Sie sind auf Seite 1von 2

CP-361 JAZZ COUNTERPOINT 1 Instructor: _______________________________________ Mailbox: ______ Office: _______ Course Chair: Eric Gould Course Description:

Study of the process for creating multi-line textures in a given melodic and/or harmonic situation. Voice leading, melodic analysis and embellishment, rhythm, and form. Assigned written projects to emphasize the role of contrapuntal practices in arranging. Course Objective: Upon satisfactory completion of this course, the student will have developed considerable skills in the composition of counterlines incorporating principles of good melodic construction and rhythmic interaction. Required Textbook: None. Handouts will be distributed as necessary. Homework, Projects, Out-of-class Preparation: Projects and weekly assignments will be required. In order to maintain satisfactory standing in this class, approximately two to three hours per week of out-of-class preparation are recommended. Due Dates: Midterm project due: March 10-14, 2014 Final project due: May 5-9, 2014 Grading Criteria: A (90-100) Superior, Exceptional; control of course material enables excellent production. B (80-89) Good; grasp of material enables above-average production. C (70-79) Average; assimilation of material enables acceptable production. D (60-69) Below average; exposure to material enables poor, but passable production. F (below 60) Not passing; assimilation of material insufficient to demonstrate acceptable productive capacity. Final Grade Determination: Your final grade will be determined by considering the following components at the indicated weights: 25% Homework 25% Project I 30% Project II 20% Project III Attendance Policy: Excessive absenteeism may result in a course grade of F at the discretion of the faculty member. Withdrawal Policy: You may withdraw from this class by completing a Student-Initiated Withdrawal from a Class form at the Office of the Registrar. The withdrawal form must be submitted to the Office of the Registrar before the end of the 9th week of classes in Fall and Spring semesters, or the end of the 8th week in the 12-week Summer Session. If you submit the withdrawal form by the deadline, you will receive a grade of W for the class. Withdrawing from a class cannot be done after the deadline. The instructor will not withdraw you from the class for any reason (including absence) or submit the form for you. It is your responsibility to withdraw from the course. If you withdraw from this class, you continue to be nancially responsible for the class and are not eligible Phone: _________ Office hours: ___________

for a tuition refund or replacement course. Please be aware that withdrawing from a class may affect scholarship, nancial aid, and/or international student visa status. If you receive nancial aid or veterans benets, your eligibility for aid may be reduced by withdrawing. If you are an international student, you may jeopardize your F-1 visa status. In case of doubt about your status and options, ask the instructor, department and/or the Counseling & Advising Center. Deadline for Course Withdrawal: 5:00 pm Friday March 28, 2014 The leadership, faculty, and staff members of the Jazz Composition Department are anxious to help ensure that the educational needs of all Berklee students are being met. Any student who feels s/he may need an accommodation based on the impact of a disability is urged to contact Disability Services in the Counseling and Advising Center (CAC) to privately discuss his/her specific needs. For more information please visit http://www.berklee.edu/counseling/specialservices.html, the greeting counter in the CAC, which is located in the 939 Boylston Street building, or call 617-7472310 Topical Course Outline 1. Introduction. Establishment of boundaries of course: to investigate contrapuntal applications for a given melodic/harmonic environment. Writing counterlines to leadsheet tunes. Presentation of examples which demonstrate counterpoint as a technique used in arranging. 2. 3. 4. Voice-leading principles as the structural foundation of smooth counterlines. Jazz 'Species' theory and related exercises. Two-part counterpoint: balancing melodic design and chord sound value in constructing counterlines. Main subtopics to include: a. b. c. d. e. f. 5. 6. 7. 8. melodic embellishment imitation tension/resolve patterns rhythmic interaction crossing of voices leaping from dissonance

Three-part counterpoint: writing two counterlines to a given melody including writing above the melody Inactive and extended harmonic rhythm environments. Four-part (quartet) writing with no rhythm section. Ostinato and layering techniques.