2024
Ensemble V
Name: Ensemble V
Code: MUS12982L
3 ECTS
Duration: 15 weeks/78 hours
Scientific Area:
Music
Teaching languages: Portuguese
Languages of tutoring support: Portuguese, English
Regime de Frequência: Presencial
Sustainable Development Goals
Learning Goals
The student will learn how to play, explain (transmit) and teach jazz compositions in all the different styles
of jazz since it's emergence in the beginning of the 20th century. The student will acquire knowledge about
the various styles according to the chronological evolution of jazz and it's styles. In this way the student
will be able to apply his acquired skills in improvisation and technique from the instrument classes in a
way that makes sense according to the idea that the complexity of jazz evolved in parallel with it's history.
Creativity and the ability to transmit complex musical ideas is equally stimulated by each student
producing mandatory arrangements for his ensemble and having to explain his ideas to his colleagues.
of jazz since it's emergence in the beginning of the 20th century. The student will acquire knowledge about
the various styles according to the chronological evolution of jazz and it's styles. In this way the student
will be able to apply his acquired skills in improvisation and technique from the instrument classes in a
way that makes sense according to the idea that the complexity of jazz evolved in parallel with it's history.
Creativity and the ability to transmit complex musical ideas is equally stimulated by each student
producing mandatory arrangements for his ensemble and having to explain his ideas to his colleagues.
Contents
Hard Bop and sub-styles (Be Bop, Funky/Soul, Art Blakey, Joe Henderson, McCoy Tyner, Coltrane, M.
Davis, Wayne Shorter, Herbie Hancock, etc...)
Señor Blues
Along Came Betty
Whisper Not
Giant Steps
Moments Notice
Maiden Voyage
Children of the Night
Speak No Evil
Cantalupe Island
Watermelon Man
Avant-garde of the 60 (free jazz).
The Sphinx (O. Coleman)
Blues Connotation (O. Coleman)
Broadway Blues (O. Coleman)
Fables of Faubus (Mingus)
There Is The Bomb (Don Cherry)
Number Eight (Potsa Lotsa) - (E. Dolphy e B. Little)
Out To Lunch (E. Dolphy)
Love Cry (A. Ayler)
Nefertiti
Theme For Ernie (Archie Shepp)
Jazz-Rock Fusion.
Chameleon
Spain
Birdland
Soul Intro/The Chcken
Red Clay
Recent jazz (80 onwards).
Pools (Steps Ahead)
Blue Heaven (Dave Douglas)
Inner Urge (Joe Henderson)
Nothings Personal (Michael Brecker)
Not Ethiopia (The Brecker Brothers)
(Standards in a post-modern style).
Wynton Marsalis
Dave Douglas
Portuguese jazz
Davis, Wayne Shorter, Herbie Hancock, etc...)
Señor Blues
Along Came Betty
Whisper Not
Giant Steps
Moments Notice
Maiden Voyage
Children of the Night
Speak No Evil
Cantalupe Island
Watermelon Man
Avant-garde of the 60 (free jazz).
The Sphinx (O. Coleman)
Blues Connotation (O. Coleman)
Broadway Blues (O. Coleman)
Fables of Faubus (Mingus)
There Is The Bomb (Don Cherry)
Number Eight (Potsa Lotsa) - (E. Dolphy e B. Little)
Out To Lunch (E. Dolphy)
Love Cry (A. Ayler)
Nefertiti
Theme For Ernie (Archie Shepp)
Jazz-Rock Fusion.
Chameleon
Spain
Birdland
Soul Intro/The Chcken
Red Clay
Recent jazz (80 onwards).
Pools (Steps Ahead)
Blue Heaven (Dave Douglas)
Inner Urge (Joe Henderson)
Nothings Personal (Michael Brecker)
Not Ethiopia (The Brecker Brothers)
(Standards in a post-modern style).
Wynton Marsalis
Dave Douglas
Portuguese jazz
Teaching Methods
Defining repertoire with the students in accordance with the syllabus.
Each student produces a complete arrangement for the ensemble coherent with the of the syllabus.
Working with the produced arrangements and experimentation of alternative musical solutions.
Discussion and practice of improvised solos coherent with the syllabus.
Dealing with errors in real time through experiments.
Leading a jazz group: each student leads the ensemble. The student should be able to explain and
transmit his musical ideas.
Evaluation:
As a group:
Execution of the theme.
Maintaining form.
Group dynamics
Interaction between students
Individually:
Sound and tuning
Rhythmic interpretation, articulation and phrasing.
Maintenance of form.
Communication.
Stylistic coherence.
Attitude on stage and dealing with error.
Each student produces a complete arrangement for the ensemble coherent with the of the syllabus.
Working with the produced arrangements and experimentation of alternative musical solutions.
Discussion and practice of improvised solos coherent with the syllabus.
Dealing with errors in real time through experiments.
Leading a jazz group: each student leads the ensemble. The student should be able to explain and
transmit his musical ideas.
Evaluation:
As a group:
Execution of the theme.
Maintaining form.
Group dynamics
Interaction between students
Individually:
Sound and tuning
Rhythmic interpretation, articulation and phrasing.
Maintenance of form.
Communication.
Stylistic coherence.
Attitude on stage and dealing with error.
Certificações
