207: Introduction to Big Band Rhythm Guitar Style

Queen (band)

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A public recital of one hour or more. Course is required of all performance majors. Study of advanced composition techniques as applied to the Jazz idiom, making extensive use of analysis of established compositions and compositional methods.

Both the individual and interactive characteristics of melody, harmony, rhythm, and form will be stressed. Analysis and techniques of jazz vocal writing. Advanced Modern Arranging I. Advanced arranging and composition for the Jazz and studio ensemble. Advanced Modern Arranging II.

Introduction to Midi Sequencing and Digital Workstations. An introduction to Midi Sequencing with hands-on experience working with a computer sequencing workstation. Topics include sequencing, quantizing, editing, mixing, and effects processing. Advanced Jazz Improvisation Theory. Review of fundamentals and introduction of advanced topics in jazz harmony and scale resources for improvisation.

Exploration of advanced Jazz improvisation performance and practice techniques. Utilization of non-traditional harmonic motion, advanced chord scale relationships, and motivic development will be stressed, with the goal of musicality in improvisation. Enrollment open to seniors or graduate MSJ majors or permission of instructor.

Refinement of improvisation concepts leading towards the establishment of a personal style of playing. Open only to senior or graduate majors in Studio Music and Jazz. Course addresses scoring for large jazz ensemble, utilizing chord scale voicings and line writing techniques. Jazz Pedagogy and Administration. The philosophy, methods, and materials of instruction pertinent to the teaching and management of a jazz and commercial curriculum at the high school and college level.

Includes preparation of model curricula and supervised instruction. Graduate students will acquire improvisational skills while learning repertoire and performance techniques, and strengthen compositional and arranging skills by contributing original compositions and arrangements to the ensemble's repertoire. Techniques for scoring for the modern symphony orchestra.

Creative work in Jazz Composition. Jazz Composition Seminar II.

Swing music

Develop an understanding and control of compositional concepts and techniques required to work within a professional environment. Advanced Jazz Vocal Arranging. This course is designed to help advanced instrumental arrangers explore vocal arranging. Large Jazz Ensemble Conducting and Repertoire. This course will expose students to the methods, procedures, and practices involved in directing large jazz ensembles. Score study, conducting, and performance programming will be covered.

Emphasis will be placed on the selection of level appropriate repertoire. Additional topics include working with guest artists, ensemble finances, and the audition process. A comparative study of Jazz styles from to the present. These areas include jazz history, jazz improvisation, small ensemble coaching, and big band conducting. Students will lecture in the subjects of improvisation and history, and conduct ensembles in both a small combo and a big band setting.

Communication skills, repertoire selection, rehearsal techniques, conducting skills, concert preparation, and performance will be assessed. Applied Jazz Instruction Jazz I. Student must have completed five semesters on the principal instrument. Applied Jazz Instruction II. Students will acquire improvisational skills while learning repertoire and performance techniques leading to an advanced performance level.

This course will strengthen compositional and arranging skills as students must contribute original compositions and arrangements to the ensemble's repertoire. Small groups of vocalists with a rhythm section, dedicated to a particular style and body of literature. This course is designed to increase the rhythmic awareness of students thorough mastering basic drumset and hand percussion skills and to demonstrate how these skills can be taught in a public school or college setting for non percussion majors.

Big Band designed for graduate students needing experience with classic Big Band repertory. An advanced ensemble dedicated to the performance of original and standard repertoire in the jazz idiom Components: Mid-level ensemble for both instrumentalists and vocalists designed to familiarize students with classic Rhythm and Blues material from the 50s, 60s, and 70s, while preparing for a series of concerts throughout the semester.

A reading ensemble comprised of four or five saxophones. The ensemble focuses in on fundamental principles of sight-reading, blend, intonation, phrasing, articulation, rhythmic accuracy, as well as overall interpretation. This is an ensemble for freshmen rhythm section players. The class consists primarily of topics related to jazz and studio arranging and composition, recording techniques, rehersal techniques, music technologies, music business, and entrepreneurship.

Topics are examined utilizing hands-on technology, score analysis, listening, guest lectures, and long range projects. A choir of 12 to 16 voices, with rhythm section, which perform a wide variety o f jazz and pop styles. Master's Jazz Pedagogy Project. This project consists of a portfolio that students create during their four semesters in the program.

Many employers require video of candidates in multiple teaching environments.

Students will be videotaped during teaching demonstrations. All videos, plus several required documents the student will create, are archived in the portfolio, to be assessed in the fourth and final semester. Credit is not awarded until the paper has been accepted. A masters recital lasting at least 60 minutes that may include some chamber works but consists primarily of solo pieces.

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Students are required to write Program Notes. Master's Jazz Writing Project. Credit is not awarded until the project pape r is accepted.

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Required of all candidates of the D. A formal recital displaying improvisational, interactive, and compositional skills appropriate to the doctoral level. Used to establish research in residence and maintain full-time enrollment for the DMA after the student has completed the required hours of doctoral essay credit. At this level the instructor evaluates the writers breadth of knowledge of arranging and orchestration techniques and expands on the key arrangers of various styles, genres and mediums. Emphasis is placed on developing an individual approach to arranging and orchestration and more exploration of small and large jazz ensembles and writing for strings in a jazz setting.

Contemporary models are examined from both the classical and jazz repertoire. Major, minor, diminished, and whole tone scales. Chord structure and analysis. Bass line construction, basis of walking lines. Voice leading for bass lines and improvisation. Etudes and studies in all styles. Previous materials in addition to advanced harmonic applications. Expanding traditional improvisational vocabulary. Jazz Bass at the Master's level.

This course will examine, through transcription and analysis, the important figures in the history of jazz bass, and also those performances in which the student is interested. Jazz Bass at the Doctoral level. This course will also examine, through transcription and analysis, the important figures in the history of jazz bass, and also those performances in which the student is interested.

Previous materials in addition to solo bass techniques. Advanced arpeggios and scales. Pentatonic theory and applications. Previous materials in addition to recital preparation.

List of s jazz standards - Wikipedia

Analysis of styles, history of drum set. Basic transcription, chart reading. Private lessons which focus on the development of drumset skills. Students are required to perform and improvise at a professional level. Advanced analysis or major drum set artists. Soloing over form using motives, dynamics, and subdivision, comping patterns.

Displacement, metric modulation, preparation for recital, developing an individual voice. Left and right hand development. Basic fretboard theory including arpeggios, voice leading 2 string studies , blues and bebop scales. Application of the concepts studied to basic repertoire. Works by Bach, Galbraith and others. The Chicago style released the soloist from the constraints of contrapuntal improvisation with other front-line instruments, lending greater freedom in creating melodic lines.

In Armstrong worked with pianist Earl Hines , who had a similar impact on his instrument as Armstrong had on trumpet. Hines' melodic, horn-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes. His approach to rhythm often used accents on the lead-in instead of the main beat, and mixed meters, to build a sense of anticipation to the rhythm and make his playing swing. He also used "stops" or musical silences to build tension in his phrasing.

Black territory dance bands in the southwest were developing dynamic styles that often went in the direction of blues-based simplicity, using riffs in a call-response pattern to build a strong, danceable rhythm and provide a musical platform for extended solos. Meanwhile, string bass players such as Walter Page were developing their technique to the point where they could hold down the bottom end of a full-sized dance orchestra. The growth of radio broadcasting and the recording industry in the s allowed some of the more popular dance bands to gain national exposure.

The most popular style of dance orchestra was the "sweet" style, often with strings. Paul Whiteman developed a style he called "symphonic jazz," grafting a classical approach over his interpretation of jazz rhythms in an approach he hoped would be the future of jazz. The Victor Recording Orchestra won the respect of the Fletcher Henderson Orchestra in a Battle of the Bands; Henderson's cornetist Rex Stewart credited the Goldkette band with being the most influential white band in the development of swing music before Benny Goodman's. As the s turned to the s, the new concepts in rhythm and ensemble playing that comprised the swing style were transforming the sounds of large and small bands.

Starting in , The Earl Hines Orchestra was broadcast throughout much of the midwest from the Grand Terrace Cafe in Chicago, where Hines had the opportunity to expound upon his new approaches to rhythm and phrasing with a big band. Audiences raved at the new music, and at the Pearl Theatre in Philadelphia in December , the doors were let open to the public who crammed into the theatre to hear the new sound, demanding seven encores from Moten's orchestra. With the early s came the financial difficulties of the Great Depression that curtailed recording of the new music and drove some bands out of business, including the Fletcher Henderson Orchestra and McKinney's Cotton Pickers in Henderson's next business was selling arrangements to up-and-coming bandleader Benny Goodman.

In the Benny Goodman Orchestra had won a spot on the radio show " Let's Dance " and started showcasing updated repertoire featuring Fletcher Henderson arrangements. Goodman's slot was on after midnight in the East, and few people heard it. It was on earlier on the West Coast and developed the audience that later led to Goodman's Palomar Ballroom triumph. At the Palomar engagement starting on August 21, , audiences of young white dancers favored Goodman's rhythm and daring arrangements. The sudden success of the Goodman orchestra transformed the landscape of popular music in America.

Goodman's success with "hot" swing brought forth imitators and enthusiasts of the new style throughout the world of dance bands, which launched the "swing era" that lasted until A typical song played in swing style would feature a strong, anchoring rhythm section in support of more loosely-tied woodwind and brass sections playing call-response to each other. The level of improvisation that the audience might expect varied with the arrangement, song, band, and band-leader.

Typically included in big band swing arrangements were an introductory chorus that stated the theme, choruses arranged for soloists, and climactic out-choruses. Some arrangements were built entirely around a featured soloist or vocalist. Some bands used string or vocal sections, or both. Hot swing music is strongly associated with the jitterbug dancing that became a national craze accompanying the swing craze. A subculture of jitterbuggers, sometimes growing quite competitive, congregated around ballrooms that featured hot swing music.

A dance floor full of jitterbuggers had cinematic appeal; they were sometimes featured in newsreels and movies. Audiences used to traditional "sweet" arrangements, such as those offered by Guy Lombardo , Sammy Kaye , Kay Kyser and Shep Fields , were taken aback by the rambunctiousness of swing music. Swing was sometimes regarded as light entertainment, more of an industry to sell records to the masses than a form of art, among fans of both jazz and "serious" music.

Handy wrote that "prominent white orchestra leaders, concert singers and others are making commercial use of Negro music in its various phases. Some swing bandleaders saw opportunities in the Dixieland revival. Between the poles of hot and sweet, middlebrow interpretations of swing led to great commercial success for bands such as those led by Artie Shaw , Glenn Miller and Tommy Dorsey. New York became a touchstone for national success of big bands, with nationally broadcast engagements at the Roseland and Savoy ballrooms a sign that a swing band had arrived on the national scene.

With its Savoy engagement in , the Count Basie Orchestra brought the riff-and-solo oriented Kansas City style of swing to national attention. The Basie orchestra collectively and individually would influence later styles that would give rise to the smaller "jump" bands and bebop. It humiliated Goodman's band, [11] and had memorable encounters with the Ellington and Basie bands.

The Goodman band's Carnegie Hall Concert turned into a summit of swing, with guests from the Basie and Ellington bands invited for a jam session after the Goodman band's performance. The early s saw emerging trends in popular music and jazz that would, once they had run their course, result in the end of the swing era.

Vocalists were becoming the star attractions of the big bands. Vocalist Ella Fitzgerald , after joining the Chick Webb Orchestra in , propelled the band to great popularity and the band continued under her name after Webb's death in In vocalist Vaughn Monroe was leading his own big band and Frank Sinatra was becoming the star attraction of the Tommy Dorsey Orchestra, inciting mass hysteria among bobby-soxers. Vocalist Peggy Lee joined the Goodman Orchestra in for a two-year stint, quickly becoming its star attraction on its biggest hits.

Some big bands were moving away from the swing styles that dominated the late s, for both commercial and creative reasons. Some of the more commercial big bands catered to more "sweet" sensibilities with string sections. Some bandleaders such as John Kirby , Raymond Scott , and Claude Thornhill were fusing swing with classical repertoire. Lower manpower requirements and simplicity favored the rise of small band swing. Credit cannot be received for both MUS and The World of Musical Instruments.

Instruments of Western art music, selected world cultures, and vernacular music of the U. Emphasis on the cultural, sociological, and technological as well as the musical aspects of instruments. Music in Liberal Arts Specific attendance requirements are established at the beginning of each semester.

Four semesters are required of music majors; three semesters are required of music minors. Development of skills in written notation through use of computerized programs. Taught in the Music Computer Lab. Emphasis on song for solo voice and piano, with some discussion of works for voice and orchestra or chamber ensemble. Prerequisite for the audition in music performance. Designed for music majors and minors. New concepts of style and form. Ear training, sight-singing, dictation, rhythmic skills, and keyboard harmony.

Reading knowledge of music is essential. Music of World Cultures. Students complete a project or projects on the technical or theoretical aspects of the music of world cultures. Survey of Latin-American Music. Divided into three areas of study: Music in the Church. Offers to musician and non-musician alike historical overview, hymnody survey and other church music-related topics through class and guest lectures and practical seminars. Offered fall semester of odd years. Musical aesthetics; social, religious, and political concerns. Seminar in Music History. Students complete a project or projects on the technical or theoretical aspects of instruments.

Designed for music majors or minors. May be repeated for credit. The Roots of Song. Study of the evolution of poetic and musical genres and styles, both sacred and secular. Students must complete a project or projects on the technical or theoretical aspects of early song. Special Topics in Music. May be repeated if course content differs.

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