Higher Education And The Young Guitarist
Part II - Classical Guitar By Thomas Amoriello and Matthew S. Ablan Flemington Raritan School District
tamoriel@frsd.k12.nj.us
visation, syncopation, New Orleans, swing or standards, but it might also be somewhat non-specific. This is because there are prob- ably as many definitions of jazz as there are musicians who play the style. Since its in- ception over 100 years ago, jazz music has evolved into a style with many sub-genres and the guitarist who chooses to study it will need skills that are as diverse as the style itself. In the past, jazz musicians learned while “gigging” in the smoke filled bars and clubs of yesteryear. Today jazz is common- ly found in academic settings from high schools to universities across the country. The first installment of this series
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(TEMPO, October 2012 – Higher Edu- cation and the Young Guitarist, Part I – Amoriello/Ablan) examined three classical guitar programs on different levels of the educational ladder. This article will focus on jazz guitar in higher education at the undergraduate level, in particular, the play- ing skills needed and what music majors in a jazz curriculum may encounter. In order to develop a well–rounded view of a typical jazz guitar program, we consulted guitarists Mimi Fox of New York University in New York; NY, Pete Smyser from Moravian Col- lege in Bethlehem, PA; Brian Seeger of the University of New Orleans in New Orleans, LA; Nicholas Fryer of the Brubeck Institute at the University of the Pacific in Stockton, CA; Frank Portolese of University of Michi- gan in Ann Arbor, MI; and David Fracken- pohl at Georgia State University in Atlanta, GA. These instructors offer insight and ideas on: recommended equipment, con- cepts covered during applied lessons, find- ing the right school, types of performance opportunities and much more. (Ed. Note –
TEMPO
f you were to ask an educated mu- sician to define “Jazz,” their answer might contain words like impro-
some commentary has been edited for brev- ity, but content has remained intact).
What Concepts Can A Jazz Guitar Music Major Expect To Learn About In Their Weekly Applied Music Lesson?
PS: I stress the fundamentals of nota-
tion reading, technique, theory, a strong understanding of scales and their improvi- sational application to various chord pro- gressions, repertoire building, ear training, harmony (chords and comping), chord mel- ody (solo guitar playing), improvisation, in- vestigation of various styles and evolutions through the history of jazz (concentrating on the 1920s – 1960s with the heaviest em- phasis on 1940s – 60s). BS: Lessons will include exercises and discussions about time, sound, technique, vocabulary, repertoire, concept, sight read- ing, application of theory and arranging de- vices, and personal artistry. FP: It is no surprise that a Jazz Guitar
Performance major needs to develop tech- nique in both hands, and this is usually done through learning major, harmonic mi- nor, melodic minor, diminished and whole tone scales. A logical approach to picking must be developed. The guitarist needs to study fingerboard harmony, vocabulary and application in three, four and five voices. Sight reading is important, and a few well- chosen solo transcriptions and etudes go a long way. A well-chosen repertoire of tunes needs to be learned and regularly refreshed.
What Performance Situations Will
A Jazz Guitar Major Be Involved With During Your Program?
PS: There would likely be a variety of required small group ensembles (with bass,
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piano, drums, sax/trumpet, etc.). There would usually be a larger jazz band that might offer further ensemble experience. Ideally, an exemplary student will also seek out and organize other informal perfor- mance opportunities (not for credit) with other music students in order to gain ex- perience. These could be duo, trio, quartet, etc. Historically, students often begin to “sit in” at jam sessions (sort of like a jazz “open mic night”) at area jazz clubs or restaurants in the local community (not usually asso- ciated with the college). If a student is tal- ented and successful with such networking efforts, then paid professional opportunities usually follow – again, these are completely separate from any association with a college or attaining credit. BS: All jazz students play in at least one combo a semester; all combos do a public performance at least once a semester at the “SandBar” series. Most combos do other performances. Many of our classes include a fair amount of playing time. At least 50 per- cent of our jazz students gig around town, some quite extensively. MF: He/She should be performing in both solo guitar and guitar trio situations as well as with larger ensembles covering a wide range of jazz idioms. FP: At UM the freshmen and sopho-
mores need to pass a jury that demands memorization of about two dozen tunes each year, so they are strongly encouraged to jam with each other on this repertoire. They are pretty proactive about creating regular sessions here and there that provide the en- vironment to make this happen. Weekly combo classes are occasions when the stu- dents play for one another, each group get- ting the call about every three weeks or so. And there are lots of venues around Ann Arbor. At Elmhurst the big band does a lot
MARCH 2013
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