a program of Living Jazz

JAZZ CAMP CLASS DESCRIPTIONS (2015)


When creating your personal class schedule keep these things in mind. Jazz Camp provides a unique opportunity to take advantage of classes you might not normally get the chance to participate in. Taking classes outside your discipline can enhance your musical education in ways you might not have considered. If you are an instrumentalist, consider taking percussion, steel drum, vocals or dance for rhythm and timing, ensemble classes for hands-on experience, or songwriting for expanded awareness of song forms and composition. The same is true for dancers, vocalists or percussionists. Think outside the box! This is your chance to try new things, and enhance your experience. All classes are 1 hour in length, except for dance classes, which are 1 hour and 15 minutes. There is a 15-minute gap in between classes to give you time to travel to your next class. Please keep note of the dance class additional time when scheduling your classes.


You can sign up for as many as 6 one-hour classes per day. However, you do NOT have to take all 6 classes. Each day will also include an additional one-hour of Open Mic right before dinner, a daily evening faculty concert, and a late night jam session with dessert in the dining room. Since this is a long jam-packed day, consider carefully whether you want to take a class every hour. You may want to leave some time in your schedule for practice, relaxation, a dip in the pool, hike in the woods, or conversation with a new friend

COMPOSITION AND THEORY

 

BEG THEORY + IMPROV: Gillian Harwin; All Welcome; No Audition Necessary. Play the correct scale over every chord and why. Learn how certain tones in the scale resolve to other tones over the most common chord progressions, and how to use this in your improvisation. Learn to create rhythmic and melodic motifs and "bend" them over different chord changes, bringing continuity to your solo. This class is ALL ABOUT PLAYING. This is a playing class! Keyboardist can bring their own keyboard if they would prefer not to have to share.

 

JAZZ BASICS AND FUNDAMENTALS: John Calloway; Beg/int; All Welcome; Jazz basics and fundamentals is a class geared for those who have had limited music theory or training and want a practical understanding of the genre, or for those just want to fill in the holes in their knowledge of music. We will integrate such skills as listening, singing and reading to develop a working and practical approach to jazz as we hear it during the jazz camp week.

 

ADV JAZZ THEORY: Glen Pearson; Int/adv; All Welcome; We will be examining chords and the scales from which they originate as a basis for improvisation. We will also explore such concepts as alternate dominants and resolutions. This will include the introduction of the Bebop major, minor, and dominant scales. Sessions will involve as much hands on application of concepts, so bring your axe! Should have knowledge of scales/modes, and ability to identify "extensions" by ear.

 

EAR TRAINING FOR SINGERS: Raz Kennedy; All Levels; This class provides tools which expands the singer's listening capacity to more deeply perceive and understand the "magic" of music and it's elements (pitch, melody, harmony, rhythm, etc.). Broaden your auditive, imaginative & visual perceptions of the musical experience with fun and easy-to-apply ear-training exercises.

SPECIALTY CLASSES


WHAT I KNOW & YOU SHOULD TOO!: Albert “Tootie” Heath; Our Artist in Residence discusses the many aspects of how to be a professional musician. It's great to be a fantastic musician, but how about having a beautiful attitude? It's possible to achieve both! Musical situations, traveling, learning music, taking initiative will be discussed.

 

GETTING ON THE GOOD FOOT, NIGHTLY JAM PREP: Gillian Harwin; Beg/int; All Instruments Welcome. Have you ever been at a jam session but were too scared to sit in? Have you gotten lost during the song? Were you ever cut off in the middle of your solo, or cut someone else off in his or her solo? Or just felt generally confused and out of place? Learn how to jam with other musicians; how and when to solo, how to lead & how to follow, how to choose a tune, how to end a tune, the best ways to communicate on stage and basically how to be a good jam session participant. Each day, we will prepare tunes for the nightly Jam Session. As a result you'll play in all the styles: Blues, Latin, Funk etc. We'll dish out helpful tips, we'll improvise, and we'll build an understanding of the musical language that you can use each night and beyond!

 

OVERCOMING STAGE FRIGHT: Stacey Hoffman; All Levels; All Welcome; Everyone (and I do mean everyone) has some form of stage fright. Most people I have encountered spend a tremendous time learning or practicing their music, but absolutely no time on the actual thing that might be getting in their way of performing their best. Like learning how to play an instrument, there are tangible ways we can learn to deal with the predicament of stage fright to not let it get in the way of doing a fantastic performance; We’ll learn at least ten different ways to approach the dilemma of performance anxiety to help you find the way which works best or you.

 

UKULELE ORCHESTRA: Melissa Dinwiddie; All Levels; The real name of this class should be Unexpected Ukulele, because we'll be veering from the unexpected, big-time. When you say "ukulele," most people think Hawaiian music or Tiny Tim. Nothing wrong with those, but there's a lot more to what the mighty uke can do! In this class we'll learn songs and riffs that will surprise the uninitiated, and maybe impress your friends, too. Led Zeppelin, anyone? How about a 12-bar blues with a Delta-blues strum? Mix in some classical „ as in classic American Songbook jazz, and classic rock „ and we're off to the races. You'll learn a variety of strums and some fingerpicking techniques that can only be done on uke (guitar players, eat your hearts out!), but the primary goal will be to have FUN! All levels are welcome „ charts will be accessible for beginners, with transposed variations up the neck for more advanced players. There will be lots of opportunities to sing, too! Bring your Ukulele.

 

CLARINET + OTHER COOL INSTRUMENTS: Patrick Wolff; All Levels; From the harp to the oboe to the musical saw, jazz has found a niche for just about every instrument. Whether your axe is obscure or not, in this class we will work on understanding the role of your instrument in a musical and historical context, building a unique musical identity, and developing tools for soloing and improvising in a jazz context. Using applied theory, we will develop ways to approach and practice the music you love. Clarinets, violins, flutes, accordions, bassoons, trombones, and anything else you can dream up, bring it by and we'll make it swing!

 

WHERE MUSIC + POETRY MEET: Art Lande; all Levels; We'll mix speaking and singing (and also work with spontaneous language). The musicians will free improvise to support and embellish the text. Max: 4- 5 speakers, plus bass, drums, percussion, guitar, 2 wind instruments. Bring some poetry books and some of your own poetry to camp.

 

MELODIC PATHWAYS THROUGH THE CHANGES: Art Lande; All Levels; We will focus on connections and destinations through scale, internal, arpeggio, motif and pure lyricism. Common tones and lead lines will be explored, first using just combinations of 2,3 and 4 chords. Bring your instruments, we will learn by playing. Basic chord and scale knowledge are needed. Bring a tune you want to work on.

 

SONGWRITING WORKSHOP: Juliet Green; All Levels; For everyone from the newbie to the seasoned pro, we'll explore some fun ways to get started and find new inspiration! We'll use wordplay, improvisation, games and all kinds of tech toys and apps to get our creativity flowing. Then, we have seeds to plant. We'll explore ways to build on an idea, looking at song form, lyric/story development, and melodic/harmonic arrangement to create a complete work. We'll also discuss and practice the art and etiquette of collaboration in developing our ideas. At the end of the week, we'll share some of our creations and discuss options for changes and revisions. Editing is a big part of the process - sometimes it's hard to tell when our work is "done". Give and take some feedback in a respectful and constructive forum.

 

ARBORHYTHMS: Jovino Santos Neto; all levels; This class focuses on developing musical skills that reach beyond the linear nature of scales and modes as sources of musical creation. Primarily based on visualization of implicit triads, this unique approach (also known as The Arboreal Concept) as taught by the noted Brazilian composer Hermeto Pascoal and developed by Jovino Santos Neto, builds upon an intuitive and simple methodology for connecting the melodic and harmonic layers of a composition, arrangement, or improvisation. After some practice, quick shifts in perception of aural entities such as chords, rhythms, and melodic intervals as 4-dimensional patterns emerge, while the understanding of linear structures becomes clearer. This can become an extremely useful tool for composers, arrangers, and musicians, and serves as a natural counterpart to traditional theoretical approaches. This class will expand your ability to connect your intuitive listening skills with the most advanced musical concepts of the 21st century. Should have Good ears and a willingness to learn new musical skills. A note pad and staff paper will be useful.

 

DANCE AND MOVEMENT

Reminder: All dance classes are an additional 15 minutes in length (total 1 hour, 15 min)

 

FINE YOGA BODY MOVEMENT: Pamela Carrara; All Levels; All Welcome; Suitable for both the experienced & newbie, FYBM is a powerful and deep practice easily accessible and directly applicable and supportive to maintain and sustain your exciting and challenging activities at Jazz Camp. With ease, jump-start, maintain, sustain and increase your health and vitality by mindfully honoring, aligning your physical and subtle body to increase strength, mobility & flexibility at all levels of consciousness. This mixed level yoga class includes yogic maintenance techniques, movement and positions with emphasis on the breath and it's suitable rhythm, to heighten your awareness, receptivity and capacity of your intuitive and perceptive potential giving you greater access to your fullest self-expression and creativity. Bring 1 or 2 mats, towel or a blanket.

 

BEGINNING SALSA: Garry Johnson; Beg/int. Learn the Art of Salsa partner social dancing. We will cover the basic steps, turns, cross body leads, and what you need to know to get yourself going on the dance floor. Learn to connect with your partner and enjoy the music! Everyone is welcome! Wear comfortable non-sticky souled shoes.

 

LATIN DANCE RHYTHMS + PARTNERING: Garry Johnson; int; This class will focus on rhythm, movement and footwork. We will do some fun exercises to improve your mind-feet connection. We will introduce clave and get you clapping, playing percussion and dancing. We'll compare and contrast social 5 dances like son, son-montuno, chachacha, swing and more! Wear comfortable clothing and shoes.

 

CONTEMPORARY JAZZ DANCE: Lynn Brilhante; All Levels; Class includes basic warm-up and stretching progressing to movement combinations. The goal is to move, create and have a great experience! Emphasis is on the fun and the spirit of movement. Add dance to your Jazz Camp experience! Bring loose clothing and dance footwear if you have it (Bare feet are fine).

 

CONTEMPORARY JAZZ DANCE: Lynn Brilhante; Int/adv; Explore! This class will be closer to an intermediate level - more material and improvisation than the morning class - slightly more complex movement. Some dance experience a plus. Bring your spirit and your desire to dance. We will create an expressive and energy - filled experience. Bring loose clothing and dance footwear if you have it (Bare feet are fine). HIP-HOP; Allen Frias; Beg/int; Come learn the art of hip-hop learning contemporary hip-hop moves using a soulful R & B tempo. You will learn a piece of hip-hop choreography we will showcase on the final day. Danceable/supportive flat shoes (sneakers, running shoes etc.-no sandals)

 

HIP-HOP: Allan Frias; Int./Adv.; Come learn some great hip-hop moves and choreography. We will move at a faster pace and the choreography will be upbeat and energetic. This class is for a slightly more experienced student.


PIANO

PIANO INTENSIVE: Randy Porter: Adv; By Audition on first day of camp. The Piano Intensive specializes in the art of piano performance and arranging. Two class periods are reserved for six advanced participants where we will explore all aspects of the piano including technique, vocabulary, style and the textures necessary to elevate your understanding and playing, especially with regard to a jazz trio format.

10:15-11:15: Master Class with pianist Randy Porter
11:30-12:30: Trio playing with professional bass and drums

Each pianist will have an opportunity to play, listen, discuss musical concepts, and grow in an intimate, supportive and focused environment. We will cover many topics, including: chord voicings, comping, solo piano playing, arranging, syncopation, swing feel, interactive/conversational trio playing, odd meters, phrasing, the Blues, Brazilian styles, Cuban styles, piano technique, ear training, and more. The goal is to play with more depth and musicality as the week progresses. Note: If accepted into the Piano Intensive you may also audition/join either a Combo OR the Advanced Instrumental Program.

About the Audition: Pianists will be asked to play 2 contrasting songs that show their creativity, About the Audition: Pianists will be asked to play 2 contrasting songs that show their creativity, flexibility, and proficiency in playing jazz piano with bass and drums. Be prepared to play melody, solo, comp, and trade 4s or 8s, though you may be asked to stop before the song is over due to time constraints.

 

HIP IT UP: Randy Porter; All Levels; Learn how to avoid corny voicing, rhythms, and phrasing and play just what you need to sound more lush, swinging, and melodic. Should have Basic Knowledge of chords and scales.

 

LEARNING TUNES: Edward Simon; Beg/Int; Want to tell a more meaningful story and improvise more freely while playing tunes? It all starts with knowing the tune like the back of your hand. This class will offer approaches for learning, internalizing, harmonizing melodies and memorizing tunes at the piano. Note: Please download the materials for this class.

 

THE STUDY OF IMPROVISATION: Edward Simon; Int/Adv; A repertoire of at least 5 jazz standards. These must be known thoroughly and memorized. Do you ever feel like you don't know where to being when practicing improvisation? Learn different approaches to the study and practice of improvisation such as melodic, intervalic, modal, cells and rhythmic.

 

LATIN AND BRAZILIAN PIANO STYLES: Edward Simon; Int./Adv.; Learn proper comping patterns for Brazilian and Latin styles and how to sound authentic when playing these styles in a traditional or a jazz setting. Learn the basics of the concept of "clave" and its uses in jazz. Note: Please download the materials for this class. A repertoire of at least 3 Latin and 3 Brazilian tunes.

 

GOSPEL PIANO: Ben Heveroh; All Levels; This class will explore many of the various components of playing gospel piano. Learn about church chords, preacher chords, house raising chords, gospel jazz chords, one hand vs. two hand chords, etc. We will explore the various basic rhythms and time signatures in gospel music i.e. 12/8 vs. 4/4, old school vs. hip-hop, and more. From traditional hymns to urban contemporary, this class will dig in to the theory and not often discussed components of playing gospel music at the piano. Please come prepared with a tune.

 

FUNDAMENTALS OF TRANSPOSING: Glen Pearson; Beg/int; Play in any key! Basic keyboard skills, along with some knowledge of scales and key signatures are a plus. We will be focusing on the melodic and harmonic contours of several compositions and the process of moving them from one key to another. Students will either choose or be assigned musical selections to analyze and transpose. Basic keyboard skills, along with some knowledge of scales and key signatures is a plus, but not required.

 

JAZZ PIANO: Glen Pearson; Int./adv.; Focus on melody as a launching point for improvisation. We will explore some of the approaches to crafting ideas around harmony and chord progressions. Should possess fundamental keyboard skills; Should have Ability to play through a complete composition from either a fakebook or other source.

 

BASS


LEARN THE CIRCLE, LEARN THE TUNES: Tom Wakeling; All levels; Do you have a hard time learning and memorizing the chord progressions to jazz and standard tunes? This class offers an effective way to internalize the chord changes of much of the jazz repertoire. Focusing on the circle of fourths, we will use the circle, plus intervals, and numbered chord names to find our way through the chord changes to many often-played jazz tunes and standards. We will also look at various ways to conceptualize sets of chord changes so that we might more quickly internalize them in a manner that matches our existing knowledge and experience. Helps to know intervals and the circle of 4ths/5ths. Helps to know intervals and the circle of 4ths/5ths.

 

WHAT TO DO AND WHEN TO DO IT: Tom Wakeling; Beg/Int; How to play in a jazz rhythm section. We will explore great time-feel, common conventions, and common jazz bass styles, including playing in 2, walking, 3/4 time, ballads, the blues, and a few Latin grooves. We will listen to and play along with recordings. We will also spend time on important fundamentals such as scales and arpeggios. We will study some of the great jazz rhythm sections and bassists to discover what they did that makes their music so compelling and timeless.

 

WALKING & SOLOING WITH PURPOSE AND CLARITY: Tom Wakeling; Int./Adv.; How do you create great bass lines? We will explore concepts and tools that will help you play through various types of harmonic movements, such as static harmony (one chord for multiple bars), moving harmony (chords that change every one or two bars), and rapid movement (two or more chords per bar). We will explore the bassist’s role in contributing to the texture, contour, blend, and compositional elements of the music. We will study recordings and transcriptions of the great jazz bassists to learn how they accomplished these things. Previous experience playing acoustic bass. We’ll also explore basic approaches to soloing, such as thematic development (melodic, rhythmic), walking bass solos, guide/leading tones, and motifs (licks). Should have Previous experience playing acoustic bass.

 

AFRO-CARIBBEAN BASS LINES; Scott Thompson, Dave Flores; All levels; Learn how to play different styles of Afro-Caribbean music on the bass! Many times as a bassist, we are looking at a chart that just says "Latin Feel", without much more information. What do you do when the drummer kicks off a mambo groove? We will learn how to play tumbÜo, Cha-Cha, Danzon, bolero, and more! Halfway through the week, we will join Dave Flores' Afro-Caribbean drum class and put what we learned into action! Basic clef reading. Bring music paper and pen. Must be able to read music

 

BRAZILIAN BASS STYLES; Scott Thompson; int./Adv.; This class will focus on playing bass for various styles of Brazilian Music, including samba, samba-funk, baiÜo, partido alto, maracatu, frevo, and calango. Includes music in odd time signatures!

 

ELECTRIC BASS 101; Scott Thompson; Beg./Int.; Think of this as Bass Playing 101. How to tune your bass, learning to read bass clef, jamming out and keeping the beat. We are going to focus on bass playing fundamentals, with an emphasis on fun!!

 

ACOUSTIC BASS; Marcus Shelby; Beg/Int; Fundamentals of playing acoustic bass. Focus on swing, playing the blues, playing ballads, improvisation, harmony, transcriptions, and more. Must have own acoustic bass.

 

ACOUSTIC BASS; Marcus Shelby; Int./Adv.; Focus on swing, sound, improvisation, blues playing, duets, transcriptions. Must have own acoustic bass.


DRUMS, PERCUSSION AND STEELDRUMS


COMPING FOR DRUMSET; Hamir Atwal; Beg./Int.; We will look at the importance of supporting and interacting with other instruments in a musical context. Topics include time/feel, form, resolution points and transcription ideas.

 

DEVELOPING A VOCABULARY FOR DRUMSET; Hamir Atwal; Int./Adv.; We will explore the history of some important drum set figures who developed different approaches to keeping time/soloing on the drum set. This class will take a look at different artists ranging from jazz to rock styles. And play, play, play.

 

DECODING THE AFRO-CARIBBEAN RHYTHM SECTION; Dave Flores, Scott Thompson; Int./Adv.; Drummer: sooo like, what's your Latin bass part? Bassist: I dunno? But why are there so many cowbells around me? Our week will focus on bringing us all together for a gathering of groove. Bassists, Drummers, Percussionists: heck Pianists you're welcome too :) For a rhythm section playing a tune that says Latin it could mean Afro-Cuban 6/8, Danzon, Cha Cha Cha, Partido Alto, Soca and the drum part alone is not going to create the correct feel. It is the responsibility of ALL of the rhythm section players to know what to play and to understand how to hear and communicate with all of the rhythms involved. Understanding these rhythms, instruments and their origins are essential for a rhythm section to truly lay into the music and create the right feel. You know, when the tune ends and the drummer says to the bass player, "sweet tumbao" and the bassist replies, "thanks, nice bells." This class will join with Scott Thompson's bass class after the first few days. Basic clef reading. Bring music paper and pencil.

 

FUN WITH PARADIDDLES! FOR BEGINNERS; Allison Miller; Beg; This class is perfect for beginners! No experience needed! We will take my favorite rudiment, The Paradiddle, and get right to drumming, exploring the different ways of playing The Paradiddle around the drum kit. All you need is a little imagination and a creative spirit!

 

GET DOWN WITH THE UPSTROKE!; Allison Miller; Int./Adv.; It's all about the Upstroke! In this class we will focus on what happens after the stick hits the drumhead. A strong upstroke pulls the sound out of the drum producing robustness, clarity, and solid intention. It also improves stamina, technique, and consistency. Students will learn unique exercises for development of the upstroke and rebound. Students need to have developed basic jazz drumming skills and should know the 26 standard rudiments.

 

THE MUSICAL DRUMMER; Deszon Claiborne; All Levels; Our focus will be to develop a drummer's tool box that consists of good phrasing, emotion, dynamics and most importantly keeping solid time. We will explore different styles of music by listening and analyzing different pieces and will ultimately incorporate these styles into our playing. In addition, we will look at how the drummers vocabulary (the basic rudiments) as well as tem. Must be able to keep time.

 

PLAYING THE DRUMS IS BIG FUN! Deszon Claiborne; Beg./Int.; A step by step approach to building a foundation for beginners and those with little experience with drums. We will cover basic hand and foot techniques, which are the foundation for both groove and movement around the drums. And by developing these basic tools, you will discover that playing the drums is FUN! Bring sticks, and be ready to have FUN!

 

ONE BEAT AT A TIME IN TIME; Dave Flores; Beg./Int.; Pocket is a term often used to compliment a drummer's sensibility of groove and feel. It's not luck, but rather a foundation of time, touch and self trust to name a few. We will focus on the fundamentals of time, tone, groove vocabulary and owning the feeling of laying it down.

 

OK, THIS NEXT TUNE IS LATIN, YOU COOL?; Dave Flores; Int./Adv.; There are a Brazilian different was to play a ChaChaCha on the drum set. Between Art Blakey and Changuito alone there must be 50 Shades of Grey interoperations. We will focus on applying variations of Afro Cuban/Brazilian rhythms to the drum set without a percussionist. PANDEIRO (aka. the caffeinated tambourine); Ami Molinelli; All Levels; Focusing heavily on the Pandeiro, (the Brazilian tambourine), this class will explain various Brazilian rhythms, styles, techniques, and yes, how to do the roll! We'll use the pandeiro in conjunction with other percussion instruments and in varying musical contexts, percussion compositions, and/or in a band setting. Examples of musical styles will include: choro, samba, funk, 6/8, odd meters and MORE! Note: Students who have taken with me before will have a separate group of more advanced material per requests from last year. Some percussion experience is helpful. If you have a pandeiro or Brazilian percussion instrument bring it, but I will have pandeiros with me!

 

WORLD MUSIC PERCUSSION FUNDAMENTALS; Ami Molinelli; Beg./Int.; This class will break down how to read rhythm notation and practice approaches from India, Brazil, and classical western notation all through the lens of world music. I will have a variety of percussion instruments to explore and play. We will also learn traditional rhythms that influence entire cultures of music. Questions we will answer: What is the most common pattern in 7/4? What is that rhythm I hear in songs like Afro Blue and why do I hear it in Cuban music and Jazz? What is the difference between the clave and Boss Nova? Lessons include: exploration of Bo Diddley and roots of American Blues/Jazz percussion as well as reading a contemporary percussion composition by Uakti a Brazilian music group that makes their own instruments out of recycled material.

 

SAMBA SCHOOL IS IN SESSION!; Ami Molinelli; All levels; (There are parts for everyone!) Parade style drumming from Rio de Janeiro! We will be learning samba school rhythms on traditional Brazilian instruments. Learning includes call* response patterns and all the Brazilian second-line known as the bateria! (Caixas, Surdos, Tamborims, Agogo bells, and more!) This class will participate in a camp-wide parade! Bring your drum or use mine! (End of the week includes instrument making). Note: Advanced students will be given lead drum parts. Beginners - beginning drum parts.

 

BEG CONGA DRUM; John Santos; Beg.; A primer for technique, sound and basic rhythmic development. Bring one conga if you have one. There are a limited number of drums that can be shared. Must be able to open eyes and ears simultaneously.

 

BELL, CHEKERE, CLAVE ENSEMBLE; John Santos; Int./Adv.; Bells, chekere and claves are fundamental to Afro-Cuban tradition and have evolved to become staples in contemporary music internationally. We will tackle simple to complex rhythmic parts and arrangements in this class. Bring a bell, chekere and pair of claves if you have them. There will be a limited number to share. Should have good sense of time. SPIRIT SONGS; John Santos; Percussion, Vocals; All Levels; Afro-Cuban songs are the foundation of much spiritual practice in the African diaspora and are also at the root of contemporary Salsa and Latin Jazz. They continue to be a strong base of identity for many Caribbean descendants in and out of the region. We will sing in Yoruba, Kongo and Spanish. The rich melodic, harmonic and rhythmic qualities of this music will inspire you as well as enhance your musicality. Must have Basic ability to hear, sing and hold melodies and harmonies.

 

BIG FUN ON THE STEEL PANS; Mark Rosenthal; All Levels; We will be jamming from day one. It usually takes very little time to get our collective groove on. For one thing the instruments provided have all the notes written on the drums!! (shhh...don't tell anyone). Steel pans are not only a unique addition to the world's catalogue of instruments; they are also really fun to play. If you enjoy the sound and have never played you need to check it out. One Trinidadian saying I like is: "Not I, "We!" and it is very much a community feeling playing in the steelband. In the class we explore different styles of music. Students will be given parts to play according to their level. Classes often prepare one or two pieces for a Saturday performance. Students will be given parts to play according to their level. Classes often prepare one or two pieces for a Saturday performance.

GUITAR


BLUES GUITAR CLASS; Beg./ Int.; Anthony Michael Peterson, AKA Tru; In this class, students will have learn the blues scale (major and minor), develop coordination through exercises using pull-offs and hammer-ons, one string soloing, riffing developing the right hand (or left) for fingerpicking, and absorbing ideas from listening to the blues masters.

 

BLUES GUITAR CLASS; Anthony Michael Peterson, AKA Tru; Int./Adv.; In this class, students will learn interconnecting scale positions of the blues scale throughout the whole fingerboard, and how to shift between them, how to develop themes in solos, open tunings (bring your slides!), ear training games, new harmonic cadences added to the blues form, and how to solo through them! Students should bring slides.

 

JAZZ GUITAR - FREEDOM & FLUENCY; Keith Ganz; Int./Adv.; Many jazz guitar students have a lot of information about scales, modes and altered chord voicings but still have questions about how to put it all together. This class is about synthesizing all these concepts into a "big picture" understanding of how to freely play over chord changes beyond scales/modes, how to comp in various settings (with or without piano, bass, or drums), and how to find your voice and improvise naturally and fluidly. Endeavoring to accomplish this will naturally lead to working on the less developed aspects of each students skill set, which can include connecting chord changes, harmonic and melodic details of jazz standards, time feel and articulation, fret board understanding, and ear training/transcription. Should be familiar with jazz standards, able to use voice leading to comp through chord changes and able to improvise over standard type changes.

 

BUILDING BLOCKS FOR JAZZ GUITAR; Keith Ganz; Beg./ Int.; This class will build a foundation for understanding and hearing jazz concepts. Topics include understanding and simplifying basic jazz harmony (without getting stuck in scales/modes), using target notes for playing through chord changes, ear training, organizing jazz lines and voicings on the fret board, and learning how to relax, use your ear and improvise!

 

PLAYS WELL WITH OTHERS; Kate McGarry/Keith Ganz; - How to make the most of the Duo setting. The ten years of collaboration between Kate McGarry and Keith Ganz have produced five critically acclaimed recordings, a Grammy nomination for Best Jazz Vocal Album, and live duo performances that crackle with spontaneity and joy. This class will address the skills needed to use the space and intimacy 11 of the duo setting to your advantage. Topics include rhythmic and harmonic independence, creating an expanded dynamic range, deep listening, communication, and how to do more with less! Keith will also share a wealth of tips for solo guitar accompaniment, including implying momentum and harmony without getting stuck playing a part, using silence, creating contrast, and how to make the vocalist and the duo sound the very best they can. (Anyone interested in the duo setting welcome, regardless of instrument.)

 

JAZZ GUITAR FUNDAMENTALS + PRACTICING HABITS; Mimi Fox, All levels; In this hands on class, students learn a practical approach to mastering scales, arpeggios, chords, etc. everywhere on the neck and learn how to make the practicing process fun, intuitive, and musical. Should have basic guitar playing ability. Must be able to play scales/chords.

 

FLYING SOLO: SOLO GUITAR MASTERY; Mimi Fox; All aspects of solo jazz guitar are covered including intros/endings, rubato playing, walking bass, single note lines, artificial/natural harmonics, open strings, reharmonization, arrangements, and repertoire. Must have int./adv. understanding of jazz guitar basics (chords/scales/arpeggios) and know some jazz repertoire.

 

JAZZ MASTERS TRANSCRIPTIONS; Mimi Fox; An engaging hands on class to explore note for note transcriptions of such master players as Joe Pass, Pat Martino, Wes Montgomery, etc. Complete harmonic/melodic analysis and correct hand position and articulation are included in this class. Must have some experience playing/listening to great jazz artists and be able to comp/solo in time.


WIND INSTRUMENTS

FLUTE; John Calloway; All Levels; Class will be divided according to ability level, focusing on technique and improvisation with jazz and Latin styles of music. We will also look at Brazilian and other flute choir music. Must have some rudimentary skills on flute.

STUDYING THE JAZZ TRUMPET MASTERS; Erik Jekabson; All Levels; Each day we'll learn part of a solo by a jazz trumpet master by ear. Slowly but methodically we'll memorize parts of the jazz vocabulary, played by artists such as Clifford Brown, Harry "Sweets" Edison, Lee Morgan, Chet Baker, Tom Harrell, Woody Shaw, Louis Armstrong and Dizzy Gillespie.

PLAYING THROUGH CHANGES; Erik Jekabson; All Levels; We'll be practicing patterns through chord changes of jazz standards. A good workout. Should have ability to read music.

THE SOUND OF THE SAXOPHONE; Kristen Strom; All Levels; What first drew you to the saxophone? This master class will focus on sound production, finding your sound, and gaining clarity in what you play.

DIRECTED IMPROVISATION; Kristen Strom; Beg./Int.; We'll work on playing over changes, from blues to other forms, finding the sweet notes.

SAXOPHONE ENSEMBLE; Kristen Strom; Int./Adv.; What's better than the sound of one saxophone? Many saxophones! We'll work on reading ensemble music and section playing, acapella and with rhythm section. Arrangements from quartet to septet. Should have good control of the instrument and reading ability.

LET'S GET OUR GROOVE ON!!; Charles McNeal; All Levels; In this class we will study some of the elements of playing over "Groove" oriented music (Funk, Pop, Rock, certain rhythms associated with 12 Blues Music, etc..) Any instrument and level will be allowed to participate. So come on and let's get our groove on!!

PUTTING IT ALL TOGETHER; Charles McNeal; Int./Adv.; One of the hardest things about learning to improvise is putting all the "pieces" together. In this class we will work on ways to bridge the gap between practicing the elements of improvisation and the art of making a musical statement! Playing a good solo is more than just stringing together a bunch of ii-V7-I licks and patterns!!! Each day we'll explore a different concept that will should help you musical journey. Should have a basic understanding of jazz harmony. Should at least be comfortable improvising on the blues and basic jazz tunes.

EFFICIENT SOUND PRODUCTION FOR BRASS; Mario Guarneri; All Levels; Open to all brass instruments. We will start with breathing techniques for relaxation, maximizing inhalation, and managing exhalation We will practice creating an embouchure which utilizes the breath to achieve a resonate sound with more usable range and endurance.

CLARINET + OTHER COOL INSTRUMENTS; Patrick Wolff; All Levels; From the harp to the oboe to the musical saw, jazz has found a niche for just about every instrument. Whether your axe is obscure or not, in this class we will work on understanding the role of your instrument in a musical and historical context, building a unique musical identity, and developing tools for soloing and improvising in a jazz context. Using applied theory, we will develop ways to approach and practice the music you love. Clarinets, violins, flutes, accordions, bassoons, trombones, and anything else you can dream up, bring it by and we'll make it swing!

TROMBONISTS UNITE! Natalie Cressman; All Levels; Perhaps the instrument that best emulates the human voice, this class is all about celebrating the idiosyncrasies of the oft under-appreciated trombone! We'll look at the basics of good breathing, tone production, technical calisthenics, and developing a consistent practice routine. We'll play some music as a group in order to develop our intonation and blend as a trombone section, and discover the important role the trombone has played across a spectrum of musical styles! Most importantly we'll have a chance to let loose and improvise while cultivating the concept of playing with your ears and from the heart. The only prerequisite is a trombone!


VOCALS


VOCAL INTENSIVE; Kate McGarry; Adv; The Vocal Intensive is an opportunity for 10 advanced singers to work with a professional jazz artist in a highly concentrated setting. You'll be working on concept, finding your individuality, the mechanics of singing and communicating with a trio and much, much more! This ½ day Intensive includes a professional rhythm section with a focus on individual singing. You must commit to the full ½ day Intensive. No partial attendance. Vocalists may rejoin our regular classes in the afternoon.

9-10: Master Class with Kate McGarry
10:15-12:30: Class joined by professional piano, bass & drums

About the Audition: Because of the high volume of applicants, you will be singing just ½ chorus of a song of your choice. Please bring a chart (lead sheet) in your key for the audition. If you don’t have charts, that’s fine. You will be accompanied by a pianist.

 

VOCAL TECHNIQUE - ANYONE CAN SING!; Raz Kennedy; Beg./ Int.; An overview of the basic principles to sing expressively & unhindered, utilizing a comprehensive method which provides an effective, safe and healthy approach to singing which is applicable to any musical dynamic, genre & style. Have fun discovering how simple and natural singing can be and that anyone can sing.

 

EAR TRAINING FOR SINGERS; Raz Kennedy; All Levels; This class provides tools which expands the singer's listening capacity to more deeply perceive and understand the "magic" of music and it's elements (pitch, melody, harmony, rhythm, etc.). broaden your auditive, imaginative & visual perceptions of the musical experience with fun and easy-to-apply ear-training exercises.

 

ADV. VOCAL TECHNIQUE: SING IN FULL METAL & IN FULL EFFECT; Raz Kennedy; Int./Adv.; How to sing in the styles of rock (Steven Tyler, kings of Leon & Janis Joplin), R&B (Aretha franklin, Stevie Wonder & Beyonce), pop (Pink, Adam Levine & Adele), musical theater (Idina Menzel, Lea Michele & Michael Crawford) and other full metal vocal styles as in gospel, country & world music by providing fast & effective tools which any singer can use to format the voice to sing in any and every popular genre without vocal hindering & tension. Techniques which provide a safe & healthy use of vocal effects (distortion, growl, rattle, etc.), common in popular styles, will also be demonstrated & explained. This class is only for singers with advance technical training & skill or those singers with extensive singing performance experience.

 

JAZZ SINGER: AN OWNER'S MANUAL; Madeline Eastman; Beg.; Whether you are an aspiring jazz singer or you just want to be able to sit-in at a jam session, there are some things that you just gotta know. We'll lay the groundwork so you'll have confidence to go forth and conquer! This hands-on class will address a different topic every day. The Zen of counting off a tune (it looks so easy, so why is it so hard?) How to take charge of an ending (tags and vamps will change your life!) Singing rubato (how to keep the song moving forward so it stays alive and vibrant.) Phrasing (the secret to making your singing believable and resonate in the hearts of your listeners.) The dreaded second chorus. We'll demystify improvisation. Fear not, there IS a method to the madness, and we're going to show you the way! Please bring 3-4 songs that you know by heart. No lyric reading, please.

 

SING WITH A TRIO!; Kellye Gray; All levels; How do I learn the same language as the musicians. What order are the solos? How do I count-off the entire band? Where do I look? Who's in charge? How can I truly make music with a whole trio? Singing with a trio can be thrilling, but it's daunting too. If these questions resonate with you, come to our trio class and get ready to move to the next level. In order to accommodate as many singers as possible, this class will move very quickly. No audition necessary. Come prepared with three songs, including a ballad and one up-tempo song. Bring 3 copies of each chart (if you have them).

 

IMPROV PLAYTIME; Kellye Gray; Int./Adv.; Come to class with an open mind, a willingness to challenge yourself and be ready to have fun. We will make noises, imitate sounds, make stuff up, do call and response, get loose, learn the basics of improvisation. Learn how to be 'at the ready' so you can create with others and have fun doing so.

 

A WEEK WITH O'DAY; Kellye Gray; All levels; Explore the wonderful Anita O'Day. Her tune list was nothing more than the American songbook, but it's what she did with the arrangements, her voice, her style and approach that set her apart from the rest. A strong feminine icon in the jazz world. Incorporate some O'Day into your style and approach.

 

ALL-CAMP GOSPEL CHOIR; Terrance Kelly; All Levels; All Welcome; Here's your chance to sing Gospel music under the direction of Terrance Kelly- Everyone is invited! We will do several types of gospel music from contemporary to traditional, giving a taste of what’s out there in gospel today. This is often the most memorable experience at camp, so don't miss it.

 

GOSPEL VOCAL ENSEMBLE; Terrance Kelly; All Levels; (THIS CLASS BEGINS MONDAY!) Small ensemble working with contemporary gospel stylings and harmonies and polyrhythms. We will perform at the final gospel concert. No Audition Necessary.

 

GOSPEL RUNS; Terrance Kelly; All Levels; Do you ever listen to Bebe Winans and say “I wish I could do that!”? Fortify your singing with authentic Gospel runs and add them to your singing arsenal.

 

EXPLORING THE CULTURAL ROOTS OF JAZZ; Linda Tillery; Int./Adv.; We will explore some of the oldest forms of AF/AM vocal styles. These are Field Hollers, Work Songs, Children's Play Songs, Prison Moans, Ring Shouts, Spirituals and Long Metered Hymns. Songs will be learned in the oral tradition. This means very little reliance on written music and chordal instruments. For a portion of this class we will explore the music of the Gullah Sea Islands. Students should have basic musical skills i.e. ability to hear 3 part harmony and simple rhythmic configurations. Students are encouraged to purchase a "pounding stick." You can get a dowel appx. four feet by 3/4" or 1" at most hardware stores. These dowels can be decorated to reflect a student’s personality.

 

CIRCLE SINGING; Linda Tillery; All Levels; This class is all about creating music in the moment. Every student will have a chance to create a motif, starting from the ground up. This kind of experience is character building!

 

EXPLORING THE CULTURAL ROOTS OF JAZZ; Linda Tillery; Beg./Int.; We will explore some of the oldest forms of AF/AM vocal styles. These are Field Hollers, Work Songs, Children's Play Songs, Prison Moans, Ring Shouts, Spirituals and Long Metered Hymns. Songs will be learned in the oral tradition. This means very little reliance on written music and chordal instruments. For a portion of this class we will explore the music of the Gullah Sea Islands. Students are encouraged to purchase a "pounding stick." This should be four feet by 3/4" or 1". These sticks can be decorated to reflect a student’s personality. Students are encouraged to purchase a "pounding stick." You can get a dowel appx four feet by 3/4" or 1" at most hardware stores. These dowels can be decorated to reflect a student’s personality.

 

PLAYS WELL WITH OTHERS; Kate McGarry/Keith Ganz; How to make the most of the Duo setting. The ten years of collaboration between Kate McGarry and Keith Ganz have produced five critically acclaimed recordings, a Grammy nomination for Best Jazz Vocal Album, and live duo performances that crackle with spontaneity and joy. This class will address the skills needed to use the space and intimacy of the duo setting to your advantage. Topics include rhythmic and harmonic independence, creating an expanded dynamic range, deep listening, communication, and how to do more with less! Keith will also share a wealth of tips for solo guitar accompaniment, including implying momentum and harmony without getting stuck playing a part, using silence, creating contrast, and how to make the vocalist and the duo sound the very best they can. (Anyone interested in the duo setting welcome, regardless of instrument.)

 

SONGVERSATIONS; Inga Swearingen; All Levels; Circle songs are wonderful for building skills and confidence in the area of vocal improvisation. We'll start with a cappella songs that we create together and learn important skills such as rhythmic groove, harmonic structure, motif development, etc. As we progress, we'll apply these musical skills to common jazz chord progressions.

 

I KNOW WHAT'S GOING ON; Inga Swearingen; Int./Adv.; Whether we read music or not, we need to hear and understand the structure and the harmonies that we are improvising over. We need to know what's going on. Get comfortable with scatting by embellishing the melody, singing the roots, arpeggiating chords and singing guide tones. We will develop our ears and our knowledge of chords.

 

VOCALISTS ARE STORYTELLERS; Inga Swearingen; Beg./Int.; Communicate with your audience by personalizing your song. We'll learn ways to get inside the lyric and make musical choices based on what you'd like to convey emotionally. Let's listen to and discuss some amazing recorded examples, and workshop your song to become more comfortable with singing your story.

 

VOCAL JAZZ ENSEMBLE; Sandy Cressman; Beg./Int.; We will take a dip in the pool of Group Vocal Jazz. Come learn to swing and sing in harmony-- bring your voice, your digital recorder and your good energy. Repertoire will draw from classic jazz standards and beyond...music reading ability is not required and there is no audition for this class. Should have Ability to sing with good intonation.

 

INT/ADV VOCAL JAZZ ENSEMBLE; Juliet Green; Int./Adv.; This is a small vocal ensemble for those experienced in choral and/or jazz part-singing. We will be working on challenging arrangements in several styles, including solo features, unison work, and some delicious crunchy harmonies. This is a great opportunity for singers to develop their ears and enjoy learning to play well with others. By audition on first day of camp.

 

CANTA CAYMMI; Sandy Cressman; All Levels; Come explore the music of Brazil's first family of song-- from patriarch Dorival, to Dori, Danilo and Nana...we will be singing beautiful wordless melodies and lyrics in Portuguese. There will be opportunities for solo and group singing and some beautiful vocal harmonies, plus an orientation to Brazilian rhythms.

 

BRASIL '66 AND BEYOND....; Sandy Cressman; All levels; With his groups "Brasil '66" pianist and producer Sergio Mendes helped to spread the sound of Brazilian Popular music around the world. Come sing some of his classic treatments of songs from the great Brazilian composers...Samba, bossa nova and baio rhythms are the settings for these great songs... we will sing as a group and as soloists...Vem cantar!

 

SPIRIT SONGS; John Santos; Percussion, Vocals; All Levs; Afro-Cuban songs are the foundation of much spiritual practice in the African diaspora and are also at the root of contemporary Salsa and Latin Jazz. They continue to be a strong base of identity for many Caribbean descendants in and out of the region. We will sing in Yoruba, Kongo and Spanish. The rich melodic, harmonic and rhythmic qualities of this music will inspire you as well as enhance your musicality. Must have Basic ability to hear, sing and hold melodies and harmonies.



COMBOS AND ENSEMBLE CLASSES


JAZZ CAMP BIG BAND; Marcus Shelby; All Levels; Instruments Only; No Audition Necessary. This class is intended for players of sax, trumpet, bone, guitar, piano, bass, and drums that have been playing for at least 2 years and can read music. Participants must be willing to work as team members for the sake of producing a beautiful and grooving ensemble sound. We will rehearse written and improvised big band ensemble music and perform at the end of the week. We'll be reading through charts from many of the best big bands throughout jazz history, including Duke Ellington, Count Basie, Thad Jones-Mel Lewis, Oliver Nelson, and Quincy Jones. Open to instrumentalists, sight reading skills a big plus!

 

JAZZ CAMP LATIN BIG BAND; John Calloway; All Levels; Instruments Only; No Audition Necessary. Sight-reading skills a big plus! Study and performance of various Latin Jazz and Afro-Cuban big band music culminating in the Friday night camp concert/ dance party.

 

COMBOS; All Combos will be by audition only on first day of camp. For the audition, you will play a tune of your choice and site-read another tune. There are ten faculty-led combos of varying levels offered each day. Spend the week playing in a combo setting under the tutelage one of our faculty members. The combos are NOT just for advanced players. Don’t hesitate to audition if you're a less-experienced player. Not everyone will end up in a combo, so please be prepared with a second choice during that time slot, or create your own group! Note: If you are accepted into the Adv. Instrumental Track, you may not be in a Combo.

 

ADV INSTRUMENTAL TRACK; Albert "Tootie" Heath and Patrick Wolff; Adv; Instruments Only. By Audition on first day of camp. This 2-hour group intensive offers advanced students a week-long opportunity to study and play together under the tutelage of our esteemed Artist in Residence, Albert “Tootsie" Heath and faculty member Patrick Wolff. Designed for a maximum of 12 instrumentalists, this program provides advance instruction in a focused immersive setting. 3-4: Master Class with our Artist in Residence, Albert "Tootie" Heath and Patrick Wolff 4:15-5:15: Class conducted by a different faculty member each day. The Advanced Instrumental Track culminates with a performance on the last Saturday of camp. Note: If accepted into the Instrumental Track, you may not join a Combo. However you may audition/join and the Adv. Piano Program.

 

MELODIC PATHWAYS THROUGH THE CHANGES; Art Lande; All Levels; We will focus on connections and destinations through scale, internal, arpeggio, motif and pure lyricism. Common tones and lead lines will be explored, first using just combinations of 2,3 and 4 chords. Bring your instruments, we will learn by playing. Basic chord and scale knowledge are needed. Bring a tune you want to work on.

 

NEW ORLEANS ENSEMBLE; Erik Jekabson; All Levels; We'll be playing music from all the New Orleans greats, from Dixieland to funk to brass bands. Get a little slice of the Big Easy at this class. No Audition necessary.

 

A VOYAGE THROUGH BRAZIL IN ONE SONG; Jovino Santos Neto; Int./Adv.; In this class we will spend the whole week working on ONE song - "A RÜ" by JoÜo Donato. We will dress it up in very different arrangements and styles each day. So it is a playing class, but it is also an arrangement workshop, as we blend and modify melodies, chords and grooves. Should have facility in reading simple lead sheets, improvising skills, familiarity with Brazilian music. Note: please download the PDF below and bring to class.

 

SPONTANEOUS MORNING ENSEMBLE; Jovino Santos Neto; All Levels; All Welcome; This class is aimed at all levels of musicianship. Reading is not necessary. Compositions and arrangements are created by Jovino in class with the available instruments and are learned by ear before being notated. Everyone who wants to can play, while they develop strong listening skills. No reading is necessary, but a keen musical ear and sharp reflexes are a pre-requisite. All instruments and vocals are welcome.

 

THE BIG BLUES EXPERIENCE!; Anthony Michael Peterson AKA Tru; All Levels; Students will learn a variety of instrumental blues songs and blues forms with the intention of arranging, performing, and refining these tunes and developing a repertoire similar to one that might be used in a working blues band and encouraging improvisation over this repertoire. The initial goal will be to learn to play individual parts in order to make a band sound, learn how to support the soloist, learn how to enter and exit solos, learn how to play as a unit. Our goal is to develop an entire set of blues by ear.

 

FUNK ENSEMBLE; Ben Heveroh; All Levels; All Welcome; Exploring the unique elements of funk in a group ensemble. We will dig into different genres of funk from James Brown, Sly Stone, P-Funk, Prince, and more. In addition to playing, the class will listen, analyze and dig into recordings in the same way one would study jazz or any other authentic style of music. Learn about locking with other players, making it bounce, and hitting on the '1', and basic concepts of the funk groove. All instruments welcome.

 

IMPROVISOR'S ORCHESTRA; Art Lande; All levels; We will create spontaneous compositions using fundamental building blocks of melody, harmony, rhythm, form texture and orchestration. Using our ears and creative vision, we will seek to balance intonation, sustaining and letting things go.

 

UKULELE ORCHESTRA; Melissa Dinwiddie; All Levels; The real name of this class should be Unexpected Ukulele, because we'll be veering from the unexpected, big-time. When you say "ukulele," most people think Hawaiian music or Tiny Tim. Nothing wrong with those, but there's a lot more to what the mighty uke can do! In this class we'll learn songs and riffs that will surprise the uninitiated, and maybe impress your friends, too. Led Zeppelin, anyone? How about a 12-bar blues with a Delta-blues strum? Mix in some classical „ as in classic American Songbook jazz, and classic rock „ and we're off to the races. You'll learn a variety of strums and some fingerpicking techniques that can only be done on uke (guitar players, eat your hearts out!), but the primary goal will be to have FUN! Charts will be accessible for beginners, with transposed variations up the neck for more advanced players. There will be lots of opportunities to sing, too! Bring your Ukulele.


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