This course extends students' understanding of aural and theoretical techniques pertaining to jazz. Students will develop skills in the analysis and arranging of jazz styles, skills which are necessary for pursuing both jazz performance and/or academic research in jazz. Topics covered include (but are not limited to): aural training for jazz, functional analysis of diatonic, chromatic, and modal harmonies in jazz music, chord-scale relationships, arranging techniques for jazz and popular instruments in small ensembles.

Learning Outcomes

Upon successful completion, students will have the knowledge and skills to:

1. demonstrate an understanding of elements of jazz, including pitch, melody, harmony, rhythm, and form;
2. apply theoretical knowledge and analytical techniques to jazz repertoire drawing on appropriate terminology and nomenclature;
3. demonstrate an ability to fluently read, transcribe and interpret jazz rhythmic, melodic and harmonic elements; and
4. apply knowledge of instruments common to jazz idioms in notation exercises and arranging tasks.

Additional Course Costs

Students will require manuscript paper and pens for this course. Students should make copies of all submitted work and may incur small copying costs.

Recommended Resources

Students should bring manuscript paper, writing paper, pens, pencils to all classes or as directed by the lecturer. It is strongly recommended that students make use of music notation software where appropriate, such as Sibelius (version 5 and later), Finale, Dorico, or Musescore. Sibelius 7.5 is installed on many computers around campus.

Students may wish to refer to the following textbooks and resources that inform the topics covered throughout the course. Most of these can be found in the Art & Music Library or through ANU E- Resources.

Jazz Theory Texts

Levine, Mark. The Jazz Theory Book. Petaluma: Sher Music, 1995.

Mulholland, Joe and Hojnacki, Tom. The Berklee Book of Jazz Harmony. Boston: Berklee Press, 2013.

Terefenko, Dariusz. Jazz Theory: From Basic to Advanced Study. New York: Routledge, 2018.

Rawlins, Robert and Bahha, Nor Eddine. Jazzology: The Encyclopedia of Jazz Theory for all Musicians. Milwaukee: Hal Leonard, 2005.

The Real Book. Milwaukee: Hal Leonard, 2016.

Staff Feedback

Students will be given feedback in the following forms in this course:

• written comments
• verbal comments
• feedback to whole class, groups, individuals, focus group etc

Student Feedback

ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). The feedback given in these surveys is anonymous and provides the Colleges, University Education Committee and Academic Board with opportunities to recognise excellent teaching, and opportunities for improvement. The Surveys and Evaluation website provides more information on student surveys at ANU and reports on the feedback provided on ANU courses.

Class Schedule

Week/Session	Summary of Activities	Assessment
1	Theory: Course overview; Functional harmony: review; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.
2	Theory: Functional harmony: review; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.
3	Theory: Functional harmony: modulations and Coltrane changes; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.
4	Theory: Melody: bebop embellishments; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.
5	Theory: Functional harmony: modulation techniques; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.
6	Theory: Melody: bebop scales; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.	Aural: In-class exam (10%) Theory: Folio pt. 1 due (25%)
7	Theory: Functional harmony: modal interchange; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.
8	Theory: Jazz piano: basic voicings and comping; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.
9	Theory: Non-functional harmony: modal harmony; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.	Aural: In-tutorial presentations (15%)
10	Theory: Non-functional harmony: other organising principles; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.	Aural: In-tutorial presentations (15%)
11	Theory: Non-functional harmony: loose ends; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.	Aural: In-tutorial presentations (15%)
12	Theory: Semester review; Aural: Lecture: Music analysis and listening skills; Harmonic and melodic dictation drills; Tutorial: Rhythm work (concepts, dictation, performance); Sight-singing.	Aural: In-class exam (25%) Theory: Folio pt. 2 due (25%)

Tutorial Registration

See wattle for tutorial registration details.

Assessment Summary

Assessment task	Value	Due Date	Return of assessment	Learning Outcomes
Aural: In-Class Mid-Semester Exam	10 %	29/03/2022	12/04/2022	1, 2, 3
Theory: Portfolio of Arranging & Composition Tasks, part 1	25 %	01/04/2022	19/04/2021	1, 2, 3, 4
Aural: Presentation	15 %	*	01/06/2022	1, 2, 3, 4
Aural: In-Class Final Exam	25 %	24/05/2022	30/06/2022	1, 2, 3
Theory: Portfolio of Arranging & Composition Tasks, part 2	25 %	27/05/2021	10/06/2021	1, 2, 3, 4

* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details

Policies

ANU has educational policies, procedures and guidelines, which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Misconduct Rule before the commencement of their course. Other key policies and guidelines include:

• Student Assessment (Coursework) Policy and Procedure
• Special Assessment Consideration Policy and General Information 
• Student Surveys and Evaluations
• Deferred Examinations
• Student Complaint Resolution Policy and Procedure

Assessment Requirements

The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the Academic Integrity . In rare cases where online submission using Turnitin software is not technically possible; or where not using Turnitin software has been justified by the Course Convener and approved by the Associate Dean (Education) on the basis of the teaching model being employed; students shall submit assessment online via ‘Wattle’ outside of Turnitin, or failing that in hard copy, or through a combination of submission methods as approved by the Associate Dean (Education). The submission method is detailed below.

Moderation of Assessment

Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.

Assessment Task 1

Aural: In-Class Mid-Semester Exam

• Aural exam covering aspects of rhythmic, melodic and harmonic dictation, and sight-singing or clapping (as studied in weeks 1-5);
• Duration: 1 hour (with possible use of tutorial times for sight-singing components, as required).

Assessment Task 2

Theory: Portfolio of Arranging & Composition Tasks, part 1

Task Description

• Write a chord progression that could serve as the underlying harmony for a jazz tune using the functional harmony techniques covered in weeks one through five.
• Write a one-chorus bebop solo over this chord progression, using the bebop melodic techniques covered in weeks one through five.
• Write a 500-word analysis of the submitted musical material, including excerpts and figures where appropriate, and making use of the terminology and analytical symbols covered in weeks one through five. Include an annotated score as an appendix.

Instrumentation:

Score the bebop solo for an instrument of your choice, and write chord symbols above the stave. Ensure that the solo does not go outside the range of the instrument

for which it is written.

Form:

The chord progression must be at least 32 bars long, and include at least three distinct sections (for example, an ABAC or AABC form would be acceptable).

Harmony:

The chord progression should incorporate:

• Both major- and minor-key harmony; and
• Coltrane changes, and/or modulations to multiple keys centres with distant relationships.

Score:

The score must be clearly and professionally laid out with detailed markings, articulations, dynamics, and other performance instructions. It should be in concert pitch and the different sections of the form should be clearly labeled ('A', 'B', etc.).

Analysis:

The analysis should demonstrate an understanding of the harmonic and melodic principles studied in weeks one through five. It should be clearly formatted and presented in appropriate academic style including referencing (texts or lecture notes) and/or comparative examples from other repertoire as appropriate.

Submission files:

• Submit the score as a PDF file.
• Submit the analysis document as a Microsoft Word DOCX file.
• Write your u-number—but not your name—on each document.
• Submit an audio file of the scored material (for example, the exported audio from your notation software).

Rubric

Criteria	HD	D	Cr	P	N
Effective application and evident understanding of relevant harmonic techniques and principles
Effective application and evident understanding of relevant melodic, improvisational, and/or rhythmic techniques and principles
Clear and professional score layout with appropriate formatting and detailed markings, articulations, dynamics, and other performance instructions
Persuasive written analysis of relevant harmonic, melodic, improvisational, and rhythmic techniques and principles, effectively supported by reference to musical excerpts and the annotated score
Analysis well formatted and clearly presented in appropriate academic style including referencing (texts or lecture notes) and/or comparative examples from other repertoire as appropriate

Assessment Task 3

Aural: Presentation

Students will deliver a 15 min presentation (with an additional 5 mins allowed for questions) with a focus in one of the two following areas:

1. Review/evaluation of articles (min. 3, at least 2 should be publications or from relevant journals) relating to aural training or use in practice by expert musicians. You may summarise and evaluate either:
2. Articles/publications on a related work/topic/approach that establish a unified viewpoint; or
3. Articles/publications that show differing perspectives, or challenge conventional thinking on a given topic.
4. Transcription (negotiated in advance) and analysis, with additional creative component.
5. The work to be transcribed is to be negotiated in advance. You must show that published transcriptions are not readily available and you may consider doing elements other than lead lines or solos. Australian content may be a good source of appropriate content.
6. The creative component may be performed live or recorded and should demonstrate creative use of identified elements of the original work. Examples might include (but are not limited to) composed solos or improvisations.

•  Presentations will be conducted in tutorial times during weeks 9-11
• PowerPoint presentation and accompanying script (and other resources as relevant) to be submitted by Monday of wk. 9
• All presentations should include appropriate referencing and supporting musical examples.

Rubric

Criteria	HD	D	C	P	N
Effective oral communication and delivery of script/content. Ability to work to time constraints. Concise and well-structured powerpoint (or similar)
Evidence of research (references and citations). Clear and effective arguments, with connection to the research. Well-presented supporting script and resources (online submission in advance).
(Research task) Effective use of musical excerpts and any other relevant figures or tables. Clear connections to ideas and arguments.
(Creative component) Accurate transcription. Effective analysis of motivic elements. Creative application of elements with clear connection to the source.

Assessment Task 4

Aural: In-Class Final Exam

• Aural exam covering aspects of rhythmic, melodic and harmonic dictation, and sight-singing or clapping (as studied in weeks 7-11)
• Duration: 1 hour (with possible use of tutorial times / exam period for sight-singing components, as required)

Assessment Task 5

Theory: Portfolio of Arranging & Composition Tasks, part 2

Task Description

• Compose a jazz piece for rhythm section and at least one frontline instrument, using the various techniques covered throughout the semester.
• Fully notate the piano part for at least one chorus.
• Write a 500-word analysis of the submitted musical material, including excerpts and figures where appropriate, and making use of the terminology and analytical symbols covered throughout the semester. Include an annotated score as an appendix.

Instrumentation:

The piece should feature at least one frontline instrument (for example, trumpet, alto saxophone, tenor saxophone, trombone, or guitar), piano, double or electric bass, and drums. The score should include staves for each frontline instrument (with correct transposition), two staves for piano, and a stave for the rest of the rhythm section (individual staves for bass and drums are optional).

Form:

The head must be at least 32 bars long, and must include at least three distinct sections (for example, an ABAC or AABC form would be acceptable). The arrangement must include, at a minimum, an introduction, one statement of the head, and an ending. You may also choose to write out a solo for one of the frontline instruments, if you think that would help to demonstrate a more comprehensive understanding of the melodic techniques covered throughout the semester.

Harmony:

The piece must incorporate both functional harmony—including modal interchange—and non-functional harmony, and demonstrate an understanding of the various harmonic techniques covered throughout the semester.

The notated piano part should feature stylistically appropriate chord voicings and comping rhythms, and demonstrate an understanding of the jazz piano voicing techniques covered throughout the semester, including voice-leading considerations.

Score:

The score must be clearly and professionally laid out with detailed markings, articulations, dynamics, and other performance instructions. Chord symbols should be included above each stave, and the different sections of the form should be clearly labeled ('A', 'B', etc.).

Analysis:

The analysis should demonstrate an understanding of the harmonic, melodic, and rhythmic principles studied throughout the semester. It should be clearly formatted and presented in appropriate academic style including referencing (texts or lecture notes) and/or comparative examples from other repertoire as appropriate.

Submission files:

• Submit the score as a PDF file.
• Submit the analysis document as a Microsoft Word DOCX file.
• Write your u-number—but not your name—on each document.
• Submit an audio file of the scored material (for example, the exported audio from your notation software).

Rubric

Criteria	HD	D	C	P	N
Effective application and evident understanding of relevant harmonic techniques and principles
Effective application and evident understanding of relevant melodic, improvisational, and/or rhythmic techniques and principles
Clear and professional score layout with appropriate formatting and detailed markings, articulations, dynamics, and other performance instructions
Creativity of arrangement, through the use of composed introductions, endings, and interludes, ensemble writing, and other techniques, where appropriate
Persuasive written analysis of relevant harmonic, melodic, improvisational, and rhythmic techniques and principles, effectively supported by reference to musical excerpts and the annotated score
Analysis well formatted and clearly presented in appropriate academic style including referencing (texts or lecture notes) and/or comparative examples from other repertoire as appropriate

Academic Integrity

Academic integrity is a core part of the ANU culture as a community of scholars. At its heart, academic integrity is about behaving ethically, committing to honest and responsible scholarly practice and upholding these values with respect and fairness.

The ANU commits to assisting all members of our community to understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. The ANU expects staff and students to be familiar with the academic integrity principle and Academic Misconduct Rule, uphold high standards of academic integrity and act ethically and honestly, to ensure the quality and value of the qualification that you will graduate with.

The Academic Misconduct Rule is in place to promote academic integrity and manage academic misconduct. Very minor breaches of the academic integrity principle may result in a reduction of marks of up to 10% of the total marks available for the assessment. The ANU offers a number of online and in person services to assist students with their assignments, examinations, and other learning activities. Visit the Academic Skills website for more information about academic integrity, your responsibilities and for assistance with your assignments, writing skills and study.

Online Submission

You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) submission must be through Turnitin.

Hardcopy Submission

For some forms of assessment (hand written assignments, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records.

Late Submission

Individual assessment tasks may or may not allow for late submission. Policy regarding late submission is detailed below:

• Late submission permitted. Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item. Late submission is not accepted for take-home examinations.

Referencing Requirements

Accepted academic practice for referencing sources that you use in presentations can be found via the links on the Wattle site, under the file named “ANU and College Policies, Program Information, Student Support Services and Assessment”. Alternatively, you can seek help through the Students Learning Development website.

Returning Assignments

Assessed work will be graded following the scheduled class time. Feedback will be given via Wattle and in-person, where appropriate.

Extensions and Penalties

Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. Extensions may be granted for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.

Resubmission of Assignments

Student work will be returned through Turnitin with instructor comments. Students who wish to receive additional feedback on assignments should make an appointment to see the instructor.

Privacy Notice

The ANU has made a number of third party, online, databases available for students to use. Use of each online database is conditional on student end users first agreeing to the database licensor’s terms of service and/or privacy policy. Students should read these carefully. In some cases student end users will be required to register an account with the database licensor and submit personal information, including their: first name; last name; ANU email address; and other information.
In cases where student end users are asked to submit ‘content’ to a database, such as an assignment or short answers, the database licensor may only use the student’s ‘content’ in accordance with the terms of service – including any (copyright) licence the student grants to the database licensor. Any personal information or content a student submits may be stored by the licensor, potentially offshore, and will be used to process the database service in accordance with the licensors terms of service and/or privacy policy.
If any student chooses not to agree to the database licensor’s terms of service or privacy policy, the student will not be able to access and use the database. In these circumstances students should contact their lecturer to enquire about alternative arrangements that are available.

Distribution of grades policy

Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.

Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.

Support for students

The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).

• ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
• ANU Diversity and inclusion for students with a disability or ongoing or chronic illness
• ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
• ANU Academic Skills and Learning Centre supports you make your own decisions about how you learn and manage your workload.
• ANU Counselling Centre promotes, supports and enhances mental health and wellbeing within the University student community.
• ANUSA supports and represents undergraduate and ANU College students
• PARSA supports and represents postgraduate and research students