![]() This course is a continuation of Jazz History/Styles/Analysis I and serves to broaden the base already provided by using more in-depth listening, research, and comparative analyses of works.Įlectives are offered in a variety of subjects. Students will learn about artists and their work and will acquire critical listening skills. ![]() This course provides a yearlong overview of the history of jazz music, including its major innovators, trends, and musical examples. This class will cover, with an emphasis on fluency, melodic dictation, sight singing, harmonic dictation to the 9th degree, and harmonic singing (arpeggios of common chord progressions to the 9th degree in jazz standards), as well as a continuation of the art of transcription of jazz solos. This class will cover, with an emphasis on fluency, intervallic dictation and singing, rhythmic dictation and tapping, simple harmonic dictation to the 7th degree, simple sight-singing, and simple melodic dictation, as well as an introduction to the art of transcription of jazz solos. Laboratory groups will include members of the class as well as school ensembles. This course will include guided instruction in jazz arranging and composition using the tools and techniques learned in Jazz Theory I, II, and III. Jazz Theory IV (Theoretical Applications in Jazz Arranging and Composition) Subjects covered in Jazz Theory I and II will be reviewed and utilized as a basis for compositional techniques. Jazz Theory III focuses on the practical application of theory to the students’ writing and playing. Traditional or classical harmonic principles and their relevance in jazz settings will also be studied. The Jazz Theory II curriculum involves a study of topics such as chord function, extension and alteration, common chord progressions, scales, key relationships, superimposition, form, modulation, re-harmonization, rhythmic permutation, voice leading, counterpoint, composition, arranging, and ear training. This course covers jazz theory on a basic level, and it is designed to help students develop the necessary theoretical foundations in order to be able to improvise, arrange, and compose. Corresponding ear training courses cover rhythmic solfège, melodic sight singing, rhythm and movement, diatonic-modal improvisation, harmonic perception, contemporary sight singing, dictation, and advanced choral literature survey. Areas covered include melody, harmony, part writing, form and analysis, counterpoint, orchestration, and some elementary compositional techniques. ![]() This level is a comprehensive study of the elements of music from rudiments through chromatic harmony. High School Theory and Ear Training (grades 9 and above) The materials used are selected from music literature appropriate to the age level and degree of advancement of the students. The ear training levels stress the singing, aural recognition, and writing of all elements studied in the theory classes. This level involves study of scales, intervals, chords, melody harmonization, and form with appropriate analysis and creative work. Junior Theory and Ear Training (grades 5-8) Parents are encouraged to sit in on classes. There are multiple levels of both theory and ear training, which follow the general outlines of the Junior Theory and Ear Training curricula. Students wishing to be considered for chamber music must complete the Chamber Music Request Form by May 1st of every year.Ĭourses in music theory and ear training are a mandatory part of every student’s study and complement private instruction.Įlementary Theory and Ear Training (grades 4 and below)Įlementary Theory provides students with a fundamental background in the development of coordination and rhythmic awareness, listening awareness, responses to pitch, dynamics and tempo, and emphasizes basic reading skills. ![]() Because of the difficulties in matching students by level and requests, there is no guarantee that all students will be placed in a chamber music group each semester. Pianists may be required to audition for chamber music. Assignment to all large ensembles is made by the Precollege Administration, in consultation with the conductors and directors, and is based on audition.Ĭhamber music is an elective and placement is made by the Precollege Administration. Students must audition for positions in large ensembles and are placed according to their ability. ![]()
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