M-JP-TRB3

Practical Classes

11

1

30

One 50-minute lesson per week

26 hours

282 hours

Completion of M-JP-TRB2.

See Competencies Matrix.

Further progressing towards the playing and study level demanded of professional musicians. Studying various styles with specific attention for the student's chosen style of preference (specialization).

The contents of the main subject lessons are for the most part tailored to the technical exam, which means they are slightly more isolated from the other performance and theory classes than in previous years.

COMBINATION OF KNOWLEDGE, UNDERSTANDING, AND SKILLS:
Detailed study of seven or more methods of improvisation technique (or similar study materials):
Ramon Ricker: New Concepts in Linear Improvisation
Ramon Ricker: Pentatonic Scales for Jazz Improvisation
Ramon Ricker: Technique Development in Fourths
David Baker: Techniques of Improvisation (4 volumes)
David Baker: How to Play Bebob (3 volumes)
David Baker: Advanced Improvisation (2 volumes)
David Baker: Modern Concepts in Jazz Improvisation
David Liebman: Chromatic Approach to Jazz Harmony and Melody
Davis Liebman: Chromatics/Non-Diatonic Scales
Joe Riposo: Jazz Improvisation: A Whole-Brain Approach
Randy Halberstadt: Metaphors for the Musician
Mark Levine: The Jazz Piano Book
Emile de Cosmo: The Woodshedding Source Book
Charlie Mariano: An Introduction to South Indian Music
Rebeca Mauléon: Salsa Guide Book
Antonio Adolfo: Brasilian Music Workshop
Walt Weiskopf: Intervallic Improvisation
Walt Weiskopf: Around the Horn
Scott D. Reeves: Creative Jazz Improvisation
David Baker: Expressions & Explorations
Bertil Strandberg: It's about Time
Jerry Bergonzi: Melodic Rhythms (vol. 4)
Jerry Bergonzi: Thesaurus of Intervallic Melodies (vol. 5)
Jerry Bergonzi: Developing a Jazz Language (vol. 6)
Jerry Bergonzi: Hexatonics (vol 7.)
Walt Weiskopf / Ramon Ricker: The Augmented Scale in Jazz
TECHNIQUE:
special sounds (for more information: see technical exam, part 2)
flexibilities, (pral)trillers and embellishments
doodle tonguing (alternate articulation techniques)
multiphonics and other avant-garde trombone techniques
lip and slide vibrato
legato 'sweet-solo' style
using the plunger (and other mutes)
circular breathing
ATTITUDE:
Further developing the ability to study disciplined and independently, initiating and/or organizing performance possibilities and selecting material (possibly also writing original pieces).

Individual lessons and (as agreed with the instructor) big band lessons, group lessons and section rehearsals

METHODS:
Greg Waits: Advanced Flexibility Studies for the Jazz Trombonist
Robert L. Marseller: Advanced Slide Technique for Trombone
Bill Watrous / Alan Ralph: Trombonisms
Phil Wilson / Joseph Viola: Chord Studies for Trombone
Bob McChesney: Doodle Studies and Etudes
Steve Wiest: Take The Lead
Al Grey: Plunger Techniques
Jamey Aebersold / Hal Leonard: Transcribed solo's of J.J. Johnson
Hal Crook: Creative Comping for Improvisation (3 volumes)
Conrad Herwig: Fond Memories of Frank Rosolino
David Liebman: The Improviser's Guide to Transcription (video)
Selection of the classical repertoire: (for more information, see technical exam, part 2)
Gilles Senon : 24 petites études modernes
Gilles Senon : 25 études rhytmo-techniques
Willem van Manen: 15 Studies for Trombone
Henri Couillaud: 30 études modernes
A. Guilmant: Morceau Symphonique
B. Marcello: various sonatas
A. Corelli: various sonatas
G.P. Telemann: various sonatas
G.F. Handel: various sonatas
J.S. Bach: cello suites (edition André Lafosse, Leduc, Paris)
(optional):
Yamaha ST5 Personal Studio (in combination with Silent Brass)
Roland PMA-5 Personal Music Assistant (midi)

Organizing a performance (band, repertoire, rehearsals) as part of the annual Jazz & Pop student concert; independently organizing a performance (five pieces) as part of the transition exam audition.

Assessment by the main subject instructor at the end of each semester. A technical exam (an audition for a panel consisting of three examiners) is part of the assessment procedure.

The student should have mastered the elements described under Aims. Specific criteria are: creativity, expression, improvisation, technique, sound, intonation, timing, reading skills, repertoire knowledge, progress, self-reflection, session participation, attitude and lesson preparation.
Technical exam: the student should have sufficiently mastered the elements noted under Content.

The student has completed this module if being awarded a minimum grade of 5.5 by the instructor as well as for the technical exam at the end of the second semester.

At the end of both semesters the instructor fills out an assessment form designed specifically for this module. Assessment is comprised of a verbal evaluation and a concluding grade. The instructor reviews this assessment with the student during the first subsequent lesson.

During the spring semester a technical exam is part of the assessment procedure. Examiners use an outline of relevant criteria to assess students, with the average grade being used as the final grade.

Assessment at the end of the autumn semester is formative and expressed in terms of satisfactory/unsatisfactory. It indicates a student's progress in this module. No ECs are awarded and there is no resit. Modules can only be absolved, and ECs awarded, after the end of the spring semester.

See the Education and Assessment Plan.