Mus110A
Jazz Theory and Improvisation
3 units
A four-semester course covering jazz theory
and improvisation techniques and styles based
on the artistic practice of jazz masters, from the
early twentieth century innovations of Louis
Armstrong, to the contemporary artistry of
Herbie Hancock, and beyond. Students gain a
solid understanding of jazz theory and improvisation
beginning with the fundamentals and
moving on to cover chord/scale theory, soloing,
reharmonization, and transcription and analysis.
Theoretical concepts are illustrated by listening
to select recordings of leading jazz artists.
This course lays important groundwork crucial
to students as they begin to develop their own
individual voices.
3 hours lecture
Mus110B
Jazz Theory and Improvisation
3 units
A continuation of Mus110A.
Mus210A
Jazz Theory and Improvisation
3 units
A continuation of Mus110B.
Mus210B
Jazz Theory and Improvisation
3 units
A continuation of Mus210A.
Mus310A
Advanced Transcription and Analysis of Jazz
Masters
Elective — 2 units
A continuation of Jazz Theory and Improvisation
focusing on transcription and analysis of more
challenging works by the masters.
2 hours lecture
The215
Traditional Indian Rhythmic Concepts
Elective — 1 unit
An in-depth exploration of traditional rhythmic
concepts from both the North and South Indian
systems of classical music. Through the medium
of vocal percussion syllables known as bols in
the North and solkattu in the South, students are
introduced to Indian rhythmic idioms such as
tala (rhythmic cycles), nadai (odd subdivisions
of the beat), layakari (rhythmic modulation), and
tihai (thrice-repeated cadential phrases used to
end a musical idea). Students learn traditional
Indian rhythmic compositions drawn from the
repertoire of classical Indian percussion instruments
such as tabla, mridangam, pakhawaj,
kanjira, ghatam, thavil, and morsing. Emphasis
is placed on pointing out the cross-cultural applications
of Indian rhythms to any instrument
and any style of music, enriching students’
compositional and improvisational skills.
1 hour lecture
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The310A
Advanced Transcription and Analysis of Jazz
Masters
Elective — 2 units
A continuation of Jazz Theory and Improvisation
focusing on transcription and analysis of more
challenging works by the masters.
2 hours lecture
Mus310B
Advanced Transcription
and Analysis of Jazz Masters
Elective — 2 units
A continuation of Mus 300A.
Mus410A
Advanced Transcription
and Analysis of Jazz Masters
Elective — 2 units
A continuation of Mus 300B.
Mus410B
Advanced Transcription
and Analysis of Jazz Masters
Elective — 2 units
A continuation of Mus 410A.
The314
A Chromatic Approach to Jazz Harmony
Elective — 3 units
In the 1960s, John Coltrane and the second
Miles Davis quintet independently began to
develop an advanced jazz language of chromaticism.
Later that decade, David Liebman, along
with Michael Brecker, Chick Corea and others,
moved the language to a level of sophisticated
control of consonance and dissonance that remains
the gold standard for controlled harmonic
tension and release, most commonly known as
playing in and out of the changes. During the
past forty years, Dave Liebman has become
widely recognized as the leading spokesperson
and educational force in explaining and codifying
what is considered the most advanced jazz
language method to address modern harmony.
This course introduces students to the harmonic
and melodic approaches he innovated and expanded
in his seminal book “A Chromatic
Approach to Jazz Harmony”.
3 hours lecture
Mus315
Creative Listening
Elective — 1 unit
Through intensely focused listening, students
explore the many different facets of improvised
music, from a single-line solo to the complex interactions
that occur among a group of players
in an ensemble, to better understand how they
come together to create a beautiful work of art.
Artists covered include Joe Henderson, Nguyen
Le, Ahmad Jamal, Oumou Sangare, Mulgrew
Miller, Miles Davis and more.
1 hour lecture
Mus316
Discovering the “Hidden” Principles of Music
Elective — 2 units
A course for all instrumentalists on “how
and why to play” rather than “what to play”
and how conscious application of a palette of
musical tools may be used to express emotion.
Exercises are designed to help students find
their own voice.
2 hours lecture
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