Pearson - Creative Jazz Improvisation, 4/EAbout This Product. For college- level courses in jazz improvisation and advanced high school students. The book is also a focused curriculum for private teachers and self- directed learners. Scroll to the bottom of this page for ordering information. Jazz Improvisation Texts. Creative Jazz Improvisation, (fourth edition) published by Prentice-Hall, Inc. Scott reeves creative jazz improvisation pdf Creative Jazz Improvisation 4th Edition Scott D. Reeves on Amazon.com. FREE shipping on qualifying offers. Scott Reeves Creative Jazz Improvisation. Scott Reeves is a Professor of Music at the City College of New York and has also been on the faculties of the Juilliard. 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. Features. Would you like a comprehensive and user- friendly text for your jazz improvisation course? A philosophy that encourages creativity. The philosophy of this text is that there are several paths to the same goal and that each student learns in his or her own unique way. Encourages instructors to go beyond merely the theoretical aspects of the music. Helps keep students from sounding mechanical and predictable. A logical organization. The majority of chapters are divided into sections devoted to jazz theory; exercises over a specified chord progression; a list of relevant compositions; and a transcribed solo (transposed and edited for concert pitch treble clef, B flat, E flat, and bass clef instruments). Every solo can be played in unison in a classroom setting or with the original recording. A thorough discussion of all facets of jazz theory. Provides students with the tools they need for successful improvisation. Chord progressions keyed to either the widespread Jamey Aebersold series or the compact disc accompanying Creative Beginnings. Exercises that include not only basic scales and arpeggios but also melodic ideas taken directly from cited recordings by master improvisers, arranged in order of difficulty. Indexing of the compositions to legal fake- books, particularly the New Real Books and the Jamey Aebersold play- along series. The correlation of half of the transcribed solos with The Smithsonian Collection of Classic Jazz. Many libraries and schools retain copies of this collection, so it remains one the most comprehensive sources of stylistic diverse recordings. Allows a classroom of mixed instrumentation to work simultaneously from the text. Convenient for students and instructors. Covers both technical and intellectual aspects of jazz. Allows students to explore ways to bridge the gap between these two aspects of their creative work. Transcriptions of solos by jazz mastersreinforce theoretical discussions in each chapter. Provides instructors with pieces transposed and edited for all instrumentation, so that a mixed classroom can work simultaneously from the text. Helps students assimilate the jazz vocabulary and phrasing. Chapter- by- chapter examinations covering all facets of jazz theory. Promotes an understanding of chord structure, form, and chord- scale relationships. Exercises drawn from the jazz vocabulary that can be practiced in all keys over a specific chord progression. Assists students in making the transition between theory and material they can hear and play. Ear- training exercises and concepts for creative soloing arranged in order of relative difficulty. Familiarizes students with basic scales and arpeggios, as well as melodic ideas taken directly from cited recordings by master improvisers. Song lists. Offers instructors the convenience of finding the right songs to use. Creative Jazz Improvisation Pdf CreatorFree Download Creative Jazz Improvisation 4th Edition Book Creative Jazz Improvisation (4th Edition) is writen by Scott D. Reeves in English language. However, all of the same features that made Creative Jazz Improvisation a popular choice for classroom use are retained, including. Enables students to apply the practice materials to the standard jazz repertoire. Detailed discussions on how to practice, creatively improvise, and teach improvisation. Gives instructors helpful advice on how to teach and use the text through the layout of practice procedures for the students. Shows students how to get started. NEW TO THIS EDITIONChapter one has been greatly expanded. Includes new information on how to practice, constructing solos, playing with other musicians, Kenny Werner’s Creative Mastery concepts, performance anxiety, and information for teachers. A greatly expanded analysis of each transcribed solo, along with a historical overview of each artist and recording. The transposition of each exercise or musical quote, so that each transposing instrument begins in the same concert pitch key. Although the exercise must be played by ear in the remaining eleven keys, this greatly facilitates usage in a classroom of mixed instruments. An expansion of the list of compositions in each chapter to reflect the ever- increasing number of play- along recordings by Jamey Aebersold. The fourth edition is now keyed to the first 1. A New Approach to Jazz Improvisation. The addition of a transcription of Ornette Coleman’s improvised solo on “Congeniality” in the chapter on Free Forms. The expansion of the chapter on “Whom to Listen To.”A reappraisal of all exercises, with selected replacements and additions. New To This Edition. Chapter one has been greatly expanded. Includes new information on how to practice, constructing solos, playing with other musicians, Kenny Werner’s Creative Mastery concepts, performance anxiety, and information for teachers. A greatly expanded analysis of each transcribed solo, along with a historical overview of each artist and recording. The transposition of each exercise or musical quote, so that each transposing instrument begins in the same concert pitch key. Although the exercise must be played by ear in the remaining eleven keys, this greatly facilitates usage in a classroom of mixed instruments. An expansion of the list of compositions in each chapter to reflect the ever- increasing number of play- along recordings by Jamey Aebersold. The fourth edition is now keyed to the first 1. A New Approach to Jazz Improvisation. The addition of a transcription of Ornette Coleman’s improvised solo on “Congeniality” in the chapter on Free Forms. Creative Jazz Improvisation Pdf ReaderThe expansion of the chapter on “Whom to Listen To.”A reappraisal of all exercises, with selected replacements and additions. Table of Contents. 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 ii. V7—i Progressions Theory/Ear Exercises Gaining Facility with Minor ii. V7—i Progressions Improvising on Jazz Compositions Based on ii. V7b. 9—i. Progressions Milt Jackson’s Improvised Solo on “Django” Chapter 9: Lydian and Phrygian Scales, Major 7th b. Chords Theory/Ear Exercises. Gaining Facility with Lydian and Phrygian Scales Improvising on Jazz Compositions Based on Major 7b. 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 1. 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 1. 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 1. 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 1. 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 1. 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.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
September 2016
Categories |