Theory Class Descriptions

All classes are designed for both singers and instrumentalists.

Ear Training – Michael Zsoldos

Ear Training is grounded in our personal journeys in jazz. Through the process of internalizing the sounds of intervals, chords and scales we gain quick access to the ideas we have in our head. This gives us self-confidence as we identify the component sounds of the tunes we are learning and helps us to construct an aural map that we can always reference. In this class, Michael Zsoldos will share practice strategies designed to enrich your relationship with music. There will be a lot of singing, ear training games. We will learn how to aurally transpose short phrases, and will come away with tips on how to practice ear training.

 

Intermediate Theory: Chords, Chord Scales and Tools for Improv – Eugene Uman

One of the most fundamental tools needed to improvise over jazz standards is an understanding of the formation of the chords that create the framework of those compositions. After learning to build chords we can find the direct relationship between chords and specific scales. In this class we will build, hear and name chords starting with triads; we will quickly increase from triads to 7ths, 9ths and 11ths until we reach 13th chords, carefully explaining and hearing the differences between them. We will then jump into the modes of the major scale, explaining clearly how the modes relate directly with specific chords and how they can be used to simplify improvisational choices; in short, we will take the mystery out of the modes. Of course there are other ways to improvise besides using the major modes: we will also look at other tools for improvising like other scales and how to use a tune’s melody as a jumping off point.

 

Advanced Theory: Beyond the Page – Interpreting Lead Sheet Harmony – Ray Gallon

From Coleman Hawkins to Charlie Parker to John Coltrane to the present, jazz musicians have utilized alternative chord progressions in their interpretations of songs. Explore various techniques of reharmonization as applied to basic lead sheets of both standards and blues. Topics include identifying a song’s harmonic “targets” and then creating both enhanced and substitute harmonic motion through the use of diatonic progressions, secondary dominants, non-diatonic passing chords, chromatic approach chords, diminished-dominant relationships, 6th to diminished chords, and sequential patterns.

 

Rhythmic Theory – Brian Adler & Julian Gerstin

Join this class to learn how rhythms function in the jazz idiom. Come clap, tap, sing, listen to, philosophize about, and internalize various rhythmic concepts. We will develop our skill sets related to rhythm: from swinging harder, to understanding the essence of syncopating melodies. From feeling free in odd time signatures to internalizing mind-bending polyrhythms. Together we will discuss and incorporate global rhythms into your musical vocabulary.

 

Jazz Composition – Helen Sung

As someone who started out in classical piano, Helen Sung never thought about writing music: “composing was something only composers did…right?” This all changed when she transitioned to Jazz. During her studies at the Monk Institute, bass legend and then-Artistic Director Ron Carter said, “If you want to find your own voice, write your own music” – starting her on a journey of artistic discovery in composition and arranging. In this class, students will be invited to start their own journey through looking at the blues, rhythm changes, and other iconic jazz forms; composing original pieces over these forms; and studying connections between composition, improvisation, and arranging.