Jazz - A Vocal Approach

Jazz - a Vocal Approach (14 sessions, 90 minutes each)
- fall term, Wednesdays, 7:00-8:30 pm - instructor: Art Levine

This course is for anyone looking for a "hands-on" (or "ears-on") knowledge of jazz. Emphasis will be on using the voice as a way of cultivating a "jazz ear", and on developing techniques for studying the "standard repertoire" from the point of view of ear-training and singing. The course is not only for professional and non-professional jazz vocalists and instrumentalists, but also for "classically" trained musicians, as well as students of theory, composition and musicianship. Some basic knowledge of theory (e.g. the cycle of fifths) would be helpful.

Because the range of students may extend from working professionals to relative beginners, the general format of the class will probably be a "workshop", combining some lecturing with opportunities for discussion, individual demonstration, experimentation, and performance.

Course overview: Following a brief survey (3-4 sessions) of the most important theoretical ideas (chords & scales; "keyboard survival"; modulation), an in-depth study (2-3 sessions each) of four or five songs from the standard repertory, presented in order of tonal complexity. Selected repertoire (subject to change): 1) Autumn Leaves; 2) Blues; 3) I got Rhythm; 4) One-note samba; 5) All the Things You Are

Method:

The students will begin by learning to sing the tune, as it appears in the published sheet music, while employing the correct solfa syllables so as to reflect the harmonic structure. Then, the roots of the chords. Following this, there are three general types of exercises we will do, all based on materials either handed out in class, or produced by the students themselves. 1) Guide-tones. Starting by singing only the roots and fifths, then progressing to the thirds and sevenths, and continuing to higher parts of the chords. 2) Running changes. Basically, 3- or 4-note chordal arpeggiation, utilising various parts of the chords, with each student taking into account his/her vocal range. 3) Pitch-displacement of all or part of the original melody, so as to create a new relationship between the harmony and the tune.

- required materials: lead-sheets for songs studied; manuscript paper

- optional materials: Jamie Aebersold CD's (available from Long & McQuade)

E-mail Art

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