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Creative Jazz Improvisation 5th edition [Pehme köide]

4.20/5 (10 hinnangut Goodreads-ist)
(The City College of the City University of New York, USA), (Jacobs School of Music, Indiana University, USA)
  • Formaat: Paperback / softback, 384 pages, kõrgus x laius: 280x210 mm, kaal: 980 g, 504 Line drawings, black and white; 504 Illustrations, black and white
  • Ilmumisaeg: 19-Aug-2022
  • Kirjastus: Routledge
  • ISBN-10: 1032253983
  • ISBN-13: 9781032253985
Teised raamatud teemal:
Creative Jazz Improvisation 5th editionSuurem pilt
  • Formaat: Paperback / softback, 384 pages, kõrgus x laius: 280x210 mm, kaal: 980 g, 504 Line drawings, black and white; 504 Illustrations, black and white
  • Ilmumisaeg: 19-Aug-2022
  • Kirjastus: Routledge
  • ISBN-10: 1032253983
  • ISBN-13: 9781032253985
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781032253985.html
Märksõnad:
"The leading textbook in jazz improvisation, Creative Jazz Improvisation, Fifth Edition represents a compendium of knowledge and practice resources for the university classroom, suitable for all musicians looking to develop and sharpen their soloing skills. Logically organized and guided by a philosophy that encourages creativity, this book presents practical advice beyond the theoretical, featuring exercises in twelve keys, ear-training and keyboard drills, a comprehensive catalogue of relevant songs tolearn, and a wide range of solo transcriptions, each transposed for C, Bb, Eb, and bass clef instruments. Chapters highlight discussions of jazz theory-covering topics such as major scale modes, forms, chord substitutions, melodic minor modes, diminishedand whole-tone modes, pentatonic scales, intervallic improvisation, free improvisation, and more-while featuring updated content throughout on the nuts-and-bolts of learning to improvise"--

The leading textbook in jazz improvisation, Creative Jazz Improvisation, Fifth Edition represents a compendium of knowledge and practice resources for the university classroom, suitable for all musicians looking to develop and sharpen their soloing skills.



The leading textbook in jazz improvisation, Creative Jazz Improvisation, Fifth Edition represents a compendium of knowledge and practice resources for the university classroom, suitable for all musicians looking to develop and sharpen their soloing skills. Logically organized and guided by a philosophy that encourages creativity, this book presents practical advice beyond the theoretical, featuring exercises in twelve keys, ear training and keyboard drills, a comprehensive catalog of relevant songs to learn, and a wide range of solo transcriptions, each transposed for C, Bb, Eb, and bass clef instruments. Chapters highlight discussions of jazz theory · covering topics such as major scale modes, forms, chord substitutions, melodic minor modes, diminished and whole-tone modes, pentatonic scales, intervallic improvisation, free improvisation, and more · while featuring updated content throughout on the nuts and bolts of learning to improvise.

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-along tracks, tunes, call and response tracks, keyboard voicings, and transcriptions, alongside Spotify and YouTube links to many of the featured solos

Rooted in an understanding that there is no one right way to learn jazz, Creative Jazz Improvisation, Fifth Edition explores the means and methods for developing one’s jazz vocabulary and improvisational techniques.

Preface ix
Part 1 The Art of Improvisation
1(12)
Chapter 1 Practicing and Performing Jazz
3(10)
Jazz Rhythm
3(2)
Jazz Theory and Forms
5(1)
Practicing Scales, Patterns, and Melodic Phrases
5(1)
Transcribed Solos
6(1)
Jazz Compositions and Standards
6(1)
Creating Improvised Solos
7(3)
Playing with Other Musicians
10(1)
Improvisation and the Inner Workings of Your Mind
11(2)
Part 2 Diatonic Chords and the Modes in the Major Scale
13(106)
Chapter 2 Major Scales and Major 7th Chords
15(15)
Theory/Ear Exercises
16(1)
Gaining Facility with Major Scales and Major 7th Chords
16(4)
Improvising on Jazz Compositions Based on Major 7th Chords
20(1)
Louis Armstrong's Improvised Solo on "Hotter Than That"
20(10)
Chapter 3 Dorian Scales and Minor 7th Chords
30(14)
Theory/Ear Exercises
31(1)
Gaining Facility with Dorian Scales and Minor 7th Chords
31(3)
Improvising on Jazz Compositions Based on Minor 7th Chords
34(1)
Miles Davis's Improvised Solo on "So What"
34(10)
Chapter 4 Mixolydian and Dominant Bebop Scales, and Dominant 7th Chords
44(15)
Theory/Ear Exercises
45(1)
Gaining Facility with Mixolydian and Dominant Bebop Scales and Dominant 7th Chords
45(4)
Improvising on Jazz Compositions Based on Dominant 7th Chords
49(1)
Lester Young's Improvised Solo on "Lester Leaps In"
49(10)
Chapter 5 The ii V I Progression and Functional Harmony
59(26)
Theory/Ear Exercises
61(1)
Gaining Facility with ii V I Progressions
62(6)
Improvising on Jazz Compositions Based on ii V or ii V I Progressions
68(4)
Clifford Brown's Improvised Solo on "Pent-Up House"
72(13)
Chapter 6 Locrian and Aeolian Scales, and the ii 7 V7.9 i Progression
85(18)
The ii7 V79 i Progression
86(1)
Theory/Ear Exercises
86(1)
Gaining Facility with Minor ii07 V7>9 I Progressions
87(5)
Improvising on Compositions Based on it7 V79 i Progressions
92(1)
Milt Jackson's Improvised Solo on "Django"
93(10)
Chapter 7 Lydian and Phrygian Scales, and Major 75 Chords
103(16)
Theory/Ear Exercises
104(1)
Gaining Facility with Lydian and Phrygian Scales
104(3)
Improvising on Compositions Based on Lydian and Phrygian Scales, and Major 75 Chords
107(1)
Wayne Shorter's Improvised Solo on "Masqualero"
108(11)
Part 3 Chord Substitutions, Harmonic Structures, and Forms
119(60)
Chapter 8 The Blues Scale, the Blues Form, and Chord Substitutions
121(24)
The Blues Form
121(3)
The Blues Scale
124(1)
Chord Substitutions
125(1)
Theory/Ear Exercises
126(1)
Gaining Facility with the Basic Blues Progression
126(3)
Gaining Facility with Blues Substitutions
129(5)
Improvising on Jazz Compositions Based on the Blues Form
134(2)
Charlie Parker's Improvised Solo on "Now's the Time"
136(9)
Chapter 9 Sectional Forms and Rhythm Changes
145(18)
Theory/Ear Exercises
147(1)
Gaining Facility with Rhythm Changes
148(5)
Improvising on Jazz Compositions Based on "Rhythm Changes" and Through-Composed Form
153(1)
Terry Pollard's Improvised Solo on "Seven Come Eleven"
153(10)
Chapter 10 Harmonic Structures and Coltrane Substitutions
163(16)
Coltrane Substitutions
164(1)
Theory/Ear Exercises
165(1)
Gaining Facility with Coltrane Substitutions
165(4)
Improvising on Jazz Compositions Based on Coltrane Substitutions
169(1)
John Coltrane's Improvised Solo on "Giant Steps"
169(10)
Part 4 Altered Chords, Diminished Modes, Whole-Tone Scales, and Harmonic Minor and Melodic Minor Modes
179(84)
Chapter 11 Diminished Scales, Fully Diminished Chords, and Dominant 7>9 Chords
181(16)
Theory/Ear Exercises
182(1)
Gaining Facility with Diminished Scales
182(6)
Improvising on Jazz Compositions Based on Diminished and Dominant 7thb9
188(1)
J.J. Johnson's Improvised Solo on "Aquarius"
189(8)
Chapter 12 Whole-Tone Scales and Augmented Chords
197(12)
Theory/Ear Exercises
198(1)
Gaining Facility with Whole-Tone Scales
198(3)
Improvising on Jazz Compositions Based on Dominant 9b5 or 9 #5 Chords or Whole-Tone Scales
201(1)
Thelonious Monk's Improvised Solo on "Evidence"
202(7)
Chapter 13 Melodic and Harmonic Minor Scales, and Minor/Major 7th Chords
209(19)
Theory/Ear Exercises
210(1)
Gaining Facility with Melodic Minor Scales and Minor/Major 7th Chords
210(4)
Improvising on Jazz Compositions Based on Minor/Major 7th Chords
214(1)
Renee Rosnes's Improvised Solo on "Summer Night"
214(14)
Chapter 14 Locrian #2 and Altered Scales, and Minor ii7 V7#9 i Progressions
228(21)
Theory/Ear Exercises
229(1)
Gaining Facility with Minor ii7 V7#9 i Progressions
229(5)
Improvising on Jazz Compositions Based on ii7 V7#9 i Progressions
234(2)
Bill Evans's Improvised Solo on "Autumn Leaves"
236(13)
Chapter 15 Lydian Augmented and Lydian Dominant Scales, and Major 7th #5 and Dominant 9th #11 Chords
249(14)
Theory/Ear Exercises
250(1)
Gaining Facility with Lydian Augmented and Lydian Dominant Scales, and Major 7th #5 and Dominant 9th #11 Chords
250(2)
Improvising on Jazz Compositions Based on Major 7th #5 and Dominant 9th #11 Chords
252(1)
Sonny Rollins's Improvised Solo on "Blue Seven"
253(10)
Part 5 Beyond Functional Harmony
263(103)
Chapter 16 Free Improvisation
265(16)
Gaining Facility with Free Improvisation
266(1)
Improvising on Jazz Compositions Based on Free Forms
267(1)
Ornette Coleman's Improvised Solo on "Congeniality"
267(14)
Chapter 17 Pentatonic Scales
281(23)
Theory/Ear Exercises
283(1)
Gaining Facility with Major Pentatonic Scales
283(5)
Gaining Facility with Minor and Dominant Pentatonic Scales
288(5)
Improvising on Jazz Compositions Using Pentatonic Scales
293(2)
Woody Shaw's Improvised Solo on "Child's Dance"
295(9)
Chapter 18 Four-Note Groupings Derived from Pentatonic Scales
304(16)
Gaining Facility with Four-Note Groupings
305(5)
Improvising on Jazz Compositions Using Four-Note Groupings
310(1)
Chick Corea's Improvised Solo on "Matrix"
310(10)
Chapter 19 Intervallic Improvisation
320(18)
Gaining Facility with Intervallic Improvisation
322(6)
Improvising on Jazz Compositions Using Chromatic Intervals
328(1)
Ingrid Jensen's Improvised Solo on "Higher Grounds"
328(10)
Chapter 20 Odd Meters
338(28)
Gaining Facility with Odd Meters
338(9)
Improvising on Jazz Compositions Based on Odd Meters
347(1)
Miguel Zenon's Improvised Solo on "Penta"
348(18)
Appendix I Intervals 366(1)
Appendix II Modes in the Major Scale 367(1)
Appendix III Modes in the Melodic Minor Scale 368(1)
Appendix IV Diatonic 7th Chords in Major Keys 369(1)
Appendix V Diatonic 7th Chords in Minor Keys 370(1)
Appendix VI Chords and Their Relationship to Scales 371(1)
Appendix VII Upper Structure or "Slash" Chords 372(1)
Appendix VIII Creativity and an Overview of Kenny Werner's Effortless Mastery Method 373(2)
Index 375
Scott Reeves is Professor Emeritus at The City College of the City University of New York.

Tom Walsh is Professor of Saxophone and Chair of the Department of Jazz Studies in the Jacobs School of Music at Indiana University.