Common Tones

This book is a summary of both exercises and improvisation lines designed to enhance Common Tone Sequences. The book covers scales, arpeggios, chromatic exercises and jazz line phrases from transcribed solos. These exercises should be transposed to all twelve (12) tones in order to achieve perfect coordination.Major, minor and dominant chords, extended to their highest level, scale wise, arpeggios and chromatic passages. There are no signature centers, therefore, all these exercises will be written accidental way.This project is an extension of a 7 chapter collection on improvisation by the same author:¥Improvise Now¥240 Chromatic Exercises + 1165 Jazz Lines Phrases¥Herbie Hancock. The Blue Note Years¥John Coltrane & Michael Brecker Legacy¥Chris Potter Jazz Styles¥Bidirectional Contemporary Jazz Improvisation¥New Conception for Linear & Intervalic Jazz Improvisation¥State of the Art: Postbop Intervalic Jazz Improvisation Exercises and Line Phrases.

Conversations with the avant-garde's leading lights--from Suicide to Anohni--by experimental music's go-to interviewer, guitarist and sound artist Alan Licht A precocious chronicler of New York's art and music scenes of the last 30 years, Alan Licht's (born 1968) experience as a consummate experimental guitarist and conceptual sound artist--combined with his dry wit and deep erudition--have distinguished him as the go-to interviewer of the avant-garde. Having already published articles on minimalist composers La Monte Young, Tony Conrad, Rhys Chatham and Charlemagne Palestine by the time he graduated from Vassar College, in 1998 Licht began writing frequently and conducting regular interviews for the British experimental music magazine The Wire. Common Tonescollects a selection of those interviews, as well as dialogues from Bombmagazine, transcriptions of conversations that took place at Red Bull Music Academy and the legendary experimental venue Tonic, and interviews conducted expressly for this book. Musicians, artists, writers and filmmakers interviewed by Licht include Vito Acconci, Anohni, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, Richard Foreman, Henry Flynt, Milford Graves, Georgia Hubley and Ira Kaplan of Yo La Tengo, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Tony Oursler, Karl Precode of The Dream Syndicate, Lou Reed, Martin Rev and Alan Vega of Suicide, The Sea and Cake, Tom Verlaine, Wolf Eyes and Rudy Wurlitzer.

Why is it that certain intervals, scales, and tones sound genuine, while others sound false? Is the modern person able to experience a qualitative difference in a tone's pitch? If so, what are the implications for modern concert pitch and how instruments of fixed tuning are tuned? Renold tackles these and many other questions and provides a wealth of scientific data. Her pioneering work is the result of a lifetime of research into the Classical Greek origin of Western music and the search for modern developments. She deepens our musical understanding by using Rudolf Steiner's spiritual science as a basis, and she elucidates many of his puzzling statements about music. The results of her work include the following discoveries: - The octave has two sizes (a 'genuine' sounding octave is bigger than the "perfect octave") - There are three sizes of "perfect fifths" - An underlying "form principle" for all scales can be found - Equal temperament is not the most satisfactory method of tuning a piano - She provides a basis for some of Steiner's statements, such as, "C is always prime" and "C = 128 Hz = Sun." Intervals, Scales, Tones is a valuable resource for those who wish to understand the deeper, spiritual aspects of music.

Alfred's Essentials of Jazz Theory is designed for jazz enthusiasts and musicians who want to learn jazz concepts and terminology. To get the most out of this course, it is recommended that you have a good understanding of basic theory, such as the lessons in Books 1-3 of Alfred's Essentials of Music Theory. The book contains lessons with both written and music reading exercises and ear-training and listening are addressed through the included CDs. Each unit is complete with a review section. Playing and/or singing along with each example is encouraged throughout the book. The Teacher's Answer Key includes answers to each lesson in the student book, as well as the 3 listening and ear-training CDs. Master jazz with ease using this complete course!

This definitive study takes as its subject a group of melodies copied many times, even within single manuscripts. Professor Randel is therefore able to base his conclusions about the relationship of the manuscript sources to one another on twenty-six separate Spanish manuscripts. He shows that there were actually four distinct traditions associated with these manuscripts instead of two as formerly assumed. By comparing the four traditions, he draws new conclusions about the relative antiquity of the written tradition for these psalm tones, the presence or absence of a modal system in the Mozarabic chant, and the development of the two general types of notation. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Tones are the most challenging aspect of learning Chinese as a second language, and L2 learners’ perceptual categories differ in important and fascinating ways from those of native speakers. This book explores the relationship between tone perception and production among native speakers and non-native learners as illustrated in the experiments the author conducted with native speakers, true learners and heritage learners, all of whom were tested on their ability to produce tones naturally and to perceive 81 synthesized tones in various contexts. The experiments show that each group processes tones differently with regard to both register (tonal level) and contour (tonal shape). The results also reveal how three types of cues – acoustic, psychological and contextual – influence non-native speakers’ tone perception and production.

This book advocates for a stronger role for young-adult literature in ELA classrooms, compellingly documenting how this body of work meets both the needs of adolescent students and the demands of the common core for complex texts and tasks. Integrating Young Adult Literature through the Common Core Standards provides a compelling template for teachers that uses young adult literature and inquiry learning to meet students' needs and the demands of the common core standards. The first part of the book addresses the widely adopted common core state standards by examining closely the standards' model of text complexity and demonstrating how young adult literature can fill the requirements of this model. The second part provides theoretical discussions and analysis of the standards as well as concrete applications of young adult literature within the classroom in order to give school professionals a comprehensive understanding of how young adult literature and the standards can work together. The book empowers schools and teachers to make intelligent, informed decisions about texts and instructional practices that benefit their students. Finally, the authors explore a powerful teaching approach that integrates current understandings about learning, young adult literature, and the common core standards in a way that will facilitate greater learning and understanding in English classrooms.