Ted Pease – Jazz Composition. Theory And Practice

Ted Pease - Jazz Composition. Theory And PracticeТед Пиз: “Джазовая композиция. Теория и практика”. Издание Berklee.

Книга с нотными (фортепиано) и звуковыми примерами.

Курс джазовой композиции от профессора колледжа Беркли.

Содержание:

Introduction
What is Jazz?
What is Jazz Composition?

Prerequisites: What Do I Need to Know?
Acknowledgments and Thanks
About the Author

How to Use this Book and CD

Review
Scales
Modes
Tensions
Approach Notes and Other Embellishments
Anticipation and Delayed Attack
Guide Tones

Chapter 1. Melodic Considerations
Definitions
Melodic Rhythm
Melodic Rhythm Density as a Function of Style
Scale Resources
Interval Patterns
Exercise
Melodic Variation via Modal Interchange
Motivic Devices and the Rudiments of Form
Repetition
Sequence
Motivic Transformation
Motivic Embellishment
Motifs Based on Intervallic Patterns
Melodies Based on Guide Tones
Embellishing a Guide Tone Line
Melodies Based on Compound Lines
Antecedent and Consequent Phrases
Pitch Contour and Range
Apex (Climax)
Melodic Tension as a Function of Style
Source Material—Melodic Considerations

Chapter 2. Harmonic Considerations
Tonal Harmony (Major Key Orientation)
Tonal Harmony (Minor Key Orientation)
Modal Harmony
Inverted Voicings in Fourths
Modal Approach Chords
Modal Melodies
Harmonic Variation via Modal Interchange
Chromatic Harmony
Harmonic Rhythm (and Density)
Modulations
Ostinato
Inversions and Other Slash Chords
Pedal Point and Constant Structures
Pedal Point and Pandiatonicism
Harmonization
Reharmonization
Source Material—Harmonic Considerations

Chapter 3. Blues and Song Form
Form
The Blues
Blues: Harmonic Form
Blues: Melodic Form
Source Material—Blues
Rhythm Changes
Source Material—Rhythm Changes
aaba Song Form
Warm-Up Exercise
Source Material—aaba form
abac Song Form
Source Material—abac form
Ostinatos (Revisited)
Source Material—Ostinatos
abca Song Form
Through-Composed Tunes
Source Material—Through-Composed Tunes

Chapter 4. Arranging and Formatting Considerations
Getting Your Music Played
Two-Part Soli Writing
Background Writing/ Deriving Counterpoint from Guide Tones
Intros, Interludes, and Endings
The Arranger’s Chorus
“Group Effort”
Source Material

Chapter 5. Metric Considerations
Metric Modulation
Source Material

Chapter 6. Fusion
Fusion Melody
Fusion Harmony
Fusion Rhythm
Fusion Instrumentation

Chapter 7. Episodic Form
“In Celebration of Saxophones”
Source Material—Episodic Compositions

Chapter 8. Motivic Composition
Internal Form for Motivic Composition
“Dynamic Duo”—Internal Form
Source Material—Motivic Compositions

Chapter 9. Extended Works
Motivic Continuity in Extended Works
External Form for Extended Works
Internal Forms for Extended Works
Internal Form for “Initiations”
Internal Form for “Reflections”
Internal Form for “This Is What We Do”

Bibliography

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