Pub Date : 2019-07-18DOI: 10.1093/oso/9780190462574.003.0009
Michael R. Treat
An improvised jazz solo is constructed from rhythmic and harmonic vocabulary. It requires the player to have an internal sense of melody, harmony and form that he or she relies on to create musical ideas in real time. This chapter outlines an approach to teaching beginning improvisors that can develop these concepts. It articulates principles of improvisation that students must learn before progressing to advanced theoretical concepts, which include communication; phrasing; tension and release; and the ability to simultaneously create, perform, and respond to music. Throughout the chapter, exercises, activities, and repertoire are provided that effectively lay the groundwork for learning to improvise in the jazz idiom.
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Pub Date : 2019-07-18DOI: 10.1093/oso/9780190462574.003.0019
N. Walker
The role of the double bass in any jazz band is fundamental to the success of the whole ensemble. The bass line carries both the rhythm and harmony from beat to beat in a way that establishes both a solid pulse and a clear formal structure that allows all of the other elements of jazz to be meaningfully felt. This chapter is designed to introduce a double bassist to jazz playing. It begins with fundamental information about instrument setup, posture, and technical approaches that allow for full expression unhindered by physical pain and injury. Next, the chapter introduces approaches to learning music and bass lines by ear and presents a progressive sequence of skills that allow a bassist to embellish simple traditional bass lines creatively and personally by understanding root movement and connecting chords with walking iconic bass lines.
{"title":"Jazz Bass","authors":"N. Walker","doi":"10.1093/oso/9780190462574.003.0019","DOIUrl":"https://doi.org/10.1093/oso/9780190462574.003.0019","url":null,"abstract":"The role of the double bass in any jazz band is fundamental to the success of the whole ensemble. The bass line carries both the rhythm and harmony from beat to beat in a way that establishes both a solid pulse and a clear formal structure that allows all of the other elements of jazz to be meaningfully felt. This chapter is designed to introduce a double bassist to jazz playing. It begins with fundamental information about instrument setup, posture, and technical approaches that allow for full expression unhindered by physical pain and injury. Next, the chapter introduces approaches to learning music and bass lines by ear and presents a progressive sequence of skills that allow a bassist to embellish simple traditional bass lines creatively and personally by understanding root movement and connecting chords with walking iconic bass lines.","PeriodicalId":402451,"journal":{"name":"Teaching School Jazz","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129574134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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