220 Chromatic Exercises + 1165 Jazz Lines Phrases for the Modern Improviser

Olegario Diaz

Description

This theoretical book is meant to improve contemporary jazz styles techniques for all musician players of modern jazz.

The book is divided into scale exercises, arpeggio exercises, jazz line phrases as well as contemporary chord progressions.

Sujets

• Styles
• Genres
• Music
• Jazz

Informations

• Publié par: eBookIt.com
• Date de parution: 02 décembre 2013
• Nombre de lectures: 6
• EAN13: 9781456620424
• Langue: English

Extrait

220 Chromatic Exercises
+
1165 Jazz Lines Phrases
for the Modern Improviser
 
 
by
Olegario Diaz

Copyright 2013 Olegario Diaz,
All rights reserved.
 
 
Published in eBook format by eBookIt.com
http://www.eBookIt.com
 
 
ISBN-13: 978-1-4566-2042-4
 
 
No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems, without permission in writing from the author. The only exception is by a reviewer, who may quote short excerpts in a review.
 
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Testimonials
“ Olegario Diaz has written a wonderful book for students and professionals alike, full of fun exercises which expand your harmonic knowledge while getting you all over your instrument at the same time. ”
- Randy Brecker
“This book demonstrates a great use of approach notes to melodic phrases and sequences. Understanding this gives you an insight on how to use chromatic notes.”
- Jerry Bergonzi
“A terrific book - lots of great tools to work on. I love the chromatic approach; I recommend this one highly.”
- Walt Weiskopf

“There is a wealth of material in this book! I am sure it will be helpful to many players! I will definitely recommend the book to my friends and students!”
- Dan Haerle
“Lots of interesting patterns in here that can be practiced in all keys. They are particularly useful for understanding chromaticism in jazz. An asset to the student and professional alike.”
- Seamus Blake
“An amazing musician with an original approach. I found out a great amount of information in this book, which contains a lot of great chromatic phrases. I highly recommend this to musicians of all levels.”
- Alex Sipiagin
Preface
T his theoretical book is meant to improve contemporary jazz styles techniques for all musician players of modern jazz.
We will divide this book into scale exercises, arpeggio exercises, jazz line phrases as well as contemporary chord progressions. Exercises consist of diatonic and chromatic exercises; and, line phrases, consist of jazz solos by great musicians such as Miles Davis, Bill Evans, John Coltrane, Freddy Hubbard, Woody Shaw, Wayne Shorter, Joe Henderson, Chick Corea, Herbie Hancock, Joe Farrel, Dave Liebman, Bob Berg, Michael and Randy Brecker, Jerry Bergonzi, George Garzone, Tom Harrel, Chris Potter, Brad Mehldau, Joey Calderazzo, Kenny Garrett, Branford Marsalis, Walt Weiskopf, Rich Perry, Seamus Blake, Alex Sipiagin and many other well known musicians these days.
The majority of these exercises should be transposed to all twelve (12) tones, so we can achieve perfect coordination. Major chords, Minor chords and Dominant chords will be extended to their highest level, in scales, arpeggios and chromatic form. There will not be key signature centers, so we will work all exercises in accidental way.
These exercises were made as an extension of my first book "Improvise Now" (Charles Colin Publications). There are as well many improvisational lines transcribed from some of the previously mentioned musicians.
Introduction
The connection between classical tonal melodies and early jazz is clear. Jazz music embraced functional harmony as a major way of expressing ideas, and the use of the tonic and dominant was the body and soul of the music. In the early days of jazz, improvisation was based on the melodies. When Bebop arrived on the scene, the mainstream players and composers used chromatic harmony and melody as a central way of expressing ideas, and tonality had reached its limitation. Then, Symmetric Harmony arrived.
Players such as John Coltrane, Sonny Rollins, Miles Davis, Jackie McClean, Horace Silver, Clifford Brown, Jimmy Heath and others all developed personal styles that had absorbed the vocabulary of bebop. Freddie Hubbard, Lee Morgan, Wayne Shorter and others were the next generation that extended the vocabulary even further. As John Coltrane unfolded in his incredible expansion of the music, we heard Eric Dolphy and Ornette Coleman take the jazz line to even further development. Perhaps, it was Eric Dolphy who extended the syntax of Charlie Parker to its highest level. His phrasing on not only alto saxophone but bass clarinet and flute was clearly similar to Parker's but in another dimension. Charles Mingus took jazz composition and performance to a programmatic level never before displayed. His compositions contained a great deal of the bebop vocabulary in the context of Twentieth Century contemporary composition. The music of Bill Evans, McCoy Tyner, Chic Corea and Herbie Hancock extended the vocabulary of jazz for, not only piano, but also the harmonic approach used by all modern players.