Von seinen musikalischen Ursprüngen her besitzt Jazz eine Nähe zur christlich-religiösen Praxis. Entsprechend haben Jazzmusiker immer wieder spirituelle Aspekte und persönliche Glaubenserfahrungen mit ihrer Musik verbunden. Doch erst seit einigen Jahren werden Kirchen auch hierzulande zu neuen Orten des Jazz. Vor dem Hintergrund dieser Entwicklung zielen die einzelnen Beiträge darauf, das Besondere dieser musikalische Praxis zu erkunden und zu untersuchen, inwiefern Jazz und Kirche einander inspirieren. Wie beeinflussen Kirchenräume die Klangsprache des Jazz? Welche theologischen Anregungen stecken in dieser musikalischen Praxis, die Improvisation, Interaktion und Performance betont? Und was kann der Gottesdienst vom Jazz lernen? [Jazz and Church. Philosophical, Theological and Musicological Approaches] The musical roots of Jazz have a certain closeness to Christian religious practice. Accordingly jazz musicians have repeatedly integrated spiritual aspects and personal experiences of faith into their music. But only in recent years church buildings in this country have become new places of jazz. Against the background of this development the contributions of this volume intend to explore the specific features of this musical practice and to analyse to what extent jazz and church inspire each other. How do the interiors of churches influence the sonic language of jazz? What kind of theological stimuli can a musical practice possibly provide which emphasizes improvisation, interaction, and performance? And what can worship learn from jazz?
This is a primer in jazz theory, intended to prepare the student for the serious study of jazz improvisation, arrangement and composition. The focus is on the harmonic language of jazz, especially the harmonic practices which coalesced in the bebop and post bop periods of the 1940´s and 1950´s when bebop and standard tunes formed the core of the mainstream repertoire. The harmonic language of that period is still the framework on which contemporary jazz musicians build. Included are many musical examples and written assignments for practice in the theoretical skills. Appropriate exercises are provided to reinforce theoretical concepts by immediate application to the instrument.
A new and exciting way for clarinet players to learn and practice basic jazz style. This book/CD set features 15 solo etudes based on blues and standard chord progressions, demonstrated by Dan Block on clarinet along with a world-class rhythm section: Mike LeDonne, piano; Peter Washington, bass; and Kenny Washington, drums. The recording features two separate versions of each etude: one with the soloist and rhythm section and one with the rhythm section only. See and hear how the soloist phrases, play with or without the soloist on the CD and learn basic jazz style first-hand.
The goal of this play-along series is to provide the jazz drummer with material that will be challenging, informative, and musical. It features jazz tunes based on standard jazz repertoire. While there is no written melody, there are a number of melodies that one can sing over the existing chord changes. These tunes give the player a chance to practice comping, soloing, trading fours and eights, working on ride cymbal sound, etc.
No matter what instrument you play, chords are an important part of your music. Chord Progressions: Theory and Practice breaks down how theyre important and gives you all the information you need to create chords and use them in your own music. Start off by learning how to build simple major chords and eventually move on to more complex chords such as ninth, eleventh, thirteenth, and altered chords. Also learn to compose your own progressions using techniques such as passing chords, neighbor chords, pedal tones, and voice leading. Finally, learn how chord progressions are used in various styles of music---from early jazz to the music of today. This book is ideal for pianists, but it can be used successfully by any musician familiar with the grand staff. After completing this book, you will have gained a clear understanding of chords and progressions in a variety of musical styles.
Did you beep when you should have bopped? Find a saxophone duet partner and learn to play jazz with more confidence. Includes 30 jazz rhythm challenges, eight practice duets, and nine extended performance duets at the intermediate level. The E-flat parts are printed in the first half of the book and the Bb parts are printed in the second half - just mix and match! All selections are recorded on the play-along CD by saxophone greats Bruce Eskovitz and Ernie Watts.
Jazz harmony, as taught at the Berklee College of Music is based on the so called Chord Scale Theory. This method-further developed-is now available as a comprehensive textbook. Emerged from practice and designed for practical use, it provides theoretical knowledge necessary for improvisation, composing, and arranging.
Jazz recording artist, pianist, and educator Fred Hughes takes you step-by-step though the process of efficiently playing chords with the left hand only. Learn jazz vocabulary along with practice and memorization techniques. The Jazz Pianist: Left Hand Voicings and Chord Theory begins with triads and proceeds through thirteenth chords and teaches the practical application of chords and chord progressions. Topics include: how to perform all chords and variations with little effort, how to provide the harmonic structure and foundation with the left hand, the theory of chord construction, the foundations of chord memorization, and how to utilize practice patterns for mastery. Learn these standards: ´´Have You Met Miss Jones,´´ ´´All the Things You Are,´´ ´´The Days of Wine and Roses,´´ and ´´Body and Soul.´´ Includes play-along and demonstration CD with bass and drums. An essential book for every jazz pianist!