A GUIDE TO PEDAGOGICAL RESOURCES FOR IMPROVISATION
... Riff – a short repeated phrase, frequently played over changing chords or used as a background for solo improvisation Swing – a style of playing in which notes printed as even eighth notes are performed unevenly, so that they sound either as a triplet ( ) or as a dotted eighth with a sixteenth ( ...
... Riff – a short repeated phrase, frequently played over changing chords or used as a background for solo improvisation Swing – a style of playing in which notes printed as even eighth notes are performed unevenly, so that they sound either as a triplet ( ) or as a dotted eighth with a sixteenth ( ...
General Principles of Harmony by Alan Belkin
... many of them as possible, often by rote. While this approach does have some value in learning classical tonal harmony, the formulas learned are not generalizable outside of the source repertoire. Piston's method and the formula both use Rameau's theory of chord roots and inversions. The problem with ...
... many of them as possible, often by rote. While this approach does have some value in learning classical tonal harmony, the formulas learned are not generalizable outside of the source repertoire. Piston's method and the formula both use Rameau's theory of chord roots and inversions. The problem with ...
Possible Paths - Music Theory Online
... segments; in Example 7a, the phrases are undivided, unfolding as continuous gestures and separated by a long rest. This pattern is common at fast tempos. In Example 7b, the eight-measure phrase is divided, but the stepwise connection from F to E across measures 4–5 links its two subphrases together. ...
... segments; in Example 7a, the phrases are undivided, unfolding as continuous gestures and separated by a long rest. This pattern is common at fast tempos. In Example 7b, the eight-measure phrase is divided, but the stepwise connection from F to E across measures 4–5 links its two subphrases together. ...
Harmonic Language in The Legend of Zelda: Ocarina of Time
... harmonic group (tonic) and they share scale degrees 1 and 3. In Common Practice music, harmonic progressions move between harmonic functions in a particular order: Tonic–Predominant– Dominant–Tonic.2 Substitutions allow this progression to be completed in various ways, and are used to expand the har ...
... harmonic group (tonic) and they share scale degrees 1 and 3. In Common Practice music, harmonic progressions move between harmonic functions in a particular order: Tonic–Predominant– Dominant–Tonic.2 Substitutions allow this progression to be completed in various ways, and are used to expand the har ...
spring17jazz_IV_1
... encorage the improvisor to be freer, and not to obey preconceived chord-pattern according to set ideas of „proper“ harmony and tonality: „ Let‘s play the music and not the background.“ „The most important thing was for us to play together, all at the same time, without getting in each other‘s way, a ...
... encorage the improvisor to be freer, and not to obey preconceived chord-pattern according to set ideas of „proper“ harmony and tonality: „ Let‘s play the music and not the background.“ „The most important thing was for us to play together, all at the same time, without getting in each other‘s way, a ...
Harmonic Analysis 1: Homophonic Texture
... (for CEG, a I chord) or A (for ACE=vi). To resolve ambiguities like this one: 1. Consider the harmonic progressions from section 5.3. Sometimes this will favor one possibility over another. Both V—vi—V and V—I—V are valid progressions, so the progressions don’t help much here. 2. If both possibiliti ...
... (for CEG, a I chord) or A (for ACE=vi). To resolve ambiguities like this one: 1. Consider the harmonic progressions from section 5.3. Sometimes this will favor one possibility over another. Both V—vi—V and V—I—V are valid progressions, so the progressions don’t help much here. 2. If both possibiliti ...
study guide - Junior High Band
... Playing the changes means playing the correct chord tones as the chords change. It also can mean playing the notes that change from scale to scale. Example: When playing in F7 (F G A Bb C D Eb) and moving to Bb7 (Bb C D Eb F G Ab) emphasize the A in the F scale and the Ab in the Bb scale. All the ot ...
... Playing the changes means playing the correct chord tones as the chords change. It also can mean playing the notes that change from scale to scale. Example: When playing in F7 (F G A Bb C D Eb) and moving to Bb7 (Bb C D Eb F G Ab) emphasize the A in the F scale and the Ab in the Bb scale. All the ot ...
Melodic Techniques in Jazz Improvisation
... being purely melodic improvisers. Some of those soloists who strove for melody most clearly in their solos are Louis Armstrong, Miles Davis, Lester Young, Ornette Coleman, Johnny Hodges, Chet Baker, Paul Desmond and Jan Garbarek. Other players I include as being very melodic are (and this ...
... being purely melodic improvisers. Some of those soloists who strove for melody most clearly in their solos are Louis Armstrong, Miles Davis, Lester Young, Ornette Coleman, Johnny Hodges, Chet Baker, Paul Desmond and Jan Garbarek. Other players I include as being very melodic are (and this ...
modern jazz techniques
... Western art music had taken roughly 50 years in jazz: a development from basic diatonic structure to one of extreme chromaticism. Many performers from the 1950s onward began experimenting with “playing outside the changes,” an approach that expands harmonic complexity by venturing freely outside of ...
... Western art music had taken roughly 50 years in jazz: a development from basic diatonic structure to one of extreme chromaticism. Many performers from the 1950s onward began experimenting with “playing outside the changes,” an approach that expands harmonic complexity by venturing freely outside of ...
01_front - Massey Research Online
... Alteration - chords can have extension notes that are outside of the functional key Atonal - Without a discernible key . Ambichords - 3 or 4 note chords based on combinations of 2nds and 4ths that have an ambiguous function because of the abundance of root note possibilities Augmentation - extending ...
... Alteration - chords can have extension notes that are outside of the functional key Atonal - Without a discernible key . Ambichords - 3 or 4 note chords based on combinations of 2nds and 4ths that have an ambiguous function because of the abundance of root note possibilities Augmentation - extending ...
Antecedent-Consequent Phrases», Part 1
... second and fourth beat of the measure (similar to the drummer’s high-hat accents on a 4/4 pulse) and work the etude up to a comfortable speed. We have kept the etude rhythmically simple so that one may concentrate on internalizing the melodic content more easily. ...
... second and fourth beat of the measure (similar to the drummer’s high-hat accents on a 4/4 pulse) and work the etude up to a comfortable speed. We have kept the etude rhythmically simple so that one may concentrate on internalizing the melodic content more easily. ...
Language of Jazz pdf
... ending phrases on them, by sustaining or repeating them, and by playing them on the beat, especially the strong beats. ...
... ending phrases on them, by sustaining or repeating them, and by playing them on the beat, especially the strong beats. ...
Chapter 9
... in jazz during big band era ► Mary Lou Williams – pianist, composer, arranger whose career spanned all eras of jazz ► Played with her own band and composed and arranged for top swing orchestras (Ellington’s and Goodman’s) ► Composed more than 350 songs (jazz and non-jazz) ...
... in jazz during big band era ► Mary Lou Williams – pianist, composer, arranger whose career spanned all eras of jazz ► Played with her own band and composed and arranged for top swing orchestras (Ellington’s and Goodman’s) ► Composed more than 350 songs (jazz and non-jazz) ...
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... styles of only improvising over recycling chordpatterns. Modal jazz is based on sequences of scales more than chords, and seeks to make improvisers more melodically creative. Check out Miles Davis: Kind of Blue ...
... styles of only improvising over recycling chordpatterns. Modal jazz is based on sequences of scales more than chords, and seeks to make improvisers more melodically creative. Check out Miles Davis: Kind of Blue ...
York: Oxford University Press, 1995. xvi, 323 pp.
... underpinnings of the music. It was as if the mysteries of improvisation were deemed impenetrable, or perhaps too sacred to be reduced to formulae and convention. In recent years this situation has changed, as an increasing number of scholars have begun to examine the improvisations of jazz masters a ...
... underpinnings of the music. It was as if the mysteries of improvisation were deemed impenetrable, or perhaps too sacred to be reduced to formulae and convention. In recent years this situation has changed, as an increasing number of scholars have begun to examine the improvisations of jazz masters a ...
MUH 2116 Evolution of Jazz Study Guide for MIDTERM EXAM
... "Bird" was the nickname for… Who was the most influential artist in the bebop style that most jazz musicians believe? Who was Dizzy Gillespie and what instrument did he play? Who was the bebop artist who was noted for writing Afro-Cuban music? Who was the bebop musician who spent a great deal of his ...
... "Bird" was the nickname for… Who was the most influential artist in the bebop style that most jazz musicians believe? Who was Dizzy Gillespie and what instrument did he play? Who was the bebop artist who was noted for writing Afro-Cuban music? Who was the bebop musician who spent a great deal of his ...
Music Theory IV Dr. Feezell Midterm Review Sheet
... 3. Define “avoid note” (or more accurately, “handle with care note”). In other words, what is the one dissonance left in jazz? A “handle with care note” is a note that forms a m9 against one of the primary chord tones (ex: F over CEGB is a m9 against the 3rd, E). 4. How many beats to the bar (in the ...
... 3. Define “avoid note” (or more accurately, “handle with care note”). In other words, what is the one dissonance left in jazz? A “handle with care note” is a note that forms a m9 against one of the primary chord tones (ex: F over CEGB is a m9 against the 3rd, E). 4. How many beats to the bar (in the ...
bebop
... the cornerstones of the new music; Charlie Parker did the same with bassist Gene Ramey while with McShann's group. These forerunners of the new music (which would later be termed "bebop", or "bop"-although Parker himself never used that term, feeling it demeaned the music) began exploring advanced h ...
... the cornerstones of the new music; Charlie Parker did the same with bassist Gene Ramey while with McShann's group. These forerunners of the new music (which would later be termed "bebop", or "bop"-although Parker himself never used that term, feeling it demeaned the music) began exploring advanced h ...
Bebop
Bebop or bop is a style of jazz characterized by a fast tempo, instrumental virtuosity and improvisation based on the combination of harmonic structure and sometimes references to the melody. It was developed in the early and mid-1940s. This style of jazz ultimately became synonymous with modern jazz, as either category reached a certain final maturity in the 1960s.It developed as the younger generation of jazz musicians aimed to counter the popular swing style with a new, non-danceable music that demanded listening. As bebop was no longer a dance music, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, chord substitutions, asymmetrical phrasing, intricate melodies and using rhythm sections in a way that expanded on their role. The classic bebop combo consisted of saxophone, trumpet, piano, double bass and drums. Some of the influential bebop artists included: tenor sax players Dexter Gordon, Sonny Rollins and John Coltrane; alto sax player Charlie Parker; trumpeters Fats Navarro, Clifford Brown, and Dizzy Gillespie; pianists Bud Powell and Thelonious Monk; guitarist Charlie Christian and drummer Max Roach.