___________________________
COURSE DESCRIPTIONS
QUICK INDEX:
Required Core Curriculum
Performance Music Studio Electives
Music Theory, Composition & Arranging Electives
Additional and Interdisciplinary Electives
REQUIRED CORE CURRICULUM
Following are the course descriptions for the required core curriculum.
Instrumental Proficiency and Instruction
Instrumental Proficiency Faculty (listed on page 6) and Additional
Instructors
All students must develop fluency on their chosen instrument. Entering
students are evaluated in all aspects of instrumental proficiency. Students
not meeting basic program proficiency guidelines will be assigned a private
teacher appropriate to their needs. Students demonstrating advanced ability
on their instruments will work in cooperation with their advisor in selecting
a private instructor from the exceptionally rich resource of jazz and classical
musicians in New York City. Required curriculum for all students in attendance
every semester. (A complete description of basic proficiency guidelines
by instrument can be requested from the Office of Admissions.) 2 credits
Jazz Improvisation
Jane Ira Bloom, Richard Boukas, Joanne Brackeen, Cecil Bridgewater,
Joe Chambers, Andrew Cyrille, Armen Donelian, Mario Escalera, Chico
Hamilton, Billy Harper, Vic Juris, Mike Karn, Lee Ann Ledgerwood, Jimmy
Owens, Charli Persip, Benny Powell, Francesca Tanksley, Buster Williams,
Reggie Workman, Peter Zak
The New School for Jazz and Contemporary Music focuses on fostering
individual musical creativity, especially within the environment of smallgroup
improvisation. To this end, all students are enrolled in ensembles
whose personnel are determined by the faculty on the basis of previous jazz
experience and stylistic direction. Ensemble performance will be encouraged
at every opportunity. Depending on their level of achievement, groups
may perform at clubs, professional events, festivals, and student concerts
throughout the year. All ensembles are professionally recorded each semester.
Required curriculum for all instrumental students in attendance every
semester. 2 credits
Ear Training I & II
Armen Donelian (coordinator), Junko Arita, Richard Boukas, Elisabeth
Lohninger, Arun Luthra, Francesca Tanksley, Johannes Wallmann
Students are required to complete four semesters of Ear Training or demonstrate
equivalent proficiency on their placement exam. The sequence of study
begins with interval, scale, and chord recognition, then progresses to include
more advanced sight singing, harmonic dictation, and transcription. A class
in advanced ear training is also provided for students as an elective. 2 credits
Jazz Theory I & II
Gerard D’Angelo, Richard Harper, David Lopato, Ron Petrides, Joan Stiles,
Johannes Wallmann
All students must complete four semesters of Jazz Theory or demonstrate
equivalent proficiency on their placement exam. This course sequence
provides the foundations of jazz harmony and theory in a step-by-step
format, including scales, modes, melodic construction, chord voicings, and
voice leading. Other important topics covered include basic music analysis,
the blues, standard jazz song forms, and typical chord substitutions. This
course sequence is usually taken in conjunction with the four-semester Ear
Training program. 2 credits
Piano
Lee Ann Ledgerwood (coordinator), Haim Cotton, Martin Mueller,
Joan Stiles
All students who are not pianists must demonstrate moderate ability at the
keyboard. Students’ proficiency on the piano is evaluated when they enter
the program, and they then take one year of piano classes at their proficiency
level. Students with no piano experience are placed in a Basic Piano class for
one semester and then move on to the required year of piano study. 1 credit
Rhythmic Analysis
Rory Stuart (coordinator), Chico Hamilton, Arun Luthra
A solid foundation in rhythm is necessary for all jazz musicians. One year
of rhythmic analysis is required for all students, and students may take
further courses in the area as electives. Students are placed into a rhythmic
analysis class based on their level. Emphasis is on developing basic rhythmic
fluency and swing and on understanding rhythm through dictation and
transcription. 2 credits
Theory and Performance I
Dan Greenblatt (coordinator), Ed MacEachen, Andy McKee, David
Schnitter, Reggie Workman
These classes function as a link between theory and the actual performance
of jazz improvisation. They are conceived as practical extensions of the
theory classes above. Students in the lab portion play and practice scales,
chords, chord progressions and interconnections, and other aspects of music
theory as they relate to improvisational skills. In the ensemble portion
(which counts as the Improvisation Ensemble for students placed at this
level of Theory and Performance), students learn a repertoire of standards
and jazz tunes designed to develop fluency in all 12 major and minor keys.
All ensembles are professionally recorded each semester. 1 credit for lab; 2
credits for ensemble
Theory and Performance II
Gerard D’Angelo (coordinator), David Schnitter, Rachel Z
These classes focus on developing more advanced and sophisticated improvisational
techniques as well as expanding students’ repertoires. The main
areas of focus are: approach tones for all qualities of major and minor
chords; pentatonic and hexatonic scales; chord substitutions; non-functional
harmony; and solo development. 2 credits
Instrumental Sight-Reading
Richard Boukas (guitar), Jeff Carney (bass), Haim Cotton (piano), Ed
MacEachen (guitar), Jimmy Owens (brass), Jim Snidero (reeds), Amir Ziv
(drums)
Students in each instrumental area are expected to achieve minimum sightreading
proficiency. Those students not meeting basic program proficiency
goals in their placement tests are assigned to reading labs that address the
diverse sight-reading situations that confront today’s instrumentalists.
Sight-reading labs are conducted for all instrument groups, including piano,
bass, drums, reeds, and brass (vocalists are accommodated in sight-singing
courses—see Vocal Courses which begin on page 15). 1 credit
Arranging Fundamentals
Kirk Nurock, Richard Shemaria, Charles Tolliver
Students are required to complete one semester of Arranging Fundamentals
or demonstrate equivalent proficiency. This introductory course is designed
to instill basic craft skills. Instrument ranges, basic voicing principles, score
layout, and basic music preparation are covered. The course includes in-class
playing projects. Prerequisite: 2 semesters of Theory I or equivalent.
2 credits
Hand Percussion for Drummers
Roland Guerrero
For drummers only. Students are introduced to and learn how to play a
wide variety of hand percussion instruments, not limited to any particular
geographical area. The focus is on learning how to integrate each instrument
with a standard jazz drum set in a way that contributes in a positive,
meaningful, and tasteful fashion to what the trap drummer is doing.
1–2 credits
New Student Seminars
Dan Greenblatt
This is a series of eight weekly meetings for all new students. Each meeting
covers a topic of special interest to new students, including academic
policies, registration procedures, study habits, musical professionalism,
financial aid, and various university resources. non-credit
MUSIC HISTORY
In addition to the requirements for performance and theory, students must earn a total of 16–17 credits in music history over a four-year period.
History of Jazz
Bill Kirchner
A two-semester overview of jazz development, beginning with its roots in
African, European, and American music and continuing to the bands of
New Orleans and other American and world influences. The work and
stylistic contributions of the great jazz originals, from Buddy Bolden to John
Coltrane and beyond, are examined in their cultural and musical context.
3 credits
Cultural Foundations of Western Music
Joe Ciolino
A two-semester survey of Western music in its historical and social contexts,
from the music of the early church through the end of the 19th century.
Throughout the course, music history is related to developments in politics,
religion, philosophy, science, and art history. 3 credits
20th-Century Innovators—Debussy to Cage
Kirk Nurock
A continuation of Cultural Foundations of Western Music, this course
explores Western concert music and its relationship to jazz and popular
music in the 20th-century. The development of these musical genres is
discussed in the context of 20th-century history, philosophy, literature, and
art. 2 credits (spring only)
Contemporary Jazz and Its Exponents
Velibor Pedevski
The main goals of this course are: to have students understand the
commitment of the most important, independent, and forward-looking
thinkers of the last four decades; to follow their efforts closely; and to
experience the integrity and meaning behind their desire for experimentation,
newness, and growth. The course covers music from the early rebels
(Ornette Coleman, Cecil Taylor, Sun Ra, and Albert Ayler) to the leading
Chicago figures (Anthony Braxton, the Art Ensemble of Chicago, Henry
Threadgill), from the autonomous European progressive-jazz scene to the
South African and Brazilian sensibilities, and from the early fusion of the
seventies to the marriage of jazz with underground hip-hop and various
mutations of electronica. 2 credits (spring only)
Introduction to World Music History
Gerry Hemingway
Because we live and create music in a world in which historical and cultural
diversity are increasingly important, knowledge of the world’s musical forms
and traditions is invaluable. This course examines the historical and cultural
contexts of music from around the world. Topics of special interest include:
how music travels, cross-cultural syncretism, musical interconnections, and
how music is brokered and commodified. 3 credits (fall only)
VOCAL COURSES
With the exception of the Vocal Jazz Ensemble and Gospel Chorus, these classes are available for vocalists only.
Basic Arranging for Vocalists
Amy London
This course addresses the special needs of vocalists as they develop arrangements
of their repertoires. Through analysis of recordings and scores, the
course includes a study of these topics: functions and stylistic characteristics
of each instrument in the rhythm section, “stock” arranging techniques
(introductions and endings), tempos and rhythmic feels, language for
communicating with rhythm sections, and the role of improvisation in vocal
jazz. 1 credit
Gospel Chorus
Staff
This class is open to all students who are interested in the experience of
singing gospel music. The course involves singing a variety of gospel music
styles, ranging from traditional to urban contemporary. The focus revolves
around phrasing, stamina, and three-part singing to achieve the authentic
gospel sound. 1–2 credits (fall only)
Piano for Vocalists
Rachel Z
Essential to the development of a singer’s craft is the ability to accompany
himself or herself on the piano. A vocalist must be able to play the chords of
a tune in order to learn the tune and develop a stronger working knowledge
of the language of jazz harmony and melody. By the end of this course, a
vocalist will be able to select an appropriate key for a piece of music and
play through the chords while singing the melody. Prerequisite: one year of
keyboard harmony or the equivalent. 1 credit (spring only)
Songwriting
Kirk Nurock
This elective is intended to help vocalists develop the craft of songwriting
(melody, lyrics, harmony, song form) by practicing that craft with the
guidance and assistance of the instructor. Open to vocalists who have
completed Piano 1B (or have tested at level 2 or higher) and Theory 1B.
While vocalists are actively engaged in rehearsing and singing their songs as
they develop them, this course is not a performance ensemble. Emphasis is
on the analysis and development of songs rather than on their performance.
2 credits (fall only)
Vocal Blues
Junior Mance
The blues is the foundation of almost all of jazz. This ensemble course
enables singers to understand the blues in its many guises, to interpret the
blues with feeling, and to apply its patterns and moods to their own repertoire
and improvisations. The course also affords vocalists the opportunity
to sing with the accompaniment of Mr. Mance, one of the great blues
pianists of our time. The course is a part of the required vocal curriculum.
2 credits
Vocal Improvisation I & II
Richard Harper
For intermediate and advanced singers. Building on musicianship, these
classes explore the challenges of “blowing” over changes including blues,
rhythm changes, and other standard forms. This course is a part of the
required vocal curriculum, depending on evaluation placement. 1 credit
Vocal Musicianship I & II
Richard Harper
For beginning and intermediate students, these courses focus on basic skills
needed for efficient sight-singing and vocal improvisation. They include
singing scales, modes, chords, roots, rhythms using solfège, and “singing by
numbers.” This course is a part of the required vocal curriculum, depending
on evaluation placement. 1 credit
Vocal Rhythm Section 1
Joan Stiles
In this class, vocal students are accompanied by a rhythm section and learn
how to communicate effectively with the band—explaining the form and
mood of the tune, counting off tempos, and assigning and signaling solos,
introductions, and endings. They also gain experience in writing out clear
transposed lead sheets and making basic arranging decisions. Within this
framework, vocal students develop repertoire, stage presence, jazz rhythmic
concepts, and simple improvisation skills. This course is part of the required
vocal curriculum, depending on evaluation placement. 1–2 credits
Vocal Rhythm Section 2
Amy London
This is a repertoire-building class with emphasis on preparing the student to
pass jazz performance proficiency (at a minimum) and the sophomore jury.
Students are expected to utilize the standard song literature and research
the composers. In singing, good storytelling is emphasized. Interpretation
of lyrics and creating lyrics based on the story are stressed. Communication
with the audience and stage presence, as well as microphone and amplification
techniques are covered. This course is a part of the required vocal
curriculum, depending on evaluation placement. 1–2 credits
Vocal Rhythm Section 3
Janet Lawson
Vocalists learn to listen and interact with the band as equal partners. This
involves a high degree of listening skills and theoretical knowledge, as well
as knowledge of the singer’s craft and awareness of the instrumentalists.
Emphasis is on applied theory; being able to improvise having internalized
the melody, chords, and scales; and personalizing the musical interpretations
through arrangements, improvisations, and improvising lyrics. This course
may be part of the required vocal curriculum, depending on evaluation
placement. 1–2 credits
Sight-Singing 1
Junko Arita
This class is designed to help students develop basic sight-singing skills using
solfège and melodia, as well as original compositions and/or arrangements
of existing music. The class emphasizes techniques for staying calm while
maintaining the correct rhythm in realistic professional situations. This
course is part of the required vocal curriculum, depending on evaluation
placement. 1 credit
Sight Singing 2
Junko Arita
This continuation of Sight-Singing 1 develops more advanced sight-singing
skills in non-diatonic situations. It also applies analysis and different
approaches to music theory and sight-singing. This course is a part of the
required vocal curriculum, depending on evaluation placement. 1 credit
Vocal Jazz Ensemble
Amy London
Students work on a variety of vocal pieces involving sight-reading, innerpart
singing, and vocal blending skills. Students sing both a cappella and
accompanied selections, including vocal improvisation. This class, part of
the required vocal curriculum, culminates in a concert accompanied by a
rhythm section. 2 credits
Vocal Master Class
Kamal Scott
This is an artist-in-residence course, giving students in the vocal program an
opportunity to study as a group in a master class setting with Kamal Scott.
Mr. Scott, who has extensive experience in Broadway musicals (including the
original cast of The Wiz) and opera, in addition to his years as a jazz singer,
puts a strong emphasis on vocal technique from a bel canto perspective. He
also addresses the dramatic and emotional aspects of singing. The class is
open to vocalists at all levels. 2 credits
TOP OF THE PAGE
PREFORMANCE MUSIC STUDIO ELECTIVES
As students complete core curriculum requirements, they may choose from a
variety of elective courses. Instructors possess vast expertise in their performance
fields, and students have ample opportunity to benefit from this
firsthand knowledge.
Advanced Rhythmic Concepts Ensemble
Rory Stuart
This ensemble focuses on student performance of concepts from the
Rhythmic Analysis level 2 and 3 classes in a practical playing context.
We work on playing rhythmic superimpositions, metric modulations,
odd meters, changing meters, and cross-rhythms, using original music
by the instructor and ensemble members, as well as blues, standards, and
originals by other jazz composers where appropriate. Improvisation in solos,
accompaniment, and ensemble work are all used to further mastery. The
instructor is flexible about the instrumental makeup of the ensemble, and
we find ways to use multiple players on any instruments in our ensemble’s
arrangements. This ensemble is an opportunity to go further in making the
advanced concepts from Rhythm class a part of your playing. Prerequisite:
two semesters of Rhythmic Analysis level 2 or 3, or permission of instructor.
Final enrollment is at the discretion of the instructor. 2 credits (spring only)
Afro-Cuban Jazz Orchestra
Bobby Sanabria
In 1940, the Afro-Cuban tradition began right here in New York City.
Machito and his Afro-Cubans, under the direction of maestro Mario Bauza,
fused the harmonic sophistication of jazz with the rhythmic complexity of
Afro-Cuban music. The ensemble explores that rich legacy with a repertoire
that encompasses the past, present, and future of the genre. The ensemble
performs once a month at the Nuyorican Poets Café and every semester in
a school concert featuring a renowned guest soloist. High-level reading and
solo skills are recommended. Final enrollment is at the discretion of the
instructor. 1–2 credits
Afro-Cuban Jazz Ensemble
Bobby Sanabria
This group explores the Afro-Cuban tradition as it is reflected in a small
ensemble with a repertoire that encompasses the past, present, and future of
the genre. The ensemble contains a rhythm section, percussion, three horns,
and two vocalists. Final enrollment is at the discretion of the instructor.
2 credits
Art Blakey and the Jazz Messengers Ensemble
Charles Tolliver
An in-depth study of the repertory and performance traditions of Art
Blakey. Original recordings are studied, and students work toward developing
an authentic playing style in an ensemble devoted to Blakey’s work.
Final enrollment is at the discretion of the instructor. 2 credits
The Art of the Rhythm Section
Hal Galper
A hands-on class focusing on the various aspects of rhythm section playing:
the logistics of listening, clarifying instrument roles, the decision-making
process, and developing performance awareness, concentration, and instrumental
control. Final enrollment is at the discretion of the instructor.
2 credits
The Blues
Junior Mance
The blues is the foundation of almost all of jazz. This ensemble course
enables students to understand the blues in its many guises, to interpret the
blues with feeling, and to apply its patterns and moods to their own improvisations.
Final enrollment is at the discretion of the instructor. 2 credits
Brazilian Jazz Ensemble
Richard Boukas
An authentic repertoire ensemble covering bossa nova, MPB, samba, choro,
baião, frevo, maracatu, and other Brazilian genres in their organic fusion
with jazz, popular, and classical traditions. Master composers include
Hermeto Pascoal, Jovino Santos Neto, Jobim, Pixinguinha, Gnattali,
Guinga, Edu Lobo, Ivan Lins, Milton Nascimento, and composers from the
thriving São Paulo scene. Students learn rhythm section roles/interaction
adapted from percussion sources, idiomatic melodic phrasing, and improvisation
concepts for Brazilian grooves. The ensemble requires strong readers,
saxophonists with flute double, and one vocalist with instrumental scatting
ability (familiarity with Portuguese is helpful). Final enrollment is at the
discretion of the instructor. 2 credits
Brazilian Percussion Workshop
Staff
An introduction to Brazilian rhythms in the tradition of the Rio de Janeiro
samba schools. No prior drumming experience is required. Students learn
to work with specific rhythms like samba, partido alto, afoxe, maracatu,
baião, samba reggae, etc. They also learn to play surdo, tamborim, agogo,
repinique, chocalho, caixa. We apply some of the percussion patterns to the
drum set. Final enrollment is at the discretion of the instructor. 2 credits
Charles Mingus Ensemble
Andy McKee
Charles Mingus, one of the most important composers/band leaders in
jazz history, contributed much to the formation of modern jazz. This class
is devoted to listening, analysis, and especially performance of Mingus’
compositions. Attention is focused on capturing the experimental spirit
of the Mingus Jazz Workshop. Final enrollment is at the discretion of the
instructor. 2 credits (fall only)
Charlie Parker Ensemble
David Glasser
The repertoire of Charlie Parker is learned and studied. Specific tunes
and original arrangements are learned, practiced, and recorded, including
the music of some of Parker’s contemporaries, such as Dizzy Gillespie,
Thelonious Monk, Bud Powell, and Tadd Dameron. The language of
the bebop musicians is studied through listening, emulation, and implementation.
Repertoire includes such works as “Groovin’ High,” “Blue
and Boogie,” “Salt Peanuts,” “Dizzy Atmosphere,” “Shaw Nuff,” “’Round
Midnight,” “Donna Lee,” “Confirmation,” “Hot House,” “Eb-Pob,” “The
Squirrel,” “One Base Hit,” and “Two Base Hit.” Final enrollment is at the
discretion of the instructor. 2 credits (spring only)
Chick Corea Ensemble
Armen Donelian
Students play, listen to, and study the music of Chick Corea, one of the
most prolific, influential, and multi-directional pianist/composers in jazz.
Special attention is paid to developing students’ improvisational originality,
melodic and harmonic clarity, sensitivity to dynamics and timbral nuances,
propulsive and relaxed sense of time and rhythm, and interplay within the
rhythm section. Works including “Steps,” “What Was,” “Tones for Joan’s
Bones,” “Windows,” “Litha,” “Captain Marvel,” “Like This,” and “Morning
Sprite” are played. A final concert is presented. Final enrollment is at the
discretion of the instructor. 2 credits (spring only)
Choral Musicianship
Richard Boukas
A mixed a cappella choir (women and men) comprising vocal and instrumental
jazz students, offers musicians the uplifting experience of singing
European polyphonic music from 1300 to the present. Masterpieces from
the European Renaissance and Baroque periods may include works by
Ockeghem, Josquin, Tallis, Byrd, Victoria, Monteverdi, Schütz, Bach, and
Brahms, and select contemporary composers. Proper breath support and
vocal production, choral rehearsal techniques, working with a conductor,
singing in Latin and other foreign languages, reading C clefs, and transposing
are covered. Performances are not part of the choir’s obligation,
although informal presentations are possible with mutual interest. Final
enrollment is at the discretion of the instructor. Prerequisite: ability to sightsing
lines of medium difficulty in a choral setting. 1–2 credits (spring only)
Coltrane Ensemble
Reggie Workman
A special repertory ensemble exploring the compositions and performances
of John Coltrane. Mr. Workman performed with Coltrane as a member
of his band, and develops the ensemble in the spirit of the great Coltrane
groups. Final enrollment is at the discretion of the instructor. 2 credits
Electric Miles Ensemble
Adam Holzman
This ensemble covers arrangements of mid-to-late eighties Miles Davis repertoire,
including material from We Want Miles, You’re Under Arrest, Tutu,
Amandla, and Live Around The World. The ensemble uses the music and
format of Miles’s later bands as a framework for exploring fresh approaches
to comping and soloing. Modern rhythm section ideas, superimposing
chords over static harmonies, polytonal street grooves, etc., are explored.
These ideas are applied to other material, including student compositions.
Final enrollment is at the discretion of the instructor. 2 credits (spring only)
Futuristic Concepts of Music
Reggie Workman
An ensemble focusing on the art of spontaneous improvisation as developed
in the sixties by Ornette Coleman, Cecil Taylor, John Coltrane, Albert Ayler,
etc. Final enrollment is at the discretion of the instructor. 2 credits (fall only)
Herbie Hancock Ensemble
Peter Zak
A performance ensemble devoted to exploring the compositions of Herbie
Hancock from the early sixties through the seventies. The class discusses and
applies many key elements of Hancock’s writing and playing style, focusing
on material from his Blue Note albums as well as on his later Headhunters
compositions. Hancock’s concepts are applied to every instrument in the
band. Final enrollment is at the discretion of the instructor. 2 credits
Jazz Orchestra
Charles Tolliver
The big band of the swing and bop eras has provided the foundation for
today’s larger jazz ensembles and studio recording groups. Experience
playing in a big band is useful for all jazz musicians. It develops sightreading
skills and teaches the student to play in a section. Jazz Orchestra
is a top-level ensemble that often performs at jazz clubs in New York City.
The ensemble often performs student arrangements and compositions. Final
enrollment is at the discretion of the instructor. 1–2 credits
Live Drum ’n’ Bass Ensemble
Amir Ziv
Drum ’n’ Bass is a British-born fusion of dub, techno, ambient, electronica,
and hip-hop spun and manipulated by DJs at 160-plus beats per minute.
Live Drum ’n’ Bass is a reinterpretation of DJ culture, crossbred with the
interactive matrix commonly used by improvising musicians. Its structure
is derived from real-time polyrhythmic layering of sound textures,
polytonal-loop-based melodies, forms made on the fly, harmonic progressions,
and a highly innovative drumming style. Fast tempos, unorthodox
techniques, and a seasoned sense of form and rhythm are some of the more
challenging elements required to effectively reinterpret or “reverse-engineer”
programmed music of this kind. Students must be in or beyond a highlevel
Rhythmic Analysis class. Final enrollment is at the discretion of the
instructor. 2 credits (fall only)
M-BASE Ensemble
Andy Milne
This course uses oral dictation to improve students’ melodic ear training
abilities and their ability to distinguish new and unfamiliar rhythms and
melodic passages. The music taught is based primarily on the compositions
of Ralph Alessi, David Gilmore, Steve Coleman, and Andy Milne, where
the students face very specific rhythmic challenges not normally found in
standard jazz repertoire. The goal is to give students a firsthand look at the
anatomy of some of the music characterized as “M-BASE” and help them
develop the musical muscles to understand and improvise with this music.
Although much of this music doesn’t “sound like” traditional jazz standards,
it draws heavily on the lexicon of that music. Therefore much attention is
given to making a connection between the melodic and harmonic content
of M-BASE and the more familiar jazz standards. This is not intended to
be a superficial survey on “how to solo over odd time signatures” but rather
an extensive study in rhythm and how to develop a rhythmic concept that
will open doors for playing in any meter, including 4/4. The approach used
encourages students to hear musical phrases rather than time signatures. The
process of eliminating the conceptual bar line helps foster a greater sense
of freedom, based on understanding the music from the ground up. Final
enrollment is at the discretion of the instructor. 2 credits (fall only)
Middle East Ensemble
Harel Shachal
This class is appropriate for all instrumentalists and vocalists. By listening,
reading, and performing music, the class explores the traditional as well as
contemporary music of the Middle East. The class also examines different
scales and modes, odd meters, quarter-tones, and story-telling using sounds.
Most significantly, the class focuses on learning to apply Middle Eastern
music to jazz. To that end, students are expected to bring original music to
the ensemble. Final enrollment is at the discretion of the instructor. 2 credits
Music of the Fringe
George Garzone
Free improvisation through listening and demonstration with a focus on
ways to achieve coherent and communicative collective improvisation.
Topics include the presence or absence of chordal instruments, alternative
treatment of harmonies, Garzone’s “triadic concept,” and ways in which
players can create a harmonic context melodically. Final enrollment is at the
discretion of the instructor. 2 credits
Ornette Coleman Ensemble
Jane Ira Bloom
This class focuses on performing the early compositions of Ornette
Coleman. An aural and intuitive approach to learning his compositions
as well as improvising is emphasized. The course explores music from
his early albums including Something Else, This is Our Music, Tomorrow
is the Question, and The Shape of Jazz to Come. Final enrollment is at the
discretion of the instructor. 2 credits
Rhythm & Blues Revue Ensemble
Staff
This is a performance ensemble with several vocalists (lead and back-up),
horn section, and full rhythm section using electric bass, one or more
keyboards, and one or more guitarists. The group rehearses and performs
music drawn from the repertoires of such R&B greats as Ray Charles and
James Brown. Final enrollment is at the discretion of the instructor.
2 credits (fall only)
Rhythm Section for Vocal Accompaniment
Ray Gallon
Rhythm section players examine the art of vocal accompaniment. Each week
different vocalists enrolled in the school bring their songbooks and rehearse
with the rhythm section students in the class supervised by Mr. Gallon.
These sessions enable students to acquire a great deal of practical playing
experience. Various styles of music are explored. Final enrollment is at the
discretion of the instructor. 1–2 credits
Sonny Rollins Ensemble
Armen Donelian
This ensemble is dedicated to the music of one of jazz’s most pivotal
saxophonist/composers. Particular attention is paid to Rollins’s early work
as a leader, including compositions such as “Oleo,” “St. Thomas,” “Valtz
Hot,” “Airegin,” “Strode Road,” “Newk’s Fadeaway,” “Tenor Madness,”
“Blue Seven,” and “Pent-Up House.” Standards known for Rollins’ interpretations
of them are also played, including “The Way You Look Tonight,”
“You Don’t Know What Love Is,” “Easy Living,” “Star Eyes,” “I’ve Got
You Under my Skin,” “I’ll Remember April,” “What Is This Thing Called
Love,” “Softly as in a Morning Sunrise,” “Four,” “Woody ’n’ You,” “You
Stepped Out of a Dream,” and “All the Things You Are.” Instrumentalists
and vocalists are encouraged to audition. One Rollins solo transcription is
required during the semester. Final enrollment is at the discretion of the
instructor. 2 credits (fall only)
Sound in Time
Gerry Hemingway
Sound in Time is a hybrid course exploring the diverse parameters of timbre
as an organizing musical principle. By understanding the components of
sound, we will better comprehend how to create, combine, and transform
sound. Our investigations focus on the overtone series, on differentiating
between discrete and diffuse timbres, on understanding extended
techniques, and on how attack/decay, rhythm/groove, tonality/microtonality,
and dynamic envelopes affect timbre textures. This information is of
interest to students who want to integrate and expand their approach to jazz
improvisation and composition. Final enrollment is at the discretion of the
instructor. 2 credits
Standards: The Art of the Ballad
Jane Ira Bloom
A performance course aimed at understanding how to interpret a jazz
standard, with special emphasis on the subtleties of ballad playing. Attention
is given to the influence of the jazz vocal tradition in shaping a personal
instrumental approach to song. One vocalist will be accepted. Final
enrollment is at the discretion of the instructor. 2 credits
Standards: The American Song Tradition
Satoshi Inoue, Reggie Workman
This class ensures that students who may have entered the music community
only recently are exposed to some of the material that can be considered
standard up to approximately 1965. We examine songs made popular via
theater, Broadway, film, etc., concentrating on composers in the later part of
the 19th century and early part of the 20th century. Students are expected
to memorize a substantial number of songs from that era in more than one
key. We concentrate on material that may be encountered by the average
musician during the course of his/her career. 2 credits (spring only)
The Sun Ra Arkestra Ensemble
Ahmed Abdullah
For years the music of Sun Ra was only available to those brave enough to
spend time in his Arkestra. A master composer, arranger, bandleader, and
pianist, Sun Ra and his works are overdue for critical attention by music
students. Sun Ra compositions give students a range of challenges with
music of odd intervals covering territory from ballads to swing and beyond.
In the Sun Ra Arkestra Ensemble, compositions are rehearsed in a very
unusual big band format. They are presented in a unique style that offers
an understanding of the philosophical underpinnings that gave rise to the
music. His lyrics, speaking of space travel and a planet without cemeteries,
challenge students to expand their horizons and understanding of art music.
The multidisciplinary vision that combines poetry, music, and dance with
lyrics, characteristic of the Sun Ra legacy, is allowed to develop within
this ensemble class. Final enrollment is at the discretion of the instructor.
1–2 credits (spring only)
Super Trios Ensemble
Lee Ann Ledgerwood
This ensemble covers the musical contributions of piano trios including
those led by Nat King Cole, Bill Evans, Paul Bley, Hampton Hawes, McCoy
Tyner, and Keith Jarrett. Enrollment is limited to pianists, acoustic bassists,
and drummers. Particular emphasis is placed on the communication and
support among the various members of the ensemble and the individual role
of each player. Final enrollment is at the discretion of the instructor.
2 credits
Survey of Afro-Cuban Music and Percussion
Bobby Sanabria
The various styles of Afro-Cuban music and percussion along with its dual
relationship to the jazz idiom are explored from a historical perspective. The
course provides in-depth analysis of the inner workings of clave and basic
techniques on the major battery of Afro-Cuban percussion (congas, bongo,
timbales), as well as the minor battery (maracas, guiro, shekere, cowbells,
etc.). All percussion instruments are explored in a group setting. Drum set
applications and some Afro-Cuban religious ceremonial rhythms are also
covered. 2 credits (spring only)
Thelonious Monk Ensemble
Staff
An ensemble focusing on Monk’s important compositions and stylistic
innovations. Students are required to bring in their own arrangements of
Monk’s music. Final enrollment is at the discretion of the instructor.
2 credits (spring only)
Wayne Shorter Ensemble
Doug Weiss
Wayne Shorter is one of the giants of improvised music, as well as a noted
leader and composer. This ensemble studies Shorter’s work in depth, both
compositionally and as an improviser. Classroom activities include learning
early compositions directly from the recordings as well as reading transcriptions
made by the instructor. Final enrollment is at the discretion of the
instructor. 2 credits
World Music Rhythms: African Drumming
Abdou Mboup
This class presents the fundamental concepts of drumming in the African
cultural tradition and demonstrates the basic techniques necessary for
playing a variety of African percussion instruments. Students can expect a
hands-on experience as they explore the sounds and potential of the great
African rhythmic traditions and develop a deeper understanding of African
culture. Special attention is given to the dance-oriented accentuation of the
Griot drumming tradition as well as to a broader rhythmic sense, relevant
to all styles of music. Final enrollment is at the discretion of the instructor.
2 credits
TOP OF THE PAGE
MUSIC THEORY, COMPOSITION & ARRANGING, AND TECHNOLOGY ELECTIVES ELECTIVES
Arranging/Orchestration I & II
Rich Shemaria
This course offers arranging and orchestration techniques for small and
large groups. Included is an in-depth study of basic voicings, instrument
sonorities/capabilities, and extended forms. The fall semester focuses on
small groups, while the spring semester concentrates on big bands. Students
are encouraged to start in the fall, but may enroll in the spring upon written
approval of the instructor. Prerequisite: second semester of Theory II or
equivalent. 2 credits
Advanced Composition/Arranging I & II
Bill Kirchner
This two-semester course enables advanced students to develop a personal
style of composition and arranging that goes beyond the song form. It
includes intensive analysis of recordings and scores (both jazz and modern
classical), writing assignments, sophisticated compositional techniques, and
end-of-semester writing projects that are performed by top New York professionals.
The fall semester emphasizes small groups (2–5 horns and rhythm
section); the spring semester focuses on big bands and other large ensembles.
In addition, both semesters include writing projects for unconventional
instrumentations played by the students in class; one recent assignment was
for trumpet, trombone, bass clarinet, violin, and guitar. Prerequisite: second
semester of Theory II or equivalent or permission of the instructor. 2 credits
Advanced Ear Training
Armen Donelian
The focus is on the harmonic and melodic vocabulary and the jazz repertoire
of the sixties and later, including Wayne Shorter, Herbie Hancock,
and Chick Corea. Topics may include: advanced transcriptions of John
Coltrane, Clifford Brown, and Bill Evans; composition and dictation of
harmonic progressions using Arnold Schoenberg’s Theory of Harmony;
atonal sight-singing using Modus Novus by Lars Edlund; and analysis and
dictation of the chord voicings of Scriabin, Debussy, Ravel, and Bartok.
Prerequisite: second semester of Ear Training II with a grade of B+ or higher,
or placement out of required Ear Training. 2 credits
Advanced Reharmonization I
Lee Ann Ledgerwood
This class explores a variety of techniques for reharmonization. Focus is
on pedal point, creation of chromatic voicings, and enabling the student
to discover a personalized relationship with harmony. New and unique
approaches are taught using the jazz standard repertoire. Prerequisite: second
semester of Theory II or equivalent. 2 credits (fall only)
Advanced Reharmonization II
Lee Ann Ledgerwood
The main focus is on a linear approach to the reharmonization of standards
that employs a diagram of chromatic tones and relates them to the
existing key centers. The result is a fresh approach to reharmonization for
the student, while remaining true to the composer’s intent. Prerequisite:
Advanced Reharmonization I or written permission of the instructor.
2 credits (spring only)
Basics of Web Design and Programming
Brian Camelio
The ideal website is one that looks good and is easy to update. This course
is an introduction to the basics of Web design and programming, enabling
students to design and create websites for self-promotion. Topics covered
include ASP, HTML, JavaScript, FTP, and image treatment on the Web.
2 credits
Bebop Harmony
David Glasser
This class explores Barry Harris’ approach to improvisation through an indepth
understanding of dominant chords and their importance. Through
Mr. Harris’ simple but profound approach, students discover the many
choices available to them within and moving through different tonalities.
Material covered includes dominant seventh scales, tri-tone relationships,
diminished chords, whole-tone scales, augmented chords, and chromaticisms
as they occur in moving between major and minor tonalities. Emphasis is
on the practical application of these concepts to common jazz standards.
Students are required to bring their instruments for class participation.
Prerequisite: second semester of Theory I or equivalent. 2 credits
Composers’ Forum
Staff (different teacher every year)
The students and the instructor work in the first two or three meetings to
agree on an instrumentation for which all students write. Once the instrumentation
has been chosen, each student writes a piece for it. The pieces are
performed and recorded by professional musicians at the end of the semester.
The seminar meetings give the students an opportunity to examine each
others’ works-in-progress under the tutelage of the instructor. The instructor
also provides students with general information on compositional practice
and history, as well as specific guidance on the pieces they are composing.
Final enrollment is at the discretion of the instructor. 2 credits
Garzone’s Triadic Chromatic Approach
George Garzone
In this class, students will explore the use of non-tonal improvisations
over chord changes. Applications to be discussed are triads, major, minor,
augmented, and diminished. A chromatic approach used in a random
pattern helps to keep the triads moving with a bebop flow. The final exam
consists of students improvising freely over standard tunes using this
technique. 2 credits (spring only)
Introduction to Film Scoring
David Lopato
Whether 30-second television commercial, 20-minute documentary or fulllength
feature film, scoring to picture is becoming more and more valuable
as both a creative outlet for musical expression and a source of income
for the professional musician. This course presents a historical overview
of music written for films and examines the work of such key composers
as Bernard Hermann, Ennio Morricone, Jerry Goldsmith, Carl Stalling,
and John Williams. Several scores are analyzed in great detail, cue by cue,
to demonstrate how they are constructed and to give working insight.
Technical aspects are explored, including the synchronization of sound to
picture and the use of computers and MIDI in the realization of the music.
In addition to feature films, documentaries, industrials, and commercials
are explored. Some basic computer experience is recommended, but not
required. This is a limited enrollment class. Prerequisite: second semester of
Theory II or equivalent. 2 credits
Introduction to Finale
Brian Camelio
This introductory class teaches the basics of computer copying, leading to
the design of professional looking lead sheets and scores. A must for jazz
musicians and composers. Prerequisite: second semester of Theory I or
equivalent. 1 credit
Linear Composition for Improvisers
Jane Ira Bloom
A performance/composition course exploring how to structure compositions
and improvisations using melodic lines of horizontal motion. Participants in
the class both compose and perform. Students learn to compose using their
improvisational ability as their point of departure and are required to write
and perform several compositional/improvisational assignments throughout
the course. A live concert recording of students’ original compositions is the
final class project. Final enrollment is at the discretion of the instructor.
2 credits
MIDI Systems
David Lopato
Whether the context is composition or improvisation, MIDI is a language
vital to the creativity and productivity of more and more musicians today.
This course takes the student on a tour of the basics of music sequencing. It
begins with an explanation of MIDI: how it enables computers and synthesizers
to “talk” to one another and how it is incorporated into the traditional
multi-track recording studio. The student is taught how to program both
ends of this computer-synth conversation through the use of sequencing
software. With these skills, students then explore how this technology can
be used in the creation of song demos, horn arrangements, complex orchestrations,
and “music minus one” accompaniments for practicing purposes.
No prior computer or electronic music experience is necessary. This is a
limited enrollment class. Prerequisite: second semester of Theory I.
2 credits (fall only)
The Music of Bill Evans
Lee Ann Ledgerwood
An overview of the career of Bill Evans, this class focuses on his compositional
and pianistic styles, his musical collaborations, and his influence
harmonically on many of today’s artists. The class will include live demonstrations
and audio and film examples. Prerequisite: second semester of
Theory I or equivalent. 1 credit (fall only)
The Music of McCoy Tyner
Peter Zak
This class discusses and analyzes the performances of McCoy Tyner, based
on extensive listening to important recordings from the sixties through
the present. There is a particular focus on his work in the John Coltrane
Quartet, examining how the concept he developed there has pervaded
jazz and jazz piano to this day. The course is not restricted to pianists.
Prerequisite: second semester of Theory I or equivalent. 1 credit (spring only)
Philosophy of Practice Techniques (How to Practice)
Jimmy Owens
A course in goals and methods for practicing, including developing
technique, projecting emotion, building creativity and excitement, and
developing a personal sound. Students are given exercises, and develop a firm
understanding of what and how to practice. Open to all who play melodic
instruments (vocalists included). 1 credit
ProTools
Staff
Students get extensive hands-on experience with ProTools, the leading
software for digital recording. Recordings of the spoken word, field
recordings, multi-track recordings, and sampled material from commercial
CDs are used for editing, mixing, and sound processing purposes. 2 credits
Score Reading and Analysis
Kirk Nurock
In this class, students explore the content of a variety of tonal works. Scorereading
skills (both transposed and concert) are taught as students analyze
the layers of large ensemble pieces in classical and jazz genres. Focus is on
in-depth examinations of motivic development, harmonic language, rhythm,
structure, and orchestration. Students learn to play lines at the piano while
singing others and to recognize essential compositional elements while
listening to recordings. Prerequisite: second semester of Theory II or equivalent.
2 credits (fall only)
Special Topics
Robert Sadin
An intensive seminar in musical analysis and composition in which masterworks
of the classical repertoire are discussed in the context of techniques
and problems of contemporary composition, including jazz and more
commercial forms. Specific topics vary from semester to semester. Students
have the opportunity to compose and perform as well as analyze. This
course is designed for serious, self-motivated students. Prerequisite: second
semester of Theory II or equivalent. 1 credit
Species Counterpoint
Armen Donelian
Classical species counterpoint is an effective tool for developing the ear to
hear and react to the subtleties of interacting melodic lines. It cultivates a
linear sophistication for both improvisation and composition. The study of
species counterpoint dates back to the pre-Baroque and comprises a series
of little “puzzles” that must be “solved” within strict guidelines. In addition
to exploring two- and three-voice settings, the course also explores creative
application of contrapuntal techniques to jazz tunes. Prerequisite: second
semester of Theory I or equivalent. 2 credits
TOP OF THE PAGE
ADDITIONAL AND INTERDISCIPINARY ELECTIVES
Audio Engineering Internship
Christopher Hoffman
It is beneficial for musicians to have at least a basic understanding of
electronics and recording in order to take full advantage of new technology.
Students learn the fundamentals of various electronic devices commonly
found in today’s recording studios. For the first eight weeks, students explore
cables, microphones, mixing consoles, recording devices, recording media,
and outboard processing (equalizers, compressors, reverb, etc.) and learn
how to connect equipment for optimal performance. After this preliminary
portion, actual recording sessions and live performances take place, during
which students get hands-on experience with studio setups, microphone
selection and placement, mixing, tracking, and live sound reinforcement.
Each student is required to complete a minimum of three recording sessions
and three live performances. 2 credits
Business of Music I & II
Jimmy Owens
This course provides an overview of the business of music in two semesters.
Students become acquainted with how the business affects the professional
musician, music educator, and businessperson. Practical information is
covered in areas such as copyright law, performing rights, mechanical rights,
agents, management, unions and benefits, the nonprofit sector, how to
create work, success mindset, and problems faced by professional musicians,
including procrastination, lack of motivation, poor career development, and
lack of work. The objective is to develop the skills necessary to become a
successful musician and to learn how to build a career in the music industry
that includes variety, longevity, and success. 2 credits
Eyes of the Masters
Bethany Ryker (coordinator)
This is a series of ten master classes presented by ten different prominent
artists in jazz and contemporary music. Among the masters who have
participated in recent years are: Brad Meldhau, Jason Moran, Mark Turner,
Butch Morris, Grady Tate, Bill Frisell, Steve Coleman, Randy Weston, Pat
Metheny, and Maria Schneider. 1 credit (spring only)
Internship in the Music Industry
Bethany Ryker (coordinator)
Learn about the music industry with direct work experience as an intern
at companies such as Verve, Blue Note, Sony, and Jazz at Lincoln Center.
Opportunities are also available at nonprofit organizations, clubs, and
recording studios across New York City. Interns are required to work at least
80 hours per semester, though many organizations will require 15–20 hours
per week. Gain valuable work experience, make professional contacts, and
create potential employment opportunities. Prerequisite: sophomore status or
higher. 1–2 credits
Music Industry Seminars
Bethany Ryker (coordinator)
This is a series of ten seminars covering various aspects of the business of
music, conducted by different professionals in the New York music industry.
The areas covered include production, recording, promotion, marketing, and
education. 1 credit (fall only)
Music Pedagogy
Dan Greenblatt
This course is designed to develop students’ skills as music teachers, with
a primary focus on private lesson instruction. Attention is also given to
group lessons, clinics, ensembles, and master classes. This course enhances
students’ ability to earn a living in the music business. The topics covered
include: preparation and organization of teaching materials, setting standards,
dealing with equipment, pacing and timing, motivating ambivalent students,
and understanding developmental psychology as it applies to teaching
music. Students are asked to share and analyze their own experiences and
to develop a good critical understanding of their past and present music
teachers. The first part of the semester is oriented toward basic instrumental
instruction techniques; the second part moves to teaching more advanced
students, including instruction in jazz style and improvisation. 2 credits