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Improvising Jazz

Improvising Jazz

Improvising Jazz

4.5/5 (26 ratings)
144 pages
1 hour
Jun 15, 2010


With musical scores and helpful charts, noted jazz educator and featured jazz soloist, Jerry Coker, gives the beginning performer and the curious listener insights into the art of jazz improvisation.

Improvising Jazz gives the beginning performer and the curious listener alike insights into the art of jazz improvisation. Jerry Coker, teacher and noted jazz saxophonist, explains the major concepts of jazz, including blues, harmony, swing, and the characteristic chord progressions. An easy-to-follow self-teaching guide, Improvising Jazz contains practical exercises and musical examples. Its step-by-step presentation shows the aspiring jazz improviser how to employ fundamental musical and theoretical tools, such as melody, rhythm, and superimposed chords, to develop an individual melodic style.
Jun 15, 2010

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  • Be sure that the scale root is identical to the chord root, except in the case of 7 chords and 7 chords with a lowered fifth, where the scale root will be one-half step above the chord root.

  • The first letter of each of the chord symbols indicates the pitch upon which the chord is built, called the root. A capital “M” signifies a major triad and a small “m” indicates a minor triad.

  • The bass player’s first obligation is to outline the consonant and important notes of each of the chords (especially roots and fifths), or he should at least outline the important notes of the tonality.

  • If any of the players has difficulty improvising with a particular chord, let the pianist strike the chord and hold it (not in tempo) until the player can improvise a number of useful phrases.

  • Thus what I have here called “the most complete mental and psychological preparation” is really the crux of the matter. It is the requisite condi-tion under which inspiration can take wings.

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Improvising Jazz - Jerry Coker



the Improvisor’s Basic Tools

Five factors are chiefly responsible for the outcome of the jazz player’s improvisation: intuition, intellect, emotion, sense of pitch, and habit. His intuition is responsible for the bulk of his originality; his emotion determines the mood; his intellect helps him to plan the technical problems and, with intuition, to develop the melodic form; his sense of pitch transforms heard or imagined pitches into letter names and fingerings; his playing habits enable his fingers to quickly find certain established pitch patterns. Four of these elements of his thinking—intuition, emotion, sense of pitch, and habit—are largely subconscious. Consequently, any control over his improvisation must originate in the intellect. While the intellect is limited in its capacity for control over intuition and emotion, it can be responsible for the training of the ear and for establishing a variety of helpful finger patterns, in addition to its function of solving technical

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  • (5/5)
    Very technical, but it is worth spending the time and effort on. Very thorough.
  • (1/5)
    IMPOSSIBLE DOWNLOAD this and almost all really good books like this!!! Even with membership!!!

    Just "Save for Later" and "Start Reading" available options... This service IS A FRAUD... Somebody knows how to get this book here?
    Thanks to youv
  • (4/5)