Main Subject Flute Jazz & Pop 2
Number of course weeks
One 50-minute lesson per week
Total contact hours
Form / content / level
Admitted to the ArtEZ Jazz & Pop Flute main subject year 2.
Further developing the technical aspects of the students' musicianship in the broadest sense of the word, as well as stimulating their musical awareness and personal taste in music. Students will be able to apply the acquired instrument skills and theory knowledge in their band performances and improvisations, demonstrating their ability to incorporate increasingly complex structures with respect to harmony, melody, rhythm and musical form. They will be able to play ca. 40 standards or self-chosen pieces by heart and to improvise over them.
Relation to other modules
The level of instrument proficiency is in line with the compulsory and optional band lessons (propaudeutic band) and theory lessons.
Scales: rehearsal of the common scales and diatonic/chromatic triads and tetrads with variations and different tonal spaces. See the technical exam for more details.
II-V licks with alterations, octatonic and whole-tone lines.
Sigurd Rascher: Overtone Exercises.
Joseph Viola: Chord Studies.
Several specific techniques.
Study material with a musical complexity level similar to:
Lennie Niehaus: Advanced Jazz Conception 3.
Bob Mintzer: 14 Easy Jazz, Blues and Funk Etudes (advanced).
Various big band parts chosen by the student.
Jamey Aebersold Play-a-Longs: Vol. 16, Turnarounds & Cycles.
Minor blues, Parker blues, Confirmation changes.
Consistent use of altered and octatonic scales.
Transcribing (partly by ear) Coltrane until 1957, Charlie Parker, Sonny Rollins until 1959, Sonny Stitt, and pieces chosen by the student.
Playing standards or other pieces unaccompanied and improvising over them.
Studying standards with different styles, tempi, and chord techniques, e.g., Blues for Alice, Confirmation, Joy Spring, Recorda Me, Have You Met Miss Jones?, Just Friends, Lady Bird, Out of Nowhere, I Hear a Rhapsody, Donna Lee, Watermelon Man, or similar pieces chosen by the student.
In-depth study of specific repertoire from a specific period, e.g, Thelonious Monk, Charlie Parker, Ornette Coleman, Wayne Shorter, Lennie Tristano, Lee Konitz.
Mode(s) of instruction
Individual lessons and group lessons as agreed with the instructor.
Real Books; Jamey Aebersold: Play-a-Longs vols 16, 21 and 24; Band-in-a-Box Software; Bob Mintzer: 14 Easy Jazz, Blues and Funk Etudes; recordings of the pieces to be played.
Organizing a short performance (band, repertoire, rehearsals) as part of the annual Jazz & Pop student concert; independently organizing a performance (five pieces) for the year 2-3 transition audition exam.
Examination and assessment
Mode(s) of assessment
Assessment by the main subject instructor at the end of each semester.
The student should have mastered the elements described under Aims. Specific criteria are: creativity, expression, improvisation, technique, sound, intonation, timing, reading skills, repertoire knowledge, progress, self-reflection, session participation, attitude and lesson preparation.
The student has completed this module if he is awarded a minimum grade of 5.5 at the end of the second semester.
At the end of both semesters the instructor fills out an assessment form designed specifically for this module. Assessment is comprised of a verbal evaluation and a concluding grade. The instructor reviews this assessment with the student during the first subsequent lesson. Assessment at the end of the autumn semester is formative and expressed in terms of satisfactory/unsatisfactory. It indicates a student's progress in this module. No ECs are awarded and there is no resit. Modules can only be absolved, and ECs awarded, after the end of the spring semester.
This module is intended to prepare students through weekly lessons for the audition exam at the end of the second year, with particular attention for the development of their taste in music and their individual approach to improvised music. In addition, students work on their understanding and use of increasingly complex musical structures,