The Jazz Program
Baccalaureate to License
The Lebanese Higher National Conservatory of Music's Jazz Department offers an innovative curriculum rooted in the traditions of jazz while integrating elements of Lebanon's rich musical heritage.
Thomas Hornig · Henri Selmer Paris Artist · The Whole Horn
Mission
Mission statement
Our mission is to cultivate a new generation of musicians who possess a deep understanding of jazz and its associated traditions, emphasizing the transformative power of ensemble performance. By fostering innovation alongside a solid foundation in the jazz language, students will be equipped to contribute to and evolve the art form in Lebanon and beyond.
Ensemble at the heart
At the Lebanese Higher National Conservatory of Music, ensemble experience is the cornerstone of both the learning and teaching philosophy. It is our belief that no student can truly acquire the skills necessary for professional success without regular, immersive participation in ensemble settings.
Collective performance
“The primary aspirational driving force for musicians at every level, and across the globe, lies in the incalculable joy and wonder of collective performance.”
Through ensemble participation, students learn to express the full gamut of human emotions.
Two cycles
CYCLE 1 · BACCALAUREATE
Focus: Establishing foundational skills in jazz performance and theory.
Jazz Theory I & II
Ear Training I & II
Instrumental Proficiency (weekly private lessons)
Jazz Improvisation I
Ensemble Performance (small group)
History of Jazz
Introduction to Composition and Arranging
Introduction to Piano (non-pianists)
CYCLE 2 · LICENSE
Focus: Advanced performance, composition, and professional readiness.
Advanced Jazz Theory and Harmony
Advanced Ear Training
Jazz Composition and Arranging
Improvisation Techniques II
Ensemble Performance (large ensemble and small group)
Contemporary Jazz Styles
Capstone Senior Recital
Music Pedagogy and Professional Practices
The academic year is divided into two semesters: Fall Semester: September to mid-February. Spring Semester: March to July. Orientation for new students: Early September. Examination periods: February and July. Recital evaluations: End of each semester.
Lebanese Higher National Conservatory of Music · Jazz Curriculum
Core areas of study
The program follows a European-style higher education structure with two primary cycles.
Instrumental Proficiency
Development of technical and expressive skills.
Music Theory and Harmony
Comprehensive study of jazz harmony and advanced theoretical concepts.
Ear Training
Mastery of melodic, harmonic, and rhythmic recognition.
Ensemble Playing
Small group dynamics and performance practice.
Improvisation
Exploration of improvisational techniques and strategies.
Arranging and Composition
Techniques for arranging and composing within jazz idioms.
Music History
Historical study of jazz and its cultural contexts.
Jazz Performance Syllabus
The class as taught today
Jazz Theory I & II
Two semesters · LHNCM Jazz Theory 101
The course
Theory of Jazz Music is divided into two credit courses to be taught in the span of two academic semesters: MUJ 342 and MUJ 352. This course provides in addition to the classical theory of music, the specific foundations of Jazz Theory and harmony. MUJ 342 begins with basic Jazz Theory, the Major Scale and the II-V-I Progression, Chord, Major Scale Harmony, Melodic Minor Scale Harmony, Diminished Scale Harmony, Whole Tone Scale Harmony, to how to practice Scales and Slash Chords.
Outcomes and content
The primary goal of any aspiring jazz musician is to learn to improvise. To that end this course will look at the fundamental concepts of jazz harmony, chord/scale relationships, chord voicings and commonly used substitutions. Practical application of this material will be a main focus and students will be tested on their use of this knowledge in a live performance setting.
The students develop an ability to map out chord scale relationships in standard jazz repertoire. They will also be asked to study chord voicings, alternate chord progressions for common forms. Emphasis will be put on developing basic knowledge of jazz harmony and then immediately applying those skills in classroom performances of modern, standard jazz repertoire.
Texts: Modern Reading Text in 4/4 time – Louis Bellson/ Gil Breines; Essential Rhythms For Jazz Ensemble – Doug Beach & George Shutack; Improvisation The Jazz Language – Dan Haerle; Jazz/Rock voicings for the contemporary keyboard player – Dan Haerle.
Ear Training I & II
Jazz Sight Singing, Rhythmic Chanting and Ear Training
Course requirements
The student will sing and identify intervals, basic rhythms, melodies in major and minor keys, triads, chord progressions, and seventh chords. Emphasis will be put on learning how to transcribe melodic lines, jazz improvisation, and bass lines as a way to profoundly internalize jazz phrasing and rhythmic concepts.
Keyboard and grading
The student will also demonstrate basic keyboard skills for intervals, scales and be able to play chord progressions of selected repertoire. The student’s grade will be determined by short periodic exams in singing, aural recognition, easy transcription, memorization of selected Jazz standards and keyboard skills.
Improvisation
Jazz Improvisation I (Cycle 1) · Improvisation Techniques II (Cycle 2)
Improvisation techniques
Using guide tones and chord tones as a basis for melodic lines.
Applying scale-based improvisation to navigate harmonic changes.
Developing rhythmic motifs and phrasing for expressive solos.
Practicing transcriptions of jazz solos to internalize vocabulary.
Chord–scale relationships and vocabulary
Understanding chord-scale relationships, such as using Dorian and Mixolydian modes for minor and dominant chords.
Building a vocabulary of licks and phrases through transcription and practice.
Exploring timing and pacing to create cohesive musical statements.
Practicing solo construction by writing and memorizing ideal solos over standard progressions.
Using tools like Miles Davis’s recordings, especially 'Kind of Blue,' for practical examples of lyrical and accessible improvisation.
Ensembles
Students at LHNCM participate in a wide range of ensembles, including small combos, big bands, and cross-cultural fusion groups.
Objectives
Perform a diverse repertoire with stylistic accuracy and expression.
Develop ensemble cohesion through active listening and communication.
Explore improvisation within ensemble contexts, applying theoretical principles.
Participate in regular performances, fostering stage presence and professionalism.
Performance opportunities
Weekly ensemble rehearsals and performances in small and large groups.
Regular student recitals showcasing solo and ensemble work.
Participation in jazz festivals, concerts, and community events throughout Lebanon.
Collaborative performances with other departments and external institutions.
Opportunities to perform original compositions in professional settings.
Composition and Arranging
Jazz Composition and Arranging
Course topics
Writing for small and large ensembles.
Techniques in melodic coupling, counterpoint, and reharmonization.
Exploring non-functional harmony and advanced voicing techniques.
Creating compositions that blend traditional jazz forms with modern innovations.
Composition techniques
Students will learn techniques such as melodic development, reharmonization, and the use of modal and chromatic language in original works. Compositions should integrate theoretical knowledge with creative expression.
History of Jazz
Understanding the historical development of jazz is essential to appreciating its cultural and artistic significance.
The eras
Origins of Jazz (1900–1914): Jazz emerged from a blend of African, European, and American musical traditions, with roots in blues, spirituals, and ragtime.
Swing Era (1929–1945): Characterized by large ensembles and highly danceable rhythms, the Swing Era made jazz America's popular music.
Bebop (1940s): A response to the commercialism of swing, bebop introduced complex harmonies, fast tempos, and virtuosic improvisation.
The eras (continued)
Cool Jazz and Hard Bop (1950s): Cool jazz emphasized smooth, lyrical lines, while hard bop incorporated elements of gospel and blues.
Free Jazz and Fusion (1960s–1970s): Free jazz broke traditional harmonic and rhythmic conventions, while fusion combined jazz with rock and world music influences.
Rhythm Studies
Rhythm Studies and Jazz Drumming · Afro-Cuban Music and Percussion (MUJ 345)
Course outline
History and fundamentals of jazz drumming.
Triplet interpretations and cymbal line patterns.
Advanced coordination and reading jazz charts.
Afro-Cuban and Afro-Latin rhythm integration.
Courses for rhythm section instruments (piano, bass, drums) emphasize foundational responsibilities such as timekeeping, groove establishment, and harmonic support. Advanced studies include comping techniques, rhythmic independence, and interaction with soloists.
Afro-Cuban Music and Percussion
The course explores from a historical perspective the various styles of Afro-Cuban Music and Percussion along its dual relationship to the Jazz language. The percussion instruments are all studied and explored in-group setting.
Scales and harmony
Jazz harmony is built on chord progressions that create tension and resolution.
Scales and modes
Major Scale: The fundamental scale in Western music, consisting of seven notes arranged in whole and half-step intervals: W-W-H-W-W-W-H.
Modes of the Major Scale: Derived by starting the major scale on each successive note, these modes include: Ionian (Major), Dorian, Phrygian, Lydian, Mixolydian, Aeolian (Natural Minor), and Locrian.
Pentatonic Scales: Five-note scales commonly used in blues and jazz improvisation.
Blues Scale: A six-note scale used extensively in blues and jazz, adding a b5 to the minor pentatonic scale: 1-b3-4-b5-5-b7.
Melodic Minor Scale: A scale with a minor third and raised sixth and seventh degrees ascending.
Harmonic Minor Scale: A minor scale with a raised seventh degree, creating a distinctive interval structure.
Chord progressions
ii-V-I Progression: A cornerstone of jazz harmony, the ii-V-I resolves tension through a sequence of chords based on the second, fifth, and first degrees of the scale.
Minor ii-V-I: A variation used in minor keys, typically involving a half-diminished ii chord (e.g., Dm7b5), a dominant V chord (e.g., G7), and a minor I chord (e.g., Cm7).
Voice Leading: The smooth transition of notes between chords, emphasizing stepwise motion and minimizing leaps.
Extended Chords: Chords that include notes beyond the seventh, such as ninths, elevenths, and thirteenths, adding richness and complexity.
Performance
Performance is where theoretical knowledge and technical skills come to life.
Performance practices
Preparing for live performances through rigorous rehearsals.
Adhering to professional standards for attire, punctuality, and stage conduct.
Interpreting charts and lead sheets accurately and expressively.
Engaging with audiences through dynamic performances.
Program features
Masterclasses: Regular sessions with internationally recognized jazz artists.
Workshops: Practical training in studio recording and live sound engineering.
Collaborative Opportunities: Projects with other departments in the conservatory.
Electives: Courses in world music, jazz technology, and interdisciplinary studies.
Capstone Senior Recital
Cycle 2 · License
The recital
A culminating performance project that allows students to synthesize and showcase their technical, creative, and performance skills. Students present a curated program of jazz standards, original compositions, and stylistic explorations that reflect their journey through the program.
Student performances are evaluated on fluency, technical facility, and interpretive communication. These criteria are designed to provide specific feedback and foster continuous improvement.
Assessment criteria
Preparation and participation in ensemble rehearsals and performances.
Mastery of scales, improvisational techniques, and theoretical knowledge.
Original compositions and arrangements for diverse ensemble configurations.
Proficiency in rhythm studies and coordination exercises.
Graduation
Cycle 1
Baccalaureate
Foundational studies in jazz performance, theory, and history.
Cycle 2
License
Advanced studies focusing on specialization, composition, and professional performance.
Beyond
After the License
Upon completion of the License, students may pursue further specialization in specific areas such as jazz composition, performance, or pedagogy.
The whole program
Year 1 is The Jazz Year, week by week, in The Whole Horn. The class as taught today is the Jazz Performance Syllabus.
Jazz is all about individual accountability.