Graduate Jazz Piano Syllabus
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JAZZ FUNDAMENTALS Jazz Piano, Theory, and More
JAZZ FUNDAMENTALS Jazz Piano, Theory, and More Dr. JB Dyas 310-206-9501 • [email protected] 2 JB Dyas, PhD Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Executive Director of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum Development for the Thelonious Monk Institute of Jazz at UCLA in Los Angeles. He oversees the Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum (www.jazzinamerica.org), one of the most significant and wide-reaching jazz education programs in the world. Throughout his career, he has performed across the country, taught students at every level, directed large and small ensembles, developed and implemented new jazz curricula, and written for national music publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" around the globe with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby Watson, among others. He received his Master’s degree in Jazz Pedagogy from the University of Miami and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat Achievement Award for Jazz Education. 3 Jazz Fundamentals Text: Aebersold Play-Along Volume 54 (Maiden Voyage) Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes I. Chromatic Scale (all half steps) C C# D D# E F F# G G# A A# B C C Db D Eb E F Gb G Ab A Bb B C Whole Tone Scale (all whole steps) C D E F# G# A# C Db Eb F G A B Db ___________________________________________________________________________________________________________ II. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Download 2018 Catalog
JUNE 23 Bing Concert Hall Joshua Redman Quartet presented by JUNE 22 – AUGUST 4 28 BRILLIANT CONCERTS STANFORDJAZZ.ORG presented by JUNE JULY FRI FRI FRI FRI SAT SAT SAT SAT SAT MON SUN SUN 22 23 SUN 24 29 30 1 6 7 7 13 14 15 16 Indian Jazz Journey JUNE 22 – AUGUST 4 with Jazz on 28 BRILLIANT CONCERTS George the Green: Brooks, Early Bird Miles STANFORDJAZZ.ORG Jazz featuring Jazz for Electric Ruth Davies’ Inside Out Mahesh Dick Kids: An Band, Kev Tommy Somethin’ Blues Night with Joshua Kale and Tiffany Christian Hyman Jim Nadel American Choice, Igoe and Else: A with Special Jim Nadel Redman Bickram Austin McBride’s and Ken and the Songbook Sidewalk the Art of Tribute to Guest Eric & Friends Quartet Ghosh Septet New Jawn Or Bareket Peplowski Zookeepers Celebration Chalk Jazz Cannonball Bibb JULY AUGUST FRI FRI SAT SAT SAT TUE WED THU THU SUN SUN WED WED MON 18 19 21 22 23 25 26 27 28 29 MON 30 31 1 3 4 SJW All-Star Jam Wycliffe Gordon, Melissa Aldana, Taylor Eigsti, Yosvany Terry, Charles McPherson, Jeb Patton, Tupac SJW CD Mantilla, Release Jazz Brazil: Dena Camila SJW CD Regina Party: Anat DeRose Jeb Patton Meza, Release Carter Caroline Cohen/ Terrence Trio with Trio and Yotam party: An & Xavier Davis’ Romero Brewer Anat Yosvany Tupac Silberstein, Debbie Evening Davis: Heart Tonic Lubambo/ Acoustic Cohen and Charles Terry Taylor Mantilla’s Mike Andrea Poryes/ with Duos and Bria and Jessica Vitor Remembering Jazz Jimmy McPherson Afro-Cuban Eigsti Trio Point of Rodriguez, Motis Sam Reider Victor Lin Quartet Skonberg Jones Gonçalves Ndugu Quartet Heath Quintet Sextet and Friends View and others. -
The History and Development of Jazz Piano : a New Perspective for Educators
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr. -
Tiger Rag and the Twentieth Century
! A Song Through Time: Tiger Rag and the Twentieth Century ! ! ! A Senior Project presented to the Faculty of the Music Department California Polytechnic State University, San Luis Obispo ! ! ! In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts ! ! by Thomas Grady Hartsock February, 2014 © 2014 Thomas Grady Hartsock !2 Table Of Contents ! Introduction……………………………………………………………………………………Pg. 4 Original Dixieland Jazz Band Biography……………………………………………………………………….……Pg. 11 Musical Analysis…………………………………………………………………….Pg. 14 Discussion……………………………………………………………………………Pg. 18 Art Tatum Biography……………………………………………………………………………Pg. 20 Musical Analysis…………………………………………………………………….Pg. 24 Discussion……………….…………………………………………………………..Pg. 34 Les Paul and Mary Ford Biography……………………………………………………………………………Pg.36 Musical Analysis…………………………………………………………………….Pg. 41 Discussion……………….…………………………………………………………..Pg. 44 Dukes of Dixieland Biography……………………………………………………………………………Pg. 47 Musical Analysis……………………………………………………………………..Pg. 50 Discussion…………………………………………………………..……………… Pg. 51 Wynton Marsalis Biography……………………………………………………………………………Pg. 55 !3 Musical Analysis……………………………………………………………………Pg. 58 Discussion…………………………………………………………………………..Pg. 62 Conclusions and Cogitations…………………………………………………………..……Pg. 64 Appendix 1 Forms for each individual piece…………………….…………………………..Pg. 67 Appendix 2 Supplemental SHMRG And Comparison Chart……………………………….Pg. 68 Bibliography…………………………………………………………………………………Pg.71 Discography…………………………………………………………………………………Pg. 73 Image Credits……………………………………………………………………………..…Pg. -
Trevor Tolley Jazz Recording Collection
TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre. -
Jazz Piano Basics Handout WIBC17
JAZZ PIANO BASICS - DAN DAVEY DAN DAVEY JAZZ PIANO BASICS JAZZ PIANO BASICS - DAN DAVEY LEAD YOUR PIANIST ACROSS THE THRESHOLD Your pianists need YOUR help in rehearsal! Don’t expect private teachers to give them everything they need to be successful in YOUR ensemble on YOUR timeline. You need to have an understanding of the role of the piano and how to communicate voicings, comping, style, and more! Joining the jazz band as a pianist (or any other rhythm section instrument) is much different than joining as a horn player. The “concert band notes” look shockingly similar to the “jazz band notes” on the page. The horn player has to learn style and listening responsibilities. The music you hand your pianist looks entirely different and can be very overwhelming unless you know how to help them. BASIC FOUR-NOTE CHORD SYMBOLS Chord tones are numbered based on an 8-note scale using scale degrees 1 (Root), 3, 5, & 7. The following formulas are used to modify a major scale/arpeggio. Basic Symbols: • Major 7th: 1 3 5 7 Cmaj7, Cma7, CM7, C 7 • Dominant 7th: 1 3 5 b7 C7 • Minor 7th: 1 b3 5 b7 Cmin7, Cmi7, Cm7, C-7 • Half-Diminished: 1 b3 b5 b7 C7, C, Cmin7(b5), Cmi7(b5), Cm7(b5), C-7(b5), C-7(-5) • Diminished 7th: 1 b3 b5 bb7 Co7 • Minor-major 7th: 1 b3 5 7 Cmin(maj7), C-( 7) See the pattern of how each chord adds one flat to create the next. CŒ„Š7 C7 C‹7 C‹7(b5) 4 7 b7 4 w 5 bw 5 bw bw & w 3 w 3 b w bb w w Root w Root w w CŒ„Š7 C7 C‹7 C‹7(b5) b7 b7 4 5 b5 w bw bw bw & 4 w w b w b3 bb w b3 w w w Root w Root (Same as half-diminished chord) Note: All of this may be applied to your guitarist as well! JAZZ PIANO BASICS - DAN DAVEY WHAT ARE TENSIONS/EXTENSIONS? Tensions are non chord tones that are added to a chord to change the color/texture of the chord. -
MILES DAVIS: the ROAD to MODAL JAZZ Leonardo Camacho Bernal
MILES DAVIS: THE ROAD TO MODAL JAZZ Leonardo Camacho Bernal Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: John Murphy, Major Professor Cristina Sánchez-Conejero, Minor Professor Mark McKnight, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Camacho Bernal, Leonardo, Miles Davis: The Road to Modal Jazz. Master of Arts (Music), May 2007, 86 pp., 19 musical examples, references, 124 titles. The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music? Copyright 2006 by Leonardo Camacho Bernal ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES............................................................................................... v Chapters 1. INTRODUCTION ............................................................................................... -
Music - Applied & Performance (MUSP) 1
Music - Applied & Performance (MUSP) 1 MUSP 130 - Orchestra (Ensemble) (1 Credit Hour) MUSIC - APPLIED & MUSP 131 - Concert Choir(Ensemble) (1 Credit Hour) PERFORMANCE (MUSP) MUSP 132 - Singers' Theatre Workshop (Ensemble) (1 Credit Hour) MUSP 133 - Gospel Choir (Ensemble) (1 Credit Hour) MUSP 111 - Piano Class I (2 Credit Hours) MUSP 134 - Jazz Ensemble (1 Credit Hour) Offered for beginning piano students, the piano class will focus on fundamental piano technique and score reading, as well as the playing of MUSP 135 - American Roots Music Ensemble (1 Credit Hour) lead sheets. Students will work on individual electronic pianos, both solo The American Roots Ensemble offers students of all skill levels an and in groups. opportunity to interact, perform and learn about traditional American Roots Music with an emphasis on the Bluegrass/String Band formulas. MUSP 112 - Piano Class II (2 Credit Hours) Music from a variety of styles will be explored including old time fiddle This is designed for non-music majors with no significant background and string band music, country blues, early swing, early country, modern in piano who would like to continue their piano studies. This course is string band and progressive instrumental music. In this course we will a continuation of Piano Class I (MUSP 111) curriculum. Students will break down the elements of the song structure, look at the roll of each explore the joy of making music through more advanced (late beginning/ instrument and how each one fits into the mix. We will also explore vocal early intermediate level) repertoire. Other emphasis is placed upon harmonies and attempt to apply all of these elements to the material we ensemble work (duet, trio, quartet), chord progressions, harmonization, arrange and rehearse. -
The Be-Bop Language and the Dominant Seventh Chords
Art and Design Review, 2017, 5, 181-188 http://www.scirp.org/journal/adr ISSN Online: 2332-2004 ISSN Print: 2332-1997 The Art of Improvising: The Be-Bop Language and the Dominant Seventh Chords Carmine Cataldo Mechanical Engineering, Battipaglia, Italy How to cite this paper: Cataldo, C. (2017). Abstract The Art of Improvising: The Be-Bop Lan- guage and the Dominant Seventh Chords. The aim of this article lies fundamentally in illustrating the first part of a sim- Art and Design Review, 5, 181-188. ple and intuitive method, finalized to “speaking” the Be-Bop language imme- https://doi.org/10.4236/adr.2017.53014 diately, without possessing any jazz background whatsoever. The main pecu- liarity of the method consists in the fact that the attention of the improviser is Received: July 24, 2017 Accepted: August 11, 2017 always focused on Triads. We herein exclusively discuss the improvisation Published: August 14, 2017 techniques regarding the dominant seventh chords. Starting from a specific extended “sentence”, built around the Major Triad, we show how to instantly Copyright © 2017 by author and deduce further sentences, how to modify them, by cutting and adding Scientific Research Publishing Inc. “words”, and how to effectively combine them. This work is licensed under the Creative Commons Attribution International License (CC BY 4.0). Keywords http://creativecommons.org/licenses/by/4.0/ Jazz Improvisation, Be-Bop, Fast Learning, Triads, Dominant Seventh Chords Open Access 1. Introduction We herein exclusively deal with the dominant seventh chords, starting from a fundamental extended “sentence”, built around the major triad that immediately gives birth to three further sentences. -
Jazz Piano Improvisation Exercises the Pentatonic HAND GRIP & the Pentatonic ROW
NewJazz Oliver Prehn Jazz Piano Improvisation Exercises the pentatonic HAND GRIP & the pentatonic ROW Exercise 1.1-1.4 are all related to the minor pentatonic hand grip. We place the left hand on a minor pentatonic scale with the pinkie on the keynote and then we place the rest of the fingers on the scale stepwise upwards. Then we thin out the minor pentatonic scale playing only finger 5, 3 and 1 having a quartal chord. With the right hand we play the minor pentatonic scale in the same tonality as the left hand placing the right hand thumb on the pentatonic keynote and then we place the rest of the fingers on the scale stepwise upwards – right hand is now ready to improvise using this hand grip. The left and right hand fingers are always placed in the same manner using the same hand grip no matter tonality! Exercise 2.1-2.2 are also related to the minor pentatonic hand grip. Now we play the hand grip in 3 different positions: position 1, position 2 and position 3 each spaced with a perfect fifth. These three positions together we entitle the pentatonic row. This row of pentatonic hand grips is very useful in many contexts. With the pentatonic row we can for example play all the church modes! Again, the left hand is always placed on position 1. The right hand can freely improvise on position 1, 2 and 3. Left hand can be thinned out to form the quartal chord (or other patterns). The idea about using hand grips are essential and can be used in many contexts. -
Five Performance Etudes for Jazz Piano
FIVE PERFORMANCE ETUDES FOR JAZZ PIANO ADREAN FARRUGIA A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO OCTOBER 2020 © ADREAN FARRUGIA, 2020 Abstract There are currently numerous texts and publications which outline the fundamental concepts which are relevant to the study and performance of jazz piano. However, there is a smaller body of work that clearly demonstrates the practical real-world application of these fundamental concepts. This thesis presents a collection of five performance etudes for jazz piano which encompass a number of concepts and approaches which are fundamental to the study of jazz piano, while also, as performance relevant pieces, illustrate the practical application of these approaches and concepts. The relevance of the concepts and approaches covered is justified by providing examples of their use on recordings by historically significant pianists. These Five Performance Etudes for Jazz Piano are based of the practical application of relevant styles and concepts spanning the 1940s to the 1960s – the period of jazz which cultivated the greatest number of musical tools still used today. ii Acknowledgements I would like to thank Professors Al Henderson and Sundar Viswanathan for their guidance and assistance during the process of creating this thesis. In particular, the guidance of my primary advisor Al Henderson was greatly appreciated -- his willingness to be of assistance and his insights during the process went far beyond the basic requirements of his role. I would also like to acknowledge professors Barry Elmes, Jay Rahn, and Michael Coghlan, with whom I fulfilled the course requirements of this degree.