• Loved every minute of it. Definitely coming back next year. I have found a new tribe!
    — Letitia Burton

  • It was amazing! Possibly the best musical/social experience of my life.
    — Erik Deutch

  • Loved every minute of it. Definitely coming back next year. I have found a new tribe!
    — Letitia Burton

  • It was amazing! Possibly the best musical/social experience of my life.
    — Erik Deutch



2016 Class Descriptions

When creating your personal class schedule keep these things in mind. Jazz Camp provides a unique opportunity to take advantage of classes you might not normally get the chance to participate in. Taking classes outside your discipline can enhance your musical education in ways you might not have considered. If you are an instrumentalist, consider taking percussion, steel drum, vocals or dance for rhythm and timing, ensemble classes for hands-on experience, or songwriting for expanded awareness of song forms and composition. The same is true for dancers, vocalists or percussionists. Think outside the box! This is your chance to try new things, and enhance your experience. All classes are 1 hour in length, except for dance classes, which are 1 hour and 15 minutes. There is a 15-minute gap in between classes to give you time to travel to your next class. Please keep note of the dance class additional time when scheduling your classes.

You can sign up for as many as 6 one-hour classes per day. However, you do NOT have to take all 6 classes. Each day will also include an additional one-hour of Open Mic right before dinner, a daily evening faculty concert, and a late night jam session with dessert in the dining room. Since this is a long jam-packed day, consider carefully whether you want to take a class every hour. You may want to leave some time in your schedule for practice, relaxation, a dip in the pool, hike in the woods, or conversation with a new friend.


2016 Classes
 

COMPOSITION AND THEORY

BEG THEORY + IMPROV; Gillian Harwin; All Welcome; No Audition Necessary. Play the correct scale over every chord and why. Learn how certain tones in the scale resolve to other tones over the most common chord progressions, and how to use this in your improvisation. Learn to create rhythmic and melodic motifs and "bend" them over different chord changes, bringing continuity to your solo. This class is ALL ABOUT PLAYING. This is a playing class! Keyboardist can bring their own keyboard if they would prefer not to have to share.

JAZZ BASICS AND FUNDAMENTALS; John Calloway; Beg/int; All Welcome; Jazz basics and fundamentals is a class geared for those who have had limited music theory or training and want a practical understanding of the genre, or for those just want to fill in the holes in their knowledge of music. We will integrate such skills as listening, singing and reading to develop a working and practical approach to jazz as we hear it during the jazz camp week.

ADV JAZZ THEORY; Adam Schulman; Int/adv; All Welcome; A beginning familiarity with roman numeral harmonic notation. Ability to play and identify major and minor chords and scales. Having a solid foundation in theory is extremely helpful for all musicians and is a must for piano players. Sometimes learning theory can seem like eating your vegetables but vegetables can be delicious too! In this class we will discuss roman numeral notation and functionality of chords within keys. We will talk about modes and qualities of chords and scales. Using standards we will learn how to transpose quickly using roman numeral analysis and we will train our ears to hear certain common chord progressions.

SPECIALTY CLASSES

HOW TO PRACTICE, AN EXPLORATION; Laurence Hobgood, Artist in Residence; All Welcome. Bring pencil and note paper (and manuscript paper if you have it). Three truths: 1) Most musicians hope to improve. 2) Most musicians would like to increase their rate of improvement -- in both quantitative and qualitative senses. 3) Practice is where improvement gestates. Especially in an improvisational art form like jazz. Our practice time is both crucially important and incredibly precious -- it's our 'incubator'. It's also a gift we give to ourselves; for those hours (or even for that one hour that's all you have time for) we can (and should) excuse ourselves completely from our normal routine, engaging in a relaxed but focused mental discipline that amounts to a meditative exploration of music -- this is true for every level of ability. And the beauty is that correct practice leads to both an enhanced emotional/spiritual experience -- and to faster, more meaningful improvement of our abilities. (You can have them both.) We'll explore multiple approaches to/aspects of this philosophy, ranging from broad strokes to specific techniques. A key -- and practical -- element will be communicating and reinforcing the idea that our brains don't want to learn the way our egos want to learn. We'll look at how to enable practice techniques that give our minds a fighting chance to keep up with -- and help realize -- our musical dreams.

GETTING ON THE GOOD FOOT, NIGHTLY JAM PREP; Gillian Harwin; Beg/int; All Instruments Welcome. Have you ever been at a jam session but were too scared to sit in? Have you gotten lost during the song? Were you ever cut off in the middle of your solo, or cut someone else off in his or her solo? Or just felt generally confused and out of place? Learn how to jam with other musicians; how and when to solo, how to lead & how to follow, how to choose a tune, how to end a tune, the best ways to communicate on stage and basically how to be a good jam session participant. Each day, we will prepare tunes for the nightly Jam Session. As a result you'll play in all the styles: Blues, Latin, Funk etc. We'll dish out helpful tips, we'll improvise, and we'll build an understanding of the musical language that you can use each night and beyond!

UKULELE ORCHESTRA; Anthony Michael Peterson; All Levels; Must bring your own Ukulele; The Jazz Ukustra (Ukulele Orchestra) is an exploration into the world of swing, its song repertoire, and a glimpse of other musical possibilities! Students will delve into basic chord progressions used in jazz standards, the techniques of the shuffle strum, four to the bar strumming, major and minor scales, blues scales, and even a raga from Indian music! Songs include “Take the A Train”, “C Jam Blues”, Hawaiian and country blues song forms. Basics in accompaniment and soloing will also be covered, along with instructions on how to practice on the Uke and progress on this wonderful instrument throughout the year!

CLARINET + OTHER COOL INSTRUMENTS; Patrick Wolff; All Levels; From the harp to the oboe to the musical saw, jazz has found a niche for just about every instrument. Whether your axe is obscure or not, in this class we will work on understanding the role of your instrument in a musical and historical context, building a unique musical identity, and developing tools for soloing and improvising in a jazz context. Using applied theory, we will develop ways to approach and practice the music you love. Clarinets, violins, flutes, accordions, bassoons, trombones, and anything else you can dream up, bring it by and we'll make it swing!

THE RHYTHMIC LANGUAGE OF BRAZIL; Jovino Santos Neto; All levels/ All Welcome; Download Class Materials Here. In this lecture class, we will listen to development of main Brazilian styles such as samba, baião, frevo, choro and much more. We will examine the influences that have shaped the sound of Brazil, from Africa to Europe and the Middle East. By decoding the grooves into their fundamentals, we will learn how to re-create them in many different settings. This class is targeted at all those who love the music of Brazil in its many colors. 2 PDF documents can be downloaded ahead of Camp and studied.

MUSIC IMMERSION: ENTER THE WORLD OF SOUND!; Patrick Wolff; Int/Adv; All Welcome. "Music is a language"- we've all heard that line. We all know that the best way to learn a language is to immerse yourself in it, so why don't we do that with music? It should be no surprise that in many traditions, like Indian Classical Music, this IS how it's done. This class will start with a brief verbal framing and end with a brief verbal q and a, but everything in between will be notes and tones. Ideas will be demonstrated and taught through call and response in a patient and progressive way, and we will all have to figure out how to communicate questions and problems with our instruments. As a great antidote to the information overload that can happen in jazz education, we will use this direct approach to integrate the ears, fingers, and critical faculties.

A WORLD WITHOUT CHORDS; Peter Barshay; Int/Adv; Bass, Drums, Horns; A great class for bass players, drummers and horn players (or those guitarists who love Grant Green)! We will explore the sophisticated world of the “chord-less” trio, which will help you clarify and solidify your musical thinking- another skill which cannot be overemphasized! 

OVERCOMING STAGE FRIGHT; Stacey Hoffman; All Levels; All Welcome; Everyone (and I do mean everyone) has some form of stage fright. Most people I have encountered spend a tremendous time learning or practicing their music, but absolutely no time on the actual thing that might be getting in their way of performing their best. Like learning how to play an instrument, there are tangible ways we can learn to deal with the predicament of stage fright to not let it get in the way of doing a fantastic performance; We’ll learn at least ten different ways to approach the dilemma of performance anxiety to help you find the way which works best or you.

SONGWRITING WORKSHOP; Juliet Green; All Levels; For everyone from the newbie to the seasoned pro, we'll explore some fun ways to get started and find new inspiration! We'll use wordplay, improvisation, games and all kinds of tech toys and apps to get our creativity flowing. Then, we have seeds to plant.  We'll explore ways to build on an idea, looking at song form, lyric/story development, and melodic/harmonic arrangement to create a complete work. We'll also discuss and practice the art and etiquette of collaboration in developing our ideas. At the end of the week, we'll share some of our creations and discuss options for changes and revisions. Editing is a big part of the process - sometimes it's hard to tell when our work is "done". Give and take some feedback in a respectful and constructive forum.

 

DANCE & MOVEMENT

Reminder: All dance classes are an additional 15 minutes in length (total 1 hour, 15 min)

FINE YOGA BODY MOVEMENT; Pamela Carrara; All Levels; All Welcome; Suitable for both the experienced & newbie, FYBM is a powerful and deep practice easily accessible and directly applicable and supportive to maintain and sustain your exciting and challenging activities at Jazz Camp. With ease, jump-start, maintain, sustain and increase your health and vitality by mindfully honoring, aligning your physical and subtle body to increase strength, mobility & flexibility at all levels of consciousness. This mixed level yoga class includes yogic maintenance techniques, movement and positions with emphasis on the breath and it's suitable rhythm, to heighten your awareness, receptivity and capacity of your intuitive and perceptive potential giving you greater access to your fullest self-expression and creativity. Bring 1 or 2 mats, towel or a blanket.

CUBAN DANCE POTPOURRI - ROOTS AND RELATIVES OF SALSA; Sidney Weaverling, Ryan Mead; All levels; We will explore the basics of the Cuban popular dances: Son, Cha-cha-chá, Pilon, Conga, Rumba, and Mambo. We will build a short, fun, Cuban potpourri choreography which we will perform at the end of the week. Pack something colorful to wear for the performance, if you like.

CUBAN STYLE SALSA & RUEDA DE CASINO; Sidney Weaverling, Ryan Mead; All levels; Fun, flavorful and practical Cuban-style Salsa and Rueda moves. We'll teach leading and following technique, basic footwork and footwork variations, rhythm and rhythmic accents, the basics of dancing in a rueda, group moves, one-on-one moves, and a short choreography. This is a multi-level class and we might split into two groups, if needed. 

CONTEMPORARY JAZZ DANCE; Lynn Brilhante; All Levels; Class includes basic warm-up and stretching progressing to movement combinations. The goal is to move, create and have a great experience! Emphasis is on the fun and the spirit of movement. Add dance to your Jazz Camp experience! Bring loose clothing and dance footwear if you have it (Bare feet are fine).

CONTEMPORARY JAZZ DANCE; Lynn Brilhante; Int/adv; Explore! This class will be closer to an intermediate level - more material and improvisation than the morning class - slightly more complex movement. Some dance experience a plus. Bring your spirit and your desire to dance. We will create an expressive and energy - filled experience. Bring loose clothing and dance footwear if you have it (Bare feet are fine).

HIP-HOP; Natalie Aceves; Beg/int; Let our spirits connect to Hip-Hop's heartbeat, "the groove", as we explore it's cultural global embodiment of freedom, self expression, support and spirit of love! A full body warm up will unite the mind/body/soul for a stylized Hip-Hop journey integrated with fusion accents (such as jazz, samba, contemporary and more!), touring an authentic quest of liberating movement. Hip-Hop's "free-style" will inspire new shape, rhythm and sound in the soul!

HIP-HOP; Natalie Aceves; Int./Adv.; This class will move at a faster pace; Let Our spirits connect to Hip-Hop's heartbeat, "the groove", as we explore it's cultural global embodiment of freedom, self expression, support and spirit of love! A full body warm up will unite the mind/body/soul for a stylized Hip-Hop journey integrated with fusion accents (such as jazz, samba, contemporary and more!), touring an authentic quest of liberating movement. Hip-Hop's "free-style" will inspire new shape, rhythm and sound in the soul!

 

PIANO

PIANO INTENSIVE; Josh Nelson: Adv; By Audition on first day of camp. The Piano Intensive specializes in the art of piano performance and arranging. Two class periods are reserved for six advanced participants where we will explore all aspects of the piano including technique, vocabulary, style and the textures necessary to elevate your understanding and playing, especially with regard to a jazz trio format.

10:15-11:15:  Master Class with pianist Josh Nelson

11:30-12:30:  Trio playing with professional bass and drums

Each pianist will have an opportunity to play, listen, discuss musical concepts, and grow in an intimate, supportive and focused environment. We will cover many topics, including:  chord voicings, comping, solo piano playing, arranging, syncopation, swing feel, interactive/conversational trio playing, odd meters, phrasing, the Blues, Brazilian styles, piano technique, ear training, and more. The goal is to play with more depth and musicality as the week progresses.

Note: If accepted into the Piano Intensive you may also audition/join either a Combo OR the Advanced Instrumental Program.

About the Audition: Pianists will be asked to play 2 contrasting songs that show their creativity, flexibility, and proficiency in playing jazz piano with bass and drums. Be prepared to play melody, solo, comp, and trade 4s or 8s, though you may be asked to stop before the song is over due to time constraints.

A WORLD OF PIANO, EXPLORING MUSIC; Josh Nelson: All Levels; This will be a fun and interactive course that focuses on the spirit and joy of improvising music at the piano. Josh will perform standards and original music, and students are welcome to perform solo or play duos with him. A basic knowledge of music and jazz concepts is encouraged. 

PURE PIANO TECHNIQUE: A SYSTEMIC APPROACH; Laurence Hobgood, Artist in Residence; Int/Adv; What is technique? In jazz/improvised music most of our practice time is spent asking the questions "what?", "when?", "where?", "why?", even "who?" The content of our playing -- the notes we choose and why we choose them -- tends to be our main focus. But "how?" That's technique. Technique is about "how?". How shall I position the combined mechanism of fingers, hand, wrist, arm, shoulder and back (and even legs and feet) to result in the highest degree of efficient, relaxed control? Technique means striving for the ideal interaction with the keys from an engineering viewpoint, in a way that enhances expression. We'll look at a system for building correct technique "from the ground up" -- the concepts we'll cover apply equally to beginning through highly advanced playing. Eliminating tension, accessing muscle memory to achieve both accurate finger placement and balanced wrist and arm movement, controlling velocity/depth of touch -- these issues ask the question, "how?" This detailed system is the answer; once it's familiar/embedded it manifests throughout all parts of your practice.

JAZZ PIANO: THE NUTS & BOLTS; Karen Hammack; Beg/Int; Before you can improvise and play “freely” you need to know how to use some logical and wonderful building blocks such as; the original melody, harmonic patterns and destinations, key centers, and simple voicings. Phrases all have landings.

GROOVE 101; Karen Hammack; All Levels; How to play different styles using rhythm, syncopation, voicings, and melody unique to each style, or genre including Bossa Nova, Swing, Jazz Ballad, Jazz in 3/4 or 6/8, etc. What makes it feel good?

INTRO TO JAZZ PIANO; Adam Shulman; Beg/Int; Should have a repertoire of at least 5 jazz standards. These must be known thoroughly and memorized. Do you ever feel like you don't know where to being when practicing improvisation? Learn different approaches to the study and practice of improvisation such as melodic, intervalic, modal, cells and rhythmic.

ROOTLESS VOICINGS; Adam Shulman; Int/Adv; Should have ability to play scales in all keys and major and minor triads in all keys; Since bebop came along and revolutionized jazz, rootless voicings have become a necessary part of jazz piano. This class will focus on building rootless voicings from the basics. We will discuss topics such as voice leading, extensions and altered extensions.

AFRO-CUBAN PIANO LAB; Matt Jensen; Int./Adv.; At a minimum you must be able to arpeggiate major and minor triads well in both hands, have a working knowledge of rootless II V I jazz voicings and be able to play and solo using major and minor pentatonic scales. Download Music PDFs Here.

In this class Matt clears the clouds away with a very concise and understandable description of how Afro-Cuban Latin music works with a focus on Salsa, Cha Cha Cha and Latin jazz styles. You will learn how to play a montuno in both 2-3 and 3-2 clave directions…without hurting yourself. You will learn what rhythms to listen for in the percussion section that determine how your montuno will properly fall. You’ll learn how to play the groove in the Latin ‘pocket’. You’ll even learn a basic Salsa and Cha Cha Cha dance step, which is essential to understanding how to play this music properly.  And finally we’ll touch on some ideas and techniques for Latin jazz soloing in a descarga (jam session).

GOSPEL PIANO; Ben Heveroh; Beg/Int; This class will explore many of the various components of playing gospel piano. Learn about church chords, preacher chords, house raising chords, gospel jazz chords, one hand vs. two hand chords, etc. We will explore the various basic rhythms and time signatures in gospel music i.e. 12/8 vs. 4/4, old school vs. hip-hop, and more. From traditional hymns to urban contemporary, this class will dig in to the theory and not often discussed components of playing gospel music at the piano. Please come prepared with a tune.

CELEBRATING HERMETO PASCOAL; Jovino Santos Neto; Int/Adv; Basic chart reading, comping and improvising skills required. Download Class Materials Here. As part of the worldwide celebrations of the 80th birthday of the legendary Hermeto Pascoal (which will be on June 22), we will spend the week learning some beautiful diverse compositions by the albino Brazilian master, adding our sounds to the global party in his honor. Concert, Bb and Eb books of scores can be downloaded and printed before Camp.

 

BASS

IT’S ALL ABOUT THE BASS; Carla Kaufman; All Levels; Acoustic Bass. Bring a bow if you have one! Playing the bass well in any genre starts with good technique. Being relaxed and utilizing good hand positioning will improve your tone production, intonation, groove and endurance. In this class we will focus on these aspects while studying the different positions for playing great in all keys. We will play scale exercises, bass lines and useful licks for soloing and tunes. Work on ear training & playing what you hear.

BASS LINES GALORE!; Carla Kaufman; Beg/Int; Acoustic Bass; We will focus on playing the bass lines to blues, rhythm changes, and standards that are often played on gigs. We will explore different styles that may include swing, bebop, jazz waltz, New Orleans second line, funk and Bossa Nova. And practice reading chord changes.

BECOMING A DEPENDABLE BASS PLAYER; Peter Barshay; Beg/Int; Learn the fundamentals crucial to becoming a dependable bass player, a skill which cannot be overemphasized! This class, for beginning and intermediate players, will deal with concepts of feel, pulse and tempo in a variety of genres and styles of jazz. We will be learning tunes, forms and how to develop great bass lines - all of which will be valuable throughout your playing career. Additionally, we will take these skills and use them to begin to make great solos!

THE BASS CHOIR; Peter Barshay; All Levs; An All-bass ensemble in which everyone will get the chance to play many roles - playing melodies, soloing, comping, playing bass lines and collective arranging for a unique ensemble.

A WORLD WITHOUT CHORDS; Peter Barshay; Int/Adv; Bass, Drums, Horns; A great class for bass players, drummers and horn players (or those guitarists who love Grant Green)! We will explore the sophisticated world of the “chord-less” trio, which will help you clarify and solidify your musical thinking. Another skill which cannot be overemphasized! 

THE ART OF THE BASS SOLO: MAKING AN IMPACT; Scott Thompson; All Levels; We will talk about some of the different tools that go into creating a bass solo that makes an impact. These include melodic phrasing, use of space, rhythmic motifs, and developing a theme. In this class we will listen to transcriptions of great bass solos and see how the soloists use these tools to create a great bass solo. It will be a "hands on" clinic where the students will all get a chance to play solos incorporating these new tools into their solos.

THE AFRO-CARIBBEAN BASS LINE WORKSHOP; Scott Thompson; All Levels; In this class we will learn the many different styles of music from the Afro-Caribbean diaspora, and how to construct bass lines for each style. We will focus on Afro-Cuban styles such as Cha-Cha, Bolero, Danzon, and Rhumba, and Brazilian styles such as Samba, Baião, Maracatu, and Calango. Note: Halfway through the week, we will join Dave Flores' Afro-Caribbean drum class and put what we learned into action! Must be able to read music.

 

 

DRUMS, PERCUSSION, STEEL DRUMS

DECODING THE AFRO-CARIBBEAN RHYTHM SECTION; Dave Flores; Int./Adv.; Rhythm Secotion Players Welcome; Basic clef reading. Bring music paper and pencil Drummer: sooo like, what's your Latin bass part? Bassist: I dunno? But why are there so many cowbells around me?  Our week will focus on bringing us all together for a gathering of groove. Bassists, Drummers, Percussionists: heck Pianists you're welcome too :) For a rhythm section playing a tune that says Latin it could mean Afro-Cuban 6/8, Danzon, Cha Cha Cha, Partido Alto, Soca and the drum part alone is not going to create the correct feel.  It is the responsibility of ALL of the rhythm section players to know what to play and to understand how to hear and communicate with all of the rhythms involved. Understanding these rhythms, instruments and their origins are essential for a rhythm section to truly lay into the music and create the right feel. You know, when the tune ends and the drummer says to the bass player, "sweet tumbao" and the bassist replies, "thanks, nice bells." Note:This class will join with Scott Thompson's bass class mid-week.

BOOM BAFF; Dave Flores; Beg./Int; Sing it, "Boom Baff", there you go now you are two beats into your first drum beat, now just another 796 more to go and that's a tune. Let us enjoy the what's, the how's and why's for playing the drum set. Touch, tone, time, groove and what the heck is Hi Hat clutch is are a handful of topics we'll cover. The goal is that we get a smile on your face the next time you get down on a set of drums. So swing through and let's get your groove on.

MO BELL OR NO BELL; Dave Flores; Int/Adv; What do you play on the Bongo Bell for a Samba you ask? Nothing...try the Hi Hat. Just because the chart says Latin doesn’t mean you'll need a cowbell, but then again many do require one. Let us use the week to develop a vocabulary and insight to playing Afro-Caribbean and Brazilian music on the drum set...aka one of them Latin Beats.

A WORLD WITHOUT CHORDS; Peter Barshay; Int/Adv; Bass, Drums, Horns; A great class for bass players, drummers and horn players (or those guitarists who love Grant Green)! We will explore the sophisticated world of the “chord-less” trio, which will help you clarify and solidify your musical thinking- another skill which cannot be overemphasized! 

FUN WITH PARADIDDLES! FOR BEGINNERS; Allison Miller; Beg; This class is perfect for complete beginners! No experience needed! We will take my favorite rudiment, The Paradiddle, and get right to drumming, exploring the different ways of playing The Paradiddle around the drum kit. All you need is a little imagination and a creative spirit!

GET IN THE POCKET!; Allison Miller; Int/Adv; Let's get in touch with our inner groove.  Time and feel come from within our bodies and, in this class, we will harness that inner groove, allowing it to become the rhythmic foundation essential for producing deep grooves.

LEFT HAND INDEPENDENCE; Leon Joyce Jr.; Int/Adv; We’ll explore, using our swing ride patterns, ways to creatively, fluidly and stylistically develop a comping conversation with your left hand in jazz situations.

SPANG-A-LANG; Leon Joyce Jr.; Beg/Int Let's explore and develop two basic swing ride patterns 1) the quarter note and 2) the traditional "spang-a-lang". How to use them, when to use them, develop the feel and pulse of them.

READY, SET, DRUM SOLO!; Alan Hall; Beg/Int; Ever get nervous when asked to solo? Ever find yourself struggling for ideas in the midst of a solo?  This class is designed to set you up with a “musical tool kit” to break out when it’s your turn to shine. Simple strategies and concepts that will give you confidence and a sense of control, come drum solo time. Yes, soloing can actually be fun!

SELF-LOOPING STICKINGS; Alan Hall; Int/Adv; Should be able to play a paradiddle 4 x, at a moderate tempo;  Practicing wisely? Learn to create your own useful, fun and efficient exercises with some of these basic techniques: gridding, a/b/c stickings, building blocks, and re-framing. No books needed.

LINEAR DRUMMING; Alan Hall; All Levels; Learn several approaches to this technique heard in the playing of drummers as diverse as Elvin Jones, Steve Gadd, John Bonham and Zigaboo Modeliste. We’ll work with it in several musical styles; and we'll apply it to grooves, solos, and fills. All levels welcome.

PANDEIRO PAINDEMONIUM! Ami Molinelli; This class will split into Beg and Int Levels; If you have a pandeiro or Brazilian percussion instrument bring it, but I will have some pandeiros with me! The little tambourine that could! You will learn how to play this instrument during this week! We will learn rhythms from Brazil as well as technique, and the history and evolution of this beautiful instrument.  The Pandeiro is the national instrument of Brazil so come and find out why it’s so revered! I will have Pandeiro available for those who don’t have them as well as other Brazilian percussion instruments.  

FROM BAIÃO TO BO (DIDDLEY); Ami Molinelli; All Levs.; From a Forró to a Four-square do-si-do…  - Country music from a different country! In the Northeast of Brazil a very different rhythm and dance style is celebrated – and it’s a rhythm found in many different cultures. We will play zabumbas, triangles, body-slammin’ hambone and more in this exploration of rhythm and dance.  Warning Washboards may be involved.

DRUMMING IN THE STREETS! SAMBA, 2ND LINE & PARTY MUSIC - FROM MARDI GRAS TO BRAZIL'S CARNAVAL; Ami Molinelli; All levs; Parade style drumming from the streets of Rio de Janeiro!, Salvador and New Orleans.  We will be learning what these cultures have in common and what makes them different.  Samba School Rhythms, call and response and all the Brazilian and Marching percussion family instruments.  Caixas, Snares,  Surdos, Tamborims, Agogo bells, and more!  This class will also be about getting ready for the Indian Bowl Parade.  Be prepared to do some listening and then make some noise! Please bring your instrument – I will have some instruments but it’s a chance to use your drum in the parade and to “samba-fy” it.

SALSA TUMBADORA (CONGA DRUM) AND PERCUSSION; John Santos; Beg/Int.; Must be able to open eyes and ears simultaneously. A primer for technique, sound and basic rhythmic development. Bring one conga, güiro, claves and/or maracas.

AFRO-CUBAN 6/8 TUMBADORA (CONGA DRUM) AND PERCUSSION; John Santos; Beg/Int; Must be able to open eyes and ears simultaneously. Bells, chekere and claves are fundamental to Afro-Cuban tradition and have evolved to become staples in contemporary music internationally. We will tackle simple to complex rhythmic parts and arrangements in this class. Bring a bell, chekere and pair of claves if you have them. There will be a limited number to share. Should have good sense of time.

SPIRIT SONGS; John Santos; Percussion, Vocals; All Levels; Basic ability to hear, sing and hold melodies and harmonies. Cuban songs of Afro/spiritual origin are the foundation of much spiritual practice in the African diaspora and are also at the root of contemporary Salsa and Latin Jazz. They continue to be a strong base of identity for many Caribbean descendants in and out of the region. We will sing in Cuban style Yoruba and Kongo dialects. The rich melodic, harmonic and rhythmic qualities of this music will inspire you as well as enhance your musicality.

BIG FUN ON THE STEEL PANS; Mark Rosenthal; All Levels; We will be jamming from day one. It usually takes very little time to get our collective groove on. For one thing the instruments provided have all the notes written on the drums!! (shhh...don't tell anyone). Steel pans are not only a unique addition to the world's catalogue of instruments; they are also really fun to play. If you enjoy the sound and have never played you need to check it out. One Trinidadian saying I like is: "Not I, "We!" and it is very much a community feeling playing in the steelband. In the class we explore different styles of music. Students will be given parts to play according to their level. Classes often prepare one or two pieces for a Saturday performance. Students will be given parts to play according to their level. Classes often prepare one or two pieces for a Saturday performance.

 

GUITAR

BLUES GUITAR! Int/Adv; Alvon Johnson, This class will focus on the developing skills to express the Blues with more feeling. We will work on the development and use of timing and rhythm to be more expressive. Emphasis will be on Chicago style of the Blues, but all styles are embraced.

BLUES GUITAR! Int/Adv; Alvon Johnson, This class is designed for guitarists with basic technical facility and will focus on the blues form. We'll examine chord voicings, and techniques of single string soloing from simple country blues to more complex, sophisticated styles. We will also include some basic funk and R&B guitar styles.

JAZZ GUITAR - STANDARDS; Will Bernard; All Levels. Students should know some jazz standards.  Jazz Standards have always been the building blocks for a good jazz background. In this class we will focus on these classic songs and find ways to make them part of our repertoire in an in depth way. The material will depend on the ability and preference of the students. Within these song structures we will explore harmony, scales, and melody in order to find how to bring these great structures to life.

UNLOCKING THE FRETBOARD Will Bernard; Int./Adv .; Should have some knowledge of chords and scales. In this class we will find ways to free up our approach to guitar playing. Working over chord patterns, and modes we will work on expanding the scope of possibilities available to literally think outside the “boxes”. Linear scales, chord scales scales, II-V’s and other progressions will be the focus of this class.

RHYTHMIC GUITAR PLAYING; Will Bernard All Levels; This will be an opportunity to focus on the rhythmic aspect of jazz guitar. We will examine different ways of comping in various styles such as swing, latin and funk and how to integrate these ideas into our vocabulary. Also we will explore how rhythm can help to shape and build solos and help the soloist blend with an ensemble.

GUITAR CLASS FOR SINGER-SONGWRITERS; Anthony Michael Peterson aka TRU; Beg/Int.; For guitarists and guitar-playing singers; In this class, We’ll share some concepts culled from my experience as a singer/songwriter! Topics covered will be: -Using nervousness as a springboard for performing brilliantly -Visualization exercises for motivation, audience rapport, and quieting internal dialogue -Improving hand/eye coordination on the guitar while singing. How to practice your repertoire so that it is more effective Students will be invited to play songs they have written, and songs they are working on, concentrating on trouble spots, and finding creative resolutions. This class is also open to beginners! For the aspiring singer who wants to introduce the guitar into their performance, exercises and Chords, and ways of using the guitar for vocal practice! Students should bring their own instrument, a notebook.

MONK & COLTRANE CONCEPTS APPLIED TO THE GUITAR; Anthony Michael Peterson aka TRU; All Levels; This is a class for students familiar with harmonic progressions, upper structure harmony, and who have technical Facility. Topics covered will be: Monk: -Using guide tones (the third and seventh of a chord) to create new intervallic structures on the guitar and in the improvised line -using the melody as the springboard for melodic developmet. Introduction of guitarist Lenny Breau's concept of using guide tones while simultaneously improvising. John Coltrane - navigating Master Coltrane's reharmonization of the II-V-I progression, As shown in "Giant Steps", and "Countdown - introduction of the I-2-3-5 melodic pattern, and its harmonic variations Students will discuss techniques, and creative concepts in practicing.


WIND INSTRUMENTS

FLUTE; John Calloway; All Levels; Class will be divided according to ability level, focusing on technique and improvisation with jazz and Latin styles of music. We will also look at Brazilian and other flute choir music.  Must have some rudimentary skills on flute.

STUDYING THE JAZZ TRUMPET MASTERS; Erik Jekabson; All Levels; Each day we'll learn part of a solo by a jazz trumpet master by ear. Slowly but methodically we'll memorize parts of the jazz vocabulary, played by artists such as Clifford Brown, Harry "Sweets" Edison, Lee Morgan, Chet Baker, Tom Harrell, Woody Shaw, Louis Armstrong and Dizzy Gillespie.

PLAYING THROUGH CHANGES; Erik Jekabson; All Levels; Should have ability to read music.; We'll be practicing patterns through chord changes of jazz standards. A good workout.

SAXOPHONE; Patrick Wolff; Int/Adv; Should have solid command of instrumental technique and basic understanding ofjazz styles. This class will elaborate in detail on the finer points of saxophone playing, and explore how style and technique serve each other. We will discuss idiomatic approaches to the horn, ways to understand our personal strengths and weaknesses, and will work on practice strategies that help us realize our sound ideal

PRACTICAL PRACTICING; Melecio Magdaluyo; All Levels; Should have knowledge of basic chords and scales; How to put together a practical practice routine. Using what you practice to incorporate into your improvisations. Heavy emphasis on chords, scales, technique, applications, formulas and exercises along with putting together your own exercises.

THE ART OF THE BALLAD; Melecio Magdaluyo; All Levels; Should have ability to play melodies in ballad style; This class will emphasis how to play ballads from the Real Book and other sources. How to use phrasing, nuances, rhythm while playing melodies. Harmonic applications over chord changes will be explored. Learn how to bring the melody to life!

ENTER THE CLAVE; Melecio Magdaluyo; All Levels; Playing in the styles of AfroCuban and Latin Jazz music. Rhythmic and melodic concepts in the genre of Mambo, ChaCha, and Son will be explored. Emphasis on Clave awareness.

EFFICIENT SOUND PRODUCTION FOR BRASS; Mario Guarneri; All Levels; Open to all brass instruments. We will start with breathing techniques for relaxation, maximizing inhalation, and managing exhalation We will practice creating an embouchure which utilizes the breath to achieve a resonate sound with more usable range and endurance. 

CLARINET + OTHER COOL INSTRUMENTS; Patrick Wolff; All Levels; From the harp to the oboe to the musical saw, jazz has found a niche for just about every instrument. Whether your axe is obscure or not, in this class we will work on understanding the role of your instrument in a musical and historical context, building a unique musical identity, and developing tools for soloing and improvising in a jazz context. Using applied theory, we will develop ways to approach and practice the music you love. Clarinets, violins, flutes, accordions, bassoons, trombones, and anything else you can dream up, bring it by and we'll make it swing!

TROMBONISTS UNITE! Jeff & Natalie Cressman; All Levels; Perhaps the instrument that best emulates the human voice, this class is all about celebrating the idiosyncrasies of the oft under-appreciated trombone!  We'll look at the basics of good breathing, tone production, technical calisthenics, and developing a consistent practice routine. We'll play some music as a group in order to develop our intonation and blend as a trombone section, and discover the important role the trombone has played across a spectrum of musical styles!  Most importantly we'll have a chance to let loose and improvise while cultivating the concept of playing with your ears and from the heart. The only prerequisite is a trombone!

A WORLD WITHOUT CHORDS; Peter Barshay; Int/Adv; Bass, Drums, Horns; A great class for bass players, drummers and horn players (or those guitarists who love Grant Green)! We will explore the sophisticated world of the “chord-less” trio, which will help you clarify and solidify your musical thinking- another skill which cannot be overemphasized! 

 

VOCALS

VOCAL INTENSIVE; Nicolas Beard; Adv; The Vocal Intensive is an opportunity for 10 advanced singers to work with a professional jazz artist in a highly concentrated setting. You'll be working on concept, finding your individuality, the mechanics of singing and communicating with a trio and much, much more! This ½ day Intensive includes a professional rhythm section with a focus on individual singing. You must commit to the full ½ day Intensive. No partial attendance. Vocalists may rejoin our regular classes in the afternoon.

9-10: Master Class with Nicolas Beard

10:15-12:30: Class joined by professional piano, bass & drums

About the Audition: Because of the high volume of applicants, you will be singing just ½ chorus of a song of your choice. Please bring a chart (lead sheet) in your key if you have one. You will be accompanied by a pianist. If you have been accepted into the Vocal Intensive Program in previous years, you are still eligible to audition!

What we will be listening for:

Singing in tune, good "time", memorized lyrics, phrasing, concept & style, confidence, and what you bring to your music. You do NOT have to be able to read music to be in the Intensive.

Note: For those who are not accepted into the Vocal Intensive, our Vocal Intensive teacher will be teaching an afternoon class as well.  Please plan your schedule accordingly.

CONNECTED VOICE TECHNIQUE; Sandy Cressman; All levs; We will explore vocal technique that is connected to the art of jazz singing: Breathing, warming up, singing from chest voice into mix voice are all covered.  We will approach pitch control, freedom of range and of phrasing by working through the vocal bridges in the voice. We will learn vocal exercises that develop tone and range while training your ear to sing jazz.  Students will learn specific tools to address specific vocal issues, a palate of vowels that promote connected singing, a foundation in rhythm that will improve phrasing and groove, how to apply vocal exercises to your songs and most importantly, how to connect technique with expression. 

JAZZ SINGER UNDER CONSTRUCTION; Madeline Eastman; Beg.;  Whether you are an aspiring jazz singer or you just want to be able to sit-in at a jam session, there are some things that you just gotta know. We'll lay the groundwork so you'll have confidence to go forth and conquer!  This hands-on class will address a different topic every day.  The Zen of counting off a tune (it looks so easy, so why is it so hard?)  How to take charge of an ending (tags and vamps will change your life!)  Singing rubato (how to keep the song moving forward so it stays alive and vibrant.)  Phrasing(the secret to making your singing believable and resonate in the hearts of your listeners.)  The dreaded second chorus. We'll demystify improvisation. Fear not, there IS a method to the madness, and we're going to show you the way! Please bring 3-4 songs that you know by heart. No lyric reading, please.

SING WITH A TRIO!; Nicolas Beard. All levels; How do I learn the same language as the musicians? What order are the solos? How do I count-off the entire band? Where do I look? Who's in charge?  How can I truly make music with a whole trio? Singing with a trio can be thrilling, but it's daunting too.  If these questions resonate with you, come to our trio class and get ready to move to the next level. In order to accommodate as many singers as possible, this class will move very quickly. No audition necessary. Come prepared with three songs, including a ballad and one up-tempo song. Bring 3 copies of each chart (if you have them).

THE BLUES & BEYOND! Faye Carol; All levels; We’ll learn traditional blues songs. Then move forward in time to see how the blues has influenced our great contemporary music singing songs by such artists as Gladys Knight, Aretha Franklin, Stevie Wonder and more! 

SINGING OUTSIDE THE CHORD CHANGES; Sara Leib; Int./Adv.; Students should know their key signatures well, and feel comfortable spelling 7th chords in various keys. Please download this Hand-Out.

In this fun approach to vocal improvisation, learn to use both your aural and theory skills to sing those cool extensions you've always wished you could. We'll start by exploring the sounds and feelings of 9s, 11s, and 13s, and continue by integrating tendency tones, common ii-7 V7 Imaj7 licks, and more advanced guide tones into our solos!

SINGING INSIDE THE CHORD CHANGES; Sara Leib; Beg/Int.; Please download this handout. In this fun approach to vocal improvisation, learn to use both your ears and your brain to hit the notes of the chord changes like you've always wished you could. We'll sing by ear and use our aural skills, and we'll write guide tones lines and use of theory skills to both sing and write 3rds/7ths guide tones lines to some favorite jazz standards to help guide us through the chord changes.

ARRANGING ON THE FLY!; Sara Leib; All Levs.; Do I need to write this down for my band or can I just call it on the gig?  This heavily performance-based class will guide students through different ways to quickly and easily create arrangements for songs in seconds.  Perform songs with an introduction, arrangement idea, and ending.  Perform the same song in several different styles.  You’ll enjoy learning to do something different with your interpretations, and creating new and different arrangements!

FADO SINGING...THE SOUL OF PORTUGAL; Ramana Vieira; All Levels; Please listen to the classics of Amalia Rodrigues and ladies bring a Shawl; Have you ever wondered what it would be like to be a vocalist that sings at midnight in a tavern in an ole European bar where the night meets love, pain, senusality, passion and deep yearning which is called "saudade"? Its called "Fado" the Portuguese folk-root music. In this class we learn three classics of Amalia Rodrigues the legendary Fadista and perform while learning the vocal techniques, the phrasing, the emotions-emotive singing from the heart. Come and join me as we sing the most popular World Music craze since Tango hit the U.S.

FADO SONGWRITING; Ramana Vieira; All Levels; We’ll listen to a sampling of some of the most popular Fados in the three traditional Fado forms: Fado menor, Fado corrido and Fado Mouraria. Then we will compose our own Fado… and we’ll record it!

ALL-CAMP GOSPEL CHOIR; Terrance Kelly; All Levels; All Welcome; Here's your chance to sing Gospel music under the direction of Terrance Kelly- Everyone is invited! We will do several types of gospel music from contemporary to traditional, giving a taste of what’s out there in gospel today.

This is often the most memorable experience at camp, so don't miss it.

GOSPEL VOCAL ENSEMBLE; Terrance Kelly; All Levels; Small ensemble working with contemporary gospel stylings and harmonies and polyrhythms. We will perform at the final gospel concert. No Audition Necessary.

GOSPEL RUNS; Terrance Kelly; All Levels; Do you ever listen to Bebe Winans and say “I wish I could do that!”? Fortify your singing with authentic Gospel runs and add them to your singing arsenal.

VOCAL JAZZ ENSEMBLE; Sandy Cressman; Beg./Int.; We will take a dip in the pool of Group Vocal Jazz. Come learn to swing and sing in harmony-- bring your voice, your digital recorder and your good energy. Repertoire will draw from classic jazz standards and beyond...music reading ability is not required and there is no audition for this class. Should have Ability to sing with good intonation.

INT/ADV VOCAL JAZZ ENSEMBLE; Juliet Green; Int./Adv.; This is a small vocal ensemble for those experienced in choral and/or jazz part-singing. We will be working on challenging arrangements in several styles, including solo features, unison work, and some delicious crunchy harmonies. This is a great opportunity for singers to develop their ears and enjoy learning to play well with others.  By audition on first day of camp.

SPIRIT SONGS; John Santos; Percussion, Vocals; All Levels; Should have basic ability to hear, sing and hold melodies and harmonies. Cuban songs of Afro/spiritual origin are the foundation of much spiritual practice in the African diaspora and are also at the root of contemporary Salsa and Latin Jazz. They continue to be a strong base of identity for many Caribbean descendants in and out of the region. We will sing in Cuban style Yoruba and Kongo dialects. The rich melodic, harmonic and rhythmic qualities of this music will inspire you as well as enhance your musicality.

 

COMBOS AND ENSEMBLE CLASSES

JAZZ CAMP BIG BAND; Erik Jekabson; All Levels; Instruments Only; No Audition Necessary. This class is intended for players of sax, trumpet, bone, guitar, piano, bass, and drums that have been playing for at least 2 years and can read music. Participants must be willing to work as team members for the sake of producing a beautiful and grooving ensemble sound. We will rehearse written and improvised big band ensemble music and perform at the end of the week. We'll be reading through charts from many of the best big bands throughout jazz history, including Duke Ellington, Count Basie, Thad Jones-Mel Lewis, Oliver Nelson, and Quincy Jones. Open to instrumentalists, sight reading skills a big plus!

JAZZ CAMP LATIN BIG BAND; John Calloway; All Levels; Instruments Only; No Audition Necessary. Sight-reading skills a big plus! Study and performance of various Latin Jazz and Afro-Cuban big band music culminating in the Friday night camp concert/ dance party.

 

COMBOS

All Combos will be by audition only on first day of camp. There are ten faculty-led combos of varying levels offered each day. Spend the week playing in a combo setting under the tutelage one of our faculty members.  The combos are NOT just for advanced players. Don’t hesitate to audition if you're a less-experienced player. Not everyone will end up in a combo, so please be prepared with a second choice during that time slot, or create your own group!

About the Audition: Combos are by audition only on first day of camp.

Instrumentalists will be asked to perform up to 3 pieces of contrasting styles: one blues, one standard from either the great American songbook or a classic jazz song, and one song in another style that you like, Latin or pop or funk or anything else. You do not need all three categories covered to audition- if you only know the blues, that's just fine! You may be asked to sight read a short selection.

If you are playing a more complicated tune, you are responsible to bring your own backing track. These are readily available on iRealB or Jamie Aebersold in iTunes. Your tracks must be on a phone, laptop or any other device that we can plug in. No CDs please.

Drummers should be able to play 12 and 32 bar forms using a variety of feels, including but not limited to swing, funk, and samba. Drummers may be asked to take chorus over a specific form or trade fours with themselves (i.e. four bars of time/four bars of solo).

Remember, we have 10 combos of all levels; Beginning, Intermediate and Advanced. The auditions help us get an overall feeling for your style and ability so that we can place you in a combo with other musicians and an instructor where you can both play and learn!

Note: Your Combo Audition will apply for the Piano Intensive and/or Advanced Instrumental(if you are interested).  If you are accepted into the Advanced Instrumental Track, you may not also be in a Combo

 

ADV INSTRUMENTAL TRACK; Laurence Hobgood; Adv; Instruments Only. By Audition on first day of camp. This 2-hour group intensive offers advanced students a week-long opportunity to study and play together under the tutelage of our esteemed Artist in Residence and several rotating faculty members. Designed for a maximum of 12 instrumentalists, this program provides advance instruction in a focused immersive setting.

3-4: Master Class with our Artist in Residence, Laurence Hobgood

4:15-5:15: Class conducted by a different faculty member each day.

The Advanced Instrumental Track culminates with a performance on the last Saturday of camp.

Note: If accepted into the Instrumental Track, you may not join a Combo. However you may audition/join and the Adv. Piano Program.

SPONTANEOUS MORNING ENSEMBLE; Jovino Santos Neto; All levels/ All Welcome; This class is aimed at all levels of musicianship. Reading is not necessary. Compositions and arrangements are created by Jovino in class with the available instruments and are learned by ear before being notated. Everyone who wants to can play, while they develop strong listening skills.

THE BIG BLUES EXPERIENCE!; Alvon Johnson; All Levels; Students will learn a variety of instrumental blues songs and blues forms with the intention of arranging, performing, and refining these tunes and developing a repertoire similar to one that might be used in a working blues band and encouraging improvisation over this repertoire. The initial goal will be to learn to play individual parts in order to make a band sound, learn how to support the soloist, learn how to enter and exit solos, learn how to play as a unit.  Our goal is to develop an entire set of blues by ear.

FUNK ENSEMBLE; Ben Heveroh; All Levels; All Instruments Welcome; Exploring the unique elements of funk in a group ensemble. We will dig into different genres of funk from James Brown, Sly Stone, P-Funk, Prince, and more. In addition to playing, the class will listen, analyze and dig into recordings in the same way one would study jazz or any other authentic style of music. Learn about locking with other players, making it bounce, and hitting on the '1', and basic concepts of the funk groove. All instruments welcome.

BOB MARLEY EXTRAVAGANZA!; Matt Jensen; All Welcome – Should be able to play all types of triads and 7th chords and be fairly fluent in the use of major and minor pentatonic scales as well as blues scales and licks. Drummers – be able to play a one-drop drum pattern. Singers - be able to hold a harmony line against other harmony. Please listen to there songs ahead of time: The Heathen, I Shot the Sheriff, No Woman No Cry, Get Up Stand Up, So Much Things to Say, Slave Driver.  Download Music Parts here.

In this ensemble we will prepare 6 Marley songs for performance and learn the inner workings of all the essential components of a great reggae band. The emphasis is on the disciplined rhythmic and harmonic layering of parts designed to bring about the transcendent experience of the collective creation of absolute rhythm and groove.  Along the way Matt will sprinkle historical facts, epithets, quotes, and stories about Bob’s life, perhaps with a little current socio-political commentary…as Bob would have wanted!

Instrumentation:  Bass, drums, 2 guitars, 2 keyboards, 2 hand percussion, trombone, trumpet, tenor and alto sax, 1 lead vocalist and 3-part back ground vocals.  Instrumentation is not absolutely limited to this, so Matt will work with whatever instruments we have. As for vocals: we will interchange lead vocalists on each tune and of course we will accommodate more than 3 back up vocalists.

REGGAE JAZZ, Matt Jensen; All Levels; All Instruments Welcome; No experience with Reggae is necessary! This class is open to all levels of all instrumentalists with a big focus on bass, drums, keyboards, guitar and hand percussion (bongo, conga, tambourine, wood blocks, bell and misc. percussion). Knowledge of triads (and inversions) and both rooted and rootless II V I jazz voicings, working understanding of soloing using (at least) major and minor pentatonic scales.

Who says you can’t take a jazz standard and play it, using most the intricacies of jazz playing, but using a reggae groove instead of a swing (or Latin) groove? In this class we will learn how to play Rocksteady and Reggae (including one-drop, steppers and rockers styles) and apply these grooves to various jazz standards. Rhythm section players will learn how to play proper drumset grooves, reggae-centric bass lines, the chop (skank) and bubble, and the role of percussion. Horn and any other lead instruments will play melodies, solos and learn reggae-centric backing lines.  We will also incorporate ‘Dubwize/Riddim’ breakdown sections incorporating a bit of free jazz!

Check this link for examples of all the reggae styles we will be studying.

THE JAZZ “UKUSTRA” (UKULELE ORCHESTRA); Anthony Michael Peterson aka TRU; All Levels; The Jazz Ukustra is an exploration into the world of swing, its song repertoire, and a glimpse of other musical possibilities! Students willdelve into basic chord progressions used in jazz standards, the techniques of the shuffle strum, four to the bar strumming, major and minor scales, blues scales, and even a raga from Indian music! Songs include “Take the A Train”, “C Jam Blues”, Hawaiian and country blues song forms. Basics in accompaniment and soloing will also be covered, along with instructions on how to practice on the Uke and progress on this wonderful instrument throughout the year! Bring your Ukulele.