| Module Title |
Instrumental Labs 2 |
| Module Code |
MPA1035 (ITS: MC219) |
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Faculty |
Humanities & Social Sciences |
School |
Theology, Philosophy & Music |
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NFQ level |
8 |
Credit Rating |
5 |
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Description
Building from INVLA1, this is a module designed to provide learners with appropriate stylistic considerations for their instrument, particularly as it relates to the mainstream language of jazz performance, both in soloing and accompaniment. Learners will acquire a skill set that will be typical of that required by the contemporary performer on their instrument. The techniques under examination may be technical or stylistic. Areas which may be examined may include, but not be limited to, walking bass lines, ride cymbal time feel, solo vocabulary, ability to play in ¾, and appropriate timbral considerations.
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Learning Outcomes
1. Be competent performers on their respective instruments or voice
2. Have an adequate grasp of stylistic norms for their instruments and the typical conventions of performance, particularly in the swing idiom
3. Rhythm section players will show a knowledge of the major innovators in the accompaniment tradition on their instruments
4. Melody instrument players will show a grasp of stylistic devices typical for their instrument
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| Workload | Full time hours per semester | | Type | Hours | Description |
|---|
| Workshop | 24 | Weekly, A one-hour group lecture-workshop | | Independent Study | 101 | Instrumental/vocal Practice, both individually, and with others |
| Total Workload: 125 |
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| Section Breakdown | | CRN | 11153 | Part of Term | Semester 1 & 2 | | Coursework | 100% | Examination Weight | 0% | | Grade Scale | 40PASS | Pass Both Elements | N | | Resit Category | RC1 | Best Mark | N | | Module Co-ordinator | Matthew Jacobson | Module Teacher | Chris Guilfoyle, Jenna Harris, Patrice Brun, Ronan Guilfoyle, So-Young Yoon |
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| Assessment Breakdown |
| Type | Description | % of total | Assessment Date |
|---|
| Performance evaluation | Technical work and developing stylistic authenticity within the jazz and improvised music idiom | 80% | Sem 2 End | | Participation | Engagement with the material | 20% | As required |
| Reassessment Requirement Type |
Resit arrangements are explained by the following categories;
RC1: A resit is available for both* components of the module.
RC2: No resit is available for a 100% coursework module.
RC3: No resit is available for the coursework component where there is a coursework and summative examination element.
* ‘Both’ is used in the context of the module having a coursework/summative examination split; where the module is 100% coursework, there will also be a resit of the assessment
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Pre-requisite |
None
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Co-requisite |
, |
| Compatibles |
None |
| Incompatibles |
None |
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All module information is indicative and subject to change. For further information,students are advised to refer to the University's Marks and Standards and Programme Specific Regulations at: http://www.dcu.ie/registry/examinations/index.shtml
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Indicative Content and Learning Activities
Typical Performance Practice
This module will cover various stylistic areas and techniques all of which will be relevant to typical performance practice of their voice/instrument. The techniques under examination may be technical or stylistic. Areas which may be explored may include, but not be limited to, walking bass lines, ride cymbal time feel, solo vocabulary, ability to play in ¾, and appropriate timbral considerations. Techniques discussed, depending on instrument, may include, but not be limited to such techniques as:
- Developing reading skills
ˆ Rhythm section techniques
- Development of idiomatic soloing vocabulary
- Development of good time feel in different idioms
- Voice leading skills
- Development of idiomatic accompaniment vocabulary
- Survey of historically important developments in particular instruments or voice
- Guidance towards exemplary recorded examples of techniques under discussion
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Indicative Reading List
Books:
- Coolman, Todd: 2010, The Bass Tradition: Past Present Future,, Aebersold Publications,
- Ted Reed: 0, Progressive Steps to Syncopation for the Modern Drummer, Alfred Pub Co, 0882847953
- Frank Malabe, Bob Weiner: 0, Afro-Cuban Rhythms for Drumset, Warner Brothers Publications, 0897245741
- Gomes, Sergio: 2016, New ways in Brazilian Drumming,, Advance Music., 978389221082
- Mike Campbell: 0, Sightsinging: The Complete Method for Singers, Musicians Institute, 159, 0793581915
- Anne Peckham: 0, The Contemporary Singer: Elements of Vocal Technique, Berklee Press, 192, 0876391072
- Phil Degreg: 0, Jazz Keyboard Harmony - A Practical Voicing Method For All Musicians, Jamey Aebersold, 248, 1562240692
- by Mark Levine: 1989, The jazz piano book, Sher Music, Petaluma, CA, 0961470151
- Nelson Faria, Cliff Korman: 0, Inside the Brazilian Rhythm Section, Sher Music, 120, 188321713X
- Charles Wilcoxon: 0, All American Drummer, Ludwig Music Co, 9991769102
- Guilfoyle, Conor: 2010, Rhythmic Reading for drummers, Advance Music, 3892211116
- Joseph Viola: 0, Technique of the Saxophone, Berklee Press Publications, 176, 0793554098
Articles:
None |
Other Resources
- 1: App, McKnight, Mark, 2015, SightScribe,
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