a program of Living Jazz

JAZZ CAMP CLASS DESCRIPTIONS (2013)

  2014 class descriptions coming soon!

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. 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, THEORY, AND OTHER SPECIALTY CLASSES


Welcoming the Common Ground; Matt Wilson; All Levs; All Welcome; Jazz is a reciprocating art form. We are constantly adapting to discover a common ground among our musical partners. This then allows the music to flow, blend, align AND collide with our fellow sonic explorers. These classes will be a forum on how we can all open up our channels to welcome, offer and receive the music we share in the moment. We'll have a big fun exploring leading, following and getting out of the way. No experience is necessary and is actually encouraged.
You DIG?

 

JAZZ BASICS AND FUNDAMENTALS; John Calloway; Beg/Int; 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 THEORY AND EARTRAINING; Glen Pearson; Int/Adv; Bring your instruments to class.Knowledge of primary major and minor scales/modes, and chord extensions beyond the 7th. What are altered chords and on what scales are theses types of chords based? In this class we will take a hands on approach to standard, popular chord progressions as well as the concept of “chord substitutions.” We will also explore approaches to improvisation along with chord voicing and inversions. We’ll figure out how some artists are able to play slightly outside, but yet remain inside the primary tonality.   Emphasis on ear training!


SONGWRIING AND COMPOSITION; Wayne Wallace; All Levs; Bring pencil and paper. Study the art and craft of song writing and composition for all styles. We will study harmony, rhythm, melody and lyrics and most of all we will write.


OVERCOMING STAGEFRIGHT; Stacey Hoffman; all levels; Open to Singers, instrumentalists or dancers!; Please come prepared with a tune; Everyone -and I do mean everyone- has some form of stage fright. Nervousness is typically the most challenging issue that stops a performer from doing their best. Out of fear or embarrassment, folks will either not admit they suffer from it, or they will overly identify with their fear and talk about it constantly. The challenge is not “if” you suffer from stage fright, but how to deal with it. There are many tangible methods one can learn to effectively help overcome performance anxiety. We’ll learn at least ten different ways to approach the dilemma to help you find the one that works best for you.

BEG IMPROVISATION; Michael Golds; Beg; This is a playing class! No Audition Necessary. Keyboardist can bring their own keyboard if they would prefer not to have to share these two. 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. A sheet with many cool melodic ideas will be passed out. This class is both discussion and playing. All instruments welcome. The class sight has two full-size keyboards (digital piano and Rhoads electric piano).


Vibraphone & Marimba;
Michael Golds; private lessons; All Levs; Students that own a vibraphone or a marimba should bring their own instruments. Lesson times set up at camp directly with Michael.

Listen In; Jovino Santos Neto; All Levs. All Welcome; One hour spent on a guided audio tour, listening to music of all colors from many places. In a group discussion after each piece, we bring forward ideas about the basic elements of music, and how they are perceived by musicians and non-musicians. A useful tool in the development of the musical ear.

(Ukulele); The Jazz Ukustra!; Anthony Michael Peterson; All Levs; Bring your Ukulele; The Jazz Ukustra is an exploration into the world of swing, its song repertoire, and a glimpse of other musical possibilities! Students will  delve into basic chord progressions used in jazz standards, the techniques of the shuffle strum, four to the bar strumming, major and minor scales, blues scales, and even a raga from Indian music! Songs include “Take the A Train”, “C Jam Blues”, Hawaiian and country blues song forms. Basics in accompaniment and soloing will also be covered, along with instructions on how to practice on the Uke and progress on this wonderful instrument throughout the year!

 

DANCE AND MOVEMENT

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


FINE YOGA BODY MOVEMENT
; (7:15 am-before breakfast!) Pamela Carrara; all levels; Bring 1 or 2 mats, towel or a blanket. 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 itʼs 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.


contemporary; jazz dance; Lynn Brilhante; All Levs; Bring loose clothing and dance footwear if you have it (Bare feet are fine). 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!

Contemporary jazz dance; Lynn Brilhante; Int/Adv; Bring loose clothing and dance footwear if you have it - bare feet are fine. 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.


Hip Hop 1; Ronnie Reddick; Beg/Int; This class is a beginning dance course that introduces rhythm, musicality, coordination, isolated movements, and choreography which has been popularized by the urban musical culture of the same name. This course will focus primarily on a hip-hop style that encompasses jazz-funk, commercial/new style, and street dance.
 
Hip Hop 2; Ronnie Reddick; Int/Adv; Any Previous Dance experience will help with Class; This class is a medium to fast past class designed to work out the dancer who wants to be challenged in Hip Hop/Jazz/Pop fusion dance styles. The class starts off with a dancers stretch segment, and then takes you through a choreographed warm up before challenging you with the hottest dance moves in urban and pop styles. So U Think You Can Dance? Come and challenge yourself. Might just take your workout to the next level.

CUBAN-STYLE SALSA & RUEDA DE CASINO; Sidney Weaverling and Ryan Mead; All Levs; No special clothing is needed. It will be best if your shoes aren't too sticky and don't grip the floor, so you can pivot easily. We're going to set you up in this class with an essential set of fun, flavorful and practical Cuban-style Salsa and Rueda moves. We'll teach leading and following technique, basic footwork and footwork variations, rhythm and rhythmic accents, the basics of dancing in a rueda, group moves, one-on-one moves, and a short choreography. This is a multi-level class and we would be happy to split into two groups, if needed.

GET UP OFFA THAT LATIN JAZZ THING!; Sidney Weaverling and Ryan Mead; All Levs; Dancers should wear comfortable clothes in which they can bend, move and stretch and either bare feet, dance sneakers, jazz shoes or other comfortable shoes that are not sticky and do not grip the floor. Much of Latin jazz is dance music. We will go beyond club-style head bobbin' and foot tappin', and we will get you offa that chair so you can dance! We will build our Latin jazz dance tool kit by exploring the basics of Son, Cha-cha-chá, Bolero, Samba, Conga/Comparsa, Afro-Cuban dance, Rumba, Mambo, and we will dance in "odd" meter. We'll be listening to some of our favorite Latin jazz standards, we'll dig into some of the musical roots of those standards, and we'll reach forward to explore what's happening with contemporary Latin jazz. The idea is to enjoy, connect with, and understand the music more deeply by moving to it. "Get up offa that thing and dance 'til you feel better!"


Dancers & Musicians: Dance+Play!; Aaron Draper; All Levs; No experience necessary – musicians must be at a level to improvise with a group. Drop in and Play! Indulge in a daily practice of movement exploration with live improvised music. Experience individual as well as group guided dance and interaction. Expand your palate, refine personal authentic movement. Drawing impetus from varying sources; breath, auditory, visual or thematic, tap into innate physical patterns and find new ones. Tantalize time, space and energy in free and structured movement explorations. Wear dance-clothing, performance optional.

Dancers & Musicians: Dance Composition/Original Collaborations; Aaron Draper; All Levs; Dancers and Musicians needed (all levels/no experience necessary – musicians must be able to create/memorize or score music). Dance Composition -Craft original solo or group work. Cultivate creative and imaginative exploration in movement and choreography. Consider rhythm, time, space, force/energy, gesture, and inspiring sources of composition material. Find the best use of essential tools such as unison, cannon, repetition and ground base as well as larger choreographic structures. Collaborate with dancers and musicians, partner (weight sharing) and develop your personal choreographic voice. Time taken for reflection and discussion on the creation process, results vs. intentions. Wear dance-clothing, performance optional.

PIANO


the Jazz Gym; Randy Porter; Int/Adv; Basic reading and theory knowledge
Improvisational exercises helpful for developing an advanced concept and to acquire the technical ability to achieve it. Some topics are over-the-bar phrasing, polyrhythms, odd-meters, harmonic substitutions, chord voicings, and extended melodic ideas.

Jazz Piano for the “ear player”; Randy Porter; Beg/Int; We will emphasize how to play jazz piano quickly, with less focus on reading. We’ll play catchy jazz songs and selected vamps, riffs and other idiomatic musical selections.

FROM SON TO KILLING MONTUNOS; Elio Villafranca; Int/Adv; Bring a music notebook.
Need to know basic montunos. We'll review first basic patterns of traditional Son Montuno and its variations, and then learn how to create killing montunos by changing the structure of traditional syncopations. Learn how to play in clave, the most exuberant montunos of early Timba era in Cuba. Expect to play the bass patterns with your left hand while playing the montuno pattern with the right hand. Only for pianists.

FREEDOM MUSIC; Elio Villafranca; Int/Adv; Expect to play solo, also in duet and trio formats.
All instruments are welcome. Lets remember that Art is the religion of self-expression, so... No Rules. Just express yourself and play what you hear!!! We will focus on real-time composition, chord voicing, tone, and musical purpose and intention.

Chords and Scales; Glen Pearson; All Levs; Basic knowledge of jazz based harmony.
From which scales to the most common jazz harmonies come? Exercises to help in identifying the most appropriate scales for phrasing and improvising over and through various types of common and perhaps not so common chord progressions.

Jazz Piano Composing/Arranging; Randy Porter; Int/Adv; Piano and All Instruments; Basic reading ability, and theory knowledge. Jazz Piano Composing/Arranging -reharms, kicks, vamps, breaks, interludes, background figures and more. Both standards and our own compositions/arrangements will benefit. For solo, trio or larger, jazz pianists are not complete without these musical factors.

Gospel Rhythm Sectional; Int/Adv; Troy Lampkins; Piano/Bass/Drums; This class will offer an opportunity for musicians from the rhythm section to learn how to play gospel music. It will also serve as a place for the Gospel Choir rhythm section to "tighten up". We will focus on groove and musicianship first and foremost!

GOSPEL PIANO; Ben Heveroh; All Levs; Please come prepared with a tune. 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.

How to Swang!;  Matt Jenson; all levels;  Please download class materials before coming to camp: http://www.mattjenson.com/HowToSwangClass/index.html 
So you’re having trouble SWINGING? This class for beginning piano swingers presents the topic in a fun and very understandable step by step method. You will do some critical listening, with Matt’s guidance, to some great jazz piano solo phrasing. You will receive tips and exercises on how to develop the control needed to play ghosted and accented notes. You will learn about good jazz phrasing, develop some good fingering habits, learn some vocabulary (licks), develop control over straight vs. swing 8th notes AND learn the basics of jazz comping with your left hand.

Blues, Blues, Blues...on the Piano; Matt Jenson; beg/int; Please download class materials before coming to camp: http://www.mattjenson.com/BluesPianoClass/index.html.

It’s pretty much a forgone understanding that most of western pop music, from jazz, to rock, to funk, to fusion, to rap….was born out of the BLUES. It is a music that was wrenched out of the slave experience in the USA and as such, injects so many styles with meaning. It is about human suffering AND hope and is essential food for any musician. In this class you will be taken back to the roots of the blues studying the simple I IV V chord progression. We will work with blues, major and minor pentatonic scales. We will learn some of the most infamous of blues piano licks. We will learn some basic rhythmic hand separation where you keep a groove going with your left hand while comping and soloing with your right hand. We will learn how to use the blues form to develop a great solo, amplifying your understanding of tension and release. Soloing is based on playing ‘horizontally’, that is, using one scale across all the chord changes. Also we will touch on a bit of gospel playing. Lastly, we will take a look at the blues progression with jazz chord substitution and explore how to alter your soloing and voicings to work with the slightly complicated chord changes.

BASS


Walking Bass Lines 101; Hans Halt; Beg/Int; Bring some blank music staff paper and a pencil. This class will focus on how to create supportive, melodic and creative walking basslines. How much thought do we put into our walking lines? By listening to and transcribing walking lines from greats such as Ray Brown, Paul Chambers, and Ron Carter, you will gain insight into what creates a great walking line. Students will work on exercises that will help them negotiate different harmonic rhythms, from long modal vamps to fast moving tunes such as rhythm changes. This class will also address tone production, how to create variety in your lines, and how to develop a good time feel.

 

Melodic Bass Soloing; Hans Halt; Int/Adv; Students should have a basic knowledge of jazz harmony and chord/scale relationships as well as moderate technique on the bass. Why do bassists have a more difficult time playing melodically? Because we don’t learn and play enough melodies, and because of our role as bassists, we are much more focused on the root of the chords rather than their upper more colorful extensions. This class will focus on what makes a great melody. We will learn and analyze melodies to several standards, and in the process, learn how to solo more melodically. This class will also focus on phrasing and developing a solo compositionally. Students should have a basic knowledge of jazz harmony and chord/scale relationships.

 

Learning Bass Lines; Ratzo Harris; Int/Adv; All students must be able to read music in bass clef. Bring blank music paper, pencils (not pens) and erasers. Transcription is an essential part of the of the jazz musician’s pedagogical process. We transcribe music from recordings in order to develop a rubric of material that is in step with the musical milieus we are in and the ones we wish to become part of. Transcribing solos is the usual practice for vocalists, saxophonists, trumpeters, guitarists, and pianists. In this class the transcriptions of bass lines, one of the fundamental elements of style and genre, will be explored.


Warming Up Down Low; Ratzo Harris; All Levs; Upright bass and bass guitarists are welcome. This class is calisthenics for the bass. We work on scales, shifting, and intervals in a way that strengthens the hands, the ears, and the mind. Upright bass and bass guitarists are welcome.


Hip-Hop Essentials for Drums and Bass; Troy Lampkins and Tommy Shepherd; All Levs; In this class we will listen to many classic and contemporary hip-hop songs and break down the groove on drums and bass. Students will have a chance to learn and play all their favorite hip-hop songs.

Gospel Rhythm Sectional; Int/Adv; Troy Lampkins; Piano/Bass/Drums; This class will offer an opportunity for musicians from the rhythm section to learn how to play gospel music. It will also serve as a place for the Gospel Choir rhythm section to "tighten up". We will focus on groove and musicianship first and foremost!


THE GUITAR & BASS DUO; Troy Lampkins, Brian Pardo; All Levs; Although this class is open to all levels, it is recommended that guitarists be somewhat familiar with simple chord melody playing on jazz standards, and that bassists be comfortable maintaining solid time in the absence of a drummer.

The guitar/bass duo, a very common format in jazz, requires that both the guitarist and bassist adapt in unique and fairly specific ways.  In the absence of a drummer, both musicians have to shoulder the responsibility for defining and holding down the groove.  Often, this requires a more percussive approach to playing, with both musicians tapping, slapping, or popping percussively at times to define the rhythmic pulse.  In addition, both musicians will have an increased chordal role.  Often, for example, if a guitarist tends to prefer playing solos that are predominantly single-note (melodic as opposed to chordal), the modern bassist might be called upon to play chords or fragments of chords (double or triple stops) in order to give listeners a harmonic reference.  If a bassist prefers to solo chordally, the guitarist may be required to play percussion only (by tapping on muted strings, for example) in order to stay out of the bassist's way harmonically.  In addition, guitarists in this context usually have to play melody and chords at the same time during the heads of tunes, but these chord melodies can't be as involved as those normally played in solo guitar formats because of potential conflicts with the bassist.  In all, learning to play in a duo format sensitizes guitarists and bassists to groove, expands on the roles they would normally play in trio or quartet formats, and teaches the musicians to adapt interactively to constantly changing musical roles.

All students should bring their own instruments, cables, and signal processing pedals and small amps if you have one.  Students desiring specialized equipment should bring their own gear.

DRUMS, PERCUSSION AND STEELDRUMS


matt + you + drums; Matt Wilson; All Levs; Calling all drummers…this is Matt’s only drum class!

Monk On Drums; Allison Miller; Int/Adv; Students should have a general knowledge of AABA song form and Thelonious Monk compositions. We will pick a Monk tune a day, learning to play the melody on the drums, creating thematic variations, and soloing over the melody and form.

Essential One-Bar Phrases; Allison Miller; Int/Adv; Jazz is a musical language and learning the vocabulary of Jazz will help you speak the language of Jazz. In this class we will spend the week learning classic one-bar drum phrases of the be-bop tradition. We will focus on the drumming tradition created by Jo Jones, Kenny Clarke, Max Roach, Philly Joe Jones, Art Blakey, and Roy Haynes. At the end of the week will put these phrases together, creating the language of Jazz. Expect lots of interactive drumming with your fellow drumming buddies. Fun!

Fun with Paradiddles; Allison Miller; Beg/Int; 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!

Keeping the Groove; Deszon Claiborne; Int/Adv; Must be able to play time. The focus of this class is to build strong grooves in Jazz and Funk music. We will explore playing slow tempos and fast tempos. And in addition look at the language of both styles which is important in understanding the groove. And last we will look at the motion between each beat which is the key to staying in the groove.

you too can play the drums!; Deszon Claiborne; Beg; Bring sticks. Must have the ability to HAVE FUN! Drumming for beginners and those with little experience with drums. By the end of this session, you too will play drums. We will cover basic coordination exercises, which are the foundation for groove and movement within and around the drums, and this will start you on your journey to playing the drums.

Building your Inner voice; Deszon Claiborne; All levs. Your inner voice is what allows you to express yourself when playing the drums. This class is for the drummer that's ready to go for it. We will focus on building your inner voice through various exercises in time and improvisation. And this will give you a sense of how to expand your creativity.

 

Hip-Hop Drums; Tommy Shepherd; All Levs; Must already know how to play the drums. This class will focus on playing drums from a beat producer’s perspective. We will learn how to match drum sounds and patterns to those of drum machines and how to collaborate with a DJ’s records instead of competing with them. You must have some trap set experience.

Chekere, tumbadora, campana; Beg/Int; John Santos; Must be able to open eyes and ears simultaneously. A primer for technique, sound and basic rhythmic development. Bring tumbadoras (congas), chekeres, and campanas (bells).

Spirit Songs; All Levs; John Santos; Basic ability to hear, sing and hold melodies and harmonies. Ancient Afro-Cuban chants continue to be the foundation of spiritual practice in the African diaspora and are also at the root of contemporary Salsa and Latin Jazz. The rich melodic, harmonic and rhythmic qualities of this music will inspire you as well as enhance your musicality.

Bríkamo; Int/Adv; John Santos; Good sense of time. Basic sounds and coordination on congas if you want to play congas. Basic rhythmic reading skills. Bring congas, caxixí (erikunde), chekere, bells (ekón) This Afro-Cuban musical style originates in the West/Central African region formerly known as the Calabar (present day Cameroon/Southeastern Nigeria) and is closely related to the Abakuá tradition. It's salient feature is the fundamental concept of simultaneous duple and triple meter.

PANDEIRO; All Levs ; Ami Molinelli; We will learn how to use the pandeiro to play brazilian rhythms such as bossa nova, samba, choro, baiao, etc. A large part of this class focuses on the technique of the instrument. This year we will be listening as well as playing to music that influenced the evolution of the pandeiro. I will have extra pandeiros and other percussion for those who don’t have a drum.

USE THE FORCE: Tubes & shields make music!; All Levs; Ami Molinelli; Bring scissors- We will be making pitched resonator tubes out of recycled light shield tubing. (What I just say? You read correct my friends!) This year we use the force of plastic tubes to make a pitched percussion instrument. In addition we will use our “shields” and play other recycled products such as bucket drums, and I dare-say even a “glove-a-phone!” Construction required, materials provided!

From Samba School to the jazz ensemble; Int/Adv; Ami Molinelli; This class will learn a traditional samba school arrangement from Carnaval and also how to take traditional Brazilian instruments and apply them to your life as a musician! The first half of the week we will prepare for the Indian Bowl parade. After that we will look at how these instruments traveled from a Brazilian marching band into the Brazilian jazz ensemble and how you can use them.

Big fun on the Steel Pans; Mark Rosenthal; All Levs; 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.

 

Gospel Rhythm Sectional; Int/Adv; Troy Lampkins; Piano/Bass/Drums; This class will offer an opportunity for musicians from the rhythm section to learn how to play gospel music. It will also serve as a place for the Gospel Choir rhythm section to "tighten up". We will focus on groove and musicianship first and foremost!

GUITAR


Guitar Reconsidered/ Tips from Tuck; Tuck Andress; All Levs; Playing one-on-one with Patti has challenged me far more than any of the hundreds of bands I played with previously, even though I felt like I was running for my life in some of them.  It constantly begs for a level of technique, mastery of resources, concentration, listening, flexibility, emotional intensity and general ferocity of approach that I had witnessed but not experienced.  It also has humbled me, forcing me to repeatedly reconsider everything I think I know, discarding anything and everything if I discover something that will ultimately work better.  If I am an expert at anything, it is probably this.  We will apply the deconstruction/reconstruction process to as many aspects of guitar playing as possible with the hope that everybody will find something transformational or at least thought-provoking along the way:  Examples:  Left hand:  How to fret one note, angle/stance/hand position, stretching vs. moving, relaxation vs. tension, strength, preventing injuries, legato/staccato, fingering lines with only three or two fingers, crossing strings, horizontal vs. vertical fingerings, sliding/bending/vibrato on notes and chords.  Right hand:  How to play one note or chord, feel vs. accuracy, downstrokes vs. alternate vs. sweep picking, fingerstyle approaches for single lines.  Mastering the fingerboard.  Exploring chord voicings and harmony.  What/how to learn from Wes Montgomery and why.  Transcription vs. osmosis.  Reading vs. ear.  Music theory:  Friend or foe?  Phrasing.  Accents.  Melodic and rhythmic patterns.  Principle of isolating a continuum and exploring the extremes.  Non-standard techniques.  Using/overcoming your personality attributes.  The class will be a mixture of lecture/demonstration and hands-on, with plenty of serendipitous side-tracking sparked by questions.  My goal is to share my most valued discoveries and help you become the best possible self-teacher.

Solo Guitar/Orchestral Guitar; Tuck Andress; Int/Adv; Relative beginners are welcome, too, if they are fascinated by this style. For many guitarists, solo guitar begins and ends with chord melody.  But chord melody is just one possible entry point.  We will look at a variety of ways to make one guitar sound like it is playing multiple parts at once, with an underlying emphasis on experiencing it as music early on, rather than as an academic, mental/finger exercise, regardless of the degree of complexity.  We'll isolate elements such as melody, bass, chords, countermelody and percussion, then start combining them, bringing up issues like independence of rhythm, feel and volume, groove, re-experiencing familiar chord voicings as multiple independent voices, alternate fingerings, right-hand techniques, textures, tricking the listener for their own good and the universally dreaded moment when everybody else drops out and it's your turn to solo.  Because this style can seem overwhelming, we'll alternate multiple approaches to the goal, e.g. composition vs. improvisation, simplification of individual parts, rhythmic patterns, effectively looping short passages, "breathing life" into one particular part, learning from recordings, etc.  Re-harmonization will be visited, but the emphasis will be more on recasting already-familiar music as musically satisfying solo guitar.  The principles apply as much to two-chord grooves as to harmonically complex music, and almost everyone experiences a degree of "starting over," so relative beginners are welcome, too, if they are fascinated by this style.

The art of the DUO; Tuck & Patti; All Levs; Tuck and Patti know from 35 years of experience that a duo is an intensely intimate relationship, both musically and personally, giving rise to a unique set of challenges and rewards.  Together they will explore the issues that duos most often need to work on jointly, including collaboration, arranging, improvisation, texture, feel, sound, personalities, etc.  This will be largely a master class format, helping individual duos to develop their particular sound and collaborative approach.  Individuals without partners are welcome, as well as existing duos.  While the focus will be on vocal/guitar duos, all the issues are universal, so everyone is welcome.

Jazz Guitar; Brian Pardo; Beg/Int ; Bring a pencil and paper. This is a beginning level jazz guitar class, but some facility with the guitar is assumed. This class is designed to familiarize guitarists with basic chord voicings, scales, and arpeggio fingerings. Particular attention will be focused on the Major Scale, the Dorian mode, and the Mixolydian mode, as well as a variety of chord voicings derived from these modes. Guitarists in this class will also be taught how to "comp" in a variety of musical contexts. Students will be also be introduced to the basics of reading music notation although most of the materials used for the class will be written both in tablature and standard notation.

Jazz Guitar; Brian Pardo;  Int /Adv; Students should be familiar with music notation, should know Major scales (preferably in all positions and keys), and should be comfortable reading jazz chord charts. This class will be paced for guitarists with some jazz experience. Students will be introduced to the Melodic Minor, Harmonic Minor, and Diminished scales, as well as the most commonly used modes of these scales. Students will also be shown a method for integrated visualization of scales, chords, arpeggios, and melodic contours. The visualization system will be used to explain principles of chord substitution, "inside-outside" playing, and chordal embellishment.

BLUES GUITAR; Anthony Michael Peterson; Beg/Int; In this class students will not only learn the basic 12-bar blues form and chords, but also minor blues, modified be-bop blues, & minor be-bop blues forms and chords. The class will also cover open tunings, fingerpicking, strum patterns, and soloing with the bottleneck slide.

Guitar AND BASS DUO; Brian Pardo, Troy Lampkins; All Levs; Although this class is open to all levels, it is recommended that guitarists be somewhat familiar with simple chord melody playing on jazz standards, and that bassists be comfortable maintaining solid time in the absence of a drummer.
 
The guitar/bass duo, a very common format in jazz, requires that both the guitarist and bassist adapt in unique and fairly specific ways.  In the absence of a drummer, both musicians have to shoulder the responsibility for defining and holding down the groove.  Often, this requires a more percussive approach to playing, with both musicians tapping, slapping, or popping percussively at times to define the rhythmic pulse.  In addition, both musicians will have an increased chordal role.  Often, for example, if a guitarist tends to prefer playing solos that are predominantly single-note (melodic as opposed to chordal), the modern bassist might be called upon to play chords or fragments of chords (double or triple stops) in order to give listeners a harmonic reference.  If a bassist prefers to solo chordally, the guitarist may be required to play percussion only (by tapping on muted strings, for example) in order to stay out of the bassist's way harmonically.  In addition, guitarists in this context usually have to play melody and chords at the same time during the heads of tunes, but these chord melodies can't be as involved as those normally played in solo guitar formats because of potential conflicts with the bassist.  In all, learning to play in a duo format sensitizes guitarists and bassists to groove, expands on the roles they would normally play in trio or quartet formats, and teaches the musicians to adapt interactively to constantly changing musical roles.

All students should bring their own instruments, cables, and signal processing pedals and small amps if you have one.  Students desiring specialized equipment should bring their own gear.

(Ukulele); The Jazz Ukustra!; Anthony Michael Peterson; All Levs; Bring your Ukulele; The Jazz Ukustra is an exploration into the world of swing, its song repertoire, and a glimpse of other musical possibilities! Students will  delve into basic chord progressions used in jazz standards, the techniques of the shuffle strum, four to the bar strumming, major and minor scales, blues scales, and even a raga from Indian music! Songs include “Take the A Train”, “C Jam Blues”, Hawaiian and country blues song forms. Basics in accompaniment and soloing will also be covered, along with instructions on how to practice on the Uke and progress on this wonderful instrument throughout the year!

WIND INSTRUMENTS


TROMBONE & OTHER COOL INSTRUMENTS; Wayne Wallace; all levels; all instruments welcome; We will work on improving your soloing and putting together a practice system for improvisation in all styles. Application of jazz theory and techniques for developing improvisational skills on trombone. Violin, flute, accordion, bassoon, clarinet, and all welcome!

Flute; John Calloway; All Levs; Must have some rudimentary skills on flute. 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.

SAX; Lets Play The Blues!; Charles McNeal; Beg/Int; A study in the style of the great blues saxophonist, Hank Crawford, Jr. Walker, King Curtis, Jimmy 'Night Train' Forrest, Sam 'The Man' Taylor, Eddie 'Cleanhead' Vinson, etc... We'll also learn some of the 'tricks of the trade" (growling, altissimo, false fingering, riff based playing and common licks of the idiom)

SAX; Understanding the Jazz Language; Charles McNeal; Int/Adv; A basic understanding of jazz harmony. So you know your scales, you've studied harmony and you even have some great licks under your fingers but your solos still don't have the melodic cohesiveness of your favorite jazz player... This class is for you! We'll study the Elements of the Jazz Language, those melodic and harmonic devices that almost all jazz soloist uses to construct their improvisation. Invaluable advise to help take your improvisation to the next level!

SAX; Improv Soup One; Laura Dreyer; Beg/Int; Must have a basic working knowledge of your instrument. Re-connect With the Essence of Improvisation! This intensive improvisation class will focus on learning the fundamentals of jazz improvisation and will draw from techniques rooted the jazz tradition in combination with theater games. We will discuss and apply techniques that mirror energy and emotion, learn how to pay attention and listen on a deeper level, how to cooperate and support your fellow players, employ principles adapted from theatre games that facilitate group communication, and much more. You will discover deeper ways to generate musical information from your own solos as well as from those with whom you are playing, how to become more conscious of exactly what information you are transmitting musically to your fellow players. These techniques will enable you to create your own process that will give you access to deeper parts of your creative mind and expand your self-expression, as well as facilitate a more satisfying experience of improvisation. You will learn to do more with less, build stronger solos, and much more!

SAX;  Improv Soup Two; Laura Dreyer; Int/Adv; Must be able to improvise on pieces that utilize intermediate chord changes and have a knowledge of basic chord scales. Re-Connect With the Essence of Improvisation! This intensive improvisation class will focus on learning the fundamentals of jazz improvisation and will draw from techniques rooted the jazz tradition in combination with theater games. We will utilize the concepts from the beginning workshop, but will apply them to more complex harmonic situations, deeper forms, as well as explore exercises that strengthen memory, spontaneity, and connection. You will learn how to go beyond merely soloing on top of chords and learn how to create connection and group interaction. This will result in a much more satisfying musical experience not only for you and your band members, but for your audience as well. You will also learn techniques to strengthen these concepts in individual practice.

Extreme Saxophone University; Laura Dreyer; All Levs; Must have at least a basic knowledge of how to play the saxophone. In this class, we will explore everything saxophone related: styles, reeds, mouthpieces, practice techniques, embouchure, intonation, and more. In addition, we will listen to and analyze a variety of influential saxophone players that have developed their own individual sounds, styles of improvisation, and examine how these players have carved out specific niches in the jazz idiom. We will additionally look toward the future of the role of the saxophone to help you create a path that will lead to helping you develop your own voice and creativity. Please bring examples of your favorite saxophone solos to share.

studying the jazz TRUMPET MASTERS; Erik Jekabson; All Levs; 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.

Efficient sound production for brass; All Levs; Mario Guarneri; 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.

VOCALS


EARLY MORNING VOCAL WARM-UPS; A faculty-led vocal warm-up will be conducted every morning at 8:15-8:45 in the small dining hall.

Vocal Intensive: Patti Cathcart; In addition to our regular, extensive vocal program, we offer a Vocal Intensive by audition only on first day of camp. The audition will take place after the all-camp meeting on Saturday. *Audition: You will be singing ½ chorus of a song of your choice. Please bring a chart (lead sheet) in your key for the audition. Note: For those of you who are not in Vocal Intensive, Patti will be teaching an afternoon class as well

Ten students will have the opportunity to spend all morning in an advanced vocal setting with a professional trio. In the afternoon, singers may rejoin our regular classes. (note: Patti will be teaching an afternoon class for those who are not in Vocal Intensive). Students must commit to the Full Session (9-12:30) in order to be accepted.

The art of the DUO; Tuck & Patti; All Levs; Tuck and Patti know from 35 years of experience that a duo is an intensely intimate relationship, both musically and personally, giving rise to a unique set of challenges and rewards.  Together they will explore the issues that duos most often need to work on jointly, including collaboration, arranging, improvisation, texture, feel, sound, personalities, etc.  This will be largely a master class format, helping individual duos to develop their particular sound and collaborative approach.  Individuals without partners are welcome, as well as existing duos.  While the focus will be on vocal/guitar duos, all the issues are universal, so everyone is welcome.

“Tap Dancing” with the Words; Greta Matassa; All Levs; The fun of rhythmic phrasing. Understand how to teach your body to be a good drummer. Play with the words like Fred Astaire's feet! We'll explore the difference in swing and latin grooves. Learn and how to play "tug of war" with the bar line. I'll show you concepts of attack that let your tunes really swing. And then there's the William Shatner exercise…!

gospel Vocal ensemble; Terrance Kelly; Int/Adv; No Audition Necessary; Small ensemble working with contemporary gospel stylings and harmonies and polyrhythms. We will perform at final gospel concert- 8 people only.

Gospel runs; Terrance Kelly; All Levs; 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.

all-camp gospel choir; Terrance Kelly; All Levs; 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.  Ben Heveroh, accompanist.

Sing with a trio!; Feedback clinic; Greta Matassa; All Levs; No Audition necessary. Prepare three songs, with charts including a ballad and one up-tempo song. 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.

Forget the words and Scat!; Greta Matassa; All Levs; You know you want to try it, but it seems so scary. Well, I'll show some fun ways to get started scatting, using your own sense of swing, sense of harmony and sense of humor! We'll take some songs we all know in common and using a variety of exercises, I'll free your tongue up, so help me!

How I do what i do; Faye Carol; All Levs; Bring charts in your key. Ever wonder how Faye does what she does? She is famous for her charismatic versions of just about any tune. Why is she so darn exciting? How does she ramp up the excitement on the endings? There are some very specific things she does, and she’s gonna tell you all about it. This is NOT a blues class. Bring your charts and be ready to take your music to new, exciting places.
       
Just THe Blues; Faye Carol; All Levs; Bring a pencil & paper; The Fundamentals of the Blues. The class will compose a Blues. Understanding the forms of the Blues. Expect to Sing and have fun. It will be more analytical, and involve the periods they were made. There will be one song that will be a thread through all three classes.

Blues from then till now; Faye Carol; All Levs; Bring a pencil and paper. All the different kinds of Blues. City Blues, Rural Blues, & the way the Blues influences contemporary times. Expect to Sing and have fun. There will be one song that will be a thread through all three classes.
            
Brazilian Song Repertoire; Celia Malheiros; Int/Adv; We will work on slightly more advanced repertoire in this class. For anyone who would love to learn to sing sensual melodies in Portuguese. We'll work on Brazilian pronunciation and phrasing. And explore exciting rhythms like; Bossa Nova, Baião, Xote, different Samba styles enjoying a variety of famous songs!

Brazilian Song Repertoire; Celia Malheiros; Beg/Int; For anyone who would love to learn to sing sensual melodies in Portuguese. We'll work on Brazilian pronunciation and phrasing. And explore exciting rhythms like; Bossa Nova, Baião, Xote, different Samba styles enjoying a variety of famous songs!

Brazilian mouth percussion; Celia Malheiros; All Levs; Vocals+All Welcome; Using the voice and body as an instrument we will create rhythms from many musical styles of Brazil, exploring together the Brazilian sounds within, from the Amazonian forest to the Samba schools of Rio.

Lyric Interpretation: Unlock the Mystery; Shanna Carlson; All Levs; Bring your favorite song along with some other charts in your key. No lyric reading, please. “Music has to be sincere.  It has to resemble you. It has to resemble the way you walk, the way you talk, the way you think...not just a stylistic exercise. It’s a commitment to yourself.” –Glenn Frey, The Eagles. Why do some singers’ interpretations land in your heart, while others simply don’t move you? Let’s unlock the mystery. We’ll discover YOUR truth in a song (interpretation) and show you how to sing with intent, authenticity and heart.

VOCAL JAZZ ensemble; Michelle Hawkins; Beg/Int; This class is open to anyone who wants to sing! In the spirit of playfulness, you will learn how to blend your voice and collaborate with others to create a beautiful harmonic effect. Inspired by groups such as Lambert, Hendricks and Ross and the Manhattan Transfer, we will sing classic vocal jazz tunes, and offer lots of opportunity to experiment with improvisation. You will also learn about microphone technique, and improve your skills on jazz articulation and rhythmic syncopation.

VOCAL jazz ensemble; Michelle Hawkins; Int/Adv; The ability to hold harmony parts and sing in tune, commitment to attend every class. In one week we will create a tight and cohesive vocal ensemble that sings 4-6 part harmonies. Inspired by the New York Voices, Take 6, and the Singers Unlimited, individually mic'd singers will be responsible for holding their part and contributing to the overall sound of the group. We will explore advanced concepts in blend, tone, articulation, phrasing and mic technique. There will also be lots of opprotunities for improvisation over more advanced chord changes in a fun and supportive atmosphere. Singers must commit to attending every class.

Vocal Technique; Michelle Hawkins; All Levs; Where's my mix and how do I find it? Expand your vocal range and the creative and expressive possibilities of your singing by discovering your mixed voice. You will learn exercises that will help you to smoothly negotiate the "bridges" in your voice so that you can sing comfortably in any register. Be prepared to make funny sounds and noises, as we experiment with your "placement" and tone production. We will also explore techniques for proper breath support and posture. Bring your recorders!

beat box orchestra!; Tommy Shepherd; All Levs; You have to have a heart beat...You got a voice? You like to use it? In this class you will learn the skill of vocal percussion. We will focus on the history and evolution of the craft. You will learn basic percussion and instrument sounds as well as how to sound like a DJ using your voice. We will take it a step further and divide class members into groups to create vocal instrument sections and become a vocal orchestra. Come willing to look and sound “ugly” with the intent to learn how to master the art of noise.

Spirit Songs; All Levs; John Santos; Basic ability to hear, sing and hold melodies and harmonies. Ancient Afro-Cuban chants continue to be the foundation of spiritual practice in the African diaspora and are also at the root of contemporary Salsa and Latin Jazz. The rich melodic, harmonic and rhythmic qualities of this music will inspire you as well as enhance your musicality.

COMBOS AND ENSEMBLE CLASSES


COMBOS: 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 nine faculty-led combos of varying levels offered each day. 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.

 

The following ensemble classes do NOT require audition- Just sign up!

Jazz camp Latin big band; Wayne Wallace; All Levs; No audition necessary; Open to instrumentalists, 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.

New Orleans ensemble; Erik Jekabson; All Levs; 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!

jazz camp Big Band; Erik Jekabson; All Levs; Open to instrumentalists, sight reading skills a big plus! No Audition Necessary; This class is intended for players of sax, trumpet, bone, guitar, piano, bass, and drrums who have been playing for at least 2 years and can read music.  Participants must be willing to work as a 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.

THE LATIN JAZZ AND BEYOND ENSEMBLE; Elio Villafranca; All Levs; All Instruments are welcome! Bring a music notebook, real book. You need to know how to improvise! Let's apply to music, all of what you know about jazz and Latin jazz. Play some great traditional Cuban descargas, but also learn new tunes.

Forró Band; Jovino Santos Neto; Int/Adv; All instruments and vocals welcome. Basic reading skills, good sense of time and groove. The charts are available for download. Please download class materials before coming to camp: https://www.dropbox.com/sh/daojy1u2xb3ua8j/7kZbMWqjMe
An ensemble dedicated to the music of Northeast Brazil. For intermediate and advanced players.. Using simple charts, we will explore the beautiful and potent grooves of baião, xote, coco, ciranda and maracatu.

SPONTANEOUS MORNING ENSEMBLE; Jovino Santos Neto; All Levs; No reading is necessary, but a keen musical ear and sharp reflexes are a pre-requisite. All instruments and vocals are welcome. We will compose and arrange new original music on the spot, based on traditional and contemporary Brazilian forms. All students learn the material by ear and take part in the creation process.

Big Blues Jam; Anthony Michael Peterson AKA Tru; All Levs; Students learn Blues songs and grooves, songs by composers such as Thelonious Monk, Jimi Hendrix, and Curtis Mayfield. Students will learn background lines, harmonies, and rhythms all by EAR!  The challenge is to sound as disciplined as a big band with charts! The motto of the class is "We write our chords on the walls of the wind!

BOB MARLEY EXTRAVAGANZA; Matt Jenson; All Levs; Horn players must be able to read. Vocalists must be comfortable singing tight three-part gospel (limit 5 vocalists) and R&B influenced harmonies. The more experience with playing reggae the better. Please download class materials before coming to camp: http://www.mattjenson.com/BobMarleyClass/index.html              
This is a large ensemble focusing on the Music of Bob Marley. Instrumentation includes but is not limited to:  electric bass, drum set, (2) hand percussion, trumpet (and/or alto), tenor, trombone, (3) back up vocal, (2) lead vocals, (2) keyboard, (2) electric guitar. In this ensemble you will learn the art of playing GROOVE music where specific rhythmic and harmonic parts are layered creating a juggernaut of reggae vibrations all powered by Bob Marley's timeless message of truth, awareness and Love.


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