DEREE COLLEGE SYLLABUS FOR: 3/0/3

MU 3274 IMPROVISATION TECHNIQUES ΙI

(previously MU 3264 Improvisation Techniques II)

UK LEVEL 5

(New 2016) UK CREDITS:15

PREREQUISITES: MU 2014 THEORY AND MUSICIANSHIP I

MU 2150 IMPROVISATION TECHNIQUES I (or by permission)

CATALOG

DESCRIPTION:

The class will focus on the development of advanced skills in music improvisation. Students

will learn how to improvise coherently in various music styles and will be encouraged to

cultivate creativity and the development of a personal voice.

RATIONALE: This course helps students extend their skills in musical improvisation and gives them the

opportunity to practice these skills performing in a group setting. Learning advanced

improvisational techniques will lead students to a better understanding of the theoretical and

practical concepts involved in the creation of new musical works as well as the development

of solo performances. Students develop keys skills to become more aware, responsive,

musically creative and original in their approach to music making.

LEARNING

OUTCOMES:

Upon successful completion of this course the student should be able to:

1. examine and develop practical and theoretical concepts about improvisation

including the importance of form, thematic development, melodic direction and a

solid rhythmic foundation.

2. develop and apply listening awareness, communication and response skills while

improvising.

3. elaborate on melodic, harmonic and rhythmic material in order to create the basis of

an original approach to jazz and popular music.

METHOD OF

TEACHING AND

LEARNING:

In congruence with the teaching and learning strategy of the college, the following tools are

used:

� In class instructional hours including: lectures, listening and practical exercises

studio practice, group work and group discussions

� In addition to instructional hours, students are expected to dedicate approximately

110 hours to individual study including: listening, written exercises, and practical

work, homework practice using computer software

� Concert attendance (formative)

� Office hours: students are encouraged to make full use of their instructor’s office

hours, where they can ask questions, see their assigned work results and/or go over

lecture material

� Use of a learning management system (Blackboard) where instructors post lecture

notes, assignment instructions, announcements and additional resources

ASSESSMENT: Summative:

In class written exam 30%

In class practical exam 70%

Shall we change the balance t

Formative:

Portfolio of written and practical assignments 0

The formative portfolio of written and practical assignments aims to prepare students for both

assessments.

The written exam tests learning outcomes 1 and 3

The practical exam tests learning outcomes 1, 2 and 3

INDICATIVE

READING:

REQUIRED READING:

Coker, Jerry (1964). Improvising Jazz. Simon & Schuster Inc. New York.

Coker, Jerry (1970). Patterns for Jazz. Studio P/R. Miami.

Crook, Hal (1991). How to improvise: An Approach to Practicing Improvisation. Advance

Music, GmbH. Mainz.

Slonimsky, Nicolas (1947). Thesaurus of Scales and Melodic Patterns. Schirmer Books.

New York.

INDICATIVE

MATERIAL:

(e.g. audiovisual,

digital material, etc.)

REQUIRED MATERIAL: To be assigned be the instructor

RECOMMENDED MATERIAL: N/A

COMMUNICATION

REQUIREMENTS:

Blackboard and an active ACG e-mail account

SOFTWARE

REQUIREMENTS:

“Band in a Box 2013” by PG Music (PC & Mac) or more recent versions

“iReal Pro” (Android & ios)

WWW

RESOURCES:

http://www.apassion4jazz.net/improvisation.html

http://www.playjazznow.com/improvintro/

http://www.outsideshore.com/music/a-jazz-improvisation-primer/

http://www.allaboutjazz.com/

http://www.jazzadvice.com/

http://www.thejazzpage.de/index1.html

http://www.jazzcorner.com/

INDICATIVE

CONTENT

1. Advanced Improvisation in Theory And Practice

o Importance of form

o Melodic and harmonic analysis

o Theme development

o Creating a coherent melodic line

o Improvising in the appropriate style

o Diatonicism and chromaticism

o The importance of cadences

o Compositional elements

o Improvising a cadenza

2. Recorded Performances and Listening Awareness

o Listening for interaction and communication

o Developing awareness of stylistic aspects

o Transcribing

3. Extending Melodic and Rhythmic Awareness

o Giving the improvised line melodic direction

o Using the rhythmic motif to create melody

o Choose the appropriate rhythmic approach depending on the music

o Odd time signatures

o Improvise over “Coltrane changes”

4. Musical Communication

o Call and response

o Giving melodic cues

o Use of dynamics