UNIVERSITY OF SOUTHERN MAINE

JAZZ STUDIES CONCENTRATION

UNDERGRADUATE HANDBOOK

UNIVERSITY OF SOUTHERN MAINE

JAZZ STUDIES CONCENTRATION
UNDERGRADUATE HANDBOOK

Beginning fall 1989, the University of Southern Maine began offering a Bachelor of
Music in Performance with a Jazz Studies Concentration to complement the schools
excellent program in classical Music Performance. In fall 1993, USM added an Elective
Concentration in Jazz Education as an option for students majoring in Music Education.
Our approach to jazz education encourages the student to combine a thorough
knowledge of the jazz idiom with a solid background in traditional musical studies.
Jazz students will greatly benefit from their exposure to our fine bands, orchestra,
chorale ensembles and chamber groups as well as our applied music faculty, many of
whom perform as principals in the Portland Symphony Orchestra and as freelance
musicians throughout New England. Experience has shown that a jazz musician with
this diversity of training will find greater opportunities for professional musical
employment upon graduation.
The Audition
Students wishing to audition for entrance into the USM School of Music should make
arrangements by contacting the School of Music administrative assistant at
(207) 780-5265 to reserve a time at one of our regularly scheduled audition days. The
earliest dates (typically prior to March 1st) are set aside for scholarship auditions.
Students should also apply for acceptance to the University of Southern Maine by
contacting Admissions at (207) 780-5215 or through the USM website at
http://www.usm.maine.edu.
The audition is comprised of tests in pitch matching, sight-singing and rhythmic
notation as well as a demonstration of your performance skills. Jazz Studies
Concentration candidates should prepare at least two standard jazz pieces of
contrasting style that demonstrate their improvisational skills. Guitarists and pianists
should also demonstrate the ability to comp chord changes. Bassists should be able
to walk through the changes to both of their prepared pieces and drummers will be
expected to solo over the form of the tune and demonstrate their ability to play swing,
latin, ballad and jazz/waltz rhythms. It is also highly recommended that all Jazz
Studies candidates prepare one classical piece or technical etude as well. Feel free to
contact the School of Music office for more details.

Courses
USM offers the following jazz related courses:
Applied Improvisation Lessons
Applied Jazz Lessons
Chamber Jazz Ensembles
Independent Studies
Introduction to Jazz
Jazz Arranging
Jazz History
Jazz Improvisation I & II
Jazz Methods
Jazz Pedagogy
Jazz Piano I & II
Large Jazz Ensembles
Vocal Jazz Ensembles
Applied jazz lessons are offered in the areas of voice, brass, woodwinds, piano, guitar,
bass and drums. Students within the Jazz Studies program will often perform and
interact with major jazz artists as part of our Artist in Residence program. The large
jazz ensembles, the vocal jazz ensembles and the chamber jazz ensembles offer the
student a setting in which to work on stylistic considerations of the idiom, performance
practice, repertoire and improvisation. The USM Jazz Ensemble may be heard on our
recording For Thad & Duke. The large Jazz Ensembles, the Vocal Jazz Ensembles
along with numerous chamber jazz ensembles perform regularly in concerts both on
campus and throughout the region.
The USM Jazz Studies curriculum is open to all students with the required prerequisites
and is not limited to Jazz Studies Concentration majors only. In addition, USM accepts
transfer credits from most other universities.
Ensembles
Large jazz ensembles perform big band literature, including works from artists such as
Duke Ellington, Count Basie, Thad Jones, Bob Mintzer, Bill Holman, Maria Schneider,
John Clayton and many other traditional and contemporary jazz arrangers and
composers.
Numerous chamber jazz ensembles (jazz combos) offer the student a setting in which
to perform in a small group. These ensembles focus on aspects such as performance
practice, repertoire and improvisation.
Vocal jazz ensembles provide an opportunity for jazz vocalists to perform repertoire in
a group setting of various sizes. These ensembles range in size from solo singing with a
rhythm section to 3 or 4 persons on a part. In addition to focusing on stylistic
interpretation, these ensembles focus on repertoire and improvisation.

Artists In Residence Program

The USM Jazz Studies Program consistently brings major jazz artists to the campus to
work with and inspire our students. Typically, students in the jazz ensembles have the
opportunity attend clinics, hear performances and to closely interact with these guest
artists. With the help of the Maine Arts Commission, the New England Foundation for
the Arts, the USM Speakers Fund, and corporations such as Ludwig and Zildjian and
Selmer, we have been able to bring artists such as:
Harry Allen; New York saxophonist and BMG recording artist.
Archangel; an avant-garde jazz group from Russia.
The Bad Plus; an outstanding, eclectic trio based out of New York and Minneapolis.
David Ballou; New York trumpeter and recording artist for Steeple Chase records.
David Berkman; pianist and recording artist for Palmetto Records.
Graham Breedlove; featured trumpet soloists with the U.S. Armys premier D.C. jazz
ensemble the Army Blues.
Terri Lyne Carrington; toured for over 20 years with luminaries like Herbie Hancock,
Wayne Shorter, Al Jarreau, Stan Getz, David Sanborn, Clark Terry andDianne Reeves.
Todd Coolman; bassist formerly with Stan Getz, Horace Silver, Mel Lewis Big Band
and James Moody.
Alan Dawson; Boston's premier drummer and teacher, formerly with Dave Brubeck
and Jacki Byard.
Michael Formanek-Tim Berns Duo; Mike Formanek, a progressive New York
composer/ bassists and New York saxophonist Tim Berns.
Frank Foster; saxophonist and former leader of the Count Basie Orchestra.
The Four Bags; a New York based performing ensemble.
Hal Galper; pianist and recording artist formerly with Phil Woods, Cannonball
Adderly, Lee Konitz, and Michael Brecker.
Wycliffe Gordon; trombonist and recording artist, numerous performing credits
include the Lincoln Center Jazz Orchestra.
Jon Gudmundson; saxophonist, numerous DownBeat award winner, jazz faculty
member at Utah State University.

Benny Green; New York based jazz pianist/clinician.

Conrad Herwig; Grammy winning New York area trombonist and composer.
Scott Huff, Robert Reynolds and Joe Smyth; Nashville area commercial performers
and recording artists.
Howard Johnson; legendary jazz tuba player.
New York Voices; premiere vocal jazz group.
Orange-then-Blue; Boston's innovative mini-big band.
David Pietros Banda Brazil; a New York/Brazil based performing ensemble.
Herb Pomeroy; Boston's legendary trumpeter, big band leader, educator and composer.
Gary Smulyan; New England based baritone saxophonist.
Ben Street; New York area bassist.
Brad Terry; Maine's own award-winning jazz clarinetist.
Clark Terry; world renowned trumpeter and recording artist.
Kenny Werner; New York based jazz pianist, author of Effortless Mastery.

Jazz Juries
Students following the Jazz Studies Concentration must play a jazz jury each semester
until Level III requirements in the jazz area are met. Members of the Faculty Jazz
Ensemble will perform with the student, and a panel of jazz faculty will be present to
provide an assessment and evaluation of his/her performance skills. Students must also
play a jury in the classical area of study each spring until the Level III requirements
corresponding to those of a Music Education major are met. All juries will be held
during the last week of classes and will be approximately 15 minutes in length. A
written evaluation will be recorded in each students permanent file and may be
reviewed by the student. If at any point in a students college career the required level is
not met arrangements must be made immediately to pass the level in question. Failure
to make arrangements will be considered as a lack of progress towards completion of
the degree.
Below is a typical schedule for the jury sequence. The Senior Recital would follow the
completion of jury level three in both classical and jazz genres.
Freshman Year
1st semester jury: Jazz: Check to see that the student is on track to meet Level I
requirements after one more semester.
2nd semester jury: Jazz: Students must meet Level I requirements.
Classical: Students must meet Music Education Level I
requirements.
Sophomore Year
1st semester jury:

Jazz: Check to see that the student is on track to meet Level II

requirements after one more semester.

2nd semester jury: Jazz: Students must meet Level II requirements.

Classical: Students must meet Music Education Level II
requirements.
Junior Year
1st semester jury:

Jazz: Check to see that the student is on track to meet Level III
requirements after one more semester.

2nd semester jury: Jazz: Students must meet Level III requirements.
Classical: Students must meet Music Education Level III
requirements.
Senior Year
1st semester jury:

Jazz: Check to see that the student is on track to perform their

Senior recital. (With the approval of the Director of Jazz Studies
and the applied teacher, this jury may serve as a Senior Recital
hearing.)

2nd semester jury: Student performs their senior recital.

Specific Jury Level Requirements

Level One Technical studies:
Wind Instruments - major, dorian, mixolydian, bebop and blues scales (exercises) in 12
keys; major 7th, minor 7th and dominant 7th arpeggios in 12 keys. Students will
perform a transcribed solo that highlights the harmonic/melodic issues associated with
their current jury level. This solo should be transcribed by the student and not from a
previously published transcription book.
Vocalists - major, dorian, mixolydian, bebop and blues scales (exercises) in 12 keys;
major 7th, minor 7th and dominant 7th arpeggios in 12 keys. Students must accompany
themselves on one tune as part of the requirements to pass each level. Students will
demonstrate short improvisations using required technical studies over appropriate
chord changes. Jury tune list: (of the fourteen tunes, seven of them must be
exceptionally well-prepared and played from memory). With the permission of the
applied instructor, vocalists will be allowed to substitute tunes from the jury level one
list as long as the new selections meet the harmonic/melodic criteria of this level.
Vocalists will be required to sing one tune in Portuguese.
Harmonic Instruments - major, dorian, mixolydian, bebop and blues scales in 12 keys
(guitarists should be able to perform one position fingerings, root on any finger); major
7th, minor 7th, and dominant 7th arpeggios in 12 keys; chord voicings or realize bass
lines for ii-V-I progression in all keys. Students will perform a transcribed solo that
highlights the harmonic/melodic issues associated with their current jury level. This
solo should be transcribed by the student and not from a previously published
transcription book.
Drum Set - play Alan Dawsons Rudimental Ritual up to the Swiss rudiments section
(from The Drummers Complete Vocabulary as Taught by Alan Dawson); demonstrate
Three Triplet Ways - four way coordination (from the Drummers Complete
Vocabulary); play selected examples from pg. 22-23 (from The Art of Bop Drumming);
sight read a big band drum chart; demonstrate musicality, good time, knowledge of jazz
phrasing, solo in four bar exchanges, eight bar exchanges and solo and comp over the
entire form. Drummers will sing (or play on piano/mallets) the melodies of the below
listed tunes. Drummers will perform a transcribed solo that highlights technical issues
associated with their current jury level. This solo should be transcribed by the student
and not from a previously published transcription book.

Jury Level One Repertoire :

The following tunes will be memorized (both the melodies and chord changes) prior to
passing jury level one. During the jury the student will choose one of the tunes to
perform and the faculty panel will choose another. Students will perform their jury
with faculty jazz ensemble members. Vocalists should interpret the melody with
ornamentation, rhythmic and melodic alteration and other idiomatic stylings.
Drummers should play the melodic accents of the melody and solo on the form.
Harmonic instruments should be able to comp the changes or walk an appropriate bass
line. The solo improvisation should demonstrate a thorough knowledge of the
harmonic structure and form.
All Of Me
Autumn Leaves
Blue Bossa
Blues Walk
Bye Bye Blackbird
Doxy
Green Dolphin Street

I Got Rhythm
My Romance
Perdido
So What
Summertime
There Is No Greater Love
When I Fall In Love

Level Two Technical Studies:

Wind Instruments - locrian, aeolian, lydian, phrygian, harmonic and melodic minor
scales (exercises) in 12 keys; minor 7 b5 and minor/major 7th arpeggios in 12 keys.
Students will perform a transcribed solo that highlights the harmonic/melodic issues
associated with their current jury level. This solo should be transcribed by the student
and not from a previously published transcription book.
Vocalists - locrian, aeolian, lydian, phrygian, harmonic and melodic minor scales
(exercises) in 12 keys; minor 7 b5 and minor/major 7th arpeggios in 12 keys. Students
must accompany themselves on one tune as part of the requirements to pass each level.
Students will demonstrate short improvisations using required technical studies over
appropriate chord changes. Jury tune list: (of the fourteen tunes, seven of them must be
exceptionally well-prepared and played from memory). With the permission of the
applied instructor, vocalists will be allowed to substitute tunes from the jury level two
list as long as the new selections meet the harmonic/melodic criteria of this level.
Vocalists will be required to sing one tune in Portuguese.
Harmonic Instruments - locrian, aeolian, lydian, phrygian, harmonic and melodic
minor scales in 12 keys; minor 7 b5 and minor/major 7th arpeggios in 12 keys; chord
voicings or realized bass lines for ii07 - V7b9 - i progressions in all 12 keys. Students
will perform a transcribed solo that highlights the harmonic/melodic issues associated
with their current jury level. This solo should be transcribed by the student and not
from a previously published transcription book.
Drum Set - play Alan Dawsons Rudimental Ritual up to the Chops Builders section
(with the samba foot pattern); demonstrate Eight Triplet Ways on the drumset (from
The Drummers Complete Vocabulary); play selected examples from pg. 28-29 and
comp example four (from The Art of Bop Drumming); sight read a big band chart;
demonstrate musicality, good time, knowledge of Latin rhythms (i.e. bossa, samba),
transition from Latin to swing; demonstrate the use of brushes for up-tempos, settingup a two feel, playing ballads and soloing on a song form. Drummers will sing (or play
on piano/mallets) the melodies of the below listed tunes. Drummers will perform a
transcribed solo that highlights technical issues associated with their current jury level.
This solo should be transcribed by the student and not from a previously published
transcription book.

Jury Level Two Repertoire:

The following tunes will be memorized (both the melodies and chord changes) prior to
passing jury level two. During the jury the student will choose one of the tunes to
perform and the faculty panel will choose another. Students will perform their jury
with faculty jazz ensemble members. Vocalists should interpret the melody with
ornamentation, rhythmic and melodic alteration and other idiomatic stylings.
Drummers should play the melodic accents of the melody and solo on the form.
Harmonic instruments should be able to comp the changes or walk an appropriate bass
line. The solo improvisation should demonstrate a thorough knowledge of the
harmonic structure and form.

All the Things You Are

Alone Together
Confirmation
Embraceable You
The Girl From Ipanema
How Deep Is the Ocean
I Love You

It Could Happen to You

Joyspring
Night and Day
A Night In Tunisia
Someday My Prince Will Come
What Is this Thing Called Love
Yesterdays

Level Three Technical Studies:

Wind Instruments/Vocalists - both diminished modes in 3 keys; whole-tone,
diminished/whole tone and major and minor pentatonic scales exercises) and
intervallic improvisation in 12 keys; diminished and altered dominant arpeggios in 12
keys. Students will demonstrate their understanding of polyrhythms (i.e. three against
four). Students will perform a transcribed solo that highlights the harmonic/melodic
issues associated with their current jury level. This solo should be transcribed by the
student and not from a previously published transcription book.
Vocalists - both diminished modes in 3 keys; whole-tone, diminished/whole tone and
major and minor pentatonic scales exercises) and intervallic improvisation in 12 keys;
diminished and altered dominant arpeggios in 12 keys. Students will demonstrate their
understanding of polyrhythms (i.e. three against four). With the permission of the
applied instructor, vocalists will be allowed to substitute tunes from the jury level three
list as long as the new selections meet the harmonic/melodic criteria of this level.
Harmonic Instruments - both diminished modes in 3 keys; whole tone,
diminished/whole-tone scales, and major and minor pentatonic scales and intervallic
improvisation in 12 keys; diminished arpeggios in 12 keys (guitarists should be able to
perform one position fingerings, root on any finger); chord voicings or realized bass
lines for progressions of altered dominant chords; bi-tonal and quartal-based voicings.
Students will demonstrate their understanding of polyrhythms (i.e. three against four).
Students will perform a transcribed solo that highlights the harmonic/melodic issues
associated with their current jury level. This solo should be transcribed by the student
and not from a previously published transcription book.
Drum Set - Play (memorized) Alan Dawsons entire Rudimental Ritual with brushes;
demonstrate Alan Dawsons Roy Haynes Special and Hi Hat, Left Foot and Left
Hand exercises on the tune Oleo; play pg. 13, Picture 3 Comping (from Beyond Bop
Drumming); demonstrate musicality, good time and knowledge and control of all jazz
related styles, solo exchanges of any length, knowledge of advanced phrasing, comping
and soloing over the entire form of a tune. Drummers will sing (or play on
piano/mallets) the melodies of the below listed tunes. Drummers will perform a
transcribed solo that highlights technical issues associated with their current jury level.
This solo should be transcribed by the student and not from a previously published
transcription book.

Jury Level Three Repertoire:

The following tunes will be memorized (both the melodies and chord changes) prior to
passing jury level three. During the jury the student will choose one of the tunes to
perform and the faculty panel will choose another. Students will perform their jury
with faculty jazz ensemble members. Vocalists should interpret the melody with
ornamentation, rhythmic and melodic alteration and other idiomatic stylings.
Drummers should play the melodic accents of the melody and solo on the form.
Harmonic instruments should be able to comp the changes or walk an appropriate bass
line. The solo improvisation should demonstrate a thorough knowledge of the
harmonic structure and form.
*Note that Jury Level three must be passed prior to performing the senior recital.
Blue In Green
Body and Soul
Cherokee
Countdown
Dolphin Dance
Donna Lee

Giant Steps
Invitation
Love for Sale
Moments Notice
The Song Is You
Stella By Starlight

Suggested Repertoire Lis

(commonly played tunes)
A Foggy Day
Airegin
All Blues
All Of Me
All Of You
All The Things You Are
Alone Together
Angel Eyes
As Time Goes By
Au Privave
Autumn Leaves
Beatrice
Beautiful Love
Billie's Bounce
Black Orpheus
Blue Bossa
Blue In Green
Blue Monk
Blues For Alice
Blues In The Closet
Blues Walk
Bluesette
Body & Soul
But Beautiful
But Not For Me
Bye Bye Blackbird
C Jam Blues
Cantaloupe Island
Caravan
Cherokee
Come Rain Or Come
Shine
Confirmation
Countdown
Daahoud
Darn That Dream
Days Of Wine And
Roses, (The)
Desafinado
Do Nothing 'Till You
Hear From Me
Dolphin Dance
Don't Get Around Much
Anymore

Donna Lee
Doxy
Easy Living
Easy to Love
Embraceable You
Emily
Everything Happens To
Me
Falling in Love with
Love
Fly Me To The Moon
Footprints
Four
Freddie The Freeloader
Georgia
Giant Steps
Girl From Ipanema,
(The)
God Bless The Child
Green Dolphin St.
Groovin' High
Half-Nelson
Have You Met Miss
Jones
Here's That Rainy Day
Hothouse
How Deep Is The Ocean
How High The Moon
How Insensitive
I Can't Get Started
I Fall in Love Too Easily
I Got Rhythm
I Hear A Rhapsody
I Let a Song Go Out of
My Heart
I Love You
I Remember Clifford
I Remember You
I Should Care
I Thought About You
I'll Remember April
I'm Getting Sentimental
Over You
I'm Old Fashioned

I've Never Been in Love

Before
If I Should Lose You
If I Were A Bell
Impressions
In A Mellotone
In A Sentimental Mood
In Your Own Sweet
Way
Indiana
Invitation
It Could Happen To You
It Had To Be You
It Might As Well Be
Spring
It's You or No One
Joyspring
Just Friends
Just in Time
Just One of Those
Things
Just You Just Me
Killer Joe
Ladybird\Half-Nelson
Laura
Lazybird
Like Someone In Love
Love For Sale
Love Walked In
Lover Come Back to Me
Lover Man
Lullabye of Birdland
Lush Life
Mack The Knife
Maiden Voyage
Milestones (New)
Misty
Moment's Notice
Mr. PC
My Favorite Things
My Foolish Heart
My Funny Valentine
My One And Only Love
My Romance

My Secret Love
Naima
Nearness of You, The
Nefertiti
Nica's Dream
Night And Day
Night In Tunisia
Nostalgia
Now's The Time
Old Devil Moon
Old Folks
Oleo
On The Sunny Side Of
The Street
Ornithology
Our Love Is Here To
Stay
Out Of Nowhere
Peace
Pennies From Heaven
Perdido
Polka Dots and
Moonbeams
Prelude to a Kiss
Quiet Nights
(Corcavado)
Recordame
Rhythm-a-Ning
Round Midnight
Sandu
Satin Doll
Scrapple From The
Apple
Secret Love
Seven Steps to Heaven
Skylark

Smoke Gets In Your

Eyes
So What
Softly as In a Morning
Sunrise
Solar
Someday My Prince
Will Come
Someone to Watch Over
Me
Somewhere Over The
Rainbow
Song For My Father
Song Is You, (The)
Sonnymoon For Two
Sophisticated Lady
Soul Eyes
Speak Low
Spring Is Here
St. Thomas
Star Eyes
Stardust
Stella By Starlight
Stolen Moments
Straight, No Chaser
Summertime
Sweet Georgia Brown
Take The 'A' Train
Tangerine
Tenderly
Tenor Madness
The Theme
There Is No Greater
Love
There Will Never Be
Another You

These Foolish Things

They Can't Take That
Away From Me
Touch of Your Lips, The
Triste
Tune-Up
Up Jumped Spring
Very Early
Walkin'
Watch What Happens
Wave
Way You Look Tonight,
(The)
We'll Be Together Again
Well You Needn't
What Is This Thing
Called Love
What's New
When I Fall In Love
When Sunny Gets Blue
Whisper Not
Willow Weep for Me
Witchcraft
Without A Song
Woody'n You
Yardbird Suite
Yesterdays
You & the Night & the
Music
You Don't Know What
Love Is
You Stepped Out of a
Dream
You'd Be So Nice to
Come Home To
Young And Foolish