Creative Jazz Improvisation
| Author | : | |
| Rating | : | 4.44 (528 Votes) |
| Asin | : | 0133032809 |
| Format Type | : | paperback |
| Number of Pages | : | 332 Pages |
| Publish Date | : | 2015-02-14 |
| Language | : | English |
DESCRIPTION:
The text may be applied to any instrument, or a classroom of varied instrumentation. . From the Publisher This book covers practice patterns and scales in all keys and tempos, transcribing solos of master improvisors, learning the jazz repertoire, and playing with other musicians. Students and professionals at any level of proficiency will find the material beneficial
Each chapter also contains theory and ear exercises.. This well-organized book combines all of the techniques that jazz musicians practice into a comprehensive whole. It covers practice patterns and scales in all keys and tempos, transcribing solos of master improvisers, learning the jazz repertoire, and playing with other musicians. Chapter topics include how to practice, creatively improvise, and teach improvisation; major innovators; important contributors; women in jazz; chord substitutions; scales; and form
"A Nice Addition to the Library" according to Paul Henning. I haven’t read the whole thing yet, so this is sort of cursory. My main reason for not giving it 5 stars is how peculiarly organized this book is. Chapter 1 “Practicing Jazz, Constructing Solos, Playing with Other Musicians, Creative Improvisation, Performance Anxiety, and Teaching Jazz" is more of a po. "Same old stuff" according to Dennis Oneill. The approach in this book is like most of the other books on jazz; there are a bunch of scales and modes that "work" over chords with no explanation of how to make them work. This is a good reference book and that is really all and if you already studied music at all it is really basic stuff. There are a number of . "Very useful on many levels" according to frankp9Very useful on many levels I worked with the 2nd Edition and can't comment on recent revisions, but I have to disagree with a couple of points made by prior reviewers. Regarding the "obscurity" of the transcribed solos, while the Smithsonian Collection that Reeves draws about half his examples from is, to my knowledge, no longer available, m. . I worked with the 2nd Edition and can't comment on recent revisions, but I have to disagree with a couple of points made by prior reviewers. Regarding the "obscurity" of the transcribed solos, while the Smithsonian Collection that Reeves draws about half his examples from is, to my knowledge, no longer available, m