Creative Jazz Improvisation
Pearson (Verlag)
978-0-13-177639-5 (ISBN)
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Integrates many things jazz musicians need to master including theoretical explanations, exercises in all keys and tempos; transcribed solos of master improvisers; repertoire lists; as well as discussions of creativity and how to play with other musicians.
This text is a direct outgrowth of Scott Reeves' experience teaching jazz improvisation at the college level for over twenty-seven years, as well as his own personal quest to develop as a jazz artist. When he first began teaching improvisation, he could not find a text that incorporated all of the diverse learning strategies that jazz musicians typically practice. So he wrote out worksheets which eventually evolved into Creative Jazz Improvisation.
Contents
Preface
PART 1: THE ART OF IMPROVISATION
Chapter 1: Practicing Jazz, Constructing Solos, Playing with Other Musicians, Creative Improvisation, Performance Anxiety, and Teaching Jazz
Practicing Jazz
Constructing Solos and Playing with Other Musicians
Creative Improvisation and Kenny Werner’s “Effortless Mastery”
Performance Anxiety
How to Teach Jazz Improvisation
Chapter 2: Essential Listening: Major Innovators, Important Contributors, and Women in Jazz
Major Innovators Who Changed the Direction of Jazz
Important Jazz Contributors
Women In Jazz
Chapter 3: Rhythm
Gaining Facility with Rhythm
Listening to Rhythms in Jazz Compositions
Max Roach’s Improvised Solo on “Blue Seven”
PART 2: DIATONIC CHORDS AND THE MODES IN THE MAJOR SCALE
Chapter 4: Major Scales and Major 7th Chords
Theory/Ear Exercises
Gaining Facility with Major Scales and Major 7th Chords
Improvising on Jazz Compositions Based on Major 7th Chords
Louis Armstrong’s Improvised Solo on “Hotter Than That”
Chapter 5: Mixolydian and Bebop 7th Scales, and Dominant 7th Chords
Theory/Ear Exercises
Gaining Facility with Mixolydian and Bebop 7th Scales, and Dominant 7th Chords
Improvising on Jazz Compositions Based on Dominant 7th Chords
Lester Young’s Improvised Solo on “Lester Leaps In”
Chapter 6: Dorian Scales and Minor 7th Chords
Theory/Ear Exercises
Gaining Facility with Dorian Scales and Minor 7th Chords
Improvising on Jazz Compositions Based on Minor 7th Chords
Miles Davis’s Improvised Solo on “So What”
Chapter 7: The ii—V—I Progression
Theory/Ear Exercises
Gaining Facility with ii—V—I Progressions
Improvising on Jazz Compositions Based on ii—V or ii—V—I Progressions
Clifford Brown’s Improvised Solo on “Pent-Up House”
Chapter 8: Locrian and Aeolian Scales, and Minor ii7—V7—i Progressions
Theory/Ear Exercises
Gaining Facility with Minor ii7—V7—i Progressions
Improvising on Jazz Compositions Based on ii7—V7b9—i
Progressions
Milt Jackson’s Improvised Solo on “Django”
Chapter 9: Lydian and Phrygian Scales, Major 7th b5 Chords
Theory/Ear Exercises
Gaining Facility with Lydian and Phrygian Scales
Improvising on Jazz Compositions Based on Major 7b5 Chords and Lydian Scales, or i—bii Progressions and Phrygian Scales
Miles Davis’s Improvised Solo on “Solea”
PART 3: CHORD SUBSTITUTIONS, HARMONIC STRUCTURES, AND FORMS
Chapter 10: The Blues Scale, the Blues Form, and Chord Substitutions
The Blues Form
The Blues Scale
Chord Substitutions
Theory/Ear Exercises
Gaining Facility with the Basic Blues Progression
Gaining Facility with Blues Substitutions
Improvising on Jazz Compositions Based on the Blues Form
Charlie Parker’s Improvised Solo on “Now’s the Time”
Chapter 11: Sectional Forms and Rhythm Changes
Theory/Ear Exercises
Gaining Facility with Rhythm Changes
Improvising on Jazz Compositions Based on “Rhythm Changes” and Through-Composed Forms
Charlie Parker’s Improvised Solo on “Shaw ’Nuff”
Chapter 12: Harmonic Structures and Coltrane Substitutions
Coltrane Substitutions
Theory/Ear Exercises
Gaining Facility with Coltrane Substitutions
Improvising on Jazz Compositions Based on Coltrane Substitutions
John Coltrane’s Improvised Solo on “Giant Steps”
Chapter 13: Free Forms
Gaining Facility with Free Improvisation
Improvising on Jazz Compositions Based on Free Forms
Ornette Coleman’s Improvised Solo on “Congeniality”
PART 4: ALTERED CHORDS, DIMINISHED MODES, WHOLE-TONE AND HARMONIC MINOR SCALES, AND MELODIC MINOR MODES
Chapter 14: Diminished Scales, Diminished and Altered Dominant 7th Chords
Theory/Ear Exercises
Gaining Facility with Diminished Scales
Improvising on Jazz Compositions Based on Altered Dominant or Fully-Diminished Chords
J. J. Johnson’s Improvised Solo on “Aquarius”
Chapter 15: Whole-Tone Scales and Augmented Chords
Theory/Ear Exercises
Gaining Facility with Whole-Tone Scales
Improvising on Jazz Compositions Based on Dominant 9 s5 Chords or Whole-Tone Scales
Thelonious Monk’s Improvised Solo on “Evidence”
Chapter 16: Harmonic and Melodic Minor Scales, Minor (Major 7th) Chords
Theory/Ear Exercises
Gaining Facility with Melodic Minor Scales and Minor (Major 7th) Chords
Improvising on Jazz Compositions Based on Minor (Major 7th) Chords
Sonny Rollins’s Improvised Solo on “Airegin”
Chapter 17: Locrian s2 and Altered Scales, and Minor iiH7—V7—i Progressions
Theory/Ear Exercises
Gaining Facility with Minor iiH7—V7—i Progressions
Improvising on Jazz Compositions Based on Half-Diminished 7th and Altered Dominant Chords
Bill Evans’s Improvised Solo on “The Autumn Leaves”
Chapter 18: Lydian Augmented and Lydian Dominant Scales, and Major 7th s5 and Dominant 9th s11 Chords
Theory/Ear Exercises
Gaining Facility with Lydian Augmented and Lydian Dominant Scales and Major 7th s5 and Dominant 9th s11 Chords
Improvising on Jazz Compositions Based on Dominant 9th s11 or Major 7th s5 Chords
Sonny Rollins’s Improvised Solo on “Blue Seven”
PART 5: PENTATONIC SCALES AND INTERVALLIC IMPROVISATION
Chapter19: Pentatonic Scales
Theory/Ear Exercises
Gaining Facility with Major Pentatonic Scales
Gaining Facility with Minor and Dominant Pentatonic Scales
Improvising on Jazz Compositions Using Pentatonic Scales
Woody Shaw’s Improvised Solo on “Child’s Dance”
Chapter 20: Four-Note Groupings Derived from Pentatonic Scales
Gaining Facility with Four-Note Groupings
Improvising on Jazz Compositions Using Four-Note Groupings
Chick Corea’s Improvised Solo on “Matrix”
Chapter 21: Intervallic Improvisation
Gaining Facility with Intervallic Improvisation
Improvising on Jazz Compositions Using Chromatic Intervals
Miles Davis’s Improvised Solo on “Petits Machins”
Appendix
I. Intervals
II. Modes in the Major Scale
III. Modes in the Melodic Minor Scale
IV. Diatonic 7th Chords in Major Keys
V. Diatonic 7th Chords in Minor Keys
VI. Chords and Their Relationship to Scales
VII. Upper Structure or “Slash” Chords
VIII. Resource List
Index
| Erscheint lt. Verlag | 26.10.2006 |
|---|---|
| Sprache | englisch |
| Maße | 225 x 277 mm |
| Gewicht | 910 g |
| Themenwelt | Kunst / Musik / Theater ► Musik ► Jazz / Blues |
| ISBN-10 | 0-13-177639-8 / 0131776398 |
| ISBN-13 | 978-0-13-177639-5 / 9780131776395 |
| Zustand | Neuware |
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