Creative Comping for Improvisation
Author | : Hal Crook |
Publisher | : |
Total Pages | : |
Release | : 1992 |
Genre | : |
ISBN | : |
Download Creative Comping for Improvisation Book in PDF, ePub and Kindle
Are you looking for read ebook online? Search for your book and save it on your Kindle device, PC, phones or tablets. Download Creative Comping For Improvisation PDF full book. Access full book title Creative Comping For Improvisation.
Author | : Hal Crook |
Publisher | : |
Total Pages | : |
Release | : 1992 |
Genre | : |
ISBN | : |
Author | : Hal Crook |
Publisher | : Alfred Music |
Total Pages | : |
Release | : 2016-04 |
Genre | : |
ISBN | : 9783892211587 |
This book includes lead sheets in C, B-flat, and E-flat featuring chord progressions of standard jazz songs. The CD includes play-along tracks with chord voicings, and bass lines are played on an acoustic midi grand piano. Also includes MIDI files for computer sequenced work stations. Reharmonizations and rhythmic displacement of original chords included.
Author | : Hal Crook |
Publisher | : |
Total Pages | : |
Release | : |
Genre | : |
ISBN | : |
Author | : Noel Johnston |
Publisher | : |
Total Pages | : 182 |
Release | : 2019-03-04 |
Genre | : |
ISBN | : 9781535303217 |
Introduction.Modes are often at first understood in relation to a parent scale. While this can be helpful as a starting point and for developing muscle memory, in practice it doesn't always point the player to the right chord tones in relation to the sound. In other words, it doesn't help make the changes.To use modes to make the changes, one must be able to relate the scale shape to a chord voicing - a chord voicing that outlines the essential few tones in a sea of seven notes. These voicings can vary depending on the amount of color desired. The color desired is dependent on musical style/genre, and whether or not the chord is functional in a progression or static in its modality.These essential tones are not always 1,3,5,7 (tertian harmony - stacked in 3rds).While most chords in jazz and improv-based music are expressed in one of four tertian-voicing archetypes (Major, Minor, Dominant, or Diminished) - this is a false tetrachotomy. There are more than four.To capture some other sounds that many composers intend, especially in compositions written in the last 50 years (and in Classical music, 150 years) one must add a few other archetypes. While those indicated in this book are not exhaustive, they will open your ears to other ways of expressing harmony while still staying true to the key center.While exploring other ways to voice the modes, keep in mind that these are not just for comping and soloing. Feel free to use them as a starting point for composition and reharmonization. The use of "pivot voicings" instead of just pivot chords can open up your understanding of harmonic relationships in multiple ways. Enjoy exploring.-NoelP. S. This book is way more fun if you use a looper pedal.Second edition notes: Typo corrections, clarifications, TAB added to all edudesThird edition notes: Additional etudes, expanded modal subs section, added blues chapterMore more info, charts, videos, and free web app: http: //noeljohnston.com/voicingmodes.ph
Author | : Mark Miller |
Publisher | : University Professors Press |
Total Pages | : 156 |
Release | : 2020-09-21 |
Genre | : Music |
ISBN | : 1939686687 |
Improvisation is a practice of musical exploration and discovery. What we explore is our lived experience and what we discover we share with our audience. As improvisers, our creative resources include sense perception, imagination, somatic presence, and the vitality of emotional expression. In collaboration we develop relationships that serve the music and balance the priorities of self and others in the ensemble. Being Music describes the craft of improvisation as “spontaneous composition” including an awareness of form, compositional focus, theme and development, stillness and creative flow. Miller and Lande address the problem of perfectionism and offer strategies for overcoming judgmental thinking and other obstacles to creative spontaneity. Abundant written musical examples and exercises offer the reader ample opportunity to practice the principles outlined in the text. With over forty-five years of experience performing together, Miller and Lande's dialogical reflections on creativity and community offer a clear and practical guide to the creative process of improvisation for musicians of any style or genre, and at all levels of experience.
Author | : R. T. Dean |
Publisher | : |
Total Pages | : 166 |
Release | : 1989 |
Genre | : Music |
ISBN | : |
Author | : Mike Diliddo |
Publisher | : Alfred Music |
Total Pages | : |
Release | : 2015-04 |
Genre | : Music |
ISBN | : 9781562242787 |
This book and 2 CD set, with simple comping over the standards on Jamey Aebersold's Volume 54: Maiden Voyage, is designed for the guitarist with little or no jazz experience. Chords and voicings are explained in a manner that even the most novice guitarists will understand, with standard notation and guitar frames for each voicing. Includes demo and play-along CDs. This is a perfect prerequisite for Maiden Voyage Guitar Comping, also by Mike DiLiddo.
Author | : Noah Baerman |
Publisher | : Alfred Music Publishing |
Total Pages | : 148 |
Release | : 2003 |
Genre | : Music |
ISBN | : 9780739031711 |
National Keyboard Workshop book, approved curriculum.
Author | : David Berkman |
Publisher | : |
Total Pages | : 170 |
Release | : 2007 |
Genre | : Music |
ISBN | : |
Author | : Willie Hill |
Publisher | : Alfred Music Publishing |
Total Pages | : 44 |
Release | : 2000-02 |
Genre | : Music |
ISBN | : 9780769292298 |
"There are two groups of standards that help form the basic repertory used in jazz improvisation. The first group was created by jazz musicians directly from improvisation, experimentation and the analysis of musical forms, ideas and practices that were developed through study and the natural gifts of some of the greatest musicians of the twentieth century. This group codified jazz into chronological styles and provides concrete examples of its styles and concepts. The second group of standards is comprised of compositions written as popular songs during the first half of the twentieth century ... Every improviser is a composer who makes up melodies spontaneously. The model choruses give examples that can be studied, learned, broken into independent phrases and used to create other melodies that reflect more clearly what the improviser wants to say musically ..."--Preface