Stringprovisation: a fingering strategy for jazz violin improvisation
Saved in:
| Main Author: | |
|---|---|
| Format: | Thesis Book |
| Language: | English |
| Published: |
Helsinki
Suomen Musiikkitieteellinen Seura
2009
|
| Series: | Acta musicologica fennica
28 |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | XV, 329 S. Notenbeisp. |
| ISBN: | 9789529256853 |
Staff View
MARC
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Record in the Search Index
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| adam_text | CONTENTS
PART I
-
Setting the Frame
CHAPTER
1 -
INTRODUCTION
...................................................................................................1
1.1
Violin and Modern Jazz
.................................................................................................................2
1.2
Technical Issues
.............................................................................................................................
4
1.3
An Alternative Fingering Strategy Based on Schematic Fingering
...............................................6
1.4
Potential Benefits
...........................................................................................................................8
1.5
Structure of the Study
....................................................................................................................9
1.6
Study Conventions
.......................................................................................................................10
1.6.1
Key Definitions
............................................................................................................11
1.6.2
Larger Theoretical Framework, Notation and Chord Symbol Conventions, and
Numbering of Examples and Figures
.........................................................16
CHAPTER
2
-METHOD
...............................................................................................................18
2.1
Background of the Study
.............................................................................................................19
2.2
Previous Studies
...........................................................................................................................22
2.3
Research Questions
......................................................................................................................24
2.4
Research Materials
.......................................................................................................................28
2.4.1
Primary Research Material
..........................................................................................29
2.4.2
Secondary Research Material
......................................................................................33
2.5
Research Procedures
....................................................................................................................35
2.5.1
Preparatory Research Task
-
Ground Level Analysis
.................................................36
2.5.2
Research Interests and Other Characteristics
..............................................................37
2.5.3
Research Task
1 -
Primary Level Analysis, Textual Component
...............................39
2.5.4
Research Task
2 -
Primary Level Analysis, Practice-Based Component
...................40
2.5.5
Discussion of Research Procedures
.............................................................................42
CHAPTER
3 - CORDES &
ÂME..................................................................................................
45
3.1
General Remarks on
Cordes
&
Âme............................................................................................
45
3.2
Fingering Schemes
.......................................................................................................................46
3.3
System of Scale Fingering Schemes
............................................................................................49
3.4
List of Guiding Principles
............................................................................................................51
CHAPTER
4 -
CLOSEST REFERENCES
...................................................................................58
4.1
The Art of Practising the Violin by Robert
Gerle
........................................................................58
4.1.1
Finger-Pattern Practice
................................................................................................59
4.1.2
Discussion
....................................................................................................................60
4.2
Jazz Treble Clef Expressions
&
Explorations by David
N.
Baker
..............................................63
4.2.1
Fretting Fingering Approach
.......................................................................................64
4.2.2
Formulaic Applications
...............................................................................................70
4.2.3
Discussion
....................................................................................................................73
CHAPTER
5 -
JAZZ REFERENCES
...........................................................................................75
5.1
A Modern Method for Guitar by William Leavitt
........................................................................76
5.1.1
A Modern Method for Guitar, Volume
1.....................................................................76
5.1.2
Discussion
....................................................................................................................78
5.1.3
Λ
Modern Method for Guitar, Volume
2.....................................................................80
5.1.4
Discussion
....................................................................................................................83
5.1.5
A Modern Method for Guitar, Volume
3......................................................................84
5.1.6
Discussion
....................................................................................................................86
5.1.7
Other Publications by William Leavitt
........................................................................87
5.2
The Advancing Guitarist by Mick Goodrick
................................................................................88
5.2.1
Position Playing
...........................................................................................................89
5.2.2
Discussion
....................................................................................................................91
5.3
Improvisational Concepts by Mike Marshall
...............................................................................94
5.3.1
Closed Position Scale
..................................................................................................94
5.3.2
Discussion
....................................................................................................................96
5.3.3
Other Pedagogical Mandolin Publications
..................................................................97
5.4
Octave Blocks Approach by Joe
Venuti
......................................................................................98
5.4.1
Framing the Octave Blocks
.........................................................................................98
5.4.2
Venuti s Sketches
......................................................................................................102
5.4.3
Discussion
..................................................................................................................105
CHAPTER
6 -
CLASSICAL REFERENCES
............................................................................106
6.1
Contemporary Violin Technique by Ivan Galamian
..................................................................106
6.1.1
Contemporary Violin Technique, Volume
1..............................................................107
6.1.2
Discussion
..................................................................................................................
Ill
6.1.3
Contemporary Violin Technique, Volume
2..............................................................112
6.1
A Principles of Violin Playing
&
Teaching
..................................................................113
6.2
La Technique
Supérieure de l Archet
by
Lucien
Capet
.............................................................115
6.2.1
Fingerings in Scale-Based Bow Exercises
................................................................1
6
xi
6.2.2
Discussion
..................................................................................................................118
6.3
Scale
System
by Carl Flesch
.......................................................................................................119
6.3.1
The Art of Violin Playing,
Book 1..............................................................................120
6.3.2
Scale
System..............................................................................................................122
6.3.3
Discussion
..................................................................................................................125
6.3.4
Other Publications by Carl Flesch
.............................................................................126
6.4
Violin School by Joseph Joachim and Andreas
Moser..............................................................130
6.4.1
Church Mode Fingerings
...........................................................................................131
6.4.2
Discussion
..................................................................................................................136
6.5
Classical Violin Literature and Jazz Violin Education
..............................................................136
CHAPTER
7 -
FIRST ENDING
..................................................................................................139
7.1
Summary
....................................................................................................................................139
7.2
Conclusions
................................................................................................................................140
7.3
Turnaround
.................................................................................................................................142
REFERENCES IN PART 1
...........................................................................................................144
Literature
..........................................................................................................................................144
Audio and Video Material
................................................................................................................153
xii
PART II
-
Stringprovisation
CHAPTER
1 -
INTRODUCTION
...............................................................................................157
1.1
Modern Jazz Violin Improvisation and Positions
......................................................................158
1.2
Fingerings and Shifting in Pedagogical Jazz Violin Literature
.................................................158
1.3
Employing the Entire Range
......................................................................................................160
1.4
Introducing the Potential of Schematic Fingering
.....................................................................161
1.5
Towards an Alternative Fingering Strategy
...............................................................................164
1.6
Structure and Study Conventions in Part II
...............................................................................165
1.6.1
Structure
.....................................................................................................................165
1.6.2
Fingering, String, and Shifting Marking, and Notation Conventions
.......................166
1.6.3
General Matters
.........................................................................................................168
CHAPTER
2 -
FOCUS
.................................................................................................................169
2.1
Focus of Strategy
.......................................................................................................................169
2.2
Idiomatic Patterns
......................................................................................................................171
2.3
Coloring the Dominant Chords
..................................................................................................172
2.4
Advanced Framework of Scale Fingering Schemes
..................................................................173
2.5
Discussion of Differences and Preferences
................................................................................174
2.6
Further Directions
......................................................................................................................177
CHAPTERS-BOWING
..............................................................................................................180
3.1
Basics of Syncopated Slurring and Bowing
...............................................................................180
3.2
Bowing Guidelines
.....................................................................................................................182
3.3
Discussion
..................................................................................................................................185
3.4
Bowing Guidelines in Practice
...................................................................................................188
CHAPTER
4 -
SHIFTING
...........................................................................................................191
4.1
Shifting in Jazz Violin Playing
..................................................................................................191
4.2
Shifting Guidelines for Schematic Fingering
.............................................................................192
4.3
Four-Note Patterns and Cycle of Fifths
.....................................................................................194
4.4
Replacing
-
An Alternative Shifting Approach
.........................................................................200
4.4.1
Background
................................................................................................................200
4.4.2
Theoretical Framework
..............................................................................................204
4.4.3
Replacing Approach
..................................................................................................208
4.4.4
Preliminary Exercise for Replacing
...........................................................................213
ХШ
4.4.5
Discussion
..................................................................................................................
4.5
Searching and Finding
...............................................................................................................218
CHAPTER
5 -
POSITION PLAYING
........................................................................................221
5.1
The Octave Frame as the Basis of Intonation
............................................................................221
5.2
Position Playing
.........................................................................................................................223
5.3
Creeping Fingering and Extending the Limits of a Position
......................................................226
CHAPTER
6
-PATTERNS
..........................................................................................................234
6.1
Fingering Guidelines
..................................................................................................................234
6.2
Voice-Leading
............................................................................................................................237
6.3
Enclosure Patterns
......................................................................................................................241
6.4
Chord Arpeggios and
П
-V-I
Patterns
.........................................................................................243
6.5
Dominant Bebop Scale Patterns
.................................................................................................248
6.6
Dominant Diminished Scale Patterns
........................................................................................251
6.7
Altered Scale Patterns
................................................................................................................258
6.8
Whole-Tone Scale Patterns
........................................................................................................263
6.9
Melodic Devices with More Chromaticism
...............................................................................265
6.9.1
Countdown and Giant Steps
Superimpositions
.........................................................265
6.9.2
Other Chromatic Patterns
..........................................................................................268
CHAPTER
7 -
APPLICATIONS
.................................................................................................272
7.1
General Instructions of Applying the Patterns
...........................................................................272
7.2
All Over Application
..............................................................................................................275
7.2.1
Patterns in All the Things You Are Example
.............................................................276
7.2.2
Discussion
..................................................................................................................280
7.2.3
Further Considerations
..............................................................................................284
7.3
WhereIt s
Ať Application
......................................................................................................285
7.3.1
Blues in One Position, but in All Keys Example
.......................................................285
7.3.2
Discussion
..................................................................................................................289
7.3.3
Employing the Example as an Exercise
....................................................................293
CHAPTER
8 -
SECOND ENDING
.............................................................................................294
8.1
Summary
....................................................................................................................................294
8.2
Conclusions and Discussion
.......................................................................................................296
8.2.1
General Application
...................................................................................................297
8.2.2
Initiatives for Further Studies
....................................... .................299
xiv
8.3 Ideal
Jazz Violin Fingering
........................................................................................................300
8.4
Bow
............................................................................................................................................302
REFERENCES IN PART II
.........................................................................................................303
Literature
..........................................................................................................................................303
Audio Material
.................................................................................................................................307
APPENDIX
1 -
GLOSSARY
........................................................................................................308
APPENDIX
2 -
COMPARISON
..................................................................................................313
APPENDIX
3 -
SECONDARY RESEARCH MATERIAL
......................................................325
APPENDIX
4 -
PEDAGOGICAL JAZZ VIOLIN LITERATURE
.........................................328
xv
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| institution | BVB |
| isbn | 9789529256853 |
| language | English |
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| publishDate | 2009 |
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| spelling | Poutiainen, Ari 1972- Verfasser (DE-588)141973323 aut Stringprovisation a fingering strategy for jazz violin improvisation Ari Poutiainen Helsinki Suomen Musiikkitieteellinen Seura 2009 XV, 329 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Acta musicologica fennica 28 Zugl.: Helsinki, Sibelius-akatemia, Diss., 2009 Jazzvioline (DE-588)4485925-9 gnd rswk-swf Improvisation (DE-588)4127993-1 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Jazzvioline (DE-588)4485925-9 s Improvisation (DE-588)4127993-1 s DE-604 Acta musicologica fennica 28 (DE-604)BV035927393 28 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018938919&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Poutiainen, Ari 1972- Stringprovisation a fingering strategy for jazz violin improvisation Acta musicologica fennica Jazzvioline (DE-588)4485925-9 gnd Improvisation (DE-588)4127993-1 gnd |
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| title | Stringprovisation a fingering strategy for jazz violin improvisation |
| title_auth | Stringprovisation a fingering strategy for jazz violin improvisation |
| title_exact_search | Stringprovisation a fingering strategy for jazz violin improvisation |
| title_full | Stringprovisation a fingering strategy for jazz violin improvisation Ari Poutiainen |
| title_fullStr | Stringprovisation a fingering strategy for jazz violin improvisation Ari Poutiainen |
| title_full_unstemmed | Stringprovisation a fingering strategy for jazz violin improvisation Ari Poutiainen |
| title_short | Stringprovisation |
| title_sort | stringprovisation a fingering strategy for jazz violin improvisation |
| title_sub | a fingering strategy for jazz violin improvisation |
| topic | Jazzvioline (DE-588)4485925-9 gnd Improvisation (DE-588)4127993-1 gnd |
| topic_facet | Jazzvioline Improvisation Hochschulschrift |
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