Jazz Improvisation I

Course Convenor: Assoc Prof. A. Lilley

Course description: Improvisation I introduces the melodic concepts of jazz improvisation in context of common repertoire. Lectures will explore technical materials (scales, concepts) learning of new repertoire and application of concepts in tunes.

First quarter - An introduction to simple improvisational concepts in jazz - basic scale drills for technique (chops), Modal improvisation Blues and outlining of chords in standard tune functional harmonic situations.

Second quarter - jazz scales, passing notes, bebop and tools for creating lines. These techniques are explored through core standard tune repertoire, blues, Rhythm Changes and common tune repertoire.

Third quarter - practical exploration of tools presented in context of standard repertoire. Each week a new tune will be presented.

Fourth quarter - practical exploration of all repertoire in context of tools and scales presented in class. Focus is on style and preparation for final exam.

Course objective: Upon satisfactory completion of the course, the student will have progressed, with the guidance of the instructor and with effective individual practice, toward a greater mastery of the techniques, skills, and musical/ artistic concerns which are vital to professionally viable performance on your principal. The student will also have undergone and passed an impartial assessment of his/her abilities in the performance skills areas particular to this level of study which will confirm his/her progress in these areas.

Required materials: on Vula

1. Play along tracks -These are for you to use as play along material and will also be used in the exam to evaluate your skills

2. Printed materials -You will find the Aebersold books here and any other printed materials relevant to or referenced in the outline. Also pictures (jpeg) taken of the board during lectures where appropriate.

3. Tutorials - These are summaries of lectures explaining concepts and ideas presented in class. YOU MUST DO THESE

4. listening materials - Tracks of jazz players playing your tunes - LISTEN TO THESE and use for transcription.

5. loops - These are looped drum tracks from actual recordings. Great to practice with in place of a metronome especially to get the swing feel.

Course work and Out-of-class Preparation: Included in the students weekly lesson period will be assignments in technique, drill, repertoire and concept assimilation. It is your responsibility to manage your practice time such that you keep up with the weekly requirements. You will be required to improvise in class. Students must look at materials presented in subsequent classes and bring charts where necessary. Handouts will not be given in class. You will be asked to present homework where it has been set. If you have not prepared for class you will be asked to leave.

Attendance and fulfilment of assignments will be closely monitored. Success will depend largely on the diligent maintenance of a well-planned practice schedule. While individual requirements vary widely, it is generally agreed that in order to maintain satisfactory progress 10 to 15 hours per week of individual practice, distributed on a daily basis, are necessary.

Exam / test requirements: 80% attendance of scheduled lectures

First Quarter test 10% June Exam 20% Third Quarter 10% Final Exam 60% Exams are performances. Students that the allocated Exam time is correct and that he/she is available at least 15 min before the scheduled time. Examiners will pay attention not only to technical and rhythmic fluency, fulfillment of requirements, but also other aspects inherent in a good performance including tone production, phrasing, dynamics and musicality.

FIRST QUARTER Week 1: Introduction/Tradition/Lineage. - Basics Different styles in jazz bebop, modal, free, modern. Learning methodology - balanced outward expansion of aural, listening, technical, harmonic knowledge, memory development and playing. Jazz scales and basic technical skills. Scale practice swing 8th note concept Required reading: Developing style Homework: Be able to play basic scale exercises 1, 2, 3 and 5 from Harris Method all keys, pg 1-2 Week 2: Introduction of jazz blues form and scale Blues scale orientation - major minor- Tunes: Blues Blue Homework: Learn head from Sonny Clark recording and listen to get an idea of the style. Be prepared to play and improvise over the tune for next week. Week 3: Modes Modal style and scales - Dorian, Lydian, Tunes: Little sunflower, So what, Homework: Listen to Hubbard Little Sunflower and Miles Davis So what to get an idea of the style. Learn above heads and be prepared to improvise over the Aebersold backing. Week 4: Modes Modal blues and 3/4. Mixolydian, Super Locrian, Lydian b7 Tunes: Footprints, All Blues Homework: Listen to and transcribe from tracks and prepare above tunes for next class, utilizing correct scales. Week 5: Outlining chords Using basic arpeggios built on root, 3rd, 7th ascending descending. Tunes: Sugar Tutorial: sugar tutorial Homework: Listen to Stanley Turrentine Be able to play Sugar and outline the chords in your improvisation Week 6: Review of material for test in week 7

Week 7: TEST The test constitutes 10% of your total mark for the year You will be evaluated on:

Scale basic exercises from Harris and modal scales. Heads of tunes - Little sunflower, So what, Blues Blue, Footprints, All

Blues, Sugar Improvisation on each tune that demonstrates style acquired through

listening and transcribing

SECOND QUARTER Week 1: Jazz scale theory min6/dim Jazz scales and application. Major bebop scale (passing step 6-5) and dominant bebop scale (passing step 1-b7) Scale routines over dominant 7ths ref: Harris, David Baker, How to play bebop, Vol 1. Tunes: Sweet Georgia Brown Homework: Be able to play through progression IA, IB beginning on all chord tones ascending and descending as per handout (Bergonzi). Utilize bebop dominant on Sweet Georgia and transcribe some lines from Sonny Rollins Dig (based on changes of SGB), for analysis Students are required to show what they have transcribed and how it relates to the application of scale theory. Tutorials: Bebop maj and Dom scale practice, Bebop scale practice, Min6-dim7th cycle. Week 2: Negotiating Blues, Important bop tools for creating lines Whole tone, altered scale on the dominant 7th going to I and to IV; #IVo7 or IVmin as a means of getting back to I from IV; II-V7 routines; 3-b9 lick, 5-4-3-2 lick, pivoting Tunes: Blues Tutorial: 3-b9 lick, pivoting, Pivoted diatonic arpeggios, Billies Bounce solo explained. Homework: Transcribe Blues solos on Blues Blue or Bootin it (Vula). Try to identify how the soloist moves through pivotal areas of the blues - lines around key

areas of blues into the 5th bar back to I in 7th bar, I into V/II 8th bar, II-V7 in bars 9 and 10, turnaround bar Week 3: Bop Tools - Scales through Rhythm Changes Scales and lines over rhythm changes, exploration of bop tools in context of Rhythm Changes Tunes: I got Rhythm, Oleo Homework: Listen to and transcribe from tracks and prepare above tunes for next class, utilizing correct scales. Week 4: II V progressions Tune: Nostalgia in Times Square Tutorials: II-V ex 1, II-V ex 2, I-V7 lick for Improv I Homework: Prepare above exercises and tune for improvisation in next class Week 5: II Vs altered dominants Tune: Indiana Tutorial: II-V's - altered dominant - Indiana Homework: Check out Harris and Powell. Slow down and listen carefully to construction of lines. Prepare above exercises and tune for improvisation in next class Week 6: Constructing lines -Transcription analysis Tune: How high the Moon Tutorials: How high the moon (arpeg on 3), Barry Harris solo on how high the moon explained Homework: Prepare above tune for improvisation in next class. Show that you are trying to incorporate materials from BH solo. Week 7: Review of material for mid year test 20% of total mark Class will explore concepts over repertoire to properly master scales and bop tools in preparation of exam Test requirements: Be prepared to play the following no music will be allowed in the exam.

Scale exercises from Harris and modal scales. Bop tools 3-b9, 5-4-3-2, min6/dim concept, pivot exercise, II-Vs, CESH

Tunes: heads and solos - Sweet Georgia Brown, Billies Bounce, Nostalgia in Times Square, I got Rhythm, Oleo, Indiana, How High the Moon

Billies Bounce Parkers solo

THIRD QUARTER Week 1: Silvers Serenade Tutorial: Silvers Serenade tut Homework: Listen to the recording of Silvers Serenade. Transcribe and note lines or phrases that grab your attention. Keep a notebook of lines and phrases to show in class. Be able to explain your choices. Week 2: Tenor Madness Homework: Listen to Tenor Madness - Coltrane The Prestige recordings. Prepare with Aebersold backing for class in week 3. Transcribe and note lines or phrases that grab your attention. Keep a notebook of lines and phrases to show in class. Be able to explain your choices. Week 3: There is no greater Love Tutorial: Tutorial - Greater Love tutorial, Greater love (Dominant substitutes), Tutorial - Greater love (for vocalists) Homework: Listen to Sonny Stitt with Boss Tenors: Straight Ahead from Chicago 1961 Transcribe and note lines or phrases that grab your attention. Keep a notebook of lines and phrases to show in class. Be able to explain your choices. Week 4: Watermelon man. Homework: Listen to Herbie Hancock. Transcribe and note lines or phrases that grab your attention. . Keep a notebook of lines and phrases to show in class. Be able to explain your choices. Week 5: In a mellow tone. Homework: Listen to Sonny Stitt. Transcribe and note lines or phrases that grab your attention. Keep a notebook of lines and phrases to show in class. Be able to explain your choices. Week 6: Review of material for test in week 7

Practical class will explore all materials from third quarter Week 7: Test 10% of total mark All tunes memorized. You will be required to improvise on all tunes and will be quizzed on lines you have learnt from solos you have looked at.

FOURTH QUARTER Practical preparation of exam material for November exam. At this stage you should be utilizing concepts and scale theory in context of repertoire in a way that reflects the style. Transcription and working of conceptual ideas for creating phrases in context of given repertoire should form the focus of your practice sessions. Class time will be dedicated to listening to each other improvises over tunes and give feedback and suggestions. Time will be spent illustrating how phrases can be constructed using the 'rules' presented during the year. Final Exam 60% of total mark Everything must be played from memory Students must use backing for exams. Technical exercises: Major/dominant bebop scales on progression 1A and 1B 3-b9 lick ex. Pivoting ex. 5-4-3-2 lick. II V ex.1 and 2 II Vs altered dominant Min6-dim7th cycle licks from your note book with explanations Tunes with Improvisation examiners will select 3 from the list. Little sunflower, So what, Blues Blue, Footprints, All Blues, Sugar Sweet Georgia Brown, Billies Bounce,

Nostalgia in Times Square, I got Rhythm, Oleo, Indiana, How High the Moon Billies Bounce plus Parkers solo Silvers Serenade Tenor Madness Greater Love Watermelon Man In a Mellow Tone