Graduate Composition/Arranging Emphasis Barrier

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.

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) Composition/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 

Graduate Composition/Arranging Portfolio List
Composition Excerpts:
(8 to 32 meas. excerpts must be submitted with lead sheet and recordings)

a) 8 melodic contrafacts written over standard, functional chord progressions
b) 8 melodies based upon a single motive written over standard, functional chord progressions

Arranging Excerpts:
(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 may be demonstrated 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 Chord Quality Transfer
.             – Motive Planing Within Modes/Keys
.       Improvisation Approaches Utilizing
.             – Bebop Scales
.             – Pentatonics
.             – Triad Pairs
.       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

Jazz Piano
(Command of the following skill set may be demonstrated through the course of study, by exam or both)

You must demonstrate the ability to create 4 or 5 note two-hand rootless piano voicings through standard chord progressions on sight.