle 3. Transcribe solo to “Rhythm Changes” 4. Sing solo to “Rhythm Changes”  Week Eleven Rhythm continued Week Nine Rhythm transcribed solo due Singing solo due  Week Twelve “Blue Bossa”

MUSC 270: Introduction to Jazz Improvisation  Week Thirteen 1. Improvise to “Take the ‘A’Train” 2. Watch for the 7/3 voice leading lines  Week Fourteen 1. Improvise to “Autumn Leaves” 2. The minor ii/V7 chord progression  Week Fifteen Prepare for the performance exam Monday, Performance Exam #2 Friday, December 13, 2013, 3:30-5:30pm

Grading:

Grading Scale: 90-100 80-89 70-79 60-69 0-59

A B C D F

Grade distribution: 30 points – Famous Jazz Artist transcriptions 30 points – Midterm Perfomance Exam 1 30 points - Final Performance Exam 2 10 points - Attendance 100 points total Access and Accommodations: Your experience in this class is important to us, and it is the policy and practice of Vanguard University to create inclusive and accessible learning environments consistent with federal and state law. If you have trouble participating or effectively demonstrating learning in this course, please meet with me to discuss reasonable options or adjustments. During our discussion, I may suggest the possibility/necessity of your contacting the Disability Services Office to talk about academic accommodations. If you have already established accommodations with the Disability Services Office, please provide your approved accommodation letter to me as early as possible so we can discuss your needs in this course. The Disability Services Office is located in the Scott Building 244, 714.619.6483 [email protected] The Disability Services Office offers resources and coordinates reasonable accommodations for students with disabilities. Reasonable accommodations are established through an interactive process between you, your professor(s), and the Disability Services Office (DSO). If you have not yet established services through the DSO, but have a temporary or permanent disability that impacts your learning, attention, mental health, vision, hearing, physical health, or other disabilities that may require accommodations, you are welcome to contact the DSO, located in the Scott Academic Center, Office 244, 714-619-6483, [email protected]. Students with a documented learning disability who would like to request appropriate accommodations should contact Barbi Rouse, Director of Learning Skills, Scott Academic Center second floor, 714-619-6478, [email protected].