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The Jazz Theory Book
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The Jazz Theory Book [Format Kindle]

Mark Levine
5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)

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Descriptions du produit

Présentation de l'éditeur

The most highly-acclaimed jazz theory book ever published! Over 500 pages of comprehensive, but easy to understand text covering every aspect of how jazz is constructed---chord construction, II-V-I progressions, scale theory, chord/scale relationships, the blues, reharmonization, and much more. A required text in universities world-wide, translated into five languages, endorsed by Jamey Aebersold, James Moody, Dave Liebman, etc.

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Commentaires client les plus utiles
5.0 étoiles sur 5 the jazz book 3 février 2014
Format:Couverture à spirales|Achat vérifié
livre 2 jour après noël, compenser par le fait le livre reste bien ouvert à la sélectionné sans forcer sur la reliure
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Amazon.com: 4.6 étoiles sur 5  122 commentaires
193 internautes sur 194 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 An Amazing feat of scholarship, meant for all musicians. 29 janvier 2002
Par Un client - Publié sur Amazon.com
Format:Couverture à spirales|Achat vérifié
When I was younger I used to read about how playing with various famous jazz musicians like Monk or Dizzy was like going to school. I just thought it was for general inspiration. Now I can see that there is a mass of musical harmonic theory that has built up over the years, and mostly passed on from player to player. This book presents all the basic harmonic innovations that Jazz came up with between the 1940's and 1980's, and it's a lot. You'd have to know this stuff in order to play with the musicians of those times.
I think the best audience for this work consists of players who have mastered the "basics of their horn" and are ready to move into the "real world" of jazz improvisation and writing. However, even beginners can get into the book and I'd bet there are some masters out there who could learn a trick or two from it.
Many of the ideas presented here may have been printed before, but I've never seen them all together like this, never seen them related to each other like this, and there's lots and lots that this musician at least had never conceived of before. Reading it was like opening my eyes for the first time in the morning. So much of what I had listened to for years suddenly became explicable.
Do you want to know what to do with that B-flat alt chord in the "Real Book?" Want to know how pentatonic scales can build over various chords? Want to know why it somehow sounded right when that V chord resolved down a major third instead of a fifth? Read this book.
Other topics: Coltrane's changes -- modal scale theory -- a whole section on using melodic minor scales to basically reharmonize every which way but loose --- be-bop scale theory and great gobs of four-bar examples (properly notated in case you can beg borrow or steal the original record) -- playing "outside". There are also complete treatments of some key tunes such as Giant Steps, I Hear a Rhapsody, etc. I think there's enough in this book to keep any musician busy for a decade practicing and working out.
One nice touch is how Mark Levine points out practicioners of the art, not only Coltrane for his famous reharmonizations, but people like Woody Shaw for his pentatonic harmonies and Joe Henderson, Herbie Hancock etc. etc. There are some nice pictures of all these people, which to me exhibits one of the best qualities of jazz culture -- that of giving proper and humble credit and tribute to the many great musicians that have formed and furthered the music.
One thing this book is not -- It's not just a book of licks written out and transposed in various keys for you to practice over particular chords. Examples of licks are there, of course, but the focus is on giving you enough of an understanding so that you can make your own practicing agenda.
160 internautes sur 171 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Finally, someone has done it ! ! ! 14 décembre 2001
Par Eddie Landsberg - Publié sur Amazon.com
Format:Couverture à spirales
There was a time when it was a common adage that Jazz can't be taught. You were either born with it, or were lucky enough to pick it up... to some extent that is true... as there is a time you have to lift your head from the books and learn on the bandstand... but the question is how to get to that point - - the point where you can benefit from lead sheets or learning off of records, or by communicating with other musicians ?
For many years, a lot of the "Jazz" educational material on the market was either antequated by the time of publication (remember going into music shops to find "modern" piano books that would teach you how to play stride version of Honeysuckle Rose and the Maple Leaf Rag?)... other books contained misleading information, or some of the better ones required technical reading skills (as well as hand spands and chops) that few Jazz masters themselves were known to possess (!) - - Finally, over the years, a few breakthroughs... two of the earliest that come to mind would include books by David Baker and John Mehegan. - - But most of us still wondered, "When is somebody going to write *the book* ?" - - ...finally someone did.
The publication of this book has launched Jazz education into the modern era... Very readable, well presented, modern, practical, never over academic or esoteric, and requiring the most minimal amount of reading of musical notation possible - - and written for a generation raised on Miles Davis and John Coltrane not Fats Waller and Louis Armstrong (as great as they were.)
Combining this book with the right listening, hands on playing (check out some of the Aebersold play-a-longs) and the right fake book... in a situation where a great Jazz teacher might not be so available or affordable, with the right attitude (check out Berliner's Thinking In Jazz) - - this book is your spiral bound musical conservatory, with advice relevent to players of all levels... From those basic intervals, scales, chord voicings and changes that all Jazz students learn in their first lessons, to the insight required to "put it all together" - - This is a great reference for everyone, from the begining student, the aspiring amateur trying to get into a program (or take his or her playing to the next level)... to the seasoned veteran who'd like to learn the language and reason and gain better insight into what he or she is playing and hearing in order to grow as a musician. Regardless, this is one resource that belongs in your music learning library !
77 internautes sur 81 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Core Text for Serious Students 21 décembre 2003
Par John Russon - Publié sur Amazon.com
Format:Couverture à spirales
This is not a "how-to" book to work through, but a reference work that will offer much to the ongoing study by a serious student of jazz music. It offers mode-by-mode analyses of major scale and melodic minor harmonies, looks at different techniques practicing and for constructing solos, outlines the basics of reharmonization, and has a thousand other little details that are very helpful. Each point is accompanied by examples from classic works in the jazz repertoire. This is a book that can only be digested over a period of years. I recommend it highly to anyone studying this music seriously.
63 internautes sur 66 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 good but not the only jazz theory book 19 juin 2007
Par Brian Davis - Publié sur Amazon.com
Format:Couverture à spirales
This book is very good and I recommend it to any serious music student. I learned a lot from it and it gave me plenty of new information and insights. It is also valuable as a reference with excellent indicies and appendices, for example a long list of contrafacts based upon standard song forms. My main criticism of it is that it is very piano-centric. Most examples are given in complex two-handed piano-score format which is great if you can sight read complex piano parts, but are not immediately helpful if piano is your second or third instrument. Also, examples and contexts reflect the author's own personal tastes heavily. There is nothing really wrong with these things, but for a book that seems to present itself as the authoritative text on jazz theory, it's not. I think Bert Ligon's series of books presents a more comprehensive, accessible, and balanced overview of jazz theory, and is more oriented towards musicians in general, not only pianists.
38 internautes sur 41 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Remarkable book that makes theory fun. 29 décembre 1998
Par petter.myhr@eunet.no - Publié sur Amazon.com
Format:Couverture à spirales
This book is just outstanding in the way is speaks to the students. You have the feeling you are learning from a friend, instead from a teacher who doesn't care that you learn something. It starts with basic theory, and goes on to the more advanced stuff like reharmonizing jazz standards and playing outside etc. This book has it all, so if you're an aspiring jazz student you should get this book, it is essential in any jazz fan's book collection. Great stuff!
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Major 7th chords have a major 3rd and a major 7th.9  Minor 7th chords have a minor 3rd and a minor 7th.10  Dominant 7th chords have a major 3rd and a minor 7th. &quote;
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Todays players usually play a dominant 7th chord rather than a minor 7th chord as the VI chord in a I-VI-II-V. They would play I-VI-II-V in the key of C as C, A7, D-7, G7 (figure 2-26). Playing A7 instead of A-7 gives the progression a stronger sense of resolution going to D-7, and there are far more opportunities to alter dominant 7th chords than there are to alter minor 7th chords. &quote;
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You can interpret almost all chord symbols using just these four scales:2  The major scale  The melodic minor scale  The diminished scale  The whole-tone scale &quote;
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