{"id":6,"date":"2015-08-30T13:28:05","date_gmt":"2015-08-30T13:28:05","guid":{"rendered":"http:\/\/hollisticmusicworks.com\/brianlynchjazztrumpetstudio\/?p=6"},"modified":"2015-08-30T13:35:23","modified_gmt":"2015-08-30T13:35:23","slug":"brian-lynch-jazz-trumpet-studio-syllabus-fall-2015","status":"publish","type":"post","link":"https:\/\/hollisticmusicworks.com\/brianlynchjazztrumpetstudio\/2015\/08\/30\/brian-lynch-jazz-trumpet-studio-syllabus-fall-2015\/","title":{"rendered":"Brian Lynch Jazz Trumpet Studio Syllabus Fall 2015"},"content":{"rendered":"

JAZZ TRUMPET STUDIO SYLLABUS FALL 2015\u00a0 Version 1.1<\/strong>
\nProf. BRIAN LYNCH<\/strong><\/h3>\n

Studio Facebook Page:
\nhttps:\/\/www.facebook.com\/brianlynchfrosttrumpetstudio<\/a>
\nStudio Web Site:\u00a0http:\/\/brianlynchjazztrumpetstudio.com<\/a><\/p>\n

Download the hard copy of this syllabus:<\/p>\n

JTP Syllabus 2015-16<\/a><\/p>\n

Hi All,<\/p>\n

Welcome to my trumpet studio for the 2015-16 academic year at the Frost School Of Music. This year\u2019s syllabus retains most of the aspects of last year’s syllabus while making changes that reflect the continuing evolution and refinement of my teaching concepts and practice.<\/p>\n

Along with outlining my studio policies and requirements below, I’d also like to give you a glimpse of my teaching philosophy and the general areas that I feel important to cover in the course of my jazz trumpet instruction. The topics below address basic issues of playing the horn and improvisational fluency that apply to all students interested in a serious engagement with the jazz trumpet idiom, in my view. As such, I will expect all of my students to apply themselves to this material.<\/p>\n

STUDIO STRUCTURE – LESSONS, GROUP LESSONS AND MASTER CLASSES<\/strong><\/h4>\n

My studio uses a hybrid group\/individual lesson structure, and our activity as a studio will consist of these aspects:<\/p>\n

    \n
  1. Individual lessons<\/li>\n
  2. Group lessons\/”shedding sessions”, where core requirements in technique and applied jazz technique along with other aspects of playing will be addressed in small groups of compatible level. We will also work on repertoire as well as general musicianship issues such as rhythmic comprehension, reading, and so forth as applied to the trumpet.<\/li>\n
  3. \u00a0Studio classes (Mondays 7-8 PM, Volpe 107) will have playing sessions where studio members will perform for each other with accompaniment, and be critiqued by myself and visiting artists.<\/li>\n<\/ol>\n

    There will also be master classes and seminars on different topics, especially pertaining to style, historical perspectives on jazz trumpet and related fields. We will also cover special topics such as recording techniques.<\/p>\n

    Lesson tallies are broken down as follows:<\/p>\n

    For 2 credit students:<\/strong><\/p>\n

    \u2022 11 one hour private lessons<\/p>\n

    \u2022 12 weeks of group lessons (1 hour each). counting as 3 lessons (12 divided by 4 in each group)<\/p>\n

    For 1 credit students:<\/strong><\/p>\n

    \u2022 4 one hour private lessons, or 8 one hour \u201cpractice partner\u201d lessons (see below)<\/p>\n

    \u2022 12 weeks of group lessons, as described above<\/p>\n

    As an alternative, 1 credit students may elect to take 7 one hour lessons without the group lesson component. I do strongly recommend that 1 credit students elect to take the group lesson; you will get far more contact and content by doing so!<\/p>\n

    Special Note for Studio Members With Other Instructors:<\/strong><\/h4>\n

    Members of the Jazz Trumpet Studio who are taking private instruction with other teachers in the studio will have the option of taking a group lesson each week and 11 individual lessons with their instructor of record; or 14 individual lessons with the instructor of record without the group lesson. Again, I recommend the group lesson option in this case.<\/p>\n

    Group lessons will be organized partially according to level, based on evaluation at the beginning of each semester, but also subject to scheduling. These groups will meet\u00a0every\u00a0week of the semester; when I’m away touring they will be coached by a teaching assistant.
    \nStudio class will be held every Monday after MSJ Monday Community meeting, from 7:00 to 8:00 PM (except for the Mondays when Community sessions go to extra length).\u00a0These classes are not extra or voluntary, but an integral part of the curriculum, and attendance will count towards your grade.<\/strong><\/em><\/p>\n

    \u201cPractice Partners\u201d and Practice Partner Lessons:<\/strong><\/h4>\n

    I would like to encourage my students to find a partner to practice with, at least twice a week. I\u2019ve found that \u201cshedding\u201d together with someone really makes a practice session more meaningful and memorable. Partner practice doesn\u2019t take the place of individual practice, but makes you go back to your own private woodshed with more motivation and focus.<\/p>\n

    I think that partnering may also be a good way to get the most out of the limited lesson time available to 1 credit students that are electing to take the group lesson.<\/p>\n

    STUDIO POLICIES:\u00a0<\/strong><\/h4>\n

    My lesson slots will start promptly on the hour and end at 55 minutes past the hour, giving me a 5 minute turnaround between lessons to make notes and get students packed and unpacked.\u00a0I will expect students to be at the studio door 5 minutes before their assigned lesson time!
    \n<\/strong>
    \nI will expect all my students to keep a practice log covering what is practiced (both my assignments and other material) and for how long.<\/strong> <\/em>This will be used for both the individual and the group lessons. A\u00a0Moleskine\u00a0pocket music notebook works well for this purpose. Students will also be required to record their practice sessions at least once a week, and be able to send me excerpts from them on my request, in order to help me assess your progress in specific areas.<\/p>\n

    I also expect my students to bring all the music (exercises, charts, etc.) that we are working on as well as material previously covered, with them to each lesson. I expect the material that I give to my students to be neatly organized in a binder so it can be accessed at any time.<\/p>\n

    I have a very active performing schedule so I will need to reschedule lessons at times. I will expect each of you to provide me with reliable alternative times for your lesson so I can plan ahead with you. Group lessons and studio class will go on as scheduled during my performing absences, led by my teaching assistant(s), unless otherwise indicated on the master schedule. (see below)<\/p>\n

    I have set up a Facebook page for communication between all of us at:\u00a0https:\/\/www.facebook.com\/brianlynchfrosttrumpetstudio<\/a>\u00a0I will use this as an adjunct to regular email in informing you about schedule changes as well of all things of interest to the studio. This will not be a replacement for email so keep communicating to email messages, please! The master schedule for individual and group lessons, as well as master classes, will be on this page.
    \n<\/strong><\/em>
    \nThere is also a webpage on my own site set up for the studio in case Facebook is inadequate for any of our virtual needs. The address for that page is: \u00a0    http:\/\/brianlynchjazztrumpetstudio.com<\/a>.\u00a0All schedules and documents pertaining to the studio will be on this web page as well.
    \n<\/strong><\/em>
    \nBetween the Facebook page and the studio webpage on my site, everyone should be able to know what\u2019s going on from week to week, so please, no excuses for not knowing about something! I will be also using the UM Blackboard system to communicate with students when appropriate.<\/p>\n

    GRADES:<\/strong><\/h4>\n

    You will be graded on \u00a01) attendance, 2) effort, 3) progress, and 4) completion to the best of your ability of assigned work. Factors such as unexcused absences from lessons, chronic lateness to lessons, unpreparedness, not being warmed up for a lesson, and other indicators of lack of serious intent (like not having your music with you at lessons) will also affect your grade. Missing a lesson without an prior excuse will result in the lowering of your semester grade by one half a letter (e.g. from A to A-).<\/strong><\/em><\/p>\n

    JURIES:<\/strong><\/h4>\n

    Your end of semester jury will count towards a substantial portion of your grade. Jury requirements will be made clear to each student on an individual basis by the mid point of each semester; generally, though, a typical jury might take this form:<\/p>\n

      \n
    1. \u00a0Demonstration of technical fluency through presentation of exercises or other assignment material from the lessons.<\/li>\n
    2. Performing a transcription of an improvised solo (from an assigned transcription that semester) by memory along with the recording at a playback speed chosen by the jury (typically between 50 and 100%). A written transcription and a attached sheet of vocabulary extracts from the solo must be also submitted.<\/li>\n
    3. Performing a piece from the repertoire list, and specifically from the tunes learned that semester, by memory (melody and improvised solo) with accompaniment (either live or play-along). The jury will select the song to be played from the repertoire list submitted by the student and OK\u2019d by the studio instructor, Students will also be required to play the melody of one of the songs from their list (student\u2019s choice) in the key of the jury\u2019s choice. More advanced students (TP2 and above) will be required to improvise on this \u201c12 key\u201d tune as well in the key of the jury\u2019s choice.<\/li>\n<\/ol>\n

      JAZZ TRUMPET STUDIO OBJECTIVES<\/strong><\/h3>\n
        \n
      1. A firm hold on technique, with a balanced approach to development and maintenance of tone, flexibility, range, velocity, articulative fluency and versatility, along with all other aspects of playing the trumpet at a virtuoso level. Methodology and materials from the orchestral tradition will be adapted to work organically in a jazz\/studio music context of performance alongside my own materials and contemporary technical approaches.<\/li>\n
      2. Comprehension and understanding of a wide variety of styles.\u00a0The jazz tradition will be the central focus to work outward from\u00a0in gaining understanding of the role of the trumpet in other idioms:<\/li>\n<\/ol>\n