Current
Students - M.M. in Jazz Studies
M.M. in Jazz Studies
Graduate Jazz Barrier Exams
Instrumental Emphasis
Composition/Arranging Emphasis
Repertoire List
Graduate Recital Guidelines
Instrumental Emphasis
Composition/Arranging Emphasis
General Recital Information
Oral & Written Examinations
Instrumental & Composition/Arranging Emphasis
Graduate Jazz Barrier Exams
Graduate Jazz Barrier Exams must be successfully completed prior to taking Graduate Oral Exams in jazz. It is recommended that barrier exams be completed during the first year of study.
Performance Emphasis Barrier
(Performance Emphasis Majors Only)
NOTE: All elements of the Jazz Barrier must be passed prior to Graduate Oral Exams
a) Jazz Repertoire Performance (see Graduate Performance Barrier Repertoire List below)
b) Jazz Theory - a written exam
c) Jazz Piano - create 3-note voicings (with or without bass note) at sight over jazz standards in real time
You must notify the Director of Jazz Studies of your intent to take barrier exams the term prior. You will be assigned a date to perform by the first week of the term of the barrier. Repertoire lists must be submitted at 6 weeks before the performance date.
Repertoire is to selected from the list below. At least two selection in bold must be performed from the "Jazz Classics" catagory.
Graduate Performance Barrier Repertoire List
Blues (3 total):
In Concert F_______________________
In Concert Bb______________________
In Concert C_______________________
Rhythm Changes in Concert Bb (3 Total):
Anthropology
Chasing The Bird
Cotton Tail
Dexterity
I've Got Rhythm
Lester Leaps In
Moose the Mooch
Oleo
Rhythm-a-Ning
Salt Peanuts
Shaw 'Nuff
The Theme
Others:
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Jazz Classics (15 Total):
A Night In Tunisia
Caravan
Cherokee
Con Alma
Confirmation
Daahoud
Dolphin Dance
Donna Lee
Four
Giant Steps
I Mean You
In Walked Bud
In Your Own Sweet Way
Isfahan
Jeanine
Lady Bird
Lazy Bird
Maiden Voyage
Moanin'
Moment's Notice
Ornithology
Peri's Scope
Recordame
Satin Doll
Scrapple From The Apple
Take The A Train
Tune Up
UMMG
Well You Needn't
Whisper Not
Yardbird Suite
Others (No More Than 5):
_______________________________
_______________________________
_______________________________
_______________________________
_______________________________
Standards (15 Total):
All Of You
All The Things You Are
Alone Together
Beautiful Love
Come Rain OR Come Shine
Corcavado
Days Of Wine And Roses
Have You Met Miss Jones
How Insensitive
Invitation
I Thought About You
I Remember You
It Could Happen To You/Fried Bananas
Just Friends
Like Someone In Love
Once I Loved
On Green Dolphin Street
Out Of Nowhere
Speak Low
Star Eyes
Stella By Starlight
There Will Never Be Another You
Triste
You're My Everything
Others (No More Than 5):
______________________________
______________________________
______________________________
______________________________
______________________________
Walzes (2 Total):
Bluesette
Someday My Prince Will Come
Very Early
Waltz For Debby
Others:
______________________________
______________________________
Up Tempo Songs (5 Total):
After You've Gone
Impressions
I Remember April
It's You Or No One
Night And Day
Softly As In Morning Sunrise
Solar
The Song Is You
What Is This Thing Called Love/Hot House
You Stepped Out Of A Dream
Others (No More Than 2):
_____________________________
_____________________________
Ballads (5 Total):
Blame It On My Youth
Blue In Green
Body And Soul
Chelsea Bridge
Easy Living
I Fall In Love Too Easily
In A Sentimental Mood
Infant Eyes
Lover Man
Lush Life
Misty/I Want To Talk About You
My Foolish Heart
Naima
'Round Midnight
Skylark
Soul Eyes
What's New
You Don't Know What Love Is
Others (No More Than 2):
_____________________________
_____________________________
Jazz Theory
(Command of the following theoretical concepts must be deomonstrated through the course of study, by exam or both)
Scale Spelling/Identification
Chord Spelling/Identification
Chord Extension/Alteration Identification
"Unusual" Chord Identification
Scale/Chord Relationships
Functional Harmony
Diatonic Triads/7th Chords
Common Chord Motion Within a Single Key Center
Borrowed Chords
Secondary Dominants
Tritone Substitutions
N6 Chords
Augmented 6th Chords
Reharmonization
Cycle Substitution
Delayed Cycle Substitution
Non-Functional Harmony
Song Analysis
Chord Function
Key Center
Modulation
Motive Manipulation
Pattern/Motive Chorde Quality Transfer
Motive Planing Within Modes/Keys
Broad Key Center Improvisation Approaches
Bebop Scales
Extension of Lines
Incorporation of Vocabulary
Single Note Resolution
Scale Shapes/Motives
Block Voicing Technique - 3 to 5 Part Density
5/9 Plane Voicings - 2 to 5 Note Voicings
Spread Voicings w/
Block Upper Structure
Triad/7th Chord Upper Structure
Cluster Upper Structure
Omni Upper Structure
Cluster Voicings/Pan Diatonic Technique
Composition/Arranging Emphasis Barrier
(Composition/Arranging Emphasis Majors Only)
NOTE: All elements of the Jazz Barrier must be passed prior to Graduate Oral Exams
a) Arranging Portfolio - Musical examples (scores and recordings) written demonstrating specified traditional arranging techniques must be submitted.
b) Jazz Theory - a written exam
c) Jazz Piano - create 3-note voicings (with or without bass note) at sight over jazz standards in real time
Graduate Composition/Arranging Portfolio List
(8 to 32 meas. excerpts must be submitted with scores and recordings demonstrating command of the following arranging techniques)
Small Group Writing:
1 Part Density - Melodic Overlap
1 Part Density - Melodic Overlap w/ Octave Displacement
2 Part Density - Accent Chords
2 Part Density - Melodic Couplings
2 Part Density - Linear Couplings
2 Part Density - Upper Voice Counterpoint
2 Part Density - Bass Line Counterpoint
3 Part Density - Accent Chords
3 Part Density - Incomplete Block Voicings
3 Part Density - Mixed Quartal Voicings
4 Part Density - Block Voicing - Soli Style
4 Part Density - Block Voicing w/ Free Bass (ala Jeru)
5 Part Density - Block Voicing - Soli Style
3 ot 5 Part Cluster Voicings
Melodic Accompaniment
5/9 Plane Voicing - Comping figures
5/9 Plane Voicing - Pads w/ Inner Voice Motion
5/9 Plane Voicing - Melody w/ Comping figures
Large Ensemble Writing:
8 Brass - Block Shout
8 Brass - Spread Voicing Shout w/ Functional Reharmonization
w/ Block Upper Structure
w/ Triad & 7th Chord Upper Structure
w/ Cluster Upper Stucture
w/ Omni Upper Structure
Jazz Theory
(Command of the following theoretical concepts must be deomonstrated through the course of study, by exam or both)
Scale Spelling/Identification
Chord Spelling/Identification
Chord Extension/Alteration Identification
"Unusual" Chord Identification
Scale/Chord Relationships
Functional Harmony
Diatonic Triads/7th Chords
Common Chord Motion Within a Single Key Center
Borrowed Chords
Secondary Dominants
Tritone Substitutions
N6 Chords
Augmented 6th Chords
Reharmonization
Cycle Substitution
Delayed Cycle Substitution
Non-Functional Harmony
Song Analysis
Chord Function
Key Center
Modulation
Motive Manipulation
Pattern/Motive Chorde Quality Transfer
Motive Planing Within Modes/Keys
Broad Key Center Improvisation Approaches
Bebop Scales
Extension of Lines
Incorporation of Vocabulary
Single Note Resolution
Scale Shapes/Motives
Block Voicing Technique - 3 to 5 Part Density
5/9 Plane Voicings - 2 to 5 Note Voicings
Spread Voicings w/
Block Upper Structure
Triad/7th Chord Upper Structure
Cluster Upper Structure
Omni Upper Structure
Cluster Voicings/Pan Diatonic Technique
Graduate Recital Guidelines
Students pursuing either the Instrumental Performance or Composition/Arranging emphasis must complete two full-length public presentations...a recital and a public lecture-presentation. Both must be completed under the guidance of a member of the jazz faculty. (See recital descriptions below.) In lieu of a second recital, a CD project may be recorded that features the candidate's performance and/or composing/arranging abilities in the jazz idiom. Each recital/presentation must have prior approval from the jazz studies committee. (See timetable below.)
Public Lecture-Presentation
This presentation will take on the form a lecture-recital. Showcased should be the findings of the student's independent research and application of said research to the creation of his or her own music. In preparation for this recital, it is understood that candidates will study the works of great artists through transcription and analysis.
Recital or CD Project
This recital/CD should be a musical showcase of your study at the U.O. and of your creativity. When picking your program, consideration should be given to presenting the full scope of your musical abilities in the best possible light. (See timetable below.)
General Recital Information
(for both Performance and Composition/Arranging Majors)
You are the Star
Remember...Your recital is a showcase of YOUR talents. Arrangements should serve to feature you if you are a performance major. (Avoid solos by every member of the group through the course of a song.) If you are an arranger, your pieces should not rely heavily on extended improvisation to succeed.
Length of the Recital
1 hour at the minimum, 1 1/2 hours at the maximum.
Your Ensemble
It is your job to line up the musicians that will be accompanying you on your recitals. Choose your ensemble(s) carefully! You need to have musicians around you who are accomplished enough to perform convincingly in the style you are playing. It may be necessary to hire professionals in certain roles.
Timetable of Events
In order for your presentation and recital to go smoothly it is important that you observe the following timetable and meet deadlines. Failure to do so may result in a delay or cancellation of your event. A typical timetable of events follows:
Spring Term (One year before the event) - Initial Program Meeting w/ Jazz Faculty Advisor
Fall Term - Submit Pre-Recital/Recital Schedule to Jazz Studies Committee for approval, revise Recital Program in consultation with faculty advisor
Winter Term - Submit Recital dates to School of Music scheduler for approval, submit Final Recital Program for approval, perform Pre-Recital Hearing
Spring Term - Graduate Recital
Initial Program Meeting (One year in advance of recital)
You must set up a meeting with the Director of Jazz Studies to present a completed written proposal for your presentation/recital a minimum of three terms prior to the recital itself. Your proposal needs to include:
For Presentations:
1) Research Topic and Performance/Writing Goals
For Both Recitals and Presentations:
1) Repertoire
a) lead sheets/rough arrangements
b) approximate timings of each piece
c) improvisation/writing goals for each piece
d) plans for the completion of arrangements/compositions
2) Names of Accompanists
Pre-Recital/Presentation Schedule Approval (Three terms in advance of the recital)
You must apply to the Jazz Studies Committee for Recital/Presentation Schedule Approval a minimum of three terms prior to your recital date. Your proposal music include three possible dates for your recital/presentation (dates that you have cleared with your accompanists).
School of Music Recital/Presentation Schedule Approval (Two terms in advance of the recital)
You must submit your approved recital/presentation dates (as approved by the Jazz Studies Committee) to the School of Music scheduler in order to reserve the time and space for your event. All necessary forms must be completed and submitted with your recital deposit.
Final Program Approval (Two terms in advance of the recital)
You must submit written proposal to the Jazz Studies Committee for final approval at least 2 terms prior to the recital itself and no less than 6 weeks prior to your Pre-Recital Hearing. Your proposal must include:
1) Repertoire
a) lead sheets/arrangements
b) approximate timings of each piece
c) improvisation/writing goals for each piece
d) dates for completion of compositions/arrangements
2) Names of Accompanists
3) Final Recital Date
Pre-Recital Hearing (Scheduled during Finals Week the term before your recital)
This hearing is used to determine whether you are prepared to present your recital. Based upon your performance and the performance of your accompanists you will either be approved to present your recital as scheduled or asked to re-schedule at a later time.
Graduate Recital/Presentation (Your Event)
Special Notes Regarding CD Projects
Rough mixes for CD projects must be completed by Final Week of winter term and serve as your recital hearing. Final mixes are due at the prior to Oral Exams and completion of your degree.
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M.M. in Jazz Studies: Oral & Written Examinations (All majors)
Prior to graduation, final oral and written examinations are given to all M.M. in Jazz Studies candidates. Both oral and written examinations will emphasize jazz theory, history, literature, and pedagogy. Candidates should be well acquainted with specific recordings, dates, solos, and compositions of great/significant artists in their primary discipline (trumpet, trombone, saxophone, piano, composition/arranging, etc.) as well as sidemen who have accompanied them. The candidate should also be prepared to discuss in detail literature/methods available to the contemporary jazz educator.
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