1)

Part I -- Matching. This section draws from the TOPICS section at the beginning of each chapter in the text (17), and will also include Topics from the Introduction (p. xi). In addition, there will be several matching questions from
the jazz materials, outlined below. Expect between 15 and 30 of these. As always, I will draw the definitions from the
Glossary to the greatest extent possible, unless a topic is defined only in the text proper, as it is in the Steinel book. Once
again, I will expect you to be able to ID the various modes (Dorian, Mixolydian, etc: NO plagals!);
2)
Part II -- Writing. You may well be expected to write out several scales and/or modes on manuscript paper which
will be included in the body of the examination. I may ask you to write out chords as well, from several different
perspectives, including Roman Numerals, Macro Analysis Symbols, and Pop Symbols. Refer to Chapter 4 for these
materials, particularly the Assignment section at the end of the chapter;
3)
Analysis, I. You may be asked to do an exercise similar to that found in Assignment 4.8 (adding ONLY the
essential figured bass numbers to an excerpt);
4)
Analysis, II. You will likely be asked to analyze an excerpt (or several excerpts) similar to Assignments 5.3 and
5.4. This will include Roman Numeral, Cadence, and Non-harmonic Tone analyses;
5)
Melodic Analysis -- You may be asked to complete a melodic analysis similar to the ones in Assignment 6.6; and
finally,
6)
1)

I may ask you to identify several short excerpts as one of three Texture Types (see chapter 7).
Steinel Book
The four most important areas of jazz study (p. 5);

2)
Be prepared to fill out the chart of a "traditional Set-up" of a jazz ensemble, using the materials on page 8 (NOT
the UMaine Jazz Ensemble!);
3)
Make sure you can answer multiple-choice questions on the materials concerning "Improvisation" and "The
Rhythm Section" on page 9;
4)
Reading jazz drum parts -- On page 10, be able to label the instruments indicated on the staff under the
subsection, "Reading a Drum Part";
5)
Guitar tablature -- I may ask a question about this. From an example, be able to tell me what the "x(s),"
number(s), and roman numerals mean. Examples abound in the text (see p. 29 for one of them);
6)

Style Review - Swing -- Know the materials in the box on page 53;

7)

Chord Symbols and roles of the guitar and piano, verbal materials on page 55.

8)
The basics of chord voicings and bass lines are discussed on pages 60 and 61, and include several examples. I
may include the term "voicing" in the topics, and there may be a general question concerning the materials in "Thirds
and Sevenths are Important." With respect to "Constructing Bass Lines," you will need to know the 1, 2, 3, 5 and 8, 7, 6,
5 approach outlined on page 61;
9)

You should also look over the jazz history materials on page 85;

10)
As a general reminder, it is expected that you will have read and listened up to and including (from the very
beginning of the text) page 99; and, just to be sure,
11)
You will also need to know how to read guitar chord voicings, such as are found throughout the text (see p. 29 for
an example). Be sure to ask about this on Thursday, December 10th, if you want clarification!; the three most often used
chord types are discussed on p. 55; a discussion of chord voicings for piano and guitar is undertaken on p. 60; and
finally, bass line construction is discussed on p. 61. Pay particular attention to the 1, 2, 3, 5, and 8, 7, 6, 5 approaches in
the book.