M-JP-TRB4

Practical Classes

17

1

30

One 50-minute lesson per week

25 hours

451 hours

Completion of M-JP-TRB3.

See Competencies Matrix.

Students will be able to function independently as professional musicians. In addition to their musical ability, they will also be able to teach (privately or at a music school), lead workshops/clinics, or organize musical projects. They will be able to function both independently and in collaboration with others. They will also be familiar with the various aspects of working as a freelance professional musician, the world of studios, musicals etc. Finally, students will be willing to explore uncharted musical territory.

The contents of the main subject lessons are for the most part tailored to the final audition, and may be related to other classes, e.g., Arranging or Band Coaching.

KNOWLEDGE/UNDERSTANDING:
Extensive professional knowledge
Organizing music lessons (privately / music school / art institute)
Communication theory (musical entrepreneurship, management)
Educational psychology (various learning processes)
Music didactics (learning program/trajectory)
SKILLS:
Excellent observation and analytical skills
Ability to think methodically
Responding effectively to mistakes (e.g., as a teacher)
Ability to think systematically
Ability to organize private music lessons
Ability to initiate an artistic, educational or organizational project
Collegiality and enthusiasm
Flexibility: keeping an open mind for new developments
Showing respectful behavior
TECHNIQUE:
Playing the trombone at a professional level
LITERATURE:
David Baker: Jazz Pedagogy
Jerry Coker: The Teaching of Jazz
David Liebman: The Art of Recording
Paul F. Berliner: Thinking in Jazz
David Liebman: Guide to the Road for the Touring Musician
Kenny Werner: Effortless Mastery
David Liebman: Self-Portrait of a Jazz-Artist
Derek Bailey: Improvisation: Its Nature and Practice in Music
Barry Green / Timothy Gallwey: The Inner Game of Music / Innerlijk musiceren
Maria Hapman: De kunst om met kunstonderwijs om te gaan
Juul Diteweg: Uitval in het muziekonderwijs
Maria Hopman: Creativiteit onder druk
Attitude: Professional, respectful towards colleagues, stimulating, honest.

Depending on the student's preference: either weekly individual lessons or biweekly double main subject lessons Occasional coaching at band rehearsals by the main subject teacher.

METHODS:
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 Bebop (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
Jerry Bergonzi: Melodic Rhythms (vol. 4)
Jerry Bergonzi: Thesaurus of Intervallic Melodies (vol. 5)
Walt Weiskopf / Ramon Ricker: The Augmented Scale in Jazz
MATERIAL:
Acquiring the most-used trombone methods (beginners-advanced) required for giving private lessons.

Organizing a performance (band, repertoire, rehearsals) as part of the annual Jazz & Pop student concert. This performance may be used to try-out elements of the final exam. Independently organizing and performing the final audition.

Assessment by the main subject instructor at the end of each semester.
At the end of the first semester (December): concluding technical exam, part 2
Subjects:
1 Classical technique (technical melody études)
2 Solo transcriptions
6 Specials (self-written études)
7 Sounds

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.

The student has completed this module if being awarded a minimum grade of 5.5 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. 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.