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This book demonstrates the extent to which jazz
pianist Keith Jarrett s renditions of standard
tunes exploit certain aspects of their phrase and
formal structure. Part 1 describes a methodology for
explaining the phrase structure and formal design of
standard tunes. Chapter 1 shows how standard tunes
use a finite number of phrase models and Chapter 2
demonstrates how these phrase models are arranged
into prototypical formal plans. Chapter 3 introduces
the hexamodal system to provide a taxonomy of
available jazz voicings and chord-scale
relationships. Part 2 uses the analytical methodology
outlined in Part 1 to analyze Keith Jarrett s
remarkable approach to jazz improvisation. Chapter 4
focuses on the ways in which he transforms standard
tunes. Chapter 5, then, goes on to analyze what
appear to be his most sophisticated transformation of
jazz standards; his solo introductions. These
outstanding improvisations transcend the temporal
confines of variation form in the manner of the free fantasia. The book ends with the author s own
improvisation of the introduction in Jarrett s style
to George Gershwin s Embraceable You.
pianist Keith Jarrett s renditions of standard
tunes exploit certain aspects of their phrase and
formal structure. Part 1 describes a methodology for
explaining the phrase structure and formal design of
standard tunes. Chapter 1 shows how standard tunes
use a finite number of phrase models and Chapter 2
demonstrates how these phrase models are arranged
into prototypical formal plans. Chapter 3 introduces
the hexamodal system to provide a taxonomy of
available jazz voicings and chord-scale
relationships. Part 2 uses the analytical methodology
outlined in Part 1 to analyze Keith Jarrett s
remarkable approach to jazz improvisation. Chapter 4
focuses on the ways in which he transforms standard
tunes. Chapter 5, then, goes on to analyze what
appear to be his most sophisticated transformation of
jazz standards; his solo introductions. These
outstanding improvisations transcend the temporal
confines of variation form in the manner of the free fantasia. The book ends with the author s own
improvisation of the introduction in Jarrett s style
to George Gershwin s Embraceable You.