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MUS 230 IMPROVISATION I
1 Credit Hours
Instructor: Dr. Jonathan Noffsinger
Moody Music Building, Room 111
205-348-1475, 205-348-1473 (fax)
jnoffsin@bama.ua.edu
Prerequisite: MUS 230 or permission of instructor
COURSE GOALS & OBJECTIVES:
To aid the student in her/his development as a jazz musician
through an introduction to and familiarization with traditional
avenues for self-advancement in improvisational techniques.
REQUIRED MATERIALS:- Notebook and Music Manuscript notebook with soft lead pencils.
- Cassette tape player with several blank cassettes.
- Access to a piano.
- 3.5 inch High Density Computer Floppy Disk - unformatted or
Macintosh formatted
CLASS PROCEDURES:
Each lecture will cover the topic listed and its application
to melodic improvisation. Lectures will be conducted on a seminar
basis. Labs will involve extensive playing and singing in the
form of scales, arpeggios, patterns, jazz tunes, and improvising
solos. Study of each tune will be accompanied by discussion,
analysis, and listening to important recordings. Some items
for study will be placed on reserve in the Media Resource Center.
Some tunes likely to be covered include:
- "So What", "Impressions"(32 bar AABA,
minor key/modal)
- "Giant Steps" (32 bar ABAC Hardbop tune)
- "All The Things You Are" (64 bar AA'BA'' Standard)
- "The Blues"(primarily the 12-bar form with many different
heads)
TESTS & EXAMINATIONS:
All tests and examinations will have either a written or playing
component or a combination of both. This is a performance oriented
class. It is expected that the student will be able to demonstrate
an understanding of the concepts discussed through her/his
playing in class. Therefore, much outside preparation may be
necessary.
GRADING SYSTEM:
The student's final grade will be drawn from grades received
for each component of the course:
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Grades: |
| 3 Transcriptions |
35% |
95%-100% = A |
| 4 Tests (minimum) |
15% |
90%-94% = A- |
| Mid-Term Exam. |
20% |
86%-89% = B+ |
| Final Exam. |
20% |
82%-85% = B |
| Class
Participation |
10% |
79%-81% = B- |
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75%-78% = C+ |
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71%-74% = C |
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68%-70% = C- |
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64%-67% = D+ |
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60%-63% = D |
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57%-59% = D- |
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0%-56% = F |
Three transcriptions will be done by the student in the course
of the semester. The first transcription will be of a simple
melody well known to the student. The second transcription will
be accompanied by a written analysis. The third transcription
will also be accompanied by a written analysis and will be referred
to as the final project. The final project will consist of a
solo transcription of a jazz artist by the student to be selected
with the approval of the instructor. It will be accompanied by
a 5 - 10 page typewritten, double-spaced paper analyzing the
music and giving brief historical and biographical information
on the artist.
ATTENDANCE POLICY:
Participation in each class is fundamental to developing an
understanding of the material. Two unexcused absences will
result in a reduction by one letter grade (from A to B for
example). Tardiness will not be tolerated. Excessive tardiness
will be treated as an unexcused absence. An excused absence
may be defined as a lack of presence at a scheduled class because
of: 1) a conflict with another required University function,
or, 2) for compelling personal reasons such as a death in the
family or a serious illness. When possible every effort should
be made by the student to notify the instructor, personally,
a minimum of 24 hours in advance of the absence.
COURSE OUTLINE:
This is subject to change. Dependent on the progress of the
class, the time-line may be changed.
| Week 1: |
Introduction to Language of Jazz. Theory Pre-test (does
not affect your grade) and Theory Review. Chord and Scale
Spelling, Singing and Playing. Introduction to the Jazz
Improvisation Lab. |
| Week 2: |
Improvisation on "So What/Impressions." Introduction
of Digital Patterns and Essential Licks. Test
1 on Chord
and Scale Spelling and Playing. |
| Week 3: |
Continued improvisation on "So What." Discussion
of transcription techniques. Introduction to techniques
of melodic construction for improvisation. Transcription
1 Due. |
| Week 4: |
Apply Digital Patterns and Essential Licks to exercise
tracks of play-a-longs, "Giant Steps" and other
tunes. This procedure willcontinue for several weeks. Test
2 on "So What/Impressions," techniques of melodic
construction in improvisation. |
| Week 5: |
Continued pattern practice and application. Introduction
of ii--V--I. Learn and apply 7th-3rd resolution on ii--V.
Introduction of altered chords and scale choices. |
| Week 6: |
Continued pattern practice and application to all assigned
Bebop and Standard vehicles. Discussion of intensity-building
devices and melodic development techniques. Perform melodies
and improvise on all assigned tunes. Test
3 on Chord/Scale
identification. |
| Week 7: |
Continued practice and application of scale forms and
melodic devices. Transcription & Analysis
Due. |
| Week 8: |
Mid-term Exam Written & Playing on Bebop and Standard
tunes, Voice leading, and Chord/Scale nomenclature. Select
solo for Final Project. |
| Week 9: |
The Blues. Discussion of horizontal versus vertical playing.
Assign Blues tunes to learn. Listen to good models. |
| Week 10-12: |
Perform assigned blues tunes. Test
4 on the Blues chord
progression. Continued in-class listening with emphasis
on uniqueness, structure, and style. |
| Week 13 & 14: |
Perform all assigned blues tunes. Track progress on Final
projec |
| Week 15: |
Final Exam on blues vehicles, plus written exam. Final
Project Due. |
PERSONAL CONDUCT:
It is hoped that students participating in this course will
be challenged to achieve their full potential. At the same
time, we are committed to providing a non-threatening learning
environment. No conduct, which may be regarded as harassing
as defined in the University of Alabama's stated policy will
be tolerated.
To request disability accommodations, please contact Disabilities
Services (348-4285). After initial arrangements are made with
that office, contact the instructor.
BIBLIOGRAPHY:
| Improvising Jazz |
Jerry Coker |
| Complete Method for Improvisation |
Jerry Coker |
| How to Listen to Jazz |
Jerry Coker |
| Patterns for Jazz |
Jerry Coker |
| The Jazz Language |
Dan Haerle |
| A New Approach to Ear Training for Jazz Musicians |
David Baker |
| A New Approach to Jazz Improvisation |
Jamey Aebersold |
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