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
