MARC Record from marc_columbia

LEADER: 07772cam a2200505 a 4500
001 12053165
005 20160823125910.0
008 060605s2007 njug b 001 0 eng
010 $a 2006018669
020 $a0131776398$q(alk. paper)
020 $a9780131776395$q(alk. paper)
035 $a(OCoLC)ocm69992501
035 $a(OCoLC)69992501
035 $a(NNC)12053165
040 $aDLC$beng$cDLC$dBAKER$dYDXCP$dC#P$dBTCTA$dIXA$dCDN$dGEBAY$dOCLCQ$dBDX$dOCLCF$dICO$dOCLCQ
050 00 $aMT68$b.R37 2007
082 00 $a781.65/136$222
100 1 $aReeves, Scott D.
245 10 $aCreative jazz improvisation /$cScott D. Reeves.
250 $a4th ed.
260 $aUpper Saddle River, N.J. :$bPearson Prentice Hall,$c©2007.
300 $axvii, 362 pages :$bmusic ;$c28 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references and index.
505 0 $aPreface -- 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.
505 0 $aTheory/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.
505 0 $aTheory/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.
505 0 $aCh. 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.
505 0 $aImprovising 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.
505 0 $aGaining 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."
505 0 $aCh. 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."
505 0 $aCh. 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.
650 0 $aJazz$xInstruction and study.
650 0 $aImprovisation (Music)
650 0 $aMusical instruments$vStudies and exercises (Jazz)
650 7 $aImprovisation (Music)$2fast$0(OCoLC)fst00968306
650 7 $aJazz$xInstruction and study.$2fast$0(OCoLC)fst00982179
650 7 $aMusical instruments.$2fast$0(OCoLC)fst01030728
650 07 $aJazz.$2swd
650 07 $aImprovisation.$2swd
655 7 $aStudies and exercises$vJazz.$2fast$0(OCoLC)fst01423894
856 41 $3Table of contents$uhttp://catdir.loc.gov/catdir/toc/ecip0615/2006018669.html
852 00 $bmus$hMT68$i.R37 2007