Improvise for Real (Anglais) Broché – 27 février 2013
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Descriptions du produit
Présentation de l'éditeur
Improvise for Real is the world's first step-by-step method that teaches you to improvise your own music through progressive exercises that anyone can do.
The method starts with very simple creative exercises that you can begin right away. As you progress, the method leads you on a guided tour through the entire world of modern harmony. You will be improvising your own original melodies from the very first day, and your knowledge will expand with each practice session as you explore and discover our musical system for yourself.
Improvise for Real brings together creativity, ear training, music theory and physical technique into a single creative daily practice that will show you the entire path to improvisation mastery. You will learn to understand the sounds in the music all around you and to improvise with confidence over jazz standards, blues songs, pop music or any other style you would like to play. And you'll be jamming, enjoying yourself and creating your own music every step of the way.
The method is open to all instruments and ability levels. The exercises are easy to understand and fun to practice. There is no sight reading required, and you don't need to know anything about music theory to begin. Already being used by both students and teachers in more than 20 countries, Improvise for Real is now considered by many people to be the definitive system for learning to improvise. If you have always dreamed of truly understanding music and being able to improvise with complete freedom on your instrument, this is the book for you!
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 more than 10 years of teaching musical improvisation for all instruments, David became increasingly frustrated with mainstream teaching methods that consist almost entirely of telling students what to play. He began to imagine a different kind of improvisation method that would empower students to explore the world of modern harmony and discover it for themselves, leading them to the same deep understanding of music that is enjoyed by the greatest improvisers in the world.
The method is called Improvise for Real (IFR), and it is now being used by more than 10,000 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 www.ImproviseForReal.com.
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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Meilleurs commentaires des clients
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 !Lire la suite ›
Un des objectifs est de prendre le temps de ressentir la musique en soit et à travers son instrument, afin que jouer devienne aussi intuitif que chanter. Quand on chante, on ne se demande pas si on est dans la bonne tonalité, ça vient naturellement.
Très agréable à lire, avec un anglais très abordable, des exemples/anecdotes pertinents et drôles. Une méthode souple, adaptable à chacun, et non exclusive de toute autre méthode déjà pratiquée par l'apprenant.
Ce livre donne aussi à réfléchir sur l'écoute de sa propre musique intérieure et sur le moyen de l'exprimer dans ses improvisations. Ce qui n'est pas rien :)
Commentaires client les plus utiles sur Amazon.com (beta)
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.
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.
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
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.