Jazz - Piano

  1. The general and specific objectives of the subject are:

The basic aim of the training is to provide basic art education and jazz instrumental preparation. It also aims at acquiring a high level jazz instrumental art knowledge, in which the graduates can participate in pedagogical work as a jazz artist or as a member of a larger musical association to participate in the cultural life of their school and environment.
Under the 8 semester of instrumental work, the goal is to acquire complete autonomy in the instrumental playing. It is of utmost importance to improve the deliberately used play mechanism based on good feelings so that it can form the main basis of transfer in pedagogical work. It is necessary to further develop the lively, sound-rich vocal training that is essential in the teaching of work. We consider it essential to master, mastering and accentuating the basic works of elementary curricula to be analyzed in material knowledge. In addition to building rhythmic and intonational security, the program also plays an important role in boosting read-to-play and developing instrument playing.

  1. Content of the course

Admission requirements

Jazz – piano

  1. The solo performance of 3 contrasting, well known jazz standards of different tempi (slow, medium and fast) and character (introduction, theme, improvisation, theme, ending), alternatively with own harmonization.
  2. The demonstration of the previously performed 3 standards in the following manner:
  3. Chordal playing (2 handed, open harmonys),
  4. Right hand: chords, left hand walking bass style accompaniment.
  5. Playing blues in major and minor scales (improvisation with chordal accompaniment) in different keys.
  6. Knowledge of about 10 well known jazz standards at repertoire level from memory – theme and improvisation – with original harmonization. The detailed documentation of the repertoire should be submitted to the exam committee.
  7. Improvisation to the cadential chord lines of major and minor character at sight, given during the exam (such as:  II-V-I-VI) in different keys.
  1. Breakdown in Semesters of the Course , Control method

Main subject’s Program:

1-2-3. szemeszter:

  1. structural improvisation and technical practices (5-6 per semester)
  2. Playing Forms, Styles: Stride, Traditional Blues, Boogie Woogie, Hot Improvisation
  3. transcripts: minimum 3-4 times per semester by combining the analysys the above styles and playing forms
  4. motifs, patterns, chord attachments, and chordlines
  5. Repertoire : 20 pieces (simpler standards and blues)
  6. sight-reading

4-5-6. szemeszter:

  1. structural improvisation and technical practices (7 -8 per semester)
  2. Playing Forms, Styles: the development of the last year and modern, bebop, cool, west coast, modern mainstream, modern blues, latin and its variants
  3. transcripts: minimum 5 times per semester by combining the analysys the above styles and playing forms
  4. motifs, patterns, chord attachments, and chordlines
  5. Repertoire : 20 pieces (simpler standards and blues)
  6. sight-reading

7-8. szemeszter:

  1. structural improvisation and technical practices (5-6 per semester)
  2. Playing forms and Styles: Developing and Repeating
  3. adjusting and developing pianist pieces (minimum 4-5 pieces); the possibilities and styles of the soloist piano playing
  4. transcripts: 4-5 each semester studying the recordings of one musician;
  5. transcriptional practices of different styles; posting improvisations on other instruments
  6. Collecting and writing motifs, patterns, harmonic motions
  7. Composition exercises : Harmonize, set up, write down topics; composing independent themes, composing chords for improvisation
  8. repertoire: 20 (heavier, modulatory standards) – repetition and development of previous years
  9. sight-reading

3.1. Control method:

Control during semester

Main course lessons are also used for continuous monitoring. It is important to attend regular concerts (minimum once per semester) and a “common lesson”, which is a professional workshop where students can exchange experiences with each other to learn each other’s productions in an appropriate manner orally.At the end of the semesters, the students will give an account of their knowledge before the examination committee. The exams are played from memory, the lessons of the basic course are made from their own notes.

4. List of compulsory or recommended literature

  1. Gonda János: Jazz-Történet, Elmélet, Gyakorlat
  2. Gonda János: A rögtönzés világa II. kötet
  3. Lendvai Ernő: Bartók és Kodály harmóniavilága
  4. Ludmila Ulehla: Contemporary Harmony
  5. John Mehegan: The Harmonic School
  6. John Mehegan: The Rhitmic School
  7. Andy Jaffe: Jazz Harmony
  8. David Liebman: A Chromatic Approach to Jazz Harmony and Melody
  9. Philip Moehrke: Voicing Concepts Jazz Piano
  10. Philip Moehrke: Das Grove Piano Buch
  11. Gordon Delamont: Modern Melodic Technique
  12. Gordon Delamont: Modern Contrapuntal Technique
  13. Ramon Ricker: Technique Development in Fourts for Jazz Improvisation
  14. Ramon Ricker: Pentatonic scales for Jazz Improvisations
  15. Bill Dobbins: Jazz Piano Harmony
  16. BillDobbins: The Contemporary Jazz Pianist I. II. III.
  17. Bill Dobbins: Jazz Arranging and composing a Linear Approach
  18. Gary Campbell: Expansions
  19. Gary Campbell: Connecting Jazz Theory
  20. Jamey Aebersold: Transcribed Piano Voicings
  21. Mark Levine: The Jazz Piano Book
  22. Bárdos Lajos: Modális harmóniák
  23. Hal Crook: How to Improvise
  24. Mark E. Boling: The Jazz Theory Workbook
  25. John Valerio Bebop Jazz Piano
  26. Binder Károly: Improvizáció és Jazzoktatás alsó, közép és felsőfokon
  27. Binder Károly: Dallamalkotás és dallamszerkesztés
  28. Andy Laverne: Handbook of Chord Substitutions
  29. Olegario Diaz: Latin Jazz Piano Technique
  30. Real Book 1, 2, 3
  31. New Real Book: 1, 2, 3
  32. Jazz Fake Book
  33. Evans Book Colorado Book