Verfügbarkeit: Jazz Harmony :: THWS Bibkatalog

Jazz Harmony: think - listen - play : a practical approach

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Bibliographische Detailangaben
1. Verfasser:	Sikora, Frank 1956- (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Mainz Schott [2019]
Schlagworte:	Jazz Harmonik Jazz Harmonielehre Berklee Akkord Skalen Theorie Hörschulung
Online-Zugang:	https://de.schott-music.com/shop/326750 Inhaltsverzeichnis
Beschreibung:	651 Seiten Diagramme, Notenbeispiele
ISBN:	9783795749309 3795749301

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Datensatz im Suchindex

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adam_text	TABLE OF CONTENT WHY YET ANOTHER HARMONY BOOK? ............................................................................ 15 THINK, LISTEN, PLAY - THEORY AND PRACTICE .................................................................... 16 THE USE OF TERMINOLOGY ................................................................................................ 17 INTELLECT AND INSTINCT .................................................................................................. 18 THINK .............................................................................. 23 FIRST STEPS ................................................................................................................... 25 TONALITY ........................................................................................................................ 27 LET THERE BE SOUND ........................................................................................................ 27 THE GRAND STAFF ............................................................................................................. 28 THE FRAMEWORK OF OCTAVES ........................................................................................... 29 THE CHROMATIC SCALE .................................................................................................... 29 INTERVALS ...................................................................................................................... 30 THE HARMONIC SERIES .................................................................................................... 34 THE ROOT ........................................................................................................................ 36 THE CIRCLE OF FIFTHS ........................................................................................................ 37 CHORDS .......................................................................................................................... 38 WHOLE-TONE AND SEMITONE ........................................................................................... 39 THE TUNING NOTE ........................................................................................................... 39 THE EFFECTS OF THE HARMONIC SERIES ............................................................................... 40 CONSONANCE AND DISSONANCE ....................................................................................... 40 CONCLUSION ................................................................................................................... 42 CHORD SYMBOL NOTATION ............................................................................................ 43 TRIADS .......................................................................................................................... 43 FOUR-NOTE CHORDS ......................................................................................................... 44 TENSIONS ...................................................................................................................... 45 MAJOR CHORD EXTENSIONS .............................................................................................. 46 MINOR CHORD EXTENSIONS .............................................................................................. 47 SEVENTH CHORD EXTENSIONS ............................................................................................ 47 AUGMENTED TRIADS ....................................................................................................... 48 7SUS4 CHORDS ................................................................................................................. 48 HALF-DIMINISHED CHORDS .............................................................................................. 48 INVERSIONS .................................................................................................................... 50 MODALITY ...................................................................................................................... 55 THE PENTATONIC SCALE .................................................................................................... 56 MAJOR AND MINOR ......................................................................................................... 56 6 TABLE OF CONTENT RELATIVE MAJOR AND MINOR KEYS ...................................................................................... 59 THE CHURCH MODES ........................................................................................................... 60 MELODIC AND HARMONIC MINOR ...................................................................................... 68 SYMMETRICAL AND SYNTHETIC SCALES .................................................................................. 71 THE CHROMATIC SCALE ....................................................................................................... 74 WORLD MUSIC .................................................................................................................... 75 THE LEAD SHEET .............................................................................................................. 78 DIATONIC HARMONY IN MAJOR KEYS ................................................................................. 83 F IS ALWAYS THE SUBDOMINANT .......................................................................................... 83 THE DIATONIC CADENCE ....................................................................................................... 84 VOICE LEADING .................................................................................................................. 86 BASIC CADENCES ................................................................................................................ 88 LEADING TONES .................................................................................................................. 89 THE MAJOR/MINOR SYSTEM .............................................................................................. 93 THE DIATONIC CADENCE IN MINOR ...................................................................................... 98 THE II-V-I PROGRESSION ................................................................................................... 101 SCALES, CHORD TONES AND TENSIONS ........................................................................... 104 CHURCH MODES AND DIATONIC FUNCTIONS ......................................................................... 106 AVOID NOTES .................................................................................................................... 108 FUNCTION ....................................................................................................................... 108 TENSION ........................................................................................................................... 110 SCALES IN A MINOR CONTEXT ............................................................................................... 113 THE DOMINANT IN MINOR ................................................................................................. 113 SECONDARY DOMINANTS ................................................................................................. 117 SCALES FOR SECONDARY DOMINANTS ............................................................................ 122 ALTERED DOMINANTS IN MAJOR KEYS ................................................................................ 126 A SOUND TRAVELS AROUND THE WORLD ................................................................................ 127 FUNCTIONALLY INDEPENDENT DOMINANT SCALES ................................................................. 131 THE HALF-TONE-WHOLE-TONE SCALE .................................................................................... 131 THE WHOLE-TONE SCALE ................................................................................................... 134 FORCE OF HABIT ................................................................................................................ 136 NON-ALTERED DOMINANTS IN MINOR KEYS ......................................................................... 137 TRITONE SUBSTITUTION .................................................................................................... 141 SCALES FOR SUBSTITUTE DOMINANTS .................................................................................... 143 EXTENDED DOMINANTS .................................................................................................. 147 THE CHROMATIC DOMINANT SYSTEM .............................................................................. 153 TABLE OF CONTENT 7 SECONDARY AND SUBSTITUTE LL-VS ................................................................................ 156 SECONDARY II-V PROGRESSIONS ....................................................................................... 156 SECONDARY SUB(II-V) PROGRESSIONS .............................................................................. 160 DIMINISHED SEVENTH CHORDS ..................................................................................... 163 DIMINISHED CHORD FUNCTIONS ....................................................................................... 165 SCALES FOR DIMINISHED CHORD FUNCTIONS ...................................................................... 167 DESCENDING DIMINISHED CHORD FUNCTIONS ................................................................... 170 DIMINISHED CHORD FUNCTIONS WITHOUT ROOT MOVEMENT ................................................ 172 MODAL HARMONY .......................................................................................................... 174 MODAL SOUNDSCAPES - THE NEW SIMPLICITY * ................................................................. 177 AVOID NOTES ................................................................................................................... 178 MODAL VAMPS ............................................................................................................... 179 FUNCTIONAL MODAL HARMONY ......................................................................................... 180 MODAL CADENCES ........................................................................................................... 183 MODALITY AND AURAL PERCEPTION ................................................................................... 186 MODAL INTERCHANGE .................................................................................................... 190 UNITONAL/UNIMODAL .................................................................................................... 191 POLYTONAL/POLYMODAL .................................................................................................. 192 POLYTONAL/UNIMODAL .................................................................................................... 192 UNITONAL/POLYMODAL .................................................................................................... 192 FUNCTIONAL POLYMODALITY - MODAL INTERCHANGE ......................................................... 195 NON-DOMINANT SEVENTH CHORDS ................................................................................... 209 MODAL INTERCHANGE IN MINOR KEYS ................................................................................ 212 THE BLUES ..................................................................................................................... 215 BLUES MELODY ............................................................................................................... 215 BLUES FORM ................................................................................................................... 217 BLUES HARMONY ............................................................................................................. 219 BLUES SCALE VERSUS MIXOLYDIAN ..................................................................................... 221 EXTENDED BLUES ........................................................................................................... 223 PARKER BLUES ................................................................................................................. 225 MINOR BLUES ................................................................................................................. 225 CONTEMPORARY TRENDS .................................................................................................. 227 LONG-METRE BLUES ........................................................................................................ 232 THE TURNAROUND .......................................................................................................... 235 TURNAROUNDS IN MAJOR KEYS ......................................................................................... 236 TURNAROUNDS IN MINOR KEYS ......................................................................................... 237 AND YET AGAIN, THE TURNAROUND ................................................................................... 238 GUIDE TONE LINES ........................................................................................................ 240 THE LINE CLICHE ............................................................................................................. 245 GUIDE TONE LINES AND IMPROVISATION ............................................................................ 247 8 TABLE OF CONTENT CHROMATICISM .............................................................................................................. 250 PASSING NOTES ................................................................................................................ 250 EMBELLISHMENTS / APPROACH PATTERNS ........................................................................... 252 CHROMATIC SEQUENCE ..................................................................................................... 257 INSIDE - OUTSIDE ............................................................................................................ 261 FORM ............................................................................................................................. 264 SONG FORMS .................................................................................................................... 264 THE MOTIVE .................................................................................................................. 269 REPETITION ..................................................................................................................... 269 INVERSION, RETROGRADE AND RETROGRADE INVERSION .......................................................... 270 RHYTHMIC VARIATION ...................................................................................................... 271 TONAL VARIATION .............................................................................................................. 272 TRANSPOSITION AND SEQUENCE ........................................................................................ 272 EMBELLISHMENT .............................................................................................................. 273 FRAGMENTATION AND SUBTRACTION .................................................................................... 273 REHARMONISATION .......................................................................................................... 273 VARIATION OF PHRASING AND ARTICULATION ....................................................................... 274 MOTIVE AND IMPROVISATION ........................................................................................... 276 HARMONIC AND MELODIC RHYTHM ................................................................................ 278 HARMONIC RHYTHM ........................................................................................................ 278 MELODIC RHYTHM ............................................................................................................ 286 BOTH ON A SMALL AND LARGE SCALE .................................................................................... 290 MELODIC CONTOUR AND CLIMAX .................................................................................... 294 PHRASE SHAPE AND PHRASE ENDING .................................................................................. 295 THE MELODIC AXIS .......................................................................................................... 297 MELODIC PHRASES IN COMPARISON .................................................................................. 298 THE CLIMAX .................................................................................................................... 300 THE MASTER PLAN ............................................................................................................ 304 * SAVING ALL MY LOVE FOR YOU * .................................................................................... 307 FORM ............................................................................................................................. 309 HARMONIC AND MELODIC RHYTHM, MOTIVES, MELODIC CONTOUR ....................................... 309 THE MASTER PLAN ............................................................................................................ 312 THE CLIMAX .................................................................................................................... 314 FORM AND IMPROVISATION ........................................................................................... 315 ANALYSIS ....................................................................................................................... 329 FORM ............................................................................................................................. 330 KEY ................................................................................................................................. 331 CHORD FUNCTIONS .......................................................................................................... 331 CHORD-SCALE RELATIONSHIPS ............................................................................................. 333 TABLE OF CONTENT 9 ANALYSIS IN MINOR KEYS ................................................................................................ 334 * ALL OF ME * ................................................................................................................. 339 FORM ............................................................................................................................ 340 MELODY ........................................................................................................................ 341 HARMONY .................................................................................................................... 343 IMPROVISATION ............................................................................................................. 345 * * ROUND MIDNIGHT * .................................................................................................... 352 FORM AND MELODY ....................................................................................................... 353 HARMONY .................................................................................................................... 354 * NARDIS * ...................................................................................................................... 360 RHYTHM CHANGES ....................................................................................................... 366 MODULATION ................................................................................................................. 375 DIRECT MODULATIONS ...................................................................................................... 376 PIVOT MODULATIONS ....................................................................................................... 378 TRANSITIONAL MODULATIONS ............................................................................................ 380 IMPLIED MODULATIONS .................................................................................................. 381 MODULATION AND ANALYSIS ............................................................................................ 382 * FALLING GRACE * ........................................................................................................... 387 MODULATION AND REPERTOIRE ......................................................................................... 390 * ALL THE THINGS YOU ARE * ........................................................................................... 395 FORM AND MELODY ....................................................................................................... 396 HARMONY .................................................................................................................... 397 * STELLA BY STARLIGHT * .................................................................................................. 399 FORM ............................................................................................................................ 400 IMPROVISATION ............................................................................................................. 405 * MORNM * * .................................................................................................................... 409 FORM ............................................................................................................................ 411 LOCATING MODULATIONS .................................................................................................. 419 LYRICS ............................................................................................................................ 420 * MAIDEN VOYAGE * ....................................................................................................... 422 THE 7(SUS4) CHORD ......................................................................................................... 425 10 TABLE OF CONTENT LISTEN ................................................................................ 429 EAR TRAINING - A MUSICIAN * S NIGHTMARE ................................................................... 431 EAR TRAINING IS NO FUN BECAUSE ... ...WE HAVE TO SWITCH FROM HEARING TO LISTENING ......................................................... 432 ... OUR EAR NEEDS MORE ATTENTION THAN OUR INSTRUMENT ............................................... 433 ... OUR BRAIN WORKS MUCH FASTER THAN OUR EAR ............................................................. 434 ... WE OFTEN WANT TO PLAY MUSIC OUR EAR IS NOT YET READY FOR ....................................... 435 ... WE * D RATHER * DO * THAN * THINK * ................................................................................ 436 ... WE DON * T KNOW HOW TO DO IT ...................................................................................... 438 ... IT * S EASIER TO RELY ON WRITTEN MUSIC THAN TO TRUST OUR EAR ....................................... 439 ... IT * S HARD WORK .......................................................................................................... 440 THE INNER VOICE .......................................................................................................... 441 BACK TO THE ROOTS .......................................................................................................... 441 SING, SING, SING .............................................................................................................. 442 VOCAL RANGE ................................................................................................................... 443 SILENT SINGING ................................................................................................................ 444 INTERNALISING NOTES ...................................................................................................... 445 ROOT AND TONALITY .......................................................................................................... 446 THE CHROMATIC SCALE .................................................................................................... 446 WHOLE-TONE, WTHT, HTWT ........................................................................................ 448 INTERVALS ....................................................................................................................... 449 SCALES ............................................................................................................................. 450 SOUND AND WRITTEN MUSIC ............................................................................................. 454 SWITCHING MODES .......................................................................................................... 456 FACT AND FICTION ............................................................................................................ 457 ARPEGGIOS ..................................................................................................................... 458 CHORD OR SCALE? ............................................................................................................ 461 CHORD PROGRESSIONS AND FUNCTIONS .............................................................................. 462 SEE THE SYMBOL, HEAR THE CHORD .................................................................................... 465 INSTANT TOUCH ................................................................................................................ 467 IF YOU WANNA HEAR IT, YOU GOTTA FEEL IT! ................................................................. 469 THE MAGIC TRIANGLE ........................................................................................................ 469 FROM SOUND TO FEELINGS ................................................................................................. 470 FROM FEELINGS TO TERMINOLOGY ...................................................................................... 477 NORMALITY AND SURPRISE ............................................................................................... 480 FROM TERMINOLOGY TO SOUND ......................................................................................... 484 TRANSCRIPTION ................................................................................................................ 488 CHOICE OF MATERIAL ........................................................................................................ 490 GOALS OF TRANSCRIPTION ................................................................................................... 491 GETTING TO KNOW THE RECORDING .................................................................................... 492 INSTRUMENTATION .......................................................................................................... 493 TABLE OF CONTENT 11 PULSE, TEMPO, TIME SIGNATURE AND STYLE ...................................................................... 494 FORM ............................................................................................................................ 497 ROOT AND KEY ............................................................................................................... 498 THE LAYOUT OF THE MUSIC ................................................................................................ 501 MELODY AND IMPROVISATION .......................................................................................... 502 MISTAKES ...................................................................................................................... 506 RHYTHM ........................................................................................................................ 507 PHRASING AND DYNAMICS .............................................................................................. 510 HARMONY .................................................................................................................... 514 WHERE ARE THE CHANGES? .............................................................................................. 516 HARMONIC RHYTHM ....................................................................................................... 517 HARMONIC PATTERNS ...................................................................................................... 518 BASS LINES .................................................................................................................... 518 WHERE IS THE ROOT? ....................................................................................................... 523 CHORD TYPES ................................................................................................................. 525 HEARING MORE THAN THERE IS ......................................................................................... 527 TENSIONS ...................................................................................................................... 529 VOICINGS ...................................................................................................................... 531 ANALYSIS ...................................................................................................................... 532 FAST THINKING - GOOD EARS .......................................................................................... 534 FROM TRANSCRIPTION TO INSTRUMENT .............................................................................. 536 PLAY .................................................................................. 537 IMPROVISATION ............................................................................................................. 539 THE SIX PILLARS ............................................................................................................... 541 MOTIVATION ................................................................................................................... 543 SOUND .......................................................................................................................... 544 COMPOSITION VS IMPROVISATION ................................................................................... 545 PLAY-ALONGS ................................................................................................................. 548 * TWINBAY * ............................................................................................................... 549 GUIDE TONE LINES AGAIN ............................................................................................ 551 VOICE LEADING AND CHORD TONES ..................................................................................... 551 THE WORLD OF GUIDE TONE LINES ....................................................................................... 557 FROM GUIDE TONE LINE TO MELODY ................................................................................. 564 LICKS AND TRICKS ......................................................................................................... 567 LICKS ............................................................................................................................ 570 THE PLAY-ALONGS ........................................................................................................... 580 JAZZ VOCABULARY ........................................................................................................... 582 117 AND THE #11 ............................................................................................................. 583 ALTERED DOMINANTS IN MAJOR KEYS ............................................................................... 585 CHORD/SCALE SUPERIMPOSITION ..................................................................................... 587 12 TABLE OF CONTENT PENTATONIC SCALES .......................................................................................................... 591 CHROMATICISM .............................................................................................................. 593 FROM INSIDE TO OUTSIDE ................................................................................................. 599 SUMMARY ..................................................................................................................... 604 HOW TO HANDLE MISTAKES ............................................................................................... 612 HELP IS ON ITS WAY.......................................................................................................... 614 TONALITY ......................................................................................................................... 615 CHROMATICISM .............................................................................................................. 617 WHEN WRONG, PLAY STRONG ............................................................................................. 617 CONCLUSION ................................................................................................................... 620 PLAYING THE FORM ........................................................................................................ 621 BEGINNING AND ENDING ................................................................................................. 621 WHAT NEXT? ................................................................................................................... 622 MOTIVE AND SEQUENCE ................................................................................................... 623 RHYTHM ......................................................................................................................... 629 HARMONIC AND MELODIC RHYTHM .................................................................................. 632 MELODIC CONTOUR .......................................................................................................... 634 THE STRUCTURE OF A SOLO AND THE CLIMAX ......................................................................... 635 MONOLOGUE AND DIALOGUE ............................................................................................. 637 POSTLUDE .......................................................................................................................... 640 APPENDIX ..................................................................................................................... 641 ACKNOWLEDGEMENTS ...................................................................................................... 641 CHORD PROGRESSIONS TO THE PLAY-ALONG TRACKS ............................................................... 642 TUNE QUOTES .................................................................................................................. 646 ABOUT THE AUTHOR .......................................................................................................... 649 MP3 TRACK LIST ................................................................................................................ 650 SOLUTIONS ....................................................................................................................... 651
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spelling	Sikora, Frank 1956- Verfasser (DE-588)132716534 aut Jazz Harmony think - listen - play : a practical approach Frank Sikora Mainz Schott [2019] 651 Seiten Diagramme, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Jazz (DE-588)4028532-7 gnd rswk-swf Harmonik (DE-588)4129030-6 gnd rswk-swf Jazz Harmonielehre Berklee Akkord Skalen Theorie Hörschulung Jazz (DE-588)4028532-7 s Harmonik (DE-588)4129030-6 s DE-604 X:MVB https://de.schott-music.com/shop/326750 DNB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031490788&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Sikora, Frank 1956- Jazz Harmony think - listen - play : a practical approach Jazz (DE-588)4028532-7 gnd Harmonik (DE-588)4129030-6 gnd
subject_GND	(DE-588)4028532-7 (DE-588)4129030-6
title	Jazz Harmony think - listen - play : a practical approach
title_auth	Jazz Harmony think - listen - play : a practical approach
title_exact_search	Jazz Harmony think - listen - play : a practical approach
title_full	Jazz Harmony think - listen - play : a practical approach Frank Sikora
title_fullStr	Jazz Harmony think - listen - play : a practical approach Frank Sikora
title_full_unstemmed	Jazz Harmony think - listen - play : a practical approach Frank Sikora
title_short	Jazz Harmony
title_sort	jazz harmony think listen play a practical approach
title_sub	think - listen - play : a practical approach
topic	Jazz (DE-588)4028532-7 gnd Harmonik (DE-588)4129030-6 gnd
topic_facet	Jazz Harmonik
url	https://de.schott-music.com/shop/326750 http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031490788&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT sikorafrank jazzharmonythinklistenplayapracticalapproach

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