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Record Nr. |
UNINA9910810924903321 |
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Autore |
Sarath Ed |
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Titolo |
Music theory through improvisation : a new approach to musicianship training / / Edward Sarath |
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Pubbl/distr/stampa |
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New York ; ; Abingdon, Oxon, : Routledge, 2009 |
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ISBN |
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1-135-21527-8 |
1-282-31548-X |
9786612315480 |
0-203-87347-5 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (386 p.) |
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Disciplina |
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Soggetti |
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Music theory |
Jazz - Instruction and study |
Improvisation (Music) |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Cover; Music Theory Through Improvisation; Title Page; Copyright Page; Table of Contents; Preface; Acknowledgments; Chapter 1 Improvisation Across Boundaries: A Trans-stylistic Approach; Getting Started; Non-syntactic Catalysts; Tension and Release, Variety and Unity, Motion and Stability; Melody; Ostinato, Motive, Sequence; Antecedent-consequent Structure; Melodic Contour; Pitch-based Melodic Improvising; Pulse-based Improvising; Form-based Improvising; Graphic Formal Analysis; The Inner Dimensions of Improvisation; Silence; Solo Pieces; Free or Open Collective Improvising; Clarity of Ideas |
Transparency, Laying Out, and SoloingEndings; Culminating Exercises; Concluding Thoughts: Template for Artistic Development; Listening Resources; Further Reading; Chapter 2 Music Fundamentals; Staff, Clefs, Scales; Key Signatures; Major Scale; Minor Scale; Intervals; Modes; Pentatonic Scales; Aural Transposition; Melodic Cells; Aural Transposition with Pentatonic Scales; Chapter 3 Modality and Rhythm I: Time Feels; Importance of Aural Immersion; Core Elements of Time Feels; Further Aural Immersion Strategies; Modal Etude 1; Two-player |
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Improvisation Practice Frameworks |
Rhythmic Templates for Time-feel Grooves and Melodic ImprovisingListening Resources: Time-feel-based Music with African and African-American Roots; Suggested Recordings; Further Reading; Chapter 4 Modality and Rhythm II: Small Group Framework; Call and Response; Strategies for Generating New Ideas; Mode-rhythmic Formats; Minor Blues; Indian Rhythmic Practices; Small Group Ensemble Performance and Project Format; Chapter 5 Basic Tonal Materials: Triads and Seventh Chords; Triads; Seventh Chords; Two Roman Numeral Systems; Inversions; Close Position and Open Position or Spread Voicings |
Keyboard RealizationFortification Exercises: Aural and Analytical; Modes; Modemaster Drills; Chapter 6 Harmonic Functions; Tonic-Subdominant-Dominant Functions; The Dominant Seventh Chord; Cadence; Keyboard Application; Improvising on the II-V-I Progression; Integrating Diverse Forms of Musical Knowledge; Chord-scale Analysis; II-V-I in Minor; Writing and Analysis Exercises; Voice Leading; Idiomatic Progressions; Turnarounds; Free-tonicization Strategies Level I; Chapter 7 Swing: Global Rhythmic Gateway; Elements of Swing; Swing Articulation; Blues; Transcription Format |
Scale and Chord Exercises for Cultivating the Swing ConceptChapter 8 Melodic Line Construction and Harmonization; Composing Melodic Lines on Chord Changes; Diatonic Target Notes; Problems with the Root of the Major Seventh Chord in the Melody; Melodic Analysis; Guide Tones; Written Application; Incorporating Guide Tones in Melodic Lines; Two Approaches to Composing Melodies on Chord Changes; Harmonizing Melodic Lines; Top-down Harmonization at the Keyboard; Harmonic Rhythm; Small Group Application; Chapter 9 Chord Inversion Present and Past; Chord Inversion in Jazz; Non-harmonic Tones |
Analysis of Bach Chorales |
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Sommario/riassunto |
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Designed for Music Theory courses, Music Theory Through Improvisation presents a unique approach to basic theory and musicianship training that examines the study of traditional theory through the art of improvisation. The book follows the same general progression of diatonic to non-diatonic harmony in conventional approaches, but integrates improvisation, composition, keyboard harmony, analysis, and rhythm. Conventional approaches to basic musicianship have largely been oriented toward study of common practice harmony from the Euroclassical tradition, with a heavy emphasis in four |
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