For pianists of all backgrounds these classes will be taught at two levels to cater for both ‘Jazz Beginners” coming to terms with the theory and chords needed to describe a Jazz chart, through to more experienced players who would like to increase their level of ability.
Please note:- Students on these courses will be required to bring a keyboard (preferably with internal speakers) with stand and headphones to participate in group-tuition classes. For both levels of Jazz Piano, a basic level of ability on the piano is neces- sary equivalent to 4-8 years worth of regular playing and practise, or a minimum of grade 5/6 standard.
If you are at all unsure of which class to join, there will be a short diagnostic session on the piano where students will be allocated an appropriate level relevant to their experience, aims and objectives. For beginners to Jazz, or pianists keen to brush up on fundamentals, Jazz Piano 1 is the appropriate choice and a diagnostic isn’t necessary. Students on either Jazz Piano level must enrol for both sessions 2 and 5.
Jazz Piano 1 (JP, session 2,5)
For beginners to Jazz piano, This course will cover basic chord voicings, progressions and notation, and their relationship to scales and modes, showing how to practically apply them to the piano in improvising and ‘comping’ (accompanying). It will logically work through the fundamentals of Jazz chart description and unravel Jazz harmony into a more easily practicable format. The second session of the day allows the opportunity to put into practise the skills learnt from the earlier session in the form of tutor-supervised combo playing, working in small groups with other students at your relevant level, to get a taste of the immense enjoyment and challenges of playing Jazz.
Jazz Piano 2 (JP, session 2,5)
This level presumes the knowledge of level 1, (i.e. modal scales and the 7 basic 7th chords in C F and G, the blues scales in C F and G, and basic swing and Latin rhythm patterns.) and will look at adding to chord information with 9th’s and 13th’s, rootless chord voicings, major and minor II-V-I patterns, and comping styles with or without a bass player. Improvisatory licks in relation to scales, piano geography and style will be analysed and worked through. The second session of the day will be the opportunity to work in small tutor supervised combos to work on and develop techniques studied earlier in the day at a level appropriate to your ability.[Go to Top of Page]
Jazz Practice and Repertoire 1-3 (Jazz pRep, sessions 2 and 5)
These classes are the heart of Jazz study at M4P Summer school: please read the following general points carefully:-
Following a short diagnostic session on your instrument with the tutors for all those enrolling on the pRep Jazz classes, students will be allocated an appropriate class, relevant to their experience, aims and objectives.
For musicians who have never tried Jazz and are keen to start, or to brush up on fundamentals, pRep level 1 is the appropriate choice and a diagnostic isn’t required. All are welcome to level 1.
Students must enroll for both pRep sessions 2 and 5. No enrolments for a single session will be accepted.
A word about instrumental ability. Whilst (in pRep level 1) you may be a beginner to Jazz, you will not be a beginner on your instrument. pRep classes all presume a level of playing ability and technical skill equivalent to a minimum Grade 5/6 standard, or a minimum of 4-8 years worth of regular playing and practice!
Part theoretical, part practical, pRep Level 1 introduces all the fundamentals needed for a confident start in understanding the nature of Jazz Harmony and improvising through Chord-Scale relationship. Scales, Modes and simple chord progressions will be clearly explained and de-mystified to inspire students who are new or returning to this exciting and challenging subject. The second session puts into practice the ideas considered in the earlier session of the day. The emphasis is on tutor-supervised combo playing
and having fun through connecting ears, brain, heart and fingers (or voice) by improvising on a selected Jazz repertoire which will inspire students to further study.
pRep Level 2 (J, session 2,5)
Level 2 presumes the knowledge of Level 1 (i.e. Major Scales, Blues and Dorian/Mixolydian Modes in C, F, G) and will consider: Jazz Patterns and Licks, further modal study, pentatonics and II-V-I ‘s -generally how to ap- proach getting round the changes.
The second practical session of the day will be in tutor-supervised small groups using carefully selected repertoire to allow students to experiment with and develop concepts demonstrated and explained in the first session.[Go to Top of Page]
pRep Level 3 (J, session 2,5)
Level 3 aims to consolidate work done at level 2 (Patterns and Licks, Modes, Blues, II-V-I’s etc.) and then to build on each participant’s knowl- edge of changes playing by introducing Diminished and Be-Bop Scales. Returning Summer School level 3 students will find ample opportunity to be stretched and to build on work from 2009. A carefully selected repertoire will facilitate this approach. The second practical session of the day will be in tutor-supervised small groups using carefully selected repertoire to allow students to experiment with and develop concepts demonstrated and explained in the first session. Further specific details on repertoire will be available early in 2010 before the course on the M4P Summer School website along with material to study and practise before the course.
Jazz pRep Bass and Drums (JBD, session 2,5)
For bass players and drummers, the first session offers a chance to work on the material played later in the day in the combo session and to consider ensemble rhythm playing in a variety of styles. Taught at the same time as all the other instrumental pRep classes, there is flexibility here for the first session to stand alone or for students to work with the larger groups of instrumentalists according to level and student numbers.[Go to Top of Page]
Jazz Theory Class (JT, session 1)
This class is open to all Summer School students but is essential to those enrolled in Jazz pRep and the Jazz Singers course. Purely theoretical, the class will cover the following topics.
Please note the following:- Interested Students of all levels and experience should attend Jazz Theory. It is expected that areas covered within an individual session will be both familiar and unfamiliar to the class and will move from the simple to the challenging over the course of the session. Students should bring a pencil and manuscript paper.[Go to Top of Page]
Jazz Singing (Laura Zakian) (JV, sessions 3,4,5)
A course for singers from all backgrounds and with all levels of experience of Jazz Singing -from Jazz beginners to more established Jazz Vocalists. Students should have a basic understanding of breath control and vocal technique and should listen to and enjoy jazz.
It is expected that students attend all three sessions. The third session (5) will allow Singing students to work in a combo setting with Instrumentalists from the Jazz pRep courses.
The Course content includes:-
Vocal warm-ups,
Breath Management,
Jazz Styles,
Swing feel and phrasing
Approaching rhythmic and ballad singing
Vocal qualities used in jazz.
Interpretation and delivery.
Microphone technique.
Sessions are typically Student centered and experiential, with Tutor demonstrations, Ensemble and group singing and importantly, Solo singing with tutor feedback. An accompanist (Chris Lee) works with the group at every session.
Students can expect the following outcomes:
Better breath management
Vocal technique appropriate to jazz singing
Greater understanding of Jazz styles
Increased ability and confidence to perform a jazz standard
Repertoire:-
Let’s Fall In Love.
They Can’t Take That Away From Me.
My Romance.
I Know How To Do It.
Dooodlin’.
That Old Devil Moon.
Wave.
Please note: The tutor will provide the bulk of the repertoire, but in order to meet their own expectations, students may bring songs of their own choice. Jazz vocalists should also enroll for Jazz Theory (session 1).[Go to Top of Page]
Big Band (Paul Bartholomew) (A, sessions 4 and 6)
All suitable instrumentalists (5 Saxes, 4/5 Trombones, 4/5 Trumpets, Drums, Bass, Guitar, Piano. Percussion) are encouraged to join this ensemble which plays a variety of Big Band Music from arrangers like Neal Hefti, Lennie Niehaus, Duke Elington and Sammy Nestico to contemporary and World Music styles based on Latin and South African grooves arranged by Paul Bartholomew.
The emphasis is on developing good ensemble playing over the week to prepare for a concert of 10-12 pieces on the Thursday Night.
All are welcome to this popular ensemble, but if the Band is heavily over subscribed (please note this is often the case with Saxophones), then students with the appropriate level of experience will be directed to Open Jazz Orchestra or Sax Choir following a diagnostic with the Tutor.[Go to Top of Page]
Jazz Studies (JS, session 3)
A new session for 2010, with a different subject every day of the week where Tutors tackle individual areas such as Grooves, Style (Be-Bop, Standards, Contemporary, Modal), Ballad Playing, Rhythm Reading, Soloing, Instrumental Sound/Specifics, Practice methods, Dixie, Working with Singers, Free Improvisation and more! Something important and for everyone on the Jazz Courses (and Summer School as a whole) regardless of level. The full list of topics will be announced at the commencement of Summer School.[Go to Top of Page]
Open Jazz Orchestra (Simon Atkins) (JO, session 6)
Suitable for all-comers and all instrumentalists. By using a carefully chosen repertoire of arrangements of well-known Jazz standards this group concentrates on ensemble playing, and working on finding the right groove, swing feel, phrasing and dynamics and all that Jazz! Highly recommended for those in Jazz pRep 1 for opportunities to practise their improvising skills over Big Band style charts, or to those new to an ensemble tackling jazz repertoire. [Go to Top of Page]
Jazz Performance Platform
A nightly informal session where students and Tutors can get together to play through material learned on the course and other material of their choice. Times and venue will be announced at the beginning of the week.
Dance Band (H) (Paul Medina)
An ensemble playing strict-tempo arrangements, some by the great Jimmy Lally. Good sight readers are required for the band, which will appear as entertainment on at least one occasion during the week with minimum reahearsal! Saxes, Brass and Rhythm Section all required. Dress code for the performance will be black trousers, white shirt and bow tie for the men and appropriate evening attire for the ladies.[Go to Top of Page]
Ceilidh Band (C)
Come and join in Louisa’s and Aidan’s unending quest to make ceilidhs cool again. This course provides the bands for the summer school’s two ceilidhs during the week, culminating in the Last Night Hoolie. Incorporating folk music mainly from the British Isles, the course explores new and old approaches to playing for dancing. It is hoped that music packs will be sent out in advance but please feel free to bring in any of your own personal gems. The course is suitable for mixed abilities, but it is an aerobic workout for even the fittest players![Go to Top of Page]
Choir (F)
Does exactly what it says on the tin! Suitable for anyone, including those of us who have always secretly wanted to sing in a choir and those of us who haven’t sung since school (regardless of how long ago that was). This is best described as a fantastic bonding experience for all who attend. Fun warm-ups, little bits of useless information about how to make a decent noise and exciting repertoire all make for an uplifting end to each day. [Go to Top of Page]
Arranging Clinic (G)
Do you have a favourite tune that you would like to arrange for a small group of instruments? If you are struggling, or could use some advice, bring the piece along to Aidan’s arranging clinic and work through the difficulties with Aidan and fellow students.[Go to Top of Page]
Basic Theory (W)
Do you know what a plagal cadence is? Does 4,5,1 make sense to you? If the answer is “No” – then this is the course for you. If you think you do know the answer, but would like to find out more, you will also be welcome on this course.[Go to Top of Page]
Chamber Choir (D)
A course for more competent choral singers, with well-developed sight reading skills and broader experience of singing complex pieces.[Go to Top of Page]
String Orchestra (S)
Open to orchestral strings (violin, viola, cello and bass). This course aims provide a good introduction to string orchestra playing for those new to large ensemble work, whilst allowing more experienced players to develop their ensemble skills, learn to lead a section, or take a solo role. A range of repertoire, tailored to the ability of course applicants, will be studied during the week. As an example, last year’s repertoire included movements from Holst’s ‘Brook Green’ Suite and Bartok ‘Romanian Dances’.
Chamber Music (E)
The chamber music course is open to orchestral strings (violin, viola, cello, bass), orchestral wind (flute, oboe, clarinet, bassoon, horn) and piano. Players of other instruments are not necessarily excluded, but will need to contact the tutor before applying to make sure they can be accommodated.
Participants will be divided into small ensembles as numbers allow - string trios, quartets, wind quintets, piano trios etc. Suitable music will be provided (though students are welcome to bring their own) and groups will rehearse independently as well as being visited by one of the tutors for guidance during each session. There will be an opportunity to perform one of the pieces worked on in the end of course concert for those groups wishing to do so, and for those whose timetables allow there may also be opportunities to sign up for further coaching during free sessions.
Reasonable confidence in music reading is essential for this course as students will sometimes be required to work without tutor guidance.[Go to Top of Page]
I wish I could Sing (K)
This course is offered again following its huge success in 2008 and 2009. Have you always wanted to learn to sing but have been put off by feeling that your voice may not be good enough, or perhaps someone has unkindly told you that you are tone deaf? This course is for you! It will also work for those who think that they have lost the voice that they once had; lots of people lose opportunities to sing when they transfer to secondary school or into work and they never have the time or the opportunity to pick it up again. Here is your chance! This is a carefully designed and very effective course delivered by an experienced tutor. Starting with discovering how voices work and exploring your voice within a group the tutor will then take you through a selection of unison and two-part songs drawn from many musical styles to build your confidence. You do not need to be able to read music, there are no auditions; this is a safe, supportive environment in which to discover the fun of singing together. [Go to Top of Page]
Solo Singing - First Steps (V)
Do you already belong to a choir or singing group and want to have a go at singing solo? Perhaps you have already started along this road and are looking for more input and ideas. You may want a boost to your confidence, help with hitting the high notes, advice on controlling your nerves, insights into the connections between music and words, hints on improving your communication skills, a quick guide to singing in a foreign language. Each session will include group vocal exercises and solo songs. Participants are asked to prepare three songs, which may be in any musical style and of any standard, which they are happy to sing in front of the whole group. The very experienced tutor will provide coaching and encouragement so that you can grow in confidence vocally and musically. There is a course accompanist to work with in preparing your songs for the sessions. If you would like help in choosing your songs, please contact the Course Tutor in advance.[Go to Top of Page]
Opera (P)
Objective to rehearse for a fully staged performance of an abridged version of Mozart’s masterpiece comic opera The Marriage of Figaro. The final rehearsals and performance will take place in the new theatre at Giggleswick School.
The Course aims to:-
offer a positive collaboration between students and tutors.
explore both the comic and more serious elements of the opera.
provide a supportive environment for singers to explore their ideas
about their roles.
offer guidance for effective communication via singing and acting.
offer opportunities for students on other courses to collaborate in the
performance.
The Process spreads over two sessions each day to include vocal and physical class warm-ups in preparation for sessions; music and production rehearsals; individual sessions with the repetiteur (Assistant Tutor). Half way through the week we transfer from the rehearsal studio to the stage. An exciting and innovative element of this year’s course will be one session with the Jazz Singing Tutor to enable the Opera Course students to explore how vocal and communication skills in jazz can be transferred to vocal and dramatic characterisation in opera.
Participants: The course is aimed at singers who have already have some experience in solo singing – this could be any principal role in a production or in recitals or concerts.
Characters:-
Count Almaviva - Baritone
Basilio - Tenor
Countess Almaviva - Soprano
Don Curzio - Tenor
Susanna - Soprano
Dr. Bartolo: Bass
Figaro - Bass
Antonio - Bass
Cherubino - Soprano/Mezzo-soprano
Barberina - Soprano
Marcellina - Mezzo-soprano
Applications should be made as soon as possible and in any event before 1st April 2010 to enable casting to be completed by the end of April. If you have any questions before submitting your application, please contact the Course Tutor (details from M4P office). [Go to Top of Page]
Folk (I)
The course is primarily intended to stimulate an interest in, to inform about and enable people to participate in, the folk music of the British Isles, although other cultures may be touched upon. The course is for musicians and singers of all ability and the primary objectives are to learn something about folk music, join in with group music-making activities, maybe write a song or a piece of music, but mainly to enjoy the course. While there is no need to be able to read music, an idea of the rudiments of harmony and music will be included in the course. In 2010 we are hoping to join with the Brass Band course in performing a glorious piece of music called 'The Song of Agincourt'.[Go to Top of Page]
Brass Band (B)
The brass band will provide the opportunity to study and perform concert works as well as those pieces traditionally referred to as 'test pieces'. Music will be supplied but students are also encouraged to bring pieces from their own band libraries for consideration including any solo items that they would like to try out through the week. We will work on a variety of music and we will spend some time preparing for a concert performance on the final day. We will look at, and try to build on, students sound production/technique etc. and we hope to be able to achieve a noticeable improvement in overall band sound and ability by the end of the week. [Go to Top of Page]
Brass Chamber Music (B1)
This course will focus on ensemble pieces for small groups of up to ten brass players, (including the standard brass band quartet repertoire as well as 'symphonic' brass ensemble) and the disciplines required that maybe differ from those pertinent to other brass playing. The course will give students the opportunity to benefit and gain from the experience of playing in small groups. There may also be the opportunity to combine with some of the other chamber music groups at the school.[Go to Top of Page]
Symphony Orchestra (U)
This year will look mainly at ballet music ranging from Coppelia and the great Tchaikowsky ballets, to more modern including Rodeo and the Finale of The Firebird with some ballet sections of opera scores, like Ponchielli's Dance of the Hours and Massenet's Le Cid. The tutor will also bring some more classical repertoire of Haydn and Mendelssohn to look at in sessions when the "heavy brass" are not with us.[Go to Top of Page]
Symphonic Wind Orchestra (T)
This year will look at some modern classics both American and English including John Barnes-Chance's Incantation and Dance, Eric Whitacre's Sleep, Holst's Moorside Suite, Frank Tichelli's Sun Dance and Darius Milhaud's Suite Francaise. A good selection of more popular listening will be available for sight read practice.[Go to Top of Page]
Saxophone Choir (M)
A new course and a chance for all you saxophonists who can’t get enough of playing to get together and play some more. If you have any arrange- ments for massed saxes please bring them along or indeed for sax ensembles outside the usual four.[Go to Top of Page]
Wind Ensembles (X)
Music for wind choirs and the larger classical ensemble of woodwind and horns. Music will be selected from a wide variety of original compositions and arrangements.[Go to Top of Page]
Orchestral & Band Percussion (L)
Whether you are new to the percussion section or you want to improve your abilities, this course will give you the basic transferable skills enabling you to survive and thrive in an orchestra or brass/wind band percussion section. Each session will include an ensemble performance based on the instruments studied that day. Because of the wide remit of the sessions, this course now runs all week and will culminate in a concert performance of an ensemble piece; please sign up separately to play in other ensembles. There are always opportunities to put your study into practice at the end of the week. The course will cover: bass drum, snare drum and cymbals; timpani; xylophone and glockenspiel; tambourine, triangle & misc. percussion. Orchestral extracts will be used as well as learning materials. A section on maintenance and re-heading (new skins) will be useful to many. Attention will be paid to interpreting percussion scores and organising sections. The course will have a strong core structure and will also be open to respond to student requirements (including those traditional instruments now becoming more popular in scores). Particularly useful for kit players who want to branch out. Music reading an advantage.[Go to Top of Page]
Percussion Ensemble (Q)
This wide-ranging performance group will cover playing existing arrangements of ensemble music, improvisation and group composition with graphic scores. Some instrumental tuition will be provided. This will be a self-organised group with plenty of support and mentorship available from Brendan and Tom. You may decide to perform in concert at the end of the week.[Go to Top of Page]
Early Morning Sessions
Morning Drum Group
Each morning there will be a Drum-Circle or Samba led by Brendan or Tom. A great way to start your day of music-making, drum circles are an uplifting exploration of pulse and tone; the 'make-do samba' has proved a success every year with its innovative approach. Please do bring any drums or percussion that you may have (including home-made). New this year, two of the mornings will be dedicated as 'how-to' sessions, one for drum circles, one for samba, with handouts to take away and opportunities for Q&A. The tutors are experienced in 'Samba into Schools' projects at KS2-4 and Wider Opportunities and can offer insights to those about to embark on similar projects.
Dalcroze Eurhythmics
Aims to develop a finely tuned ear and a physical feeling for rhythm through the use of voice and movement. The main concepts of the method will be introduced and will provide an opportunity to develop skills in pulse, rhythm and pitch away from the technical restraints of an instrument.
Early morning warm up sessions
Described as suitable for anyone but particularly aimed at singers and brass players and all who use their breath during the day. Physical exercise, breathing and gentle vocalising to ease everyone into the start of the long day.[Go to Top of Page]
"And this shall be for a bond between us: that we are of one blood you and I; that we have cried peace to all and claimed fellowship with every living thing; that we hate war and sloth and greed, and love fellowship, and that we shall go singing to the fashioning of a new world."William Morris.
