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The jazz theory book

Author: Mark Levine
Publisher: Petaluma, CA (P.O. Box 445, Petaluma, 94953) : Sher Music, ©1995.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
"A 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 ...  Read more...
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Genre/Form: History
Document Type: Book
All Authors / Contributors: Mark Levine
ISBN: 1883217040 9781883217044
OCLC Number: 34280067
Description: xiv, 522 pages : illustrations, music ; 28 cm
Contents: PART 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.
Responsibility: by Mark Levine.

Abstract:

"A 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%."--Introduction.

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