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
http://library.link/vocab/creatorName
Reeves, Scott D
Illustrations
music
Index
index present
LC call number
MT68
LC item number
.R37 2007
Literary form
non fiction
Nature of contents
bibliography
http://library.link/vocab/subjectName
  • Jazz
  • Improvisation (Music)
  • Musical instruments
  • Improvisation (Music)
  • Jazz
  • Musical instruments
  • Jazz
  • Improvisation
Label
Creative jazz improvisation, Scott D. Reeves
Instantiates
Publication
Bibliography note
Includes bibliographical references and index
Carrier category
volume
Carrier category code
  • nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • Preface -- PART 1: THE ART OF IMPROVISATION -- Ch. 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 -- Ch. 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 -- Ch. 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 -- Ch. 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" -- Ch. 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" -- Ch. 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" -- Ch. 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" -- Ch. 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" -- Ch. 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
  • Ch. 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" -- Ch. 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 -- Gaining facility with Coltrane substitutions
  • Improvising on jazz compositions based on Coltrane substitutions -- John Coltrane's improvised solo on "Giant Steps" -- Ch. 13: Free forms -- Gaining facility with free improvisation -- Improvising on jazz compositions based on free forms -- Ornette Coleman's improvised solo on "Congeniality" -- PART 4: ALTERED CHORDS, DIMINISHED MODES, WHOLE-TONE AND HARMONIC MINOR SCALES, AND MELODIC MODES -- Ch. 14: Diminished scales, diminished and altered dominant 7th chords -- Theory/ear exercises -- Gaining facility with diminished scales -- Improvising on jazz compositions based on altered dominant or fully-diminished chords -- J.J. Johnson's improvised solo on "Aquarius" -- Ch. 15: Whole-tone scales and augmented chords -- Theory/ear exercises
  • Gaining facility with whole-tone scales -- Improvising on jazz compositions based on dominant chords or whole-tone scales -- Thelonious Monk's improvised solo on "Evidence" -- Ch. 16: Harmonic and melodic minor scales, minor (major 7th) chords -- Theory/ear exercises -- Gaining facility with melodic minor scales and minor (major 7th) chords -- Improvising on jazz compositions based on minor (major 7th) chords -- Sonny Rollins's improvised solo on "Airegin" -- Ch. 17: Locrian ♯2 and altered scales, and minor iiø7-V7-i progressions -- Theory/ear exercises -- Gaining facility with minor iiø7-V7-i progressions -- Improvising on jazz compositions based on half-diminished 7th and altered dominant chords -- Bill Evans's improvised solo on "The Autumn Leaves."
  • Ch. 18: Lydian augmented and Lydian dominant scales, and major 7th ♯5 and dominant 9th ♯11 chords -- Theory/ear exercises -- Gaining facility with Lydian augmented and Lydian dominant scales, and major 7th ♯5 and dominant 9th ♯11 chords -- Improvising on jazz compositions based on dominant 9th ♯11 chords or major 7th ♯5 chords -- Sonny Rollins's improvised solo on "Blue Seven" -- PART 5: PENTATONIC SCALES AND INTERVALLIC IMPROVISATION -- Ch. 19: Pentatonic scales -- Theory/ear exercises -- Gaining facility with major pentatonic scales -- Gaining facility with minor and dominant pentatonic scales -- Improvising on jazz compositions using pentatonic scales -- Woody Shaw's improvised solo on "Child's Dance."
  • Ch. 20: Four-note groupings derived from pentatonic scales -- Gaining facility with four-note groupings -- Improvising on jazz compositions using four-note groupings -- Chick Corea's improvised solo on "Matrix" -- Ch. 21: Intervallic improvisation -- Gaining facility with intervallic improvisation -- Improvising on jazz compositions using chromatic intervals -- Miles Davis's improvised solo on "Petits Machins" -- Appendix -- Intervals -- Modes in the major scale -- Modes in the melodic minor scale -- Diatonic 7th chords in major keys -- Diatonic 7th chords in minor keys -- Chords and their relationship to scales -- Upper structure or "slash" chords -- Resource list
Dimensions
28 cm
Edition
4th ed.
Extent
xvii, 362 pages
Isbn
9780131776395
Lccn
2006018669
Media category
unmediated
Media MARC source
rdamedia
Media type code
  • n
Other control number
9780131776395
Other physical details
music
System control number
(OCoLC)69992501
Label
Creative jazz improvisation, Scott D. Reeves
Publication
Bibliography note
Includes bibliographical references and index
Carrier category
volume
Carrier category code
  • nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • Preface -- PART 1: THE ART OF IMPROVISATION -- Ch. 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 -- Ch. 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 -- Ch. 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 -- Ch. 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" -- Ch. 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" -- Ch. 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" -- Ch. 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" -- Ch. 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" -- Ch. 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
  • Ch. 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" -- Ch. 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 -- Gaining facility with Coltrane substitutions
  • Improvising on jazz compositions based on Coltrane substitutions -- John Coltrane's improvised solo on "Giant Steps" -- Ch. 13: Free forms -- Gaining facility with free improvisation -- Improvising on jazz compositions based on free forms -- Ornette Coleman's improvised solo on "Congeniality" -- PART 4: ALTERED CHORDS, DIMINISHED MODES, WHOLE-TONE AND HARMONIC MINOR SCALES, AND MELODIC MODES -- Ch. 14: Diminished scales, diminished and altered dominant 7th chords -- Theory/ear exercises -- Gaining facility with diminished scales -- Improvising on jazz compositions based on altered dominant or fully-diminished chords -- J.J. Johnson's improvised solo on "Aquarius" -- Ch. 15: Whole-tone scales and augmented chords -- Theory/ear exercises
  • Gaining facility with whole-tone scales -- Improvising on jazz compositions based on dominant chords or whole-tone scales -- Thelonious Monk's improvised solo on "Evidence" -- Ch. 16: Harmonic and melodic minor scales, minor (major 7th) chords -- Theory/ear exercises -- Gaining facility with melodic minor scales and minor (major 7th) chords -- Improvising on jazz compositions based on minor (major 7th) chords -- Sonny Rollins's improvised solo on "Airegin" -- Ch. 17: Locrian ♯2 and altered scales, and minor iiø7-V7-i progressions -- Theory/ear exercises -- Gaining facility with minor iiø7-V7-i progressions -- Improvising on jazz compositions based on half-diminished 7th and altered dominant chords -- Bill Evans's improvised solo on "The Autumn Leaves."
  • Ch. 18: Lydian augmented and Lydian dominant scales, and major 7th ♯5 and dominant 9th ♯11 chords -- Theory/ear exercises -- Gaining facility with Lydian augmented and Lydian dominant scales, and major 7th ♯5 and dominant 9th ♯11 chords -- Improvising on jazz compositions based on dominant 9th ♯11 chords or major 7th ♯5 chords -- Sonny Rollins's improvised solo on "Blue Seven" -- PART 5: PENTATONIC SCALES AND INTERVALLIC IMPROVISATION -- Ch. 19: Pentatonic scales -- Theory/ear exercises -- Gaining facility with major pentatonic scales -- Gaining facility with minor and dominant pentatonic scales -- Improvising on jazz compositions using pentatonic scales -- Woody Shaw's improvised solo on "Child's Dance."
  • Ch. 20: Four-note groupings derived from pentatonic scales -- Gaining facility with four-note groupings -- Improvising on jazz compositions using four-note groupings -- Chick Corea's improvised solo on "Matrix" -- Ch. 21: Intervallic improvisation -- Gaining facility with intervallic improvisation -- Improvising on jazz compositions using chromatic intervals -- Miles Davis's improvised solo on "Petits Machins" -- Appendix -- Intervals -- Modes in the major scale -- Modes in the melodic minor scale -- Diatonic 7th chords in major keys -- Diatonic 7th chords in minor keys -- Chords and their relationship to scales -- Upper structure or "slash" chords -- Resource list
Dimensions
28 cm
Edition
4th ed.
Extent
xvii, 362 pages
Isbn
9780131776395
Lccn
2006018669
Media category
unmediated
Media MARC source
rdamedia
Media type code
  • n
Other control number
9780131776395
Other physical details
music
System control number
(OCoLC)69992501

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