Jazz Handbook
Jazz Handbook
Jazz Handbook
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TABLE OF CONTENTS
Applied Lessons 9
Scholarships 14
Jury Requirements 26
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Recital Guidelines 33
Recital Approval 37
Performance Policies 42
Miscellaneous Performances 46
Tour Policies 47
Contact Information 50
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WELCOME TO “JAZZ AT THE BEACH”
In 1975, California State University, Long Beach became the first four-year college in California
and one of only fifteen in the nation to offer a degree in Jazz Studies. Since that time, our jazz
program, branded as “Jazz at the Beach”, has garnered a reputation as one of the finest collegiate
jazz studies programs in the nation. Furthermore, Cal State Long Beach was listed as the #1 Best
Value For The Money” in California and in the top 15% for the entire nation by College
Factual™. We are situated less than three miles from the Pacific Ocean in one of the most
desirable microclimates in Southern California. Long Beach is the 7th largest city in California,
yet it feels like a small town in the midst of a metropolis that is home to the movie, television
and recording studios that form the world’s largest entertainment center. What an ideal place to
build your professional network as you develop and refine your skill set.
“Jazz at the Beach” alumni who have made significant contributions to the music industry
include John Patitucci (bass), Mark Turner (saxophone), Larry Carlton (guitar), Tom Kubis
(saxophone/composer), Chad Wackerman (drums), Jeff Kashiwa (saxophone), Basil
Poledouris (film composer) andy Martin (trombone), Richard and Karen Carpenter (The
Carpenters), Luther Hughes (bass), Vince Johnson (The Four Freshmen), Bill Liston
(saxophone), Jay Mason (saxophone), Sal Lozano (saxophone), Jay Anderson (bass) and
more. Perhaps we will be adding your name to this list!
Some of the most challenging types of music may not always the most lucrative, jazz among
them. So, are we in the business of training starving artists? No. Our primary mission is to use
jazz as a catalyst to prepare you for gainful employment in the music world. Some of you will
find ways to fashion a career in jazz, while others will transition into other idioms. Your
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preferences and preparation may lead you to pursuing a living in musical production,
engineering, music supervision for films, arts management, composing and arranging music for
video games and movies, and many more profitable careers. To this end, all of us at “Jazz at the
Beach” are eager to help you realize your professional and artistic goals, whatever they may be.
Becoming a successful jazz musician or singer requires advanced skills that will make you more
effective and more employable in multiple musical genres. Our curriculum has been carefully
designed to blend musicianship, professionalism, reading skills, creativity, stylistic diversity,
business acumen, and multiple ethnic influences to prepare our majors for the rigors of a
constantly evolving entertainment industry – an industry comprised of a very small contingent of
professionals who support their families doing work they truly enjoy.
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THE JAZZ STUDIES FACULTY
Jazz studies majors at the Bob Cole Conservatory are guided by working music professionals
who perform for high-profile jazz venues, festivals and tours, write published jazz literature and
provide music for motion pictures, television and video games. Here’s a current list of the jazz
faculty at “Jazz at the Beach”:
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Mike Higgins / guitar
Credits include tours with Maynard Ferguson, performances with Eddie Harris, Tom Kubis, Bill
Watrous and 5th Dimension. Numerous film, television and recording credits.
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Randy Drake / drum set
Credits include performances with Bill Watrous, Uncle Festive, Englebert Humperdinck and
Ricky Woodward, plus film, television and recording credits.
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APPLIED LESSONS
Lesson Attendance
Contact your applied instructor each semester to schedule your lessons. If you are ill or have a
compelling reason to miss a lesson, notify your instructor before the lesson time to reschedule.
The interconnection between you and your applied teachers affect your success at multiple
levels. Your instructor:
Please respect your instructor’s busy schedule by minimizing missed lessons. If you are ill or
have a compelling reason to miss a lesson, contact the instructor well in advance.
You are entitled to 13 hour-long private lessons per semester. We realize our high-profile
instructors have professional engagements that conflict with lessons from time to time, but
double lessons should be kept to a minimum. Under no circumstances are group lessons
acceptable.
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Communication
Always communicate with your instructor and keep an open mind; some musicians and singers
are content to be creatures of habit – even when their habits don’t work. Take advantage of your
instructor’s experience and the new possibilities s/he can help you discover. Familiarize your
instructor with jury and recital procedures and seek his/her assistance when preparing ensemble,
jury and recital music. If issues arise that you are not comfortable discussing with your applied
instructor, notify the Director of Jazz Studies.
Lesson Journals
Jazz majors are required to submit confidential lesson journals at the end of each semester to
help us monitor lesson frequency, content and progress. After each lesson, log a brief synopsis of
your lesson on your laptop, tablet, or smart phone. Based on the sample journal entry shown
below, the length of your completed lesson journal will amount to 1-2 pages using single-spaced
Times New Roman 12-point font. Handwritten journals are not acceptable. Journals should be
submitted via email or hard copy to the Director of Jazz Studies during or before juries, even if
you are not performing a jury due to a recital that semester.
9/4/17
Today’s lesson addressed scale choices and other devices for improvising over certain
altered dominant chords. My grasp of altered dominant harmonies is progressing, but I
need to work on smoother voice leading as I transition to new chords. We also worked on
my flute sound today, which seems to be improving.
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“JAZZ AT THE BEACH”
PERFORMANCE ENSEMBLES
Led by Director of Jazz Studies Jeff Jarvis, the CJO is the flagship jazz ensemble of “Jazz at the
Beach” and has built a reputation as a top college jazz ensemble in the nation. This award-
winning big band has achieved local, national and international recognition through numerous
appearances at jazz festivals, music education conventions and command performances. The
CJO has won several Downbeat Student Music Awards in the graduate college large jazz
ensemble category and members of the ensemble have won in the Best Soloist and Best Original
Composition categories in the undergraduate and graduate college division. The band has also
won 1st place in the college division of the Monterey Next Generation Jazz Festivals, resulting in
invitations to perform at the Monterey Jazz Festival on numerous occasions. Other notable
Concert Jazz Orchestra performances include appearances at Jazz Education Network (JEN)
Conferences, Montreux Jazz Festival in Switzerland, North Sea Jazz Festival in the Netherlands,
Playboy Jazz Festival, Hollywood Bowl, International Association of Jazz Educators
Conference, National Association for Music Education Conference, California Music Educators
Association Conference, Dorothy Chandler Pavilion, Disneyland, Newport Beach Jazz Party,
Los Angeles Jazz Institute and more.
The Concert Jazz Orchestra has performed with Ashley Alexander, Shelly Berg, Wayne
Bergeron, Pete Christlieb, Buddy Colette, Eddie Daniels, George Duke, Gary Foster, Wycliffe
Gordon, John Heard, Christian Jacob, Bruce Johnstone, Tom Kubis, Rich Matteson, Eric
Marienthal, Les McCann, Bob McChesney, Bobby McFerrin, Airto Moriera, James Morrison,
Tommy Newsom, Dave Pike, Flora Purim, Kim Richmond, Jack Sheldon, Don Shelton, Bobby
Shew, Gary Smulyan, Tierney Sutton, Chad Wackerman, Alan Broadbent, Gary Anderson and
many others.
Led by Director of Jazz Studies Jeff Jarvis, the Studio Jazz Band is an important component of
the comprehensive jazz studies program at Cal State Long Beach. This large jazz ensemble has
won the Western States Jazz Festival while competing with the top bands from other California
universities. Participation in this ensemble allows jazz studies majors, music majors and non-
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music majors to fine-tune their big band skills. Students in the SJB receive valuable instruction
about improvisation, sight reading, section playing, woodwind doubling and jazz concepts.
Participants perform regularly on and off campus and are exposed to classic and cutting edge
large jazz ensemble literature by writers such as Bob Mintzer, Hank Levy, Bill Liston, Bob
Florence, John Fedchock, Frank Foster and more. During joint concerts with the Concert Jazz
Orchestra, the SJB benefits from performing with guest artists who appear at the conservatory.
The Jazz Lab Band provides an ideal opportunity for jazz studies majors, music majors, music
education majors and non-music majors to develop performance skills in a large jazz ensemble
setting. JLB members receive in-depth instruction on improvisation, sight reading, section
playing, woodwind doubling and jazz concepts. Participants perform regularly on and off
campus and are exposed to classic and cutting-edge large jazz ensemble literature by such writers
as Thad Jones, Bob Florence and many more. Under the close supervision of the Director of Jazz
Studies, the recipient of the coveted Beau and Jo France Graduate Jazz Studies Scholarship
directs this big band.
Led by Director of Vocal Jazz Christine Guter, PST is recognized as one of the finest collegiate
vocal jazz ensembles in the nation. This award-winning ensemble has achieved international
acclaim through frequent appearances at jazz festivals, educational conferences, competitions
and tours. Pacific Standard Time has won Downbeat Student Music Awards graduate college
large vocal jazz ensemble division for several consecutive years. Numerous Downbeat SMA’s
have been presented to graduate and undergraduate students in PST over the years in the
categories of Jazz Vocalist, Pop/Rock Vocalist, Latin Group and Jazz Arrangement. Pacific
Standard Time has won first place at Monterey Next Generation Jazz Festivals, resulting in
invitations to perform at the Monterey Jazz Festival. Other significant performances include the
International Association for Jazz Education Conference, Jazz Education Network Conference,
American Choral Directors Association Conferences (both regional and national), California
Music Educators Association Conferences, New York Voices Vocal Jazz Festival, Newport
Beach Jazz Party, West Coast Jazz Party, Los Angeles Jazz Institute, Playboy Jazz Festival and
more.
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Pacific Standard Time has worked with Kurt Elling, the New York Voices, Dena DeRose,
Lauren Kinhan, Sweet Honey in the Rock, Michele Weir, Kate Reid, Matt Falker, Jennifer
Barnes, Greg Jasperse, Kerry Marsh, Julia Dollison, Jeremy Fox, Sandy Cressman and many
other distinguished artists and educators.
Directed by adjunct faculty or a graduate teaching assistant, Jazz and Tonic is an important
component of the jazz studies program at Cal State Long Beach. The ensemble keeps an active
performance schedule and recently had the honor of headlining the Point Loma Vocal Jazz
Festival in San Diego. Recognized as one of the top collegiate ensembles on the West Coast,
they perform regularly on and off campus and participate in educational jazz festivals every year.
Jazz and Tonic provides an excellent opportunity for singers to hone their vocal, musicianship
and performance skills in a group setting. Members receive instruction on jazz harmony, style,
improvisation, rhythmic concepts and more.
CORNER POCKET
Our third vocal jazz ensemble comprised of choral studies majors and others who wish to learn
the vocal jazz idiom. Participants are introduced to improvisation, vocal jazz style and more.
JAZZ COMBOS
After the fall placement auditions, students are assigned to combos with players of like ability
and coached by jazz faculty and leading graduate students. Participants are required to master a
number of jazz tunes and standards from approved lists each semester. Participation is required
for all Jazz Studies majors. In combos, students develop a keen sense of blend, balance, jazz
style and enhanced improvisational opportunities. These ensembles provide opportunities for
original material by participants to be programmed. Regular performances are scheduled, both on
campus and at local jazz venues. Two proficient combos are chosen by audition and receive
combo class credit for rehearsing and performing with the vocal jazz ensembles.
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“JAZZ AT THE BEACH”
SCHOLARSHIPS
KKJZ Scholarship - Awarded annually to undergraduate and/or graduate jazz studies majors.
Beau and Jo France Graduate Jazz Studies Scholarship - Awarded annually to one graduate
instrumental jazz major. The recipient directs the Jazz Lab Band and is assigned other assigned
duties within the Jazz Studies area.
Graduate Teaching Assistantship (Vocal) – Awarded annually to one graduate jazz voice
major. The student awarded this assistantship directs Jazz and Tonic and has other assigned
duties within the Jazz Studies area.
State Paid Lessons - Entitles all BCCM jazz studies majors in good standing to 13 applied
lessons per semester at no cost to the student. (Some university music programs do not cover
applied lessons.)
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Includes Pell grants, Cal Grants, State University grants, Work Study, student loans and any other non-music scholarships,
grants or awards.
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“JAZZ AT THE BEACH”
INCOMING STUDENT AUDITION REQUIREMENTS
2
If combined financial aid and music scholarships exceed tuition costs, the excess is deducted from the music scholarships and
cannot be reallocated to assist other students.
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“JAZZ AT THE BEACH”
ENSEMBLE PLACEMENT AUDITIONS
In addition to entrance auditions, big band placement auditions are held the week before the start
of the fall semester. Announcements are posted on the jazz studies bulletin board and emailed to
all current jazz majors, jazz ensemble participants and incoming music majors.
Method of Evaluation
Applicants are evaluated on sight reading proficiency, jazz concept, overall musicianship and
jazz improvisation in both individual and ensemble settings. Saxophonists are also evaluated on
their woodwind doubling skills.
AUDITION REPERTOIRE
Wind Players
Prepare two medium-tempo or up-tempo jazz standards/etudes in contrasting styles. Be prepared
to accurately perform the melodies and improvise to the chord changes. As part of the audition
process, you will sight read a jazz etude or excerpt to evaluate rhythmic and note accuracy in a
consistent time feel. Saxophonists should be prepared to demonstrate woodwind-doubling skills
on a jazz or classical etude or excerpt. Alto saxophonists should be prepared to play soprano sax
and flute. Tenor saxophonists should be prepared to play clarinet and flute. Baritone
saxophonists should be prepared to play bass clarinet and flute.
As part of the audition process, you will sight read a jazz etude or excerpt to evaluate rhythmic
and note accuracy in a consistent time feel. Guitarists will be asked to play the written melody
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line; Pianists will be asked to play the written melody while comping the chord changes in the
left hand. A guitar amp is provided, but candidates are welcome to provide their own.
Bass
Prepare two medium-tempo or up-tempo jazz standards/etudes in contrasting styles. Be prepared
to accurately perform the melody of the tune, provide a bass line (comp) and improvise to the
chord changes. Candidates must audition on acoustic bass and may also demonstrate their
electric bass skills. However, the jazz studies area does not admit candidates who play electric
bass exclusively. As part of the audition process, you will sight read a jazz etude or excerpt to
evaluate rhythmic and note accuracy in a consistent time feel. A bass amp is provided for
auditions, but candidates are welcome to provide their own.
Drums
Prepare and perform two medium-tempo or up-tempo jazz standards/etudes in contrasting styles.
You will be asked to demonstrate proficiency in a variety of styles and meters and to sight read
an excerpt from a big band chart to demonstrate your ability to play a consistent groove in the
style, play set-up figures and notated ensemble cues. A drum kit is provided but candidates
should provide their own cymbals.
Vibraphone
Freshmen: Play the melody of and improvise over the chord changes to two jazz standards of
contrasting styles accompanied by live musicians or pre-recorded accompaniment tracks that you
are required to provide. Comp the chord changes to both tunes using two or four mallets. Prepare
an 8 measure "chord melody" of any jazz standard or one of the first 5 pieces from "Vibraphone
Technique: Dampening and Pedaling" by David Friedman. As part of the audition process, you
will be required to sight read a jazz etude or excerpt, with a consistent time feel to evaluate
rhythmic and note accuracy.
Transfer Students: Play the melody of and improvise over the chord changes to two jazz
standards of contrasting styles accompanied by live musicians or pre-recorded accompaniment
tracks that you are required to provide. Comp the chord changes to both tunes using four mallets.
Prepare a "chord melody" of an entire jazz standard and one of the first 20 pieces from
"Vibraphone Technique: Dampening and Pedaling" by David Friedman. As part of the audition
process, you will be required to sight read a jazz etude or excerpt, with a consistent time feel to
evaluate rhythmic and note accuracy.
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Graduate Students: Play the melody of and improvise over the chord changes to three jazz
standards of contrasting styles accompanied by live musicians or pre-recorded accompaniment
tracks that you are required to provide. One of the pieces must be performed at a tempo marking
of at least 240 beats per minute. Comp the chord changes to both tunes using four mallets.
Prepare a "chord melody" of an entire jazz standard and one of the final 10 pieces from
"Vibraphone Technique: Dampening and Pedaling" by David Friedman. Perform the melody of
and improvise over a jazz standard rearranged in an odd meter such as 5/4, 7/8 or 9/8.
Prepare one jazz standard of your choosing. The audition may be performed using live musicians
or accompaniment tracks provided by you. A sound system with a CD player and connecting
cords for laptop computers, iPods, iPhones and similar devices is provided. You will also be
asked to improvise and sight read a short jazz excerpt. You will also be asked to repeat random
pitches played at the piano to evaluate intonation and tonal memory. During your audition, you
will also learn and sing 4 bars of a vocal jazz arrangement to evaluate efficiency of learning and
ability to sing inner harmony parts. Applicants will be rated using a 100-point scale, 10 points for
each or the following categories: preparation, sight reading, tonal memory, improvisation, part-
singing, pitch, vocal quality, jazz style, stage presence and professionalism.
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“JAZZ AT THE BEACH”
ENSEMBLE REQUIREMENTS AND PROTOCOL
After passing the Upper Division Screening Examination (UDSE), the curriculum becomes more
jazz-specific and the MPO requirement may be fulfilled by participation in the Concert Jazz
Orchestra, Studio Jazz Band, Jazz Lab Band, Pacific Standard Time, Jazz and Tonic, or Corner
Pocket. Jazz majors are encouraged to remain involved in classical ensembles if their schedules
allow. Lower division, upper division and graduate jazz studies majors are required to attend jazz
ensemble placement auditions held prior to the beginning of each fall semester. Jazz majors
qualified for a position in a premier jazz ensemble must participate as assigned to remain in good
standing with the jazz studies program.
Vocal and instrumental jazz ensembles are not interchangeable with regard to the MPO
requirement and jazz area service commitments unless approved by the Director of Jazz Studies.
You may switch from instrumental jazz to vocal jazz (or vice versa) by auditioning for the new
area and if accepted, converting your state paid lessons to an instructor in the new category. If
you wish to continue lessons in the old discipline, you may do so at your own expense.
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Saxophone – equipment needs
Saxophonists in the jazz studies program are expected to double on woodwind instruments and
should bring the appropriate instruments to all rehearsals or as directed.
• Alto saxophonists - flute and soprano sax
• Tenor saxophonists - clarinet and flute
• Baritone saxophonists - bass clarinet and flute
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Sectional Rehearsals
Considerable progress is possible during these focused rehearsals. Sectionals are scheduled by
the ensemble director or section leaders.
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“JAZZ AT THE BEACH”
B.M. in JAZZ STUDIES CURRICULUM
Log on to http://web.csulb.edu/depts/music/ and select Current Students > Degree Information >
Graduate Handbook. You can read or download the handbook in PDF format.
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“JAZZ AT THE BEACH”
REQUIRED JAZZ COURSE DESCRIPTORS
Carefully read the jazz course descriptors, paying particular attention to prerequisite courses and
background required for enrollment. For fully detailed course descriptions, please refer to the
university’s online course catalog.
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MUS 371B Improvisation Techniques II
This continuation of MUS 271 focuses on advancing techniques of jazz improvisation. Students
analyze increasingly difficult improvised solos and apply learned concepts to their own
improvised solos. Prerequisite: MUS 271 or consent of instructor.
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This course is an elective, but is highly recommended for jazz studies majors.
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MUS 510 Improvisation Styles and Literature
This graduate course explores advanced concepts in jazz improvisation through analysis of
various jazz artists, in-class performances and performance assignments. Students must have a
working knowledge of harmonic and linear improvisation, jazz styles and the ability to recognize
and perform traditional, modal and symmetrically altered scales to take this course. 4
Prerequisites: MUS 372B, MUS 393, MUS 474B (or equivalents) or consent of instructor.
4
Students lacking the prerequisite skills should enroll in MUS 371A and/or MUS 371B
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Students lacking the prerequisite skills should enroll in MUS 574A and/or MUS 574B.
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“JAZZ AT THE BEACH”
JURY REQUIREMENTS
Your jury is the final exam for your applied lessons and is scheduled just prior to exam week at
the end of each semester. Juries count for 1/3 of your semester lesson grade and your instructor’s
grade counts for 2/3. At the jury, a panel of jazz faculty and your applied instructor evaluate and
grade your performance for style, intonation, rhythmic accuracy, time feel and improvisation.
The jazz studies area provides a pianist, bassist and drummer to accompany you at your jury. It is
your responsibility to provide the musicians with legible master rhythm charts with intros and
endings. The music should be sight readable and the parts must be taped.
Juries are a semi-formal event with a dress code. Men should wear a collared shirt and a long tie
(with the knot covering the fastened top button), dark trousers, socks and dress shoes. Wearing a
suit or sport jacket is optional. Women should wear dark dresses, dark pants suits or dark colored
dress slacks or skirts (knee-length or below) with a conservative top and dark shoes. Avoid short
skirts or dresses, plunging necklines, low-cut backs, high slits, spaghetti straps and excessive
and/or dangling jewelry. Casual attire such as open-collared shirts, sweaters (unless worn with a
shirt and tie), jeans, shorts, tee shirts, hats, caps, sunglasses, athletic shoes and sandals are not
appropriate for juries. Non-compliance with the dress code may result in a lower grade or the re-
scheduling of your jury.
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INSTRUMENTAL JAZZ JURY REQUIREMENTS
FRESHMAN YEAR
Prepare three Level 1 tunes from the approved list and write them on your jury sheet under the
heading “repertoire list”. In the interest of scheduling, you will be asked to play two of these
tunes at your jury. You may choose the first tune to perform and the jury panel will select the
second. If desired, tunes may be selected from a more challenging level. In addition to playing
the melodies correctly, be prepared to improvise at least two choruses. Jury repertoire should be
different for fall and spring semesters.
SOPHOMORE YEAR
Prepare five Level 2 tunes from the approved list and write them on your jury sheet under the
heading “repertoire list”. In the interest of scheduling, you will be asked to play two of these
tunes at your jury. You may choose the first tune to perform and the jury panel will select the
second. If desired, tunes may be selected from a more challenging level. In addition to playing
the melodies correctly, be prepared to improvise at least two choruses. Jury repertoire should be
different for fall and spring semesters.
JUNIOR YEAR
Prepare five Level 3 tunes from the approved list and write them on your jury sheet under the
heading “repertoire list”. In the interest of scheduling, you will be asked to play two of these
tunes at your jury. You may choose the first tune to perform and the jury panel will select the
second. If desired, tunes may be selected from a more challenging level. In addition to playing
the melodies correctly, be prepared to improvise at least two choruses. Jury repertoire should be
different for fall and spring semesters.
SENIOR YEAR
Prepare five Level 4 tunes from the approved list and write them on your jury sheet under the
heading “repertoire list”. In the interest of scheduling, you will be asked to play two of these
tunes at your jury. You may choose the first tune to perform and the jury panel will select the
second. In addition to playing the melodies correctly, be prepared to improvise at least two
choruses. Jury repertoire should be different for fall and spring semesters.
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GRADUATE STUDENTS
Prepare eight Level 4 tunes from the approved list and write them on your jury sheet under the
heading “repertoire list”. In the interest of scheduling, you will be asked to play two of these
tunes at your jury. You may choose the first tune to perform and the jury panel will select the
second. In addition to playing the melodies correctly, be prepared to improvise at least two
choruses. Jury repertoire should be different for fall and spring semesters.
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“JAZZ AT THE BEACH”
REQUIRED INSTRUMENTAL TUNE LISTS
A Time For Love All The Things You Are Body And Soul Blood Count
Days Of Wine And Roses But Not For Me Corcovado Darn That Dream
It Don’t Mean A Thing … Groovin’ High I Can’t Get Started I’ll Remember April
Killer Joe Have You Met Miss Jones I’m Old Fashioned Infant Eyes
Lady Be Good Here’s That Rainy Day It Could Happen To You Inner Urge
Little Sunflower I Hear A Rhapsody Like Someone In Love It’s You Or No One
Meditation I Should Care My One And Only Love Just One Of Those Things
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St. Thomas Milestones Once I Loved My Secret Love
Take The A Train Night And Day Seven Steps To Heaven Naima
Speak Low Well You Needn’t The Way You Look Tonight
Yardbird Suite
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VOCAL JAZZ JURY REQUIREMENTS
SOPHOMORE YEAR
Six pieces representing at least three styles (see "Additional Requirements" below) and at least
one chorus of improvisation on two of the selections. One of the pieces must be an aural
transcription of an improvised solo approved by the instructor.
JUNIOR YEAR
Eight pieces representing at least three styles (see "Additional Requirements" below) and at least
one chorus of improvisation on two of the selections. One of the pieces must be a written
transcription of an improvised solo approved by the instructor.
SENIOR YEAR
Eight pieces representing at least four styles (see "Additional Requirements" below) and at least
two choruses of improvisation on three of the selections. One of the pieces must be a written
transcription of an improvised solo approved by the instructor.
GRADUATE STUDENTS
Eight to ten pieces representing at least five styles (see "Additional Requirements" below) and at
least two choruses of improvisation on four of the selections. One of the pieces must be a written
transcription of an improvised solo approved by the instructor. Works studied should show a
significant understanding of more advanced repertoire. The inclusion of unusual literature and/or
original compositions is encouraged.
ADDITIONAL REQUIREMENTS
The following is required of all jazz voice majors and must be presented to the Director of Vocal
Jazz prior to each jury:
Styles
Style choices for each semester include medium swing, ballad and bossa nova. Seniors and
Graduate students must also include bebop. Style choices may also include samba and other
Latin styles, up-tempo swing, jazz waltz, ECM, New Orleans second-line, new age, etc.
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Lead Sheets
All students must write their own lead sheets in the keys in which they perform the songs, with
appropriate introductions and endings included for all charts.
Vocal Book
All students must have a “vocal book” which includes all lead sheets in appropriate keys, as well
as a master repertoire list. The repertoire list will include the title of the songs, the style and the
key in which they are performed.
Solo Transcriptions
All students must transcribe at least one improvised solo per semester of study. The solo may be
either instrumental or vocal and must be approved by the instructor. The solo must be performed
without the aid of the recording by the end of the semester. Juniors, seniors and graduate students
must submit a written transcription, as well as learning the solo by ear. Sophomores do not have
to submit a written transcription, but may do so if they choose.
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“JAZZ AT THE BEACH”
RECITAL GUIDELINES
Your recital is the culminating experience of your jazz studies degree and should demonstrate the
skills you have developed during your collegiate music studies. While this performance should
represent who you are as a developing artist, you must also follow the guidelines below. Non-
compliance may result in the need for a second recital approval hearing.
Instrumentation
Present a variety of instrumental combinations (duos, trios, quartets, etc.) Seniors and graduate
recitalists must arrange at least two selections for three (or more) horns and rhythm.6 Piano and
guitar candidates must perform at least one selection without accompaniment.
6
Undergraduate recitalists who have not yet taken MUS 474A (Jazz Arranging I) are waived from the arrangement requirement.
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Program Length
Junior recitals must be 45-60 minutes in length with no intermission. Senior recitals must be 60-
75 minutes in length with an optional intermission. Graduate recitals must be 75-90 minutes in
duration with a required intermission. The prescribed length of the recital does not include
intermissions. Presenting excessively short or long programs will affect the recital grade.
Accompanying Musicians
The performances, attire and deportment of your accompanying musicians impact the success
and grade of your recital. Your personnel should include primarily Cole Conservatory students.
Using a couple outside guest performers is certainly permissible but limiting the personnel
exclusively to outsiders implies the extent to which you value the talents of your BCCM
colleagues. You must have a minimum of three rehearsals with all accompanying musicians
present. Select personnel that will attend rehearsals and dress appropriately for the performance.
Improvised solos
Frequency and length of improvised solos should be structured to predominantly feature the
recitalist.
Printed Programs
Keep your programs simple. Lengthy professionally printed programs are not permitted. A
program photocopied on one folded sheet of 8 1/2 x 11 paper allows room for the standardized
cover, your program order, personnel and some acknowledgements. An insert may be added if
you need more room. All recitalists are required to use the official Bob Cole Conservatory of
Music recital program template available for download at www.csulb.edu/depts/music/current-
students/recital-program-templates.php
Recital Attire
Men should wear a dark suit or a dark sport jacket with dark slacks (no black jeans), collared
dress shirt and a long tie (with tie knot covering the fastened top button), dark socks and dark
dress shoes. Suit jackets are not to be removed, shirtsleeves rolled up or ties loosened. This
applies to rhythm section members as well. Ladies should wear dark dresses, dark pants suits or
dark colored dress slacks or skirts (knee-length or below) with a conservative top and dark shoes.
Avoid short skirts or dresses, plunging necklines, low-cut backs, high slits, spaghetti straps and
excessive and/or dangling jewelry. Casual attire such as jeans, shorts, tee shirts, hats, caps,
sunglasses, athletic shoes and sandals is not acceptable. Inappropriately dressed recitalists or
accompanying musicians will negatively affect the recital grade.
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Evaluation
Recital performances are evaluated subjectively for musical factors including but not limited to
tone, time feel, technique, harmonic and melodic control, style, overall effect and your progress
as a performer. Professionalism, suitable programming, appropriate attire for the recitalist and
accompanying musicians and compliance with all other recital guidelines also factor into the
recital grade.
1. Program and perform at least one selection from each of the following jazz periods:
• Early Jazz (pre-1940’s)
• Bop
• Cool Jazz
• Hard Bop
• Modal, Fusion, Jazz-Rock, etc.
2. Perform at least one selection in a Latin style.
3. Perform a ballad.
Note: Your early jazz selection may have been composed in 1931, but your arrangement may be
in a current style. Programming one original composition is encouraged, but not required.
Performance of a transcription is encouraged, but not required for instrumentalists. The difficulty
level of the selections must be level appropriate for the degree.
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Note: Undergraduates must have a minimum of 7 pieces on the recital. Graduate students must
have a minimum of 9 pieces on the recital. Less is permissible if doing extended works with
multiple movements or if approval is given in advance by the jazz faculty.
Your recital should include at least 9 selections representing a minimum of four styles including
swing, Latin, ballad and be-bop. Performance of a transcription is encouraged, but not required.
If you perform pieces in another language, include translations of the text in the program.
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“JAZZ AT THE BEACH”
RECITAL APPROVAL
Recital approval takes place during juries, the semester before you intend to give your recital.
Below is a list of items to prepare and general information regarding your recital approval. It is
essential that you share this information with your private teacher in order to receive proper
guidance and instruction.
Repertoire
All music for your recital must be chosen at the time of your recital approval. (See “Recital
Requirements” on p.39.) Be prepared to perform at least 60% of the recital selections at your
jury. In the case of selections requiring larger instrumentation, be prepared to perform a small
group version if possible.
Required Documents
The following documents must be completed and presented to the adjudication panel at your
recital approval hearing.
• Pink and white jury forms (four copies, acquire from music office)
• Green recital approval worksheet (one copy, acquire from music office)
• Recital approval document with the information shown on the sample on the next page
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Sample Recital Approval Document
(Name)
Junior Jazz Recital Approval
(Date)
2. The Way You Look Tonight (by Jerome Kern) – Cool Jazz
Medium/Up Swing. (Piano, Bass, Drums, Alto Sax)
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“JAZZ AT THE BEACH”
PLANNING YOUR COURSEWORK
Careful Planning
Meet regularly with your advisor and enroll for jazz courses when offered. Since most courses
are offered on a 2 to 4 semester rotation, failure to enroll will delay your graduation and extend
your tuition expenses.
Music Courses
All classes at the BCCM are sequential; this means that missing even one class puts you at risk
of falling behind and earning a lower semester grade. Informing your instructor about an
upcoming absence is courteous but you will still be charged with missing a class unless the
reason is illness, emergency, or a school-sanctioned activity accompanied by an excuse letter.
Gigs and/or job shifts should not take precedence over your coursework.
Grades
Strive for the highest GPA possible. While B’s and C’s may earn degrees, they may be
disqualifiers for graduate school and job applications.
7
Winter session courses are taught at an accelerated pace and may be more challenging. Also check your ensemble touring
schedules as some groups travel during the winter break.
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Meet regularly with your advisor
Our advisors will keep you on track with regard to required music courses, general education
courses, important deadlines, applications and graduation requirements. Failure to plot the
sequence of your coursework may delay your graduation and result in additional tuition expense.
Undergraduate jazz studies candidates should contact the undergraduate advisor Kirsten Sumpter
at [email protected]. Graduate jazz studies candidates should email the graduate
advisor, Dr. Alicia Doyle at [email protected].
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“JAZZ AT THE BEACH”
BUILDING YOUR PROFESSIONAL NETWORK
Since many of the jazz studies faculty compose, arrange, orchestrate, sing, or perform music for
movies, television, radio, theater, industrial films, video games and record dates, we know what
will be expected of you in the professional world. In addition to teaching you to perform, we
address the equally important non-musical skills of working with contractors, studio protocol,
administrating your career, professional etiquette and more. Remember that success in the music
business is not entirely based on musical proficiency; it occurs when preparation meets
opportunity, the latter of which depends on effective networking. Here are some tips on making
the best possible impression with your professors and peers:
Be easy to read.
New acquaintances judge your character, professionalism and commitment in the first few
seconds of meeting you, basing their impressions on your communication skills, appearance,
clothing choices, facial expressions and body language. The sooner people can figure you out,
the more they will trust you.
Be dependable.
Even the finest musicians lose accounts for being late to a rehearsal/gig or for upgrading to gig
that pays a little more. However, if you are offered an extended tour or a substantially higher
paying engagement, most bandleaders and contractors will understand, provided you give them
sufficient time to arrange for a replacement.
It starts now.
Demonstrate your ability to be a good co-worker to your student colleagues and professors. The
extent of your dependability, punctuality and musical skills will determine whether or not they
refer or hire you for work.
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“JAZZ AT THE BEACH”
PERFORMANCE POLICIES
Publicity
Ticket revenue from all Bob Cole Conservatory concerts is deposited to the appropriate area
accounts. These funds are used to purchase music, hire guest artists, go on tours and engage in
other worthwhile “Jazz at the Beach” activities. So, do your part to promote “Jazz at the Beach”
events. Prior to each CJO, SJB, JLB, PST, J&T, Corner Pocket and combo concerts, the
respective directors email announcements and put up posters. Electronically forward the
appropriate information to your own friends. If you maintain a personal web site and/or social
networking site, please post-concert announcements so your contacts will attend. Post printed
flyers in band rooms and music stores where you teach.
Sound checks
Sound checks are a vital aspect of your performances and demand a professional level of
cooperation.
Be on time and ready to play/sing. Failure to do so is subject to the policies of your ensemble’s
syllabus and may affect your grade and/or your participation in the concert.
Do not play/sing unless asked. Once the sound check begins, don’t talk, sing, or play your
instrument unless directed to do so. This makes for easier communication between your director
and the sound engineer.
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nose, pointing down toward the mouth plate. Vocalists should maintain proper microphone
technique as taught by the ensemble director.
Concert Attire
Your director will determine the appropriate dress for different concert settings. The vocal jazz
groups normally wear specific uniforms they purchase at the beginning of the year. For the
instrumental jazz groups, concert attire includes:
All-Black.
Men should wear black dress slacks (no black jeans), black collared shirt, black belt, black socks
and black shoes – no athletic shoes of any description. Shirtsleeves may not be rolled up. Ladies
may wear an all-black outfit with black shoes, including pants suits, slacks and top combination,
or dress/skirt (knee-length or below) and a top. Women’s tops do not have to have collars. Avoid
excessive and/or dangling jewelry and clothing with plunging necklines, low-cut backs, high
slits, or spaghetti straps. Do not wear hats or caps. Sunglasses may be worn for outdoor concerts
only.
Concert etiquette
Always maintain a professional bearing when onstage. Avoid talking or whispering when not
playing or singing. After you solo, show appreciation for applause. Don’t reveal your displeasure
about your solo or engage in celebratory behavior when you think you have played well.
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“JAZZ AT THE BEACH”
CONCERT AND JAZZ FORUM ATTENDANCE
Attending “Jazz at the Beach” concerts and Jazz Forums are an essential part of the total
educational experience for jazz studies majors. These events integrate aspects of the BCCM
artistic and academic curricula and demonstrate support for your colleagues.
Required attendance for jazz studies majors includes Jazz Forums, Jazz Combo Nights and the
following performances:
• Concert Jazz Orchestra and Studio Jazz Band – 2 joint concerts per semester. (Joint concerts
are counted as one concert.)
• Pacific Standard Time (Voc. Jazz I) / Jazz & Tonic (Voc. Jazz II) - 1 joint concert per semester
• Jazz Lab Band / Corner Pocket (Voc. Jazz III) – 1 joint concert per semester
• Jazz Combos – 2 concerts per semester
• Jazz Forum – 3 to 4 events per semester
Student recitals, faculty recitals and off-campus student or professional performances do not
qualify for concert attendance credit.
YOU ARE PERMITTED TWO (2) UNEXCUSED ABSENCES PER SEMESTER FOR
COMBINED CONCERT AND JAZZ FORUM ATTENDANCE.
BCCM jazz combo participants have the opportunity to perform at the Nugget Grill & Pub,
located on the upper campus. Three to four events are scheduled each semester. Attendance is
not required, but you are encouraged to support the musical efforts of your colleagues at these
free performances.
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Monitoring attendance
Check in with the attendance monitor prior to the beginning of the performance/forum. If you
arrive more than five minutes late or leave early, you will not receive credit. Performers at these
events.
Excused Absences
Written requests for excused absences should be directed to the Director of Jazz Studies. Job
shifts or outside musical work do not qualify for excused absences.
Grading
Concert and forum attendance counts for 15% of your MPO (major performance organization)
grade as stated in the syllabus for that course. Non-compliance lowers your semester grade by
one letter.
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“JAZZ AT THE BEACH”
MISCELLANEOUS PERFORMANCES
The jazz studies office is routinely asked to provide musical entertainment for on and off campus
functions.
Paid Performances
We frequently receive requests for student ensembles to perform for remuneration at receptions
or events. Jazz majors who consistently perform at the highest levels and purport themselves in a
professional manner will be considered for such paid performances.
• BCCM jazz groups may perform on or off campus with the approval of the Director
of Jazz Studies. Liability and travel authorization forms must be filed with the music
office.
• BCCM jazz groups may not perform on or off campus using a different name.
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“JAZZ AT THE BEACH”
TOURS & OFF-CAMPUS PERFORMANCE POLICIES
Our jazz ensembles travel to perform at jazz festivals, recruiting concerts and other educationally
worthwhile activities. While every effort is made to minimize missed class time by scheduling
tours and off-campus performances during off hours, weekends and vacations, performances for
some groups may fall during the week. In such cases, music department faculty will be notified
by email. Excuse letters will be provided for you to present to non-music faculty. It is your
responsibility to inform non-music faculty well in advance that you will be absent from class
meetings. You will be provided with detailed itineraries prior to performances and tours.
Successful tours are the result of many hours of careful planning. To ensure our tours are safe,
productive and comfortable, here’s what you can do to help:
Be punctual.
One latecomer to a bus departure can shorten rest stops, set-up time, sound checks, or cause
missed performances.
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Bring sufficient spending money
Unless indicated on the printed itinerary, meals are your responsibility.
Recruit
As our jazz program continues to grow, so does the value of your degree. It is in your best
interest to share your positive experiences with high school, community college and university
students you meet. If appropriate, encourage them to consider becoming part of our community
at “Jazz at the Beach”.
Be courteous to bus drivers, sound engineers, hosts, festival staff and hotel personnel.
Respect personnel, equipment and facilities at performance venues. Please be considerate of
other hotel guests by keeping the noise down at night. Leave hotel rooms exactly as you found
them. Thank everyone.
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“JAZZ AT THE BEACH”
JAZZ AREA MEETINGS
Each semester you will be notified about jazz area meetings weeks in advance, giving you ample
time to arrange your schedule to make yourself available. If you miss a mandatory meeting, your
name will not appear on the SPL list and you risk losing your state paid lesson scholarship.8 The
only acceptable excuse for missing a jazz area meeting is a class conflict.
8
State paid lessons are a requirement of the degree. Loss of state paid lessons may result in a change of major.
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“JAZZ AT THE BEACH”
CONTACT INFORMATION
Jeff Jarvis
Director of Jazz Studies (562) 233-9811 [email protected]
Christine Guter
Director of Vocal Jazz (562) 985-8138 [email protected]
Jimmy Emerzian
Jazz Improvisation, Jazz Combos (562) 985-1879 [email protected]
Kirsten Sumpter
Undergraduate Advisor (562) 985-8434 [email protected]
Stacia Ticer
Program Coordinator (562) 985-5331 [email protected]
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