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_n _n _c _a _bSher Music Co, Po Box 445, Petaluma, CA, USA, 94953 |
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_a _aMT68 _d _b.L48 19952 _c _0http://id.loc.gov/authorities/classification/M |
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_e _eauthor. _aLevine, Mark, _d1938-2022, _b _4http://id.loc.gov/vocabulary/relators/aut _u _c _0n 92013902;http://id.loc.gov/authorities/names/n92013902 _q _1http://viaf.org/viaf/88078939;http://isni.org/isni/00000001145121446 |
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_a _aThe jazz theory book / _d _b _n _cby Mark Levine _h6 _p |
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_3 _3 _aPetaluma, CA : _d _bSher Music, _c[1995];℗♭199546 |
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_e _e _c28 cm. _axiv, 522 pages : _billustrations, music |
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| 336 |
_btxt _atext _2rdacontent. |
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_3 _3 _0http://rdaregistry.info/termList/RDAMediaType/1007 _bn _aunmediated;unmediated _2rdamedia.;rdamedia |
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_a _aDiscography: pages 487-514;Includes bibliographical references and index _x |
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| 505 |
_a _aPART I: Theory: chords and scales. Basic theory -- The major scale and the II-V-I progression -- Chord / scale theory -- How to practice scales -- Slash chords -- -- PART II: Improvisation: playin' the changes. From scales to music -- The bebop scales -- Playing outside -- Pentatonic scales -- The blues -- Rhythm changes -- Practice, practice, practice -- -- PART III: Reharmonization. Basic reharmonization -- Advanced reharmonization -- Coltrane changes -- Three reharmonizations -- -- PART IV: The tunes. Song form and composition -- Reading a lead sheet -- Memorizing a tune -- Heads -- The repertoire -- -- PART V: The rest of it. Salsa and Latin jazz -- Loose ends -- Listen _b _t _g _r |
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_b _b _cIntroduction _aA great jazz solo consists of: 1% magic 99% stuff that is explainable, analyzable, categorizeable, doable. This book is mostly about the 99% stuff ... 'Theory' is the little intellectual dance we do around the music, attempting to come up with rules so we can understand why Charlie Parker and John Coltrane sounded the way they did. There are almost as many 'jazz theories' as there are jazz musicians ... When ... listening to a great solo, the player is not thinking 'II-V-I, blues lick, AABA, altered scale, ' and so forth ... Experienced musicians have internalized this information to the point that they no longer have to think about it very much if at all. The great players have also learned what the chords and the scales look and feel like on their instrument ... Aim for that state of grace ... no longer [thinking] about theory, and ... it [will] be much easier to tap into the magical 1%.-- _u |
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