Jazz Superimpositions

Analysis of Jazz: A Comprehensive Approach, originally published in French as Analyser le jazz, is available here in English for the first time. In this groundbreaking volume, Laurent Cugny examines and connects the theoretical and methodological processes that underlie all of jazz. Jazz in all its forms has been researched and analyzed by performers, scholars, and critics, and Analysis of Jazz is required reading for any serious study of jazz; but not just musicians and musicologists analyze jazz. All listeners are analysts to some extent. Listening is an active process; it may not involve questioning but it always involves remembering, comparing, and listening again. This book is for anyone who attentively listens to and wants to understand jazz. Divided into three parts, the book focuses on the work of jazz, analytical parameters, and analysis. In part one, Cugny aims at defining what a jazz work is precisely, offering suggestions based on the main features of definition and structure. Part two he dedicates to the analytical parameters of jazz in which a work is performed: harmony, rhythm, form, sound, and melody. Part three takes up the analysis of jazz itself, its history, issues of transcription, and the nature of improvised solos. In conclusion, Cugny addresses the issues of interpretation to reflect on the goals of analysis with regard to understanding the history of jazz and the different cultural backgrounds in which it takes place. Analysis of Jazz presents a detailed inventory of theoretical tools and issues necessary for understanding jazz.

National Keyboard Workshop book, approved curriculum.

With musical scores and helpful charts, noted jazz educator and featured jazz soloist, Jerry Coker, gives the beginning performer and the curious listener insights into the art of jazz improvisation. Improvising Jazz gives the beginning performer and the curious listener alike insights into the art of jazz improvisation. Jerry Coker, teacher and noted jazz saxophonist, explains the major concepts of jazz, including blues, harmony, swing, and the characteristic chord progressions. An easy-to-follow self-teaching guide, Improvising Jazz contains practical exercises and musical examples. Its step-by-step presentation shows the aspiring jazz improviser how to employ fundamental musical and theoretical tools, such as melody, rhythm, and superimposed chords, to develop an individual melodic style.

Learn to channel improvisational impulses into great solos with this amazing book & CD by outstanding jazz performer and educator, Mark Dziuba. Topics are thoroughly explained and organized into three main categories: instruction in the harmonic and melodic structures of jazz, discussions of practical application, and conceptual issues. Complex subjects are taught with an engaging and friendly style, so things like melodic and rhythmic motifs, phrasing, development, guide tones, chromaticism and functional harmony are easy and enjoyable to learn. This is a must-have book for all jazz guitarists that will be used for years to come. 144 pages.

Jazz superimpositions is not a conventional music method book. It rather gathers together various harmonic tools that can be used with superimposition, substitution and reharmonisation techniques. The main idea is to provide the reader with various devices in order to be able to superimpose/substitute them onto any original harmonic progression. It has been written for any musician but especially for guitarists, in both the English and French languages. The book includes the following sections: How to use the book The harmonic tools, organised by: Triads Shell voicings Arpeggios Pentatonics Bop scales Symmetrical scales (Messiaen Modes) Hexatonics (triad pairs) Some of N. Slonimsky's "thesaurus" patterns applied to superimposition. Each one of the harmonic tools in the above-mentioned list is described with: Standard notation A circle of fifth diagram Fingerings for guitar players A superimposition table The superimposition table is the core of the book. It provides quick access to the melodic scale, which is superimposed every half step from the root to the major seventh. The intervals created are given and the types of chords on which the superimposition can be played are suggested.

For more than a century, violinists have played jazz, swing, blues and similar improvisational styles. With its rich tone, considerable range, and bowed rhythms and phrasing, the violin offers a unique opportunity for a creative and personal statement as a musician. This book presents a broad sampling of the styles of major jazz violinists, from blues to bebop, from jug band to jazzgrass, from big-band swing to Texas swing. Tunes represent the styles of Stéphane Grappelli, Joe Venuti, Stuff Smith, Eddie South, Mark O'Connor, Benny Thomasson, Jean-Luc Ponty, and Darol Anger. Helpful jazz theory sections with exercises alternate with tunes that show how the theory works in practice. This book has two objectives; first, to present a broad, roughly chronological sampling of major jazz violinists and the styles associated with them, and secondly, to introduce the basics of jazz theory as applied to the violin. Whether consciously or intuitively, through critical listening or by practicing jazz patterns and exercises, the more knowledge of jazz you acquire, the better you will be able to think about the content of your playing without being bound by technical and theoretical aspects. This anthology was written to help provide that foundation. Interspersed with pragmatic jazz theory lessons, you’ll find 28 original tunes in the style of various jazz violin luminaries. The book ends with an extensive discography of recommended jazz recordings with a violin focus. Mandolinists as well as other instrumentalists will find a wealth of useful information in this outstanding collection. Delightful broadcast-quality recordings of the repertoire are available online. Includes access to online audio. Wirtten for intermediate to advanced violinists.

Arnold provides techniques he uses in his music clinics and essential information for beginning and advanced students including reading music, theory, chord and scale construction, modal sequencing, approach notes, reharmonization, bass and chord comping, and hexatonic scales.

Continuing the rich tradition, this latest Annual is particularly impressive. The articles in this volume present important technical analyses of four major figures: Booker Little, Charlie Christian, Herbie Hancock, and Miles Davis.