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Books on the topic 'Melodic improvisation'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Consult the top 16 books for your research on the topic 'Melodic improvisation.'

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1

Titlebaum, Mike. Jazz Improvisation Using Simple Melodic Embellishment. Names: Titlebaum, Michael, 1968– author. Title: Jazz improvisation using simple melodic embellishment / Mike Titlebaum. Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780367854751.

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2

Hester, Karlton E. The melodic and polyrhythmic development of John Coltrane's spontaneous composition in a racist society. Lewiston: E. Mellen Press, 1997.

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3

Kinney, Akiko. Pattern play, melody. North Bend, WA: Two Streams Press, 2008.

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4

Kinney, Akiko. Pattern play, melody. North Bend, WA: Two Streams Press, 2007.

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5

Thybo, Leif. Improvisation af forspil til melodier i Den Danske Koralbog. Edited by Ramsing Jens. Roskilde [Denmark]: Kirkemusikforlaget, 1996.

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6

David, Reed. Improvise for real: Understand the music you hear ; play the music you imagine. [United States]: David Reed, 2011.

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7

Jazz Improvisation for Guitar: A Melodic Approach (Jazz Improvisation). Berklee Press, 2005.

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8

Drury, Herb. Jazz Piano - The Blues & Melodic Improvisation. Mel Bay Pubns, 1993.

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9

Harris, Neal. Foundations for Improvisation : A Guitarist's Guide to Improvisation : Major Scale Modes with Improv Exercises: Melodic Interval Studies. Neal Harris, 2018.

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10

Wise, Les. Bebop Licks for Guitar: A Dictionary of Melodic Ideas for Improvisation (REH Pro Licks). Hal Leonard Corporation, 2002.

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11

Bergonzi, Jerry. Melodic Structures - Inside Improvisation Series Vol.1 - melody instruments (C or Bb or Eb or bass clef) - method with CD - [Language: English] - (ADV 14220). advance music, 2000.

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12

Pianists Guide to Blues, Jazz, and Melodic Improvisations. Creative Keyboard Publications, 1994.

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13

Gooley, Dana. Carl Loewe’s Performative Romanticism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0004.

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Chapter 3 is about Carl Loewe, a little-known musician who undertook an unprecedented and remarkable task: improvising entire songs, both the melody and the accompaniment, on poems given to him by the audience. This chapter reconstructs Loewe’s methods for performing this difficult feat and describes the cultural impetuses that motivated it. I propose that Loewe’s improvisations, performed mainly on a series of concert tours he undertook in the 1830s, condensed a number of independent cultural strains—the kapellmeister’s fluency in keyboard improvisation, the practice of touring virtuosos, the literary cult of poetic improvisers, and the genre theory of the ballad, which described it as a species of epic or bardic narration that was understood as improvisatory in character.

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14

Discovering Rock Piano Chords Rhythms Melodies And Improvisation How To Play Todays Rock And Pop Music On Piano Or Keyboard. Schott, 2009.

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15

Goertzen, Chris. George P. Knauff's Virginia Reels and the History of American Fiddling. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496814272.001.0001.

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George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. This book uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. It first discusses the life of the arranger. Then it explains how this collection was meant to fit into the broad stream of early nineteenth-century music publishing. The book describes the character of these fiddle tunes' names (and such titles in general), what we can learn about antebellum oral tradition from this collection, and how fiddling relates to blackface minstrelsy. Throughout, the book connects the evidence concerning both repertoire and practice found in the Virginia Reels with current southern fiddling, encompassing styles ranging from straightforward to fancy—old-time styles of the Upper South, exuberant West Virginia styles, and the melodic improvisations of modern contest fiddling. Twenty-six song sheets assist in this discovery. The book incorporates performance descriptions and music terminology into his accessible, engaging prose. The book presents an extended look at the history of southern fiddling and a close examination of current practices.

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16

Martin, Henry. Charlie Parker, Composer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.001.0001.

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Charlie Parker, Composer is the first assessment of a major jazz composer’s oeuvre in its entirety. Providing analytical discussion of each of Parker’s works, this study combines music-theoretical, historical, and philosophical perspectives. A variety of analytical techniques are brought to bear on Parker’s compositions, including application of a revised Schenkerian approach to the music that was developed through the author’s prior publications. After a review of Parker’s life emphasizing his musical training and involvement in composition, the book proceeds by considering the types of Parker pieces as categorized by overall form and harmony and the amount of preplanned music they contain. The historical circumstances of each piece are reviewed, and, in some cases, sources of the ideas of the most important tunes are explored. The introduction includes a discussion of the ontology of a jazz composition. The view is advanced that the Western concept of a music composition needs to be expanded to embrace practices typical of jazz composition and forming a significant part of Parker’s work. While focusing on Parker’s more conventional tunes, the book also considers his large-scale melodic formulas. Two formulas in particular are arguably compositional, since they are extensive and sometimes appear in subsequent improvisations. As part of the research for this book, all of Parker’s copyright submissions to the Library of Congress were examined and photographed. The book reproduces the four of them that were copied by Parker himself.

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