BEYOND TIME AND CHANGES-a Musician’s Guide to Free Jazz Improvisatiom
Hal Crook - (156 pages w/CD) $34.95
In Beyond Time and Changes, acclaimed jazz trombonist, pianist, composer,
arranger, teacher and author Hal Crook offers a methodology to guide the
advancing improviser through the un-chartered musical territory known as free
jazz.
Beyond Time and Changes shows improvisers how to prepare for soloing and comping
in free settings by exploring the issues of musical accuracy, musicality and
continuity (motive development) on form, and then reveals how to create
structure and order within free settings by using the known to navigate the
unknown.
With the aid of lucid explanations, concise musical examples, practical
exercises, solo transcriptions and a compelling demonstration CD featuring 17
performances by the author and a stellar rhythm section, Beyond Time and Changes
solves the mystery long associated with how to make free improvisation make
sense—without losing your freedom in the process.
“Hal Crook is perhaps the freest and most technically adept and imaginative
trombonist we have, and Beyond Time and Changes is a sure winner. Highly
recommended.” (Bob Brookmeyer)
“Beyond Time and Changes says it all. Go for it, Hal! I only have a few idols,
and you are all of them!” (George Garzone - Saxophonist with “The Fringe”)
UNCOMMON ETUDES FROM COMMON SCALES
Mike Rossi (112 page book) $19.95
Uncommon Etudes from Common Scales will better equip students and challenge
improvisers of all levels with etudes that travel through all keys using common
chord types. Also, expand your melodic and creative ability as an improviser and
composer by applying Contrast to diatonic phrases! The etudes are suited for C,
Bb and Eb treble clef instruments. The appendix features the changes for all
etudes in the correct transposition to accompany Bb and Eb instruments.
This volume of etudes by Mike Rossi is packed with appealing, swinging,
modern, modal, model melodies. Like Dr. Rossi’s previous volume, “Contrast and
Continuity,” this is a further contribution to learning contemporary jazz
vocabulary, based on swing articulation and occasionally venturing into odd time
signatures. Although intended for individual practise as preparation for
soloing, selections from these etudes were performed by saxophone ensembles
accompanied by rhythm section at recent jazz education conferences I attended
and they sounded great. Like worthwhile etudes in every tradition, Uncommon
Etudes focus on particular instructional outcomes while revealing the musical
insights of a thoughtful and talented composer. Prof. Darius Brubeck,
Honorary Research Associate, University of Kwazulu-Natal and IAJE Board:
Africa/Middle East Representative
Once again. As he did with his last book, “Contrast and Continuity in Jazz Improvisation,” Mike has been studious in presenting material that is beyond the theoretical, but has practical and immediate use as a means of adding vocabulary to one´s playing. David Liebman
“Uncommon Etudes from Common Scales” by Professor Mike Rossi is a
comprehensive addition to the field! This systematic method challenges, and
intensifies, creative improvisational development utilizing melodic and rhythmic
contrast. Exploring harmonic applications and related phrase development are
strongly encouraged and integrated to internalize and expand the improviser´s
perspective, fluency … and musicality! Dennis Tini, Distinguished Professor
of Music Co-Founder, Jazz Studies Program, Wayne State University-Detroit Past
President, International Association for Jazz Education
While nearly all great solos contain a delicate balance of
contrast and continuity in the broader sense, (rhythm, range, harmonic interest
& variation, dynamics, pacing, etc) this concept illustrates the way towards
creating a diatonic, multi-colored and contemporary language for jazz
improvisation.
"A wonderful resource and a MUST HAVE for all jazz educators and all serious
jazz students. The attention to detail and thoughtfulness that Mike Rossi
exhibits in his teaching and his playing is mirrored throughout this superb
book. Excellently presented with concise text, it will prove invaluable in
helping students develop and perfect the art of practising and the art of
musical performance"
Dr. Ian Darrington (MBE PhD MA, Director of Jazz Performance Wigan
Council, U.K., European Representative of IAJE)
The goal of this book is to show the student the means to develop latent creative abilities by offering the unfettered environment of the chromatic-modal system and free asymmetric form. The freedom of the approach will allow the composer to express him/herself in any style: post 50's jazz, ECM, fusion, pop, classical, etc., that is not tied to any harmonic particulars.
The goal of Volume 2 of "Modal Jazz Composition & Harmony" is to continue the dissemination of information that presents a path of study for the aspiring jazz composer. Where Volume 1of the book emphasized the preparation of a modal harmonic foundation, t his volume will introduce concepts of melody writing and a study of the styles of jazz compositions that are an intrinsic addition to the contemporary jazz composer's repertoire. Also included are chapters on harmonization and reharmonization techniques-a s many of the concepts presented reflect an influence of Gil Evans, Duke Ellington and Charles Mingus as well as those of Herbie Hancock-and on pentatonic tunes that are harmonized with a modal harmonic foundation. As with Volume 1, an appendix with additional peripheral information is included for the student desiring theoretical explanation and additional examples.
This book of 37 of Ron Miller’s most favored recorded & performed compositions contains a brief history, description and performance directions for the successful realization of each composition. His tunes have been recorded and/or performed by Billy Hart, Kenny Werner, Joe Lovano, Gerry Bergonzi, Jerry Coker, Gary Keller, Tim Hagans, Ira Sullivan, Rick Margitza, Dave Liebman and others. Bb & Eb versions available soon.
THE "JAZZ CHORD/SCALE HANDBOOK" PROVIDES A CONCISE YET COMPREHENSIVE REFERENCE SOURCE FOR CHORD/SCALE THEORY
This is not a "how to" book, but rather a systemized guide to identifying, organizing, and understanding the relationships between virtually all the common (and uncommon) scale/chord relationships used in jazz improvisation and composition. Based on the principle of harmonic systems, the handbook organizes all the modes of major, melodic and harmonic minor, harmonic major, as well as nine different symmetric scales, various pentatonic scales, the blues scale(s) and more. Most importantly, each scale is presented with appropriate modal and functional chord voicings, information about common usage, and examples from the recorded jazz literature.
JAZZ HARMONY, AS TAUGHT AT THE BERKLEE COLLEGE OF MUSIC
Is based on the so called Chord Scale Theory. This method-further developed-is now available as a comprehensive textbook for the first time. Emerged from practice and designed for practical use, it provides theoretical knowledge necessary for improvisation, composing, and arranging.
"Having never had any institutional training in harmony and theory, I have often wondered just how Jazz Harmony came to be? To develop and exist with its so deep well of knowledge that is necessary to the improviser? Where did this come from and how did i t develop? 'Chord Scale Theory & Jazz Harmony' explains this and also goes farther by showing just how this knowledge can be used. My only regret is that I've just found it." (Art Farmer)
"A helpful and organized tool that can surely aid any musician interested in understanding harmony as it relates to the complex subtleties of jazz improvisation." (Michael Brecker)
"This comprehensive textbook is a must for beginners, intermediate or advanced students. It is quite logically constructed, very easy to comprehend, and the amount of necessary information contained in these pages is very impressive. Highly recommended." (Randy Brecker)
"This is a fine book, clear, comprehensive, and detailed. I like to think of it as the 'Basics Bible'. It would make a wonderful addition to the personal library of any jazz student or teacher." (Mick Goodrick)
"This book is a must for anyone interested in understanding the language of Jazz. It is laid out in a simple (but not simplistic) manner that guides one from the basic, to the most challenging concepts of improvisational aids. The book also shows a great respect for the traditions of our music which I feel is important for opening minds to the future. I highly recommend this book!" (Bob Berg)
This is the definite study of chord progressions of hundreds of carefully chosen tunes from the jazz musician's repertiore, comparing them, linking them together by commonalities, and codifying harmonic traits that will clarify the reader's understanding of how progressions "work"! It not only provides the means to learn and memorize tunes more easily, but also becomes the key to acquiring the skill to recognize progressions by ear!
This book evolved from 40 years of teaching jazz composition and arranging plus 50 years of personal writing experience in the professional field. It is, therefore, a comprehensive study, covering preparatory activities, philosophical perspectives, listening lists, choice tune lists, all elements of composing melodies and chord progressions, arranging for small and large ensembles, enhanced use of rhythm sections, a sensitive approach to instrumental ranges, textural options, form, and more. Though a self-contained study, the book has the unique feature of leading the reader to other excellent books on the subject.
The jazz ballad provides our greatest opportunity for lyrical expression and represents the surest way to the musical heart. Traditionally, it has been the testing ground for a performer's worth, yet it is largely missing in our present musical culture and is seldom addressed in learning situations.
Jerry Coker is recognized for his ability to create inspired ballad performances, and his many students of the past and present know that he also has the ability to share his unique understanding of the jazz ballad with others.
The Jazz Ballad - Experience Ultimate Expression is a comprehensive study, guiding the reader, step by step, through the necessary topics and activities that lead to heightened understanding and enhanced performance. Topics include criteria for tune selection, modification possibilities, rhythms section concepts for ballad playing, options for introductions and endings, appropriate ways to approach the melody and subsequent improvisation, and with consideration of spiritual and attitudinal preparation.
The accompanying CD provides aural clarifications of the ideas presented in the text, as well as a play-along track that features a splendid rhythm section
"Changes Over Time: The Evolution of Jazz Arranging" was conceived to illustrate, through comparative case studies the dramatic development of rhythmic, melodic, harmonic, orchestrational, and structural variation in jazz arranging from the 1920's to the present. A broad category of compositions that have each inspired numerous jazz arrangements was established, and the arrangements associated with each of the original works were examined to determine the level of quality, the span of jazz history represented, and the number of renditions created by historically significant jazz arrangers, including Don Redman, Fletcher Henderson, Benny Carter, Duke Ellington, Billy Strayhorn, Gil Evans, Thad Jones, Bill Holman, Bob Brookmeyer, and Clare Fischer. The case studies were narrowed to 35 arrangements of three classic jazz compositions and one American popular standard song: Jelly "Roll" Morton's King Porter Stomp, Don Redman's Chant of the Weed, Gerald Marks' and Seymour Simon's All Of Me, and Billy Strayhorn's Take The "A" Train. Scores and/or parts representing nine decades were supplied by living arrangers, borrowed from collections, reconstructed from sketches, or transcribed from recordings. Four Contemporary masters were ultimately commissioned to create new arrangements of four selected compositions. "Changes Over Time: The Evolution of Jazz Arranging" is not meant to be an exhaustive historical survey of all significant jazz arrangers and great arrangements. Instead, it is intended to showcase the development of the arranging art form through comparative analyses of limited case studies.
What exactly are the steps that lead to ability?
In which order should they been taken?
What will be required to master each one?
These are questions the author has explored in this book, resulting in a rather unique "one-thing-at-a-time" approach to studying improvisation-one that incorporates discipline, technique, creativity and musical intuition. Each topic is explained and demonstrated using written musical examples and it is accompanied by suggested exercises and a sample daily practice schedule, which can be modified to fit your own needs or liking. The book has been used by the Performance Studies Department of the Berklee College of Music in Boston for teaching improvisation since September 1988.
"Learn everything in this book - and the phone won't stop ringing!" (Phil Woods)
READY, AIM, IMPROVISE! explores the critical areas involved in learning how to improvise, including: music theory, jazz harmony, ear training, jazz execution, jazz vocabulary, practicing, self-critiquing, career planning, and much more.
READY, AIM, IMPROVISE! is filled with musical examples, exercises and practice routines that help make the learning process easy and enjoyable. Two enclosed play-along CDs feature modal, key-area and modulating chord progressions performed at a slow, manageable tempo.
"If I had just enough money to buy only one book on jazz improvisation, Hal Crook's READY, AIM, IMPROVISE! would be it! That's because this book contains the truth about jazz as I see it, and as I teach it myself." (Clark Terry)
This method
book/CD set is about understanding, developing and incorporating the art of
melody into Jazz Improvisation. Topics discussed in the book are demonstrated by
the author on the CD. This CD, along with the practice materials both in the
text and in the play-along section, will give you the opportunity to hear,
practice and then play for yourself the principles of melodic improvising.
Andy Middleton is a New York City-based saxophonist and composer who has
recorded 4 CDs as a leader. His CDs have featured Kenny Wheeler, Dave Holland,
Ralph Towner, Renee Rosnes, and Joey Calderazzo, and in addition he had a
play-along CD of his original compositions published in the August/September
2000 issue of Jazz Player magazine. He has also performed and/or recorded with
Lionel Hampton, Randy Brecker, John Abercrombie, Bob Mintzer, Adam Nussbaum,
Maria Schneider, Marc Copland, Victor Lewis, John Hart, Barbara Dennerlein, and
Don Sebesky, among others.
As a member of the band The Fensters
Andy recorded 2 acclaimed CDs.
Middleton won the First Prize and Best Soloist Awards at the 13th Europ’ Jazz
Contest in 1991, and was awarded a prestigious National Endowment for the Arts
Performance Grant (USA) in 1996. In the words of master saxophonist, composer
and educator David Liebman: “Andy Middleton
represents the best of a new generation of jazz musicians.”
It is the purpose of this book to trace the path of musical growth from the late Romantic period to the serial techniques of the contemporary composer. Through the detailed analysis of the musical characteristics that dominate a specific style of writing, a graduated plan is organized and presented here in the form of explanations and exercises. A new analytical method substitutes for the diatonic figured bass and makes exercises and the analysis of non-diatonic literature more manageable. The explanations describing each technique are thorough. They are designed to help the teacher and the student see the many extenuating circumstances that affect a particular analytical decision. More important than a dogmatic decision on a particular key center or a root tone, for example, is the understanding of why such an underdeterminate condition may exist.
"I have used this book for analysis for teaching and as a creative tool
in my own compositions. It is enormously useful and provocative."
(Robert M. Abramson, The Juilliard School, New York)
"Contemporary Harmony is one of the finest, most comprehensive texts
ever written on the subject. A unique and invaluable contribution to both the
student and the professional musician."
(D. Anthony Ricigliano, Manhattan School of Music, New York)
For jazz phrasing, interpretation and improvisation.
"Jazz Conception" is a new and exciting way for players at all levels to learn the language of jazz!
The book/CD sets feature 21 solo etudes based on standards and blues, demonstrated by professional jazz musicians, accompanied by one of today's finest, swinging rhythm sections, Mike LeDonne on piano, Dennis Irwin on bass, and Kenny Washington on drums.
See and hear how the soloist phrases and articulates and play along with or without the soloist on the CD.
"One of the best tools I've seen for both learning and practicing jazz vocabulary and phrasing."
Randy Brecker
Exact transcriptions, as played by Mike LeDonne, plus 21 simple piano lead
sheets.
Includes transcriptions of Dennis Irwin's bass lines from the CD, simple bass lead sheets for all tracks, and a play-along CD with stereo separation.
Includes transcriptions of Kenny Washington's playing from the CD, simple drum lead sheets for all tracks, and a play-along CD with stereo seperation.
"Easy Jazz Conception" is an exciting and unique way to learn and
practice basic jazz style.
Each book/CD set features 15 solo etudes based on blues and standard chord
progressions, demonstrated by some of the most respected jazz musicians along
with a world-class rhythm section: Mike LeDonne, piano; Peter Washington, bass;
and Kenny Washington, drums.
The recording features two separate versions of each etude: one with the soloist
and rhythm section and one with the rhythm section only. See and hear how the
soloist phrase, play with or without the soloist on the CD and learn basic jazz
style first-hand.
Intermediate Jazz Conception is another addition to the
popular series of etude books created by Jim Snidero, featuring some of the
finest jazz musicians in the world. This book/cd set includes 15 etudes based on
standards, modal tunes and blues, demonstrated by Jim Snidero on alto sax with
the incredibly swinging rhythm section of Dave Hazeltine on piano, Peter
Washington on Bass and Kenny Washington on Drums. New to Intermediate Jazz
Conception is an appendix dedicated to style and improvisation, including a
scales syllabus, nomenclature, and over 95 lines and ideas extracted for the
study of improvisation!
The recording features two separate versions of each etude; one with the soloist
and rhythm section and one with the rhythm section only. Hear how the soloist
performs the etudes, play with or without the soloist on the cd, and learn about
both jazz style and improvisation from some of the best.
With this book/CD set you will learn essential jazz rhythms first-hand from world-class professionals!
THE BOOK:
THE CD:
"Reading Key Jazz Rhythms" is a collection of 24 easy to medium level jazz etudes, and 24 simplified guide tone versions of the etudes. They are ideal for learning the basic language of jazz, swing phrasing, and articulation. A perfect tool for preparing for the jazz ensemble or for any other ensemble/orchestra which performs jazz related music (pops orchestras, musical, studio, movie scores, concert and marching bands, etc.) Each etude is based on a specific rhythm or a combination of rhythmic figures. Some etudes sound like very lyrical improvised jazz solos, while others are more like a melody to a standard.
On the accompanying CD the soloist demonstrates the 24 melodious etudes together with a professional rhythm section. All etudes are based on the chord changes to tunes that are jazz musicians daily language: Autumn Leaves, Blue Bossa, Body And Soul, Satin Doll, Days Of Wine And Roses, Misty, Confirmation, Out Of Nowhere, How High The Moon, Cherokee, I'll Remember April, There Will Never Be Another You, Loverman, All Of Me, What Is This Thing Called Love, Stella By Starlight, Blues in major and minor, and rhythm changes. You can also improvise along with the play-along tracks using the chord symbols. The "guide tones" are the essential or defining notes for each given chord type. So if improvising is new to you and you find yourself getting lost, you can always return to a guide tone and play rhythmically around it. Any etude and its corresponding simplified guide tone version can be played together as a duet (with or without the CD accompaniment) with your teacher or a friend.
2nd edition, completely revised and enlarged. 14 chapters including exercises and assignments: Intervals, Chords, Inversions, Modes; Diatonic and Modal Chord Progressions; The Blues; Lead Sheets; Song Forms and Melodic Variations; Secondary Dominant Chords; Substitute Dominant Seventh Chords and Tritone Subs; Minor Key Harmony; Modal Interchange and Minor Blues; Common Chord Progressions and Voice-Leading; Modulation; Pentatonics and other Symmetric Scales; Blues Variations; Rhythm Changes; Coltrane's 3-Tonic System; Slash Chords and Hybrid Chord Voicings.
The first edition was one of the most widely used books on jazz harmony. For classroom and individual use.
"Jazz Harmony" is a brilliant addition to the field of jazz theory. It is well-written and beautifully organized, and the information it contains is thoroughly researched and authentically presented. I recommend it highly. (David Baker)
"A unique approach to writing in the style of contemporary jazz and
fusion." (Russell ferrante, The Yellowjackets)
Developed at the Berklee College of Music.
This improvisation method is more than just another play-along. It is a series of books and CDs that progress step by step, offering concrete suggestions and advice that shows you how and what to practice. Drawing on twenty-five years of teaching experience at the Eastman School of Music, Ramon Ricker uses text, recorded demonstrations by him and his students, and practice and play-along tracks that present the material in a clear and concise manner.
Most of the play-along tracks feature the rhythm section of the 1980 Thad Jones/Mel Lewis Big Band with Harold Danko on piano, Rufus Reid on bass and the late, great Mel Lewis on drums. Since they performed and recorded together consistently over a period of several years, they played as a unit - a true jazz rhythm section. The recordings were brought up to meet today's higher CD standards and served as an inspiration for Ramon Ricker to write three entirely new books. In addition, new demonstration, ear training, and play-along tracks were added.
VOLUME ONE is for the absolute beginning jazz student who knows his/her major scales.
Subjects covered in this book include:
VOCABULARY: Intervals, Roman Numerals, Scales, Modes, Diatonic Seventh Chords, Major, Minor Dominant, and Suspended Chords, Chord/Scale Relationships, The Blues Progression, Using Pentatonic Scales with Blues, Pentatonic Chord/Scale Relationships, The II-V-I Progression, Rhythm Changes, The Circle of Fifths, and The Circle of fourths, and Steps for Playing on Changes.
STYLE: Swing Eighth Notes, Use of the Metronome, Scale Practice, and Scat-Singing Solos.
EAR TRAINING: Specific examples and suggestions with recorded tracks for practice.
REPERTOIRE: A suggested basic repertoire.
VOLUME TWO is devoted exclusively to the blues form and is for players of all levels who want to become more familiar with this most important form in jazz.
Subjects covered in this book include:
VOCABULARY: The Blues Form and its Variations, Blue Notes, Basic Chord Substitution, The Blues Scale, The Pentatonic Scale, Dominant Scales with a Passing Tone, The Dominant Workout, Applying Dominant Scales with a Passing Tone to II-V Progressions, and Applying Dominant Scales with a Passing Tone to Blues.
STYLE: Improvising on Blues, Using the Melody, Learning the Melody, Using Transcribed Solos as the Basis for Improvised Solos, and Steps for Playing Good Solos.
EAR TRAINING: Specific examples and suggestions with recorded tracks for practice.
REPERTOIRE: A suggested basic repertoire.
BOOK THREE is devoted exclusively to the II-V-I Progression, Rhythm Changes and Standard Tunes and is intended for players of all levels who are serious about learning to play on changes.
Subjects covered in this book include:
VOCABULARY: The II-V-I Progression, Half-Diminished Seventh Chords, The Locrian and Locrian #2 Scales, Altered Dominant Chords, The Altered Scale, Guide Tones, Using Triads as Guide Tones, Walking Bass Lines, Major Scales with a Passing Tone, The Major Workout, Applying Major scales with a Passing Tone to II-V-I Progressions, Applying Dominant and Major Scales with Passing Tones to II-V-I Progressions, and Rhythm Changes.
STYLE: Using Guide Tones When Soloing, Using the Melody as a Basis of Your Improvisation, Learn the Lyrics, and Learning the Melody.
EAR TRAINING: Specific examples and suggestions with recorded tracks for practice.
REPERTOIRE: List of selected jazz compositions that extensively use the II-V-I Progression, selected standard tunes that extensively use the II-V-I Progression, and selected compositions based on Rhythm Changes.
VOLUME FOUR is devoted exclusively to the melodic minor scale and its use in jazz. The concept behind this book is to learn this scale extremely well, then to find as many different places ass possible to use it. If the student can master it, HEAR IT, and learn to use it with many different chord types, seemingly difficult chord progressions can be simplified and an expanded harmonic/melodic vocabulary will result.
BACKGROUND: Natural minor, harmonic minor, melodic minor as taught in traditional and jazz theory.
THEORY: Modes of the melodic minor, how to practice diatonic seventh chords, how to practice melodic minor scales with a passing tone, application of melodic minor scales to various chord types, summary of melodic minor chord/scale relationships, a reminder about altered domininant chords.
WORKOUTS: Melodic minor workouts, how to practice workouts, minor chords, half-dim. chords, dom. 13th chords, alt. dom. chords, maj 7th #5 chords.
APPLYING MELODIC MINOR SCALES TO MINOR II-V-I, and V-I PROGRESSIONS:
The harmonic minor scale over minor II-V-Is, the melodic minor scale over minor
II-V-Is, the melodic minor with a passing tone scale applied to minor II-V-Is,
melodic minor with a passing tone scale applied to dominant 13th, susb9 chords.
"The Jazz Theory Workbook" is a primer in jazz theory, intended to prepare the student for the serious study of jazz improvisation, arrangement and composition. The focus is on the harmonic language of jazz, especially the harmonic practices which coalesced in the bebop and post bop periods of the 1940's and 1950's when bebop and standard tunes formed the core of the mainstream repertoire. The harmonic language of that period is still the framework on which contemporary jazz musicians build. Included are many musical examples and written assignments for practice in the theoretical skills. Appropriate exercises are provided to reinforce theoretical concepts by immediate application to the instrument.
Completely revised and enlarged edition! The book is divided into three main sections: Melody, Rhythm, and Harmony. Dozens of musical examples as well as compositions by Bill Evans (pianist), Jaco Pastorious, Jim Hall, Ralph Towner, Steve Swallow, Pat Metheny, Michael Gibbs plus others are included in order to illustrate specific compositional techinques. An extensive chapter on The Compositional Process features interviews with jazz composers Bill Evans, Carla Bley, George Russell, Horace Silver, Pat Metheny, Chick Corea, Lyle Mays, Anthony Davis, Herbie Hancock, Richie Beirach, Ralph Towner, among others.
"Gil does a service here on a high level. The concepts he offers impose no style and thus, can be used and extended to enrich any musicians vocabulary. The rest is up to you." (Bill Evans)
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