Skip to main content

Graduate Jazz Comprehensive Exam

The Graduate Jazz Comprehensive Exam takes place over two days in February during a student’s final semester. The Excerpts portion takes up one exam day, while the other is dedicated to the Essay portion, with a focus on your instrument. Each day’s exam consists of two parts, and requirements may vary slightly for each instrument. Please consult your private instructor for details and refer to the study guides provided below.

Exam Preparation Over 3 Semesters

Preparation for the exam should begin when entering the graduate program and continue through the second and third semesters, culminating in taking the exam during the fourth semester. While your private instructor acts as your exam advisor, the responsibility to prepare for the exam rests solely with the student.

Essays Preparation

100 Mentors

(Choose only your instrument)

Worksheets for Semesters 1, 2, and 3

Research 33 mentors each semester (about 2-3 each week) for three semesters from a list of 100. Focus on two study points for each mentor: the era and genre(s) of jazz they belong to, and another brief point (e.g., an original composition, an album title, a musical group, associated musicians, stylistic tendencies, their native country, influences, etc). The worksheets help organize your research over three semesters and create a custom mentor study guide.

Additionally, explore jazz pedagogical approaches for your instrument, including relevant method books, prominent musicians from various jazz genres (such as bebop, hard bop, and fusion) who play your instrument, and the evolution of jazz performance on your instrument.

Excerpts Preparation

Study all Grad jury semester 1 to 3 and “Grad Comp” labeled Tune-list selections thoroughly, memorizing relevant details such as melodies, chord changes, composers, notable performers, ensembles, recordings, or the jazz era during which they were prominent.

Practice writing leadsheets by memory in a proper handwritten format, using the Tune-list manuscripts as examples, and notating an associated improvised solo for your instrument.

Also, prepare to identify the above selections when presented with only melodies and chord changes, such as “Title,” “Composer,” and similar information mentioned above.