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Books > Arts & Architecture > Music > Contemporary popular music > Jazz
This unique text uses a step-by-step approach to guide the reader
from fundamental concepts to advanced topics in improvisation. Each
subject is broken into easy to understand segments, gradually
becoming more complex as improvisational tools are acquired.
Designed for the classically trained pianist with little or no
experience in improvisation, it uses the readeras previous
knowledge of basic theory and technique to help accelerate the
learning process. Included are more than 450 music examples and
illustrations to reinforce the concepts discussed. These concepts
are useful in all improvisational settings and can be applied to
any musical style. For pianists interested in jazz, there are three
chapters dedicated to introducing jazz improvisation, which can be
used as the basis for further study in this idiom. Teachers using
this text can go online to www.improvisationatthepiano.com to
download lesson plans, ask specific questions about improvisation,
and view answers to the most frequently asked questions about this
book. 232 pages.
Featuring in-depth lessons and 40 great jazz classics, the Hal
Leonard Jazz Guitar Method is your complete guide to learning jazz
guitar. This book uses real jazz songs to teach you the basics of
accompanying and improvising jazz guitar in the style of Wes
Montgomery, Joe Pass, Tal Farlow, Charlie Christian, Jim Hall and
many others. Lesson topics include: chords and progressions; scales
and licks; comping and soloing styles; chord-melody; intros and
endings; technique; equipment and sound; and more! Songs include:
Satin Doll * Take the "A" Train * Billie's Bounce * Impressions *
Bluesette * My One and Only Love * Desafinado * Autumn Leaves *
Watch What Happens * Misty * Song for My Father * and more. The CD
contains 99 tracks for demonstration and play-along. "Highly
Recommended." - Just Jazz Guitar "Filled with well-written examples
... bask in the glory of having a lot of great material at your
fingertips." - Downbeat
The Cultural Politics of Jazz Collectives: This Is Our Music
documents the emergence of collective movements in jazz and
improvised music. Jazz history is most often portrayed as a site
for individual expression and revolves around the celebration of
iconic figures, while the networks and collaborations that enable
the music to maintain and sustain its cultural status are
surprisingly under-investigated. This collection explores the
history of musician-led collectives and the ways in which they
offer a powerful counter-model for rethinking jazz practices in the
post-war period. It includes studies of groups including the New
York Musicians Organization, Sweden's Ett minne foer livet,
Wonderbrass from South Wales, the contemporary Dutch jazz-hip hop
scene, and Austria's JazzWerkstatt. With an international list of
contributors and examples from Europe and the United States, these
twelve essays and case studies examine issues of shared aesthetic
vision, socioeconomic and political factors, local education, and
cultural values among improvising musicians.
(Berklee Press). When you think of jazz composers, who comes to
mind? Jelly Roll Morton, Charlie Parker, Dizzy Gillespie,
Thelonious Monk, Charles Mingus, Bob Brookmeyer. This book is about
what they (and many others) do. Jazz composition has evolved into a
disciplined art that often evidences great emotional depth and
breadth of sophistication. Berklee College of Music legend Ted
Pease demystifies the processes involved in writing jazz tunes and
in composing episodic and extended jazz works. Jazz Composition:
Theory and Practice is a by-product of Pease's 25 years of teaching
jazz composition. The accompanying CD helps demonstrate melody,
harmony and rhythmic elements of jazz and also includes a variety
of music-writing exercises focused on learning these same elements
to help you begin producing your own effective jazz compositions.
While the history of the non-violent Civil Rights Movement, from
Rosa Parks to Martin Luther King, is one of the great American
stories of the twentieth century, the related Black Power movement
has taken a more complex path through the nation's history. Formed
by a multitude of individuals, the long history of the Black Power
movement stretches before and beyond its political manifestations.
Beginning with the folk-narratives told on the plantation, Black
Power and the American People charts a course through the
iconoclasm of the Harlem Renaissance, the battleground of the
American campus, the struggle and skill of the Negro Leagues, the
drama of the boxing ring, the killing fields of Vietnam and the
cold concrete of the penitentiary, right up to the Black Lives
Matter movement of the present day. Tracing these connected
cultural expressions through time, Black Power and the American
People explores the profound legacy of Black Power from its
earliest roots to its most futuristic manifestations, its long
history in American culture and its profound influence on the
American imagination.
Co-authored by three prominent philosophers of art, Jazz and the
Philosophy of Art is the first book in English to be exclusively
devoted to philosophical issues in jazz. It covers such diverse
topics as minstrelsy, bebop, Voodoo, social and tap dancing,
parades, phonography, musical forgeries, and jazz singing, as well
as Goodman's allographic/autographic distinction, Adorno's critique
of popular music, and what improvisation is and is not. The book is
organized into three parts. Drawing on innovative strategies
adopted to address challenges that arise for the project of
defining art, Part I shows how historical definitions of art
provide a blueprint for a historical definition of jazz. Part II
extends the book's commitment to social-historical contextualism by
exploring distinctive ways that jazz has shaped, and been shaped
by, American culture. It uses the lens of jazz vocals to provide
perspective on racial issues previously unaddressed in the work. It
then examines the broader premise that jazz was a socially
progressive force in American popular culture. Part III
concentrates on a topic that has entered into the arguments of each
of the previous chapters: what is jazz improvisation? It outlines a
pluralistic framework in which distinctive performance intentions
distinguish distinctive kinds of jazz improvisation. This book is a
comprehensive and valuable resource for any reader interested in
the intersections between jazz and philosophy.
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Berklee Jazz Piano
(Paperback)
Ray Santisi; Edited by Rajasri Mallikarjuna
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R662
R551
Discovery Miles 5 510
Save R111 (17%)
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Ships in 10 - 15 working days
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Play jazz piano with new facility and expression as Ray Santisi,
one of the most revered educators at the Berklee College of Music -
and mentor to Keith Jarrett, Diana Krall, Joe Zawinul, and
thousands of others - reveals the pedagogy at the core of Berklee's
jazz piano curriculum. From beginning through advanced levels,
Berklee Jazz Piano maps the school's curriculum: a unique blend of
theory and application that gives you a deep, practical
understanding of how to play jazz. Concepts are illustrated by the
accompanying practice CD, where you'll hear how one of the great
jazz pianists and educators of our time applies these concepts to
both jazz standards and original compositions, and how you can do
the same. You will learn: * Jazz chords and their characteristic
tension substitutions, in many voicings and configurations * Modes
and scales common in jazz * Techniques for comping, developing bass
lines, harmonizing melodies, melodizing harmonies, and
improvisation * Practice techniques for committing these concepts
to your muscle memory * Variations for solo and ensemble playing *
Advanced concepts, such as rhythmic displacement, approach-chord
harmonization, and jazz counterpoint
A collection of the original sheet music for 39 classic standards,
featuring the arrangements of 'Fats' Waller, Art Tatum, Duke
Ellington, James P. Johnson, Albert Ammons, Pete Johnson, Count
Basie, Clarence Williams, Jay McShann, Billy Kyle, Zez Confrey.
Songs include: "A" Flat to "C" * Ain't Misbehavin' * Between the
Devil and the Deep Blue Sea * Bugle Call Rag * Central Avenue Drag
* Dinah * For Me and My Gal * I Can't Give You Anything but Love *
Mood Indigo * Organ Grinder Blues * Sophisticated Lady * Stardust *
When You're Smiling (The Whole World Smiles with You) * and more.
A groundbreaking study of the trailblazing music of Chicago's AACM,
a leader in the world of jazz and experimental music. Founded on
Chicago's South Side in 1965 and still thriving today, the
Association for the Advancement of Creative Musicians (AACM) is the
most influential collective organization in jazz and experimental
music. In Sound Experiments, Paul Steinbeck offers an in-depth
historical and musical investigation of the collective, analyzing
individual performances and formal innovations in captivating
detail. He pays particular attention to compositions by Muhal
Richard Abrams and Roscoe Mitchell, the Association's leading
figures, as well as Anthony Braxton, George Lewis (and his famous
computer-music experiment, Voyager), Wadada Leo Smith, and Henry
Threadgill, along with younger AACM members such as Mike Reed,
Tomeka Reid, and Nicole Mitchell. Sound Experiments represents a
sonic history, spanning six decades, that affords insight not only
into the individuals who created this music but also into an
astonishing collective aesthetic. This aesthetic was uniquely
grounded in nurturing communal ties across generations, as well as
a commitment to experimentalism. The AACM's compositions broke down
the barriers between jazz and experimental music and made essential
contributions to African American expression more broadly.
Steinbeck shows how the creators of these extraordinary pieces
pioneered novel approaches to instrumentation, notation,
conducting, musical form, and technology, creating new soundscapes
in contemporary music.
Five superb albums of graded pieces provide a wealth of jazz
repertoire for you to play. Throughout, there is a huge range of
styles, from bebop blues to calypsos, boogie-woogie to ballads,
jazz waltzes to free jazz. There are classic tunes by the jazz
greats, including Duke Ellington, Miles Davis and Thelonious Monk.
And there are brand-new pieces specially commissioned from
professional British jazz musicians and educators. Each album
presents 15 pieces in three lists: blues, standards and
contemporary jazz. The head of each piece is set out with all the
characteristic voicings, phrasing and rhythmic patterns you need
for a stylish performance. The improvised section gives guideline
pitches and left-hand voicings as a practical starting-point.
Accessible, student-centred and of the highest musical standards,
these pieces will get you playing jazz confidently and creatively.
Jazz and Totalitarianism examines jazz in a range of regimes that
in significant ways may be described as totalitarian, historically
covering the period from the Franco regime in Spain beginning in
the 1930s to present day Iran and China. The book presents an
overview of the two central terms and their development since their
contemporaneous appearance in cultural and historiographical
discourses in the early twentieth century, comprising fifteen
essays written by specialists on particular regimes situated in a
wide variety of time periods and places. Interdisciplinary in
nature, this compelling work will appeal to students from Music and
Jazz Studies to Political Science, Sociology, and Cultural Theory.
Berklee GuideThe definitive text used for the time-honored Chord
Scales course at Berklee College of Music, this book concentrates
on scoring for every possible ensemble combination and teaches
performers and arrangers how to add color, character and
sophistication to chord voicings. Topics covered include: selecting
appropriate harmonic tensions, understanding jazz harmony,
overcoming harmonic ambiguity, experimenting with unusual
combinations and non-traditional alignments, and many more. The
accompanying CD includes performance examples of several different
arranging techniques.A no-nonsense, meat and potatoes source of
basic and not-so-basic information about everything relating to
jazz writing covers several courses worth of information. Kenny
WernerPianist, Composer and Author of Effortless Mastery
Blues is a language--one which has evolved its own rules and which
is the sole property of a culture always forced to the periphery of
white society. As such it is a political language. Whether it is
passed as a legacy from African village to Mississippi farm, or
from farm to Chicago ghetto, or from ghetto to Paris cafe, it is
part of a larger oral heritage that is an expression of black
America. Makeshift instruments, runaway slaves, railroads, prisons,
empty rooms, work gangs, blindness, and pain have all been involved
in the passing of this legacy, which has moved from hand to hand
like a bottle of whiskey among friends and which now, for whatever
reasons, seems faced with extinction. As Lightnin' Hopkins says: "I
see a few young musicians coming along. But it's not many. It's not
many at all, and the few that is--I'll tell you, you know what I
mean, they don't have it. They just don't feel it. . . . I never
had that trouble. I had the one thing you need to be a blues
singer. I was born with the blues."With an awareness of the urgency
involved, and with considerable devotion, Samuel Charters has
chosen twelve major bluesmen, each whom represents a major facet of
the blues, and has written about them. Rather than adopt the
voyeuristic tone of the academician, he has used the direct
visceral images that have always composed the blues. Also included
are interviews, photographs, lyrics, and separate chapters on the
black experience in America, and the evolution of the blues
language from its African origins. Samuel Charters has renewed
contact with the greatness of the blues legacy--from the haunting
lyric songs of the bluesmen like Robert Pete Williams and Lightnin'
Hopkins to the fiercely joyous shouts of Champion Jack Depree,
Memphis Slim, and Mighty Joe Young.
Technology and the Stylistic Evolution of the Jazz Bass traces the
stylistic evolution of jazz from the bass player's perspective.
Historical works to date have tended to pursue a 'top down'
reading, one that emphasizes the influence of the treble
instruments on the melodic and harmonic trajectory of jazz. This
book augments that reading by examining the music's development
from the bottom up. It re-contextualizes the bass and its role in
the evolution of jazz (and by extension popular music in general)
by situating it alongside emerging music technologies. The bass and
its technological mediation are shown to have driven changes in
jazz language and musical style, and even transformed creative
hierarchies in ways that have been largely overlooked. The book's
narrative is also informed by investigations into more commercial
musical styles such as blues and rock, in order to assess how, and
the degree to which, technological advances first deployed in these
areas gradually became incorporated into general jazz praxis.
Technology and the Jazz Bass reconciles technology more thoroughly
into jazz historiography by detailing and evaluating those that are
intrinsic to the instrument (including its eventual
electrification) and those extrinsic to it (most notably evolving
recording and digital technologies). The author illustrates how the
implementation of these technologies has transformed the role of
the bass in jazz, and with that, jazz music as an art form.
Between the world wars, Paris welcomed not only a number of
glamorous American expatriates, including Josephine Baker and F.
Scott Fitzgerald, but also a dynamic musical style emerging in the
United States: jazz. Roaring through cabarets, music halls, and
dance clubs, the upbeat, syncopated rhythms of jazz soon added to
the allure of Paris as a center of international nightlife and
cutting-edge modern culture. In Making Jazz French, Jeffrey H.
Jackson examines not only how and why jazz became so widely
performed in Paris during the 1920s and 1930s but also why it was
so controversial.Drawing on memoirs, press accounts, and cultural
criticism, Jackson uses the history of jazz in Paris to illuminate
the challenges confounding French national identity during the
interwar years. As he explains, many French people initially
regarded jazz as alien because of its associations with America and
Africa. Some reveled in its explosive energy and the exoticism of
its racial connotations, while others saw it as a dangerous
reversal of France's most cherished notions of "civilization." At
the same time, many French musicians, though not threatened by jazz
as a musical style, feared their jobs would vanish with the arrival
of American performers. By the 1930s, however, a core group of
French fans, critics, and musicians had incorporated jazz into the
French entertainment tradition. Today it is an integral part of
Parisian musical performance. In showing how jazz became French,
Jackson reveals some of the ways a musical form created in the
United States became an international phenomenon and acquired new
meanings unique to the places where it was heard and performed.
Nikki Iles & Friends Easy to Intermediate is a collection of 22
original compositions and new arrangements for piano written by
Nikki Iles and her friends from the world of jazz. Expertly curated
and commissioned by Nikki herself, this book contains piano pieces
at Initial Grade to Grade 3 level written by some of the best-known
figures on the jazz scene. Also including audio downloads of every
piece,this book provides a wealth of new and original jazz piano
music for those seeking to explore accessible jazz and world music
repertoire, build a recital or a programme for ABRSM Performance
Grades, or simply play for pleasure. Award-winning jazz pianist and
composer, Nikki Iles has worked and performed with a plethora of
notable jazz musicians throughout her career. With over 30 CDs, she
has been described as the 'heroine of British jazz'. She has
received composition commissions from the London Sinfonietta,
National Youth Jazz Orchestra (featured at the BBC Proms) and UMO
Jazz Orchestra in Helsinki, Finland, among others. Nikki has been
awarded the British Empire Medal (BEM) for services to music, and
has also won the Ivor Composer Award for jazz composition. She is
professor of jazz piano at the Royal Academy of Music and Guildhall
School, London and also gives masterclasses around the world. She
has worked closely with ABRSM over a number of years, both as a
composer and arranger, and in syllabus development.
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