MUS 285 Jazz Improvisation
Syllabus: MUS 285
Instructor: Dr. Dennis Davis
Course Location: Foster Building, Room 303
Course Time: M/W 10:00PM-10:50PM
Fall 2023
In Jazz, improvisation isn't a matter of just making any ol' thing up. Jazz, like any language, has its own grammar and vocabulary. There's no right or wrong, just some choices that are better than others.
Wynton Marsalis
(https://www.icds.psu.edu/supercomputers-help-scientists-tune-into-lingo-of-jazz-improv/)
- MUS 285 Jazz Improvisation. (2) II. Prerequisite: MUS 182 or instructor approval. Develop skills for improvising in contemporary jazz idioms.
- Provides basic instruction in the essential elements of guitar playing in a format accessible to all students. The ability to play guitar and a prerequisite knowledge of music is NOT required (or expected) for this course. Consider declaring a music minor if you are an experienced guitarist who is already familiar with music notation and want to take private lessons (MUS132F).
· The Real Jazz Solos Book: For C Instruments,published by Hal Leonard.I will also provide handouts and links of material in class and through the class Blackboard site.
· Jamey Aebersold, Jazz Handbook, https://www.jazzbooks.com/mm5/merchant.mvc?Screen=FQBK
· iRealPro (installed on your preferred device): https://www.irealpro.com/
· A way to record video (smart device, etc.)
· Students must have access to decent quality speakers or headphones, as well as staff paper and a pencil.
· The ability to use notation software is not required, but will be beneficial.
Supplemental Materials & Resources:
· See the provided materials in Google Drive.
· The Learn Jazz Standards site has numerous helpful articles and backing tracks.
· Jazz History(Britannica)
· The Jazz History Tree
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To be announced once the calendar is posted.
Optional and Extra-Credit concerts and opportunities:
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To be announced once the calendar is posted.
Learning Objectives & Outcomes Include:
- Students will gain an understanding of jazz nomenclature.
- Students will synthesize a variety of jazz practice methodologies.
- Students will gain improvisational knowledge and understanding by listening and analyzing exemplar jazz recordings.
- Students will study and acquire melodic (licks, fragment patterns, quotes, etc.) and harmonic strategies (extensions, substitutions, alterations, etc.) for jazz improvisation.
- Students will convert their (passive) knowledge of music theory into a predictive and spontaneous tool for improvisation through the analysis of chords and chord progressions and the application of scales, modes and chromaticism.
- Students will explore how to adopt and apply jazz melodic fragments (“licks”).
- Students will analyze and develop a variety approaches to jazz rhythm.
- Students will analyze and transcribe archetypal jazz solos.
- Students will learn methods for teaching jazz improvisation to primary and secondary students.
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Students are expected to attend class and actively participate in all aspects of the learning process. This includes class discussions, written work, and class activities. National and local studies have shown a direct correlation between attendance and grade performance. Therefore, attendance is considered mandatory and unexcused absences will result in three percent reduction in your final grade. Five unexcused absences will result in a failing grade for this course.
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EKU Syllabus Statements Link: https://academicaffairs.eku.edu/syllabi
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This is a beginning class on Jazz improvisation, so students are not expected to know much about Jazz improvisation. However, they are expected to be competent on the instrument with a working knowledge of scales and arpeggios.
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There is a total of 550 points possible in this class.
A = 90-100 B = 80-89 C = 70-79 D = 60-69 F = 0-59
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Weekly Participation: Class participation is the primary method for assessing student progress. Class participation is also the best way to learn how to improvise. So again, attendance, whether in person, or if required, online, is mandatory. Students will suffer point deductions for not doing their homework, failing to bring the required materials, or not adequately practicing the assignments. Even if you are unprepared and have not had time to practice, it is crucial for you to still attend this class.
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Competencies (12 X 20 pts.=240 pts./200 pts.)
Students are expected to bring their instruments to each class, unless otherwise directed. Students will not be required to memorize the material, but are expected to prepare it and will be graded on competency. Students will perform assigned songs, licks, scales and various techniques in class, at times as a group, to demonstrate competency. Students will be graded for all 12 in-class playing assessments, which offers a total of 240 possible points, which will then be averaged against 200 points. That means it will be possible to earn 40 extra points.Exams, Assignments, and Quizzes (340 pts.)
· Survey Assessment (10 pts. Worksheet #1)
· Midterm (100 pts.)
· Final (100 pts.)
· Chord Symbols Quiz (8/23: 20 pts.)
· Solo excerpt listening assignment (8/30: 20 pts.)
· Scale and Mode Quiz (9/6: 20 pts.)
· Practice Article Synopsis (10/16: 40 pts.)
· Keith Jarrett Article Synopsis (11/20: 40 pts.)
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Student Progress: The instructor will provide students with information on their progress in the course at least once prior to midterm and grades will be posted on Blackboard.
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The last day to drop this course or to withdraw from the University may be found in the Colonel Compass.
Course Schedule & Assessment Dates:
Course Outline (subject to change to accommodate course topics and conditions):
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Dates |
Topics |
Assignment |
Assignments & Due Dates |
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Week 1 |
8/14-8/16 |
Intro, Syllabus, Diagnostics and Nomenclature. Best Practices for Improvisation and learning Jazz: Jazz Handbook. Listen to required selections for this segment: Modal Jazz—So What. |
· Knowledgebase Test. · Study the Jazz Handbook: · What are the “most-used” scales and chords (p.12). · Scales-Chord Syllabus: work from what you know to what you need to learn (pp.14-15). · Read/Discuss items from the “Valuable Jazz Information” discussion (p.3). · Read/Discuss seven items from the “Soloing” discussion (p.4). · Listen to required selections for this segment: Modal Jazz. · Discuss the need to practice jazz melodies and how they become licks. · Assign licks. |
8/16
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Week 2 |
8/21-8/23 |
Creative processes for Improvisation (Lecture: not in book-See GDrive) Jazz Handbook Topics Modes/Modal Jazz Listen to required selections for this segment: Modal Jazz—Impressions. |
· Chord Symbols Quiz · Find two recordings for your instrument from the given list of artists on page seven. Isolate the solo (for your instrument) on that recording and share it with the class. Discuss why it impressed you. Use the list for “The things that create interest when soloing” and “starting a phrase or melody” (p. 26) as your talking points. · From the “Jazz: The Natural Music” pages (5-6) discuss: o Discuss the ingredients that go into making a good jazz soloist/improvisor. o List the strategies for analyzing a solo. · Discuss the steps for learning a new tune (p.9) · Discuss the “Practice Procedures for memorizing scales and chords to any song” (p.9). Listen to required selections for this segment: Modal Jazz. Assign licks. |
8/23 Perform selected course material in class, including: Assign licks, the melody to So What, and Major and Natural Minor scale.
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Week 3 |
8/28-8/30 |
Continue: Creative processes for Improvisation (Lecture: not in book-See GDrive). Jazz Handbook Topics Modes/Modal Jazz Listen to required selections for this segment: Modal Jazz—Maiden Voyage |
· Discuss the tunes for Beginners on page 11. · Discuss the value of singing to ear training and what are you asked to do to develop it (p.21). · What is your list of tunes for identifying intervals? · Why do we call it the circle (cycle) of fourths? · Hearing large form. · Listen to required selections for this segment: Modal Jazz. · Assign licks and discuss “Jazz Nuances” and how the interpretation and performance of Jazz differs from classical and popular music.
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Scale and Mode Quiz( 9/6) Present your one minute listening segments and discuss (use timestamped links in YT). Perform selected course material in class, including: Assign licks, the melody to So What, Impressions, and Major and Natural Minor scale. |
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Week 4 |
9/4 (Labor Day) 9/6 |
Jazz Handbook Topics Modes/Modal Jazz Listen to required selections for this segment: Modal Jazz—All Selections |
· Summarize the practice suggestions by Jerry Coker and David Liebman (p.25) · Continue: Hearing large form · Introduce “Blues” if time permits. · Read/Discuss the Article by Chick Corea in GDrive. · Assign licks.
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9/6 Perform selected course material in class, including: Assign licks, the melody to So What, Impressions, and Maiden Voyage. Modes and prior scales. |
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Week 5 |
9/11-9/13 |
Jazz Handbook Topics Modes, Pentatonic Scales, and the Blues Scale Listen to required selections for this segment: Thelonious Monk—Blue Monk |
· Major and Minor Pentatonic Scales.What is the minor blues scale and how does it differ from the major blues scale (p.30)? · Read “Playing the Blues” (pp.33-34). · Assign licks. |
9/13 Perform selected course material in class, including: Assign licks, One modal work of your choice and Blue Monk. |
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Week 5 |
9/17-9/19 |
Jazz Handbook Topics Modes, Pentatonic Scales, and the Blues Scale: The Blues Listen to required selections for this segment: Charlie Parker—Billie’s Bounce & Clifford Brown—Sandu |
· Use the list for “The things that create interest when soloing” and “starting a phrase or melody” (p. 26). · What is the most used “beginning interval” in jazz solo pick-up gesture? · Major and Minor Blues Scales. · Assign licks. |
Summaries due for the following segments from the Jazz Handbook: Synthesize the Practicing discussions (pp.9 & 25) with one outside source and the content from the Chick Corea article. Perform selected course material in class, including: Assign licks, One modal work of your choice and Blue Monk, Billie’s Bounce, and Sandu. |
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Week 6 |
9/24-9/26 |
Jazz Handbook Topics Modes, Pentatonic Scales, and the Blues Scale: The Blues Listen to required selections for this segment: Thelonious Monk—Straight, No Chaser & Herbie Hancock—Watermelon Man |
· Midterm review: Topics to date. · Students create Questions for the Midterm along with questions. · Assign licks.
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9/26 Contribute Midterm questions |
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Midterm Week 7 |
9/26 |
Midterm: Written and Performance |
The written portion will cover prior terms and concepts. |
Perform selected course materials in class using one Modal and one Blues song of your choice. |
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Week 8 |
10/2-10/4 |
The 2-5-1 progression Listen to required selections for this segment: Joseph Kosma—Autumn Leaves |
· Discuss the Midterm. · Discuss the importance of articulations in jazz phrasing (p.27). · Practice the articulations on page 28 and the rhythms on page 29. · Introduce the Keith Jarrett article. · Assign licks.
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Perform selected course material in class, including: Assign licks and the melody to Autumn Leaves. Read pages 1-4 of: KEITH JARRETT, The "insanity" of doing more than one (musical) thing, by Ted Rosenthal. Read four pages each week until it is finished. |
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Week 9 |
10/9 (Fall Break) 10/11 |
The 2-5-1 progression Listen to required selections for this segment: G. Marks and S. Simons—All of Me: (Sidney Bechet) |
· Recall the Circle of Fourths and demonstrate the ubiquitous nature of it in all style of tonal music. · Explain the form as an extension of blues. · Which values on page 36 speak the loudest to our class? · Discuss the Keith Jarrett article. · Assign licks.
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Discuss pages 1-4 of: KEITH JARRETT, The "insanity" of doing more than one (musical) thing, by Ted Rosenthal. Read four pages each week until it is finished. A synopsis will be due later, which needs to be combined with one outside source of your choosing. Perform selected course material in class, including: Assign licks and the melody to Autumn Leaves and All of Me. |
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Week 10 |
10/16-10/18 |
The 2-5-1 progression Listen to required selections for this segment: Jerome Kern—All The Things You Are (Charlie Parker) |
· Introduce the Creative Process document and discuss them. · Discuss the Keith Jarrett article. · Assign licks. |
Practice Article Synopsis due (10/16) Discuss pages 1-8 of: KEITH JARRETT, The "insanity" of doing more than one (musical) thing, by Ted Rosenthal. Read four pages each week until it is finished. Perform selected course material in class, including: Assign licks and the melody to Autumn Leaves, All of Me and ATTYA |
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Week 11 |
10/23-10/25 |
The 2-5-1 progression Listen to all of the required selections for this segment |
· Continue the Creative Process document and discuss them. · Discuss the Keith Jarrett article. · Assign licks. |
Discuss pages 1-12 of: KEITH JARRETT, The "insanity" of doing more than one (musical) thing, by Ted Rosenthal. Read four pages each week until it is finished. |
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Week 12 |
10/30-11/1 |
Latin & Minor Listen to required selections for this segment: Kenny Dorham—Blue Bossa (Dexter Gordon) & Bronisław Kaper—On Green Dolphin Street:) |
· Bebop characteristics (pp.37-38) and the Bebop scale. · Why was the Bebop scale invented and what is the common element to all of them? (8 notes and one chromatic pitch). · Assign licks.
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Perform selected course material in class, including: Assign licks and the melody to Autumn Leaves, All of Me and ATTYA Discuss the value and impact of: KEITH JARRETT, The "insanity" of doing more than one (musical) thing, by Ted Rosenthal. Read four pages each week until it is finished. |
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Week 13 |
11/6-11/8 |
Latin & Minor Listen to required selections for this segment: Antônio Carlos Jobim—One Note Samba (Laurindo Almeida)) & Luíz Bonfa—Black Orpheus (Paul Desmond) |
· Part 1: How to transcribe and analyze solos. · Other useful scales: Whole Tine and Augmented. · Assign licks.
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Perform selected course material in class, including: Assign licks, the melody to one 2-5-1 selection of your choice and either Blue Bossa or Black Orpheus. |
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Week 14 |
11/13-11/15 |
Listen to all of the required selections for this segment. |
· Part 2: How to transcribe and analyze solos. · Other useful scales: Diminished and Diminished Whole-Tone. · Assign licks. |
Perform selected course material in class, including: Assign licks, the melody to one 2-5-1 selection of your choice of two Latin jazz songs. |
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Week 15 |
11/20 |
Review for the Final Exam |
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Keith Jarrett article synopsis due. |
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Week 16 |
11/29 |
Final Exam 10:30-12:30 |
The written portion will cover prior terms and concepts. |
Perform selected course materials in class using one 2-5-1 and one Latin song of your choice. |
Modal Jazz
Miles Davis--So What https://www.youtube.com/watch?v=ylXk1LBvIqU
John Coltrane—Impressions https://www.youtube.com/watch?v=-mZ54FJ6h-k&t=6s
Herbie Hancock—Maiden Voyage: https://www.youtube.com/watch?v=EWC5x9G45yo
Blues
Thelonious Monk—Blue Monk: https://www.youtube.com/watch?v=_40V2lcxM7k
Charlie Parker—Billie’s Bounce: https://www.youtube.com/watch?v=S4mRaEzwTYo
Thelonious Monk—Straight No Chaser: https://www.youtube.com/watch?v=uJs2eCqhTN0
Clifford Brown—Sandu: https://www.youtube.com/watch?v=bl256T2culA
Herbie Hancock—Watermelon Man (interview and old and new versions): https://www.youtube.com/watch?v=RzPZvKSdN7g
ii-V-I
Joseph Kosma—Autumn Leaves (Chet Baker/Paul Desmond): https://www.youtube.com/watch?v=Gsz3mrnIBd0
G. Marks and S. Simons—All of Me: (Sidney Bechet): https://www.youtube.com/watch?v=e4n4-SeU4Eg
Jerome Kern—All The Things You Are (Charlie Parker): https://www.youtube.com/watch?v=UTORd2Y_X6U
Latin Jazz (and Minor)
Bronisław Kaper—On Green Dolphin Street: https://www.youtube.com/watch?v=xGVdAlxlp18
Luíz Bonfa—Black Orpheus (Paul Desmond): https://www.youtube.com/watch?v=xr37QAAgzW8
Kenny Dorham—Blue Bossa (Dexter Gordon): https://www.youtube.com/watch?v=6sr7BXinJMw
Antônio Carlos Jobim—One Note Samba (Laurindo Almeida): https://www.youtube.com/watch?v=ojQGRSnEAQY
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| EKU Counseling Center After Hours Urgent support line: | (859) 622-1303 |
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