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MUSA 181 Jazz Theory

Previously MUSC 158. Jazz Theory is required of all students seeking a Certificate in Music Performance-Jazz and suggested for those students interested in Jazz Theory. It continues the integrated approach to musical structure that combines written work, ear training, keyboard skills, and sight singing that was established in Music Theory I and II. Selected topics include the study of typical jazz chord structures, Major, melodic minor, diminished, and whole tone harmonic structure, slash chords, harmonic and melodic analysis, blues forms, and re-harmonization.

Credits

3

Prerequisite

MUSA 124 and MUSA 125, or MUSC 111A and MUSC 111P

Hours Weekly

4

Course Objectives

  1. Construct triads, sixth, seventh, ninth, eleventh, and thirteenth chords on paper and on the keyboard.
  2. Construct chords as applied to major scale harmony and identify available tensions.
  3. Identify II-V-I progressions, both in analysis and dictation.
  4. Follow guide tone lines through chord progressions.
  5. Play II-V-I progressions on the keyboard while voice-leading guide tones.
  6. Identify secondary dominants and extended dominant progressions.
  7. Play extended dominant progressions on the keyboard.
  8. Identify III-VI-II-V-I progressions, both in analysis and dictation.
  9. Apply scale modes to major scale chords.
  10. Construct chords as applied to melodic minor scale harmony.
  11. Make appropriate use of diminished chords and apply the appropriate symmetrical scale.
  12. Make appropriate use whole tone-scale chords and the whole-tone scale.
  13. Create musical patterns from symmetrical scales.
  14. Identify and apply slash chords effectively for pedal tones, bass line motion, and as substitutions for dominant chords.
  15. Apply proper chord scales to slash chords.
  16. Analyze typical jazz chord progressions with roman numerals while identifying II-V-I progressions, modulations (various types), and line clichés.
  17. Identify several common song forms.
  18. Identify melodic phrases and perform melodic analysis.
  19. Sight sing jazz melodies and bass lines.
  20. Identify special function use of dominant chords.
  21. Identify and analyze various blues forms, including basic blues, bebop blues, blues with a bridge, and minor key blues.
  22. Effectively increase harmonic texture through use of re-harmonization techniques, including replacing V chords with II-V, tri-tone substitutions of V chords and II-V progressions, re-harmonizing minor VI chords as dominant chords, and anticipating a chord with its V chord.

Course Objectives

  1. Construct triads, sixth, seventh, ninth, eleventh, and thirteenth chords on paper and on the keyboard.
  2. Construct chords as applied to major scale harmony and identify available tensions.
  3. Identify II-V-I progressions, both in analysis and dictation.
  4. Follow guide tone lines through chord progressions.
  5. Play II-V-I progressions on the keyboard while voice-leading guide tones.
  6. Identify secondary dominants and extended dominant progressions.
  7. Play extended dominant progressions on the keyboard.
  8. Identify III-VI-II-V-I progressions, both in analysis and dictation.
  9. Apply scale modes to major scale chords.
  10. Construct chords as applied to melodic minor scale harmony.
  11. Make appropriate use of diminished chords and apply the appropriate symmetrical scale.
  12. Make appropriate use whole tone-scale chords and the whole-tone scale.
  13. Create musical patterns from symmetrical scales.
  14. Identify and apply slash chords effectively for pedal tones, bass line motion, and as substitutions for dominant chords.
  15. Apply proper chord scales to slash chords.
  16. Analyze typical jazz chord progressions with roman numerals while identifying II-V-I progressions, modulations (various types), and line clichés.
  17. Identify several common song forms.
  18. Identify melodic phrases and perform melodic analysis.
  19. Sight sing jazz melodies and bass lines.
  20. Identify special function use of dominant chords.
  21. Identify and analyze various blues forms, including basic blues, bebop blues, blues with a bridge, and minor key blues.
  22. Effectively increase harmonic texture through use of re-harmonization techniques, including replacing V chords with II-V, tri-tone substitutions of V chords and II-V progressions, re-harmonizing minor VI chords as dominant chords, and anticipating a chord with its V chord.