By Robert Rawlins, Nor Eddine Bahha
Jazzology: The Encyclopedia of Jazz concept for All Musicians (Jazz Instruction)
By Robert Rawlins, Nor Eddine Bahha
• Publisher: Hal Leonard
• Number Of Pages: 266
• Publication Date: 2005-07-01
• ISBN-10 / ASIN: 0634086782
• ISBN-13 / EAN: 9780634086786
A special publication encompassing a large scope of jazz subject matters, for newbies and execs of any tool. A three-pronged procedure used to be anticipated with the construction of this finished source: as an encyclopedia for prepared reference, as a radical technique for the coed, and as a workbook for the school room, whole with considerable workouts and conceptual dialogue. contains the fundamentals of durations, jazz concord, scales and modes, ii-V-I cadences. For concord, it covers: harmonic research, piano voicings and voice prime; modulations and modal interchange, and reharmonization. For functionality, it takes avid gamers via: jazz piano comping, jazz music types, arranging innovations, improvisation, conventional jazz basics, perform ideas, and masses extra! purchaser reports on amazon.com for Jazzology standard a gleaming five stars! here's a common reader remark: "The book's method is so intuitive, it nearly leads you through the hand into the realm of jazz. definitely jazz is freedom of expression, yet you should understand what you're doing and this e-book is the device for that ... (it) might be regular in each highschool with a jazz software and each university lab band."
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Extra resources for Jazzology: The Encyclopedia of Jazz Theory for All Musicians (Jazz Instruction)
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For instanc e, in the key of C, A7 is still called V7Ii i even if it is not followed by Dm7 but by anoth er chord in the key. Finally, not every domin ant chord that can occur in a given key other than V is necessarily a secondary dominant. For example, IV7 (F7) in the key of C is not a secondary domin ant chord , because its reso lution by a descending 5th would lead to bVII (Bbmaj 7), which is not a diatonic chord in C major. There are other po ssible analyses for IV7 that we' ll see in Chapters 7 and 8.
It is essential that jazz musicians be able to spot ii-V-I cadences instantly, as they are ubiquitous in jazz harmony and central to the process of improvising over changes. Familiarity with this very common chord progression will allow one to look at a set of chord changes and perceive the overall tonal structure. This will give a better idea 42 JAZZOLOGY of how the tun e is put together , and ho w gro up s of chord s relate to one anot her , instead of simply look ing at and trying to reme mber a serie s of ind ividua l chord s.