By Robert Gauldin

Gauldin has ready a ebook which leads you rigorously and methodically via counterpoint. The books assignments are its maximum assest. simply because they generally construct on past assignments, ascertain to not bypass any. the teachings are competitive, yet simply in the course of self-study.

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Let’s ask an imaginary jazz musician (“JM”) some questions about soloing in a jazz band: MS: How do you know what to play during your solo? JM: Well now, that’s a good but complex question. Let me see if I can break it down for you: If the group is playing a song like “Watermelon Man,” then my solo would be based upon the chords that the composer wrote to support his melody. There are a number of notes that make up each chord and, as a soloist, I’m free to choose which of those notes I want to play in my solo.

Pages cm. — (Listener’s companion) Includes bibliographical references and index. ISBN 978-0-8108-8289-8 (cloth : alk. paper) — ISBN 978-0-8108-8290-4 (ebook) 1. Jazz—Analysis, appreciation. I. Title. 48-1992. Printed in the United States of America. Each thing you hear determines the direction that you go. You just follow the music and if you follow the music, you can go anywhere. —Steve Lacy My first relationship to any kind of music is as a listener. —Pat Metheny Contents Contents Foreword Preface Acknowledgments Chapter 1: Ears, Mind, Heart Chapter 2: Groundwork Chapter 3: Jazz as a Mirror of Our Times Chapter 4: Jazz as a Mirror of Our Times Chapter 5: Functions and Forms Chapter 6: Points of Departure Chapter 7: Horn of Gabriel Chapter 8: Raspy, Gaspy, Smooth, and Silky Chapter 9: Reeds and Deeds I Chapter 10: Reeds and Deeds II Chapter 11: Reeds and Deeds III Chapter 12: Reeds and Deeds IV Chapter 13: I Got Rhythm I Chapter 14: I Got Rhythm II Chapter 15: I Got Rhythm III Chapter 16: I Got Rhythm IV Chapter 17: I Got Rhythm V Chapter 18: The Singer and the Song Chapter 19: Is Jazz Entertainment or Is It Art?

Maupin’s actual answers (in a 2010 personal interview): MS: How do you decide what compositions to play before each set? BM: We use our spare moments in taxis, airports, hotel rooms, and restaurants to discuss the compositions that we may perform. The music actually begins with those dialogues and continues onto the bandstand. It’s very rare that I create a set list, as things change so much from moment to moment. Over a 10-year period of creating together, we’ve developed a deep connection that allows us the freedom to manifest our direction through musical signals and nonverbal communication.

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