A Musician’s Guide to Free Jazz ImprovisationIn Beyond Time and Changes, acclaimed jazz trombonist, pianist, composer, arranger, teacher and author Hal Crook offers a methodology to guide the advancing improviser through the un-chartered musical territory known as free jazz.Beyond Time and Changes shows improvisers how to prepare for soloing and comping in free settings by exploring the issues of musical accuracy, musicality and continuity (motive development) on form, and then reveals how to create structure and order within free settings by using the known to navigate the unknown.With the aid of lucid explanations, concise musical examples, practical exercises, solo transcriptions and a compelling demonstration CD featuring 17 performances by the author and a stellar rhythm section, Beyond Time and Changes solves the mystery long associated with how to make free improvisation make sense—without losing your freedom in the process.´´Hal Crook is perhaps the freest and most technically adept and imaginative trombonist we have, and Beyond Time and Changes is a sure winner. Highly recommended.” (Bob Brookmeyer)´´Beyond Time and Changes says it all. Go for it, Hal! I only have a few idols, and you are all of them!” (George Garzone - Saxophonist with ´´The Fringe”)´´Beyond Time and Changes is the ultimate literature on improvisation. The demo CD is proof positive; Hal Crook is the chief of improvisation.” (Frank Mobus - Guitarist and leader of ´´Der Rote Bereich”)
Once described by the Guardian as ´one of the greatest voices of her generation´, Eva Cassidy had a diverse reprtoire of jazz blues folk and pop music. She remained virtually unknown in her lifetime but has been afforded great critical and popular acclaim following the posthumous release of her vocal recordings.This songbook collects some of her most famous and best-loved arrangements for guitar and voice. Contains tablture, standard notation, chords and lyrics.
It´s the musical find of the century! A previously unknown Gershwin work, brought to light with the help of Michael Feinstein, who worked closely with Ira Gershwin from 1977 to 1983. This engaging character piece, with its fresh harmonies, sophisticated jazz rhythms and unmistakable signature style is pure Gershwin from beginning to end. The work is relatively short, making it especially suitable for programming as an encore, and is also a perfect choice for your next pops concert.
DescriptionPiano and Vocal arrangements of every song from Eva Cassidy´s posthumous anthology album, Songbird, complete with full lyrics and guitar chord boxes. Classified in genres ranging from Jazz to traditional R & B, Eva Cassidy effortlessly blended styles with her rich, natural voice creating sublime beautiful songs. This album contains a fantastic mix and exemplifies her fantastic voice. Despite her sensitive and soulful voice she remained largely unknown outside Washington D.C., until her influence was tragically cut short by melanoma in November 1996 at the age of 33. Songbird has become Eva Cassidy´s legacy, featuring familiar traditional songs: including Wade In The Water, Wayfaring Stranger and her signature tune, a unique arrangement of Over the Rainbow.SonglistAutumn LeavesFields Of GoldI Know You By HeartOh, Had I A Golden ThreadOver The RainbowPeople Get ReadySongbirdTime Is A HealerWade In The WaterWayfaring Stranger
DescriptionAmazing Phrasing Amazing Phrasing is for any keyboard player interested in learning how to improvise and how to improve their creative phrasing. Songlist[Unknown]Accents Within PhrasesAn Attitude Of ConfidenceArpeggiosBaladBe TastefulBossa NovaBuilding A SoloChromatic Passing ChordsChromatic PickupsChromatic Side-slippingClassical (Theme And Variations)Combo VoicingsCommon TonesCrazy LyricsExtra ChordsHarmonizing With Chord TonesHarmonyJazz WaltzLaying BackLeft-hand RhythmsLicks, Riffs, And RunsMelodic EmbellishmentMelodyPlaying For DancersPlaying OutsideQuartal Chord VoiingsRhythm And StyleRhythmic DisplacementRockSalsa/Afro-cubanScale AccentsSlow And BluesySolo VoicingsSoloing MelodicallySpread ChordsSus ChordSwingThe Other Blues ScaleThe Bass LineThe Blues ScaleThe Dorian ScaleThe I-vi-ii-v ProgressionThe Major ScaleThe Mixolydian ScaleThe Scale/Chord ApproachThe Swing ThingThirds And SixthsTroubleshootingUp-tempo Jazz And BebopWhen Adding Extensions Doesn´t WorkWorking With SingersWorking Without A BassistYour First Guitar Rag
Easy Pieces in Popular StylesInstrument : cello and pianoNombre de Pages : 52Easy pieces in popular styles such as jazz, blues, rock ´n´ roll and reggae. This collection contains all the pieces formerly contained in Microjazz for Starters, Cello, plus some brand new pieces too. Microjazz is the world famous series of pieces based on classical technique yet using popular contemporary styles such as jazz, blues, rock ´n´ roll and funk. Microjazz helps you develop musicianship and technique through the familiar sounds and styles of popular music. It is this unique combination of modern genres with traditional technique that has made Microjazz an international success with teachers and players, and one of the most widely used educational series ever published. New technology brings Microjazz alive and adds an exciting interactive dimension to practice and performance. Based on classical technique, Microjazz is great way to introduce rhythm and develop co-ordination skills whilst being fun for all ages and standards. A great motivator for the reluctant student, the pieces are equally effective on acoustic or electronic instruments. Content : An Elusive Thought - At Rest - Blues for Gerry - Changes - Dawn in the City - Inter-city Stomp - Into the Unknown - Knife Edge - Outdoors - Rough Justice - Scoring Highly - Seascape - Simple But True - Song without a Title - Still Day - String Boogie - The Huntsman - Warm Day - With a Swagger
El BororoMambo FunkThis mambo-inspired piece of music is dedicated with great affection to Juan Carlos Ledón aka El Bororo, an outstanding Cuban saxophonist, who presently works as a teacher at Belén Jesuit Preparatory School in Miami / USA. The genre and musical style known as mambo was created by the Cuban musician Dámaso Pérez Prado (1917 - 1989). However, it was in Mexico, the country this well-known composer emigrated to, where his interpretations first became famous. This novel style contributed a new form of expression to the already existing rhythmic concepts characterizing Cuban music. The accentuation of the strong beats by employing the cowbell, or cencerro, as the defining instrument, in combination with syncopated figures being executed by saxophones and brass instruments generated a rhythmic performance hitherto unknown in Cuban music. According to Pérez Prado himself, mambo is a syncopated combination of a rhythmic pattern being performed by the saxophones to which any melody can be added. This is exactly what happens in part A of this composition, where the first alto sax plays the melody while the others perform the off-beats. It is primarily the baritone that plays a syncopated rhythm in addition to the rhythmic-harmonic basis of the instrumentation. The correct execution of the notated accents on the strong beats played by the brass and saxophone sections reinforces the clear definition of this style, as is the case with such classic themes like Mambo No. 5 and Qué rico el mambo, which are both compositions by the originator of this genre. Non-musical tools that became integral parts of mambo, such as the characteristic scream let out to end an 8-bar melody, are also made use of in this composition (example: measures 44 through 51). The influence of jazz standards makes itself heavily felt in the piece. El Bororo. This does not only become obvious in the solo performed by the saxophones in part C but also in the riff-like effect, which is a common feature of jazz themes. In this piece, the just mentioned effect can be heard in measures 19 through 26, the only difference being that this riff is here being accompanied by the bass drum executing the first and third beats while the cowbell, or cencerro, is strictly keeping time. The influence of jazz also becomes evident during the improvised solos; they may be executed ad libitum and finally close with a piano solo, which is accompanied by a riff played by the saxophones, executing the second and fourth in order to resume the initial theme to finally conclude the piece. As is the case with any music based on a particular musical style, the actual interpretation of El Bororo should be preceded by the study of representative recordings. With regard to this composition, I recommend listening to the original music created by the King of Mambo.