Music Fundamentals Staff, Clefs, Scales 29 Key Signatures 31 Major Scale 31 Minor Scale 33
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Improvisation Across Boundaries: A Trans-stylistic Approach Getting Started 2 Non-syntactic Catalysts 4 Tension and Release, Variety and Unity, Motion and Stability 5 Melody 7 Ostinato, Motive, Sequence 7 Antecedent-consequent Structure 9 Melodic Contour 9 Pitch-based Melodic Improvising 10 Pulse-based Improvising 11 Form-based Improvising 12 Graphic Formal Analysis 13 The Inner Dimensions of Improvisation 13 Silence 17 Solo Pieces 17 Free or Open Collective Improvising 19 Clarity of Ideas 20 Transparency, Laying Out, and Soloing 21 Endings 21 Culminating Exercises 23 Concluding Thoughts: Template for Artistic Development 24 Listening Resources 24 Further Reading 27 Music theory through improvisation : a new approach to musicianship training / Edward Sarath. Library of Congress Cataloging-in-Publication Data Sarath, Ed. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to © 2010 Taylor & Francis All rights reserved. Music Theory Through Improvisation A New Approach to Musicianship Trainingįirst published 2010 by Routledge 270 Madison Ave, New York, NY 10016 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2009. He is the president and founder of the International Society for Improvised Music. FEATURES īased on a user friendly system of improvisation study Combines Jazz, Popular, Classical, and other musical sources Enhances understanding of the creative process and the inner workings of music Includes an Audio CD of play-along tracks for improvisation and a companion website with resources for students and instructors, Edward Sarath is Professor of Music in the Department of Jazz and Improvisation Studies at the School of Music, Theatre, and Dance at University of Michigan.
Keyboard realization, for students with little or no keyboard training, is the primary mode of assimilation of harmonic materials. Geared toward the diverse interests and abilities of today’s student, Music Theory Through Improvisation places the study of harmony within improvisation and composition in stylistically diverse formats, including jazz and popular music. The book follows the same general progression of diatonic to non-diatonic harmony in conventional approaches, but integrates improvisation, composition, keyboard harmony, analysis, and rhythm.
Music Theory Through Improvisation Music Theory Through Improvisation presents a unique approach to basic theory and musical training, examining the study of traditional theory through the art of improvisation.
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