By Chris Tedesco. This edition: Paperback. Instructional. Jazz Method. Conductor...(+)
By Chris Tedesco. This
edition: Paperback.
Instructional. Jazz
Method. Conductor's score
with CD. Text Language:
English. 104 pages.
Published by Santorella
Publications
By Daniel Anker, Carol Ponder and Donna Santman. Preface by Eric Booth. This edi...(+)
By Daniel Anker, Carol
Ponder and Donna Santman.
Preface by Eric Booth.
This edition: Book,
Listening CD and
Teacher's DVD. Textbook -
General. Instructional
Book, CD and DVD. 104
pages. Published by
Alfred Publishing.
By Valeaira Luppens and Greg Foreman. Book; CD; Classroom/Pre-School; General Mu...(+)
By Valeaira Luppens and
Greg Foreman. Book; CD;
Classroom/Pre-School;
General Music and
Classroom Publications;
Other Classroom. 140
pages. Published by
Alfred Music
A beginning/intermediate guide to hearing the chord changes. By Roberta Radley. ...(+)
A beginning/intermediate
guide to hearing the
chord changes. By Roberta
Radley. Instructional.
Level:
beginning/intermediate.
Book and 2 CDs. 168
pages. Published by Sher
Music Company.
SKU: M7.AHW-4019 Compilation of techniques for composition and jazz im...(+)
SKU: M7.AHW-4019
Compilation of
techniques for
composition and jazz
improvisation.
Composed by Denis
Diblasio. Sheet music.
289 pages. Charles Colin
Corp. #AHW 4019.
Published by Charles
Colin Corp.
(M7.AHW-4019).
English.
If
beginning players learn
the twelve major scales,
twelve jazz melodic minor
scales, two whole tone
scales and three
diminished scales, they
will be able to negotiate
more than 95% of the
chords that will be
coming their way. Many
corresponding scales that
fit chords are simply
modes of one the above
scales. A major scale
gives seven modes that
fit seven different
chords. Times that by
twelve and 84 chords can
be covered by simply
knowing the twelve major
scales. It can sound
overwhelming, not to
worry, after all music is
about what you have to
say not how many musical
nick-knacks you collect.
Jazz players of all eras
have looked for new
devices to experiment
with. Students are no
different. Once I have
given the foundation of
the above scales I let
students choose a sound
or device that they like.
This book is a result of
that teaching
perspective. It is also a
result of me being tired
of writing out the same
information year after
year and serves as a
compilation of many jazz
improvisation and
compositional techniques.
Learning them all is not
the goal. The book is
simply a collection and
includes brief
explanations and drills
to help utilize a new
sound into a player's
vocabulary. This text can
be used individually or
in a group of any
instrument combination. A
good number of the
chapters are organized
specifically for
this.