Book Description
This well-organized book combines all of the techniques that jazz musicians practice into a comprehensive whole. It covers practice patterns and scales in all keys and tempos, transcribing solos of master improvisers, learning the jazz repertoire, and playing with other musicians.
Chapter topics include how to practice, creatively improvise, and teach improvisation; major innovators; important contributors; women in jazz; chord substitutions; scales; and form. Each chapter also contains theory and ear exercises.
Applicable to any instrument–or a classroom of varied instruments–this book is for jazz students and professionals at all levels of proficiency.
Customer Reviews:
Very useful on many levels.......2005-04-05
I worked with the 2nd Edition and can't comment on recent revisions, but I have to disagree with a couple of points made by prior reviewers. Regarding the "obscurity" of the transcribed solos, while the Smithsonian Collection that Reeves draws about half his examples from is, to my knowledge, no longer available, most if not all of the selections are available on recordings under the various musicians' names. Many are considered jazz touchstones and even masterpieces (i.e. Armstrong's Hot Fives and Sevens, Sonny Rollins Saxophone Collossus). I'd go so far to say that anyone interested in the broad scope of jazz history will probably have a fair number of the examples already in their collection. The other point I'd take issue with is the suitability of the book for self-study. Perhaps it's not a book for an absolute beginner as a player or a listener of jazz, but for musicians with the ability to read and an understanding of jazz feel, the book provides a wealth of material to explore in ways beyond simply following the text sequentially as you might do in a class. As a teenager, I spent hours practicing scales up and down to build finger dexterity, hoping against hope that the benefits would show up in creative playing. It didn't happen - though I got pretty good at playing scales, up and down. As an adult I regard that kind of practicing as a waste of time and creativity-numbing. I now see scales as sets of notes with particular tendencies. Playing an entire scale end to end is just one expression of those tendencies (and a very overused one at that). While Reeves gives you the scales and you can run them if you want, much more interesting to me are the patterns and transcriptions that draw on the scale set, in some cases using just a few notes, in others, the full set. Jazz melody (and the pop melody of standards) is built from motives and phrases rather than from whole lengths of scales. For that matter, so is most tonal classical music. It makes sense to me that if your goal is to create that kind of melody as an improvisor or composer, it's more productive to study how the smaller building blocks of motives and phrases work in the context of the tonality expressed by that scale. If you're willing to slow down and stop thinking in terms of "here's a chord now how do I fit this entire scale into this measure" this book contains a lot of useful and fun ideas to work with. Another useful book is "Connections" by Gary Campbell, which focuses exclusively on creating motivic material from scales as an alternative to simply running them. Why 4 stars? Well, one thing I didn't care for is the close tie-in with the Abersold play-along recordings. I used them years ago and now feel you'll learn more by recording your own backgrounds. Like bass players who practice with a full drum machine, it's too easy to ride along on top of a full sounding background and not notice your rhythmic weaknesses. If you play non-chordal instruments it'll help your harmony by learning some keyboard or guitar and a metronome can still go a long way.
Right for class, wrong for self-learning.......2002-04-24
This is an excellent text when used in a classroom environment, accompanied with audio examples from a teacher and selected recordings, annotated throughout the text (mostly references to J. Aebersold's Play-Along series). The high-level classification of important jazz innovators in the "Whom to Listen To" section alone is worth a long read. Coverage of the scales, progressions, rhythms and structures is well organized. I can't think of a better single book on which to base class-room teaching of jazz improvisation. Any criticism that this book is "unoriginal" is misplaced; that's not the purpose of the book.
It is definitely less useful as a self-learning tool. For this purpose I believe there is no way around a few book-cd combos such as Ferrara's Jazz Piano and Harmony. Unless you want to spend time tracking down the recordings referred to by this Reeves book.
I don't buy the author's concept!.......2001-06-07
I am wondering why this book contains some jazz solo transcriptions of "hard-to-find" recordings. Does the author think light of listening to/learning from actual recording stuff? For example, Woody Shaw's "Child's Dance" is not a good example to learn pentatonic usages in jazz. Why did not the author use Coltrane's "Pursuance" or any McCoy's solo (available from CD market)? Where can students get the "odd-choice Woody Shaw" recording? Never heard of it. I do not buy the author's concept: learning from written solos without listening to recordings. It is stupid!
I do not know why, but there is no copyright agreement notice under the excerpted solo transcriptions. Does the publisher pay for the copyright? I would appreciate if the publisher could show the due-respect for jazz artists by listing the copyright publisher notice.
On the surface, this book seems like a well-organized book; however, most materials of this book text have been repeatedly discussed in the previous jazz books (usually available from Charles Colin, Jamey Aebersold, Hal Leonard, Sher Music, Down Beats articles, Alfred music, etc). In other words, it's well-organized but it's NOT original. For these reasons, I would give only two stars to this book.
An excellent primer for the intermediate to advanced player.......2001-03-02
This book is for any instrument, and the only qualification is that you must know how to play chromatically in two octaves on your instrument. Each chapter is organized around learning a single scale/mode, or on common progressions (ii-V-I) and song forms such as the blues, rhythm changes, and sectional forms. The emphasis is on building proficiency in playing all scales and modes in all twelve keys, and in building a vocabulary (also in all twelve keys) through the practice of licks and by learning the transcribed solos. I think anyone serious about learning jazz would benefit from this book; at a minimum, it will provide explanations of scales and their use for reference, and as a source of exercises and patterns for years to come.
Cool for fun improvers!.......2000-09-07
Really good, and i was reccomended this by a friend! Never hurts to try something new.
Product Description
CREATIVE RHYTHMIC CONCEPTS FOR JAZZ IMPROVISATION: Import From Ireland
Ronan Guilfoyle
Book & CD
$he book examines creative subdivision, metric modulation, and odd metres in depth. Each area is carefully explained and suggestions made as to how to develop one's own ideas in these areas. The following areas are also discussed:
Bulgarian music
South Indian Tala system
multiple subdivision
polyrhythms
odd metre polyrhythms
odd metre metric modulation
Each of these areas are laid out in a very clear manner, and the techniques are illustrated on a CD with over 50 examples, which can be used as a playalong recording for practice. The book comes with six original compositions that illustrate various rhythmic techniques.
Musicians' Comments
"Ronan Guilfoyle's book is quite possibly the best on the use of rhythm in improvised music.Rhythm is the least explored frontier of music, and this book goes well beyond existing books on the subject. Ronan's explanation of metric modulation is the clearest and best I've ever seen. Great book." - Mark Levine
"Ronan Guilfoyle's treatise is the first clear explanation of the more recent rhythmic developments in contemporary jazz. Most importantly, it provides specific exercises for practicing those techniques. It is concise and to the point. This is a must for artists trying to expand their rhythmic vocabulary." - David Liebman
" In a music marketplace awash with books about scales, voicings, and harmony, "Creative Rhythmic Concepts for Jazz Improvisation" is a necessary, welcome addition. Clearly written and laid out, it is a source book of rhythmic ideas from a variety of the world's cultures that will help every creative musician expand his or her improvisational world. Before you buy any other book on improvisation, get this one. It belongs on every improviser's music stand." - Jim McNeely
Book Description
Music and the Creative Spirit is a book of interviews with today's innovators in Jazz, Improvisation, and the Avant Garde, including Pat Metheny, Regina Carter, Fred Anderson, John Zorn, Joshua Redman, and others.
Customer Reviews:
Excellent resource.......2007-02-03
This book is very inspiring. The words of these phenomenol musicians speaks to inspiration and muse, cultural influences, and living in general. Most of the musicians here are jazz players, but their life experiences speak to improvisation, ideas, and the heart of music in any genre. Any contemporary musician especially would find this a rich resource.
Book Description
Motivating beginners to improvise from the start, this comprehensive approach to jazz improvisation offers discussions of jazz theory, exercises based on scales and chords, and jazz compositions suitable for classroom or ensemble performance to help develop facility in jazz improvisation. This complete approach to learning jazz improvisation discusses how a particular chord and scale are used in jazz improvisation; applies exercises based on that particular scale and chord, and; transposes materials for concert pitch treble clef, B-flat, E-flat and bass clef instruments, making it useable for a jazz ensemble as well as private instruction. Integrating inspirational quotes by major artists between each section to motivate readers and convey a deep truth about why we play music, it gives instruction on how to practice, how to construct an improvised solo, and how to tap into our creative potential, and provides an overview of who to listen to, with a short biography of selected major artists by instrument. The importance of rhythm and jazz articulations is discussed, and readers are provided with specific exercises to help them develop a jazz rhythmic concept. All musical terms are defined, highlighted, and indexed, and a play-along compact disc containing rhythm section accompaniments to all exercises and compositions is included. For professional musicians and music stores that employ private music teachers.
Customer Reviews:
Just good.......2006-12-26
This book gives the beginning improviser a good overview of the theory needed to improvise. Reeves is clear and concise in his explanations. I had some personal problems with this book that made it less useful to me than it otherwise could have been. The book is more geared towards horn players and as a guitarist the excercises were way too simple and were not written in tab. I can read so that wasn't a problem, but most guitarists can't. If you are a guitarist I recommend you look elsewhere, like Andrew Green or Jody Fisher's books.
simply wordy.......2006-11-06
I bought this book for the text book in a jazz improvisation class. We haven't referred to it once. It is a "simplified" version of the author's Creative Jazz Improvisation meaning it leaves out most of the musical examples. This leaves lots of words. A mediocre but irrelevant cd is included.
Inaccurate Advertising.......2006-03-22
The book did not include the play along CD as indicated in Amazon's book description. Amazon has not been able to provide the CD, so the usefulness or value of the book is dramatically reduced.
Average customer rating:
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Basic Workout Drills for Creative Jazz Improvisation
Denis DiBlasio
Manufacturer: Hal Leonard Publishing Corporation
ProductGroup: Book
Binding: Paperback
 Jazz
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ASIN: 0793574447 |
Book Description
Covers all the basic musical tools to aid in mastering improvisation. Denis DiBlasio presents helpful ideas he has learned from great players and teachers. This book will move students far forward in their efforts toward mastering the art of practicing. Includes a play-along cassette.
Product Description
"Hal's play-along recordings are perfect training for the intermediate/advanced level player seaching for a more interactive approach to soloing." (Giovanni Moltoni)
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Anything You Can Do, I Can Do Better
Jennifer Axen , and
Leigh Phillips
Manufacturer: Chronicle Books
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Book Description
Ladies: Are you sick of sitting on the bench while the men in your life talk Fantasy Football? Have you always wanted to know how to kick down a door? Build a fire? For any gal who's ready to go head-to-head with the guys on their own turf this book is brimming with sassy, do-it-yourself style. It's chock-full of instructions on the manliest of manly arts, from the highbrow (know the difference between single malt and blended whiskey), to the lowbrow (learn to spit farther than a trucker). Authors Jennifer Axen and Leigh Phillips have written this comprehensive, how-to manual for all the smart, capable women who are sick and tired of being laughed at for not knowing which way is North, intimidated by the finer points of grilling, or just plain excluded for not knowing the (let's face it, very convoluted) infield fly rule. So, for the women out there who know they can do it better just as soon as they learn how help is finally at hand!
Customer Reviews:
Brilliant!.......2007-03-15
Leigh Phillips and Jennifer Axen have done it again! Following their excellent instructional work on "The Stripper's Guide to Looking Great Naked", this book continues their success in giving women more enabling powers. I enjoy the instructional aspect of this book, but also the humor and practicality of it. I highly recommend this as a gift to all the women in your life! It's a great reference tool and what woman wouldn't want to know the finer points of chopping wood, changing a tire, or arm wrestling? Thanks again to the authors for enlightening women with humor and grace.
Book Description
Reigning Bad Girl Cameron Tuttle (back and badder than ever) shows how to make life a party, if you have the right bad attitude. Hundreds of hilarious tips and tricks make wherever you are the place to be, whether it’s a Bad Girl bash or in line at the DMV. All new, laugh-out-loud illustrations, games, party themes, drink recipes, party decoders, and strategies for everyday life at its Bad Girl best make this the must-have book of the season for Bad Girls everywhere. Because life’s a party, if you just add Bad.
Customer Reviews:
A Bad Girls Guide to Getting a Stupid Book Published.......2006-03-28
This book is a complete waste of time. I am shocked at how many good ratings it has got. I have read two other books in the A Bad Girl's Guide to Series "The Bad Girls Guide to the Open Road" and "The Bad girls guide to Getting what you want". They were both excellent. This book however, seems a shameless excuse to cash in on the good will the earlier books in the series had generated.
Shame on you Cameron Tuttle.
And enough already with "the 1000 of things to do with toilet roll" routine - the ideas were not that good in the first place let alone good enough to be featured in every title in the series.
are these people crazy?.......2005-05-09
This is the absolute stupidest thing i have ever read. The only amazing thing is how this author was ever able to publish it. This book is truly filled with mindless nonsense, for instance where to pass out after a drunken night, tips include the bathtub, in a dirty laundry basket, a hammock and under the dining room table..THANKS CAMERON TUTTLE, insert sarcasm.
I am the Bad Girl Party!.......2003-03-14
After reading Bad Girl Numero Uno Cameron Tuttle's third Bad Girl's Guide, I have officially declared myself a member of The Bad Girl Party! And I'm not alone. Bad girls everywhere are joining the revolution and as Cameron says, "Being bad isn't just a personality type, it's an underground political movement." Fun stuff.
Cameron's book is loaded with endless ideas about how to turn anything and everything in your life into a good time--from tranforming your car into a giant disco ball on wheels to giving out party favors at your next business meeting--but it also goes beyond a good laugh. It has an underlying message of positivity and empowerment that will inspire you to declare yourself the host of the ultimate party--your life!
Party!.......2003-01-18
With this book, you can turn EVERYTHING into a party! I love this! I'm not a hostess, nor do I plan to throw parties anytime soon, but this is just as great for people who like to party a lot. and as i said, after you read this, everything in life is a party.
You Have to Live The Party Life to Understand It!.......2002-12-12
I love this book! It picks up where Cameron's crazy, quirky sense of humor left off in her last Bad Girls Guide. The Party Life inspires you to take your Bad Girl attitude to the next level --and take it out on the town. Some of the parties are hilarious, some just plain fun and sassy, others are too bad to be true! I can't decide which party to throw (or overthrow) first. I bought this as a gift but I think I'm going to keep it for myself!
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Women and Museums: A Comprehensive Guide (American Association for State and Local History)
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ProductGroup: Book
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Book Description
Women and Museums is a comprehensive directory of museums for, by, and about women, providing information about interpretive themes, historical significance of collections, and cultural and social relevance to women, along with programming events and facility information. Useful cross-reference guides and accessible format provide quick and easy ways of finding information on America's women-related museums. Visit our website for sample chapters!
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Women in Popular Culture: A Reference Guide (American Popular Culture)
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