Harmony and Jazz Composition Courses

Five- and six-part writing for instruments. Application of voicings in seconds, thirds, and fourths. Upper-structure triads, clusters, and other nonmechanical voicings derived from chord scales. Extensive score analysis.

This course covers considerations an arranger must give to issues of tessitura, range, and technique, as well as rhythmic reading and comprehension of young musicians at each level of the middle, high school, and college jazz program. Through an analysis of scores representative of Scholastic Levels 1-6 students will gain an understanding of brass and woodwind issues (fingering, stamina, intonation, key familiarity, etc.), as well as the capabilities of the rhythm section at different levels. Additional topics include: optional parts (flexible scoring), creating teaching aids that support the development of jazz skills (improvisation, comping, etc.) as well as an awareness of the cultural context in which jazz originated. The course will give an overview of the scholastic jazz publishing industry and address issues of part and score prep for submission to publishers.

Jazz arranging techniques for the rhythm section and various small-group instrumental combinations of up to three horns (melodic voices). Emphasis on developing complete rhythm section sound (with or without winds) and advanced voicing techniques (including interval-based voicings, linear approach techniques, and constant structure).

Extended applications of standard big band scoring techniques. Analysis of devices found in the compositions of major jazz writers.

A cross-genre composition class that will explore complex rhythmic concepts such as odd meter and linear polyrhythm in modern jazz, progressive metal and world music. Students in the course will learn to compose in the odd meter environment through analysis of grooves, rhythmic cells, metric modulation and polyrhythms. The course will go through the origins of the different rhythmic concepts in jazz and world music, as well as analyze music by leading modern artists such as Tigran Hamasyan, Meshuggah, and Karim Ziad. The course will also explore different approaches to rhythm around the world like the Indian Konnakol system, and Middle Eastern traditional grooves. The course will culminate in each student composing a full musical piece that includes the rhythmic concepts presented in the course.

A systematic approach to the art of composing in the jazz idiom. Exploration of melodic, harmonic, and rhythmic principles. Standard jazz song form. Analysis of jazz standards. Arranging considerations applied as a means of enhancing a composition. Projects for small jazz group required.

Survey and analysis of music growing out of the bebop jazz era. Extensive study of John Coltrane, Miles Davis, Wayne Shorter, and Thelonious Monk. Discussion of blues forms and modal harmony used in the 1960s. Application of concepts through composition of original music.

The objective of the course is to play, direct, and perform original compositions along with published jazz as related to the jazz orchestra. The class will consist of a combination of players and writers/conductors. Students who aren’t playing instruments will learn how to direct a band, whether it is their original music or published works with guidance from the instructor. They will also have band setup, and parts/score preparation responsibilities learning other leadership skills. Instrumentalists will benefit from learning repertoire along with new music and being under the direction of an experienced faculty member who has directed and led their own bands. Emphasis will be given to hearing and expressing your musical ideas with stylistic integrity, as well as melodic, harmonic, and rhythmic accuracy. An end-of-semester concert is usually scheduled. Performers are expected to have high ratings in sight-reading and playing ability. This band will also be a vehicle for guest artists specific to jazz composition.