Dariusz Terefenko

Jazz Voicings For Piano: The complete linear approach

Part I: The "Drop Two" Harmonic Technique. Band 1. Klavier. Lehrbuch.

• Broschiertes Buch

Produktbeschreibung

Dieses zweiteilige englischsprachige Lehrbuch richtet sich an professionelle Jazzpianisten und fortgeschrittene Hobbymusiker, die ihre Kenntnisse der Jazzharmonik erweitern und sich praktische Fertigkeiten aneignen wollen, um typische harmonische Fortschreitungen zu meistern.Teil 1: The "Drop-Two" Harmonic Technique erklärt verständlich, wie durch Stimmführung, Dissonanzbehandlung und Kontrapunkt eine logische Erweiterung der Syntax der Jazzharmonik entsteht. Mit sorgfältig entwickelten Harmonie-Übungen, die auf einzigartige Weise auf den Inhalt jedes Kapitels eingehen und ihn ergänzen.Schwierigkeitsgrad: 3-4

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Produktdetails

• Verlag: Schott Music, Mainz / advance music
• Artikelnr. des Verlages: ADV 9046
• Seitenzahl: 176
• Erscheinungstermin: 10. Juli 2018
• Englisch
• Abmessung: 302mm x 230mm x 16mm
• Gewicht: 638g
• ISBN-13: 9783954810482
• ISBN-10: 3954810484
• Artikelnr.: 53190744

Inhaltsangabe

Chapter 1 - Four-Part Chords: Major Chords - Minor Chords - Dominant Chords - Half-Diminished / Diminished Chords - "Drop Two" Technique - Piano Textures - Voice Leading - Exploring the Potential of "Drop Two" Voicings - Exercise Section - Chapter 2 - Inverted Four-Part Chords: Preliminaries - Chromaticism - Invertible Counterpoint - Exercise Section - Chapter 3 - Five-Part Chords: Major Chords - Minor Chords - Diminished Chords - Dominant Chords - Suspended Chords - Keyboard Style - Chorale Style - Inverted Five-Part Chords - Exercise Section - Chapter 4 - Rootless Five-Part Voicings: Practicing Rootless Chords - The ii-V7-I Progression in Keyboard Style - The Sus7 Dominant Preparation - The iiø-V7-i Progression in Keyboard Style - Basic Melodic Elaborations in Chorale Style - Exercise Section - Chapter 5 - Six-Part Chords: Pairs of Triads - Superimposed Triads - Rootless Voicings - Upper-Structure Triads in the Dominant 7th Chord - Combinations of Extensions - "Drop Two" Dominant 7ths - Suspended Chords - Rootless Dominant 7th and Sus7 Chords - Voice Leading - Exercise Section - Chapter 6 - Incomplete Chords: J. S. Bach's Setting of a Chorale - Major, Minor and Half-Diminished / Diminished Chords in Chorale Style - Dominant 7th and Suspended Chords in Chorale Style - Rootless Formations in Chorale Style - The II-V-I Progression - Invertible Counterpoint - Linear Embellishments - Exercise Section - IndexChapter 1 - Four-Part Chords: Major Chords - Minor Chords - Dominant Chords - Half-Diminished / Diminished Chords - "Drop Two" Technique - Piano Textures - Voice Leading - Exploring the Potential of "Drop Two" Voicings - Exercise Section - Chapter 2 - Inverted Four-Part Chords: Preliminaries - Chromaticism - Invertible Counterpoint - Exercise Section - Chapter 3 - Five-Part Chords: Major Chords - Minor Chords - Diminished Chords - Dominant Chords - Suspended Chords - Keyboard Style - Chorale Style - Inverted Five-Part Chords - Exercise Section - Chapter 4 - Rootless Five-Part Voicings: Practicing Rootless Chords - The ii-V7-I Progression in Keyboard Style - The Sus7 Dominant Preparation - The iiø-V7-i Progression in Keyboard Style - Basic Melodic Elaborations in Chorale Style - Exercise Section - Chapter 5 - Six-Part Chords: Pairs of Triads - Superimposed Triads - Rootless Voicings - Upper-Structure Triads in the Dominant 7th Chord - Combinations of Extensions - "Drop Two" Dominant 7ths - Suspended Chords - Rootless Dominant 7th and Sus7 Chords - Voice Leading - Exercise Section - Chapter 6 - Incomplete Chords: J. S. Bach's Setting of a Chorale - Major, Minor and Half-Diminished / Diminished Chords in Chorale Style - Dominant 7th and Suspended Chords in Chorale Style - Rootless Formations in Chorale Style - The II-V-I Progression - Invertible Counterpoint - Linear Embellishments - Exercise Section - Index