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The Resource Creative jazz improvisation, Scott D. Reeves

Creative jazz improvisation, Scott D. Reeves

Label
Creative jazz improvisation
Title
Creative jazz improvisation
Statement of responsibility
Scott D. Reeves
Creator
Subject
Genre
Language
eng
Cataloging source
DLC
Dewey number
781.65/136
Illustrations
music
Index
index present
LC call number
MT68
LC item number
.R37 2007
Literary form
non fiction
Nature of contents
bibliography
Label
Creative jazz improvisation, Scott D. Reeves
Link
Instantiates
Publication
Bibliography note
Includes bibliographical references and index
Carrier category
volume
Carrier MARC source
rdacarrier
Content category
text
Content type MARC source
rdacontent
Contents
Contents Preface PART 1: THE ART OF IMPROVISATION Chapter 1: Practicing Jazz, Constructing Solos, Playing with Other Musicians, Creative Improvisation, Performance Anxiety, and Teaching Jazz Practicing Jazz Constructing Solos and Playing with Other Musicians Creative Improvisation and Kenny Werner's "Effortless Mastery" Performance Anxiety How to Teach Jazz Improvisation Chapter 2: Essential Listening: Major Innovators, Important Contributors, and Women in Jazz Major Innovators Who Changed the Direction of Jazz Important Jazz Contributors Women In Jazz Chapter 3: Rhythm Gaining Facility with Rhythm Listening to Rhythms in Jazz Compositions Max Roach's Improvised Solo on "Blue Seven" PART 2: DIATONIC CHORDS AND THE MODES IN THE MAJOR SCALE Chapter 4: Major Scales and Major 7th Chords Theory/Ear Exercises Gaining Facility with Major Scales and Major 7th Chords Improvising on Jazz Compositions Based on Major 7th Chords Louis Armstrong's Improvised Solo on "Hotter Than That" Chapter 5: Mixolydian and Bebop 7th Scales, and Dominant 7th Chords Theory/Ear Exercises Gaining Facility with Mixolydian and Bebop 7th Scales, and Dominant 7th Chords Improvising on Jazz Compositions Based on Dominant 7th Chords Lester Young's Improvised Solo on "Lester Leaps In" Chapter 6: Dorian Scales and Minor 7th Chords Theory/Ear Exercises Gaining Facility with Dorian Scales and Minor 7th Chords Improvising on Jazz Compositions Based on Minor 7th Chords Miles Davis's Improvised Solo on "So What" Chapter 7: The ii-V-I Progression Theory/Ear Exercises Gaining Facility with ii-V-I Progressions Improvising on Jazz Compositions Based on ii-V or ii-V-I Progressions Clifford Brown's Improvised Solo on "Pent-Up House" Chapter 8: Locrian and Aeolian Scales, and Minor ii7-V7-i Progressions Theory/Ear Exercises Gaining Facility with Minor ii7-V7-i Progressions Improvising on Jazz Compositions Based on ii7-V7b9-i Progressions Milt Jackson's Improvised Solo on "Django" Chapter 9: Lydian and Phrygian Scales, Major 7th b5 Chords Theory/Ear Exercises Gaining Facility with Lydian and Phrygian Scales Improvising on Jazz Compositions Based on Major 7b5 Chords and Lydian Scales, or i-bii Progressions and Phrygian Scales Miles Davis's Improvised Solo on "Solea" PART 3: CHORD SUBSTITUTIONS, HARMONIC STRUCTURES, AND FORMS Chapter 10: The Blues Scale, the Blues Form, and Chord Substitutions The Blues Form The Blues Scale Chord Substitutions Theory/Ear Exercises Gaining Facility with the Basic Blues Progression Gaining Facility with Blues Substitutions Improvising on Jazz Compositions Based on the Blues Form Charlie Parker's Improvised Solo on "Now's the Time" Chapter 11: Sectional Forms and Rhythm Changes Theory/Ear Exercises Gaining Facility with Rhythm Changes Improvising on Jazz Compositions Based on "Rhythm Changes" and Through-Composed Forms Charlie Parker's Improvised Solo on "Shaw 'Nuff" Chapter 12: Harmonic Structures and Coltrane Substitutions Coltrane Substitutions Theory/Ear Exercises
Dimensions
28 cm.
Edition
4th ed.
Extent
xvii, 362 p.
Isbn
9780131776395
Isbn Type
(alk. paper)
Lccn
2006018669
Media category
unmediated
Media MARC source
rdamedia
Note
BYU copy boxed.
Other physical details
music
System control number
  • (OCoLC)ocn773280323
  • UtOrBLW
Label
Creative jazz improvisation, Scott D. Reeves
Link
Publication
Bibliography note
Includes bibliographical references and index
Carrier category
volume
Carrier MARC source
rdacarrier
Content category
text
Content type MARC source
rdacontent
Contents
Contents Preface PART 1: THE ART OF IMPROVISATION Chapter 1: Practicing Jazz, Constructing Solos, Playing with Other Musicians, Creative Improvisation, Performance Anxiety, and Teaching Jazz Practicing Jazz Constructing Solos and Playing with Other Musicians Creative Improvisation and Kenny Werner's "Effortless Mastery" Performance Anxiety How to Teach Jazz Improvisation Chapter 2: Essential Listening: Major Innovators, Important Contributors, and Women in Jazz Major Innovators Who Changed the Direction of Jazz Important Jazz Contributors Women In Jazz Chapter 3: Rhythm Gaining Facility with Rhythm Listening to Rhythms in Jazz Compositions Max Roach's Improvised Solo on "Blue Seven" PART 2: DIATONIC CHORDS AND THE MODES IN THE MAJOR SCALE Chapter 4: Major Scales and Major 7th Chords Theory/Ear Exercises Gaining Facility with Major Scales and Major 7th Chords Improvising on Jazz Compositions Based on Major 7th Chords Louis Armstrong's Improvised Solo on "Hotter Than That" Chapter 5: Mixolydian and Bebop 7th Scales, and Dominant 7th Chords Theory/Ear Exercises Gaining Facility with Mixolydian and Bebop 7th Scales, and Dominant 7th Chords Improvising on Jazz Compositions Based on Dominant 7th Chords Lester Young's Improvised Solo on "Lester Leaps In" Chapter 6: Dorian Scales and Minor 7th Chords Theory/Ear Exercises Gaining Facility with Dorian Scales and Minor 7th Chords Improvising on Jazz Compositions Based on Minor 7th Chords Miles Davis's Improvised Solo on "So What" Chapter 7: The ii-V-I Progression Theory/Ear Exercises Gaining Facility with ii-V-I Progressions Improvising on Jazz Compositions Based on ii-V or ii-V-I Progressions Clifford Brown's Improvised Solo on "Pent-Up House" Chapter 8: Locrian and Aeolian Scales, and Minor ii7-V7-i Progressions Theory/Ear Exercises Gaining Facility with Minor ii7-V7-i Progressions Improvising on Jazz Compositions Based on ii7-V7b9-i Progressions Milt Jackson's Improvised Solo on "Django" Chapter 9: Lydian and Phrygian Scales, Major 7th b5 Chords Theory/Ear Exercises Gaining Facility with Lydian and Phrygian Scales Improvising on Jazz Compositions Based on Major 7b5 Chords and Lydian Scales, or i-bii Progressions and Phrygian Scales Miles Davis's Improvised Solo on "Solea" PART 3: CHORD SUBSTITUTIONS, HARMONIC STRUCTURES, AND FORMS Chapter 10: The Blues Scale, the Blues Form, and Chord Substitutions The Blues Form The Blues Scale Chord Substitutions Theory/Ear Exercises Gaining Facility with the Basic Blues Progression Gaining Facility with Blues Substitutions Improvising on Jazz Compositions Based on the Blues Form Charlie Parker's Improvised Solo on "Now's the Time" Chapter 11: Sectional Forms and Rhythm Changes Theory/Ear Exercises Gaining Facility with Rhythm Changes Improvising on Jazz Compositions Based on "Rhythm Changes" and Through-Composed Forms Charlie Parker's Improvised Solo on "Shaw 'Nuff" Chapter 12: Harmonic Structures and Coltrane Substitutions Coltrane Substitutions Theory/Ear Exercises
Dimensions
28 cm.
Edition
4th ed.
Extent
xvii, 362 p.
Isbn
9780131776395
Isbn Type
(alk. paper)
Lccn
2006018669
Media category
unmediated
Media MARC source
rdamedia
Note
BYU copy boxed.
Other physical details
music
System control number
  • (OCoLC)ocn773280323
  • UtOrBLW

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