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Improvise for Real: The complete method for all instruments. (English Edition)
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Improvise for Real: The complete method for all instruments. (English Edition) [Format Kindle]

David Reed
5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)

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Descriptions du produit

Présentation de l'éditeur

If you dream of improvising your own solos in concerts and jam sessions, playing songs with friends at parties and even composing your own original music, then what you need is a daily music practice that is CREATIVE, FUN and leads to an EASY understanding of harmony. This understanding doesn’t come from memorizing “licks” and scale patterns. It comes from exploring the world of harmony directly and discovering it for yourself. In other words, what you really need is a creative daily practice that lets you experience music for yourself and to enjoy creating your OWN music right from the very first day. Improvise for Real will take you into this beautiful world of sounds and show you how music and harmony really work. You will learn to understand any piece of music just by listening to it, and to improvise with confidence in any musical situation. You will learn to improvise over jazz standards, blues songs, pop music or any other style that you would like to play. For many people, Improvise for Real is the key that enabled them to finally understand harmony and to really enjoy improvising. The method is open to all instruments and all ability levels, including complete beginners. You do not need to know anything at all about music theory to begin, and there is no sight reading required.

Biographie de l'auteur

David Reed’s mission is to teach all people how to connect with their own musical creativity and enjoy improvising and composing their own music. While his own musical background is primarily in jazz music, his approach to teaching improvisation is universal and applies to all styles of music. During his early years of teaching musical improvisation for all instruments, David became increasingly frustrated with the clichés and formulas that are commonly taught in improvisation courses. He felt that these rules and formulas were forcing students into a very superficial relationship with improvising, and this often caused them more harm than good. He began to imagine a different kind of improvisation method that would enable students to explore and discover the beautiful world of modern harmony for themselves. For more than 10 years David worked to develop a complete method that would give musicians this direct, personal experience with each sound in our musical system, taking students directly to the same understanding of harmony that is enjoyed by every great improviser. The method is called Improvise for Real (IFR), and it is fast on its way to becoming the definitive system for learning to improvise. It is now being used by both students and teachers in more than 20 countries. David also provides jam tracks and other learning materials to support the entire IFR community. You can learn more at David currently spends most of the year in Amsterdam, Netherlands. His primary instrument is the nylon string guitar. He also enjoys playing both the trumpet and the piano. A musician for more than 30 years, his unique perspective on music and creativity is based on his experiences playing and teaching music in Brazil, Argentina, Spain, Senegal, Guinea-Bissau, Nicaragua and the United States.

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1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Ce livre est une vraie révolution pédagogique 31 mai 2014
Format:Broché|Achat vérifié
Ce livre est une révolution.
Il change de manière radicale de la manière occidentale d'approcher la musique.

Les deux principales caractéristiques qui font la réussite de la pédagogie de ce livre sont :

D'une part, l'abandon du système de nommage absolutiste occidental. Absolutiste dans le sens où un Do sera toujours un Do peu importe sa place dans la tonalité... Cela au profit d'une approche relativiste des notes - Chaque note est nommée relativement à sa position dans la tonalité (Exactement comme dans le système de musique classique indienne).

Cela peut paraitre négligeable... Mais en fait, cette approche relativiste va facilité la connexion cognitive entre chaque note de la tonalité (et même hors tonalité) et notre esprit.
En d'autre terme, cela devient aussi évident d'entendre plusieurs notes d'un morceau et de distinguer la quinte, la tierce et la septième, que de voir plusieurs animaux et de distinguer un chien, un chat et un oiseau !
Au final, c'est même beaucoup plus utile et plus puissant que l'oreille absolue...

Par extension, avec un peu (vraiment un peu) d'entrainement, on peut reconnaitre la nature d'un accord (les notes qui le compose).

Ou même, avec un peu plus d'entrainement, on peut écouter un morceau prendre son instrument, jouer une seule note, écouter l’interaction entre la note jouée et le morceau et déterminer immédiatement la position de la note jouée dans la tonalité du morceau, et donc improviser dans la tonalité sans même avoir regardé une partition ou une grille d'accord auparavant !
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Commentaires client les plus utiles sur (beta) 4.4 étoiles sur 5  30 commentaires
13 internautes sur 13 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The first, last and only book on music you ever really need. 28 septembre 2012
Par Scott Seward - Publié sur
Format:Format Kindle
Innate musicality has been "hard-wired" into all humans from birth. Some people claim to be tone deaf, but this is actually quite rare. All humans have the ability to understand music, which is a hearing art, where sounds are used to create moods and feelings and responses in the mind of the listener. Music is not a is based solely in sound, and it can only be truly experienced by hearing and listening. There are only 12 tones or sounds in western music, a maximum of 12 notes, regardless of how complex sounding or advanced the music may be. And nearly all music only uses 7 notes in any single piece of music.

This "IFR" system lays out a brilliant and simple method for teaching you how to recognize notes, and melodies and harmonies, because you will finally understand the depth and meaning of these sounds. With this method, you will come to deeply know what all 12 notes are doing musically and how to recognize and move them around in your mind. This makes the hyper-technical "Modal Theory" much easier to understand, because when you strip away the complex instruction of modal theory it's application is actually fairly straight-forward and simple.

This book takes bits and pieces from different sources, but reorganizes everything into a cohesive whole that is holistic and that makes "musical" sense. Music is an experiential art that is dense with meaning and feeling. A picture is worth a thousand words because pictures contain so much information and detail. We could waste hours using language trying to describe details in a picture, or we could just show the picture and let someone experience it. Similarly, music uses sounds to create experiences and the only way to learn that is by experiencing it and internalizing it.

This method uses a brilliant trick of letting music teach you its own nifty and precious little secrets. There is no way of really capturing that in words. But exercises can be designed and performed that give the student the experience of what music is really saying. It is like finally knowing how to speak a foreign language, because you finally get all the grammar and vocabulary and how they construct meaning. With this method you finally will be able to understand and construct meaning with music, which is the highest form of art in music.
8 internautes sur 8 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Way, The Truth, and The Light 5 mars 2013
Par Michael Chapman - Publié sur
David could have easily named this book "The Dao / Tao of Music" I am a professional performing and teaching at University level musician, and this is the greatest book on music I have worked with in my 25 years.
6 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Review from an acoustic guitar player with two years' experience 10 avril 2014
Par Terence Coughlin Jr. - Publié sur
Format:Broché|Achat vérifié
David Reed's approach to melody, harmony, tonal center, chords - to appreciating the learning of music in general - is truly freeing. My mom was a high school music teacher and piano teacher, so I have some understanding of theory through osmosis (I didn't much care about music theory at the time, as I was a drummer), but everything David writes in this book about the frustration of memorizing theory/chord diagrams/scale patterns on guitar vs. this book's approach is absolutely on target in my own personal experience. My wife has zero musical background, and even she was able to understand - and replicate - the "magic key" of the major scale on our keyboard (as described in the book) instantly. She was simply amazed.

Our 9 year old son started piano lessons a few months ago, and while he tolerates theory and sheet music, the bulk of his time playing is recreating songs in his head via trial-and-error. I think kids naturally approach learning music in the manner David writes about, before all the strict practice regimen on traditional theory sucks the joy out of it for many of them. When my son heard me showing my wife the major scale, he walked over and played it all over the keyboard on his own. I asked him how he knew what he was doing, and his answer was illustrative - he said he just plays what sounds right in his head. This echoes a major sentiment of the book.

In short, this book was a revelation. By my read, it is not intended to be a direct 1-for-1 replacement of more traditional approaches to musical training - you still need to practice technique at your instrument - but rather it is a supplement, and it has heightened my personal enjoyment of learning and *experiencing* my guitar playing multiple times over.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Simple and effective 10 septembre 2012
Par Kindle Customer - Publié sur
Format:Format Kindle|Achat vérifié
This book is the most fun you can have sitting down. The author introduces a series of exercises that methodically improves your ability to improvise. Some of them (like free singing the numbered tones in scales) you can do in your car, if you don't mind the stares. My favorite is improvising along with songs on the radio. Once you can do it with your voice, you can start to do it with your instrument.

Perhaps the most interesting thing (to me) has to do with starting a scale on the 2nd thru 7th notes instead of the first, to produce 6 more scales for every note. These scales were just sitting there waiting to be pointed out, like dark matter (assuming it exists).

I highly recommend this book. You will find, I think, that you already know how to improvise and just need the encouragement this book offers.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Improvise for real 29 mars 2012
Par Isaac Fàbregas - Publié sur
Format:Format Kindle
I had the opportunity two years ago to study improvisation with David Reed, the author of this book. I have to say that the Improvise for Real method truly opened my mind. I was frustrated with the music classes and methods I had tried because they seemed incomprehensible. I was already composing my own songs but I felt very limited. I didn't feel like a "real" musician because I didn't really understand what I was doing and I had no way to expand it.

But I was surprised by how easy and practical David's method is. It teaches you truly "see" the basic elements of music so that you can understand them. It shows you how to translate the music that you love and feel inside you. You can even learn to recognize every single note of any song you hear, and immediately play it in any key without sheet music (if you want to). David starts with the premise that everything you hear comes from just seven notes, and this gives you hope and motivation to learn to recognize these seven notes in the music all around you.

In other words, the method brings you closer to music rather than farther away (as so many improvisation methods seem to do). The path David shows is in fact a return to a more natural and innocent relationship with music, in which we hear it, understand it and create it without having any need for rules about what notes to play. In this way, it literally teaches you how to play the music you imagine.

The focus of David's method is inward. You learn to clarify your own sensations and recognize the music in your memories, your favorite songs, and also the music that you imagine and create. In fact, this kind of learning lets you explore music by yourself with total freedom. Once you learn how to use the method, you can continue learning on your own for your whole life.

The Improvise for Real method is totally different from the typical approach to learning harmony and I think it should be implemented in every serious music school. I was pleasantly surprised to see that there is now a book with this method. I encourage everyone interested in music to take a look.

Grateful and happy,
Isaac Fàbregas Fernández
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