2023
Ensemble IV
Name: Ensemble IV
Code: MUS12981L
3 ECTS
Duration: 15 weeks/78 hours
Scientific Area:
Music
Teaching languages: Portuguese
Languages of tutoring support: Portuguese
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
Cool (New York 50)/West Coast (L.A 50)/Third-Stream/Lennie Tristano style (New York/Chicago 50).
Boplicity
Jeru
All The Things You Are
Lido Road
Walkin Shoes
Take Five
Blue Rondo a la Turk
Early Autumn
Popo (Shorty Rodgers)
Crosscurrent (Tristano)
Palo Alto (Bill Evans/Lee Konitz)
Vendome (Modern Jazz Quartet)
Jazz Modal (late 50)
Milestones
So What
Flamenco Sketches
All Blues
Freddie Freeloader
Mode For Joe (Joe Henderson)
My Favourite Things (Coltrane's version)
Naima
Little Sunflower
Bill Evans Style
Solar
Waltz For Debbie
Nardis
Minority
You Must Believe In Spring
The Peacocks
Theme from M*A*S*H
Beautiful Love
Glorias Step
My Romance
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
Boplicity
Jeru
All The Things You Are
Lido Road
Walkin Shoes
Take Five
Blue Rondo a la Turk
Early Autumn
Popo (Shorty Rodgers)
Crosscurrent (Tristano)
Palo Alto (Bill Evans/Lee Konitz)
Vendome (Modern Jazz Quartet)
Jazz Modal (late 50)
Milestones
So What
Flamenco Sketches
All Blues
Freddie Freeloader
Mode For Joe (Joe Henderson)
My Favourite Things (Coltrane's version)
Naima
Little Sunflower
Bill Evans Style
Solar
Waltz For Debbie
Nardis
Minority
You Must Believe In Spring
The Peacocks
Theme from M*A*S*H
Beautiful Love
Glorias Step
My Romance
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
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.
