LEADER 05548nam 2200733Ia 450 001 9910810924903321 005 20240501023745.0 010 $a1-135-21527-8 010 $a1-282-31548-X 010 $a9786612315480 010 $a0-203-87347-5 035 $a(CKB)1000000000799931 035 $a(EBL)452320 035 $a(OCoLC)466444256 035 $a(SSID)ssj0000340671 035 $a(PQKBManifestationID)12151135 035 $a(PQKBTitleCode)TC0000340671 035 $a(PQKBWorkID)10388123 035 $a(PQKB)10169041 035 $a(MiAaPQ)EBC452320 035 $a(MiAaPQ)EBC5293293 035 $a(Au-PeEL)EBL452320 035 $a(CaPaEBR)ebr10341966 035 $a(CaONFJC)MIL231548 035 $a(Au-PeEL)EBL5293293 035 $a(CaONFJC)MIL503913 035 $a(OCoLC)956663655 035 $a(EXLCZ)991000000000799931 100 $a20090304d2009 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMusic theory through improvisation $ea new approach to musicianship training /$fEdward Sarath 205 $a1st ed. 210 $aNew York ;$aAbingdon, Oxon $cRoutledge$d2009 215 $a1 online resource (386 p.) 300 $aDescription based upon print version of record. 311 $a0-415-99725-9 311 $a0-415-80453-1 320 $aIncludes bibliographical references and index. 327 $aCover; 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 327 $aTransparency, 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 Improvisation Practice Frameworks 327 $aRhythmic 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 327 $aKeyboard 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 327 $aScale 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 327 $aAnalysis of Bach Chorales 330 $aDesigned 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 606 $aMusic theory 606 $aJazz$xInstruction and study 606 $aImprovisation (Music) 615 0$aMusic theory. 615 0$aJazz$xInstruction and study. 615 0$aImprovisation (Music) 676 $a781 700 $aSarath$b Ed$01606505 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910810924903321 996 $aMusic theory through improvisation$94009563 997 $aUNINA