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Jazz improvisation.

Author: John Mehegan
Publisher: New York : Watson-Guptill Publications, ©1959-1965.
Edition/Format:   Musical score : EnglishView all editions and formats
Summary:
"There has long been a need for a ... textbook which would ... codify and delineate that elusive procedure known as jazz improvisation. Of course, no improvisation can ever be explained down to its roots; therein lies the mystery and joy of spontaneous creation ... Still, there is a basis to improvisation of any kind: a coupling of traditions and technique. And that basis can be explained"--Pref.
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Genre/Form: Jazz
Methods (Music)
Methods (Jazz)
Additional Physical Format: Online version:
Mehegan, John.
Jazz improvisation.
New York, Watson-Guptill Publications [©1959-
(OCoLC)639534411
Document Type: Musical Score
Music Type: Jazz; Studies & exercises, etudes
All Authors / Contributors: John Mehegan
ISBN: 0823025713 9780823025718
OCLC Number: 1016837
Description: 4 volumes of music ; 29 cm
Contents: v. 1. Tonal and rhythmic principles. Scale-tone Seventh chords ; Intervals. Chord qualities ; Altered scale-tone Seventh chords ; Chromatic and altered-chromatic Seventh chords ; The sixty chords ; Key of C : Fools rush in ; Key of G : Nice work if you can get it ; Key of F : I'm glad there is you ; Key of D : Someone to watch over me ; Key of B♭ : Ill wind ; Key of A : Moonglow ; Key of E♭ : The man I love ; Key of E : These foolish things ; Key of A♭ : Spring is here ; Key of B : I'll be around ; Key of D♭ : Bewitched, bothered and bewildered ; Key of F♯ : Georgia on my mind ; Key of G♭ : I didn't know what time it was ; Twelve key transposition : I only have eyes for you --
Inversions. Inversions : No moon at all ; Inversions : Liza ; Inversions : Stella by starlight ; Inversions : That certain feeling --
Modulation : Body and soul ; Modulation : How high the moon ; Modulation : Laura ; Modulation : I'll remember April ; Modulation : All the things you are ; Modulation : Autumn in New York --
Transposition-modulation : Taking a chance on love --
Arpeggios. Arpeggios in rhythm ; Eighth-note arpeggios : I could write a book, in D♭ ; Eighth-note triplet arpeggios : Thinking of you, in E♭ ; Sixteenth-note arpeggios : At long last love, in C --
Rhythmic combinations : Sophisticated lady, in A♭ ; Rhythmic composite (ballad) : I got it bad, in G ; Rhythmic composite (up-tempo) : You took advantage of me, in E♭ --
Modes : Speak low, in F --
The major scale : Moonlight in Vermont, in E♭ --
The dominant scale : It could happen to you, in A♭ --
The minor scale : Little girl blue, in F --
The half-diminished scale : Don't blame me, in C --
The diminished scale : Birth of the blues, in C --
The sixty scales --
Scale-arpeggio alteration : Like someone in love, in C --
Eighth-note scales, Scale fragments : Blue moon, in E --
Eighth-note triplet scale fragments : Cabin in the sky, in G --
Sixteenth-note scale fragments : Dancing on the ceiling, in F --
Rhythmic combinations : Round midnight, in E♭ minor ; Rhythmic composite (ballad) : Have you met Miss Jones?, in F ; Rhythmic composite (up-tempo) : Lullaby of Birdland, in B --
The chromatic tones : I cover the waterfront, in G --
The sensitive tones : Night and day, in E♭ --
Basic syncopation : Easy to love, in A♭ --
Accent : Makin' whoopee, in A --
Coleman Hawkins' Sweet Lorraine, in G --
The blues (harmonic) --
The blues (melodic) : Willow weep for me, in G --
Patterns, Circle of fifths : Pick yourself up, in F --
Patterns, diatonic : Tea for two, in A♭ --
Patterns, chromatic : Jeepers creepers, in B♭ --
Minor scale-tone chords : Yesterdays, in D minor --
Minor scale-tone arpeggios : My funny valentine, in C minor --
Minor scale-tone scales : Just one of those things, in D minor --
Open position, Axis of the seventh : When your lover has gone, in G --
Open position, Axis of the third : I've got you under my skin, in E♭ --
Open position, Mixed axis : Lover man, in F --
Basic professional piano (melodic) : Tenderly, in D --
Basic professional piano (improvised) : Gone with the wind, in E♭ --
Standard procedure --
Ear training --
Memorization --
Sheet music conversion --
Touch : technique. v. 2. Jazz rhythm and the improvised line. Jazz rhythm. General --
Tempo --
Melodic time values --
Harmonic time values. New Orleans (Dippermouth blues; Mandy Lee blues; High society) ; Chicago (Singin' the blues till my daddy comes home; Sweet Sue, just you; Dixieland one step; I wish I could shimmy lilke my sister Kate; Jazz me blues) ; Swing (Oh lady be good; Just you, just me; Tea for two; Whispering) ; Progressive (I can't get started; Night in Tunisia; Lady bird (Half Nelson); Bernie's tune) --
Syncopation --
The improvised line (1923-1958). New Orleans. Gin house blues / (Bessie Smith) ; High society / (Johnny Dodds) ; Dippermouth blues / (Joe Oliver) ; West End blues / (Louis Armstrong) ; Muggles / (Louis Armstrong) ; Basin Street blues / (Louis Armstrong) --
Chicago. Sweet Sue, just you / (Bix Beiderbecke) ; Singin' the blues till my daddy comes home / (Bix Beiderbecke) ; Original Dixieland one-step / (Miff Mole) ; There'll be some changes made / (Frank Teschemacher) ; I'm coming Virginia/ (Bix Beiderbecke) ; Jazz me blues / (Bix Beiderbecke) --
Swing. After you've gone / (Roy Eldridge) ; Sweet Sue, just you / (Teddy Wilson) ; Aunt Hagar's blues / (Art Tatum) ; Soft wind / (Benny Goodman) ; Crazy rhythm / (Coleman Hawkins and Benny Carter) --
Early progressive. Just you, just me / (Lester Young) ; I can't get started / (Dizzie Gillespie) ; Lady bird (Half Nelson) / (Miles Davis) ; Nice work if you can get it / (Bud Powell) ; Cherokee (Ko Ko) / (Charlie Parker) ; Just friends / (Charlie Parker) --
Late progressive. Lover man / (Lee Konitz) ; All the things you are / (Chet Baker) ; Wrap your troubles in dreams / (Stan Getz) ; I don't stand a ghost of a chance with you / (Clifford Brown) ; Opus de funk / (Horace Silver) ; I've got the world on a string / (Oscar Peterson). v. 3. Swing and early progressive piano styles. v. 4. Contemporary piano styles.

Abstract:

"There has long been a need for a ... textbook which would ... codify and delineate that elusive procedure known as jazz improvisation. Of course, no improvisation can ever be explained down to its roots; therein lies the mystery and joy of spontaneous creation ... Still, there is a basis to improvisation of any kind: a coupling of traditions and technique. And that basis can be explained"--Pref.

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