JAZZ ENSEMBLES - Cjc.edu
ADULT MUSIC PROGRAMEnsemblesJazzschool ensembles are available for musicians of alllevels in a range of styles under the direction of experiencedprofessional musicians. Ensembles take place in personat the California Jazz Conservatory. All ensembles requirea consultation/audition. Ensembles conclude with aperformance, open to the public during the weekfollowing the 10th class session.JAZZ ENSEMBLESBeginning Jazz Ensemble (2 sections) APPLYPut theory into practice by learning jazz standards, whiledeveloping improvisation and ensemble skills. For allinstruments. Prerequisites: knowledge of basic jazz theoryand ability to keep time and read music.Section 1: Mon: 6:30–8 pm;Section 2: Mon. 8:15–9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Melecio Magdaluyo (in-person) 395Piano Trio (5 sections) APPLYDevelop performance skills in the piano, bass and drumstrio format. Open to four pianists and one drummer withaccompaniment provided by a professional upright bassist.Prerequisites: ability to play and improvise over jazzstandards.Section 1: Mon. 5–6:30 pm;Section 2: Mon. 6:45–8:15 pm;Section 3: Mon. 8:30–10 pm9/20 – 11/29 (10 weeks) No class 11/22Peter Horvath (in-person) 395Section 4: Fri: 1:30–3 pm; Section 5: Fri: 3:30–5 pm9/24 – 12/3 (10 weeks) No class 11/26Ben Stolorow (in-person) 395Steve Erquiaga Jazz Ensemble 1 APPLYWork on improvising over chord changes, playing with goodtime and learn the skills needed to perform with othermusicians. Class emphasis is on standard mainstream styles:blues, standards, swing, bebop, ballads and bossa novas.Prerequisites: knowledge of basic jazz theory and abilityto keep time and read music. Some previous ensembleexperience.Tues: 4:30–6 pm9/21 – 11/30 (10 weeks) No class 11/23Steve Erquiaga (in-person) 395Steve Erquiaga Jazz Ensemble 2 APPLYFocus on slightly faster tempos and more involved tunes.Unusual keys, uncommon tune structures and more complexmelodies are presented along with standard repertoire.Includes the music of Miles Davis, Jobim, Art Blakey, CalTjader and many 60s Blue Note–era artists. Originalcompositions are encouraged. Prerequisites: knowledgeof jazz theory, previous jazz ensemble experience.Tues: 6:30–8 pm9/21 – 11/30 (10 weeks) No class 11/23Steve Erquiaga (in-person) 395Post-Bop Ensemble APPLYExplore the repertoire of Chick Corea, Joe Henderson, WayneShorter, John Coltrane and other post-bop jazz composersfrom the 1960s to the present. Strong emphasis placed ongroup communication and interaction. Prerequisites: forintermediate to advanced players with substantial ensembleexperience.Wed: 6:30–8 pm9/22 – 12/1 (10 weeks) No class 11/24Steve Erquiaga (in-person) 395Music of Miles Davis & Wayne Shorter APPLYExplore the music of Miles Davis and Wayne Shorter from themid-60s on. Repertoire is drawn from far-reaching classicalbums including Miles Smiles, ESP, Filles de Kilimanjaro,Speak No Evil, Bitches Brew, In a Silent Way, Native Dancerand Jack Johnson. Strong emphasis placed on groupcommunication and interaction. Prerequisites: for advancedplayers with substantial ensemble experience.Wed: 8:15–9:45 pm9/22 – 12/1 (10 weeks) No class 11/24Steve Erquiaga (in-person) 395Jazz Standards for Gigs (5 sections) APPLYDevelop the skills and repertoire needed for typical jazz gigsthrough the study and performance of common jazz stylesincluding swing, bossa nova, jazz waltz and ballads. Instructorcovers repertoire, essential arranging concepts (intros,endings, etc.), relevant jazz harmony and tips for soloing.Prerequisites: knowledge of basic jazz theory and ability tokeep time and read music. Some previous ensembleexperience.Section 1: Tues: 6:30–8 pm9/21 – 11/30 (10 weeks) No class 11/23Section 2: Wed: 6:30–8 pm9/22 – 12/1 (10 weeks) No class 11/24Section 3: Sat: 10–11:30 am;Section 4: Sat: 11:45–1:15 pm;Section 5: Sat: 1:30–3 pm9/25 – 12/4 (10 weeks) No class 11/27Glenn Richman (in-person) 395Music of the Masters (2 sections) APPLYDig into the music of John Coltrane, Thelonious Monk,Wayne Shorter and other jazz masters. Learn and internalizea variety of essential grooves while developing improvisationskills through the rehearsal of challenging repertoire.Prerequisites: for advanced players with substantialensemble experience.Section 1: Tues: 8:15–9:45 pm9/21 – 11/30 (10 weeks) No class 11/23Section 2: Wed: 8:15–9:45 pm9/22 – 12/1 (10 weeks) No class 11/24Glenn Richman (in-person) 395Jazz Fusion Ensemble: The Music of Billy Cobham APPLYA high energy electrified jazz fusion ensemble focusing onthe music of drummer Billy Cobham, as featured in Cobham’ssolo projects, the band he co-led with George Duke, andmore. Representative compositions include Red Baron, HipPockets, The Pleasant Pheasant and Quadrant 4.Prerequisites: for advanced players with substantial ensembleexperience.Wed: 8:15–9:45 pm9/22 – 12/1 (10 weeks) No class 11/24Frank Martin (in-person) 3951
Hard Bop Ensemble APPLYStudy and perform music melding bebop with R&B, gospeland the blues as developed by mid-century masters includingHorace Silver, Art Blakey, Cannonball Adderley, Miles Davis,Jimmy Smith and others. Prerequisites: for intermediate toadvanced players with substantial ensemble experience.Thurs: 6:30–8 pm9/23 – 12/2 (10 weeks) No class 11/25Dave Lefebvre (in-person) 395Jazz Big Band APPLYThis 19-piece ensemble covers classic and contemporaryrepertoire for big band. Original compositions by ensemblemembers are also workshopped and performed. Fullthree-quarter commitment required (fall, winter, spring).Prerequisites: strong reading skills, intermediate to advancedinstrumental technique, ability to blend with a section, jazzimprovisation skills.Thursdays 8:15–10:15 pm9/23 – 12/2 (10 weeks) No class 11/25Dave Lefebvre (in-person) 260The Music of Thelonious Monk APPLYAn ensemble focused on the compositions of the greatpianist/composer Thelonious Monk, many of which havecome to be considered jazz standards. Prerequisites: forintermediate to advanced players with substantial ensembleexperience.Mon: 6:30–8 pm9/20 – 11/29 (10 weeks) No class 11/22Howard Wiley (in-person) 395Free Jazz Ensemble: APPLYThe Music of Ornette ColemanThe Free Jazz Ensemble is for improvising musiciansinterested in stretching the boundaries of harmony and form.Each quarter the ensemble focuses on the music of a particular master musician. This fall, we will explore the music ofsaxophonist/composer/groundbreaker Ornette Coleman.Prerequisites: proficiency on an instrument, ability to readmusic and familiarity with experimental music and free jazztraditions.Tues: 8:15–9:45 pm9/23 – 12/2 (10 weeks) No class 11/25Jason Levis (in-person) 395Phillip Greenlief Ensemble APPLYThe Phillip Greenlief Ensemble is dedicated to exploring awide range of compositional styles and improvisation strategies for large or small ensembles. Students will be encouraged to compose for the group based on exposure to variousnew scoring techniques by Greenlief and other influentialcomposers in the field (Oliveros, Braxton, Stockhausen, ROVASaxophone Quartet, et al.), and will also incorporate some ofthe practices from Greenlief’s recent solo improvisationcourse at the CJC. Prerequisites: proficiency on an instrument, and interest in exploratory approaches to music makinginvolving graphic scores, “conduction,” etc.Tues: 6:30–8 pm9/21 – 11/30 (10 weeks) No class 11/23Phillip Greenlief (in-person) 395BLUES, FUNK, REGGAE ENSEMBLESBlues and Groove Ensemble (2 sections) APPLYThe Blues and Groove Ensemble offers students an opportunity to play a wide array of blues. R&B, funk, gospel, NewOrleans and American roots styles with other musicians. Wework on developing a great groove, playing solos and havingfun! One vocalist is welcome per section. Prerequisites: abilityto play basic blues chords and scales in all keys. Familiaritywith blues and R&B is recommended.Section 1: Mon: 8:15–9:45 pm9/20 – 11/29 (10 weeks) No class 11/22Section 2: Sat: 1:30–3 pm9/25 – 12/4 (10 weeks) No class 11/27Danny Caron (in-person) 395Funk Ensemble APPLYFrom James Brown to Prince, Sly and the Family Stone toTower of Power, Stevie Wonder to Earth, Wind & Fire, TheMeters to Herbie Hancock, we get down and funky in thisensemble. Explore what it takes to master the complexity ofthe funk genre by breaking down the rhythmic foundation ofthe groove, the feel, the “pocket!” For all vocalists, horns andrhythm section instruments. Prerequisites: facility on aninstrument, familiarity with the style.Thurs: 6:30–8 pm9/23 – 12/2 (10 weeks) No class 11/25Daniel Parenti (in-person) 395Reggae Ensemble APPLYReggae music, despite its relatively simple nature, has a greatdeal of rhythmic and melodic nuance with an emphasis onthe discipline of groove playing where each musician locksdown their specific part to create a collective, ecstatic dancegroove. We will study and perform repertoire by legendarygroups such as the Skatalites, the Upsetters, Bob Marley andthe Wailers, Sly and Robbie, and Roots Radics. We will learnhow to play reggae (including one-drop, steppers and rockersstyles), rocksteady, ska, and dub. Rhythm section players willlearn how to play proper drum set grooves, reggae-centricbass lines, the skank and bubble, and the role of handpercussion. Horns and any other lead instruments will playmelodies, learn reggae-centric backing lines and incorporateimprovisation over the ensemble grooves. Open to all instrumentalists and vocalists including bass, drums, keyboards,guitar, hand percussion and horns. No previous reggaeexperience necessary. Prerequisites: facility on an instrument,ability to keep steady time.Thurs: 6:30–8 pm9/23 – 12/2 (10 weeks) No class 11/25Jason Levis (in-person) 395WORLD AND LATIN ENSEMBLESWorld Groove Ensemble:Caribbean & Latin American APPLY his ensemble explores the irresistibly deep grooves from theTCaribbean and Latin America. Styles may include calypso/soca, reggae, ska, cumbia, champeta, reggaeton, and more.Repertoire may include songs by both classic artists(Calypso Rose, The Skatalites, Bob Marley, Kassav’, BoukmanEksperyans) and newer artists (Monsieur Periné, Cimafunk,Bixiga 70, and Lakou Mizik). Students learn the culturalcontext and interlocking rhythms of each tune. Emphasis isplaced on listening to each other and playing together as aband. Open to vocalists and all instrumentalists. Prerequisites:intermediate instrumental proficiency; ability to read chartsand notation; participation in class performance.Thurs: 8:15–9:45 pm9/23 – 12/2 (10 weeks) No class 11/25Jennifer Jolly (in-person) 3952
Salsa/Latin Jazz Ensemble APPLYRehearse and perform classic Afro-Cuban jazz ‘standards’ asperformed by artists such as Cal Tjader, Tito Puente, andEddie Palmieri. In addition, American jazz standards by artistssuch as John Coltrane and Miles Davis may be included andadapted to Latin rhythms. Prerequisites: familiarity with andability to play standard Afro-Cuban grooves (mambo, cha,6/8, and bolero) as applied to your instrument.Tues: 6:30–8 pm9/21 – 11/30 (10 weeks) No class 11/23David Belove (in-person) 395Latin Big Band APPLYThe Latin Big Band is a large rehearsing ensemble thatexplores various styles of Afro-Cuban and Puerto Rican salsawith an emphasis on improvisation. The ensemble includeshorns, vocals, percussion and rhythm. We currently have 60tunes in our book and are continuously adding new material.Whether you’re an amateur or a pro, this class is a great wayto elevate your Latin music sensibility! Prerequisites: all levelsare welcome, but basic reading skills and technical facility onyour instrument are strongly encouraged. Most of the materialis intermediate to advanced.Mon: 8:15–10:15 pm9/20 – 11/29 (10 weeks) No class 11/22Josh Jones (in-person) 260BRAZILIAN ENSEMBLESChoro Ensemble APPLYFocusing on classic Choro repertoire by Jacob do Bandolim,Pixinguinha, Ernesto Nazareth and others, gain experienceplaying in the traditional Brazilian ‘Roda de Choro’ style. Allinstruments are welcome. Prerequisites: ability to read chartsfor rhythm section players, ability to read notation for melodyplayers.Sun: Noon–1:30 pm9/26 – 12/5 (10 weeks) No class 11/28Ricardo Peixoto (in-person) 395Brazilian Ensemble (5 sections) APPLYStudy and perform the classic and contemporary Brazilianjazz repertoire of Ivan Lins, Dori Caymmi, Toninho Horta,Antonio Carlos Jobim and instructor Marcos Silva. Vocalistsare welcome!Audition with Marcos Silva is required. Please call Marcos toschedule a consultation at 925-323-2580.Section 1: Tues: 6:15–7:45 pm;Section 2: Tues: 8:15–9:45 pm9/21 – 11/30 (10 weeks) No class 11/23Section 3: Wed: 6–7:30 pm;Section 4: 8:15–9:45 pm9/22 – 12/1 (10 weeks) No class 11/24Section 5: Thurs: Noon–1:30 pm9/23 – 12/2 (10 weeks) No class 11/25Marcos Silva (in-person) 395ADULT INSTRUMENTAL CLASSESAdult Instrumental Classes take place in person or online, asnoted. Online classes are conducted in real time, via zoom.Some in-person classes may be transferred to an onlineformat, depending on evolving COVID safety guidelines.Prices listed are U.S. dollars. Please check cjc.edu for themost current information.Piano and KeyboardsPiano 1 ENROLLIf you’ve ever wanted to play the piano, now is your chance!Learn how to read music, play scales, perform pieces, playduets, discover what musical forms and keys are all about,read jazz charts and play ensemble music with fellowstudents. Prerequisites: none.Required texts: Alfred’s Basic Adult Piano Course: LessonBook, Level One (Willard Palmer), and Piano Town LessonsLevel 1 (Keith Snell) (Please purchase class texts from yourpreferred online retailer.)Sat: 10–11:30 am9/25 – 12/4 (10 weeks) No class 11/27Jeanne Walpole (in-person) 395Piano 2 ENROLLFor those with some keyboard experience, Piano 2 picks upwherever you left off in your pianistic pursuits and challengesyou to go further with your musical endeavors. Ensemble andsolo music is selected to match your level and ability on thepiano. This class provides individual guidance as well asgroup performance opportunities. Prerequisites: Piano 1 orequivalent experience.Required text: Bastien Piano for Adults II (Please purchaseclass texts from your preferred online retailer.)Sat: 11:45 am–1:15 pm9/25 – 12/4 (10 weeks) No class 11/27Jeanne Walpole (in-person) 395Applied Keyboard Harmony ENROLLLearn tonic-dominant chord progressions, “turnarounds,” andchord inversions in all keys while developing the ability toplay standard tunes using those chord progressions in leadsheet format. This class prepares students for the Jazz Piano1 class. Especially recommended for pianists with a classicalbackground interested in breaking free of the printed pageand learning how to interpret lead sheets and improvise.Handouts provided. Prerequisites: basic keyboard knowledge.Sat: 1:30–3 pm9/25 – 12/4 (10 weeks) No class 11/27Jeanne Walpole (in-person) 395Jazz Piano 1 ENROLLLearn to play jazz standards and the 12-bar blues by studyingjazz chord voicings and improvisation techniques. Prerequisites: basic piano proficiency, knowledge of major scales,ability to play root-position major, minor, and dominant 7thchords in all keys, ability to read treble and bass clefs.Required text: Jamey Aebersold Play-along Vol. 54, MaidenVoyage. (Please purchase class texts from your preferredonline retailer.)Mon: 6:30–8 pm9/20 – 11/29 (10 weeks) No class 11/22Bob Karty (online) 3953
Jazz Piano 2 ENROLLIn this continuation of Jazz Piano 1, you’ll learn more advanced chord voicings and soloing techniques, as well asstandard reharmonization techniques. Prerequisites: ability toplay 3-note voicings with proper voice leading through a jazzstandard (e.g., “All the Things You Are” or similar), ability toimprovise on a 12-bar blues in time, playing 3rds and 7ths inthe left hand. An audition is required; please email Rob Ewingto schedule your audition.Required text: Jamey Aebersold Play-along Vol. 54, MaidenVoyage, and The Jazz Piano Book by Mark Levine. (Pleasepurchase class texts from your preferred online retailer.)Mon: 8:15–9:45 pm9/20 – 11/29 (10 weeks) No class 11/22Bob Karty (online) 395Bebop Piano ENROLLStudy the soloing techniques developed by the great beboppianists Bud Powell, Tommy Flanagan, Barry Harris, HamptonHawes, Oscar Peterson and others. From the 1940s on, thesemasterful pianists developed a linear concept akin to CharlieParker and other great bebop horn players’ innovations.Learn to play flowing 8th-note line improvisations outliningthe underlying harmony, drawing on the techniques developed and exemplified by these mid-century innovators. Thisstyle of “playing changes” is a core element of contemporaryjazz improvisation and is an essential part of any aspiring jazzpianist’s tool kit. Prerequisites: functional piano technique andknowledge of jazz harmony.Tues: 6–7:30 pm9/21 – 11/30 (10 weeks) No class 11/23Adam Shulman (online) 395Neo-Soul Harmony & Improvisation ENROLLfor KeyboardistsHave you ever wondered how artists like Erykah Badu, RobertGlasper and Moonchild write their music? In this class, youwill learn how to hear, analyze, improvise and write your veryown neo-soul tunes. Take a deep dive into neo-soul/jazzharmony through a series of ear training exercises, harmonicanalysis methods, improvisation and chord scale usagetechniques, and reharmonization and composition strategies,ultimately composing your own neo-soul chord progressionor song by the end of the term. Prerequisites: basic keyboardproficiency and knowledge of chord structures (triads and7th chords).Wed: 6–7:30 pm9/22 – 12/1 (10 weeks) No class 11/24Marcelino Quiroz (online) 395Blues Piano Boot Camp ENROLLEach weekly class focuses on a different aspect of bluespiano: classic bass lines, right-hand licks, 2-handedcoordination, comping grooves, improv, playing scenarios(solo, accompanying, or in a group), the range of styles(boogie-woogie, Chicago, jazz-blues, etc.), quintessentialrepertoire and great players, song forms (12-bar, 8-bar, etc.)and common variations, and more. Students are guidedstep-by-step in developing their playing chops and theirown unique blues piano voice. Prerequisites: beginning tointermediate keyboard proficiency and ability to readstandard notation. Technical requirements: strong internetconnection (Ethernet cable recommended); laptop/desktopby your keyboard or instrument; wired headphones.Tues: 6–7:30 pm9/21 – 11/30 (10 weeks) No class 11/23Jennifer Jolly (online) 3954Pianist’s Survival Guide Series: ENROLLMust Know Chord VoicingsThis comprehensive class teaches students the most usefuland common chord voicings across a range of styles. Topicsinclude the triad and 7th families, close and open voicings,rootless voicings (1- and 2-handed), extensions, sus chords,alterations, upper structures, slash chords, voice-leading, andmore. Students learn classic voicings by McCoy Tyner, RedGarland, Carole King and others, as well as voicings specificto gospel and other styles, giving students the vocabularywith which to “speak” in a wide range of musical settings.Students play along with the instructor, classic recordings,and backing tracks. All materials provided. Prerequisites:beginning to intermediate keyboard proficiency and ability toread standard notation. Technical requirements: strongInternet connection (Ethernet cable recommended); laptop/desktop by your keyboard or instrument; wired headphones.Tues: 7:45–9:15 pm9/21 – 11/30 (10 weeks) No class 11/23Jennifer Jolly (online) 395Jazz Keyboard Harmony & Voicings ENROLLfor Non-KeyboardistsThis hands-on course is for non-keyboard instrumentalistswho want to understand more about jazz harmony and beable to play through standard jazz tunes with basic jazzvoicings. Students learn to play several jazz standards,starting with left-hand two-note voicings and progressing upto four-note voicings. The course also covers basic two-handvoicings on the same jazz standards. If you’re a horn player,string player, bassist or drummer and want to learn somekeyboard to support your improvising and get deeper intoharmony or wish to use the keyboard to get your arrangements together, this is the class for you.Recommended text: Jazz Keyboard Harmony by Phil DeGreg.(Please purchase class texts from your preferred onlineretailer.)Mon: 7:45–9:15 pm9/20 – 11/29 (10 weeks) No class 11/22Glenn Richman (online) 395GuitarBeginning Guitar ENROLLInterested in learning how to play the guitar? This class willhelp you get it right from the beginning, learning the essentials, including tuning, finding notes and basic chords on thefretboard, proper hand positions, scale fingerings, simplesongs, reading music and more! Your instructor can alsoanswer questions about equipment selection (guitars, strings,amps, picks, etc.) Prerequisites: none, for complete beginners. Students must bring a guitar to class.Required text: Modern Guitar Method Vol. One, Mel Bay(Please purchase class text from your preferred onlineretailer).Sat: 10–11:30 am9/25 – 12/4 (10 weeks) No class 11/27Danny Caron (in-person) 395
Blues and Swing Guitar ENROLLJazz Guitar Comping ENROLLLearn chord voicings, fingerboard harmony and single-stringsoloing techniques, with various styles covered, from theurban blues of B.B. King and Albert Collins to the morecomplex swing of Charlie Christian and Aaron “T-Bone”Walker. We’ll dive into alternate chord cycles and rhythmplaying and work with transcriptions to develop strongmelodic solos. Prerequisites: familiarity with the 12-bar bluesprogression, ability to play barre chords in several shapes,basic knowledge of the minor pentatonic scale, some pickingfacility.This hands-on class provides the intermediate-to-advancedguitarist with the tools, concepts and techniques essential tocreative and effective comping. Topics include: Comping over straight-ahead, bebop, modal, funk/fusion,ballads, contemporary jazz, Brazilian and Afro-Cuban stylesof music Creative chord voicings—looking at the fingerboard andvoicing chords in a more “pianistic” way; quartal harmony(clusters voiced in 4ths) in modal comping; the possibilitiesof dissonant intervals such as the minor 2nd; slash chords;tritone substitution; and upper-register chord voicings Rhythmic anticipation and syncopation: the “right” places toput chords to create “forward motion,” comping in 3/4, 6/8and odd metersPrerequisites: knowledge of chord/scale theory; ability to playmajor, dominant and minor seventh chords and the ii–V–Iprogression in all keysSat: 11:45 am–1:15 pm9/25 – 12/4 (10 weeks) No class 11/27Danny Caron (in-person) 395Music Theory & Fretboard Knowledge for Guitar ENROLLLearn the basics of music theory as applied to guitar, developing familiarity with the fretboard through chord, scale andarpeggio practice. Topics include: Overview of chord and scale types and where they arelocated Chord progressions commonly used in jazz and related styles Comping patterns Scale and arpeggio practice in various positions Reading charts and standard notation (treble clef) Transcribing music from recordings Basics of melodic improvisationPrerequisites: ability to play basic barre chords and somefamiliarity with playing scales.Mon: 6:30–8 pm9/20 – 11/29 (10 weeks) No class 11/22Danny Caron (in-person) 395Jazz Guitar 1 ENROLLA hands-on introduction to jazz guitar. Learn essential jazztheory, scales, chords, arpeggios and songs. We especiallyrecommend this class for guitarists with previous experiencein other styles interested in exploring jazz and blues. Prerequisites: two years of playing experience, knowledge of majorand pentatonic scales and all seventh chords.Wed: 6:30–8 pm9/22 – 12/1 (10 weeks) No class 11/24Jeff Massanari (online) 395Jazz Guitar 2 ENROLLContinuing from Jazz Guitar 1, explore more complexharmonic and melodic concepts, scales and chord voicings,with lots of hands-on playing time and personal guidance.Prerequisites: Jazz Guitar 1 or equivalent; knowledge of scaleand chord theory and some familiarity with jazz repertoire.Wed: 8:15–9:45 pm9/22 – 12/1 (10 weeks) No class 11/24Jeff Massanari (online) 395Contemporary Improvisation for Guitar ENROLLExplore the concepts and techniques behind today’scontemporary jazz guitar sound. Topics include: construction and playing of chromatic lines the use of melodic and harmonic minor scales playing “inside” and “outside” the chord changes usingpentatonic and other scales triad pairs chord superimposition intervallic lines (single note lines utilizing large intervals) rhythmic concepts that complement all of the abovePrerequisites: ability to play major and natural minor scalesand simple ii–V–I progressions in all keys, and the ability toread standard notation.Mon: 6–7:30 pm9/20 – 11/29 (10 weeks) No class 11/22Steve Erquiaga (online) 3955Thurs: 6–7:30 pm9/23 – 12/2 (10 weeks) No class 11/25Steve Erquiaga (online) 395Introduction to Swing Rhythm Guitar ENROLLFrom Eddie (Lang) to Freddie (Green), we will explore theroots and early development of swing guitar with a focus onrhythm playing during the Swing Era. Using a mix of historyand recordings, we will develop an approach to techniquethat draws from the tradition of both well and lesser-knownplayers. While our emphasis will be rhythm playing in bothsmall and large ensembles, we will also touch upon chordsoloing and chord melody playing as it applies to introductions and solo breaks. Prerequisites: Guitarists should come tothe class with a moderate, working knowledge of chord formsand the fretboard, as well as an understanding of basic musictheory and the ability to navigate basic chord changes.Tues: 6–7:30 pm9/21 – 11/30 (10 weeks) No class 11/23Nick Rossi (online) 395Brazilian Guitar ENROLLLearn Brazilian music styles including samba, baião, bossanova and choro, and the techniques used to play them. Theprimary focus is on learning repertoire while developing thefollowing areas: stylistically appropriate comping rhythms,chord melody playing, creating solo arrangements, right-handfingerstyle techniques and melodic soloing approaches.Prerequisites: ability to read music notation, facility on guitar.Sun: 2–3:30 pm9/26 – 12/5 (10 weeks) No class 11/28Ricardo Peixoto (in-person) 395BrassTrombone Master Class ENROLLTrombonist Natalie Cressman (2019 DownBeat Rising StarWinner, member Trey Anastasio Band) leads this trombonemaster class covering technique, ear training, applied theory,improvisation and more, tailored to the specific needs andinterests of the students. Recommended for all serioustrombonists! Prerequisites: intermediate technical facility.Open to both adults and young musicians age 15 and up.Mon: 6–7:30 pm9/20 – 11/29 (10 weeks) No class 11/22Natalie Cressman (online) 395
WoodwindsBeginning Saxophone ENROLLAn introduction to the saxophone utilizing simple ensemblearrangements to get a head start on fingerings, soundproduction and reading in a fun and musical way. All saxophones are welcome! Prerequisites: none, for completebeginners. Instructor consultation is required. Please contactBill Aron to schedule a consultation bill@cjc.eduThurs: 6:30–8 pm9/23 – 12/2 (10 weeks) No class 11/25Bill Aron (in-person) 395BassJazz Drumming ENROLLRehearse and perform classic Afro-Cuban jazz ‘standards’ asperformed by artists such as Cal Tjader, Tito Puente, andEddie Palmieri. In addition, American jazz standards by artistssuch as John Coltrane and Miles Davis may be included andadapted to Latin rhythms.Prerequisites: familiarity with and ability to play standardAfro-Cuban grooves (mambo, cha, 6/8, and bolero) asapplied to your instrument.Tues: 6:30–8 pm9/21 – 11/30 (10 weeks) No class 11/23Deszon Claiborne (in-person) 395Funk Drumming ENROLLGet off to a good start learning your instrument, covering thefundamentals of what it takes to be an effective bassist in anygenre. From jazz to funk and everything in between, this classfocuses on topics including right and left-hand technique,finger dexterity, neck memorization, the parts of the bass,theory, reading, transcription and much more! Perfect for newmusicians as well as seasoned instrumentalists with the desireto learn more.This class is designed to help drummers function competently and comfortably in funk, R&B and related settings. Skillscovered include essential grooves, feel, “pocket,” fills, soloingand more. Learn from an experienced and supportive instructor while drawing inspiration from fellow students in astructured learning environment. For drummers with experience in other genres interested in branching out into funk/R&B styles as well for drummers with some funk playingexperience who want to deepen their understanding andmusicality.Prerequisites: none, open to all; students must bring a bass toclass.Prerequisites: functional drumset technique and basic limbindependence.Mon: 6–7:30 pm9/20 – 11/29 (10 weeks) No class 11/22Daniel Parenti (online) 395Tues: 8:15–9:45 pm9/21 – 11/30 (10 weeks) No class 11/23Deszon Claiborne (in-person) 395Funk Bass ENROLLAfro-Caribbean Rhythms & Percussion ENROLLThis class takes a broad look at the funk genre and the bass’srole within it, spanning many techniques including picking,ghosting, slap, and, most importantly, how to feel 16th notes.We will span several decades of the funkiest bass lines fromartists like James Brown, Prince, Stevie Wonder, The Meters,Tower of Power, Sly and The Family Stone and more!Study a variety of Afro-Caribbean rhythms and develop adeeper sense of groove and rhythmic entrainment, whilelearning conga and hand percussion techniques. This is a fun,very hands-on class for percussionists and “not yet” percussionists. In addition to ample playing time, the instructorplaces these powerful rhythms and grooves in historical andcultural context.Beginning Electric Bass ENROLLPrerequisites: intermediate level and reading ability arerecommended for this class but not required.Mon: 7:45–9:15 pm9/20 – 11/29 (1
JAZZ ENSEMBLES Beginning Jazz Ensemble (2 sections) APPLY Put theory into practice by learning jazz standards, while developing improvisation and ensemble skills. For all instruments. Prerequisites: knowledge of basic jazz theory and ability to keep time and read music. Section 1: Mon: 6:30–8 pm; Section 2: Mon. 8:15–9:45 pm
24 Karat cJc . V Glossy chromium cJc . c Brown Bronze Painted cJc.BR Grey anodised cJc . G Black Painted, RaL9011 cJc . RaL9011 White Painted, RaL 9003 cJc . RaL9003 Further RaL colors on request Matt Gold cJc . MG antique Silver cJc . aS In its form minimalistic and impressive clear - this is how the design switch program LoLa .
A Criminal Justice Certificate (CJC) is a precursor to a Criminal Justice visa (CJV) – once a CJC is issued, . A CJC is a short-term measure to stay immediate involuntary removal action. A CJC for a person to remain in Australia can only be issued where a client is unlawful. A CJC is not a visa and does not render the client
If you have questions about courses not included on this list, contact the Registrar's Office at 1-800-789-0960 or registrar@barton.edu. . CJC 114 Investigative Photography — Elective CJC 120 Interviews and Interrogations — Elective CJC 121 Law Enforcement Operations JUS 201 Introduction to Law Enforcement .
Criminal Justice Technology, Associate in Applied Science Degree (A55180) Suggested Course Schedule: Class Lab Clinical Credit Notes: (semester taken/grade) ACA 111 College Student Success Course 1 0 0 1 CJC 111 Introduction to Criminal Justice 3 0 0 3 CJC 112 Criminology 3 0 0 3 CJC 231 Constitutional Law 3 0 0 3
Jazz Piano, ABRSM Publishing: Level 1, Level 2, Level 3, Level 4, Level 5 Jazz Piano from Scratch, Dr. Charles Beale Shelton Berg: Jazz Improv: Goal-Note (Book/Cd), Shelton Berg Bill Boyd: Jazz Keyboard Basics, Bill Boyd An Introduction To Jazz Chord Voicing For Keyboard, Bill Boyd Intermediate Jazz Chord Voicing For Keyboard, Bill Boyd Exploring Traditional Scales And Chords For Jazz Keyboard .
Jazz Combos Jazz combos help students learn the art of jazz in a small ensemble setting. The jazz combo session will provide basic instruction in jazz-related rhythm, tone, style, concept, listening skills, and improvisation. The ultimate goal of these ensembles is to give interested students the opportunity to study and perform jazz
Song Travels Jazz ’til Midnight Jan Munstedt Midnight Brian Flick World of Opera Jazz Time fromMay 7 Night Lights Jazz Review Record Shelf Chicago Symphony Orchestra Lincoln Jazz at Center The New Jazz Archive Swingin’ Down the Lane Friday Night Jazz Jazz Odyssey Brazillian Hour Live Wire BBC World
Grade 2 collected 25 books. Grade 3 collected 15 books. Grade 4 collected 10 books. The school had a book drive to support the local shelter. Grades 1, 2, 3, and 4 collected books. Organize the book data into the pictograph above. 1. Who collected the most books? _ 2. What was the total amount of books collected? _ 3. Which grade .
