Download e-book for iPad: Jazz-Blues Piano: The Complete Guide with CD! Hal Leonard by Mark Harrison

By Mark Harrison

ISBN-10: 0634062247

ISBN-13: 9780634062247

This entire book/CD pack will educate you the elemental abilities had to play jazz-blues piano. From comping to soloing, you will examine the speculation, the instruments, and the methods utilized by the professionals. The accompanying CD gains a few of the examples within the booklet played both solo, or with a whole band, together with a whole bankruptcy of whole songs. themes lined comprise: scales and chords * concord and voicings * progressions and comping * melodies and soloing * attribute stylings.

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Additional resources for Jazz-Blues Piano: The Complete Guide with CD! Hal Leonard Keyboard Style Series

Example text

Nevertheless people have their notions about a composer’s activities. To most of them — and strangely enough to many professionals, too — factual knowledge and imaginative composition seem to be two irreconcilable opponents. To them the ideal composer is the simple-minded instrument of a superior will, a kind of mystic loudspeaker that proclaims messages the sense of which he himself does not understand. In times past he was a philosopher, a scientist, an educator. When he lost this extramusical esteem, he still was the great craftsman who in the public’s opinion ranked highest among the musicians.

Going from one given tone up to a tone with a higher vibration frequency is accomplished, in human voices and in string and wind instruments, with an increase in the energy of tone production. The amount of energy involved in such movement may be almost undiscernible (as in a violinist’s progressing from the tone a of the open string to the next c), or it may be a tremendous physical effort, as when a tenor sings the same progression with full voice. But the absolute amount of energy involved counts only so far as our nonmusical interest in the performer himself or our sentimental reactions derived from his performance are concerned.

The effects of an art on our receptive capacity may employ the element of space only, as do architecture, sculpture, and painting; or the element of time only, as does poetry; or it may operate in both, as do the drama and the moving pictures. It is again the art of music that cannot be caught in a net of temporal and spatial relations as easily as the other arts. We cannot deny that musical progressions evoke in our mind sensations of both a temporal and a spatial nature, but the following investigation will show that the sensations of musical time and musical space are not identical with time and space as felt in our everyday life or in the aesthetic effects of nonmusical works of art.

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Jazz-Blues Piano: The Complete Guide with CD! Hal Leonard Keyboard Style Series by Mark Harrison


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