| Module Title |
Instrumental Labs 3 |
| Module Code |
MPA1058 (ITS: MC324) |
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Faculty |
Theology, Philosophy & Music |
School |
Humanities & Social Sciences |
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NFQ level |
8 |
Credit Rating |
5 |
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Description
A module which adds to the techniques and stylistic considerations studied in INVLA2, this module is designed to provide learners with appropriate stylistic considerations for their instrument, particularly as it relates to the contemporary 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, including the use of various contemporary grooves such as odd-metre funk, Afro-Cuban and Brazilian techniques, and post-bop rhythm section practices.
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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 contemporary performance
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 contemporary stylistic devices typical for their instrument
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| Workload | Full time hours per semester | | Type | Hours | Description |
|---|
| Assessment Feedback | 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 | 11170 | Part of Term | Semester 1 & 2 | | Coursework | 0% | Examination Weight | 0% | | Grade Scale | 40PASS | Pass Both Elements | Y | | Resit Category | RC1 | Best Mark | N | | Module Co-ordinator | Matthew Jacobson | Module Teacher | Alexandra Ioana Potinga Cotosman, Chris Guilfoyle, Cormac O'Brien, Kevin Brady, Patrice Brun, Scott Flanigan |
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| Assessment Breakdown |
| Type | Description | % of total | Assessment Date |
|---|
| Practical/skills 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 |
None |
| 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
Performance Practice Skills
This module will cover specific techniques, all of which will be relevant to typical performance practice of their voice/instrument. The techniques explored may be technical or stylistic. Areas which may be looked at will include, but not be limited to, walking bass lines, advanced harmony, grooves of different kinds, ride cymbal time feel, solo vocabulary, and contemporary rhythmic styles, and appropriate timbral considerations. Techniques discussed, depending on instrument, may include, but not be limited to such techniques as:
- Further developing reading skills
ˆ Rhythm section techniques
- Development of idiomatic soloing vocabulary
- Development of good time feel in different idioms
- Playing in Odd Metres
- The use of chromatic harmony as an soloing and accompaniment device
- 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:
- Johann Sebastian Bach (Composer), F Gaillard (Editor): 0, 6 Suites for Violoncello Solo, G. Schirmer, Inc., 56, 0793554489
- Rich Appleman: 0, Reading Contemporary Electric Bass, Berklee Press Publications, 112, 0634013386
- Ted Reed: 0, Progressive Steps to Syncopation for the Modern Drummer, Alfred Pub Co, 0882847953
- John Ramsay: 0, The Drummer's Complete Vocabulary as Taught by Alan Dawson with CD, Alfred Publishing Company, 0769265243
- by Mark Levine: 1989, The jazz piano book, Sher Music, Petaluma, CA, 0961470151
- Goodrick, Mick: 0, Advancing Guitarist, Hal Leonard, 0881885894
- John Goldsby: 0, The jazz bass book, Backbeat Books ; c2002., San Francisco, 0879307161
- Hal Leonard Publishing Corporation: 0, Ron Carter - Building Jazz Bass Lines, Hal Leonard Corporation, 48, 0793586348
- Mike Campbell: 0, Sightsinging: The Complete Method for Singers, Musicians Institute, 159, 0793581915
- Oscar Beringer (Composer): 0, Oscar Beringer: Daily Technical Studies for Piano, Alfred Publishing Company, 152, 076926414X
- Charlie Parker (Recorder): 0, Charlie Parker Omnibook B-Clef, Alfred Publishing Company, 0769260519
- Edward Sarath: 2010, Music theory through improvisation, Routledge, New York, 9780415997256
- Sadolin, Cathrine: 2013, Complete Vocal Technique, Shout Publications, 879924361X
Articles:
None |
Other Resources
- App: Biolcati, Massimo, 2014, iReal Pro, Technimo,
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