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Building A Jazz Vocabulary All Inst: A Resource for Learning Jazz Improvisation [Englisch] [Taschenbuch]

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Kurzbeschreibung

1. Juli 1996
Mike Steinel. A valuable resource for learning the basics of jazz from Mike Steinel of the University of North Texas. It covers the basics of jazz, how to build effective solos, a comprehensive practise routine and a jazz vocabulary of the masters.

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Building A Jazz Vocabulary All Inst: A Resource for Learning Jazz Improvisation + Effortless Mastery + The Art of Practicing: A Guide to Making Music from the Heart
Preis für alle drei: EUR 47,59

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Produktinformation

  • Taschenbuch: 180 Seiten
  • Verlag: Hal Leonard Music Publishing (1. Juli 1996)
  • Sprache: Englisch
  • ISBN-10: 0793521610
  • ISBN-13: 978-0793521616
  • Größe und/oder Gewicht: 30 x 23 x 1 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (3 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 61.799 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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In diesem Buch (Mehr dazu)
Einleitungssatz
This book is based on two assumptions. Lesen Sie die erste Seite
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Rückseite
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Die hilfreichsten Kundenrezensionen
16 von 16 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen This one lives in my gig bag... 28. Juli 2000
Von Cayenne
Format:Taschenbuch
Described in one word: useful!
If you were going to teach someone to read, would you start out by having them memorize and repeat great speeches from history, or would you teach them the alphabet and how to recognize common words and phrases?
Building a Jazz Vocabulary takes the latter approach and is a very cleanly organized book in which each section contains a brief explanation and expository exercises that illuminate a fundamental feature of the language of Jazz.
Topics covered include intervals, chords, scales, progressions, and solo building, among others. Perhap the gem of the book is the excellent coverage of cells and the development of melodic line.
One of the real advantages of Building a Jazz Vocabulary is that the exercises are not mindless transcriptions or the painfully mechanical contrivances that all too commonly fill up endless pages in many music books. Instead, each topic is covered with just enough explanation to make sure you get it intellectually and just enough examples and exercises to allow you to see how it works in practice. The topic then ends by providing enough suggestions on practice and application that you can proceed on your own for a lifetime or two.
As a result, this is the rare kind of music instruction book where you *will* want to have your instruments in hand, but *will not* just be reading exercises off of a page.
A couple of things to be aware of, this book doesn't do a lot of hand-holding; it's written in an easy to understand manner but it is definately for adults and does presume some existing knowledge of music and music theory. Additionally, it covers 'vocabulary' only in the sense of notes and phrases. Coverage of intonation or rhythm is very brief.
Lesen Sie weiter... ›
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7 von 7 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Great practical as well as theoretical book. 11. Mai 1999
Von Ein Kunde
Format:Taschenbuch
This book is incredible. It is done in such a logical manner and helps you develop your skills as well as help you understand a lot about music theory. I play guitar and I've bought a lot of books on music theory and developing a practice, but this is one of the best, for any instrument.
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5.0 von 5 Sternen Ausgezeichnet! 27. August 2013
Von Lerchen
Format:Taschenbuch|Verifizierter Kauf
Das Buch - eigentlich Notenheft - ist in jeder Hinsicht zu empfehlen. Die Zahlreichen Übungen und Noten-Sheets lassen den Text besser nachvollziehen. Es ist kein Buch wo man etwas auswendig lernt, eher lernt man zu verstehen, was man spielt oder zu spielen hat, wie kann man eigene Ideen auf einem Tasten-Instrument umsetzten, zeigt die Möglichkeiten an und lässt das Wesen der Improvisation in Jazz zu verstehen. Es sind sehr viele Beispiele für die Melodieführung, bzw. wie man die Melodie in Jazz umschreiben/ umsetzen kann. Sehr hilfreich sind auch die vielen Beispiele für die Harmonie und die möglichen Akkordfolgen. Für Anfänger nicht geeignet. Wenn man mit dem Buch gut zurecht kommen will, muss man sich nicht nur mit Noten vertraut gemacht haben. Man muss auch das Quintenzirkel kennen, ohne lange nachzudenken, und die Akkordfolgen (Quinten-, Quarten-,Terz- und sonstige Verwandschaften erkennen). Die Jazz Symbol-Sprache sollte man auch schon kennen. Dafür ist die Neue Jazz Harmonielehre von Sikora sehr gut geeignet. Man muss auch ganz einfach schon etliche Jahre Klavier, Keybord o.ä. spielen. Wenn einer diese Voraussetzungen erfüllt und Jazz frei spielen will, für den ist das Buch wirklich sehr gut geeignet. Ein besseres Jazz Lehrbuch habe ich bislang noch nicht gesehen. Es ist jedoch ganz klar ein Übungsbuch, die Theorie ist zwar hier auch in Umrissen enthalten, die Grundlagen und die Symbole für Akkorde muss man aber schon woanders gelernt haben.
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133 von 136 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen This one lives in my gig bag... 28. Juli 2000
Von Cayenne - Veröffentlicht auf Amazon.com
Format:Taschenbuch
Described in one word: useful!
If you were going to teach someone to read, would you start out by having them memorize and repeat great speeches from history, or would you teach them the alphabet and how to recognize common words and phrases?
Building a Jazz Vocabulary takes the latter approach and is a very cleanly organized book in which each section contains a brief explanation and expository exercises that illuminate a fundamental feature of the language of Jazz.
Topics covered include intervals, chords, scales, progressions, and solo building, among others. Perhap the gem of the book is the excellent coverage of cells and the development of melodic line.
One of the real advantages of Building a Jazz Vocabulary is that the exercises are not mindless transcriptions or the painfully mechanical contrivances that all too commonly fill up endless pages in many music books. Instead, each topic is covered with just enough explanation to make sure you get it intellectually and just enough examples and exercises to allow you to see how it works in practice. The topic then ends by providing enough suggestions on practice and application that you can proceed on your own for a lifetime or two.
As a result, this is the rare kind of music instruction book where you *will* want to have your instruments in hand, but *will not* just be reading exercises off of a page.
A couple of things to be aware of, this book doesn't do a lot of hand-holding; it's written in an easy to understand manner but it is definately for adults and does presume some existing knowledge of music and music theory. Additionally, it covers 'vocabulary' only in the sense of notes and phrases. Coverage of intonation or rhythm is very brief.
FWIW, I'm a somewhat experienced musician and play a number of instruments, primarily guitar and violin. My wife is a relative novice and plays tenor sax. We both love this book. I'll be getting her a copy for her birthday. Do I love my wife? Sure! But mostly, getting her a copy of her own is the only certain way to ensure she keeps her grubby fingers off of mine!
- Cayenne
120 von 124 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Quite simply one of the very best books on how to improvise! 8. Februar 2002
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I can count on one hand, the number of books on how to improvise jazz that are actually worth owning. This is clearly one of them!
One of the worst things you can see in a book on improvising is something like..."here are the scales that you can play over the various chords. Now go and randomly mix up the notes of each scale over the proper chord and you'll be on your way."
That's just not going to work, if you want to learn to play jazz.
The author of this book actually shows you how to develop a jazz sound by starting you out with some of the most basic and important melodic units, in simple 4 note cells, which you will learn to alter and string together, giving you the necessary foundation for developing meaningful, logical and authentic sounding solos.
Highly recommended!!!
59 von 62 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Good theoretical reference for the intermediate player, not a good practice book 11. September 2006
Von Amazon Customer - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Verifizierter Kauf
I'm a fretless electric bass player, and I've played in jazz/fusion bands with competent, formally trained musicians for a few years. I can improvise walking bass lines freely over fast-moving chord changes, and can do some modal improvisation. I also studied classical piano for 8 years. So, I approached this book with the intermediate knowledge the author says you need to understand it.

I'm also a university teacher with about 12 years of experience teaching non-music courses.

With this background, I think a good text has the theory explained in simple concepts, with many very clear examples. A good book also has a significant number of practice exercises after each theory section. These exercises should allow the student to master the individual concepts, integrating them later on. The practice exercises should also provide answers, where applicable, so you can check your work.

Further, a good book presents material so the student sees an increase in their ability to improvise as quickly as possible -- this increases their motivation to persist with the remaining exercises in the book.

Against these criteria, I find Building a Jazz Vocabulary to be a fair, but not excellent book.

Its premise -- that there is a common jazz vocabulary that the students can use to "imitate, assimilate, and innovate" is interesting and sound. The author's explanations of the components of this common vocabulary are well explained, and he provides for simple and multiple examples often.

On the other hand, I found the book to be sorely lacking in carefully crafted practice exercises that help the reader practice the concepts. The author provides Etudes (studies) but they are long and sometimes complicated. Further, there are times there are no chord changes over the staff, which makes it hard to understand how the notes fit in with the overall harmony of the song. The author repeatedly puts the onus on the reader to find their own practice exercises, with exercises like "find a jazz solo and analyze it for four-note cells". Also, there is no CD with the book, so you have to use your own play-along software like Band in a Box if you want to practice at home, which will cost you an extra $50-60 or more if you don't already have it.

In terms of providing motivation, I also found the book wanting. Like many books on improvisation, the author insists that one must learn a concept in "all keys" immediately. This presents the reader with an instantly boring and daunting task, which has no immediate return on investment. I think the author would have done better to provide play-along exercises in concert keys C, Bb and Eb, throughout the entire book. This would help the reader see some results immediately, which would further his or her motivation to keep practicing with the book. At the end of the book, he could have then encouraged the student to extend the knowledge gained to all other keys.

I think there could have been some theoretical, written practice exercises too, with answers provided.

So, this is a book a good theoretical reference -- exposing the elements of basic jazz vocabulary in a fairly well-explained and simple fashion. But it doesn't put enough effort into providing you with practice exercises to help you get the concepts into your mind and hands.
26 von 28 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Good Reading Material for the Woodshed 22. März 2006
Von Adam Paul - Veröffentlicht auf Amazon.com
Format:Taschenbuch
What attracted me to this book was the idea of mastering a large number of melodic units, not just licks or phrases, but "get down to the essence of it all" core building blocks, and learning them in every key. The book presents this concept about "cells" and does a fairly good job in organizing the material so that the student can set up his or her own practice plan and get off on a path that should lead (hopefully) to great success. The presentation of the cell concept by Steiner makes an important contribution to Jazz study and at the same time results in a very compelling piece of educational material--at one point in the text, Steiner breaks down Coltrane's towering Countdown solo into a small handful of component cells. Fascinating stuff.

What's good about the book. The exercises start out very simply so that even the beginner can get on the ride. At times the reader is left to connect the dots, but for the most part every thing is here to put together a meaningful study plan. The student is provided with several sets of chord progressions (or alternately Key progressions) that are very handy. The practice sets of musical cell exercises are gradually expanded to include longer runs, patterns, and sequences where the student is constantly prodded to work through all the keys and progressions. The practice suggestions are quite numerous and thoughtful. There are definitely some golden nuggets of knowledge to be found here and the material should be very helpful in developing a productive practice routine.

Some critical suggestions. For the serious artist, I am not yet convinced that we have stumbled onto The Holy Grail. This book must be only part of one's immersion into the world of Jazz. The author covers a lot of important points but at times I wanted the discussion to be more thorough. For example, I would have liked a justification of building musical ideas from cells that was based on the aural and artistic experience of the musician, rather than a somewhat sterile development of the concept based on intervals. In one sentence in the book, Paul Hindemith is referenced as having had previously using the term "harmonic cell," but this is hardly an exploration of the development of Steiner's concepts within the Jazz idiom. The exercises at the end could have contained more suggestions about how the students practice sessions might develop or what the student might notice or start to become aware of as he or she progresses.

I do think that this book should be in your backpack as you head into the woodshed. This book successfully accomplishes what it sets out to do, albeit at times with an economy of words. I can't think of a reason why you would not want to buy this book.
43 von 53 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Great practical as well as theoretical book. 11. Mai 1999
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Taschenbuch
This book is incredible. It is done in such a logical manner and helps you develop your skills as well as help you understand a lot about music theory. I play guitar and I've bought a lot of books on music theory and developing a practice, but this is one of the best, for any instrument.
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