Hearing voices: compound melody in jazz improvisations
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London, Ontario
Univ. of Western Ontario
2003 [erschienen] 2007
|
| Schriftenreihe: | Studies in music from the University of Western Ontario
21 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Einzelaufnahme eines Zeitschr.-H. |
| Beschreibung: | V, 170 S. Notenbeisp. |
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| adam_text | Table
Acknowledgements
I. Introduction
Subject of Study.
Reasons for Study
Relation to Previous Studies
Review of Literature
Transcription Procedure
Overview
II. Compound Melody: A Concept and Its History
The Importance of Improvisation for
Improvisation in Jazz
Significance of Compound Melody for
Compound Melody in jazz Improvisations
Implied Notes
The Significance of Diminutions for
Diminutions in Jazz Improvisations
Melodic Coordinates in Jazz Improvisations
Issues of Larger Scale in Jazz Improvisations
Sample Analysis
Summary
III. All the Things You Are : An Analytical Perspective
Placement of the Song Within Kern s
Incorporation of the Song into the Jazz Repertoire
Contribution of the Lyrics
Characteristics of the Verse
.
Larger-Scale Tonal Coherence
Relationship Between the Song and the Improvisa¬
tions
Summary
Ш
STUDIES
IV. The Improvisations: Baker, Desmond, Getz, and Gil-
lespie
A Chet Baker Improvisation: First Chorus
Second
Third Chorus
A Paul Desmond Improvisation
A Stan Getz Improvisation
A Dizzy Gillespie Improvisation
V. Conclusion
Summary
Concerning Musical Transcription and Analysis
Appendix A. Chet Baker Improvisation
Appendix B. Chet Baker Improvisation, Choruses
through
Appendix C. Paul Desmond Improvisation, Fourth Chorus
Appendix D. Paul Desmond Improvisation, Choruses
through
Appendix E. Stan Getz Improvisation, Second Chorus
Appendix F. Stan Getz Improvisation, Choruses
5..............................................................................................147
Appendix G. Dizzy Gillespie Improvisation
Discography
Bibliography
|
| adam_txt |
Table
Acknowledgements
I. Introduction
Subject of Study.
Reasons for Study
Relation to Previous Studies
Review of Literature
Transcription Procedure
Overview
II. Compound Melody: A Concept and Its History
The Importance of Improvisation for
Improvisation in Jazz
Significance of Compound Melody for
Compound Melody in jazz Improvisations
Implied Notes
The Significance of Diminutions for
Diminutions in Jazz Improvisations
Melodic Coordinates in Jazz Improvisations
Issues of Larger Scale in Jazz Improvisations
Sample Analysis
Summary
III. "All the Things You Are": An Analytical Perspective
Placement of the Song Within Kern's
Incorporation of the Song into the Jazz Repertoire
Contribution of the Lyrics
Characteristics of the Verse
.
Larger-Scale Tonal Coherence
Relationship Between the Song and the Improvisa¬
tions
Summary
Ш
STUDIES
IV. The Improvisations: Baker, Desmond, Getz, and Gil-
lespie
A Chet Baker Improvisation: First Chorus
Second
Third Chorus
A Paul Desmond Improvisation
A Stan Getz Improvisation
A Dizzy Gillespie Improvisation
V. Conclusion
Summary
Concerning Musical Transcription and Analysis
Appendix A. Chet Baker Improvisation
Appendix B. Chet Baker Improvisation, Choruses
through
Appendix C. Paul Desmond Improvisation, Fourth Chorus
Appendix D. Paul Desmond Improvisation, Choruses
through
Appendix E. Stan Getz Improvisation, Second Chorus
Appendix F. Stan Getz Improvisation, Choruses
5.147
Appendix G. Dizzy Gillespie Improvisation
Discography
Bibliography |
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| title | Hearing voices compound melody in jazz improvisations |
| title_auth | Hearing voices compound melody in jazz improvisations |
| title_exact_search | Hearing voices compound melody in jazz improvisations |
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| title_short | Hearing voices |
| title_sort | hearing voices compound melody in jazz improvisations |
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