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The Shape Method: for Jazz Improvisation (English Edition) [Format Kindle]

Lynn Baker
1.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)

Prix éditeur - format imprimé : EUR 19,37
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  • Longueur : 162 pages
  • Langue : Anglais
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Descriptions du produit

Présentation de l'éditeur

The Shape Method for Jazz Improvisation offers a unique approach to learning improvisation. By focusing on the underlying concepts of rhythmic and melodic shape it offers students a framework to unlock the secrets of the phrasing of master improvisers. This approach liberates the learner from scale/chord relationships and "lick" playing and enables them to create their individual jazz voice within the tradition.

Each chapter includes a discussion of a rhythmic and pitch-based melodic shape concept, examples of these concepts from master improvisers, suggested listening relevant to the concepts, and composition and performance exercises.

Biographie de l'auteur

Lynn is an active performer and clinician, performing on Soprano and Tenor Saxophones, and Percussion in Lynn Baker Quartet, the free-improvisation trio Rhythmic_Void, performing with and directing the Rocky Mountain Jazz Repertoire Orchestra. His clinician appearances at colleges, universities, high schools, and festivals have taken him across North American and to Asia. He is a Origin Records recording artist and his debut release Azure Intention, was released September 2010 and appears on many “Best Jazz CD” of 2010 lists. His recent release, LectroCoustic, is an anthology of compositions inspired by African-American dance grooves Lynn Baker is also the Director of the Jazz Studies and Commercial Music Program at the Lamont School of Music, University of Denver, where he directs the Lamont Jazz Orchestra, coaches combos, and teaches Jazz Improvisation and Composition, Jazz History, and Jazz Techniques classes. Lynn holds degrees from the University of Oregon and Western Oregon University and has also studied at Mt Hood Community College with Larry McVeigh and at Indiana University with David Baker, Dominic Spera and Eugene Robinson. Before coming to Denver in 1993 Lynn taught at Indiana University and before that Carleton College, and universities in Oregon. Lynn is an award-winning composer, performer, and educator winning the 1987 Westside Composer Award (Minneapolis, MN), the 1995 COVisions Award for Jazz Composition, the 1980 Ruth Loraine Close award in performance (University of Oregon), and the 2005 Downbeat Magazine award for Outstanding Achievement in Jazz Education – College Level and students and ensembles from Lamont are frequent Downbeat Student Music Award winners.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 35486 KB
  • Nombre de pages de l'édition imprimée : 162 pages
  • Editeur : Malcor Music Publishing (22 juillet 2014)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B00M1AFME6
  • Synthèse vocale : Activée
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  • Word Wise: Non activé
  • Composition améliorée: Activé
  • Moyenne des commentaires client : 1.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: n°220.553 dans la Boutique Kindle (Voir le Top 100 dans la Boutique Kindle)
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Commentaires client les plus utiles
Format:Format Kindle|Achat vérifié
The table of contents lacks links to the chapters, tables have been ocr-d losing any structure, chapters start anywhere on the page. Lay-out is poor. It's a shame that ebooks are still being made in this way, without any quality control, leaving the reader with a poor product. Disgrace.
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Amazon.com: 4.7 étoiles sur 5  3 commentaires
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A unique, simple, flexible approach to jazz melodic structures. 23 juillet 2014
Par Aeryk - Publié sur Amazon.com
The "Shape Method" is a very unique approach to creating jazz melodies. It simplifies everything you would expect from a second-year jazz theory course, and connects traditional jazz melodic concepts with the constantly evolving world of contemporary jazz through the step-by-step introduction of essential melodic "shapes", or structures. The bite-size, but fast-moving chapters encourage total mastery of one concept at a time, and Prof. Baker does a great job identifying some of the most useful, universal shapes "every jazz student should know."
One of my favorite things about this book is that every single concept comes with at least one or two "real world" examples of legendary jazz players using these concepts on famous recordings, thereby providing a practical springboard for students to begin to familiarize themselves with what these shapes actually sound like, rather than letting them exist solely in the intellectual realm of theory. A great read, and full of clear explanations and examples for the auto-didact!
2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Good enough content...but stay away from the Kindle version. 11 février 2015
Par Rob D - Publié sur Amazon.com
Format:Format Kindle|Achat vérifié
There are many books on jazz improvisation. I probably own too many of them, but it's something I like reading about in addition to practicing.

I'd say what makes me really enjoy this book is the way the author breaks the chapters down into very small bites. And in each chapter there is generally a melodic component as well as a rhythmic/phrasing component to work on. Too many books spend too little time dealing with rhythm and phrasing, but this book puts them on equal ground. The small size of the chapters allows the student to really concentrate on a specific area without getting that overwhelming feeling of having too much to deal with.

Another thing I like are the composition exercises that are given at the end of the chapters. These aren't composition exercises in terms of writing whole tunes. They are more like exercises to write fragments based on the principles of the particular chapter. Of course, the exercises could take shape into whole tunes..but that's more up to the creativity and the whims of the student. For me, until I make something my own I don't really feel like I fully own it..and these composition exercises help in that regard.

I will say that this is a very analytical text. Some may be put off by the in depth nature of the book. However, that's probably more of a personal issue. I, for one, enjoy the in depth study. But like any jazz book..it's just theory and words and you have to practice the ideas to make them work in the realm of sound which is what it's really all about in the end. It could also probably be said that the author is using his own names for things that other authors have called something else(descending passing tone vs. gravity tone, etc..). Again, much that has been written on jazz improv contains overlaps..and it's all in the presentation for what the individual connects with.

The one big negative for me is probably not the fault of the author, and certainly not a fault regarding the content...but it has to be said: The Kindle version is terrible. The formatting is awful. For instance, if you look in the preview for the printed version there is a chart that tells about the different types of tones the author teaches about. However, in the Kindle version there is no chart. That same section is just laid out as text and it makes absolutely no sense when you look at it that way. Some of the chart headings are even inexplicably stuck in the middle of the descriptions that are supposed to be in a cell of the chart. Kind of hard to explain, but trust me it's terrible. If I didn't know the part was supposed to be a chart from the printed version's preview I would have no idea what that section is trying to get across.

So if you like detailed study and don't mind practicing to make this stuff more than just words on a page you would do well to pick up this book. Just stay away from the Kindle version. 5 stars for the content, 3 for the presentation on Kindle...so 4 in all.
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Baker's Shape Method: An Integral Part of Contemporary Jazz Education 20 octobre 2014
Par baião boy - Publié sur Amazon.com
Lynn Baker's "Shape Method" is an indispensible resource for both the contemporary jazz player and educator. Its strength and ready applicability is immediately evident in its concise, well-conceived nomenclature for analyzing the use of diverse improvisational gestures and approaches. Baker also addresses numerous aspects often overlooked by jazz educators as regards note choices– such as the rhythmic shape and primary drive of a line, a player's tone, phrasing and articulation, and broader linear contours for better continuity of line.

The shape method (as Baker points out clearly in his foreword) is not intended to replace longstanding and prevalent teaching modalities (such as chord-scale relationships or player-motivated transcription/study), but become an integral part of a modern jazz education that has for too long hung its hat on classically-derived theoretical models that have never addressed satisfactorily the complexities and idiosyncracies of legendary improvisers. The improvisational "assignments" in the book treated as "compositions" underscores the reality that improvisation is indeed real-time composition. I think imparting this sense of focused responsibility, commitment and integrity to young players is essential to their development and finding their own true improvisational voice.

Finally, it must be pointed out that Baker practices what he preaches. This book is the RESULT of his decades of performing, composing and teaching, not a theoretical exposé of a method which cannot bridge the gap between theory and concrete application. I have had the pleasure of knowing him for thirty years not only as a great educator, but a prolific composer and improviser who can easily shift from very "inside" playing to some of the most imaginative "free" playing I have ever heard. I enthusiastically recommend this book to all musicians- jazz-oriented or otherwise. It will expand your entire toolkit of improvisational approaches and entire creative mindset about the construction and performance of top-shelf improvisational explorations.

Richard Boukas
performer, composer, educator
faculty, New School for Jazz and Contemporary Music, NYC
Recipient, Distinguished University Teaching Award
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