Arranging Reharmonization Techniques (Anglais) Broché – 1 janvier 2010
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If reharmonizing a tune is like painting a car, then simple substitution is like choosing a different shade of the same color—going from blue to indigo, or rose to pink. Lire la première page
Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
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harmonisation ( verticale ) improvisation ( horizontale )
c'est pareil ! juste une vue de l'esprit pédagogique !
j’écris cela pour signifier que les informations décrites dans ce livre peuvent
aussi servir pour improviser !!!!
le texte est clair ! le panel de techniques abordées est large
On regrette un CD illustratif pour encore plus d'efficacité !
à compléter avec les ouvrages de BERT LIGON ( jazz theory ressources I et II )et
"jazz composition" chez berklee press (mais avec cd !)
Commentaires client les plus utiles sur Amazon.com (beta)
(and understanding the how's and why's of it), "Reharmonization Techniques" by Randy Felts is an informed, well presented text that will help you construct your own "music toolkit" of
techniques to express yourself through jazz and popular harmony.
While the author doesn't explicitly call for it, I would strongly recommend readers be familiar with basic jazz harmony as used in standard tunes to get the maximum benefit from this book. You don't have to be an arranger or a composer but you
need to understand how jazz harmony "works" functionally in terms of key centers, modulation, use of non-root, passing and chromatic bass notes. You have to first understand how a tune is "harmonized" before you can appreciate how it may be "reharmonized".
The book begins with a chapter on "simple" chord substitution techniques: the author introduces three functional chord families (tonic, subdominant and dominant) and
demonstrates how substituting chords within the same family produces subtle reharmonization that can enhance the melody. The interaction of melody and harmony is explored,
specifically, avoiding unwanted dissonant intervals between melodies and chords.
A wide ranging survey of harmonic techniques is introduced is the succeeding chapters: the use of diatonic chords, tritone substitution, modal interchange. The techniques are described and demonstrated in depth with exercises in "lead sheet" form with chord symbols. The author assumes the player can for the most part derive their own voicings and work with the techniques in their particular instrumental/rhythmic context.
There is a chapter on basic keyboard voicings however for those without such a background.
More "contemporary" techniques such as hybrid chords and what other authors refer to as non-functional chord structures are also dealt with in later chapters.
There is no accompanying recording however the author provides possible answers to the exercises in the back of the book.
Personally I think the lack of a recording is a plus: this is a serious book for developing your own take on the jazz/pop harmonic vocabulary. It assumes you're bringing a sizeable listening background to the table and that you're far enough along in your development to have some sense of style and
taste, if not all the tools to express your thoughts musically. Providing the tools is the goal of this book and it will repay careful study.
This book is not for beginning musicians. It assumes a degree of knowledge and experience. It would not make sense to learn "reharmonizing" before you know basic harmony. The intended audience is people playing rock, jazz, pop and film music. Because of the use of chords, it is best suited to guitarists and keyboardists. It skews toward jazz standards, but for those wanting to dress up their blues arrangements or sound more sophisticated with their rock chord choices (think "Steely Dan"), there's plenty of material for you too.
The ultimate goal is to enable to reader to take melodies and add chords that are more interesting than the "obvious" choices. Those playing from fake books will benefit the most, especially if they plan out songs in advance. With practice and experience, one can use some of these techniques "on the fly" (e.g. tritone substitution). The techniques in this book also apply to composition, and could be used as blueprints to construct full piano accompaniments or even orchestrations.
I play both rock and standards, plus I write songs. I can use the techniques on my own compositions, plus I can polish my harmonies so that my standards do not all sound like the same song. If you want to take songs you already play and give them chords that make them sound more sophisticated, this book is not a bad place to start.
Yes, like the excellent review below stated, some basic knowledge of theory is needed, and prior knowledge of jazz chord notation and use of tension notes is helpful. Other than that, this book will give it all. I'll spare you the terminology, because if your eyeballing this book, it's safe to assume you problem don't know what all the terms would mean yet. After you buy this book, though, you will...and you'll have to restrain yourself from abusing the heck out of the tricks this book will teach you. You'll be able to turn "C, Am, F, G" into "C, Em7, F#min7(b5)-F#7, Bmin7(b5)" in no time. You'll be able to look at lead sheets for popular songs and know why specific chords were chosen.
This book is a high-powered, harmonic weapon. Buy it now, you'll be glad you did!
If you are experienced with such theory, this would be a good addition to your reference materials. I think it would be good for a refresher to check now and then to get all the methods back in your head. Plus, if you are teaching this topic, it would be a GREAT text to teach your students from.
You will need to know the following to use this book:
-read sheet music
-understand chord construction/harmony/musical intervals
-understand Diatonic theory for chords/keys
Plus, at $20, it is a steal. Think about how much a college level class on this topic would cost!
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