MB111 (815) (608) Course Description Objectives:

Transcription

1 JAZZ DRUM SET STUDIO Syllabus and Curriculum Spring 2017 Rodrigo Villanueva Conroy Office: MB111 Ph: (815) Mobile: (608) Office Hours: Tuesday & Thursday at 11 am or by appointment Course Description: Jazz Drum Set lessons focus on traditional jazz small group and big band time keeping and improvisation techniques. In addition, other styles relevant to jazz are included as part of the curriculum in a sequenced fashion: Funk, Fusion, Brazilian, Cuban and Afro-Peruvian. Objectives: Throughout the following levels of study jazz drum set you will develop the necessary skills for playing drums in a musical fashion with a strong grasp of Jazz styles and other related genres derived primarily from the African Diaspora: New Orleans Second line, Chicago Style, Swing, Be-bop, Cool, Hard Bop, Free, Progressive, Afro- Cuban, Brazilian, Afro-Peruvian, Funk, Fusion, Flamenco Jazz, etc. You will also develop a solid rhythmic feel, good sound and internal balance of the kit. In addition, you will be able to improvise in a wide variety of styles, with a well-rounded historical perspective of the evolution of jazz drumming. During the following stages you will acquire the tools to be a competent musician in both, large and small jazz ensembles, with the ability to sight-read and interpret jazz music and other genres with musicality. The use of ear training will be stressed as part of the daily practice routine to allow imitating and assimilating jazz styles. By listening to the different sections of the ensemble and vocalizing rhythmic and melodic ideas you will achieve a more musical approach to the drum set that will help you develop a musical ear to internalize harmonic and melodic structures, orchestrate section and ensemble figures with a full awareness of dynamics, articulations and pitch level. The use of score analysis, composition and improvisation techniques will be a fundamental part of our journey. There are 8 sequenced semesters of study for the undergraduate jazz studies majors and 4 semesters for the graduate students. The curriculum and weekly assignments are outlined in the next pages. Keep track of the assignments for your level of study according to the Drum set Program (Freshmen L-1AB, Sophomore L-2AB, Junior L-3AB, Senior L-4AB, Masters L-5AG, L-5BG, L-6AG and L-6BG) and the Drum Set Practice Log (All levels). You are responsible for staying up-to-date within the framework, whether the material is covered or not in your lessons. Bring a SD CARD to every lesson. I will record your lessons; you should review and take notes from what you hear as part of your practice routine. Bring your drum set practice log to every lesson. No log, no lesson. Remember to write notes, questions and document your practice sessions in your log. Use it! I may require a CD-R or a Jump-Drive at some point during the semester to record audio tracks for you to work with during your practice sessions. Your transcription should be chosen and approved by me by the 5 th lesson at the latest. Transcriptions should be completed by the 9 th lesson. FAILURE TO COMPLETE AND PLAY A TRANSCRIPTION PROJECT WILL LOWER YOUR FINAL GRADE BY ONE LETTER. If you have to miss a lesson notify me with 24-hour or more before your lesson and I will do my best to schedule a make up lesson. Lessons missed without 24-hour notice will 1

2 not be made up. If I have to reschedule your lesson, I will let you know in advance, and we will set up a day and time that works for both of us. Develop a practice routine for yourself and practice creatively. The way you practice will be reflected in the way you make music, so practice musically. There will be two juries for the people in my studio: a) The first will be during pre-finals week, on Thursday December 1 st (12-2 pm), and it will consist on your transcription and materials covered during the semester, as a drum set barrier (25% of your final grade). b) The second one will be during the jazz studies juries in room 155 on Tuesday, December 6, where you will perform an arrangement for either solo or accompanied drum-set of a jazz standard of the melody you picked at the beginning of the semester (25% of final grade). The other 50% of your final grade will come from the average of your weekly lessons. Excessive unexcused absences to lessons, jazz convocations and drum set studio class (2 or more) will lower your final grade by 1 letter grade. Required Materials* 1 Binder to keep all your materials, including Practice Log, Syllabus and Notes 10-line Staff Paper 2 pairs of drum sticks (1 jazz size, such as Vic Firth s AJ6 and 1 medium 5A or 5B) 1 pair of brushes (Medium, such as Vic Firth Heritage Brushes) 1 pair of Vic Firth Tala Wands (Birch or Bamboo) 1 pair of vibes mallets (Medium hard yarn/rattan) Stick Control, George Lawrence Stone Syncopation, Ted Reed The Drummer s Complete Vocabulary as Taught by Alan Dawson, John Ramsay Advanced Concepts, Kim Plainfield Drummin Men, The Heartbeat Of Jazz, The Swing Years, Burt Korall (Only freshman, sophomore and graduate level) Drummin Men, The Heartbeat Of Jazz, The Be-bop Years, Burt Korall (Only sophomore, junior and graduate level) Drum set Practice Log provided by Rodrigo Villanueva Recommended Materials: Anytune Pro any Audio Editing Software, such as Audacity, for practice and transcriptions. Spotify Subscription To be able to share playlists, and many versions of the repertoire covered in lessons. *Note: in addition to the books required under materials, each level requires additional drum methods that are listed at the top of each levels table: e.g. Level 2B: Chaffee, Patterns: Technique; Riley, The Art of Bop Drumming. Bring to every lesson all materials and the assigned bibliography according to your level. There will be customized exercises that will require the use of the books listed under materials (e.g. Independence exercises using Stick Control s stickings over an ostinato). Transcriptions and style and analyses projects are divided in 2 groups: a) Jazz Combo and b) Big Band. Level 1A through 2B (4 semesters) cover both areas, with one-semester transcriptions focused in small group repertoire and the other semester of the academic year transcriptions geared towards Big Band repertoire. Upper classmen level transcriptions can be either, small group or big band oriented. You are expected to bring your Combo and Jazz Large Ensemble repertoire to lessons to address any issues or concerns that you may have, I want to help you to prepare for rehearsals and performances in the best possible way. 2

3 UNDERGRADUATE CURRICULUM (8 Semesters) Level 1-A (Freshmen) Ted Reed, Syncopation (Many interpretations are explained in detail in Ramsay s book) Soph, Musical Time (Play all exercises as written, plus B.D. = Baion, Samba & Songo) Ramsay, The Drummers Complete Vocabulary As Taught by Alan Dawson Recommended apps: Anytune Pro (For practicing and transcribing, creating loops, etc.) PolyNome (Programmable metronome, includes practice log, stroke guide, mixer, etc.) Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Swing snare Alternate hands p. 5 Partials Swing bass Over alt hands p. 5 Triplets Snare/bass UNISON p. 5 Elvin 3 s Dawson s 3-Way () Short/Long Dawson s 3-Way Long/Short Dawson s 3-Way L.H. Melody B.D. Empty Space Soph: Track 1, pp. Exs. 1-6 Soph: Track 2, Exs Soph: Track 3, Exs Soph: Track 4 Exs Soph: Track 5 Exs Soph: Track 6 Exs Ramsay: p. 3 Chapter 1 Ramsay: p. 4 Rud. Ramsay: p. 5 Ramsay: p. 6 Reverse Swiss 3 3 Ramsay: p. 7 Flam Taps Ramsay: p. 8 Parabossa (R-37) Soph: Track 7-8 Exs Ramsay: p. 9 + Rud. Ritual Sing/Improv Soph: Tcs Exs Ramsay: p. 10 Arvin s Diddles Reed: pp , Samba Soph: Tcs Exs Ramsay: pp Ritual/Brushes Reed: p. 40 Funk- Shuffle Soph: Tcs Exs Ramsay: p. 34 w/ Reed p. 38 Reed: p. 39 Soph: tcs pp Ramsay: p. 35 w/ Reed p. 38 Reed: p. 40, Sing/Improv Soph: tcs pp Ramsay: p. 37, w/ Reed p. 38 drummers: Jimmy Cobb, Louis Hayes, Billy Higgins, Philly Joe Jones (Focused on Small Group Time Keeping) Level 1-B (Freshmen) Plainfield, Advanced Concepts Ramsay, The Drummers Complete Vocabulary As Taught by Alan Dawson Big Band & Jazz Combo Repertoire (From Student s Ensemble Folder & from Wright s Inside the Score: Basie Straight Ahead, Hay Burner, Three and One and US). Playing big band classics from the repertoire of Basie and Thad Jones/Mel Lewis Big Bands. a) By ear, b) Transcribing, c) Comparing Transcription with original chart and d) Score Analyses Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Ramsay: p. 35 Samba L.H.=brush Ramsay: p. 37 Parabossa w/ Syncopation Ramsay: 37 Side Triplets w/ Syncopation Ramsay: p. 38 Roy Haynes Special w/ Ramsay p. 40 Oleo with Roy Haynes Special Reed: 38 Samba, unison hands R.H.=Stick (Mel) Syncopation Plainfield: pp.6-8 Plainfield: pp Plainfield: pp Plainfield: pp Plainfield: pp Plainfield: p. 25 Hay Burner By ear Transcription Hay Burner Hay Burner: Reading Basie Straight Ahead (ear) Transcription Basie St. Ahead Basie Straight Ahead (Read) Samba, R.H. Melody, L.H.fill Improv 12/8 With Rolls Plainfield: p. 26 Plainfield: pp Three and One Transcription By ear Three and one Reed: pp , Baion Plainfield: pp Three and One (Read) Reed: pp , Songo (alt hands) + Stick Control Plainfield: pp Us (By ear) Reed: pp , Songo (L.H. Mel) Plainfield: pp Transcription Us Reed: pp , Plainfield: pp Us Read drummers: Harold Jones, Papa Jo Jones, Sonny Payne, David Tough, Mel Lewis, Buddy Rich (Focused on Big Band Time Keeping and Orchestration) * = Last day to approve transcriptions (@ lesson time) ** = Transcription due (@ lesson time) é = Jazz Audition s Self-Assessment = SWOT Diagram is due

4 Level 2-A (Sophomore) Davis, Masters of Time (Do your own research about each drummer, edit the transcription, imitate their Ride form to sound as close as you can, pay attention to sound, phrasing and balance, find YouTube footage to analyze their style, sound, comping ideas and Ride form) Chester, The New Breed (Singing Q.N., Up-beats, Melody, R.H., and L.H.) Chapin, Advanced Techniques For The Modern Drummer (Melodic exercises, e.g. Parker s Billie s Bounce has to be played on both vibes and drum set, p Similar orchestration will be applied to other songs: e.g. S. Rollins Doxy). Binary Patterns are to be played with bass drum Latin ostinatos: Samba, Baion and Songo, Ternary exercises as Swing and Shuffle with the melody on snare and bass drum. Advanced students may play all exercises ambidextrously, right hand lead and left hand lead (a la Gary Chester s New Breed). Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Davis: pp.8-10 & Davis: pp.6-7 Davis: pp Davis: pp Davis: pp Davis: pp Chester: Sys.2 (II-B) Chester: Sys.3 (II-A) Chester: Sys. 4 Chester: Sys. 5 (III-A) Chester: Sys. 6 Chester: Sys. 7(III-A) Chapin: pp Chapin: pp Chapin: pp Chapin: pp Chapin: pp Swung 16ths & Samba Chapin: pp ~Implied Dbl. Time & Samba Davis: pp Davis: pp Davis: pp Davis: pp Davis: pp Davis: pp Chester: Sys. 8 (II-B) Chester: Sys. 9 (II-A) Chester: Sys. 10 Chester: Sys. 11 (III-A) Chester: Sys. 12 Chester: Sys.13 (II-A) Chapin: p. 32 As Swung Shuffle & Samba Chapin: p. 33 W/ Baion, Samba & Songo Chapin: p Chapin: p Chapin: p Chapin: p drummers: Baby Dodds, Zutty Singleton, Sonny Greer, or Paul Barbarin. (Early Jazz Drummers Time Keeping Analysis) Level 2-B (Sophomore) Snidero, Jazz Conception for Drums Garibaldi, Future Sounds. Recommended app: The Code of Funk Fidyk, Big Band Drumming At First Sight. (Interpret figures as Swing, Samba, Baion & Songo) Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Snidero: Track: 1 Snidero: Track: 2 Snidero: Track: 3 Snidero: Track: 4 Snidero: Track: 5 Snidero: Track: 6 Garibaldi: pp. 12- Garibaldi: pp. Garibaldi: pp. 23- Garibaldi: pp. 25- Garibaldi: pp. 28- Garibaldi: p Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: pp Fidyk : pp Fidyk: pp Snidero: Track: 7 Snidero: Track: 8 Snidero: Track: 9 Snidero: Track: 18 Snidero: Track 19 Snidero: Track: 21 Garibaldi: p. 31 Garibaldi: p. 32 Garibaldi: p. 33 Garibaldi: p. 34 Garibaldi: p. 35 Garibaldi: p. 36 Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: p Fidyk: pp Fidyk: REVIEW drummers: Chick Webb, Dave Tough, Gene Krupa, Sidney Catlett, or Papa Jo Jones. (Big Band Styles and Analysis Transcription) * = Last day to approve transcriptions (@ lesson time) = SWOT Diagram is due ** = Transcription due (@ lesson time) é = Jazz Audition s Self Assessment 4

5 Level 3-A (Junior) Davis, Standard Time (Learn the melodies, work on the provided transcriptions and experiment playing along with the tracks using your own jazz conception) Martinez, Afro-Cuban Coordination for Drum set (Recommended app: Percussion and ERSK Afro-Cuban).To assimilate the rhythmic feel it is important to imitate by listening, transcribing and playing-along with significant recordings: Irakere, Afrocuba, Cubanismo, Tito Puente, etc. Create a Spotify playlist with the tracks you can use to practice these rhythms in sequence, from slower to faster. Riley, The Art of Bop Drumming Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Davis: Track: 1 Davis: Track: 2 Davis: Track: 3 Davis: Track: 4 Davis: Track: 5 Davis: Track: 6 Martinez: pp. 6-9 Tracks 2 & 8 Martinez: p. 10 Tracks 4 & 6 Martinez: p. 11 Tracks 2, 4 & 6 Martinez: p. 12 Tracks 10 & 12 Martinez: pp Tr: 8, 10 & 6 Martinez: p Tr: 6 & 12 Riley: pp Riley: pp Riley: pp Riley: pp Riley: pp Riley: pp Davis: Track: 7 Davis: Track: 8 Davis: Track: 9 Davis: Track: 10 Davis: Track: 11 Davis: Martinez: p , Tr: 6 & 12 Martinez: pp Martinez: pp Tracks Martinez:67-68 Tracks Martinez: Tracks Martinez: Riley: pp Riley: pp Riley: pp Riley: pp Riley: p Riley: p drummers: Buddy Rich, Shelly Manne, Sonny Payne, Mel Lewis, Kenny Clarke or Max Roach. (Big Band or Small Group Styles with descriptive analysis and transcription) Level 3-B (Junior) Lewis/DeRosa, It s Time for the Big Band Drummer Thompson, How to Play Drums in a Big Band Fonseca/Weiner, Brazilian Rhythms for Drum set, Create a Spotify playlist with the tracks you can use to practice these rhythms in sequence, from slower to faster. Riley, The Art of Bop Drumming Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Tiptoe Tip Toe Central Park Thank You, Cherry Juice, Rich it, pp pp pp pp North, pp pp pp. Chester Fonseca: pp Fonseca: pp Fonseca: p Fonseca: p (Analysis) Fonseca: pp Fonseca: p Riley: Track: 4 Riley: p. 61 Riley: p. 64 Riley: p. 65 Riley: p. 66 Riley: p. 67 pp pp pp pp pp pp Fonseca: pp Fonseca: pp Fonseca: pp (Analysis) *** Fonseca: pp (Analysis) Fonseca: pp (Analysis) Fonseca: p Riley: p. 68 Riley: p. 69 Riley: p. 69 Riley: Riley: Riley: drummers: Art Blakey, Philly Jo Jones, Ed Thigpen, Roy Haynes, Elvin Jones, or Jimmy Cobb. (Styles and Analysis short paper and Transcription) * = Last day to approve transcriptions (@ lesson time) = SWOT Diagram is due ** = Transcription due (@ lesson time) é = Jazz Audition s Self Assessment 5

6 Level 4A (Senior) Improvisation Tunes (Student should be able to play the melody and changes on vibes) Recommended apps: ireal Pro and ERSKN Jazz Essentials Volumes 1 and 2 Chaffee, Patterns: Technique & Time Functioning (Recommended app: DrumLinear) Riley, Beyond Bop Drumming Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Improv Impressions Confirmation I Mean You Recorda-me All The Things You Are Windows Chaffee T: pp. 74- Chaffee T: pp. 78- Chaffee T: pp. Chaffee TF: p. 44 Chaffee TF: Chaffee TF: p A p.44 B 45 (6 a-f) Riley: pp. 8-9 Riley: p. 10 Riley: p. 11 Senior Recital Planning Riley: p. 13 Riley: p. 14 Riley: p. 15 Moment s Notice Unit 7 Stable Mates Bolivia Giant Steps Chaffee TF: p. 46 Chaffee TF: p. Chaffee TF: p. 46 Chaffee TF: p. 46 Chaffee TF: p. 47 Chaffee TF: p. (7 a-e) 46 (7 f-j) (8 a-c) (9 a-c) (10 a-f) 47 (11 a-f) Riley: pp. 16 Senior Recital Q&A Riley: pp Riley: pp Track 18 Riley: p Riley: p Riley: drummers: Ed Blackwell, Billy Higgins, Paul Motian, Billy Hart, Tony Williams, Al Foster, Grady Tate, or Jack DeJohnette. (Styles and Analysis short paper and Transcription) Level 4B (Senior) Houghton, The Drum set Soloist Porcaro, Groovin with the Odd Times, Create a Spotify playlist with the tracks you can use to practice these rhythms. (Swing exercises should be played as even eighths too) Aebersold, Vol. 61: Burnin!!! (Students should be able to play the melody and changes on vibes or piano at a slow tempo) Fidyk/Black, Big Band Drumming Fill-osophy (Interpret figures as Swing, Samba, Baion & Songo) Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Houghton: Trs: 1 & 2 Houghton: Trs:4 & 5 Houghton: Trs: 8 & 10 Houghton: 11 & 13 Houghton: 15 & 16 Houghton: 17 & 20 Fidyk: pp Fidyk:pp Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: pp Porcaro: Part 1 Porcaro: Parts 2 & 3 Porcaro: Parts 4 & 5 (section1) Porcaro: Part 5 (Sections 2 & 3) Porcaro: Parts 6 & 7 Porcaro: Part 8 CHEROKEE THE WAY YOU INDIANA LOVE, COME KEEP IT UP SECRET LOVE LOOK TONIGHT BACK TO ME Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: pp Porcaro: Part 9 Porcaro: Part 10 Porcaro: Part 20 (Analysis) *** Porcaro: Part 20 (Analysis) Porcaro: Part 21 (Analysis) Porcaro: 21 Jury: 1 transcription of 2-4 choruses of comping and trading 4 s, 8 s, or a solo by the drummer of your choice. (Styles and Analysis long paper with Transcriptions) * = Last day to approve transcriptions (@ lesson time) ** = Transcription due (@ lesson time) é = Jazz Audition s Self Assessment ***= Styles and Analysis Paper Draft I is due (Your transcription should be part of this project) = SWOT Diagram is due 6

7 Senior students must write a Style and Analysis research paper (3 pages minimum) about a significant jazz drummer from the 1920 s, 30 s, 40 s, 50 s or 60 s. These are a few suggested names, but you may choose a different drummer from the same time frame: Warren Baby Dodds Shelly Manne Connie Kay Billy Hart Chick Webb Sony Payne Joe Morello Elvin Jones Sonny Greer Louis Bellson Jimmy Cobb Tony Williams Gene Krupa Mel Lewis Ed Blackwell Pete La Roca Cozy Cole Kenny Clarke Billy Higgins Al Foster Sidney Catlett Max Roach Paul Motian Grady Tate Dave Tough Art Blakey Dannie Richmond Jack DeJohnette Papa Jo Jones Philly Joe Jones Ed Thigpen Alan Dawson Buddy Rich Roy Haynes Vernel Fournier Louis Hayes Cozy Cole Billy Exner Art Taylor Daniel Humair GRADUATE CURRICULUM (4 Semesters) Level 5-AG (Graduate) Soph, Musical Time (Play all exercises as written, plus B.D. = Baion, Samba & Songo) Martinez, Afro-Cuban Coordination for Drum set (Recommended app: Percussion and ERSK Afro-Cuban).To assimilate the rhythmic feel it is important to imitate by listening, transcribing and playing-along with significant recordings: Irakere, Afrocuba, Cubanismo, Tito Puente, etc. Create a Spotify playlist with the tracks you can use to practice these rhythms in sequence, from slower to faster. Riley, The Art of Bop Drumming Big Band & Jazz Combo Repertoire (From Student s Ensemble Folder & from Wright s Inside the Score: Basie Straight Ahead, Hay Burner, Three and One and US). Playing big band classics from the repertoire of Basie and Thad Jones/Mel Lewis Big Bands. a) By ear, b) Transcribing, c) Comparing Transcription with original chart and d) Score Analyses. Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Soph: Track 1, pp. Exs. 1-6 Soph: Track 2, Exs Soph: Track 3, Exs Soph: Track 4 Exs Soph: Track 5 Exs Soph: Track 6 Exs Martinez: pp. 6-9 Tracks 2 & 8 Martinez: p. 10 Tracks 4 & 6 Martinez: p. 11 Tracks 2, 4 & 6 Martinez: p. 12 Tracks 10 & 12 Martinez: pp Tr: 8, 10 & 6 Martinez: p Tr: 6 & 12 Riley: pp Riley: pp Riley: pp Riley: pp Riley: pp Riley: pp Hay Burner By ear Transcription Hay Burner: Reading Basie Straight Ahead (ear) Transcription Basie Straight Ahead (Read) Soph: Track 7-8 Exs Soph: Tcs Exs Soph: Tcs Exs Soph: Tcs Exs Soph: tcs pp Soph: tcs pp Martinez: p , Tr: 6 & 12 Martinez: pp Martinez: pp Tracks Martinez:67-68 Tracks Martinez: Tracks Martinez: Riley: pp Riley: pp Riley: pp Riley: pp Riley: p Riley: p Three and One By ear Transcription Three and one Three and One (Read) Us (By ear) Transcription Us Us Read drummers: Buddy Rich, Shelly Manne, Sonny Payne, Mel Lewis, Kenny Clarke or Max Roach 7

8 Level 5-BG (Graduate) Lewis/DeRosa, It s Time for the Big Band Drummer Thompson, How to Play Drums in a Big Band Chester, The New Breed (Singing Q.N., Up-beats, Melody, R.H., and L.H.) Riley, The Art of Bop Drumming Davis, Masters of Time (Do your own research about each drummer, edit the transcription, imitate their Ride form to sound as close as you can, pay attention to sound, phrasing and balance, find YouTube footage to analyze their style, sound, comping ideas and Ride form). Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Tip Toe Tip Toe Central Park Thank You, Cherry Juice, Rich it, pp pp pp pp North, pp pp pp Chester: Sys.2 (II- B) Chester: Sys.3 (II-A) Chester: Sys. 4 Chester: Sys. 5 (III-A) Chester: Sys. 6 Chester: Sys. 7(III-A) Riley: Track: 4 Riley: p. 61 Riley: p. 64 Riley: p. 65 Riley: p. 66 Riley: p. 67 Davis: pp.8-10 & Davis: pp.6-7 Davis: pp Davis: pp Davis: pp Davis: pp pp pp pp pp pp pp Chester: Sys. 8 (II-B) Chester: Sys. 9 (II-A) Chester: Sys. 10 Chester: Sys. 11 (III-A) Chester: Sys. 12 Chester: Sys.13 (II-A) Riley: p. 68 Riley: p. 69 Riley: p. 69 Riley: Riley: Riley: Davis: pp Davis: pp Davis: pp Davis: pp Davis: pp Davis: pp drummers: Art Blakey, Philly Jo Jones, Ed Thigpen, Roy Haynes, Elvin Jones or Jimmy Cobb. (Styles and Analysis short paper and Transcription) * = Last day to approve transcriptions (@ lesson time) = SWOT Diagram is due ** = Transcription due (@ lesson time) é = Jazz Audition s Self Assessment Level 6-AG (Graduate) Improvisation Tunes (Student should be able to play the melody and changes on vibes) Recommended apps: ireal Pro and ERSKN Jazz Essentials Volumes 1 and 2 Chaffee, Patterns: Technique & Time Functioning (Recommended app: DrumLinear) Riley, Beyond Bop Drumming Fidyk, Big Band Drumming At First Sight. (Interpret figures as Swing, Samba, Baion & Songo) Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Improv Impressions Confirmation I Mean You Recorda-me All The Things You Are Windows Chaffee T: pp. 74- Chaffee T: pp. 78- Chaffee T: pp. 81- Chaffee TF: p. Chaffee TF: Chaffee TF: p A p.44 B 45 (6 a-f) Riley: pp. 8-9 Riley: p. 10 Riley: p. 11 Riley: p. 13 Riley: p. 14 Riley: p. 15 Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: pp Fidyk : pp Fidyk: pp Moment s Notice Unit 7 Stable Mates Bolivia Giant Steps Chaffee TF: p. 46 Chaffee TF: p. Chaffee TF: p. 46 Chaffee TF: p. 46 Chaffee TF: p. 47 Chaffee TF: p. (7 a-e) 46 (7 f-j) (8 a-c) (9 a-c) (10 a-f) 47 (11 a-f) Riley: pp. 16 Riley: pp Riley: pp Track 18 Riley: p Riley: p Riley: Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: p Fidyk: pp Fidyk: REVIEW 8

9 drummers: Ed Blackwell, Billy Higgins, Paul Motian, Billy Hart, Tony Williams, Al Foster, Grady Tate or Jack DeJohnette. (Styles and Analysis short paper and Transcription) Level 6-BG (Graduate) Houghton, The Drum set Soloist Fonseca/Weiner, Brazilian Rhythms for Drum set, Create a Spotify playlist with the tracks you can use to practice these rhythms in sequence, from slower to faster. Aebersold, Vol. 61: Burnin!!! (Students should be able to play the melodies and changes on vibes or piano at a slow tempo) Porcaro, Groovin with the Odd Times, Create a Spotify playlist with the tracks you can use to practice these rhythms. (Swing exercises should be played as even eighths too) Fidyk/Black, Big Band Drumming Fill-osophy (Interpret figures as Swing, Samba, Baion & Songo) Week 1 Week 2 Week 3 é Week 4 Week 5 * Week 6 Houghton: Trs: 1 & 2 Houghton: Trs:4 & 5 Houghton: Trs: 8 & 10 Houghton: 11 & 13 Houghton: 15 & 16 Houghton: 17 & 20 Porcaro: Part 1 Porcaro: Parts 2 Porcaro: Parts 4 Porcaro: Part 5 Porcaro: Parts 6 Porcaro: Part 8 & 3 & 5 (section1) (Sections 2 & 3) & 7 Fonseca: pp Fonseca: pp Fonseca: p Fonseca: p (Analysis) Fonseca: pp Fonseca: p Fidyk: pp Fidyk:pp Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: pp CHEROKEE THE WAY YOU INDIANA LOVE, COME KEEP IT UP SECRET LOVE LOOK TONIGHT BACK TO ME Porcaro: Part 9 Porcaro: Part 10 Porcaro: Part 20 Porcaro: Part 20 Porcaro: Part 21 Porcaro: 21 (Analysis) *** (Analysis) (Analysis) Fonseca: pp Fonseca: pp Fonseca: pp (Analysis) *** Fonseca: pp (Analysis) Fonseca: pp (Analysis) Fonseca: p Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: pp Fidyk: pp Jury: 1 transcription of 2-4 choruses of comping and trading 4 s, 8 s, or a solo by the drummer of your choice. (Styles and Analysis long paper with Transcriptions) * = Last day to approve transcriptions (@ lesson time) ** = Transcription due (@ lesson time) é = Jazz Audition s Self Assessment ***= Styles and Analysis Paper Draft I is due (Your transcription should be part of this project) = SWOT Diagram is due Additional suggested bibliography: Waters, Keith. The Studio Recordings of the Miles Davis Quintet Oxford: Oxford University Press, Goldsher, Alan. Hard Bop Academy, The Sidemen of Art Blakey and the Jazz Messengers. Milwaukee: Hal Leonard Corporation, Locke, David. Drum Gahu The Rhythms of West African Drumming. Tempe: White Cliffs Media Company, Dean, Matt. Drum Kit Secrets 52 Performance Strategies for the Advanced Drummer. Lanham: The Scarecrow Press, The Jazzer s Cookbook Creative Recipes for Players and Teachers. Delray Beach: Meredith Music Publications, Alkyer, Frank, and Enright, Ed, eds. DownBeat The Great Jazz Interviews. New York: Hal Leonard, Larson, Thomas. Modern Sounds The Artistry of Contemporary Jazz. Dubuque: Kendall/Hunt Publishing Company,

10 Graduate students must write a Style and Analysis research paper (5 pages minimum) about a significant jazz drummer from the 1920 s, 30 s, 40 s, 50 s, 60 s or 70 s. These are a few suggested names, but you may choose another drummer that is not in the list from the same time frame. The paper should include Bibliographical references from at least 3 sources and should be written in Chicago style. In addition, it should include transcribed examples from significant recordings. Warren Baby Dodds Kenny Clarke Vernel Fournier Peter Erskine Chick Webb Max Roach Art Taylor Bill Stewart Sonny Greer Art Blakey Billy Hart Jeff Tain Watts Gene Krupa Philly Joe Jones Elvin Jones Robertinho Silva Cozy Cole Roy Haynes Tony Williams Nené Sidney Catlett Billy Exner Pete La Roca Airto Moreira Dave Tough Connie Kay Al Foster Daniel Humair Papa Jo Jones Joe Morello Grady Tate Jon Christensen Buddy Rich Jimmy Cobb Jack DeJohnette Alex Riel Cozy Cole Ed Blackwell Alan Dawson Marcio Bahía Shelly Manne Billy Higgins Louis Hayes Alex Acuña Sony Payne Paul Motian Victor Lewis Ignacio Berroa Louis Bellson Dannie Richmond Ed Soph Enrique Plá Mel Lewis Ed Thigpen Joe LaBarbera Ignacio El Negro Hernández Note: Jury Transcriptions should be at least 3 choruses long (e.b.96 Bars if you transcribe a 32- Bar AABA form tune). Your transcription should be engraved (computer generated using Finale, Sibelius, or other music notation program). Bring 3 copies of it to your final jury. It should include a label at the beginning of each chorus with time stamp. In addition, include the CD information, including label and personnel. See Transcription example in the following three pages. Additional suggested bibliography of biographical resources: Hunt, Joe. 52 nd Street Beat, In-Depth Profiles of Modern Jazz Drummers New Albany: Jamey Aebersold Publishing, Kahn, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. Cambridge: Da Capo Press, Jones, Jo. Rifftide: The Life and Opinions of Papa Jo Jones. Minneapolis: University of Minnesota Press, 2011 Falzerano, Chet. Chick Webb Spinning the Webb: The Little Giant. Anaheim: Centerstream Publications, Jacobs, Gil. Harold Jones: The Singer s Drummer. Bloomington: AuthorHouse, Smith, Chris. The View from the Back of the Band: The Life and Music of Mel Lewis. Denton: North Texas Lives of Musicians Series, Gara, Larry. The Baby Dodds Story: As told to Larry Gara. Alma: Rebeats Press, 2003 Traps The Drum Wonder: The Life of Buddy Rich, Mel Torme, 1997, Rebeats Press 10

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