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    ATS2122 Jazz Tech 2019

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    Thien Pham

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    ATS2122 Jazz Tech 2019

    Uploaded by

    Thien Pham
    126 views6 pages

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    ATS2122-Jazz-Tech-2019

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    126 views6 pages

    ATS2122 Jazz Tech 2019

    Uploaded by

    Thien Pham

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    of 6

    Sir Zelman Cowen School of Music

    Jazz

    Performance 3: ATS2122

    Technical Syllabus 2019


    Subject Outline
    This area of study focuses on the development of sound quality, technical facility, melodic and
    harmonic fluency and a strong sense of rhythm and inner pulse. All technical work is to be
    memorised.

    Objectives
    The objectives of this subject are to develop the aural and technical skills for performance in an
    improvisatory context across various styles.

    Subject delivery
    As this subject is a component of Performance 3, students, in consultation with their principal
    study teachers, will build into their practice schedules appropriate time to develop the skills
    required to master the technical areas outlined below.

    Reading List
    Levine, M. (1989) The Jazz Theory Book. Sher Music Co, Petaluma.
    Levine, M. (2005) The Jazz Piano Book. Sher Music Co, Petaluma.
    Crook, H. (1999) Ready, Aim, Improvise. Advance Music
    Crook, H. (2002) How To Improvise. Advance Music.
    Boling. M (1993) The Jazz Theory Book. Advance Music. (scales – modes p. 43 – 70)

    Note: Double Bass students to play the syllabus at a slower tempo where necessary.
    Note: Double Bass, Trombone and Voice students can perform scales/arpeggios at a slower
    tempo up to 10 bpm slower for accuracy. (e.g range minum = 60bpm to minum = 45bpm)

    Work in Progress Assessment

    Scales:
    Diminished scales (half-step & whole-step), Minor Pentatonic Scales (1 b3 4 5 b7) and modes of
    the major scales in all keys. Check with your principal study teacher for the most appropriate
    way to articulate and accent the swing quavers for your specific instrument. Scales are to be
    played continuously around the cycle of 4ths (Cmaj®Fmaj®Bbmaj etc.). Students may be
    requested to play at both a soft and loud dynamic.
    Vocalists: sing scales at 60 bpm.

    Part 1 - Improvisation

    All listed scales to be improvised over both 4 & 8 bar durations. The last note of the
    improvisation must resolve on the root note on beat 1 (of bar 5 in a 4-bar improvisation) or beat
    1 (of bar 9 in a 8-bar improvisation).

    Metronome should only sound on beat 2 = 40bpm (tempo for all performers)

    • All students must provide a verbal 2 bar count-in prior to playing/singing.

    Final Technical Exam Assessment

    Part 2 - Improvisation

    All major scales to be played over 2 bars followed by a 2-bar improvisation over a ii-V chord
    progression.
    • All students must provide a verbal 2 bar count-in prior to playing/singing
    • Metronome should sound only on beat 4
    • The improvisation should ‘outline’ the chord progression.
    • The majority of notes should be 8th notes.
    Instrument-specific requirements
    Brass / Voice / Woodwind / Guitar / Bass / Strings: single melody line only.
    Piano: melody in right hand with accompanying chords in left hand.

    Chord Voicing: Piano & Guitar Only

    Each voicing chosen by the student* is to be played in all keys moving around the cycle of 4ths
    (Gmaj®Cmaj®Fmaj etc.

    *Check with your principal study teacher which positions/ voicings to prepare for the tech exam.

    • Maj 7th (9th where possible)


    • Min 7th (9th where possible)
    • Dominant 7th b9
    • Dominant 7th #9
    • Minor 7th b5
    • Diminished
    • Sus 4
    • Dominant 7th sus4

    Instrument-specific requirements
    Guitar: 3 voicings per chord type: Chords voiced from root note on 6th, 5th and 4th strings.
    Piano: 3 voicings per chord type: Using 2 hands

    12-Bar Blues
    PART 1: MAJOR BLUES transcription
    Students are to select one of the following transcriptions (excluding voice - see below) in which
    they will play one chorus along with the recording by memory (recording will be provided by
    staff in the assessment). In addition to the original key, students will be required to also learn
    the chorus in the keys listed below:

    • John Coltrane – Blue Trane (first chorus) Original key (Eb) plus F & Bb
    Library Location: C780 JI C725 BLU

    • Charlie Parker – Billies Bounce (first chorus) Original key (F) plus Eb & Bb
    Library Location: C780 JI P238 ESS

    • Cannonball Adderley – Spontaneous Combustion (first chorus) Original key (Bb) plus
    F & Db
    Library Location: C780 JI C226 CAN.1

    • Wes Montgomery – D Natural Blues (first chorus) Original key (D) plus G & Bb
    Library Location: C780 JI M788 FUL

    • Wynton Kelly - D Natural Blues (first chorus) Original key (D) plus G & Bb
    Library Location: C780 JI M788 FUL

    • Christian McBride – Blues on a Sunday: first four choruses of walking bass line under
    Joshua Redman’s Sax solo.
    Audio Location: http://youtu.be/f4far-VQbE4

    Voice: must learn 3 of the listed solos to be performed only in the key of the recording.

    All recordings are also available in the Library or streamed through the Naxos online catalogue.

    PART 2: MINOR BLUES – Transcription:

    Students (including vocalists) are to select one of the following solos in which they will play
    two choruses along with the recording by memory (recording will be provided by staff in
    the assessment):

    • Freddie Hubbard – Stolen Moments (first two choruses)


    Matheson Library Location: C780 JI N428 BLU

    • Oliver Nelson – Stolen Moments (first two choruses)


    Matheson Library Location: C780 JI N428 BLU

    • Bill Evans – Stolen Moments (first two choruses)


    Matheson Library Location: C780 JI N428 BLU
    Repertoire
    The following works are to be performed accurately from memory and in a musically appropriate
    way according to the style suggested by each piece (refer to your principal study teachers for
    stylistic guidance). Lead sheets will on moodle.

    • Freedom Jazz Dance (excluding Double Bass and Vocalists) – Eddie Harris ( = 84
    BPM)

    • Blues for Alice – Charlie Parker (F) ( =88 b.p.m)

    • Anthropology - Charlie Parker (Bb) ( =88 b.p.m)

    • My Funny Valentine – Rogers and Hammerstein ( = 60 b.p.m)

    • Corcovado (including introduction) – Tom Jobim ( = 60 - 70 b.p.m)

    • Well You Needn’t – Thelonious Monk ( = 74 b.p.m)

    Instrument-specific requirements:
    Vocalists:
    • Melody, chord-tones (1 3 5 7), and chord-tone improvisation.
    • Tempo’s can be sung at 10 bpm slower if required.
    • Click on 2 and 4 in swing tune or 1 and 3 on straight feel.

    Vocalists can learn all repertoire in the key of their choice (with the exception of Blues for
    Alice which must be sung in F) and can include vocalese lyrics if desired. All transposed
    repertoire (other than the original key) is to be scored and submitted at the exam. The
    repertoire may be performed either with or without accompaniment at the discretion of the
    examiners.

    Brass / Woodwind: melody, chord-tones (1 3 5 7), and chord-tone improvisation.


    Bass: Melody, walking or appropriate bass feel, and chord-tone improvisation.
    Guitar: Melody, chords (separately), chord-tones (1 3 5 7), chord-tone improvisation, and
    melodies to be played simultaneously with chordal accompaniment for My Funny Valentine &
    Corcovado.
    Piano: Melody with chordal accompaniment, chord-tones (1 3 5 7) and chord-tone
    improvisation.

    Instrument Specific Transcriptions


    Requirements:
    • All transcriptions to be memorised
    • Chord progression to be known (verbally recite chord progression)
    • Melody and solos to be played/sung accurately along with the recording, including
    detail in nuances, rhythmic phrasing and entries. (Recording will be supplied by the
    examiners).
    Trumpet
    • Lee Morgan – Side Winder
    • Track 1 – Side Winder – Melody and entire trumpet solo

    Trombone:
    • Curtis Fuller – Blue Train
    • Track 1 – entire Trombone solo

    Tenor Saxophone
    • Stan Getz – Stella by Starlight
    • Track 1 – Stella by Starlight
    • Head – 2 solo choruses

    Alto Saxophone
    • Kenny Garrett - Triology
    • Track 5. Waynes Thang - Head & 6 Choruses

    Baritone Saxophone
    • Gerry Mulligan & Paul Desmond – Two of a Mind
    • Track 1. All the Things You Are

    Piano
    • Oscar Peterson – Night Train
    • Track 2. C Jam Blues – 6 choruses

    Electric Bass
    • Jaco Pastorius – Heavy Weather
    • Track 8 - Havona - (solo between 2.33-3.49)

    Acoustic Bass
    • Dave Holland – Question and Answer
    • Track 8 – Old Folks (solo between 4.07-5.07)

    Guitar
    • Joe Pass – Intercontinental - Naxos
    • Track 2 - Meditation - Entire Guitar Solo

    Vocalists:
    • Betty Carter – I Can't Help It
    • Track 7 - You're Driving me Crazy - Head and solo

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