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Jazz Theory, Second Edition (Textbook and Workbook Package): From Basic to Advanced Study 2nd edition [Multiple-component retail product]

(Eastman School of Music, USA)
  • Formaat: Multiple-component retail product, 732 pages, kõrgus x laius: 280x210 mm, kaal: 1880 g, Contains 2 paperbacks
  • Ilmumisaeg: 04-Sep-2019
  • Kirjastus: Routledge
  • ISBN-10: 0367321963
  • ISBN-13: 9780367321963
Teised raamatud teemal:
Jazz Theory, Second Edition (Textbook and Workbook Package): From Basic to Advanced Study 2nd editionSuurem pilt
  • Formaat: Multiple-component retail product, 732 pages, kõrgus x laius: 280x210 mm, kaal: 1880 g, Contains 2 paperbacks
  • Ilmumisaeg: 04-Sep-2019
  • Kirjastus: Routledge
  • ISBN-10: 0367321963
  • ISBN-13: 9780367321963
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780367321963.html
Märksõnad:

Jazz Theory: From Basic to Advanced Study, Second Edition is a comprehensive textbook for those with no previous study in jazz, as well as those in advanced theory courses. Written with the goal to bridge theory and practice, it provides a strong theoretical foundation from music fundamentals to post-tonal theory, while integrating ear training, keyboard skills, and improvisation. It hosts "play-along" audio tracks on a Companion Website, including a workbook, ear-training exercises, and an audio compilation of the musical examples featured in the book.

Jazz Theory Workbook accompanies the successful textbook and contains all the written exercises in addition to brand-new keyboard drills. It works in tandem in the same format as the 27-chapter book yet is also designed to be used on its own, providing students and readers with quick access to all relevant exercises without need to download or print pages that inevitably must be written out.

This discounted textbook and workbook PACKAGE (978-0-367-32196-3) contains both books in paperback:

  • Jazz Theory: From Basic to Advanced Study, Second Edition (978-1-138-23510-6)
  • Jazz Theory Workbook (978-1-138-33425-0)

Arvustused

Dariusz is an amazing jazz pianist. His knowledge, both linearly and harmonically, is derived from a huge world of listening and performing experiences, and has made him a brilliant teacher. This book exemplifies, in detail, the process necessary to achieving this high level of musicianship.

Gene Bertoncini, guitarist and educator

This text is an extremely valuable resource for both the self-guided student and for use in university and college jazz programs. There is a wealth of information here for everyone, from the beginner to the seasoned jazz improvisor, composer, and arranger. I highly recommend it to all looking to further their knowledge and abilities as performers, writers, and teachers.

Brian Dickinson, Professor, Humber College

Jazz Theory: From Basic to Advanced Study is remarkably comprehensive, well-organized, and accessible, calibrated for use by individuals or in the classroom. It provides a wealth of carefully presented theoretical material, amplified by practical play-along audio tracks and ear-training exercises.

Keith Waters, Professor of Music Theory, University of Colorado Boulder

Jazz Theory from Basic to Advanced Study
List of Figures
xvii
List of Tables
xxvi
Preface
xxvii
Acknowledgments
xxxiii
Part I Basics
1(112)
1 Music Fundamentals
3(13)
Chapter Summary
3(1)
Pitch
4(1)
Major Scales
5(1)
Key Signatures
6(1)
Minor Scales
7(2)
Rhythm
9(1)
Meter and Time Signatures
10(2)
Notating Rhythm
10(2)
Intervals
12(1)
Inversion of Intervals
13(1)
Triads
14(1)
Inversion of Triads
14(1)
Suspended Triad
15(1)
2 Jazz Rhythms
16(7)
Chapter Summary
16(1)
General Characteristics
16(1)
Syncopation
17(1)
Swing
17(1)
Practicing Rhythm
18(2)
Placement of Swing 8ths
19(1)
Phrasing
19(1)
Playing with a Metronome
20(1)
Latin Rhythmic Traditions
20(3)
3 Harmonic Function
23(10)
Chapter Summary
23(1)
Functional Tonality
23(1)
Triads in Major Keys
24(1)
Triads in Minor Keys
25(1)
Notational Conventions
26(2)
Lead-Sheet Notation
26(1)
Roman Numerals
27(1)
Function Symbol
27(1)
Functional Families
28(2)
Major Key
28(1)
Minor Key
29(1)
Voice-Leading Principles
30(1)
Basic Keyboard Applications
31(2)
4 Four-Part Chords
33(10)
Chapter Summary
33(1)
Characteristics of Jazz Harmony
33(1)
Chord Categories
34(3)
Major Category
34(1)
Minor Category
35(1)
Dominant 7th Category
35(1)
Intermediary Category
36(1)
Inversions of Four-Part Chords
37(1)
Functional Families
38(3)
Major Key
38(1)
Minor Key
39(2)
"Drop 2" Voicings
41(2)
5 Five-Part Chords
43(9)
Chapter Summary
43(1)
Chordal Extensions
43(1)
Addition of Extensions
44(1)
Chord Categories
45(5)
Major Category
46(1)
Minor Category
46(1)
Dominant and Suspended Category
47(1)
Dominant 7th Category
47(1)
Suspended Dominant Category
48(1)
Intermediary Category
49(1)
"Drop 2" Voicings
50(2)
6 The II-V-I Progression
52(13)
Chapter Summary
52(1)
A Brief History
52(2)
The ii-V7-I Progression
54(1)
The ii0-V7-i Progression
55(1)
Secondary Dominant 7th
55(1)
The Diminished 7th Chord
56(1)
The Diminished 7th Chord and the II-V-I Progression
56(7)
Transformation of the Diminished 7th Chord
63(2)
7 Modes
65(13)
Chapter Summary
65(1)
Parent-Scale Derivation of Diatonic Modes
65(1)
Modal Characteristics
66(1)
Diatonic Modes
67(4)
Major Modes-Ionian
67(1)
Major Modes-Lydian
68(1)
Major Modes-Mixolydian
68(1)
Minor Modes-Aeolian
69(1)
Minor Modes-Dorian
70(1)
Minor Modes-Phrygian
70(1)
Minor Modes-Locrian
71(1)
Parent-Scale Derivation of Chromatic Modes
71(1)
Chromatic Modes
72(6)
Minor Modes-Melodic Minor
72(1)
Minor Modes-Dorian flat2
73(1)
Minor Modes-Locrian natural2
73(1)
Major Modes-Lydian Augmented
74(1)
Major Modes-Mixolydian #11
75(1)
Major Modes-Mixolydian flat13
75(1)
Major Modes-Altered
76(2)
8 Chord-Scale Theory
78(13)
Chapter Summary
78(1)
Objectives of Chord-Scale Theory
78(1)
Chord-Scale Relationship
79(1)
Major Category
80(1)
Possible Harmonic Function-Tonic and Predominant
80(1)
Minor Category
81(3)
Possible Harmonic Function-Tonic and Predominant
81(2)
Dorian as Tonic and/or Predominant
83(1)
Dominant Category
84(2)
Possible Harmonic Function-Dominant
84(2)
Suspended Dominant Category
86(1)
Possible Harmonic Function-Dominant, Predominant, Tonic
86(1)
Intermediary Category
87(1)
Possible Harmonic Function-Predominant and Dominant
87(1)
The ii-V7-I Progression
88(2)
The ii-V7-i Progression
90(1)
9 The Blues
91(8)
Chapter Summary
91(1)
Generic Blues
91(1)
Telling a Story
92(1)
Call and Response
93(1)
The Blues Scale
94(1)
Major Blues Scale
94(1)
Basic Blues Progression
95(2)
Keyboard Realization
96(1)
Chord-Scale Relationship
96(1)
Minor Blues
97(2)
Chord-Scale Relationship
98(1)
10 Basic Improvisation
99(14)
Chapter Summary
99(1)
Getting Started
99(1)
Blues Riffs
100(2)
The Role of Guide Tones
102(1)
The Charleston Rhythm
103(1)
Exploring Guide Tones
104(4)
Using 3rds and 7ths
104(1)
Using 3rds or 7ths
105(2)
The 3rd and 7th lines
107(1)
Motivic Development
108(7)
Repetition
110(1)
Transposition
110(1)
Expansion and Interpolation
110(1)
Contraction and Fragmentation
110(1)
Inversion
110(3)
Part II Intermediate
113(136)
11 Voicing Formations
115(9)
Chapter Summary
115(1)
Upper-Structure Triads
115(4)
Dominant Aggregate
118(1)
Rootless Formations
119(1)
Incomplete Voicings
120(4)
12 Keyboard and Jazz Chorale Textures
124(10)
Chapter Summary
124(1)
Models of Keyboard Style Texture
124(5)
Model I
125(1)
Model II
125(1)
Model III
126(1)
Model IV
127(1)
Model V
127(1)
Model VI
128(1)
Jazz Chorale-Five-Voice Texture
129(2)
Jazz Chorale-Four-Voice Texture
131(3)
13 Idiomatic Jazz Progressions
134(18)
Chapter Summary
134(1)
Tritone Substitutions
134(2)
The ii-V7-I Progression and Tritone Substitutions
136(1)
Turnarounds
136(2)
The I-vi-ii-V7 Progression
137(1)
Harmonic Transformations
137(1)
Tag Endings
138(1)
The Cycle of Dominant 7ths Progression
139(1)
The Lady Bird Progression
139(1)
Coltrane Substitutions
140(1)
Aural Identification of Four-Bar Progressions
141(11)
The [ ii-V7]X Interpolation
141(3)
Four-Bar Modulations
144(4)
The [ ii0-V7]/x Interpolation
148(1)
Two II-V Interpolations
148(3)
Miscellaneous Four-Bar Progressions
151(1)
14 Bebop Improvisation
152(21)
Chapter Summary
152(1)
Bebop Scales
152(5)
Major Bebop Scale
153(1)
Minor Bebop Scales
154(1)
Dominant Bebop Scale
155(1)
The Intermediary/Dominant Bebop Complex
156(1)
Practicing Bebop Improvisation
157(16)
Metric Placement-Scalar and Arpeggiation Patterns
157(2)
Addition of Extra Chromatic Notes
159(2)
Altered Bebop Scales
161(3)
The Diminished 7th Chord
164(3)
Triplets
167(4)
The ii-V7-I Progression
171(1)
Negotiating the Minor Seven Flat Five Chord
171(1)
The ii0-V7-i Progression
172(1)
15 Bebop Blues
173(10)
Chapter Summary
173(1)
Three Harmonic Variants
173(6)
Variant 1-The Billie's Bounce Progression
175(2)
Variant 2-The Bird Blues Progression
177(1)
Variant 3-The Dance of the Infidels Progression
178(1)
Improvisation
179(4)
16 The "Confirmation" Changes
183(12)
Chapter Summary
183(1)
"Confirmation"-An Analysis
183(3)
Form and Harmony
183(2)
Melody and Rhythm
185(1)
An Analysis of the Transcription
186(5)
Chord-Scale Relationship: Modes
191(2)
Chord-Scale Relationship: Bebop Scales
193(2)
17 The Rhythm Changes
195(12)
Chapter Summary
195(1)
"I Got Rhythm" Contrafacts
195(1)
"Moose the Mooche"-An Analysis
195(3)
Form and Harmony
197(1)
Melody and Rhythm
197(1)
Harmonic Reworkings of Rhythm Changes
198(3)
Rhythm Changes Improvisation
201(6)
The A Section: A Single-Scale Approach
201(1)
The A Section: A Two-Scale Approach
202(3)
The A Section: Chord Arpeggiations
205(1)
The B Section: A Single-Scale Approach
205(2)
18 Pentatonics, Hexatonics, Octatonics
207(25)
Chapter Summary
207(1)
Methodology
207(1)
Pentatonics
208(6)
Basic Pentatonics
208(2)
Diatonic Pentatonics
210(1)
Chromatic Pentatonics
211(1)
Altered Pentatonics
212(2)
The Pentatonic System
214(5)
Major Category
215(1)
Minor Category
215(1)
Dominant Category
216(1)
Suspended Dominant Category
216(1)
Intermediary Category
217(1)
Harmonic Potential
217(2)
Melodic Potential
219(1)
Hexatonics
219(5)
Major Category
220(1)
Minor Category
220(1)
Dominant Category
221(1)
Suspended Dominant Category
222(1)
Intermediary Category
222(1)
Harmonic Potential
223(1)
Melodic Potential
224(1)
The 1/2 Octatonic Scale-Mode II of Limited Transposition
224(4)
Harmonic Potential
226(1)
Melodic Potential
227(1)
The 2/1 Octatonic Scale-Mode II of Limited Transposition
228(1)
Other Octatonic Scales-Mode IV of Limited Transposition
229(1)
Other Octatonic Scales-Mode VI of Limited Transposition
230(2)
19 The Tristano Style of Improvisation
232(17)
Chapter Summary
232(1)
Introduction
232(1)
Analytical Annotations
233(9)
An Analysis of the Transcription
242(4)
Rhythmic Displacement
242(1)
Melodic Interpolation
243(1)
Playing Outside
243(1)
Structural Approach
244(1)
Advanced Techniques
244(2)
The Tristano Style of Improvisation
246(5)
Rhythmic Syntax
246(1)
Melodic Syntax
246(1)
Harmonic Syntax
247(1)
Voice Leading
247(1)
Phrasing
248(1)
Advanced Techniques
248(1)
Part III Advanced
249(133)
20 Analyzing Jazz Lead Sheets
251(8)
Chapter Summary
251(1)
What Does a Lead Sheet Tell Us?
251(1)
Two-Level Analysis
252(1)
"My Romance"
252(3)
"All the Things You Are"
255(4)
21 Phrase Models
259(23)
Chapter Summary
259(1)
Phrase Prototypes
259(3)
Jazz Rule of the Octave
262(2)
Diatonic Phrase Models
264(7)
Phrase Model 1
264(2)
Phrase Model 2
266(1)
Phrase Model 3
267(2)
Phrase Model 4
269(1)
Phrase Model 5
270(1)
Chromatic Phrase Models
271(11)
Phrase Model 6
271(1)
Phrase Model 7
272(1)
Phrase Model 8
273(1)
Phrase Model 9
274(2)
Phrase Model 10
276(1)
Phrase Model 11
277(1)
Phrase Model 12
278(1)
Phrase Model 13
279(3)
22 Song Forms
282(21)
Chapter Summary
282(1)
Formal Prototypes
282(1)
The AABA On-Tonic Design
283(2)
Classification of Standard Tunes
284(1)
The AABA Off-Tonic Design
285(1)
Classification of Standard Tunes
285(1)
"Have You Met Miss Jones?"-An Analysis
285(6)
The Verse
289(1)
The Chorus
289(2)
The ABAC On-Tonic Design
291(1)
Classification of Standard Tunes
291(1)
The ABAC Off-Tonic Design
292(1)
Classification of Standard Tunes
292(1)
"All of You"-An Analysis
292(5)
The Verse
296(1)
The Chorus
296(1)
Extended and Unusual Song Forms
297(1)
"Dream Dancing"-An Analysis
298(5)
The Verse
298(1)
The Chorus
298(5)
23 Reharmonization Techniques
303(24)
Chapter Summary
303(1)
Introduction
303(4)
Basic Reharmonization Techniques
307(9)
Addition of Extensions
307(3)
Harmonic Expansion of Structural Chords
310(1)
Tonicization
310(1)
Tritone Substitutions
311(1)
Diminished 7th Chords
312(1)
Upper-Structure Triads
312(1)
Neighbor Formations
313(1)
Pedal Points
313(1)
Functional Exchange
314(1)
Melodic Recontextualization
315(1)
Interpolation of Auxiliary Progressions
315(1)
Intermediate Reharmonization Techniques
316(4)
Modal Harmony
316(2)
Cyclic Harmony
318(1)
Signature Chords
319(1)
Advanced Reharmonization Techniques
320(7)
"All the Things You Are"
320(3)
"Stella by Starlight"
323(4)
24 Post-Tonal Jazz-Atonality
327(9)
Chapter Summary
327(1)
Introduction
327(1)
Basic Concepts
328(1)
Integer Notation
328(1)
Pitch and Pitch Classes
328(1)
Interval and Interval Classes
329(1)
Trichords
329(4)
Methodology for Figuring Out Normal and Prime Forms
330(1)
"Clock Face" as a Visual Aid to Identify Sets
331(1)
Interval-Class Vector
331(2)
Transposition and Inversion of Sets
333(1)
Common Tones Under Transposition and Inversion
334(1)
Aural Identification of Set Classes
335(1)
25 Set Classes in Jazz
336(20)
Chapter Summary
336(1)
Overview
336(1)
Trichords
337(4)
Harmonic Potential of Trichords
341(3)
Diatonic PC-Set Complexes
341(1)
Whole-Tone PC-Set Complexes
342(1)
Triadic PC-Set Complexes
343(1)
Semitonal PC-Set Complexes
343(1)
Tetrachords
344(3)
Improvisation with Set Classes
347(2)
Pentachords and Hexachords
349(7)
26 Twelve-Tone Techniques
356(16)
Chapter Summary
356(1)
Overview
356(1)
Twelve-Tone Operations (TTOs)
357(3)
Transposition
357(2)
Inversion
359(1)
Retrograde
359(1)
Retrograde Inversion
359(1)
Multiplication (M) and Multiplication Inversion (MI)
360(1)
Matrix
360(3)
Analyzing Twelve-Tone Rows
363(1)
Hexachordal Combinatoriality
364(1)
Rotational Arrays
365(2)
Twelve-Tone Counterpoint and Jazz Harmony
367(3)
Twelve-Tone Improvisation
370(2)
27 Stylistic Crossovers-Developing a New Jazz Repertory
372
Chapter Summary
372(1)
Overview
372(2)
Case Study 1-Alban Berg, Vier Lieder aus "Der Gluhende," Op. 2, No. 2: "Schlaffend tragt"
374(3)
Case Study 2-Alban Berg, Violin Concerto
377(5)
Appendix A: 200 Essential Standard Tunes That You Should Know
382(7)
Bibliography
389(3)
Credits
392(2)
Index
394
Jazz Theory Workbook from Basic to Advanced Study
Preface
x
Part I Basics
1(38)
1 Music Fundamentals
3(4)
2 Jazz Rhythms
7(4)
3 Harmonic Function
11(3)
4 Four-Part Chords
14(5)
5 Five-Part Chords
19(4)
6 The II-V-I Progression
23(4)
7 Modes
27(3)
8 Chord-Scale Theory
30(3)
9 The Blues
33(4)
10 Basic Improvisation
37(2)
Part II Intermediate
39(32)
11 Voicing Formations
41(3)
12 Keyboard and Jazz Chorale Textures
44(3)
13 Idiomatic Jazz Progressions
47(4)
14 Bebop Improvisation
51(3)
15 Bebop Blues
54(3)
16 The "Confirmation" Changes
57(4)
17 The Rhythm Changes
61(3)
18 Pentatonics, Hexatonics, Octatonics
64(6)
19 The Tristano Style of Improvisation
70(1)
Part III Advanced
71(31)
20 Analyzing Jazz Lead Sheets
73(1)
21 Phrase Models
74(5)
22 Song Forms
79(2)
23 Reharmonization Techniques
81(2)
24 Post-Tonal Jazz-Atonality
83(5)
25 Set Classes in Jazz
88(7)
26 Twelve-Tone Techniques
95(6)
27 Stylistic Crossovers-Developing a New Jazz Repertory
101(1)
Appendix A: Rhythmic Exercises
102(31)
Master the Fundamentals
102(10)
Unit 1 4/4 Meter
102(3)
Unit 2 4/4 Meter With Triplets
105(1)
Unit 3 3/4 Meter
106(2)
Unit 4 3/4 Meter With Triplets
108(1)
Unit 5 6/8 Meter
109(3)
Fundamentals to Mastery
112(9)
Unit 6 4/4 Meter-Swing Rhythms
112(2)
Unit 7 3/4 Meter-Swing Rhythms
114(2)
Unit 8 5/4 Meter
116(1)
Unit 9 7/8 Meter
117(1)
Unit 10 Longer Exercises
118(3)
Mastery to Excellence
121(12)
Unit 11 Two-Hand Rhythms
121(8)
Unit 12 Changing Meter
129(2)
Unit 13 Metric Modulations
131(2)
Appendix B: Common-Practice Harmony at the Keyboard
133(90)
Master the Fundamentals
133(29)
Unit 1 Triads in Root Position and Inversions
133(9)
Unit 2 Four-Part Chords in Root Position (7)
142(3)
Unit 3 Four-Part Chords in First Inversion (6/5) and the Subdominant With the Added Sixth (sixte ajoutee)
145(4)
Unit 4 Four-Part Chords in Second (6/4/3) and Third Inversion (6/4/2)
149(5)
Unit 5 Figured-Bass Exercises
154(2)
Unit 6 The 4-3 Suspension
156(2)
Unit 7 The 9-8 Suspension
158(1)
Unit 8 The 7-6 Suspension
159(1)
Unit 9 The 2-3 Bass Suspension
160(1)
Unit 10 Double and Triple Suspensions and Melodic Retardations
161(1)
Fundamentals to Mastery
162(25)
Unit 11 Figured-Bass Progressions With Suspensions
162(2)
Unit 12 Cadential Gestures
164(6)
Unit 13 The Rule of the Octave (la regle de l'octave)-Historical Realizations
170(5)
Unit 14 Sequential Progressions Derived From the Rule of the Octave
175(2)
Unit 15 The Lament Bass
177(1)
Unit 16 Harmonic Progressions With Basso Ostinato
178(2)
Unit 17 Galant Style-Harmonic Schematas
180(1)
Unit 18 Partimenti
181(6)
Mastery to Excellence
187(36)
Unit 19 Partimenti-Unfigured Bass
187(1)
Unit 20 Chromaticism
188(10)
Unit 21 Melody Harmonization
198(8)
Unit 22 Stylized Harmony
206(17)
Appendix C: Jazz Harmony at the Keyboard
223(74)
Master the Fundamentals
223(39)
Unit 1 Four-Part Chords
223(5)
Unit 2 Five-Part Chords
228(14)
Unit 3 Six-Part Chords
242(12)
Unit 4 Jazz Rule of the Octave
254(5)
Unit 5 The II-V-I Progression
259(3)
Fundamentals to Mastery
262(15)
Unit 6 Idiomatic Jazz Progressions
262(6)
Unit 7 Tritone Substitutions
268(1)
Unit 8 Phrase Models
269(8)
Mastery to Excellence
277(20)
Unit 9 Functional Piano Accompaniments
277(8)
Unit 10 Blues Progressions With Various Accompaniments
285(6)
Unit 11 The "Confirmation" Changes With Functional Accompaniment
291(3)
Unit 12 The Rhythm Changes Progression With Functional Accompaniment
294(3)
Appendix D: Patterns for Jazz Improvisation
297
Master the Fundamentals
297(13)
Unit 1 Patterns for the ii-V7-I Progression
297(7)
Unit 2 Patterns for the ii0-V7-i Progression
304(3)
Unit 3 Patterns for the III7-VI7-II7-V7 Progression
307(3)
Fundamentals to Mastery
310(19)
Unit 4 Patterns for Blues Progressions
310(9)
Unit 5 The "Confirmation" Progression
319(5)
Unit 6 The Rhythm Changes Progression
324(5)
Mastery to Excellence
329
Unit 7 Modal Improvisation: Diatonic Modal Scales
329(2)
Unit 8 Modal Improvisation: Chromatic Modal Scales
331
Dariusz Terefenko is Associate Professor of Jazz and Contemporary Media at the Eastman School of Music, University of Rochester.