In Improvisation 3, students build on their understanding of the evolution of American improvised music explored in Improvisation 2. The class begins with an applied revisiting of the skills learned in Improvisation 1 and 2 and moves quickly into the exploration of the modal revolution in Jazz. The difference between tonal harmony (functional harmony) and modally derived music is listened to and students develop the skills to recognize the difference. Modal improvisatory devices (Pentatonic, Hexatonic, Superimposition, Intervallic devices etc.) are explored and applied through improvisation on modal pieces. Students will learn to recognize the difference in sound and function of chords voiced in 4ths as opposed to 3rds and delve further into the harmonic combinations and explorations during the 60's. Repertoire from the 50's-60's-70’s including modal, mixed modal (combination of tonal and modal concepts) and chromatic concepts will be explored. The music of Miles Davis, John Coltrane, Wayne Shorter, Bill Evans, Herbie Hancock, Ornette Coleman, George Russel, Eddie Harris, Joe Henderson and McCoy Tyner are some examples of this musical revolution. This class will culminate in the application of modal and tonal concepts in a personal way through improvisation over the blues, rhythm changes, American Songbook, and Jazz Compositions. This class will be held with instruments in hand. Skills will be developed primarily by ear.

In Improvisation 3, students build on their understanding of the evolution of American improvised music explored in Improvisation 2. The class begins with an applied revisiting of the skills learned in Improvisation 1 and 2 and moves quickly into the exploration of the modal revolution in Jazz. The difference between tonal harmony (functional harmony) and modally derived music is listened to and students develop the skills to recognize the difference. Modal improvisatory devices (Pentatonic, Hexatonic, Superimposition, Intervallic devices etc.) are explored and applied through improvisation on modal pieces. Students will learn to recognize the difference in sound and function of chords voiced in 4ths as opposed to 3rds and delve further into the harmonic combinations and explorations during the 60's. Repertoire from the 50's-60's-70’s including modal, mixed modal (combination of tonal and modal concepts) and chromatic concepts will be explored. The music of Miles Davis, John Coltrane, Wayne Shorter, Bill Evans, Herbie Hancock, Ornette Coleman, George Russel, Eddie Harris, Joe Henderson and McCoy Tyner are some examples of this musical revolution. This class will culminate in the application of modal and tonal concepts in a personal way through improvisation over the blues, rhythm changes, American Songbook, and Jazz Compositions. This class will be held with instruments in hand. Skills will be developed primarily by ear.

In Improvisation 3, students build on their understanding of the evolution of American improvised music explored in Improvisation 2. The class begins with an applied revisiting of the skills learned in Improvisation 1 and 2 and moves quickly into the exploration of the modal revolution in Jazz. The difference between tonal harmony (functional harmony) and modally derived music is listened to and students develop the skills to recognize the difference. Modal improvisatory devices (Pentatonic, Hexatonic, Superimposition, Intervallic devices etc.) are explored and applied through improvisation on modal pieces. Students will learn to recognize the difference in sound and function of chords voiced in 4ths as opposed to 3rds and delve further into the harmonic combinations and explorations during the 60's. Repertoire from the 50's-60's-70’s including modal, mixed modal (combination of tonal and modal concepts) and chromatic concepts will be explored. The music of Miles Davis, John Coltrane, Wayne Shorter, Bill Evans, Herbie Hancock, Ornette Coleman, George Russel, Eddie Harris, Joe Henderson and McCoy Tyner are some examples of this musical revolution. This class will culminate in the application of modal and tonal concepts in a personal way through improvisation over the blues, rhythm changes, American Songbook, and Jazz Compositions. This class will be held with instruments in hand. Skills will be developed primarily by ear.

In Improvisation 3, students build on their understanding of the evolution of American improvised music explored in Improvisation 2. The class begins with an applied revisiting of the skills learned in Improvisation 1 and 2 and moves quickly into the exploration of the modal revolution in Jazz. The difference between tonal harmony (functional harmony) and modally derived music is listened to and students develop the skills to recognize the difference. Modal improvisatory devices (Pentatonic, Hexatonic, Superimposition, Intervallic devices etc.) are explored and applied through improvisation on modal pieces. Students will learn to recognize the difference in sound and function of chords voiced in 4ths as opposed to 3rds and delve further into the harmonic combinations and explorations during the 60's. Repertoire from the 50's-60's-70’s including modal, mixed modal (combination of tonal and modal concepts) and chromatic concepts will be explored. The music of Miles Davis, John Coltrane, Wayne Shorter, Bill Evans, Herbie Hancock, Ornette Coleman, George Russel, Eddie Harris, Joe Henderson and McCoy Tyner are some examples of this musical revolution. This class will culminate in the application of modal and tonal concepts in a personal way through improvisation over the blues, rhythm changes, American Songbook, and Jazz Compositions. This class will be held with instruments in hand. Skills will be developed primarily by ear.