Jazz Theory and Aural Foundations       MUSC 3081     Spring 2007

 

Professor:  Brad Goode

 

Office :  C129 Imig   Office Phone: 735-2970

 

Required Text:  There will be no textbook for this course. Class lectures and hand-outs

will be the essential materials. You will be required to find and study recordings. There

are a variety of ways to obtain them, including borrowing them from me.

 

 

Grades will be based on the following criteria:

 

1.  Regular and punctual class attendance.  Every three  unexcused absences  will constitute the lowering of your grade by one full letter.

 

2.  Successful and timely completion of homework assignments. Assignments completed

late will receive a reduced grade.

 

3.  One aural transcription of a jazz solo, to be VOCALIZED in class, with the recording.  This  transcription project must be a  complete solo selected from the recordings of  Lester Young, Charlie Parker, Bud Powell, Clifford Brown, J.J. Johnson or Wes Montgomery on Ò standard Ò changes.

 

4.  One written transcription of a complete jazz solo, no shorter than 32 measures in length.  This is to be a different solo than the one mentioned above.  Chord symbols should be placed above each measure.  DO NOT USE KEY SIGNATURES. Notate all sharps and flats.  You will perform it with the recording.

 

 

5.  You will be required to demonstrate a basic ability to play root position chords and basic scales on the piano, regardless of what instrument you play.

 

6.  There will be two written quizzes, and one final exam.

 

7.  While this is not a performance class, and you will not be graded on your ability to play

the material on your instrument, you will be required to bring your instrument to class and

apply the concepts discussed. This course is the prerequisite for the Jazz Improvisation courses, and as such is in the service of developing improvisational and compositional

skills. The exercises and drills introduced in this course are meant as a guide and suggestion for successful development of performance skills. CLASS PARTICIPATION

WILL BE AN IMPORTANT FACTOR IN YOUR FINAL GRADE.

 

 

 

 

 

 

                                                  Calendar Of The Course

 

1/17 W.     Presentation of the syllabus.  Discussion of jazz.  Methods and goals.

Triads and seventh chords. Jazz/Swing Rhythm.

 

1/19  F.     Drills on seventh chords.

 

1/22  M.    Listening to Jazz.

 

1/24   W.    Introduction to chord progressions.

 

1/26   F.     Development of aural skills. Call and response. Exercises.

 

1/29   M.     Discussion of jazz language/vocabulary. ASSIGNMENT: Singing a jazz solo. Choose a complete solo by Lester Young, Charlie Parker, Bud Powell, Clifford Brown, J.J. Johnson or Wes Montgomery on Ò standard Ò changes.

 

1/31 W.      Modes of major.

 

2/2  F.       Drills on modes of major.

 

2/5  M.    PERFORMANCE OF VOCALESE SOLOS.

 

2/7  W.     The  ii-V- I progression, and the cycle of fifths.

 

2/9   F.        WRITTEN TEST

 

2/12  M.     The cycle of fifths. Drills.

 

2/14  W.     Identifying chord sounds.Dictation.

 

2/16  F.       Drills on the Cycle of Fifths. 

 

2/19  M.      Chord Progreesions and form.

 

2/21  W.      Identifying chord progressions.Dictation

 

2/23   F.      Using patterns in practicing.  Guide tone lines.

 

2/26   M.      Patterns on the ii-V7-I  progression.

 

 

 

 

 

 

2/28  W.     Introduction to chord extensions.

 

3/2   F.      Extensions, continued.

 

3/5   M.     Theory of melodic construction.

 

3/7  W.     Melodic construction, continued.

 

3/9  F.       PIANO TEST

 

3/12  M.     WRITTEN TEST.

 

3/14  W.     Introduction to transcription and melodic analysis. ASSIGNMENT: TRANSCRIPTION.

 

3/16  F.      Chord Voicing and Resolution.

 

3/14  M.     Categories and patterns of chord progressions.

 

3/19  W.     Blues form. The blues scale.

 

3/21 M .    TRANSCRIPTION PERFORMANCE.

 

3/23  W.     Blues in F.

 

4/2  M.     Jazz blues progression, utilizing ii-V7-I.

 

4/4 W.      Learning songs by chord function. Dictation.

 

4/6  F.      Blues in 12 keys. Drills

 

4/9.  M.   Blues in 12 keys. Solos.

 

4/11   W.     Learning songs and developing repertoire.

 

4/13    F.     Songs, continued.

 

4/16   M.    Modal Theory.

 

4/18.  W.    Modal theory, scale patterns.Drills.

 

 

 

 

4/20 F.       Modes of melodic minor.

 

4/23 M.      Pentatonic scales.Drills

 

4/25 W.      Film: ÒManhattan StudioÓ

 

4/27 F.       Thematic developmnent

 

4/30 M.      Triadic Superimposition

 

5/2 W.        Scalar superimpositon

 

5/4  F.         Review session