Jazz

David Zoffer, Jazz Department Chair

The Preparatory School jazz program develops skills necessary for understanding the jazz tradition of improvisation.

Repertoire studied will include classic and contemporary jazz literature as well as its African and European roots.

Classes will involve ear training, composing, writing, singing, and playing of materials.

Students begin by taking Jazz Theory I and Introduction to Jazz Ear Training.

Our small classes are scheduled to accommodate as many students as possible.

Private lessons

Private lessons of 30, 45, and 60 minutes are offered. Prospective students must set up an audition or placement interview with the department chair, who will advise each student personally regarding an appropriate studio teacher placement.

For specific information regarding teacher placement, please contact the Preparatory School office by phone at 617-585-1130 or email prep@necmusic.edu.

Jazz Ensembles

Youth Jazz Orchestra

Ken Schaphorst, Director

Open by audition to advanced trumpet, trombone, saxophone, guitar, bass, percussion and piano players. While there are no specific age guidelines for this ensemble, most members of the Youth Jazz Orchestra are in grades 10-12.

Rehearsals – Wednesday, 7:15-9:15 p.m.

Small Ensembles

David Zoffer, Chair

These ensembles are designed for instrumentalists and vocalists desiring a small ensemble experience with emphasis on the exploration of various jazz, Third Stream, popular, and fusion styles. Emphasis will be placed on the application of jazz theory concepts through performance. Larger involvement in the program is a preference consideration for placement in ensembles. Groups will receive 28 60-minute coaching sessions and the opportunity to perform in workshops and recitals throughout the year. Auditions take place in September.

Additional times by arrangement with department chair.

Introduction to Jazz Improvisation for Strings

David Eure, Instructor

The objective of this course is to expose classically trained string players to the diverse improvisational methods incorporated in the styles of jazz, klezmer, and North Indian classical musics. Students will also be encouraged to develop their own personal style in conjunction with the styles studied in the class. Emphasis will be put on the relationship between the ear and the technique needed to execute simple phrases. Short composition projects will be assigned by the teacher, and students are also encouraged to bring their own pieces. This is a performance class, using solo and ensemble formats to improve the students’ ability to listen, perform, and compose all at the same time.

Placement auditions will take place in September.

Saturday, time TBA

History of Jazz

Rick McLaughlin, Instructor

A comprehensive overview of the evolution of American jazz from its roots in African folksong and ritual through the present day. Related topics such as Crossover, Third Stream, Fusion, and jazz-influenced classical music will also be considered. Emphasis will be placed on listening and class discussion, with possible live in-class performances. There will also be reading and listening assignments, plus a class presentation on a live jazz performance of the student’s choice.
Text: Tanner, Megill, and Gerow, Jazz, 8th edition.

Saturday, 10:00–11:00 a.m.

Jazz Analysis and Stylistic Application

David Zoffer, Instructor

This two-year, four-semester class is designed for advanced and intermediate jazz students. It requires some prior knowledge of jazz theory. In this class, compositions will be analyzed from both the “big picture” (form, harmony, arrangement, melody, and rhythm) and the “little picture” (articulation and methods of improvisation). Source material for the first year has included Charlie Parker, Ornette Coleman, Thelonious Monk, Mike Stern, and sources from 20th-century classical music. The purpose of this class is to link jazz history to jazz theory. The second year will explore the styles of Duke Ellington, Charles Mingus, Stevie Wonder, Bob Marley, Buddy Guy, Frank Zappa, and more. Students will compose model compositions based on the material in class. Students will also sing and play along with recorded melodies and improvisations to learn different approaches to delivering material.

Saturday, 11:00–12:00 noon

Jazz Ear Training

Introduction to Jazz Ear Training

Joel Yennior, Instructor

This two-semester class is designed to give beginning and intermediate jazz students ear training using musical vocabulary from the many different eras in jazz history. Students will be taught to identify basic intervals, chord sounds, and rhythms that are crucial building blocks in developing basic Jazz aural skills. The class will use recorded source material, and there will be some simple transcription exercises. Designed to complement Jazz Theory I, this class ensures that students not only are familiar with the theoretical terminology and protocol of jazz, but that they also can aurally internalize (hear) and externalize (play and sing) jazz theory concepts.

Saturday, time TBA.

Advanced Jazz Ear Training

Eyran Katsenelenbogen, Instructor

This class is a continuation of the ear training concepts covered in Introduction to Ear Training. It is required for students pursuing jazz certificate level IV.

Saturday, time TBA

Jazz Theory

Jazz Theory I

Joel Yennior, Instructor

This year-long class is an introduction to the principles used for analyzing jazz compositions and the vocabulary used by jazz musicians for compositional and improvisational development. Emphasis is on understanding common technical terms and also on learning to apply theoretical constructs to playing and/or singing in a performance setting. Recordings of well-known jazz pieces will be used to demonstrate theory concepts. There is a placement examination at the time of auditions.

Saturday, time TBA.

Jazz Theory II

Rick McLaughlin, Instructor

This year-long class is a continuation and expansion of the analytic principles and vocabulary introduced in Jazz Theory I. Class topics include dominant function, modal interchange, deceptive resolution, diminished chords and scales, the IV# minor seventh chord with flat 5, modulation, and compound chords. Students spend much time analyzing tunes written by jazz masters and writing. There is a placement examination at the time of auditions.

Saturday, time TBA.

Jazz Theory III

Rick McLaughlin, Instructor

This is an advanced jazz theory class, covering sophisticated jazz harmony and improvisation.

2010-03-02