Jazz Theory and Practice is the most modern introduction to jazz theory ever published. Rich with examples from the repertoire, it gives performers, arrangers and composers an in-depth and practical knowledge of the theoretical foundations of jazz.
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- Author : Jerry Coker
- Publisher : Alfred Music Publishing
- Release Date : 1991
- Genre : Music
- Pages : 142
- ISBN : 157623875X
A comprehensive book on jazz analysis and improvisation. Elements used in jazz improvisation are isolated for study: they are examined in recorded solos, suggestions are made for using each element in the jazz language, and specific exercises are provided for practicing the element.
Includes a concise history of jazz music, entries on noteworthy composers and musicians, listings of classic songs and compositions, a dictionary of jazz terminology, and a listing of the fifty most influential jazz CDs.
This comprehensive study of harmony is a must for any musician interested in jazz. This book explains the essentials of jazz harmony in a friendly, easy-to-understand manner. A 12-key system is used to help you learn each concept in every key. Learn about rootless voicings, shell voicings, spread voicings, clusters, and how to select which voicings to use. Other topics include ii-V-I progressions, dominant chord cycles, "Rhythm Changes," Giant Steps substitutions, thinking in modes, non-diatonic progressions and much more.
More than 25 muscians who first came to prominence during the 1950s are the subject of this collection of interviews. The author's purpose has been to help preserve the oral history of a great American artform, and this book reveals that jazz musicians who can 'tell a story' with their horn when improvising can be just as articulate in conversation.
An outstanding voice in the field, the jazz critic for The Village Voice leads readers through the first century of the music in a voluminous, expert account of the great jazz artists past and present and their distinctive contributions. UP.
A listener's guide to jazz brings together sixty essays on the history, performers, characteristics, and influence of jazz music.
A panoramic history of the genre brings to life the diverse places in which jazz evolved, traces the origins of its various styles, and offers commentary on the music itself.
Constructing Walking Jazz Bass Lines Book I -The Blues in 12 Keys is a complete guide demonstrating the devices used to construct walking bass lines in the jazz tradition. Part 1 demonstrates the techniques used by professional jazz bassists to provide forward motion into bass lines, while providing a strong harmonic and rhythmic foundation. Part I includes triads, 7th chords, voice leading, playing over the bar line, chord substitutions, pedal points, harmonic anticipation and chromatic approach notes. The exercises are designed to give the Electric Bassist strong jazz bass lines in the bottom register of the instrument. As an added bonus for the Electric Bassist Part 1 provides a complete study of the Blues in F whilst in the first and open positions. This is an excellent technique builder. Part 2 expands on the lessons and techniques used in Part 1 providing the bassist with the previous devices used in professional level bass lines in all 12 keys. Included is over 150 choruses of Jazz Blues lines in all 12 keys using the whole register of the instrument. There are many advanced principles applied in the following bass lines whilst never losing sight of the functioning principle of the bass in the jazz idiom. To provide a strong foundation of rhythm and harmony for the music being played & providing support for the melody and or soloist.
When jazz musicians get together, they often delight one another with stories about the great, or merely remarkable, players and singers they've worked with. One good story leads to another until someone says, "Somebody ought to wrie these down!" With Jazz Anecdotes, somebody finally has. Drawing on a rich verbal tradition, bassist and jazz writer Bill Crow has culled stories from a wide variety of sources, including interviews, biographies and a remarkable oral history collection, which resides at the Institute of Jazz Studies at Rutgers University, to paint fascinating and very human portraits of jazz musicians. Organized around general topics--teaching and learning, life on the road, prejudice and discrimination, and the importance of a good nickname--Jazz Anecdotes shows the jazz world as it really is. In this fully updated edition, which contains over 150 new anecdotes and new topics like Hiring and Firing, Crow regales us with new stories of such jazz greats as Benny Goodman, Chet Baker, Ravi Coltrane, Buddy Rich and Paul Desmond. He offers extended sections on old favorites--Louis Armstrong, Duke Ellington, Coleman Hawkins and Lester Young, and the fabulous Eddie Condon, who seems to have lived his entire life with the anecdotist in mind. With its unique blend of sparkling dialogue and historical and social insight, Jazz Anecdotes will delight anyone who loves a good story. It offers a fresh perspective on the joys and hardships of a musician's life as well as a rare glimpse of the personalities who created America's most distinctive music.
Pianists all know the benefits of playing the "Two-Part Inventions" of J. S. Bach. Now, world-respected jazz pianist and composer Bill Cunliffe has written his own "inventions" that will benefit every player's understanding and performance of jazz. These great-sounding etudes explore the specific harmonic, melodic, and technical challenges faced by jazz keyboardists, including the ii-V and ii-V-I progressions, outlining changes, chord-tone ornamentation, playing in octaves, tonic patterns, block chords, polytonality, stride piano, and left-hand walking bass. Pieces feature chord symbols, explanatory notes, and preparatory exercises, and each invention is performed on the CD by Bill Cunliffe. 123 pages. " . . . perfect for daily warm-up, explores the harmonic and melodic intricacies of jazz, each etude targets a specific technical skill and includes performance notes, inventions gradually become more challenging and the harmonic progressions are varied and very musical . . . a musical feast." -International Association for Jazz Education (IAJE)
You know your scales, understand how to play over a chord progression, and learned enough music theory to fill an encyclopedia, but you still aren't satisfied with your solos. This book teaches jazz guitarists how to apply their knowledge of scales, chord progressions, and music theory towards creating great guitar solos. Eight full-length solos in a variety of styles are studied in detail, including analysis of chord progressions and the material used to improvise over them, techniques, and structural characteristics. Styles range from classic standards and Gypsy jazz to Latin, modal and smooth jazz. All eight solos are performed on the accompanying CD.
The conclusion to this jazz method starts with a review of concepts from Intermediate Jazz Keyboard and quickly moves on to more advanced concepts of chord voicings, modal soloing, substitution, reharmonization, modes of the minor scales, diminished and whole-tone scales, walking bass, stride piano technique, non-diatonic progressions and much more. The perfect launching pad for a lifetime of discovery and joy of playing music, this is an essential vehicle for any keyboardist's journey into jazz. The CD includes examples and opportunities to play along.
An intimate exploration into the musical genius of fifteen living jazz legends, from the longtime New York Times jazz critic Jazz is conducted almost wordlessly: John Coltrane rarely told his quartet what to do, and Miles Davis famously gave his group only the barest instructions before recording his masterpiece "Kind of Blue." Musicians are often loath to discuss their craft for fear of destroying its improvisational essence, rendering jazz among the most ephemeral and least transparent of the performing arts. In The Jazz Ear, the acclaimed music critic Ben Ratliff sits down with jazz greats to discuss recordings by the musicians who most influenced them. In the process, he skillfully coaxes out a profound understanding of the men and women themselves, the context of their work, and how jazz—from horn blare to drum riff—is created conceptually. Expanding on his popular interviews for The New York Times, Ratliff speaks with Sonny Rollins, Ornette Coleman, Branford Marsalis, Dianne Reeves, Wayne Shorter, Joshua Redman, and others about the subtle variations in generation, training, and attitude that define their music. Playful and keenly insightful, The Jazz Ear is a revelatory exploration of a unique way of making and hearing music.
Chuck Marohnic gives the keyboard player a basic vocabulary of scales and chords, chord changes and voicings. Included is information about the cycle of fifths, the III-V-I progression, chord substitutions, blues, turn-arounds, relative majors/minors.
Ken Prouty argues that knowledge of jazz, or more to the point, claims to knowledge of jazz, are the prime movers in forming jazz’s identity, its canon, and its community. Every jazz artist, critic, or fan understands jazz differently, based on each individual’s unique experiences and insights. Through playing, listening, reading, and talking about jazz, both as a form of musical expression and as a marker of identity, each aficionado develops a personalized relationship to the larger jazz world. Through the increasingly important role of media, listeners also engage in the formation of different communities that not only transcend traditional boundaries of geography, but increasingly exist only in the virtual world. The relationships of “jazz people” within and between these communities is at the center of Knowing Jazz. Some groups, such as those in academia, reflect a clash of sensibilities between historical traditions. Others, particularly online communities, represent new and exciting avenues for everyday fans, whose involvement in jazz has often been ignored. Other communities seek to define themselves as expressions of national or global sensibility, pointing to the ever-changing nature of jazz’s identity as an American art form in an international setting. What all these communities share, however, is an intimate, visceral link to the music and the artists who make it, brought to life through the medium of recording. Informed by an interdisciplinary approach and approaching the topic from a number of perspectives, Knowing Jazz charts a philosophical course in which many disparate perspectives and varied opinions on jazz can find common ground.
Proposes an organizational leadership and collaboration model based on the improvisational natures of such jazz musicians as Miles Davis and Sonny Rollins, discussing inventive approaches companies can take to deal with change.
- Author : Max Harrison
- Publisher : A&C Black
- Release Date : 2000-01-01
- Genre : Music
- Pages : 889
- ISBN : 0720118220
Following the same format as the acclaimed first volume, this selection of the best 250 modern jazz records and CDs places each in its musical context and reviews it in depth. Additionally, full details of personnel, recording dates, and locations are given. Indexes of album titles, track titles, and musicians are included.
The social connotation of jazz in American popular culture has shifted dramatically since its emergence in the early twentieth century. Once considered youthful and even rebellious, jazz music is now a firmly established American artistic tradition. As jazz in American life has shifted, so too has the kind of venue in which it is performed. In Jazz Places, Kimberly Hannon Teal traces the history of jazz performance from private jazz clubs to public, high-art venues often associated with charitable institutions. As live jazz performance has become more closely tied to nonprofit institutions, the music's heritage has become increasingly important, serving as a means of defining jazz as a social good worthy of charitable support. Though different jazz spaces present jazz and its heritage in various and sometimes conflicting terms, ties between the music and the past play an important role in defining the value of present-day music in a diverse range of jazz venues, from the Village Vanguard in New York to SFJazz on the West Coast to Preservation Hall in New Orleans.
Alfred's Essentials of Jazz Theory is designed for jazz enthusiasts and musicians who want to learn jazz concepts and terminology. To get the most out of this course, it is recommended that you have a good understanding of basic theory, such as the lessons in Books 1-3 of Alfred's Essentials of Music Theory. The book contains lessons with both written and music reading exercises and ear-training and listening are addressed through the included CDs. Each unit is complete with a review section. Playing and/or singing along with each example is encouraged throughout the book. The Teacher's Answer Key includes answers to each lesson in the student book, as well as the 3 listening and ear-training CDs. Master jazz with ease using this complete course!