also available, from that location or by anonymous ftp to ftp.njit.edu in the /pub/jazz-primer directory.From time to time, I may makeother formats available as well.If youcannot print out the primer from anyofthese forms, you can get hardcopyfrom me bysending $20 to me at my address above;$5tocovermycopying and mailing costs, and$15 which I will consider a donation that will be rebated to you if you buy the CD-ROMwhen it becomes available.Finally,Iwould liketothank some people who contributed to this primer.Solomon Dou-glas, Jonathan Cohen, and Sue Raul reviewed the early drafts and gav eme lots of goodsuggestions, most of which were incorporated into the ﬁrst edition.Jonathan also con-tributed some material for the discussions on modal music.Since the ﬁrst edition wasmade available, thousands of people have downloaded it or viewed it via the Web, andmanyothers have obtained copies by other means as well.Ihavereceivedmanycom-ments and have tried to incorporate as manyofthe suggestions as possible.While itwould be difﬁcult to list everyone who gaveme feedback, I would liketoespeciallyacknowledge Russ Evans, Jos Groot, Jason Martin Levitt, Scott Gordon, Jim Franzen,David Geiser,and Malte Rogacki, as well as Ed Price, who converted the text into hyper-text form for the World Wide Web.
Forthe purposes of this primer,weare all musicians.Some of us may be performingmusicians, while most of us are listening musicians.Most of the former are also the lat-ter.Iwill try to use the term
respectively,rather than the termsmusician or non-musician, when addressing my audience.This primer is intended pri-marily for performers who wish to learn jazz improvisation. Itis also intended for listen-ers who wish to increase their understanding of the music.Ibelieve that all musicianscan beneﬁt from a fuller understanding of jazz, as this can lead to an enhanced enjoymentof the music.Some basic knowledge of music, including familiarity with standard music notation, isassumed in manyplaces throughout the primer.Ihighly recommend that you have accessto a piano and the ability to play simple examples on it.Performers should already pos-sess basic technical proﬁciencyonyour instruments in order to gain the most from thisprimer.Listeners should try to bear with the more technical discussions and not get toobogged down with the details where it seems too far overyour head.There are three main goals of this primer.Theyare to teach you the language of jazz, toincrease your understanding of jazz as performed by others, and, for performers, to getyou started on improvising. Thelanguage of jazz is mostly a language of styles, history,and music theory.Itisthe language of liner notes, interviews, and textbooks, and con-tains terms such as “bebop”, “Trane”, and “lydian dominant”.Learning this languagewill also provide a framework for understanding the music itself.While it is certainlypossible to enjoyJohn Coltrane without understanding anything about music theory,aworking knowledge of harmonycan provide a newbasis for appreciation.It is also possi-ble to improvise without much theoretic background, but stories of famous musicianswho were unable to read music are generally greatly exaggerated, and I believe any