MUS443 - JAZZ COMPOSITION AND THEORY I

Blues, Bop and Modal Language

WINTER 2006 SYLLABUS

Instructor: ​Sila C. Shaman

​E-mail: sila@sila-music.com
​Cell phone: (541) 231-6903
Meeting Hours: Monday & Wednesday 2:00-2:50pm,
Individual Meetings, TBA

PREREQUISITES:
MUS123 is the prerequisite course.
▪ The students are expected to have a rudimentary understating of chords
(including 7th chords), rhythm, scales and how they relate to harmony. We
will review a lot of concepts in the class; however, this course is not
intended to be a basic theory class.
▪ Students should be able to read and notate their musical ideas accurately
on various clefs and have some familiarity with simple score preparation.
▪ Students should be comfortable with a notation software of their choice
such as Finale or Sibelius.
▪ A basic familiarity with jazz music and its repertoire is helpful but in no way
necessary.
If you have any questions about these prerequisites, please contact the
instructor immediately.

OBJECTIVES:
Upon successful completion of this course students will:
▪ Have a practical and theoretical understanding of basic jazz composition
forms, harmonic progressions, melodic lines, and rhythmic elements.
▪ Be able to compose jazz (in the broadest definition of the word) pieces
that utilize blues, bop, modal and contemporary musical languages. This
course will focus on lead-sheet style writing and will not involve extended
arrangements.
▪ Be familiar with some prominent jazz composers, in particular composers
for small ensemble, such as Horace Silver, Wayne Shorter, John Coltrane,
Herbie Hancock, Charlie Parker etc., and be able discern some of their
stylistic traits via listening.
Like the genre itself, the language and the techniques used in writing jazz are
not unique and will improve the students’ understanding and composition
skills of all genres of western music.

COURSE MATERIALS: There are no textbooks required for the course.

Instructor will provide handouts in digital or paper format as well as reading
Instructor will provide handouts in digital or paper format as well as reading
materials to expand the students’ understanding of the topics, if necessary.
Required listening materials will be available at the music library on reserve.
Blank music paper and pencils/pens are required to take notes at every meeting.

GRADING:
▪ 40% Writing Projects: There will be a minimum of two composition
projects, including a final project. These projects are to be handed in
within the deadlines and in announced formats (such as score/lead sheet,
parts, midi or live recording). Late projects will not be accepted unless
specifically approved by the instructor beforehand.
▪ 30% Attendance, class presentations, progress, participation in class.
▪ 20% Weekly assignments
▪ 10% Final exam: There will be a final exam on the techniques and theory
discussed in class. The exam will also include a short listening segment
pertaining to the required listening materials. There will be no make-up for
the final exam.

A general note on attendance, projects and assignments:

Students’ efforts and progress is an integral part of grading. Attendance to
classes and the individual meetings (which are for the purpose of consultation
with the instructor on ongoing work) are therefore very important for the
evaluation and ultimately the success of students’ projects and assignments.
Students are encouraged to voice their opinions on these projects and are
welcome to contribute useful and relevant suggestions on the course contents.
Willingness to learn and share new music ideas and concepts is indispensable.

Students with documented disabilities who may need accommodation, who have
any emergency medical information the instructor should know of, or who need
special arrangements in the event of evacuation, should make an appointment
with the instructor as early as possible, no later than the first week of the term.