Diatonic Modes

Diatonic Modes

Relative darkness and brightness of modes

Afro Cuban and Afro Brazilian Jazz

Voicing

Walking Bass

Turn around progressions

Passing chords, Approach chords and substitutions

Musicpsychologydefinesgrooveashumans’pleasureableurgeto movetheirbodyin syn-chronywithmusic.Pastresearchhasfoundthatrhythmicsyncopation,eventdensity,beatsalience,andrhythmicvariabilityarepositivelyassociatedwithgroove

dynamics

MOTIVIC DEVELOPMENT

The ABAC Song Form

VOICE-LEADING PRINCIPLES

Bebop Blues

MOTIVIC DEVELOPMENT

“COLTRANE” SUBSTITUTIONS

CHROMATIC MODES

BEBOP SCALES

The AABA Song Form

Phrase Models

BLUES RIFFS

Pentatonics and Hexatonics

THE ROLE OF GUIDE TONES

DROP 2

Chord–Scale Theory

Post-Tonal Jazz

Jazz Reharmonization

Bebop

Idiomatic Jazz Progressions

Keyboard Textures

Jazz Lead Sheets

Improvisation

The Blues

Chord–Scale Theory

Diatonic Modes

Swing

Syncopation

Jazz Rhythm

Modes

The II–V–I Progression

Substitutions

Modern Jazz Theory

Chapter 31 Introduction to Jazz Theory

VI. Jazz

OPEN MUSIC THEORY

Music Theory for the 21st-Century Classroom

The History of Jazz

The History of Jazz

The History of Jazz

there is some evidence that microtiming patterns are genre-specific.

Microtiming Deviations and Swing feel in Jazz

drop

Chord Scale Theory

Reharmonizing Specific Approach Note Patterns

Jazz Voicings

Mbaqanga

South African Jazz

Sound of Soweto

Sound of Soweto

Melodic rhythms

As Schuller points out: “There is no question in my mind that the classical world can learn much about timing. rhythmic accuracy and subtlety from jazz musicians, as jazz musicians can in dynamics. structure and contrast from the classical musicians.”

dynam

Inside Improvisation - Melodic Structures, is the first in a series of books which describe a simple and pragmatic approach to improvisation.

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Voice Leading

Phrase-Level Forms

American Standard Pitch Notation

Bebop Composition

ii–V–I

Turnarounds

Jazz Voicings

Embellishing Chords

Swing Rhythms

Blues Composition

Composing with Neo-Riemannian Transformations

Texture

Jazz Voicings

Chord-Scale Theory

Blues Harmony

Blues Melodies and the Blues Scale

Chord Tensions (Extensions & Alterations)

Jazz Chord Voicings

Jazz Scales

Jazz Chord Progressions

Jazz Improvisation

Jazz Reharmonization

Jazz Genres

Marabi

Mbaqanga Music Guide: Brief History of Mbaqanga

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Marabi

3-Second Riff

Colonialism

maskanda, often marketed as “Zulu blues.”

Rhythms

Heermiolas

Dynamics are yet another aspect of composition over which McNeely exercises deliberate and organized control. Writing for a high level ensemble such as the Vanguard Jazz Orchestra, he is able to demand and receive a great deal of nuance, shape and color. McNeely uses an extraordinarily high number of dynamic markings throughout all his arrangements and in particular here. Undulating hairpin (crescendo followed by immediate decrescendo) shapes are prevalent with each dynamic level marked 14specifically. As a rule, the ensemble exaggerates the dynamic shapes, often in ways that give prominence to the dynamics over and above elements of harmony and melody. In this respect, the dynamics may sometimes be considered a compositional device of equal importance. This general approach to dynamics as shapes is characteristic of all three of the compositions studied herein.

patterns are often called‘formulas’, ‘licks’, ‘stock-phrases’, and ‘riffs’. The maindifferences between these terms lie in their supposed ori-gin, their function, and their musical characteristics .

TWO WEB APPLICATIONS FOR EXPLORING MELODIC PATTERNS INJAZZ SOLOS