JAZZ 2021/22 WELCOME Since the formation of its first jazz course in 1987, the Royal Academy of Music has steadily produced an outstanding array of creative, versatile and employable musicians. So, what is unique about studying at the Academy, and how does it maintain such consistently high standards? We offer an ideal environment in which to learn about, and experiment with, this extremely broad art form. Our full and varied courses cover many forms of jazz and its possible applications within other genres such as world, groove, electronic and commercial music. Our small year groups allow for a personalised education and close mentorship throughout your studies. We place a strong emphasis on performance, as well as composition and arranging skills, with opportunities both within the Academy and at prestigious venues including the 606 Club, Vortex, Pizza Express, Ronnie Scott’s and Kings Place. Our focus is to help you not only to find your creative voice, but also to develop the lifelong musical associations and professional skills that you need to pursue the future you want as a 21st-century musician. NICK SMART Head of Jazz COURSES Whether you’re a BMus or a Master’s student, your course will be packed with variety and creative opportunities UNDERGRADUATE: BMUS POSTGRADUATE: MA/MMUS (4 YEARS) (2 YEARS) YEAR 1 YEAR 3 MA • Principal Study including ensemble • Principal Study including ensemble • Principal Study including and Big Band projects and Big Band projects ensemble and Big Band • Aural and Transcription I • Aural and Transcription III projects • Composition and Arranging I • Composition and Arranging III • Composition and Arranging • Jazz History: from African American • Contemporary Rhythmic Skills • Postgraduate Composers origins to today’s multicultural • Electives Octet Workshop world jazz • Rhythmic Studies of the • Creative Technology YEAR 4 African Diaspora and • Jazz Supporting Studies I • Principal Study including ensemble Contemporary Rhythmic Skills • Repertoire and Improvisation I and Big Band projects • Repertoire and Improvisation • Composition and Arranging IV (Year 1) YEAR 2 • Electives • Professional Portfolio • Principal Study including ensemble • Professional Development Portfolio • Faculty Activity Portfolio and Big Band projects • Aural and Transcription II MMUS • Composition and Arranging II As per the MA, with the addition • Critical and Contextual Listening of a Master’s Project, which can • Jazz Supporting Studies II be a concert with commentary, • Repertoire and Improvisation II a recording-based project, a • Rhythmic Studies of the dissertation, or a mixture of these. African Diaspora We will encourage you to pursue project work that is directly useful to and representative of your creative development. Our Master’s courses are designed as two-year courses. Based on an applicant’s circumstances and prior experience, we can discuss at audition whether completing the course in one year is a suitable option. JAZZ SUPPORTING STUDIES of improvisational approaches COURSE DESCRIPTIONS This module provides opportunities and strategies. Find out more about the courses that make up our for students to develop skills in writing undergraduate and postgraduate jazz degrees two-stave short scores and fully CREATIVE TECHNOLOGY notated piano parts, supporting the This course explores the latest requirements of the C&A course. developments in interactive technology PRINCIPAL STUDY ARTIST DEVELOPMENT within live and recorded music. You 30 hours per year of one-to-one In an increasingly competitive musical AURAL AND TRANSCRIPTION will be encouraged to experiment instrumental lessons (45 hours per year profession, you will need to be This course cultivates the aural skills that through practical projects, and develop for postgraduate students), culminating equipped with the essential tools to will underpin your improvisation and an integrated approach with software in an end-of-year recital. flourish. We have excellent links with playing. You will learn to recognise and such as Ableton Live, Logic and various the jazz media and industry, resulting identify different chord qualities, modal hardware pedals and controllers. SECOND STUDY in regular seminars with journalists, sounds and key centres. You will also You will also gain studio experience Additional hours (5 to 10 per year) broadcasters and record label owners. undertake regular transcription projects to explore the basic requirements on a second-study instrument can to internalise the vocabulary and and practical considerations of the be applied for and are given to At the end of the BMus and phrasing of the great players in history. recording environment. Final projects those demonstrating need and/or postgraduate courses, there is a include individual and ensemble prior experience. You must apply to Professional Development Portfolio that RHYTHMIC STUDIES OF performances of the work with a free your Head of Year at the start of the includes many key skills and real-world THE AFRICAN DIASPORA sonic and stylistic choice. academic year. examples, such as writing funding AND CONTEMPORARY applications and press releases. You RHYTHMIC SKILLS JAZZ HISTORY: FROM AFRICAN ENSEMBLE PROJECTS also have the chance to take electives This introduces non-Western principles AMERICAN ORIGINS TO TODAY’S These comprise weekly workshops and in Principles of Education and Music in of rhythm drawn from Asian, African MULTICULTURAL WORLD JAZZ culminate in a public performance. The the Community, and to study for the and Latin American traditions. The Familiarity with the history of jazz has programme of concerts varies from additional LRAM teaching diploma. course aims to familiarise you with been central to the learning process of year to year and provides a foundation techniques of group co-ordination and all jazz innovators. This BMus course of core knowledge, enabling you to COMPOSITION AND ARRANGING with individual and collective learning develops critical awareness by analysing undertake a broad ensemble schedule This core course has been designed methods appropriate to aural/oral major works and linking them to their throughout your studies. First-year to give students the tools and the methodologies. Teaching areas include cultural context. Concentrating on the students take part in two projects confidence to continue composing case studies of tribal musics; rhythm genre’s African American and European featuring the music of some of the when they have left the Academy. studies; transcription; composition and origins, the intention is to stimulate great African American Jazz Masters. arrangement analysis; group movement critical debate over the aesthetic, social, In February there is an intensive cross- At undergraduate level you will cover and co-ordination; ensemble political and ethical decisions facing year ensemble project with a guest specific harmonic approaches to drumming; additive rhythm; and contemporary jazz practitioners. artist. All programmes of study provide writing. In your fourth year, you will percussion techniques. At BMus level, opportunities to participate in Big Band complete two contrasting projects – the advanced course can be replaced CRITICAL AND and ensemble projects outside the Big Band and Octet. At postgraduate with an elective. CONTEXTUAL LISTENING prescribed requirements of the course. level you will have weekly workshops This second-year module is a to develop a portfolio of pieces written REPERTOIRE AND IMPROVISATION continuation of Jazz History and BIG BAND for Octet. In the final term of your You will learn a list of commonly encourages you to engage in class Projects feature a wide range of final year, you will present your work played tunes by ear, all of which discussion while exploring some of repertoire, guest soloists, composers in a concert. typify a particular harmonic or the wider contexts surrounding various and directors. Each project culminates compositional device. You will then key recordings and developments in in an assessed public concert. use these tunes to explore a variety the repertoire. RECENT AND NEXT STEPS UPCOMING HIGHLIGHTS Interested in studying Jazz with us? Here’s what to do For more details about the Academy and the opportunities it can offer, download our most recent prospectus. • Big Band projects with Julian Argüelles, Charlier/Sourisse, Dave Douglas, Peter Erskine, Dave Holland and Chris Potter, John Hollenbeck, Nikki Iles, Dave For the most up-to-date information about Academy courses, audition and entry Liebman, Joe Locke, Gareth Lockrane, Hamish Stuart (music of Steely Dan requirements, fees and financial assistance, please visit the Study pages of our project) and many more. website. • Ensemble projects with visiting artists including Chris Batchelor, Trish Clowes, If you have any questions about your application, contact the Admissions Team in Josephine Davies, Nathaniel Facey, Jim Hart, Jasper Høiby, Nikki Iles, Soweto our Registry Department on [email protected] or +44 (0)20 7873 7393. Kinch, Mark Lockheart, Robert Mitchell, Liam Noble, Dave Okumu, Seb Rochford, Julian Siegel, Gwilym Simcock and Mike Walker. • ECM 50th anniversary residency with Anders Jormin, Craig Taborn, ENEMY, Norma Winstone, Evan Parker and more. • Annual workshops and projects with our Visiting Professor, Craig Taborn, and Jazz Artist in Residence, Dave Holland. • Masterclasses with the Ambrose Akinmusire Quintet, Ralph Alessi Quartet, Django Bates, Jerry Bergonzi, Dave Douglas, Robin Eubanks, Peter Evans, Larry