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Jazz Studies Handbook The University of Central Florida Department of Music {Sincere jazz musicians] aim at excellence and apparently nothing else. They are hard to buy and if bought they either backslide into honesty or lose the respect of their peers. And this is the loss that terrifies them. In any other field of American life, great reward can be used to cover the loss of honesty, but not with jazz players- a slip is known and recognized instantly And further, while there may be some jealousies, they do not compare with those in other professions. Let a filthy kid, unknown, unheard of and un backed sit in-and if he can do it-he is recognized and accepted instantly. Do you know of any other field where this is true? SOHN STEINBECK UCF Jazz Studies Handbook The BM degree in Jazz Studies is a track within the UCF Music BM degree, ‘and was founded in 2007. The purpose of the degree is to train and prepare students to perform record, produce, compose and arrange music in the jazz idiom, with an emphasis on improvisation. The degree track in jazz studies is designed to train the student in methods of improvisation, with ‘an understanding of harmonic and rhythmic principles. The Jazz Studies graduate will have a mastery of: . A jazz repertoire. . Stylistic parameters of jazz. Rhythmic conception in jazz. . The jazz vocabulary. Keyboard harmony and voice leading. Applied concepts. . Basic arranging skills. Students in the jaz studies program complete eight semesters of applied study, two semesters of jazz theory, two years of classical theory, two semesters of jazz history, four semesters of jazz workshop, a music business and industry course, as well as other general and core requirements. Students are required to audition and perform in their assigned ensembles (large and small) each semester of study. The BM in Jazz Studies is a professional degree track. Majors are expected to practice a minimum of 4- Shrs per day on their major instrument and piano. vt vu vi UCF JA22 STUDIES HANDBOOK ‘The University of Central Florida Introduction Curriculum General requirements Core courses Specialty requirements ‘Suggested four year course load Jazz Juries Freshman year, Fall & Spring Sophomore year, Fall & Spring. Junior year, Fall & Spring Senior year, Fall & Spring Professional Sequence Review ‘Tune list and Discography Scale Studies Selected Chord sheets Selected required texts, internet services. Recitals Junior, and Senior year. Bachelor of Mu: in Jazz Studies: Saxophone, Trumpet, Trombone & Rhythm section curriculum [BM IN JAZZ STUDIES 11. UCF General Education Program 2. Common Program Prerequisites MuL2014 ‘Mus 2360¢ Mur i121 ur 1122, Mut 2126 Mur2427 MUN 3713 Mv 1142. Mv 1112 Mv 2121. MvK 2122 3. Core Requirements Mur 3170 Mur3i71 Mus.1010 Mur 3923, Mur4320 Intro to Music Literature Intro to Music Tech. Music Theory and Musicianship | Music Theory and Musicianship It ‘Music Theory and Musicarship il ‘Music Theory and Musicianship IV azz Ensemble (4 semesters) Class Piano! Class Piano tt Class Piano Il Class Piano IV Jezz Theory | (w/piano) Jazz Theory I (w/piano) Music Forum (8 semesters) Jaz Workshop (4 semesters) Music Business & Industry MUH 4211 OR MUH 4212Music History | or Il MUL 2016 MUL 2016 MuL4ei6 ‘Mus 3953, MUS 4954 ‘The Evolution of Jazz ABOVE fulfils 3 hr GEP Jazz Styles and Analysis Recital! Recital lt 36hrs 3hrs Obes ahs ‘Shes Shes hrs “3hre Shes Obes Obes 27 hes 3. Specialty Requirements: Trumpet ve 1811, ve 2423, Mv 3431, ve a4sa ‘Trombone Mv 1813, Mv 2023 Mv 3433, Mv 4443, ‘Saxophone vwaais, vw 2025, Mw 3435, vwaees, Jax Plano mvato10 avs 2220 Mv 3230 vs 4240 hoversty ‘Omit lass Jazz Bass Mviiza vs 2324 vs 3234 vans vs.214 Jazz Guitar vs3233, vs2223, Mv 3233, Mvsazaa avs 1216 Piano 4 Trumpet! (2sem) ahs. Trumpeti (2 sem) hrs. Trumpetill (Sem) hs. Trumpet (2 sem) Bhs. TOTAL 2s ‘Trombone! (2sem) hes. Trombone ll (2 sem) anes Trombone ll (2 Sem) hrs. Trombone iV (2 sem) ahs, TOTAL 22h Saxophone | (2sem,) hrs, Saxophone lt (2 sem) ‘hes Saxophone Il (2 Sem) 6 tes. Saxophone IV_(2 sem) hus, TOTAL 22hrs Jazz Piano! (2 sem) hs, Jazz Piano it (2-sem) hrs. Jaz Piano I (2 ser) his Jazz Piano IV (2 sem) ahs Secondary (clasical)Plano2 sem. 2 hs, cAbes TOTAL = 20h abs. Jaz Bass (2 sem) ahs. Jazz Bass (2 sem) Gh. Jazz Bass IV (2 sem) Bhs. ‘Secondary (classical) Bass 2 sem. 2s. TOTAL 24 hes Jazz Guitar | (2-sem) ans. ‘azz Guitar Wt (2 sem) hes. ‘Jazz Guitar (2 sem) 6s ‘azz Guitar 1 (2 sem) Bhs Secondary (classical) Guitar 2 sem. 2hvs. TOTAL 26 rs. azz Drum Set wv 1219 Jazz Drums 1 (2sem.) vs 2229, Jazz Drums t__(2sem) Mvi3339 ‘azz Drums il (2m) vs 4349 Jazz Drums 1V(2seM) ve aaa Secondary Percussion. 5. Restricted Electives [Any secondary performance course not in area of major instrument or any MUC, MUE, ‘MUG.MUH, MUL, MUM, MUN, MUO, MUS, MUT courses 3x0 or higher. Professional Sequence Entrance Exam required to pass before entering the Jazz ‘Workshop, and Level il performance. Exam includes: ‘An evaluation of performance skills ‘GPA minimum of 3.0 in music courses and an overall GPA of 25 Completion of MUSZ360C ‘Completion of !az2 Theory | and I. Completion of Class Piano IV Credit Hours: ‘SAXOPHONE, TRUMPET, TROMBONE L.General Education 36 hes 2.Common Program 30s. 3. Core req. 27s 4. Specialty 2ahes S Restricted electives. Shes TOTAL 120s JAZZPIANO 1.General Education a6hre 2.Common Program 30hrs. 3.Core rea. 27hes 4. Specialty 20 hrs S.restictedelectives 7 hrs TOTAL ons JAZZ BASS (Upright, and Electric bass guitar) 1. General Educstion a6 hrs 2.Common Program —_30hrs 3. Core req, ahs 4. Specialty 2a hes Sirestretedelectve $s ahs TOTAL 0hvs JAZZ DRUM SET 1.General Education a6 hrs 2.Common Program 30hrs. 3. Core rea. 27s 4 Specialty 24 hes Suresticted electives _3hre TOTAL inohes JAZZGUTTAR 1.General Education 36 hrs 2.Common Program -30hrs 3.Core rea. 2 hs 4. Specialty aes Screstrciedelecives ahs TOTAL obs pan homme Beery | eeeSt aero! Somsuen! = ; = dun ee ieee et eeeeretenc Rete Pgan®. Gerarogente = a : z 12 } cemeteries Se saan | eee ae ef hee. ieee ae js i — es : Wenermip es Beruntme —¢ Bbentee tee an) TT (Min 21 Gs Po a Mingusten teen et Bee aan) Rea © coe eee Pi jee tt & a 1h nom Bore. ie! semeenme ieee | oe gree. | Raper ee ree geet eee | pee eee ee = etme § . ; eat Ee anand Eomsmen | : anseesomeniieashiiaiassciae Progen © Eee Paes Luu ucoeme | LR aan oe ce ig 4 Berne 2 UNIVERSITY OF CENTRAL FLORIDA Sip oma Fou 4g WS bout ° Brrroe en, | ER sane | aa oeThle | Lalo kee Bee eee En an % ee oe Te rmonstre # Bremen, 2 Mbaureren# Boren tite! wee | NTS | Boer cmntet | teecnese | BRIG | oomemes | 3 ese | & —" t 5 a ee GEERT neytnom |g meta and Bay i ae jowe : 7 rand de xanaton ot Fee Proper aug at, a fopr ct er Acasa At Kk ‘rand Son Fac 7 23308, Ema eyed Audion Requramants fo Amison 1 fecepunce othe Capraro He contoal pon z Seemann ts ee + See eee Soiree saree, See eerastet cease See SE FE cr raey evn erg Be (pe rt Thay ‘Soot Gok ol tnt 2, onda GPA ert mse cmos of "2009-2010 Undergraduate Catslog CGE pose Programs © maeeptemenomewcamey nT yr SRV hu a ott be rd in nc cares Migt = abe Deputy Pega weed SOtoon ante MS) Be te {Bron on he UGE ute gop = Poramce stderts ma pear ro fly appoved pbc 12 Sn ruse th 9 entreaties oan 5 Cocos degnatdin 1 (Gare Eazan Progam) ae ue |S) pend toughen fu yo oy é 3 ‘ H (com) SS5803 SF5G37 335557 18 Foyt, Mu, muo, Mu ML Ma, MUN, MUO, MLS, ‘Ur hv cause moar S00 ihr Departs Ext Reguementa i "Eine pos of" (0) earn each Male couse Coney Eee yas ie Ere tet epee ttt Sapam, mee ee ; EE ener tne ge Fe ore acne S 0 stmt Fore somo after CLEP averted & Sesroesmnoere Ro of Stier. & ae a EGRESS er uqpeam cranes cr oe ‘Grede ty Exam, aed Arad Fores cts 2 . 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Compositions: (responsibilities ae to listen to the suggested recordings, play the melody on your instrument). Preferred, solo ‘on each tune, transcribe one of the solos from each composition, Four, Ornithology , Groovin’ High, Anthropology aka Thriving on Riff. Freshman jury, Spring semester ‘sper the syllabus of the applied faculty Compositions: {responsibilities are to listen to the suggested recordings, play the melody on Your instrument). Preferred, solo, fon each tune, transcribe one of the solos from each composition. ig, Confirmation, Yardbird Suite, Half Nelson Sophomore jury, Fall semester ‘As per the jazz theory course, see below jazz melodic minor, major scales in 6 patterns Bebop major scales Piano chord sheet (Hi) Improvise as per improvisational concepts from the jazz ‘theory course. ‘Additional compositions: Joy Spring (including intro and ending) Donna Lee, Freedom Jazz Dance, Oleo, Ladybird. 1 listen to the suggested recordings 2 play the melody on your instrument by memory. +3 Play chord progressions on the piano, ‘4 Improvise over the composition. Sophomore jury, spring semester Harmonic minor scales, 6 patterns Arpegiate all the modes of majo, jazz melodic minor, harmonic ‘minor and dorian minor scales. 4 pattems. (ascending, descending, ascending/descending, descending/ascending.) 7” scales, descending from the rt, 3°%,5®, 7. Enclosures ofthe 7 scale (rt, 3% 5") ‘Arpeggios and 7" scales combined. ‘The diminished scales. Whole/half, Half, whole, All keys. Compositions: Woody n’ You, Allthe Play the melody Improvise Play chord progression on the piano. ‘Additional compositions: Prince Albert, Cooking at the Continental, Scrapple from the Apple, Sippin’ at Bells, Jordu. Listen to the suggested recordings 2 play the melody on your instrument by memary. 3 Play chord progressions on the piano. 4 Improvise over the composition. igs you are, I got rhythm, Junior year jury, Fall Semester Class work from the Jaze Workshop. ‘Scales; whole tone, bebop harmonic minor, the augmented scale. Patterns as assigned in Jazz Workshop. Additional compositions: Litle Willie Leaps, Gingerbread Boy, Impressions, Daahoud, Be Bop. 1 listen to the suggested recordings 2 play the melody on your instrument by memory. 3 Play chord progressions on the piano. ‘Improvise over the composition, junior year jury, Spring Semester ‘Cass work from the Jazz Workshop. Applied Studies ‘Additional compositions: ‘Airegin, Au Privave, Budo, Ceora, Hothouse. 1 listen to the suggested recordings 2 play the melody on your instrument by memory. 3 Play chord progressions on the piano. 4 Improvise over the composition. Suggested additional improvisation studies: Scales: Pentatonic scales, m, M, b2 pentatatontcs, b6 pentatonic Whole tone pentatonics, Patterns asin Jerry Bergonai's Pentatonics, Advance Music. ‘Senior year jury, Fall Semester Jazz Workshop coursework ‘Applied studies ‘Additional compositions: Moments Notice, Vierd Blues, Softly, asin a morning sunrise, Tricatism, Room 608. 1 listen to the suggested recordings 2 play the melody on your instrument by memory. 3 Play chord progressions on the piano. 4 Improvise over the composition. Major Triad Groupings, no related tones. Senior year jury, Spring ter Jazz Workshop Coursework ‘Applied Studies ‘Additional compositions: Parisian Thoroughfore, Milestones, Bean and the Boys, Giant Steps. 1 listen to the suggested recardings 2 play the melody on your instrument by memory. 3 Play chord progressions on the piano. 4 Improvise over the composition. Jazz Major Performance Semester:1 2.3 4567 8 Grad om wiov NAME. DATE ‘GRADE (0-59 | 60-69 | 70-79 NOTE ACCURACY ‘RAYTHMIC ACCURACY TONE TNTONATION [EXPRESSION & STYLE [ARTICULATION REPRERTOIRE ‘Comments: Improvisation/knowledge of Jazz Subtotal _/700 ‘GRADE 059 | 60-69 [70-79 ‘80-89 | 90-100 RHYTHMIC IMPROVISATION "MELODIC IMPROVISATION HARMONIC IMPROVISATION ENSEMBLE PERFORMANCE Comments: Scale Studies/Technique Subtotal___/400 GRADE 059 SCALE STUDIES {ASSIGNED ETUDESOTHER (OVERALL TECHNICAL ABILITY ‘Comments: ——/1400 ___ Total Score ~% —Evaluator’s Signature Subtotal__/200 Grading Performance ‘category ‘O59 points [GOED points | 7079 points 80-89 pos | 90100 pon NOTE ACCURACY | Unacceptable | Wrong notes | Mostnotes | Afew wreng | Perfection amountof | dewact rom | arecorect, | notesbut not ‘wrongnotes. | the overall | withoniya_ | enough to performance, | few spotsor | greaty affect Inaccuraey. | the overall performance. mae Constant Uneven | Moderate | Good Excallent swing ‘ACCURACY rusting or | rhythms and | swing feet | understanding | feel and sold dragging. No | tiited swing. | and rnythmic | of swing feel. | time suingteet | fool accuracy TORE ‘Major problems | Tonal concept | clearand | Defnedtonal | Excallent hinder musical | is underway | consstent | quality and expression, | butneeds | tone style further correctness. refinement. INTONATION —[inianation | Thereare | Thereare | itonation | There weno treates abarer | consistent | occasional | doesnot | intonation toplayinginan | instances of | instances of | detract from | problems wth ensemble. | intonaton | intonation | the this problems. | problems. | pertormance. | performance, TiPRESSION | The Tackof Performance | Musial | Thelanguage of sme performance | dynamics and | isexpressve, | expressionis | jars foes not pivasing | buteertain "| evident and | communicated express musial areas are stil | the jane onaexcelent ideas lacking. | language's | level effectively. ‘eent "ARTICULATION — | Viewallynone accurate | Average | Good Excellent use of and anteulaton. | arveulation, | artiaton. Inconsistent mostly secure and varied REERTORE | Poor inconsistent | Average | Good Eval preparation of preparation | preparation | preparation of | preparation. therepertore | ofthe ofthe the repertoire repertoire. | repertoire, Improvisation/knowledge of Jazz ‘Csspons [GOs points [707A penis | BaD points | 9-100 pants Tare ‘ackofbasie | Umited abit. | Average | Good sense of | Excallent une timnowsarion | Rythme thythmic | tmeand—_| and ehythm abi. ably. rhythm, Looe tack ofbase | Ue ‘average | Good melodic | Excallent taeowsarion | melodic melodie —(| metodlc._—_—_—| improvisation. | preparation of preparation. preparation. | improvisation. melodie improvisation TARE Tnckofbase | United sity | Ablow outine | Goodsenseof | Excellent ably ImPnowsanion | improvisation | toplay over | chord. harmony. | toimprovse Technique and | changes. over harmonic understaning materi see ‘ostin form, | Foow form — | Uited ‘Good ‘stening and PERFORMANCE | Styistcaly | but no interstion | interaction | interacting with weak Interaction | withthe band | with theband | the band th the band a Scale Studies Technique ‘ategory [O59 points —[eo-a9 points [7079 paints [3089 pots | 90-100 pain | ‘SCALE STUDIES [lack ofbase [ited astey | Utedsale | Good mastery of | facetent sale scatemastey. | ofsaies wrong | maston, | scales str. Good rote, time | pyre temps een wel tempor ‘ewan “RSIGNED | Comptes | ed ‘iverogs | Good ese Eruves/onnen | reparation. — | preparation. | preparation | Prepon. | preparation TECHNICAL | Weattecinzal | Teenique — Teinque | Goostecnaue | Exelent sur aay, peatyrinders | tinder | Aenbitys | techno pfomance | performance | apparent. | Fexty is sai. yon epee ‘verte eel oy aatrent sae tesertr REPERTOIRE AND PERFORMANCE PROMOTION EXAMINATION “Jury Form” INIVERSITY OF CENTRAL FLORIDA ‘MUSIC DEPARTMENT Student's Name, PIDE Semester ___20__ Course Prefix __ Number Performing Medium. Instructor, Major Ensemble(s) —— ‘Chamber Ensemble(s) (Other performances during semester REPERTOIRE FOR THE SEMESTER (including solos, scales, other techniques, ete.) Indicate memorized works with an asterisk (*) works performed in public with a Double asterisk (**) JURY REPORT: Its recommended that this student be enrolled in M in the next semester of study Promotion tothe next level Faculty Grade Approved Not Approved NIA ane Oo O ) SEE eee eee O oO oO oO oO © eee Eee oO oO © Final Grade: __ Instructor's Signature University of Central Florida Department of Music REV 8/08 Bachelor of Music in Jazz Studies Professional Sequence Entrance Review Checklist Stadent Name Tastrament Catalog Year Primary Applied Teacher Date Completed | Grade Requirement (Ai requirements must be met pror to enroliment in Performance 1) Performance 1A Performance IB Performance ILA. Performance IIB MUS 2360C Intro to Music Technology MUT 2127 Music Theory and Musicianship IV MUT 3170 Jazz Theory I MUT 3171 Jazz Theory II MVK 2122 Class Piano IV Jury approval for continuation in BM Jazz. Studies in Performance II] Overall UCF GPA (minimum 2.50 required) UCF Music courses GPA (minimum 3.00 required) ‘The above student has satisfactorily completed all Professional Sequence Entrance Review ‘requirements for the BM in Jazz Studies and is approved to enroll in Performance III on the student's primary instrument, Student Signature ‘Applied Instructor Signature Date Undergraduate Coordinator Signature Date Compositions list UcE lazz Studies 4. Confirmation ‘Comp. Charlie Parker, The Verve Jazz Masters #15 2 Donna tee Comp. Miles Davis, A Jazzy Valentine (not original release). With Charlie Parker 3. Four ‘Miles Davis, The Legendary Prestige sessions. (Coltrane on tenor). 4. ttle Wille Leaps ‘Comp. Charlie Parker, Crazeology, Miles Davis. 5. Freedom Jazz Dance Comp. Eddie Haris, The Best of Ede Maris 5 Sippin’ot Bells, Comp. Miles Davis, Fist Miles. Also by Roy Haynes, Roy Haynes Trio. 7. Scrapple rom the Apple Comp. Chatle Parker, The Genius of hare Parker 8. Vierd Blues Miles Davis, Miles Davison Prestige. 9. Cookin’ atthe Continental ‘Comp. Horace Silver. Fingerpoppin’ with the Horace silver Quintet 410. Gingerbread Boy Comp. immy Heath, Jimmy Heath, On the Trail. Or Eric Alexander, 785 Madison Ave. 1 Jord ‘Comp. Duke Jordan, Clifford Brown; More Study in Brown. 22. Airegin Comp. Sonny Rollins, The Best of Miles Davis (on Prestige) with Rollins on tenor sax 13, Yardbird Suite Comp. Chale Parker, halle Porker, The Savoy and Dial Master Takes. 14, Au Privave ‘Comp. Chatle Parker, Challe Parker, Confirmation, the best ofthe Verve Years. 15. Budo Comp. Bud Powell, Miles Das, Miles Davés Birth ofthe Coo 16, Ornithology ‘Comp. Chatle Parker. Charlie Parker, The Savoy and Diol Master Tokes. 17, Parksian Thoroughfare Comp. Bud Powel. The very best of ud Powell, Cfford Brown and Mox Roach. 18. Groovin’ High Comp. Dizzy Gillespie. Dizzy Gillespie Oo Bop. (with Chale Parke). 19, Moment’ Notice Comp. John Coltrane, Bue Trane. 20, Softly as na Morning Sunrise ‘Comp. Sigmnund Romberg. Sony Rollins Live at the Village Vanguard 21. Dohoud Comp. Cifford Brown. Brownie; The complete Emarcy recordings 22. Be Bop ‘Comp. Dizzy Gillespie. For Musicians Only, Dizzy Gillespie, tan Getz and Sonny Stitt 23, Ceora ‘Comp. Lee Morgan. Cornbread, Lee Morgan 24. Theivin’ ono riff aka Anthropology ‘Comp. Challe Parker Charie Parker, Burnin’ Bird. 25, Tecotism ‘Comp. Oscar PetifordTricotism, Oscar Petiford ard Lucky Thompson. Brian Oglvie, For You. 26. Joy Spring Comp Clifford Brown. Cifford Brown and Nox Roach, 27. Holf Nelson ‘Comp. Miles Davis. Charlie Parke; The Savoy and Dial Master takes. 28, Oleo Comp. Sonny Rollins. Miles Dovs Relaxin’, Sonny Rolins; the complete Prestige recordings. 29, Room 608 ‘Comp. Horace Silver Horace Sliver and the Jazz Messengers. 30. Milestones (ld) ‘Comp. Miles Davis The Immortal Charte Parker 31. Ladybird Comp. Chali Parker Chet Baker in Milan, 2. Hothouse ‘Comp. Bud Powell Charlie Parker, Jazz at Massey Hal. Charles Mepherson, Be Bop Revisited. 33. ig Comp, Miles Davis Dig 234 Been and the Boye ‘Coleman Hawkins. Coleman Hawkins, To Be or not to Bop, Bary Harris, Magnificent. 35. impressions Comp. John Coltrane. Impressions. 36, Giant Steps Comp. John Coltrane Giant Steps 37, Prince Albert Comp. Kenny Dorham The Jazz Messengers Live at Café Bohemio. The aforementioned suggested aiscography combines classic recordings ofthe compositions olong with other recordings that convey the melody and harmony in a ‘lear fashion. You are encouraged to esearch other pertinent recordings ofthese compostions. Scale Patterns for Saxophone Maste SOULE rere Hi: aceon eos erate eetee « — eteette settese ==: even H: Cesercgn/ieorangtweD6 nero ucenona/Duseonong ees ‘Severo, m4 Severe, 5 use: eeotowa/DeseOON4 HE Pare escorts Z ue a eae ua Meceoee uniee Sea sre H: scot Deseonon eOR rere: conan TERE +t ob of Pave He aeeorona ra fpr ot ‘Severo 107 a a ure orem TULA ps st za) oF Partie H: ASCENDING T1806 Haewanie Minte SALE ure Deseo OHO HED Savoevone, 49 reo 1 Deseo Steservoue, 180 free eon ces £ 4 2, ges as eez thatbota stat fe ie eco ceemiong renee ‘ est H i Scale Patterns for Trumpet Maser seas, see: conan D6 Paro: Oeeouang 06 ‘areot Me Oxcoromn/iseiow EOE rte HE Msotong a area: Oreotan E06 (rreo M: Oxseorome aceon ros sre tesco eos front He Baiomvictang rece ‘ears see res 45 ‘Teawner soaLe vars 14 6 urns: acenont/ Dusen eens ‘aeeot H Oxco1og seen 0% ‘eouner sea mareens 167 ue: saoiog rene Wooton ve cone te betees rm: Asoo 4006 Puree: Ocenia eens ‘Teanner soa. varenns 1010 ureot H Oeeoioayneeorong rs Scale patterns for Trombone Magoo sea ure t: Oeeo1on E06 efte eo, -reousene, m4 Parra: 1th be abeotontocte ctettertacte what d dectaptontette cite Ne ane Mao wnt Some ‘renin, m4 ‘reo 047 ‘Pare escoiog/ ASO DS theelentteetet! dep Eeceetrirterr ‘reson 148 ‘ease, 30 Perren : cmons TERETE Scale Patterns for Piano PRUETICE PATTEENS WITH SOTH MNOS Mate staLe ae i: coun EEG Pune, ab Scale Patterns for Guitar Miser sence Parco: econo 0 wore: Asenoa/Oese04004 THE PTE: Oesononn/AGANONG EOE ei etetetat SS pete te — ueTeo Hs: AsenONA/ aston tos Quien, 948 ure oscar. ss tt “unt e.oore mine SEALE ure Acorn OeeOe THe b, Gorene, ra 4 Puree: Ceseorn/iseoron ras Puree: Desens pie, 005 Puree: Cesena iscotona rt0% Parco He: xsco1ona ree sg Jaze Theory 1 Prof Rupert Open Voicings foc thet V7 progression “ip wise motion + ” oO oF Cy te Ge a | Ur ere wanes) Ae oF Gs Gt few fo tht ee be) Opat w © © © B2002 Rupe Music Comp. lesson 1 - Jazz Theory 1 -p2 wh (rer worse orien) 8 $4 e Ao kt (© 2002 Rupe Music Comp. 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Freshmen Year Sophomore Year Junior Year Senior Year Selected Required Texts and supplies Jamey Aebersold volumes: 3 the iF progression Earmaster pro Rhapsody musie service Jamey Aebersold volumes: 3 The ii progression 416 iv’ eyeles and turnarounds. ‘The earmaster pro Rhapsody Music service Jerry Bergonzi, Pentatonics, Advance music Jerry Bergonzi, The Jazz Line, Advance musi, Rhapsody music service Rhapsody music service This is @ basic list. For other required texts and supplies see your applied ‘and jazz workshop instructors. Jazz Studies Recitals ‘The Junior and Senior recitals for jazz studies majors will be performed inthe 6" and 8" semesters of study. Faculty oversight for each recital wil be primarily through the Jazz ‘Workshop instructor, and the jazz workshop willbe the group used for the recta. Compositions and arrangements for the recital will be cleared through the jazz workshop instructor. The aforementioned will be conveyed to applied teachers as well by the student via € mail, with a c.c. to the jazz workshop instructor. For other criteria ‘egarding recitals see the music department handbook. Recitals require: Demonstration of the appropriate level of technical proficiency Performance of the repertoire by memory Performance with cofrect intonation and rhythmic accuracy - ‘Stylistic comprehension using standard jaz forms and improved improvisational sil. Recital scheduling will be completed in the S® and 7" semesters by the student, who must confer with the jarz workshop instructor and their applied professor. Recital hearings are required. Criteria for the recital hearings are listed in the UCF Music ‘department handbook