Jazz - Drum

Program of the Jazz-drum

1-2. semester:

The beat modes. Adjusting and correcting composite sound training as needed. The theoretical and practical basics of primary and secondary rhythm functions (realistic or relative rhythm, polyrythm, etc.).

Slow and fast (composing improvisation) rhythm-forming processes, simple and complex, small and large shapes (scheduling varieties, periods, etc.).

The emphasis of even and unrivaled rhythm values, in 4/4, 3/4, 6/8, 12/8, 4-8-12 rhythm periods. The polyphonic rhythmdecoupling. The basics of swing, afrolatin, jazzrock game forms, characters, accompaniment and solo play, historical review. The technique of the broomstick. stylistic fundamentals. Creating single and polyphonic compositions on specific topics, rhythm annotation, 1-1 transcription every six months. Analysis of key stylists, transcripts, notes. The functional and / the basics and technique of melody thinking on the jazz drum. – The attitudes of the musical expression (semantic questions) – Jazz as a decorative art and as a high art – Thematic extension of sentences, variation, permutation, abstraction in rhythm – Composition tasks – Decorating of broken basic techniques – Points of interest – Relative melodies in jazzdob – Structural solos at all times, 4/4, 3/4 timetables – Consultations of orchestral presentations – Ad hoc games minus one recordings. – Presentation of selected annotations – Creation of compositions with particular elements and form – Compound broomstroke at every tempo and in music form, 4/4, 6/8, ¾ schedule – Applied center of gravity for accompaniment and solo play, sheet music and improvised – Structural solos (4,8,12 , 16) – Ad hoc play minus one recordings

3-4. semester:

Asymmetric schedules (5/4, 7/4, 5/8, 7/8, 9/8, etc.) period forms, style combinations. Complex linear techniques or characters. Further development of polyphonic play. More complex ways of broomstick. A historical overview of the swing palying (cool, westcoast, mainstream) related short analysis. Fundamentals of fusion and ethnojazz, playing forms, performers. Multichannel rhythm compositions, rhythm guitar tuning in percussion ensemble, small band. Thematic improvisation and compilation from the material of the two semesters, making rhythm annotations (1-1 transcripts every six months). – Relative melodies – Applied handicrafts The teaching practice of elementary elements (impact technique, spatial coordination, polyphonic coordination) – Special musical forms, changing schedules – Compound ballad accompaniment – Consultation of orchestra presentation – Presentation of selected entries Ad hoc play minus one recordings

5-6. semester:

The basics of bigband jazz, partituras reading, preparatory, filling, phrasing. Variable schedule, special musical forms. Rhythmic double-time speed changes, speed modulation, rubato, parlando rhythm. Note alternatives for jazzdob mounting. Further development of polyphonic play. The more complex modes of Afro-Cuban play. Repeat the material of the three grades. Composed and partially composed concerto for percussion ensemble. Making two transcripts. – Focus on jazzrock rhythm – Teaching improvisation and skill development basically – Asymmetric schedules – Folk rhythms – Consultation of the orchestra presentation – Ad hoc game minus one – Basic teaching methods of reading reading – Modern blues accompaniment (minus one) – Modern ballad accompaniment (minus one ) – Editing, impromptu unmasked drum – Consultation of orchestral presentations. – Presentation of Mandatory Transcription – Presentation of the Read-to-Do Tutorial – Ad hoc playing with Minus One – Introduced Binding Drumming Tutorial for a giving theme

Recommended Literature:

  1. Nesztor: Ritmusjáték és jazzdobolás. Editio Musica
  2. Nesztor: Klassic jazzdrums.
  3. Nesztor: Afrocuban ritmusok:I-II.
  4. Tooth Thielemans: Brasil Project (CD)
  5. Chet Baker felvételei (CD. Montírozott válogatás)
  6. Nesztor: Klassic Jazzdrums (lejegyzések+ hangzó)
  7. George ShearingO. Pedersen (CD)
  8. Archie Shepp – Horace Parlan: Trouble in mind (CD)
  9. Ray Brown- Jimmy Rowles: The duo sessions (CD)
  10. Joe Henderson: Lush Life (Isfahán, Drawing CD)
  11. Kenny Drew, OPedersen (L.P. SCS:1010 minus one montázs)
  12. Archie Shepp, O. Pedersen: C Parker témák (montírozott anyag)
  13. Jim Hall, Ron Carter: Bags groove (CD)
  14. Hargroove, C Mc.Bride, St.Scott: „Parkers Mood” (CD)
  15. J Scofield-D Friesen: Old folks, True blue (Old folks CD)