Full Description
In Chasin' the Sound: Learning Jazz Improvisation through Historical Models, authors Brian Levy and Keith Waters use solos by famous jazz musicians to outline a melodic and rhythmic vocabulary of jazz improvisation. In contrast to mainstream approaches based on rote memorization and generic chord/scale pedagogies, Chasin' the Sound encourages hands-on learning with activities that highlight the intangible yet key aesthetics of sound, groove, and feel. By studying jazz fundamentals alongside well-known examples of those fundamentals in practice, students and instructors will gain a broader and more meaningful understanding of the art of improvisation.
In addition to exploring the mechanics of what to play, Levy and Waters offer ideas on how to play the essential roles of timekeeping, comping, and soloing, and how to develop routines within these roles. Supported by classroom-tested exercises and hundreds of original annotated music examples, students will learn the core rhythmic and melodic tenets of jazz while studying and playing along with the improvised solos and accompaniments of Charlie Parker, Louis Armstrong, Lester Young, Sarah Vaughan, Bud Powell, Clifford Brown, Wes Montgomery, Miles Davis, Red Garland, Max Roach, Philly Joe Jones, Paul Chambers, John Coltrane, and Sonny Rollins, among many others. Throughout, Levy and Waters show that great soloists and accompanists do not in fact have an unlimited vocabulary but rather use limited melodic and rhythmic resources as modules for infinite recombination.
Written for all experience levels, Chasin' the Sound is a substantial workout for students and instructors to build chops and knowledge along the way.
Contents
How to Use this Book
About the Companion Website
Preface
Acknowledgements
Introduction
Chapter 1: Pulse and Syncopation
Chapter 2: Horizontal and Vertical Approaches to Improvisation
Chapter 3: Introduction to Charlie Parker: Rhythm and Pitch
Chapter 4: Rhythmic Shapes
Chapter 5: "Groovin' High": The Upsurge
Chapter 6: Descending Pathways and Underlying Thirds
Chapter 7: Techniques for Connecting and Expanding Melodies
Chapter 8: Cross Rhythms
Chapter 9: "Klaunstance" and "Ko Ko": the Vocabulary of Bebop
Chapter 10: Vertical Approaches: Harmonic Spaces
Chapter 11: Flexibility of Harmonic Rhythm
Chapter 12: Hard Bop Approaches
Chapter 13: Soloing with Comping Rhythms
Chapter 14 (Online): Practical Applications
Chapter 15 (Online): Learning Tunes, Harmonic Progressions, and Lines in 12 Transpositions
Chapter 16 (Online): Other Bop Players
Chapter 17 (Online): Rhythm Changes Routines
Chapter 18 (Online): John Coltrane and Harmonic Third Relations
Index
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