Jazz Harmony and Improvisation - James Miley

MUS 239 Jazz Harmony and Improvisation - Fall 2013 Tu – Th 9:40 – 10:40 Dr. James Miley—Office: RMC 111 Phone: x6873 Email: [email protected] Office Hours: TBA I. COURSE DESCRIPTION: MUS 239 Jazz Harmony and Improvisation is a .5 credit course designed to introduce you to the language of jazz through practical application of jazz harmony via in-depth analysis, practical application of jazz techniques, simple transcription exercises, in-class listening and performance of works from the jazz repertory, and critical feedback from the instructor and your peers. II. COURSE GOALS AND LEARNING OUTCOMES: By successfully completing this course, you will develop the following: 1) understanding of the basic vocabulary of jazz harmony; 2) recognition of common jazz forms and harmonic progressions both by sight (score) and ear; 3) practical application of jazz harmony through improvisational and compositional exercises; and 4) a greater understanding of and appreciation for jazz music and musicians through guided listening and discussion. III. RECOMMENDED MATERIALS (order online @ www.jajazz.com): 1. 2. 3. 4.

Aebersold, Jamey. Vol. 54: Maiden Voyage Aebersold, Jamey. Volume 3: II – V – I Workout Werner, Kenny. Effortless Mastery A blank manuscript paper notebook.

IV. STUDENTS WITH DISABILITIES: It is your responsibility to identify yourself to the university and the instructor so reasonable accommodations for learning and evaluation within the course can be made. V. GRADING CRITERIA: Assignments/Quizzes/Performance Exams Final Examination (cumulative) Final Project (Improvisation Analysis and Performance) Attendance and participation

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Assignments/Quizzes and Final Exam: There will be regular written and performance-based assignments plus a cumulative final exam during the semester. The Final Exam will include analytical, aural, compositional, and applied questions worth 15% of your total grade. The Final will also include a short section on chord and harmonic progression recognition and recognizing common jazz song forms by ear. Final Project/In-Class Presentation: Each student will be responsible for presenting to the entire class a complete chorus of a solo by a significant jazz artist over a standard 32-bar song form (or three choruses of the blues). Your presentation will include a printed out transcription and analysis of the improvisation, as well as a performance (along with the recording) by YOU of the selected excerpt.

Attendance: Attendance is expected at all class meetings. As this is a course that relies heavily on discussion and student participation, excessive absences will result in below average work and negatively affect both your classmates and your grade. Unexcused absence on a quiz or performance exam day will result in a zero (0) for that assignment. Any exceptions will be dealt with on a case-bycase basis.

VI. GRADING SCALE: If you practice regularly, successfully present your project, study well for your exams, and attend every class, you will have a good shot at receiving an “A” in this course. All assignments should be presented in clear, readable notation. Grading scale is as follows: 90 - 100 = A, 80 - 89 = B, 70 - 79 = C, 60 - 69 = D, 0 - 59 = F VII. The MONDAY MORNIN’ TUNE: We’ll be listening to many different kinds of jazz music each Monday throughout the year, with about ten minutes of discussion following each selection. Use this time to sharpen your critical “chops”—listening to music with a critical ear is something that you’ll be required to do throughout your life as a musician. course calendar (subject to revision) Week 1: Course Introduction What IS Jazz Improvisation? LISTENING LISTENING LISTENING Week 2: “Free Response” playing Having a CONVERSATION through music Different facets of improvisational playing - timbre, texture, tempo, tonality, range, rhythm, phrasing, etc. *ASSIGNMENT: Duos, Trios & Quartets (handout) Week 3: Jazz Vocabulary review of intervals & basic chord types jazz chord nomenclature identifying intervals and chord types by ear *ASSIGNMENT: Recognizing & Building Chords (handout) Week 4: Basic Harmonic Function Dominant and Predominant Function (V & ii) modes of the major scale *ASSIGNMENT: Playing over II - V progressions Week 5: ALTERED Harmonies Modes of the Minor Scale minor ii – V *ASSIGNMENT: Using modes to navigate minor ii - V - i changes--Handout Weeks 6 - 7: THE BLUES basic blues forms hearing the blues “guide tone” exercises *ASSIGNMENT: BLUES TUNE (TBA)

Week 8: **MID TERM: October __** Blues Performance In Class Written exam (course materials to date) Ear training (blues, chord types, modes) Week 9: Standard Song Forms (32 bar AABA) Identifying key areas Modal vs. Chord/Scale soloing *ASSIGNMENT: STANDARD TUNE (TBA) Week 10: OTHER SONG FORMS examination of specific composers (Strayhorn, Evans, Mingus) **EAR TRAINING EXAM (recognizing song forms) Week 11: PHRASING playing the form phrase “targets” common tone melodic shifts **ASSIGNMENT: common tone method (handout) Week 12: ASSIGNMENT: Wayne Shorter Tune (TBA) NO CLASSES THIS WEEK – I’ll be in California and Nevada for a series of concerts Week 13: Transcribing solos (selection of individual transcription project tunes) relying on theoretical knowledge to help you “hear” a solo “hearing” the changes Week 14: NO CLASS—THANKSGIVING BREAK Week 15: It’s ALL in your PREPARATION! How to tackle tunes Identifying Key Areas Memorizing the Changes Your Friend, the Metronome Week 16: Course wrap-up Review for Final Work on Transcription Projects **EAR TRAINING EXAM: melodic/harmonic transcription

FINAL EXAM IS ON __________________ at __________