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. Students are required to write Program Notes. Master's Jazz Writing Project. Credit is not awarded until the project pape r is accepted.
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.
- Once I Had A Woman.
- This website uses cookies to ensure you get the best experience on our website;
- Swing music.
- At An Early Age.
- Searching For Heidi Stein.
- Affiliate Marketing for Beginners - A No-Nonsense Guide on How to Make Money Online.
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. 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. Improvisation and harmonic studies based on the foregoing. Use of Jamey Aebersold play-along series. Graduate Studies in Jazz Guitar are designed to take into account each student's talent, previous accomplishments and particular interests. After a careful assessment of the student's strengths and weaknesses, a course of study will be custom-designed, with possible areas of study drawn from but not limited to the following list: It is expected that a graduate student a the DMA level would be, to a large extent, self-directing and capable of original research.
Assistance with recital preparation will be given as appropriate and necessary. Further development of repertoire and continuation of technical studies. Improvisation using arpeggios with tension substitutions. Application of major and melodic minor modes. More advanced transcriptions and refinement of time feel. More advanced repertoire works by Corea, Hancock, etc. Continued expansion of harmonic concepts and exploration of chord voicings and applications. Use of Aebersold series. Assistance with senior recital preparation.
Students will expand and refine application of fundamental chord voicings, chord-scale relationships, be-bop and blues vocabulary, and develop a strong rhythmic base. Technique will be evaluated to identify areas in need of improvement. Selected exercises from the Dohnanyi or Pishna exercise books. Augmented scales and modes of major in all keys, in both hands and in at least two octaves with a swing triplet subdivision. Introduction to modal harmony and sideslipping through study of plateau modal compositions tunes with long sections of the same modality.
Pentatonic scales in all keys. Blues in the stride solo piano format. Analysis and transcription of artists who played in this style such as Tatum, Johnson, Smith, and Peterson. All of the above to be performed both with bass accompaniment and in solo piano format with sections in stride style. Introduction to the Bill Evans piano style through performance of his transcribed piano pieces.
Students are encouraged to seek refinement in the areas of harmony, chord voicings, improvisation vocabulary, rhythmic concepts, and technique. A nuanced approach to performing in a musical and expressive manner, with special regard to phrasing, dynamic contrast, articulation, and part balance will be stressed.
Advanced techniques in reharmonization, rhythmic phrasing, and solo piano will be explored. Atypical song forms and contemporary repertoire will be introduced. Developing an individual approach to improvising and composing will be encouraged. Recital preparation will focus on programming and other important aspects of concert planning. Emphasis placed on developing an individual identity as an artist. Students will expand and refine knowledge of chord voicings, chord scale relationships, and rhythmic integrity in swing and other styles.
Modal, chromatic, and non-traditional harmonic concepts will be introduced. Advanced rhythmic approaches to improvisation and accompaniment will be explored. Expressive aspects of performance will be addressed. Arpeggiation of major, minor, diminished and augmented seventh chords, in both hands and in at least two octaves with a swing triplet subdivision. Introduction to melodic harmonization through practice of "Shearing Style" and "Drop Two" scaler exercises.
Introduction of the ii-V7-I chord progression in all keys as applied to tunes which have a harmonic rhythm of two changes per bar such as Confirmation Parker and in Your Own Sweet Way Brubeck. Study of the "I Got Rhythm" chord progression. All of above to be performed with bass accompaniment, or in solo piano format. Study, performance and analysis of transcribed solos such as those found in the Omnibook Parker.
Introduction to solo piano format through study of transcribed pieces. Introduction to principals of saxophone acoustics; introduction to tone production, intonation, tonal color, and blend; basic technique, chords and scale studies; jazz phrasing; establishment of a "tune list" repertoire ; study of improvised Solos through transcription; major scales full range, thirds, diatonic seventh chords in level A and in level B, melodic minor scales full range, thirds, diatonic seventh chords.
The graduate student will be encouraged to seek further refinement in all areas, including tone, intonation, technique, stylistic interpretation, improvisation, as well as be thoroughly versed in the pedagogy of the instrument. Related areas may also be addressed within the private lesson format, such as composition, doubling, and keyboard skills. Building of repertoire; concentration on selected influential composers: Review of teaching methods, materials. Bozza Etudes Caprices, Lacour 8 Difficult studies. Total 80 tunes minimum by end of H level. Major, melodic minor, diminished scales, Dorian and Mixolydian modes, dominant 7th arpeggios, minor 7th arpeggios.
All major and minor 3rds followed by respective dominant 7ths. Previous material, in addition to standard tunes 2 per week. Private lessons focus on various facets of jazz trombone performance. These include jazz and classical instrumental studies focusing on proper warm up and advanced articulation exercises.
Jazz styles are researched through listening to and transcription of established jazz instrumentalists. Advanced jazz theory and jazz piano are also included. The student is required to perform and improvise at a professional level. Previous material in addition to blues and rhythm changes in 12 keys. Voice Leading 3rds and 7ths. Standard tunes 1 per week. Previous material in addition to augmented scales and patterns. Pentatonic scales and patterns.
Concentration on basic trumpet skills, utilizing the Arbans and Clarke technical studies book. Major and diminished whole tone scales. Continuation of range studies in addition to advanced etudes such as Bitsch and Charlier. Diminished and augments scales. Private lessons focus on various facets of jazz trumpet performance. Continuation of basic skills in addition to range studies utilizing the Wedge breath. Transcribing jazz trumpet solos. A cappella blues in all keys. Study of advanced jazz repertoire.
Warm-ups, Cool downs and introductory exercises for breath management. Attack in phonation, registration, resonance, articulation, coordination, microphone technique, key selection and vocal hygiene and maintenance.
Navigation menu
Private studio vocal study at the master of music graduate level devoted to the continued development of skills and repertoire with particular attention to discovering and nuturing the individual student's artistic direction. Private studio vocal coaching at the doctoral level devoted to refining all skills, technique, and repertoire for professional performance and pedagogy. Mini-Concert 4 song set Note: Copyright University of Miami. Jazz Vocal Techniques I. Small Jazz Ensemble I. Small Jazz Vocal Ensemble. Small Jazz Ensemble II.
Small Jazz Ensemble IV. Small Jazz Ensemble V. Small Jazz Ensemble VI. Rhythm and Blues Ensemble. Small Jazz Ensemble Lab. Jazz Guitar Ensemble I. Jazz Guitar Ensemble II. Jazz Vocal Ensemble I. Jazz Vocal Ensemble II. 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.
Studio Music and Jazz (MSJ)
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. In a Downbeat interview, Duke Ellington expressed dissatisfaction with the creative state of swing music; [17] within a few years he and other bandleaders would be delving into more ambitious, and less danceable, forms of orchestral jazz and the creative forefront for soloists would be moving into smaller ensembles and bebop. The Earl Hines Orchestra in featured a collection of young, forward-looking musicians who were at the core of the bebop movement and would in the following year be in the Billy Eckstine Orchestra , the first big band to showcase bebop.
The trend away from big band swing was accelerated by wartime conditions and royalty conflicts. Consequently, ASCAP banned the large repertoire they controlled from airplay, severely restricting what the radio audience could hear. Those restrictions made broadcast swing much less appealing for the year in which the ban was in place. Big band swing remained popular during the war years, but the resources required to support it became problematic.
Wartime restriction on travel, coupled with rising expenses, curtailed road touring. The manpower requirements for big swing bands placed a burden on the scarce resources available for touring and were impacted by the military draft. In July the American Federation of Musicians called a ban on recording until record labels agreed to pay royalties to musicians.
List of s jazz standards - Wikipedia
That stopped recording of instrumental music for major labels for over a year, with the last labels agreeing to new contract terms in November In the meantime, vocalists continued to record backed by vocal groups and the recording industry released earlier swing recordings from their vaults, increasingly reflecting the popularity of big band vocalists. Harry James and his Orchestra". The recording found the commercial success that had eluded its original release.
Small band swing was recorded for small specialty labels not affected by the ban. These labels had limited distribution centered in large urban markets, which tended to limit the size of the ensembles with which recording could be a money-making proposition. The war's end saw the elements that had been unified under big band swing scattered into separate styles and markets. Some "progressive" big bands such as those led by Stan Kenton and Boyd Raeburn stayed oriented towards jazz, but not jazz for dancing. Popular music was centered on vocalists, and a full-time big band to back up a vocalist was increasingly seen as an unnecessary expense.
List of 1930s jazz standards
By the economics of popular music led to the disbanding of many established big bands. Big band music would experience a resurgence during the s, but the connection between the later big band music and the swing era was tenuous. After some rough years in the late s, including another recording ban by the musicians' union, big band music saw a revival in the s and s. One impetus was the demand for studio and stage orchestras as backups for popular vocalists, and in radio and television broadcasts.
The bands in these contexts performed in relative anonymity, receiving secondary credit beneath the top billing. Ability to adapt performing styles to various situations was an essential skill among these bands-for-hire, with a somewhat sedated version of swing in common use for backing up vocalists. The resurgent commercial success of Frank Sinatra with a mildly swinging backup during the mids solidified the trend. Many of these singers were also involved in the "less swinging" vocal pop music of this period. Big band jazz made a comeback as well. Count Basie and Duke Ellington had both downsized their big bands during the first half of the s, then reconstituted them by Ellington's venture back into big band jazz was encouraged by its reception at the Newport Jazz Festival.
The Basie and Ellington bands flourished creatively and commercially through the s and beyond, with both veteran leaders receiving high acclaim for their contemporary work and performing until they were physically unable. Drummer Buddy Rich , after briefly leading one big band during the late s and performing in various jazz and big band gigs, formed his definitive big band in His name became synonymous with the dynamic, exuberant style of his big band.
Big band jazz remains a major component of college jazz instruction curricula. In country music Jimmie Rodgers , Moon Mullican , and Bob Wills combined elements of swing and blues to create a western swing. Mullican left the Cliff Bruner band to pursue solo career that included many songs that maintained a swing structure. Artists like Willie Nelson and Asleep at the Wheel have continued the swing elements of country music. Nat King Cole followed Sinatra into pop music, bringing with him a similar combination of swing and ballads.
Like Mullican, he was important in bringing piano to the fore of popular music. Gypsy swing is an outgrowth of the jazz violin swing of Joe Venuti and Eddie Lang. Their repertoire overlaps s swing, including French popular music, gypsy songs, and compositions by Reinhardt, but gypsy swing bands are formulated differently. There is no brass or percussion; guitars and bass form the backbone, with violin, accordion, clarinet or guitar taking the lead. Gypsy swing groups generally have no more than five players. Although they originated in different continents, similarities have often been noted between gypsy swing and western swing , leading to various fusions.
Though swing music was no longer mainstream, fans could attend "Big Band Nostalgia" tours from the s into the s. The tours featured bandleaders and vocalists of the swing era who were semi-retired, such as Harry James and vocalist Dick Haymes. Historically-themed radio broadcasts featuring period comedy, melodrama, and music also played a role in sustaining interest in the music of the swing era.