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Chord-scale System
The chord-scale system is a method of matching, from a list of possible chords, a list of possible scales.Mervyn Cooke, David Horn (2003). '' The Cambridge companion to jazz'', p.266. . The system has been widely used since the 1970s and is "generally accepted in the jazz world today". However, the majority of older players used the chord tone/chord arpeggio method. The system is an example of the difference between the treatment of dissonance in jazz and classical harmony: "Classical treats all notes that don't belong to the chord...as potential dissonances to be resolved...Non-classical harmony just tells you which note in the scale to otentially avoid..., meaning that all the others are okay". The chord-scale system may be compared with other common methods of improvisation, first, the older traditional chord tone/chord arpeggio method, and where one scale on one root note is used throughout all chords in a progression (for example the blues scale on A for all chords of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octatonic Scale
An octatonic scale is any eight-note musical scale. However, the term most often refers to the symmetric scale composed of alternating whole and half steps, as shown at right. In classical theory (in contrast to jazz theory), this symmetrical scale is commonly called the ''octatonic scale'' (or the ''octatonic collection''), although there are a total of 42 enharmonically non-equivalent, transpositionally non-equivalent eight-note sets. The earliest systematic treatment of the octatonic scale was in Edmond de Polignac's unpublished treatise "Étude sur les successions alternantes de tons et demi-tons (Et sur la gamme dite majeure-mineure)" (''Study of the Succession of Alternating Whole Tones and Semitones (and of the so-called Major-Minor Scale)'') from c. 1879, which preceded Vito Frazzi's ''Scale alternate per pianoforte'' of 1930 by a full half-century. Nomenclature In Saint Petersburg at the turn of the 20th century, this scale had become so familiar in the circle of comp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Miles Davis
Miles Dewey Davis III (May 26, 1926September 28, 1991) was an American trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz. Born in Alton, Illinois, and raised in East St. Louis, Davis left to study at Juilliard in New York City, before dropping out and making his professional debut as a member of saxophonist Charlie Parker's bebop quintet from 1944 to 1948. Shortly after, he recorded the ''Birth of the Cool'' sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, Davis recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction. After a widely acclaimed comeback performance at the Newport Jazz Festival, he signed a long-term contract wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mark Levine (musician)
Mark Jay Levine (October 4, 1938 – January 27, 2022) was an American jazz pianist, trombonist, composer, author and educator. Early life Levine was born in Concord, New Hampshire, on October 4, 1938. He began playing the piano at the age of five and started trombone in his early teens. He attended Boston University, and graduated with a degree in music in 1960. He also studied privately with Jaki Byard, Hall Overton, and Herb Pomeroy. Career After graduating, Levine moved to New York, where he freelanced and then played with musicians including Houston Person (1966), Mongo Santamaría (1969–70), and Willie Bobo (1971–74). Levine then moved to San Francisco, and played there with Woody Shaw in 1975–76. Levine made his first recording as a leader for Catalyst Records in 1976. He also played with the Blue Mitchell/Harold Land Quintet (1975–79), Joe Henderson, Stan Getz, Bobby Hutcherson, Luis Gasca, and Cal Tjader (1979–83). From 1980 to 1983, he concentrated on v ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
David Baker (composer)
David Nathaniel Baker Jr. (December 21, 1931 – March 26, 2016) was an American jazz composer, conductor, and musician from Indianapolis, as well as a professor of jazz studies at the Indiana University Jacobs School of Music. Baker is best known as an educator and founder of the jazz studies program. From 1991 to 2012, he was conductor and musical and artistic director for the Smithsonian Jazz Masterworks Orchestra. He has more than 65 recordings, 70 books, and 400 articles to his credit. He received the James Smithson Medal from the Smithsonian Institution, an American Jazz Masters Award, a National Association of Jazz Educators Hall of Fame Award, a Sagamore of the Wabash award, and a Governor's Arts Award from the State of Indiana. Baker also held leadership positions in several arts and music associations. The Indiana Historical Society named Baker an Indiana Living Legend in 2001. The John F. Kennedy Center for the Performing Arts named him a Living Jazz Legend in 2007 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Mehegan
John Francis Mehegan (June 6, 1916 – April 3, 1984) was an American jazz pianist, lecturer and critic. Early life Mehegan was born in Hartford, Connecticut, on June 6, 1916, although he sometimes gave the year as 1920. He began playing the violin in 1926 and played for seven years without enjoying it. He initially taught himself to play the piano by matching his fingers to the notes played on a player piano. He went on to study at the Hartt School of Music in Hartford. He had gigs in the Massachusetts area, and then moved to New York in 1941. Later life and career In New York, Mehegan played in clubs. He recorded four quartet tracks as a leader for Savoy Records in 1945. In the same year, he became teaching assistant to pianist Teddy Wilson in the jazz department at the Metropolitan Music School, and became the head of its jazz department in 1946; a position he held for around a decade. In the early 1950s, his ''From Barrelhouse to Bop'' album was the first release by Perspe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jamey Aebersold
Wilton Jameson "Jamey" Aebersold (born July 21, 1939) is an American publisher, educator, and jazz saxophonist. His Play-A-Long series of instructional books and CDs, using the chord-scale system, the first of which was released in 1967, are an internationally renowned resource for jazz education. His summer workshops have educated students of all ages since the 1960s. Career Aebersold was born in New Albany, Indiana. When he was fifteen, he played with local bands, then attended Indiana University in Bloomington while leading bands in southern Indiana and Kentucky. During the late 1960s, he taught at Indiana University Southeast and in the 1970s and 1990s at the University of Louisville. He began weeklong summer workshops for students which have spread throughout the world into countries such as Canada, England, Scotland, Germany, Denmark, New Zealand, and Australia. Aebersold plays saxophone, piano, banjo, and double bass. Play-A-Long series Most of the volumes in Aebersold's P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jerry Bergonzi
Jerry Bergonzi (born October 21, 1947) is an American jazz tenor saxophonist, composer, and educator. Early life and education Bergonzi received a B.A. in Music Education from the University of Massachusetts Lowell in 1971 and is the founder of Not Fat Records. Career Bergonzi first gained recognition as he became a frequent guest-artist on several Dave Brubeck ensemble tours and recordings during the 1970s, and he held the saxophone chair in the Dave Brubeck quartet from 1979 - 1982. He recorded nine albums with Brubeck, from 1973 to 1981. Bergonzi teaches at the New England Conservatory of Music in Boston. He is the author of ''Inside Improvisation'', a multi-volume series of instructional books with play-along CDs and videos, and another series of books about improvisation published by Advance Music. He is also the author of the book/CD set ''Sound Advice'', published by Jamey Aebersold Jazz. He has recorded on the Blue Note, Red, Not Fat, Concord Records, Concord, Atl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jazz Improvisation
Jazz improvisation is the spontaneous invention of melodic solo lines or accompaniment parts in a performance of jazz music. It is one of the defining elements of jazz. Improvisation is composing on the spot, when a singer or instrumentalist invents melodies and lines over a chord progression played by rhythm section instruments (piano, guitar, double bass) and accompanied by drums. Although blues, rock, and other genres use improvisation, it is done over relatively simple chord progressions which often remain in one key (or closely related keys using the circle of fifths, such as a song in C Major modulating to G Major). Jazz improvisation is distinguished from this approach by chordal complexity, often with one or more chord changes per bar, altered chords, extended chords, tritone substitution, unusual chords (e.g., augmented chords), and extensive use of ii–V–I progression, all of which typically move through multiple keys within a single song. However, since the release ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydian Chromatic Concept Of Tonal Organization
The ''Lydian Chromatic Concept of Tonal Organization'' is a 1953 jazz music theory book written by George Russell. The book is the founding text of the Lydian Chromatic Concept (LCC), or Lydian Chromatic Theory (LCT). Russell's work postulates that all music is based on the tonal gravity of the Lydian mode. Deriving Lydian Russell believed that dominant function was the driving force behind all harmonic motion. Russell focuses on the Lydian mode because it can be built with fifths. For instance, to construct a C Lydian scale one could list the first seven tones on the circle of fifths starting with C, the desired Lydian Tonic. This process would yield C, G, D, A, E, B, F. If these tones are voiced in the space of an octave, they form the Lydian mode (C, D, E, F, G, A, B). Olive Jones and George Russell, The Black Perspective in Music, Vol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Russell (composer)
George Allen Russell (June 23, 1923 – July 27, 2009) was an American jazz pianist, composer, arranger and theorist. He is considered one of the first jazz musicians to contribute to general music theory with a theory of harmony based on jazz rather than European music, in his book ''Lydian Chromatic Concept of Tonal Organization'' (1953). Early life Russell was born in Cincinnati, Ohio, on June 23, 1923, to a white father and a black mother. He was adopted by a nurse and a chef on the B & O Railroad, Bessie and Joseph Russell. Young Russell sang in the choir of the African Methodist Episcopal Church and listened to the Kentucky Riverboat music of Fate Marable. He made his stage debut at age seven, singing "Moon Over Miami" with Fats Waller. Surrounded by the music of the black church and the big bands which played on the Ohio Riverboats, and with a father who was a music educator at Oberlin College, he began playing drums with the Boy Scouts and Bugle Corps, receiving a schol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thirteenth Chord C Lydian Dominant
In music or music theory, a thirteenth is the note thirteen scale degrees from the root of a chord and also the interval between the root and the thirteenth. The interval can be also described as a compound sixth, spanning an octave plus a sixth. The thirteenth is most commonly major or minor . A thirteenth chord is the stacking of six (major or minor) thirds, the last being above the 11th of an eleventh chord. Thus a thirteenth chord is a tertian (built from thirds) chord containing the interval of a thirteenth, and is an extended chord if it includes the ninth and/or the eleventh. "The jazzy thirteenth is a very versatile chord and is used in many genres." Since 13th chords tend to become unclear or confused with other chords when inverted, they are generally found in root position.Benward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.179. Eighth Edition. . For example, depending on voicing, a major triad with an added major sixth is usually cal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
