Holdings: Jazz Harmony :: THWS Bibkatalog

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

Saved in:

Bibliographic Details
Main Author:	Sikora, Frank 1956- (Author)
Format:	Book
Language:	English
Published:	Mainz Schott [2019]
Subjects:	Jazz Harmonik Jazz Harmonielehre Berklee Akkord Skalen Theorie Hörschulung
Online Access:	https://de.schott-music.com/shop/326750 Inhaltsverzeichnis
Physical Description:	651 Seiten Diagramme, Notenbeispiele
ISBN:	9783795749309 3795749301

Staff View

MARC


LEADER	00000nam a2200000 c 4500
001	BV046110185
003	DE-604
005	20200514
007	t
008	190820s2019 gw gl\|\| \|\|\|\| 00\|\|\| eng d
015			\|a 19,N33 \|2 dnb
016	7		\|a 1192467760 \|2 DE-101
020			\|a 9783795749309 \|c Ausgabe mit OnlineAudiodatei : EUR 38.00 (DE), EUR 39.10 (AT) \|9 978-3-7957-4930-9
020			\|a 3795749301 \|9 3-7957-4930-1
024	2		\|a 9790001201049 \|9 979-0-001-20104-9
024	3		\|a 9783795749309
028	5	2	\|a Bestellnummer: ED 22091
035			\|a (OCoLC)1126567459
035			\|a (DE-599)DNB1192467760
040			\|a DE-604 \|b ger \|e rda
041	0		\|a eng
044			\|a gw \|c XA-DE-RP
049			\|a DE-11 \|a DE-824 \|a DE-12
084			\|a MUS \|q DE-12 \|2 fid
084			\|a LR 55170 \|0 (DE-625)109732:13528 \|2 rvk
084			\|a LS 48200 \|0 (DE-625)110550: \|2 rvk
084			\|a 780 \|2 sdnb
100	1		\|a Sikora, Frank \|d 1956- \|e Verfasser \|0 (DE-588)132716534 \|4 aut
245	1	0	\|a Jazz Harmony \|b think - listen - play : a practical approach \|c Frank Sikora
264		1	\|a Mainz \|b Schott \|c [2019]
300			\|a 651 Seiten \|b Diagramme, Notenbeispiele
336			\|b txt \|2 rdacontent
337			\|b n \|2 rdamedia
338			\|b nc \|2 rdacarrier
650	0	7	\|a Jazz \|0 (DE-588)4028532-7 \|2 gnd \|9 rswk-swf
650	0	7	\|a Harmonik \|0 (DE-588)4129030-6 \|2 gnd \|9 rswk-swf
653			\|a Jazz Harmonielehre Berklee Akkord
653			\|a Skalen
653			\|a Theorie Hörschulung
689	0	0	\|a Jazz \|0 (DE-588)4028532-7 \|D s
689	0	1	\|a Harmonik \|0 (DE-588)4129030-6 \|D s
689	0		\|5 DE-604
856	4	2	\|m X:MVB \|u https://de.schott-music.com/shop/326750
856	4	2	\|m DNB Datenaustausch \|q application/pdf \|u 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 \|3 Inhaltsverzeichnis
940	1		\|q BSB_NED_20200514
999			\|a oai:aleph.bib-bvb.de:BVB01-031490788
942	1	1	\|c 781 \|e 22/bsb \|f 0905
942	1	1	\|c 781 \|e 22/bsb \|f 0904
942	1	1	\|c 781.65 \|e 22/bsb

Record in the Search Index

_version_	1804180424316944384
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
any_adam_object	1
author	Sikora, Frank 1956-
author_GND	(DE-588)132716534
author_facet	Sikora, Frank 1956-
author_role	aut
author_sort	Sikora, Frank 1956-
author_variant	f s fs
building	Verbundindex
bvnumber	BV046110185
classification_rvk	LR 55170 LS 48200
ctrlnum	(OCoLC)1126567459 (DE-599)DNB1192467760
discipline	Musikwissenschaft
format	Book
fullrecord	<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02023nam a2200553 c 4500</leader><controlfield tag="001">BV046110185</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20200514 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">190820s2019 gw gl\|\| \|\|\|\| 00\|\|\| eng d</controlfield><datafield tag="015" ind1=" " ind2=" "><subfield code="a">19,N33</subfield><subfield code="2">dnb</subfield></datafield><datafield tag="016" ind1="7" ind2=" "><subfield code="a">1192467760</subfield><subfield code="2">DE-101</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9783795749309</subfield><subfield code="c">Ausgabe mit OnlineAudiodatei : EUR 38.00 (DE), EUR 39.10 (AT)</subfield><subfield code="9">978-3-7957-4930-9</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">3795749301</subfield><subfield code="9">3-7957-4930-1</subfield></datafield><datafield tag="024" ind1="2" ind2=" "><subfield code="a">9790001201049</subfield><subfield code="9">979-0-001-20104-9</subfield></datafield><datafield tag="024" ind1="3" ind2=" "><subfield code="a">9783795749309</subfield></datafield><datafield tag="028" ind1="5" ind2="2"><subfield code="a">Bestellnummer: ED 22091</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1126567459</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)DNB1192467760</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="044" ind1=" " ind2=" "><subfield code="a">gw</subfield><subfield code="c">XA-DE-RP</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-11</subfield><subfield code="a">DE-824</subfield><subfield code="a">DE-12</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">MUS</subfield><subfield code="q">DE-12</subfield><subfield code="2">fid</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">LR 55170</subfield><subfield code="0">(DE-625)109732:13528</subfield><subfield code="2">rvk</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">LS 48200</subfield><subfield code="0">(DE-625)110550:</subfield><subfield code="2">rvk</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">780</subfield><subfield code="2">sdnb</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Sikora, Frank</subfield><subfield code="d">1956-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)132716534</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Jazz Harmony</subfield><subfield code="b">think - listen - play : a practical approach</subfield><subfield code="c">Frank Sikora</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Mainz</subfield><subfield code="b">Schott</subfield><subfield code="c">[2019]</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">651 Seiten</subfield><subfield code="b">Diagramme, Notenbeispiele</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Jazz</subfield><subfield code="0">(DE-588)4028532-7</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Harmonik</subfield><subfield code="0">(DE-588)4129030-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="653" ind1=" " ind2=" "><subfield code="a">Jazz Harmonielehre Berklee Akkord</subfield></datafield><datafield tag="653" ind1=" " ind2=" "><subfield code="a">Skalen</subfield></datafield><datafield tag="653" ind1=" " ind2=" "><subfield code="a">Theorie Hörschulung</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Jazz</subfield><subfield code="0">(DE-588)4028532-7</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Harmonik</subfield><subfield code="0">(DE-588)4129030-6</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">X:MVB</subfield><subfield code="u">https://de.schott-music.com/shop/326750</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">DNB Datenaustausch</subfield><subfield code="q">application/pdf</subfield><subfield code="u">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</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="q">BSB_NED_20200514</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-031490788</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">781</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0905</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">781</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0904</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">781.65</subfield><subfield code="e">22/bsb</subfield></datafield></record></collection>
id	DE-604.BV046110185
illustrated	Illustrated
indexdate	2024-07-10T08:35:32Z
institution	BVB
isbn	9783795749309 3795749301
language	English
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-031490788
oclc_num	1126567459
open_access_boolean
owner	DE-11 DE-824 DE-12
owner_facet	DE-11 DE-824 DE-12
physical	651 Seiten Diagramme, Notenbeispiele
psigel	BSB_NED_20200514
publishDate	2019
publishDateSearch	2019
publishDateSort	2019
publisher	Schott
record_format	marc
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

Holdings

There is no print copy available.

Interlibrary loan Place Request Caution: Not in THWS collection! Indexes

MARC

Record in the Search Index

There is no print copy available.

Similar Items