Improvising Jazz gives the beginning performer and the curious listener alike insights into the art of jazz improvisation. Jerry Coker, teacher and noted jazz saxophonist, explains the major concepts of jazz, including blues, harmony, swing, and the characteristic chord progressions. An easy-to-follow self-teaching guide, Improvising Jazz contains practical exercises and musical examples. Its step-by-step presentation shows the aspiring jazz improviser how to employ fundamental musical and theoretical tools, such as melody, rhythm, and superimposed chords, to develop an individual melodic style.
The book explores how these integrative jazz-film productions challenge us to rethink the possibilities of cinematic music production.
Nearly all musical exercises--presented throughout the text in concert pitch and transposed in the appendices for E-flat, B-flat, and bass clef instruments--are accompanied by backing audio tracks, available for download via the Routledge ...
For Preview click on ""Preview"" link below book. This is a definitive book on ""How to Improvise"" explained clearly and succinctly by trumpeter Richie Vitale.
To make our example a bit more illustrative , let's imagine a snowball instead of a wheel . Now we can focus on the path created in the snow as it barrels downhill , the linear view , or we can focus on the circular motion of the ...
This is a book for students and seasoned performers who want to know more about the thought processes for improvising Jazz.
New to the Fifth Edition: Co-author Tom Walsh Additional solo transcriptions featuring the work of female and Latino jazz artists A new chapter, “Odd Meters” A robust companion website featuring additional exercises, ear training, play ...
... Guide B> 215, Tone 216; Blues” Concert 86– Pitch 87 86, octatonic (diminished) scale, definition 295 “Organic- Lee” (Lee Konitz and Gary Versace) 63 “Ornithology” (Charlie Parker and Benny Harris) 8 “Tenor Madness” (Sonny Rollins) ...
An excellent book designed to assist musicians with their performance of contemporary (post be-bop) jazz.
The revised edition of Sync or Swarm promotes an ecological view of musicking, moving us from a subject-centered to a system-centered view of improvisation.
These essays, all of which originally appeared in the New Yorker, cover the entire range of jazz history. Presenting fascinating glimpses of musicians in their unguarded moments, it is concerned...