Alfred

Sinopse Original:

PATTERNS FOR JAZZ stands as a monument among jazz educational materials. Condensed charts and pertinent explanations are conveniently inserted throughout the book to give greater clarity to the application of more than 400 patterns built on chords and scales - from simple (major) to complex (lydian augmented scales).

Conteúdo:

Major Triads
Major Sixth Chords
Major Seventh and Ninth Chords
Major Scales
Digital Patterns in Major
Major Scale Intervals
Patterns with Embellishing (non-harmonic) tones
Diatonic Chords
Dominant Seventh ,and Ninth Chords
Mixolydian Mode (Dominant Scale)
Minor Triads
Minor Sixth Chords
Minor Seventh and Ninth Chords
Dorian Mode (Minor Seventh Scale)
Digital Patterns on Minor Seventh Chords
Patterns for the IIm7-V7 Progression
Patterns for the IIm7-V7-I Progression
Augmented Triads
Whole-tone Scale
Diminished Triads
Diminished Scale
Parallel Progressions
Turnarounds (Turnbacks)
Altered Ninth Chords
Polychords
Polychords for Diminished Scale
More on the Diminished Scale
Augmented Scale
Major Scale in Fourths
Digital Pattern on Major Scale
Harmonic Minor Scale
More on the Whole-tone Scale
Lydian Augmented Scale
Interval Studies
Chromatic Scale

Comentários dos Autores:

The authors feel that the practice of patterns has little value unless the student understands that musical situations befit the pattern. Used in the wrong place or the wrong key, the best patterns will fail, even in free-form jazz. We have therefore placed accompanying chord or scale symbols above each pattern. The observation of that symbol while practicing, then, becomes crucial to an understanding of how the pattern is used. 

Most of the patterns contained herein are presented in eighth notes (the rhythmic level of most z improvisation), in a continuing fashion, without rhythmic variation, and without rhythmic hrase-endings. This was an arbitrary approach, so as not to dictate what the rhythms should be, nor restrict them to a single rhythmic approach. When the practiced patterns are applied to an improoisation, it is expected that the rhythms would be loosened, so that the idea takes on a more lyrical, tural, and less mechanical feeling. 

This book is meant to be played, rather than to be read in an armchair. To aid this approach we have inserted all theoretical information, condensed whenever possible, all along the way, so at the student may never need to leave the music stand. Terms and symbols in music often vary rom text to text. We have tried to stand on the middle ground, using the most common and accurate terms and symbols we could find, inventing no new terminology. The smarter students will learn as ny alternate terms and symbols as possible, making investigation into any method considerably easier.