This manual contains complementary information for that included in my previous texts regarding contemporary jazz improvisation techniques. As we all know John Coltrane revolutionized the harmonic concept of modern jazz sax improvisation. Other performers such as Sonny Rollins, Dexter Gordons, Wayne Shorter, Cannonball Adderley, Michael Brecker and Bob Berg also made incredible contributions to Modern sax performance. We must also include trumpet performers such as Freddy Hubbard, Lee Morgan, Clifford Brown, Chet Baker, Kenny Dorham, Wallace Roney, Tom Harrel, Randy Brecker and Roy Hargrove among others who also added new sounds and scales to this harmonic concept shift. From a technical perspective the book contains exercises for scale inversions, phrase lines from transcriptions, arpeggios, chromatisms and passing tones (lineal and intervallic structures) applied to: Major Scales +11 Lydian +5 +8 Dominant 7 Altered Symmetric diminished Whole tone scale +11 Lydian flat 7 Minor Scales Minor Dorian mode Minor Major 7 The objective is to play the exercises in all twelve tones starting each phrase from any scale note according to the corresponding chord at any given point. These exercises and line phrases are presented as 8th and 16th notes as rhythmic notations. Arpeggios as well as ascendant and descendant scales will be played in both lineal and intervallic modes. The transcriptions include emblematic line phrases by Keith Jarret, Sonny Rollins, Dexter Gordons, Freddy Hubbard, Tom Harrel and Wallace Roney. This project is an extension of a ten chapter collection on improvisation by the same author: •Improvise Now •240 Chromatic Exercises + 1165 Jazz Lines Phrases •Herbie Hancock. The Blue Note Years •John Coltrane & Michael Brecker Legacy •Chris Potter Jazz Styles •Bidirectional Contemporary Jazz Improvisation •New Conception for Linear & Intervalic Jazz Improvisation •Stage of the Art: Postbop Intervalic Jazz Improvisation Exercises and Line Phrases. •Common Tone Sequences for Contemporary Jazz Improvisation •Inventions and Dimensions Michael Brecker Jazz Style

An excellent book designed to assist musicians with their performance of contemporary (post be-bop) jazz. It focuses on utilizing fourths, pentatonics, modes, bitonals and other contemporary materials when improvising. Numerous examples, suggested reading and recording examples are also included.

Music and the Creative Spirit is a book of interviews with today's innovators in Jazz, Improvisation, and the Avant Garde, including Pat Metheny, Regina Carter, Fred Anderson, John Zorn, Joshua Redman, and others.

On December 4, 1957, Miles Davis revolutionized film soundtrack production, improvising the score for Louis Malle’s Ascenseur pour l’échafaud. A cinematic harbinger of the French New Wave, Ascenseur challenged mainstream filmmaking conventions, emphasizing experimentation and creative collaboration. It was in this environment during the late 1950s to 1960s, a brief “golden age” for jazz in film, that many independent filmmakers valued improvisational techniques, featuring soundtracks from such seminal figures as John Lewis, Thelonious Monk, and Duke Ellington. But what of jazz in film today? Improvising the Score: Rethinking Modern Film Music through Jazz provides an original, vivid investigation of innovative collaborations between renowned contemporary jazz artists and prominent independent filmmakers. The book explores how these integrative jazz-film productions challenge us to rethink the possibilities of cinematic music production. In-depth case studies include collaborations between Terence Blanchard and Spike Lee (Malcolm X, When the Levees Broke), Dick Hyman and Woody Allen (Hannah and Her Sisters), Antonio Sánchez and Alejandro González Iñárritu (Birdman), and Mark Isham and Alan Rudolph (Afterglow). The first book of its kind, this study examines jazz artists’ work in film from a sociological perspective, offering rich, behind-the-scenes analyses of their unique collaborative relationships with filmmakers. It investigates how jazz artists negotiate their own “creative labor,” examining the tensions between improvisation and the conventionally highly regulated structures, hierarchies, and expectations of filmmaking. Grounded in personal interviews and detailed film production analysis, Improvising the Score illustrates the dynamic possibilities of integrative artistic collaborations between jazz, film, and other contemporary media, exemplifying its ripeness for shaping and invigorating twenty-first-century arts, media, and culture.

Jazz Improvisation focuses on the communicative and technical aspects of improvisation and makes an excellent resource for both pros and aspiring improvisers. Assimilate and execute chord progressions, substitutions, turn arounds and construct a melody and jazz chorus.

This text presents all of the materials commonly used by the jazz musician in a logical order dictated both by complexity and need. The book is not intended to be either an arranging or improvisation text, but a pedagogical reference providing the information musicians need to pursue any activity they wish.

This new book celebrates the creative plasticity of musical improvisation. Aimed at those who want to delve into the new dynamics with line phrases that help develop and strengthen their personal style as a performer. These line phrases have been produced from transcriptions with the Post-Bop Style applied by the virtuoso Jerry Bergonzi, with whom I have had the honor of sharing this and many of my works, receiving wonderful feedback that invites me to continue with these works, fueled by the creative impulse. These lines and exercises have been executed in 12 keys and, at the same time, rhythmically reconfigured and reinterpreted with my personal stamp, which responds to the notion that there are no fixed patterns. That interpretation is constantly evolving, moving us away from static and repetitive phrases that could stagnate or stifle our creative gene. This method can perfectly be applied to all instruments. It is written in 8th and 16th notes patterns and executed without a given key signature. An open concept that also provides exercises to promote linear, intervalic, ascending and descending execution. While this book can be a source of inspiration for many and their craft, it is an honor for me to dedicate hours of personal study as well as deciphering the language of Jerry Bergonzi to offer a new and organic tool as a contribution to universal jazz improvisation.

This book is a summary of both exercises and improvisation lines designed to enhance Intervalic Improvisation. The book covers scales, arpeggios, chromatic exercises and jazz line phrases from transcribed solos. These exercises should be transposed to all twelve (12) tones in order to achieve perfect coordination. Major, minor and dominant chords, extended to their highest level, scale wise, arpeggios and chromatic passages. There are none signature centers, therefore, all these exercises will be written accidental way. This project is an extension of a 6 chapter collection on improvisation by the same author: * Improvise Now * 240 Chromatic Exercises + 1165 Jazz Lines Phrases * Herbie Hancock. The Blue Note Years * John Coltrane & Michael Brecker Legacy * Chris Potter Jazz Styles * Bidirectional Contemporary Jazz Improvisation * New Conception for Linear & Intervalic Jazz Improvisation

Delve into the Mind of a Jazz Legend Are you ready to transcend your musical boundaries? Experience the unparalleled genius of Joe Henderson through the eyes of renowned author and educator Olegario Diaz. Joe Henderson Jazz Master provides an unforgettable journey into the life and artistry of one of jazz's most influential tenor saxophonists. Imagine immersing yourself in the deeply evocative melodies and intricate harmonies of Joe Henderson. This book opens the door to a richer understanding of his unique sound that captivated audiences worldwide. From his early years in Lima, Ohio, to his celebrated career with Blue Note Records and beyond, every chapter paints a vivid picture of Henderson's musical evolution and lasting impact on the jazz scene. Your gateway to mastering Henderson's improvisational mastery awaits. In this comprehensive guide, Olegario Diaz deconstructs Henderson's compositional techniques and improvisational brilliance. Detailed exercises and phrases emulate Henderson's style, allowing musicians across all levels to integrate his distinctive approach to harmony, rhythm, and melody into their playing. Whether you're navigating minor 7th chords or tackling advanced altered dominant scales, this book equips you with the tools to channel Henderson's creativity. Don't just study jazz – live it. The transcribed solos from iconic tracks like "Recordame" and "Inner Urge" serve as a practical handbook for students eager to innovate and explore. The routine and advanced exercises, coupled with the author's three-step method - acquisition, assimilation, and application - ensure you can seamlessly incorporate Henderson's magic into your performance. A must-have for any serious jazz enthusiast or professional musician. Joe Henderson Jazz Master is not merely a book; it's an essential part of your musical journey. Dive deep into the soul of jazz, and transform your artistry through the mastery of one of its great legends.

Post-Bop is a modern jazz style that continues the distinguishing characteristics that separate jazz from the world of pop and rock; swing rhythm and extended harmonies (9th chords 11ths, altered chords, etc). Post-Bop grew out of the Hard Bop genre during the early to mid 60s as musicians such as Bill Evans, Wayne Shorter and Herbie Hancock began to introduce more extended harmonies, abstract structures and looser rhythms in their playing and compositions. When Hancock and Shorter joined Miles Davis's quintet in the mid-60s, that group became the perfect vehicle for extending the boundaries of what could happen in a Post-Bop format. The Miles Davis Quintet albums, "Nefertiti" and "Sorcer", continue to be pinnacles of Post-Bop composition and performance. Some styles of free modal jazz, such as Coltrane's "A Love Supreme", are also part of the Post-Bop sound. Although there are still some musicians, such as Kenny Garret, who play in that style, mostly that sound has been fading since the early 70s. Of course, theory doesn't come close to explaining music. If music is a language, theory is just grammar. More important than grammar is knowing the vocabulary that comes from listening, with awareness, to great players, and playing as much as possible. Beyond grammar and vocabulary is the ability to communicate with listeners to "tell a story," and to reach an audience on an emotional, or even spiritual, level.