Florian Ross

Jazz Composer's Companion

The Swiss Army Knife for Jazz Composers

F. Ross: Jazz Composer's Companion (Bu) (0)F. Ross: Jazz Composer's Companion (Bu) (1)F. Ross: Jazz Composer's Companion (Bu) (2)
Edizione:
libro
№ dell’articolo:
1714616
Autore / Compositore:
Lingua:
inglese
Formato:
232 Pagine; 23 × 30,5 cm
Anno di pubblicazione:
2024
Editore / Produttore:
N° del produttore:
610579E
ISBN:
9783899223132

Descrizione

Essential guide for aspiring and experienced composers wishing to refine their creative process in composition.

This guide goes beyond examining harmonization, scales, modes, and voicings; instead, it dives into the unexplored regions of imagination, structured thinking, and creative application, making it a companion in composing resonant and expressive contemporary jazz music. Whether you’re new to the basics or an experienced composer, this book offers a journey that will illuminate the unexplored corridors of musical composition in the contemporary jazz world.

Ross offers a framework for navigating the complex terrain of composition, drawing parallels between different creative arts. His conviction in a global creative comprehension pervades this book, underlining the links between music, architecture, dance, theatre, and the visual arts. This companion takes an in-depth look at the numerous challenges faced by students who are often underserved by more conventional books on composition, which focus primarily on technique. It explores the conceptual hurdles and abstacles that cause compositions to lack vitality and appeal, addressing the essential “what” before delving into the “how”.

Contenuto

  • ​PREFACE
  • ​Is This a Jazz Book?: What You Will Find Here / - What You Will Not Find Here
  • ​SCORE PREPARATION & NOTATION
  • ​Use the Standard Instrument Order
  • ​Transposed Score vs. Concert Score
  • ​Key Signatures vs. Keyless
  • ​Bar Numbers, Rehearsal Letters
  • ​Double Bar-Lines
  • ​Structure: Composition vs. Score
  • ​Beam According to Meter
  • ​A Downbeat Is a Downbeat Is a Downbeat
  • ​Time Savers
  • ​Drum Notation
  • ​Sound Requests
  • ​Mutes and Playing Techniques
  • ​Page Formats
  • ​Page Turns
  • ​Don’t be Fooled
  • ​TOOLS OF THE TRADE
  • ​The Computer
  • ​Hardware – Analog vs. Digital
  • ​I/O – Input and Output Devices: Computer Keyboard / Mouse / USB-MIDI Keyboard / Screen / Headphones & Speakers / Macros
  • ​Notation Software – Playground For Geeks
  • ​Dos & Don’ts of the Computer: Don’t Let Your Workflow Be Interrupted / Tutorials / Note Entry / Shortcuts / MIDI THRU / Page View, Layout / Fonts / Get Your Own Legal Copy / Sound Libraries – Choosing the Right Sounds / Backup Strategies / Technical Workflow / When to Write What
  • ​CHORD CHANGES NOMENCLATURE AND CHORD-SCALE RELATIONSHIPS
  • ​Simple Chords
  • ​Simple Chords with Complex Alterations: Altered vs. 13(b9)
  • ​Inner Movements within Chord Symbols
  • ​Slash Chords
  • ​Poly Chords
  • ​Scales As Chords
  • ​Roots and Tonal Centres
  • ​Encoding and Decoding
  • ​When Not to Use Chord Symbols
  • ​COMPOSITION WORKFLOW
  • ​Are We Composers, Yet?
  • ​Musicians’ Approach to Composition
  • ​Where Are We at, What do We Know?
  • ​The “New” Process
  • ​General Preparation
  • ​Pre-Composition, Material
  • ​Form, Sketch, Score
  • ​Review and Analysis
  • ​COMPOSING
  • ​General Thoughts: Lack of Ideas / Music in Past, Present, Future / Intent / Scrapbook, Time to Compose and Time to Dig / Controlling the Listener’s Attention, Music Time / Main Events and Side Events
  • ​Ostinati, Vamps and Riffs / Putting Harmony to a Melody / Adding a Melody to Harmony / Changing Key / Great Ideas vs. Great Development / The Mix / Risk / Instant Composing
  • ​Processing Techniques: Classic Processing Techniques for Pitches & for Chords / The Magic Swap-O-Mat / Melody / Unison and Octaves / Counterpoint / Voice Leading, Number of Voices / Orchestration / Orchestration vs. Arrangement
  • ​Cross Section Writing / Scales Are for Fish / Audible Structures / Two Systems / Rhythm Section / Techniques for Construction vs. Techniques for Listening
  • ​Form: How Not to Think Jazz / Kids or Adults / Lego / The Magic Wall / Repeats, Variations, Synonyms / Phrases and Double Bar Lines / Poetry / Endings / Repair Shop
  • ​ARRANGING
  • ​Recordings
  • ​Lead Sheets
  • ​Changing the Melody
  • ​The Touchable and the Untouchable
  • ​Disrupting the Listener’s Expectations
  • ​Dismantling Your Source
  • ​Arrangement vs. Orchestration
  • ​Hip My Arrangement
  • ​Harmonic Drama
  • ​Form
  • ​Quick Solutions, Auto-Pilot
  • ​CHECKLIST FOR COMPOSITIONS AND ARRANGEMENTS
  • ​FURTHER CONSIDERATIONS
  • ​Knowledge
  • ​Decisions at Micro and Macro Level
  • ​Style Awareness: A. Barry Lyndon / B. Le Corbusier
  • ​What Is Style?
  • ​How to Use Style?
  • ​Where to Study?
  • ​What to Study?
  • ​Complex Stuff
  • ​What Is Color?
  • ​Use of Color
  • ​What Is a Bandleader?
  • ​Why Do Composers Need to Be Bandleaders?
  • ​What Is Inspiration?
  • ​Inspiration in Jazz Improvisation
  • ​The Persistence of Inspiration: The Myth of Inspiration / The Excuse of Inspiration / Inspiration as a Means of Marketing / Inspiration Is Unreachable / Let’s Get Rid of It
  • ​Music Theory ? Astronomy Theory: Olivier Messiaen / John Coltrane, Frank Zappa, and Slonimsky
  • ​Making It Happen
  • ​Stealing
  • ​Transcribing
  • ​Failing
  • ​Trying to Be Special
  • ​Trying to Push the Boundaries
  • ​PERSONAL QUOTES
  • ​Michael Abene
  • ​Julian Argüelles
  • ​Carlos Azevedo
  • ​Jasper Blom
  • ​Gary Husband
  • ​Bert Joris
  • ​David Liebman
  • ​Bob Mintzer
  • ​Lars Møller
  • ​Alan Pasqua
  • ​Jean-Michel Pilc
  • ​Tommy Smith
  • ​APPENDIX
  • ​Copyright Credits for the Songs Used
  • ​Index of Names
32,90  €
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