CJC Degree Programs
Jazzschool Classes/ Workshops
MUS100A Ear Training & Sight Singing
(3 credits, 3 hours lecture/lab)
A course designed to develop aural and visual perception of rhythmic, melodic and harmonic components of music. Course material is jazz based.
Instr. Jay Lehmann
MW 9 – 10:30am
PRF400 Jazz Repertoire Ensemble (Green Ensemble)
(4 credits, 4 hours lab)
A performance ensemble for the advanced student focusing on important core innovations by postbop luminaries including Wayne Shorter, Joe Henderson, Herbie Hancock, Chick Corea, Dave Liebman, Michael Brecker among others. Students are encouraged to bring in original work. Prerequisites: rhythmic, melodic and harmonic fluency with the bop and postbop language; familiarity with repertoire from the Great American Songbook. Enrollment by audition only.
Instr. Dann Zinn
MW 9 – 11AM
PRF400 Jazz Repertoire Ensemble (Blue Ensemble)
Instr. Jeff Denson
PRF200 Festival Prep Ensemble
(2 credits, 2 hours lab)
Similar to the Blue and Green Ensembles, this performance ensemble is for the intermediate- advanced student focusing on important core innovations by postbop luminaries including Wayne Shorter, Joe Henderson, Herbie Hancock, Chick Corea, Dave Liebman, Michael Brecker among others. Students are encouraged to bring in original work. Prerequisites: rhythmic, melodic and harmonic fluency with the bop and postbop language; familiarity with repertoire from the Great American Songbook. Enrollment by audition only. This Ensemble is a year-long commitment, and will participate in the Reno Jazz Festival in the Spring.
Instr. Susan Muscarella
MW 9:30 – 10:30AM
MUS103 Introductory Music Theory and Ear Training
3 credits, 3 hours lecture/lab
An introductory elective course taken on a pass/no pass basis designed to strengthen knowledge of music theory and aural skills. Successful completion of this course qualifies students for enrollment in THE100A and MUS100. Highly recommended for drummers and vocalists.
MW 10:45 – 12:15PM
THE205A Single Line Soloing for Instrumentalists
3 credits, 3 hours lecture/lab
A course for instrumentalists focusing on developing single line soloing techniques idiomatic to the bebop and post-bop traditions. Includes analysis and performance of key transcriptions of bebop and post-bop masters as well as in-class application of the fundamental devices employed in modern jazz improvisation.
Prerequisites: THE205A or equivalent
MW 11AM – 12:30PM
HIS390A History of Western European Music from Antiquity to 1750
(3 credits, 3 hours lecture)
This course traces the development of Western European art music from the 10th century through the middle 18th century, focusing on the musical styles of the master composers of the Medieval, Renaissance and Baroque periods. Emphasis on the socioeconomic and political conditions that gave rise to them.
Instr. Jason Levis
MW 11 – 12:30PM
THE100A Jazz Theory & Improvisation
A course covering jazz theory and improvisation techniques and styles based on the artistic practice of jazz masters, from the early twentieth century innovations of Louis Armstrong, to the contemporary artistry of Herbie Hancock, and beyond. Students gain a solid understanding of jazz theory and improvisation, from the fundamentals to chord/scale theory, soloing, reharmonization, and transcription and analysis. Theoretical concepts are illustrated with select recordings of leading jazz artists and applied to relevant exercises and repertoire in class. This course lays important groundwork critical in the development of individual style.
Instr. John Gove
M 11 – 2:15pm (with break)
THE315A Single Line Soloing for Vocalists
A course for vocalists (or instrumentalists who wish to participate as vocalists) focusing on developing single line soloing techniques idiomatic to the bebop and post-bop traditions. Includes analysis and performance of key transcriptions of bebop and post-bop masters as well as in-class application of the fundamental devices employed in modern jazz improvisation.
Prerequisites: MUS201 and THE100B
MW 12:45 – 2:15PM
HAR390A Western European Harmonic Practice from 1600 to 1820
Focusing on compositions from the Baroque and Classical periods, this first-semester course covers preparatory material for the study of harmony, figured bass, harmonization of melodies, voice leading, cadences, theory of chord progression, chord progressions in the diatonic major and minor, chord inversions, and an introduction to analysis.
MW 12:45 – 2:15pm
PRF101 Horace Silver Ensemble
(2 credits, 3 hours lab)
The repertoire of Horace Silver.
M 2:30 – 4:30PM
HIS110 The Jazz Standard: The Great American Songbook
(2 credits, 2 hours lecture/lab)
An overview of the evolution of The Great American Songbook — the canon comprising American popular songs written originally for musical theatre and later film between 1920 and 1950. Now the cornerstone of modern jazz, the repertoire of the Great American Songbook arose during the decade of the Jazz Age, The Great Depression, WWII and the unprecedented economic growth that took place in 1950s America. This singular body of work manifested hope, built morale, eased social barriers and reflected our country’s promise for the future. Students examine the lives and perform the work of the central composers of this period, including Jerome Kern, Irving Berlin, George Gershwin, Cole Porter, Duke Ellington, Richard Rogers and Harold Arlen among others. Note: This course serves as a requirement for vocalists and is a highly recommended elective for instrumentalists.
Instr. Maye Cavallaro
PRF263 Modern Neo-Soul Ensemble
Repertoire by composers in the modern NeoSoul tradition including Hiatus Kaiyote, Thundercat, Jacob Collier, and Moonchild, among others. Open to voice, horns, piano/keyboard, guitar, bass and drums.
Instr. Colin Hogan
COM300 Jazz Composition
A concentrated writing course utilizing the compositional styles and techniques of the master composers as a point of departure in creating new work. Composers studied include Ellington, Parker, Silver, Mingus, Monk, Coltrane, Hancock, Henderson, Shorter, Brecker, Liebman, Grolnick, Pastorius, Towner and more. Melodic, harmonic and rhythmic techniques employed in the music of Mozart, Beethoven, Brahms, Debussy and other relevant past masters are also examined and applied to students’ work.
Instr. Michael Zilber
MW 2:45 – 4:15pm
PRF391 Electronic Music Ensemble
An ensemble for musicians utilizing electronic and/or electro-acoustic instruments. The class will cover applied synthesis and signal processing techniques, collaborative electro-acoustic improvisation, scoring techniques for unconventional instruments, and utilizing software and/or hardware instruments in live performance.
Prerequisites: Access to any electronic or electro-acoustic instrument(s) such as a guitar and pedal board, keyboard synthesizer, desktop or modular synthesizer, drum machine, sampler (e.g.: Roland 404), vocal processing and looping (hardware and/or software), iPad synthesizer apps, and a laptop with a DAW or other sound producing software (e.g.: Max/MSP, PureData, SuperCollider, VCV rack, stand-alone softsynths). Questions about gear can be directed to: email@example.com
Instr. Kim Nucci
M 2:30 – 4:30pm
ENG110 Introduction to Shakespeare: From Plays to Works
This course examines selected Shakespeare plays and poetry, including Twelfth Night, King Lear, The Tempest, and the Sonnets. Students demonstrate their response to and understanding of these various texts by setting a selected scene, monologue and/or poem to music. Students work in seminar format and attend a live performance of King Lear at the California Shakespeare Theater. Note: Well-known Bay Area composer Paul Dresher will attend selected class sessions and provide students with guidance in setting prose to music in a theatrical context. Fundamental to this course is the understanding that setting text to music requires a deep comprehension of the text and how it works. Dr. Kelly will illuminate how Shakespeare’s plays and poetry functioned socially in his day: like today’s jazz, Shakespeare’s work started out as popular entertainment, gaining the stature of “cultural enlightenment” through time. Dr. Kelly will also provide a rich context for understanding the rhythm and meaning of Shakespeare’s language.
Instr. Philippa Kelly
MW 4:45 – 6:15 pm
HUM340 Brazilian Portuguese
An introduction to the Portuguese language specific to the Brazilian vernacular. Emphasis on the four basic communication skills: reading, writing, speaking and listening with particular attention given to pronunciation.
Instr. Vivien Monica Golcwajg
TuTh 9 – 10:45AM (NOTE: This is a late start class; first meeting is 9/3)
PRF200 Repertoire Ensemble
(2 credits, 2 hours lecture/lab – elective)
A performance ensemble focusing on a wide range of repertoire from the Great American
Songbook to bebop, post-bebop and “world music” genres.
Tu 9 – 11pm
THE200A Jazz Theory & Improvisation
Instr. John Gove
TuTh 9 – 10:30AM
MUS209A Practical Applications for the Rhythm Section
(2 credits, 2 hours lecture/lab – elective)
A two-semester hands-on, interactive course for pianists, guitarists, bassists and drummers focusing on rhythmic considerations relevant to the rhythm section. Course covers the role of the individual and the rhythm section as a credit as applied to jazz, Afro-Caribbean, South American and World music styles past and present.
Instrs. Jeff Denson and Alan Hall
Tu 10 – 12pm
PRF390 Contemporary Music Ensemble
(4 credits, lecture/lab)
An examination of twentieth and twenty-first century harmonic concepts applied to students’ original compositions.
Prerequisites: HAR390A, HAR390B
TuTh 10:30AM – 12:30AM
MUS200A Ear Training & Sight-Singing
A course designed to develop aural and visual perception of rhythmic, melodic and harmonic components of music. Course material is jazz- based.
TuTh 11am – 12:30pm
HIS387 Protest Songs — From the African American Work Song to Women’s Rights
A historical overview of protest songs, from the African American roots tradition (work songs, spirituals, field hollers, moans, ring shouts and plantation dances) through the Civil Rights, Anti- War, Free Speech and Women’s Rights movements –– sacred and secular oral traditions manifesting cultural resistance and a cri de cœur for freedom and equality.
Instr. Tammy Hall
Tu 1 – 4pm
HIS100A Jazz History — The Roots of Jazz and Early Jazz, Pre-1900–1919
This course examines the influences of West African, Caribbean, South American, Asian and European music and culture on the development of jazz pre-1900, and on the early music of New Orleans that became known to the world as jazz by 1917. The course focuses on the West African conceptual approaches, practices, and cultural conventions that form the foundation of jazz, and its origins in spirituals, blues, ragtime and other African American sacred and secular music. The development of jazz is studied within the historical context of American social forces including post-bellum segregation, the industrial boom and the Great Black Migration, World War I, and the invention of the radio and sound recordings.
Instr. Anthony Brown
PRF240 Brazilian Jazz Ensemble
(2 credits, 2 hours)
An ensemble focusing on the amalgam of Brazilian and American jazz styles of music and techniques. Open to instrumentalists and vocalists.
Instr. Marcos Silva
Tu 4 – 6pm (NOTE: This is a late start class; first meeting is 9/3)
THE301 Form & Analysis of Jazz Standards
(2 credits, 3 hours lecture)
A course in an ensemble format focusing on form and analysis of jazz standards essential to the professional musician. Prerequisite: THE200B or concurrent enrollment.
Instr. Glenn Richman
Tu 4:15 – 6:15pm
SCI300 Physics of Sound and Music
An exploration of the mechanics and perception of music — from the energy that excites the vibrating object and the space through which its waves propagate, to the human ear and brain that experience it as music and reshape it through design. Topics include: wave properties; sound production and timbre; acoustics and psycho- acoustics; pitch, tuning and temperament; and music technology. Through an understanding of music from a scientific perspective, students work toward expanding and building on their experience and sensibilities as musicians. While incorporating some basic mathematics, this course focuses primarily on a conceptual understanding of complex phenomena.
Instr. Terry Buehler
TuTh 4:15 – 5:45PM
BUS301 Legal Aspects of the Music Industry for Jazz Musicians
(1 credit, 1 hour lecture)
An overview of the various legal issues in the music industry and the manner in which the law and technology have shaped the evolution of the industry. Covers current legal issues faced by jazz musicians and jazz labels and the business practices that are being developed to address them. Provides an understanding of the principles of contract and copyright law and covers topics relevant to jazz musicians today, including the role of agents and managers, live performance agreements, recording contracts, music publishing, producer agreements, licensing music for motion pictures, television and commercials, under- standing royalty statements and the distribution and sale of music on the internet.
Instr. Todd Gascon
Tu 6:30 – 7:30pm
PRF110A/210A Vocal Jazz Performance
(3 credits, 3 hours lab – req for vocalists)
A four-semester course covering a range of styles from the Great American Songbook to bebop, modal, world, contemporary popular, and free music. Students compose original material, write lyrics and create their own arrangements. Accompanied by a pianist and/or rhythm section, singers focus on interpretation, stage presence, improvisation, vocal technique, phrasing as well as cultivating a personal style. Students are expected to develop a repertoire of 100 songs over this two-year course.
Instr. Laurie Antonioli
W 12 – 3pm
PRF201 Miles / Wayne Ensemble
The repertoire of Miles Davis and Wayne Shorter.
W 12:15 – 2:15pm
PRF230 Latin Jazz Ensemble
An ensemble based on the amalgam of styles and techniques that form and inform the multifaceted field of Latin jazz.
Instr. John Santos
W 12:30 – 2:30PM
PRF300 Jazz Repertoire Ensemble
2 credits, 3 hours lab
Instr. Jeff Massanari
W 2:30 – 4:30pm
HIS330 Latin American Roots of Jazz
(2 credits, 2 hours lecture)
A survey of the evolution and relevance of the Afro-Latino roots of jazz. This course examines the pan-American sociopolitical circumstances that brought Afro-Latino music and jazz together as branches of the same tree. Emphasis is placed on the historical development of the especially influential music of Cuba, New York and Puerto Rico. Students listen to rare recordings from 1900 to the present. Music is analyzed through lecture, listening and discussion and broadens an understanding of jazz from both stylistic and historical perspectives.
W 2:45 – 4:45PM
THE201 Introduction to Jazz Transcription
(1 credit lecture/lab)
An introduction to techniques for transcribing jazz melodies, rhythms, and chord progressions. Transcribing assignments increase in level of difficulty throughout the semester. This course serves as an optional prerequisite for THE200B, which involves advanced level transcription.
W 3 – 4 pm
MUS202 Sight Reading Workshop
A lab focusing on developing sight reading skills relevant to the jazz music genre. Open to instrumentalists and vocalists.
W 4:15 – 5:15 pm
HIS390A History of Western European Music from Antiquity to 1750
(3 credits, 3 hours lecture)
PRF111A Vocal Jazz Ensemble
Repertoire includes historic arrangements from groups including Lambert, Hendricks & Ross and the Singers Unlimited as well as original charts and arrangements. Emphasis on singing close harmony parts, sight reading, intonation and creating a stylistically relevant ensemble sound.
Instr. Ben Flint
Th 10:30 – 12:30pm
PRF310A Advanced Vocal Performance
A continuation of PRF210B, focusing on students’ repertoire of choice. Prerequisites: PRF210B or consent of vocal chair.
Th 12 – 3pm
PRF301 Odd Meter Ensemble
Instr. Frank Martin
Th 1 – 3pm
HIS200A Jazz History — Style and Culture in America from 1940-1959
This course explores jazz as an art form, with a focus on the musical innovations of modern jazz through the beginnings of free jazz. Styles including bebop, hard bop, funk, Latin jazz, cool jazz, and other styles created by Dizzy Gillespie, Thelonious Monk, Miles Davis, Max Roach, the Modern Jazz Quartet, Art Blakey’s and Horace Silver’s Jazz Messengers, Ornette Coleman and many of their collaborators are examined, focusing on instrumental grouping, structural, harmonic and rhythmic creativity, and folk influences. Students draw connections between the mid-century impact of World War II, the Atomic Age and the Cold War, the hegemony of television, advertising, the burgeoning Civil Rights Movement and other historical epochs upon the evolution of jazz. Prerequisite: HIS100B.
Th 1 – 4pm
COM301B Jazz Arranging — Large Ensemble
A one-semester introductory course on basic jazz arranging techniques for the large ensemble. Students review ranges and characteristics of instruments, rules for notating rhythm, how to lay out a score, how to voice chorale-style chords, and how to harmonize a moving melodic line with five voices. Through analysis of works by the masters from Duke Ellington to Maria Schneider, students also explore different techniques for large scale development of form, chord voicings for more than five horns and large ensemble texture and orchestration techniques. Required text: Inside the Score, by Rayburn Wright. Students are assigned three arranging projects. All assignments must be completed on a program such as Finale or Sibelius. The final project is an arrangement for full big band. Prerequisite: COM301A or consent of instructor.
Instr. Erik Jekabson
Th 4:30 – 7:30pm
BUS400A Marketing & Publicity
A course focusing on marketing and publicity practices critical to the success of the professional musician.
Instr. Sheryl Lynn Thomas
Th 4:45 – 6:15pm (10 weeks)
BUS300 Audio for Live Performance & Recording
An introductory overview of live performance audio systems and basic recording technology providing an explanation of the signal path from the source through the microphone to its eventual destination of live show, loudspeaker or recording media. Strategies for successful live performance and interaction with live recording engineers are presented.
Instr. Lee Brenkman
Th 6:30 – 7:30pm
TuTh 9 – 10:45am (NOTE: This is a late start class; first meeting is 9/3)
(4 credits, 4 hours lecture)
TuTh 10:30AM – 12:30PM
Entrepreneurial skills for Musicians
A course designed to provide the aspiring professional musician with entrepreneurial
skills critical to a successful career in the music industry. Using a systematic approach to
learning, students gain an understanding of financial statement analysis, costing projects and profitability, financial planning, and tax implication. This course provides students with a solid financial foundation applicable to a wide range of music industry-related ventures.
Instr. Cindy Turner
F 9am – 12pm
An ensemble focusing on developing reading skills in ensemble format.
F 10am – 12pm
PRF339 Astor Piazzola Ensemble
The repertoire of Astor Piazzola. Open to the following instruments: bandoneon, accordion, harmonica or melodica, piano, double bass, drums, percussion, electronic guitar, violin (2), cello, flute and clarinet.
Instr. Steve Erquiaga
TEC100 Introduction to Music Technology
An introduction to software tools available for sequencing, sampling, scoring/music notation, simple recording and production. This course also covers software and web-based services that assist with developing skills in basic musicianship. Introduction to Music Technology serves as a prerequisite for Basic Recording Techniques. Students must own or have access to a laptop computer with Sibelius software (version 6 or higher) installed for use in class.
THE302 Polyrhythms and Odd Rhythm Groupings
The nature and history of polyrhythms and odd rhythm groupings and their application to composition and improvisation. All instruments and voice. Prerequisites: Mus100A and The100A
Instr. Jeff Marrs
MUS101 Piano for Non-Pianists
(1 credit, 1 hour lab)
Entry-level keyboard technique for non-pianists covering scales, reading and playing basic repertoire. Serves as the prerequisite for MUS201.
Instr. Katherine Westine
F 12:15 – 1:15pm
PRF250 North Indian Classical Ensemble
(2 credits, 3 hours lab – requirement)
Repertoire in the North Indian music tradition by composers including Ali Akbar Khan and Alam Khan among others.
Instr. Alam Khan
F 12:15 – 2:15pm
MUS241 Brazilian Jazz Bass Styles and Techniques
(2 credits, 2 hours lecture/lab elective(e
A hands-on course focusing on essential Brazilian jazz bass styles, including samba, partido alto, samba funk, baião, maracatu and calango. Students also learn corresponding drum patterns.
Repertoire by Brazilian masters, including Jobim, Regina, Donato, Pinheiro, Bosco, Moreira, Horta, Silva and more.
Instr. Scott Thompson
PRF405 CJC Jazz Orchestra
Standard and contemporary big band literature.
F 1:30 – 3:30PM
PRF215 Brazilian Jazz Bass and Voice Duets
(2 credits, 2 hours lecture/lab elective)
An ensemble in duet format for bass and voice focusing on iconic Brazilian jazz repertoire with lyrics in both English and Brazilian Portuguese. Open to vocalists only.
F 2:30 – 4:30pm
MUS102 Individual Tutorial
(1 credit, 1 hour lecture/lab)
Individual supplemental instruction in a wide range of areas including but not limited to musicianship, theory, harmony, composition, arranging and history. Students may take up to 8 total elective credits of MUS102. Please note: the private lesson rate applies to this course, but MUS102 is not a substitute for private instruction. Instr. John Gove, Jeff Denson, Jay Lehmann, or others with approval.
Day/Time to be scheduled with instructor
PRV100A-400B Instrumental Private Instruction
Private instruction on the student’s instrument by a professional player of that instrument. Course
covers both technique and repertoire, and prepares the student for yearly juries. This class may
also be taken on a different instrument for elective credit.
Instructor to be approved by the Dean
PRV110A-410B Vocal Private Instruction
Private instruction on voice by a professional vocalist. Course covers both technique and repertoire,
and prepares the student for yearly juries. This class may also be taken by an instrumentalist for
SEN400 Senior Project
(1 credit, individual study)
Seniors prepare and perform a full-length concert of original material/arrangements at the CJC,
Yoshi’s or other concert venue. The concert is professionally recorded. Students focus on
composing and arranging repertoire, recording and mixing the material, packaging and distributing
the product, marketing and publicizing the concert, rehearsing the band and gaining an
understanding of all of the legal issues related to production, publishing and copyright laws.
Students complete this project in conjunction with a faculty advisor.
Advisor: Maye Cavallaro
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