Sir Zelman Cowen School of Music

Jazz

Performance 3: ATS2122

Technical Syllabus 2019

Subject Outline
This area of study focuses on the development of sound quality, technical facility, melodic and
harmonic fluency and a strong sense of rhythm and inner pulse. All technical work is to be
memorised.

Objectives
The objectives of this subject are to develop the aural and technical skills for performance in an
improvisatory context across various styles.

Subject delivery
As this subject is a component of Performance 3, students, in consultation with their principal
study teachers, will build into their practice schedules appropriate time to develop the skills
required to master the technical areas outlined below.

Reading List
Levine, M. (1989) The Jazz Theory Book. Sher Music Co, Petaluma.
Levine, M. (2005) The Jazz Piano Book. Sher Music Co, Petaluma.
Crook, H. (1999) Ready, Aim, Improvise. Advance Music
Crook, H. (2002) How To Improvise. Advance Music.
Boling. M (1993) The Jazz Theory Book. Advance Music. (scales – modes p. 43 – 70)

Note: Double Bass students to play the syllabus at a slower tempo where necessary.
Note: Double Bass, Trombone and Voice students can perform scales/arpeggios at a slower
tempo up to 10 bpm slower for accuracy. (e.g range minum = 60bpm to minum = 45bpm)

Work in Progress Assessment

Scales:
Diminished scales (half-step & whole-step), Minor Pentatonic Scales (1 b3 4 5 b7) and modes of
the major scales in all keys. Check with your principal study teacher for the most appropriate
way to articulate and accent the swing quavers for your specific instrument. Scales are to be
played continuously around the cycle of 4ths (Cmaj®Fmaj®Bbmaj etc.). Students may be
requested to play at both a soft and loud dynamic.
Vocalists: sing scales at 60 bpm.

Part 1 - Improvisation

All listed scales to be improvised over both 4 & 8 bar durations. The last note of the
improvisation must resolve on the root note on beat 1 (of bar 5 in a 4-bar improvisation) or beat
1 (of bar 9 in a 8-bar improvisation).

Metronome should only sound on beat 2 = 40bpm (tempo for all performers)

• All students must provide a verbal 2 bar count-in prior to playing/singing.

Final Technical Exam Assessment

Part 2 - Improvisation

All major scales to be played over 2 bars followed by a 2-bar improvisation over a ii-V chord
progression.
• All students must provide a verbal 2 bar count-in prior to playing/singing
• Metronome should sound only on beat 4
• The improvisation should ‘outline’ the chord progression.
• The majority of notes should be 8th notes.
Instrument-specific requirements
Brass / Voice / Woodwind / Guitar / Bass / Strings: single melody line only.
Piano: melody in right hand with accompanying chords in left hand.

Chord Voicing: Piano & Guitar Only

Each voicing chosen by the student* is to be played in all keys moving around the cycle of 4ths
(Gmaj®Cmaj®Fmaj etc.

*Check with your principal study teacher which positions/ voicings to prepare for the tech exam.

• Maj 7th (9th where possible)

• Min 7th (9th where possible)
• Dominant 7th b9
• Dominant 7th #9
• Minor 7th b5
• Diminished
• Sus 4
• Dominant 7th sus4

Instrument-specific requirements
Guitar: 3 voicings per chord type: Chords voiced from root note on 6th, 5th and 4th strings.
Piano: 3 voicings per chord type: Using 2 hands

12-Bar Blues
PART 1: MAJOR BLUES transcription
Students are to select one of the following transcriptions (excluding voice - see below) in which
they will play one chorus along with the recording by memory (recording will be provided by
staff in the assessment). In addition to the original key, students will be required to also learn
the chorus in the keys listed below:

• John Coltrane – Blue Trane (first chorus) Original key (Eb) plus F & Bb
Library Location: C780 JI C725 BLU

• Charlie Parker – Billies Bounce (first chorus) Original key (F) plus Eb & Bb
Library Location: C780 JI P238 ESS

• Cannonball Adderley – Spontaneous Combustion (first chorus) Original key (Bb) plus
F & Db
Library Location: C780 JI C226 CAN.1

• Wes Montgomery – D Natural Blues (first chorus) Original key (D) plus G & Bb
Library Location: C780 JI M788 FUL

• Wynton Kelly - D Natural Blues (first chorus) Original key (D) plus G & Bb
Library Location: C780 JI M788 FUL

• Christian McBride – Blues on a Sunday: first four choruses of walking bass line under
Joshua Redman’s Sax solo.
Audio Location: http://youtu.be/f4far-VQbE4

Voice: must learn 3 of the listed solos to be performed only in the key of the recording.

All recordings are also available in the Library or streamed through the Naxos online catalogue.

PART 2: MINOR BLUES – Transcription:

Students (including vocalists) are to select one of the following solos in which they will play
two choruses along with the recording by memory (recording will be provided by staff in
the assessment):

• Freddie Hubbard – Stolen Moments (first two choruses)

Matheson Library Location: C780 JI N428 BLU

• Oliver Nelson – Stolen Moments (first two choruses)

Matheson Library Location: C780 JI N428 BLU

• Bill Evans – Stolen Moments (first two choruses)

Matheson Library Location: C780 JI N428 BLU
Repertoire
The following works are to be performed accurately from memory and in a musically appropriate
way according to the style suggested by each piece (refer to your principal study teachers for
stylistic guidance). Lead sheets will on moodle.

• Freedom Jazz Dance (excluding Double Bass and Vocalists) – Eddie Harris ( = 84
BPM)

• Blues for Alice – Charlie Parker (F) ( =88 b.p.m)

• Anthropology - Charlie Parker (Bb) ( =88 b.p.m)

• My Funny Valentine – Rogers and Hammerstein ( = 60 b.p.m)

• Corcovado (including introduction) – Tom Jobim ( = 60 - 70 b.p.m)

• Well You Needn’t – Thelonious Monk ( = 74 b.p.m)

Instrument-specific requirements:
Vocalists:
• Melody, chord-tones (1 3 5 7), and chord-tone improvisation.
• Tempo’s can be sung at 10 bpm slower if required.
• Click on 2 and 4 in swing tune or 1 and 3 on straight feel.

Vocalists can learn all repertoire in the key of their choice (with the exception of Blues for
Alice which must be sung in F) and can include vocalese lyrics if desired. All transposed
repertoire (other than the original key) is to be scored and submitted at the exam. The
repertoire may be performed either with or without accompaniment at the discretion of the
examiners.

Brass / Woodwind: melody, chord-tones (1 3 5 7), and chord-tone improvisation.

Bass: Melody, walking or appropriate bass feel, and chord-tone improvisation.
Guitar: Melody, chords (separately), chord-tones (1 3 5 7), chord-tone improvisation, and
melodies to be played simultaneously with chordal accompaniment for My Funny Valentine &
Corcovado.
Piano: Melody with chordal accompaniment, chord-tones (1 3 5 7) and chord-tone
improvisation.

Instrument Specific Transcriptions

Requirements:
• All transcriptions to be memorised
• Chord progression to be known (verbally recite chord progression)
• Melody and solos to be played/sung accurately along with the recording, including
detail in nuances, rhythmic phrasing and entries. (Recording will be supplied by the
examiners).
Trumpet
• Lee Morgan – Side Winder
• Track 1 – Side Winder – Melody and entire trumpet solo

Trombone:
• Curtis Fuller – Blue Train
• Track 1 – entire Trombone solo

Tenor Saxophone
• Stan Getz – Stella by Starlight
• Track 1 – Stella by Starlight
• Head – 2 solo choruses

Alto Saxophone
• Kenny Garrett - Triology
• Track 5. Waynes Thang - Head & 6 Choruses

Baritone Saxophone
• Gerry Mulligan & Paul Desmond – Two of a Mind
• Track 1. All the Things You Are

Piano
• Oscar Peterson – Night Train
• Track 2. C Jam Blues – 6 choruses

Electric Bass
• Jaco Pastorius – Heavy Weather
• Track 8 - Havona - (solo between 2.33-3.49)

Acoustic Bass
• Dave Holland – Question and Answer
• Track 8 – Old Folks (solo between 4.07-5.07)

Guitar
• Joe Pass – Intercontinental - Naxos
• Track 2 - Meditation - Entire Guitar Solo

Vocalists:
• Betty Carter – I Can't Help It
• Track 7 - You're Driving me Crazy - Head and solo