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Author: Vic Hobson Publisher: Univ. Press of Mississippi ISBN: 1496819810 Category : Music Languages : en Pages : 251
Book Description
Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, “I figure singing and playing is the same,” or, “Singing was more into my blood than the trumpet.” Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way.
Author: Vic Hobson Publisher: Univ. Press of Mississippi ISBN: 1496819810 Category : Music Languages : en Pages : 251
Book Description
Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, “I figure singing and playing is the same,” or, “Singing was more into my blood than the trumpet.” Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way.
Author: Vic Hobson Publisher: Univ. Press of Mississippi ISBN: 1496819799 Category : Biography & Autobiography Languages : en Pages : 288
Book Description
Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, "I figure singing and playing is the same," or, "Singing was more into my blood than the trumpet." Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way.
Author: Arnie Berle Publisher: Mel Bay Publications ISBN: 1609749286 Category : Music Languages : en Pages : 89
Book Description
The purpose of this book is to help the student answer the question, 'What do I play?' It discusses elements of jazz, seventh chords, blues, riffs, vertical and horizontal improvisation, playing through the changes, rhythm patterns, the scalar approach, substitution and much more!
Author: Buster Birch Publisher: WWW.Fundamental-Changes.com ISBN: 9781789330809 Category : Music Languages : en Pages : 70
Book Description
Many woodwind players come from a classical background which may not have taught you how to play by ear. While this can provide an excellent grounding in music, it doesn't teach you how to improvise, and often it's difficult for classically trained musicians to learn Jazz soloing. Beginner Jazz Soloing For Saxophone & Clarinet is the perfect guide to bridge the gap. Devised by Buster Birch (visiting jazz professor at Trinity Conservatoire), this book teaches a creative method for improvisation that's been road-tested at hundreds of workshops.
Author: Vic Hobson Publisher: Univ. Press of Mississippi ISBN: 1626740968 Category : Music Languages : en Pages : 260
Book Description
The book Jazzmen (1939) claimed New Orleans as the birthplace of jazz and introduced the legend of Buddy Bolden as the "First Man of Jazz." Much of the information that the book relied on came from a highly controversial source: Bunk Johnson. He claimed to have played with Bolden and that together they had pioneered jazz. Johnson made many recordings talking about and playing the music of the Bolden era. These recordings have been treated with skepticism because of doubts about Johnson's credibility. Using oral histories, the Jazzmen interview notes, and unpublished archive material, this book confirms that Bunk Johnson did play with Bolden. This confirmation, in turn, has profound implications for Johnson's recorded legacy in describing the music of the early years of New Orleans jazz. New Orleans jazz was different from ragtime in a number of ways. It was a music that was collectively improvised, and it carried a new tonality--the tonality of the blues. How early jazz musicians improvised together and how the blues became a part of jazz has until now been a mystery. Part of the reason New Orleans jazz developed as it did is that all the prominent jazz pioneers, including Buddy Bolden, Bunk Johnson, Louis Armstrong, Sidney Bechet, Johnny Dodds, and Kid Ory, sang in barbershop (or barroom) quartets. This book describes in both historical and musical terms how the practices of quartet singing were converted to the instruments of a jazz band, and how this, in turn, produced collectively improvised, blues-inflected jazz, that unique sound of New Orleans.
Author: Hal Leonard Corp. Publisher: Hal Leonard ISBN: 1480384224 Category : Music Languages : en Pages : 1022
Book Description
(Fake Book). This amazing collection transcribes nearly 150 of the best-known jazz solos (regardless of the instrument) exactly as recorded by icons of the trade, including: Autumn Leaves (Chet Baker) * Blue in Green (Toots Thielemans) * Blue Train (John Coltrane) * Bright Size Life (Jaco Pastorius) * Dolphin Dance (Herbie Hancock) * Footprints (Wayne Shorter) * I Do It for Your Love (Bill Evans) * I Mean You (Thelonius Monk) * Isreal (Bill Evans) * K.C. Blues (Charlie Parker) * Milestones (Miles Davis) * New Orleans (Wynton Marsalis) * Nuages (Django Reinhardt) * Quiet Nights of Quiet Stars (Oscar Peterson) * Spring Ain't Here (Pat Metheny) * Stella by Starlight (Ray Brown) * Waltz for Debby (Cannonball Adderley) * West End Blues (Louis Armstrong) * and many more.
Author: Joe Pass Publisher: Alfred Music ISBN: 9781457434242 Category : Music Languages : en Pages : 24
Book Description
The art of improvising chord-style solos is an important part of any musician's resources. This book has been written to improve that art for guitar, vibes and all keyboard instruments. A careful study of these solos will give you a thorough understanding of chordal playing and substitutions. It is great for voicing as well as improvisation.
Author: Joe Elliott Publisher: Hal Leonard Corporation ISBN: 9780634009709 Category : Music Languages : en Pages : 108
Book Description
(Musicians Institute Press). Perfect for seasoned rockers seeking new challenges and jazz newcomers looking for a good start, this book/CD pack covers scales, chords, licks, techniques and other vital jazz improv concepts step by step. The accompanying CD features 65 full-band demo and play-along tracks.
Author: Hal Galper Publisher: "O'Reilly Media, Inc." ISBN: 1457101394 Category : Music Languages : en Pages : 214
Book Description
The same notes can sound square or swinging, depending on how the music is phrased. This revolutionary book shows how many people misunderstand jazz phrasing and shows how to replace stiff phrasing with fluid lines that have the right jazz feeling. In this book, master pianist Hal Galper also shows how get that feeling of forward motion and also how to use melody guide tones correctly, how to line up the strong beat in a bar with the strongest chord notes, and much more!
Author: Vic Hobson
Author: Vic Hobson
Author: Vic Hobson
Author: Arnie Berle
Author: Buster Birch
Author: Vic Hobson
Author: Hal Leonard Corp.
Author: Joe Pass
Author: JENS. LARSEN
Author: Joe Elliott
Author: Hal Galper