Preparatory Jazz Program
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New for Fall 2008:
Youth Jazz Orchestra
NEC's Preparatory jazz program develops skills necessary for understanding the jazz tradition of improvisation. Repertoire studied will include classic and contemporary jazz literature as well as its African and European roots. Classes will involve ear training, composing, writing, singing, and playing of materials.
Students begin by taking Jazz Theory I and Introduction to Jazz Ear Training. Classes are scheduled to accommodate as many students as possible.
Jazz Theory I
Joel Yennior, Instructor
This year-long class is an introduction to the principles used for analyzing jazz
compositions and the vocabulary used by jazz musicians for compositional and
improvisational development. Emphasis is on understanding common technical
terms and also on learning to apply theoretical constructs to playing and/or
singing in a performance setting. Recordings of well-known jazz pieces will be
used to demonstrate theory concepts. There is a placement examination at the
time of auditions.
Saturday, time TBA.
Jazz Theory II
Rick McLaughlin, Instructor
This year-long class is a continuation and expansion of the analytic principles
and vocabulary introduced in Jazz Theory I. Class topics include dominant
function, modal interchange, deceptive resolution, diminished chords and
scales, the IV# minor seventh chord with flat 5, modulation, and compound
chords. Students spend much time analyzing tunes written by jazz masters and
writing. There is a placement examination at the time of auditions.
Saturday, time TBA.
Jazz Theory III
RIck McLaughlin, Instructor
This is an advanced jazz theory class, covering sophisticated jazz harmony and improvisation.
Saturday, time TBA.
Introduction to Jazz Ear Training
Joel Yennior, Instructor
This two-semester class is designed to give beginning and intermediate jazz
students ear training using musical vocabulary from the many different eras in
jazz history. Students will be taught to identify basic intervals, chord sounds,
and rhythms that are crucial building blocks in developing basic Jazz aural
skills. The class will use recorded source material, and there will be some simple
transcription exercises. Designed to complement Jazz Theory I, this class
ensures that students not only are familiar with the theoretical terminology
and protocol of jazz, but that they also can aurally internalize (hear) and
externalize (play and sing) jazz theory concepts.
Saturday, time TBA.
Advanced Jazz Ear training
Eyran Katsenelenbogen, Instructor
This class is a continuation of the ear training concepts covered in
Introduction to Ear Training. It is required for students pursuing jazz
certificate level IV.
Saturday, time TBA
History of Jazz
Eric Hofbauer, Instructor
A comprehensive overview of the evolution of American jazz from its roots in
African folksong and ritual through the present day. Related topics such as
Crossover, Third Stream, Fusion, and jazz-influenced classical music will also
be considered. Emphasis will be placed on listening and class discussion, with
possible live in-class performances. There will also be reading and listening
assignments, plus a class presentation on a live jazz performance of the
student’s choice.
Text: Tanner, Megill, and Gerow, Jazz, 8th edition.
Saturday, 10:00–11:00 a.m.
Jazz Ensembles
David Zoffer, Chair
These ensembles are designed for instrumentalists and vocalists desiring a
small ensemble experience with emphasis on the exploration of various jazz,
Third Stream, popular, and fusion styles. Emphasis will be placed on the application
of jazz theory concepts through performance. Larger involvement in the
program is a preference consideration for placement in ensembles. Groups will
receive 28 60-minute coaching sessions and the opportunity to perform in
workshops and recitals throughout the year. Auditions — September, 2007.
Additional times by arrangement with department chair.
Youth Jazz Orchestra
Ken Schaphorst, Director
The Youth Jazz Orchestra is a new ensemble that will debut in September 2008 at the NEC Preparatory School. The Orchestra will be directed by celebrated jazz artist Ken Schaphorst, who chairs NEC's college jazz studies department and directs the college-level jazz orchestra. The ensemble will rehearse on Wednesday evenings, 7–9pm, beginning in September, and is open to pre-college-age trumpet, trombone, saxophone, piano, guitar, bass, and percussion players. Auditions will take place on Sunday, May 4, and Friday, May 9. Students may schedule an audition for the NEC Youth Jazz Orchestra at necprepauditions.com. Students should come prepared to play a jazz piece of any sort (for example, a part they play in their school band or another ensemble would be fine). They should bring an extra copy so Schaphorst can play with them. We hope to also provide a rhythm section for the auditions. If students have experience improvising, they should demonstrate that, but it is not a requirement. Students will also be asked to sightread.
Wednesday, 7:00–9:00 p.m.
Jazz Analysis and Stylistic Application
David Zoffer, Instructor
This two-year, four-semester class is designed for advanced and intermediate
jazz students. It requires some prior knowledge of jazz theory. In this class,
compositions will be analyzed from both the “big picture” (form, harmony,
arrangement, melody, and rhythm) and the “little picture” (articulation and
methods of improvisation). Source material for the first year has included
Charlie Parker, Ornette Coleman, Thelonious Monk, Mike Stern, and sources
from 20th-century classical music. The purpose of this class is to link jazz history
to jazz theory. The second year will explore the styles of Duke Ellington,
Charles Mingus, Stevie Wonder, Bob Marley, Buddy Guy, Frank Zappa, and
more. Students will compose model compositions based on the material in
class. Students will also sing and play along with recorded melodies and
improvisations to learn different approaches to delivering material.
Saturday, 11:00–12:00 noon
Introduction to Improvisation for Strings
David Eure, Instructor
The objective of this course is to expose classically trained string players to the
diverse improvisational methods incorporated in the styles of jazz, klezmer,
and North Indian classical musics. Students will also be encouraged to develop
their own personal style in conjunction with the styles studied in the class.
Emphasis will be put on the relationship between the ear and the technique
needed to execute simple phrases. Short composition projects will be assigned
by the teacher, and students are also encouraged to bring their own pieces.
This is a performance class, using solo and ensemble formats to improve the
students’ ability to listen, perform, and compose all at the same time.
By audition September, 2007.
Saturday, time TBA