#Jamey Aebersold

[green-cargaytions]

jazz legend jamey aebersold holding a cancerous lung. that is all

[bamboomusiclist]

10/28 おはようございます。Beach Boys / Surf's Up SSL10313 等更新完了しました。

Polly Podewell / All of Me ap136 Mel Torme / Sings Fred Astaire Bcp6013 Nat King Cole / A Meus Amigos W21220 Bing Crosby / a Christmas Sing with Bing lat8216 John Coltrane / The Believer PRST7292 Dizzy Gillespie / Charlie Parker10th Memorial Concert Lm82017 Duke Pearson / Introducing Bst84276 Dave Brubeck / Time Out cs8192 Dave Brubeck / Time Changes cs8927 Duke Ellington / Newport 1958 Cl1245 John Handy / at Monterey Jazz Festival Cs9262 Charlie Christian / with the Benny Goodman Cl652 Dave Brubeck Gerry Mulligan / live at the Berlin Philharmonie s67261 Joe Masters / Jazz Mass cs9398 Monty Alexander / Cobilimbo 0068188 Barry Guy Anthony Braxton / Zurich Concerts Intakt004/005 Jamey Aebersold / Movin' On JA1213 今田勝 / Andalusian Breeze pap9234 Beach Boys / Surf's Up SSL10313 Sugar Sugar / New Girl In Town E-1103

~bamboo music~

info@bamboo-music.net  

530-0028 大阪市北区万歳町3-41 シロノビル104号

06-6363-2700

[grumpygrans]

Play-along Music

NetTracks is a musician’s backing track player, ideal for play-alongs, either in practice or performance. Let’s take a look at what’s available. 

Music tracks meant for mixing come in various forms.

Karaoke – for singers. All the music is there, just the singer’s voice is absent – which is supplied by the karaoke singer. The display of lyrics, synced with the music, is crucial. MIDI and audio formats prevail for Karaoke. They help singers practice and perform songs. When MIDI-based tracks are used, they can be tuned by increasing and decreasing the volume of individual instruments in the mix. All ideal for singers. 

Musicians’ song-based practice backing tracks. These are song-based tracks, like Karaoke, that target musicians rather than singers.  They help musicians learn tunes and improvise over them.  They are usually stereo audio, but sometimes mono. Often a chord chart or lead sheet accompanies the audio, so musicians can easily match the harmony or learn new tunes. Rhythm-only backing tracks have less need for chord charts, but are a great way to learn new tunes when combined with lead sheets. The NetTracks Mac and IOS app is an ideal player for these types tracks, which are surveyed below..

Musicians audio mix-ins.  These are intended to be used in creating of new, original audio tracks by musicians, independently or in groups, often with a producer. They comes as drumming grooves, baselines, and harmony, often separated into stems – individual per-instrument audio tracks for the arranger. Sometimes they are song-based, but usually not. 

Musician’s Play-along Music Collections

Some song-based play-along collections we dig.

Jamey Aebersold 

Jamey Aebersold pretty much made the creation of high-quality Jazz and Blues play-alongs his life’s work, and these albums have been widely appreciated and still, decades later, are much revered. The JazzTimes has a good article on his work. The hour-long video is worth the watch. These play-alongs can be purchased through many channels, including the traditional booklet, complete with CD, from musical instrument stores, and the audio separately, per track, on iTunes. They are stereo tracks with instruments well isolated to the right or left channel, allowing users to select the mix by changing the stereo balance. The collection started in the 1970s and now comprises about 120 separate albums, each with a booklet. These should be considered collaborations between Jamey Aebersold and top musicians, with Jamey managing the entire exercise and creating comprehensive, high-quality booklets of lead sheets and scales. These are the gold standard of educational Jazz and Blues backing tracks.

Hal Leonard’s Real Book

When Hal Leonard legitimised the then-Berkely fake books into their Real Books, they took the opportunity to supply backing tracks that match the lead sheets in their Real Books. Pure Genius. You can buy these backing tracks separately in the format of USB sticks if you already have the books. Professional quality jazz trio playing, leaning more to the ballads than bop and not with the stereo separation of the Aebersold’s. Well worth getting. 

Hal Leonard has diversified its retailing channels to include online sales. 

Hal Leonard also supplies many other play-along books for specific artists or genres, including their multi-track products. 

Ralph Patt 

Ralph Patt, now deceased, generously created practice backing tracks that he released into the public domain in a guitar user group for the aid of all musicians. These, like those of Jamey Aebersold, isolate instruments in the stereo mix to either the left or right channel. They generally have fast tempos. Ralph was a good musician; we will always be thankful for his legacy. These tracks do not benefit from the same team of musicians behind them that Jamey Aebersold’s did, but for a sole contributor, they are a real achievement and well worth trying. They do not come with lead sheets, but the tempos are shown. Ralph also published the ‘Vanilla Book’, a book of chord charts for many Jazz and Blues standards. Many of his backing tracks are covered in his Vanilla Book. If you play a harmony instrument and want to play along to fast tempo drums and bass, check them out. 

Real Book Software 

Real Book Software tracks are also based on Real Books and come from an independent supplier, focusing on their complete software product. You can purchase the Jazz Play-Along backing tracks separately from the software product. These tracks are an inexpensive option and worth considering for the added variety they provide. The musical key is shown, and every song generally comes in multiple renditions, such as with and without piano comping, and other variations, such as tempo, repeats and key. We do not have any experience with Real Book Software, software product, but we have tried the stand-alone backing track collection and enjoyed it, considering it a similar experience to Hal Leonard’s.

Bobby’s Backing Tracks

Bobby’s are quality tracks by dedicated musicians. Direct, online sales from their website are the only option. They deal with stems and supply minus-one mixes (no bass, no drums or no keys). They serve the gigging community as much as the practising one. You will listen carefully to the track to figure out its arrangement. They suit more those who learn their tracks through listening critically rather than expecting everything to be supplied upfront, as you would get from educators such as Jamey Aebersold. What you do get, though, is quality backing, easily acquired through their online store. They are not cheap, but a good option to consider, particularly if you want inspiring tracks for performance. 

JazzBacks

JazzBacks are based in the UK and use a similar business model to Bobby’s – High-quality tracks using modern equipment for practice or performance direct from their website. JazzBacks proudly do not include fade endings or verbal count-ins and provide copious supporting materials. Their downloads are ZIPs which include the audio file, and multiple chord charts (per instrument type, so C, Eb and Bb), so you know which chords to use and the arrangement, such as, 

“Black Orpheus; Key – A minor; Intro- 4 bars; Head; Solo – 1 chorus; Head; Ending – Dm/ Am / Dm/ Am/ Dm/ Em/ Am”. 

For Stella, 

“Stella By Starlight Key Bb (concert); 2 Bars drums; Straight into the head; Solo- 2 Choruses; Head; Repeat last line twice; End”. 

It is great to know this arrangement information up-front, so you can quickly play along knowing what to expect. These professional tracks are very approachable and easier to use than most. They are purchased per track (with bundles available) and can be used in performance. 

Song Rhythm Tracks

Alive Drumming’s Song Rhythm Tracks are play-along backing tracks specialising in drums and/or percussion. They use high-quality audio from talented drummers with many different genres represented. Drumming is arranged around the song’s form, and arrangments may include introduction and outro sections, always clearly stated in the accompanying description of the arrangement. Some tracks include stops (aka holds). Arrangements are always visible. It may seem that less is less, but less can be more. Players of harmony instruments, such as guitar or keys, can enjoy playing along to superb drumming without any bass track but still hearing the drummer playing the same song. Give it a go. Song Rhythm Tracks often cover Real Book tunes and sometimes come with public domain lead sheets. The entire collection are accessible within the NetTracks app via a low-cost annual subscription. 

Musical Genres other than Jazz, Blues

The vendors above tend to specialise in the genres of Jazz and Blues, often adding Funk, Bossa and other associated styles. These styles of music, with their usually constant pulse and simple forms, lend themselves to highly approachable covers and artists’ improvisations. That’s often the attraction of this music. In turn, these songs can often be well supported by lead sheets and associated backing tracks, making the songs even more approachable for beginning students and experienced musicians.

NetTracks

NetTracks adds to the experience of backing track crafted by musicians by making tracks more accessible and providing the industry’s best setlist and backing track player. We hope more and more students and experienced players find acquiring and using artists’ backing tracks a real pleasure.

[alive-drumming]

Play-along Music

Music tracks meant for mixing come in various forms.

Karaoke – for singers. All the music is there, just the singer’s voice is absent – to be supplied by the karaoke singer. The display of lyrics, synced with the music, is crucial. MIDI and audio formats prevail for Karaoke. They help singers practice and perform songs. When MIDI-based tracks are used, they can be tuned by increasing and decreasing the volume of individual instruments in the mix.

Musicians’ song-based practice backing tracks. These are song-based tracks, like Karaoke, that target musicians rather than singers. They help musicians learn tunes and improvise over them. They are usually stereo audio, but sometimes mono. Often a chord chart or lead sheet accompanies the audio, so musicians can easily match the harmony. Rhythm-only backing tracks have less need for these charts. Below, we give our survey of some vendors of these. The NetTracks Mac and IOS app is an ideal player for these tracks.

Musicians audio mix-ins. These are intended to be used in creating new, original audio tracks by musicians, independently or in groups. It comes as drumming grooves, baselines, and harmony, often separated into stems – individual per-instrument audio tracks for the arranger to tune. Sometimes they are song-based, but often not.

Musician’s Play-along Music Collections

Some song-based play-along collections we dig.

Jamey Aebersold

Jamey Aebersold pretty much made the creation of high-quality Jazz and Blues play-alongs his life’s work, and these albums have been widely appreciated and still, decades later, are much revered. The JazzTimes has a good article on his work. The hour-long video is worth the watch. These play-alongs can be purchased through a number of channels, including the traditional booklet, complete with CD, from musical instrument stores, and the audio separately, per track, on iTunes. They are stereo tracks with instruments well isolated to the right or left channel, allowing users to select the mix by changing the stereo balance. The collection started in the 1970s and now comprises about 120 separate albums, each with a booklet. These can be considered collaborations between Jamey Aebersold and top musicians, with Jamey managing the entire exercise and creating comprehensive, high-quality booklets of lead sheets and scales. These are the gold standard.

Hal Leonard’s Real Book

When Hal Leonard legitimised the then-Berkely fake books into their Real Books, they took the opportunity to supply backing tracks that match the lead sheets in their Real Books. Pure Genius. You can buy these backing tracks separately in the format of USB sticks if you already have the books. Well worth getting.

Hal Leonard has diversified its retailing channels to include online sales.

Hal Leonard also supplies many other play-along books for specific artists or genres, including their multi-track products.

Ralph Patt

Ralph Patt, now deceased, generously created practice backing tracks that he released into the public domain in a guitar user group for the aid of all musicians. These, like those of Jamey Aebersold, are stereo with instruments isolated to either the left or right channel. They generally have fast tempos. Ralph was a good musician; we will always be thankful for his legacy. These tracks do not benefit from the same team of musicians behind them that Jamey Aebersold’s did, but for a sole contributor, they are a real achievement and well worth trying. They do not come with lead sheets, but the tempos are shown. Ralph also published the ‘Vanilla Book’, a book of chord charts for many Jazz and Blues standards. Many of his backing tracks are covered in his Vanilla Book.

Real Book Software

Real Book Software tracks are also based on Real Books and come from an independent supplier, focusing on their complete software product. You can purchase the Jazz Play-Along backing tracks separately from the software product. These tracks are an inexpensive option and worth considering for the added variety they provide. The musical key is shown, and every song generally comes in multiple renditions, such as with and without piano comping, and other variations, such as tempo, repeats and key. We do not have any experience with Real Book Software, software product, which has had mixed reviews, but we have tried the stand-alone backing track collection and enjoyed it.

Bobby’s Backing Tracks

Bobby’s are quality tracks by dedicated musicians. Direct, online sales from their website are the only option. They deal with stems and supply minus-one mixes (no bass, no drums or no keys). They serve the gigging community as much as the practising one. You will listen carefully to the track to figure out its arrangement. They suit more those who learn their tracks through listening critically rather than expecting everything to be supplied upfront, as you would get from educators such as Jamey Aebersold. What you do get, though, is quality backing, easily acquired through their online store. It is not cheap, but a good option to consider, particularly if you want to perform with the tracks.

JazzBacks

JazzBacks are based in the UK and use a similar business model to Bobby’s – High-quality tracks using modern equipment for practice or performance direct from their website. JazzBacks proudly do not include fade endings or verbal count-ins and provide copious supporting materials. Their downloads are ZIPs which include the audio file, and multiple chord charts (per instrument type, so C, Eb and Bb), so you know which chords to use and the arrangement, such as,

“Black Orpheus; Key – A minor; Intro- 4 bars; Head; Solo – 1 chorus; Head; Ending – Dm/ Am / Dm/ Am/ Dm/ Em/ Am”.

For Stella,

“Stella By Starlight Key Bb (concert); 2 Bars drums; Straight into the head; Solo- 2 Choruses; Head; Repeat last line twice; End”.

It is great to know this arrangement information up-front, so you can quickly play along knowing what to expect. These professional tracks are very approachable and easier to use than most. They are purchased per track (with bundles available) and can be used in performance.

Song Rhythm Tracks

Best Backing Track Player in the industry.

Alive Drumming’s Song Rhythm Tracks are play-along backing tracks specialising in drums and/or percussion. They use high-quality audio from talented drummers with many different genres represented. Drumming is arranged around the song’s form, and arrangments may include introduction and outro sections. Some tracks include stops (aka holds). Arrangements are always visible. It may seem that less is less, but less can be more. Players of harmony instruments, such as guitar or keys, can enjoy playing along to superb drumming without any bass track. Give it a go. Song Rhythm Tracks are accessible within the NetTracks app.

Musical Genres other than Jazz, Blues

The vendors above tend to specialise in the genres of Jazz and Blues, often adding Funk, Bossa and other associated styles. These styles of music, with their usually constant pulse and simple forms, lend themselves to highly approachable covers and artists’ improvisations. That’s often the attraction of this music. In turn, these songs can often be well supported by lead sheets and associated backing tracks, making the songs even more approachable for beginning students and experienced musicians.

NetTracks

NetTracks adds to the backing track experience by making tracks more accessible and providing the industry’s best setlist and backing track player. We hope more and more students and experienced players find acquiring and using backing tracks a real pleasure.

[sheetmusiclibrarypdf]

LA MUSIQUE C'EST POUR TOUTE LA VIE

LA MUSIQUE C'EST POUR TOUTE LA VIE par Jamey Aebersold Please, subscribe to our Library. Thank you! Jazz Play Along - Blue Moon (partition, sheet music) Jazz Play Along - Nardis Miles Davis (partition, sheet music) LA SOLUTION Best Sheet Music download from our Library.

LA MUSIQUE C'EST POUR TOUTE LA VIE par Jamey Aebersold

Tout le monde aimerait pouvoir jouer d'un instrument de musique. Demandez à n'importe qui. Les raisons varient quant à la raison pour laquelle ils ne jouent pas de musique. Ce désir est, je pense, ancré dans l'essence même de l'homme, son âme, la partie intérieure de l'humanité qui n'a souvent pas la chance de se développer dans notre présent système éducatif. Surtout en musique !

Ma question est… qu'avons-nous fait du désir initial des élèves de jouer de la musique? L'avons-nous nourri et l'avons-nous fait monter comme une flamme ou lui avons-nous simplement demandé de participer à un effort de groupe qui peut être utilisé comme publicité pour le système scolaire, la sécurité d'emploi du directeur musical ou d'autres raisons non éducatives? Devons-nous JAMAIS demander à un élève d'utiliser son IMAGINATION lors d'une répétition ou d'un cours de musique? Faire de la musique et utiliser son imagination vont de pair. Albert Einstein avait dit : 'L'imagination est plus importante que la connaissance.' L'OBJECTIF À LONG TERME de la musique est de fournir un moyen d'expression personnelle et de communication, en supposant que l'individu puisse physiquement jouer de son instrument. Ce n'est pas parce que nous n'enseignons pas aux musiciens comment être créatifs qu'ils perdent leur désir de créer. Ils apprennent juste à être créatifs dans un autre domaine, pas la musique. C'est dommage. Zoltan Kodaly a déclaré: 'Chaque enfant en bonne santé improviserait si nous le laissions.' Un pourcentage extrêmement élevé d'étudiants en harmonie arrêtent de jouer de leurs instruments dès qu'ils quittent l'école secondaire ou l'université. On ne leur a jamais appris à utiliser la musique, car il s'agissait d'autres formes de développement personnel continu. Pour eux, la musique signifiait jouer dans le groupe ou l'orchestre ou chanter dans la chorale. Et jouer dans le groupe signifiait faire partie d'un groupe qui est souvent utilisé par l'école, le directeur du groupe ou l'administration de l'école pour promouvoir des événements sportifs ou pour obtenir une couverture médiatique en rapportant à la maison un trophée d'un concours de musique.

Jazz Play Along - Blue Moon (partition, sheet music)

https://dai.ly/x8ats8a L'INDIVIDU et sa croissance musicale semblent être perdus lorsque nous commençons à penser en termes de nombre d'étudiants inscrits, de marches, de fanfares, de compétitions, de concours, etc. Qu'est-il arrivé à l'individu qui voulait initialement JOUER DE LA MUSIQUE et apprendre à FAIRE DE LA MUSIQUE, peut-être même la musique qu'il ou elle entend dans son propre esprit, ou bourdonne ou siffle ? Notre système actuel offre peu d'occasions à l'individu d'accroître sa créativité musicale. Tout le monde doit faire partie d'un effort de groupe ou rien. Je n'ai rien contre les groupes parce que nous sommes une société de personnes orientées vers le groupe, et je suis membre de cette société. Un étudiant PEUT avoir une chance de vraiment FAIRE DE LA MUSIQUE s'il s'inscrit dans un groupe de jazz et si l'instructeur l'encourage à utiliser son IMAGINATION et à apprendre à IMPROVISER en utilisant les différentes gammes et accords qui composent la musique. Pourquoi l'étudiant abandonne-t-il la musique en tant que participant après avoir obtenu son diplôme d'études secondaires ou universitaires? J'ai l'impression que c'est parce qu'ils n'ont pas de groupe avec qui jouer. Les programmes de musique actuels ne les ont pas équipés pour jouer de la musique dans le vrai sens du terme. JOUER DE LA MUSIQUE signifie être capable de jouer les mélodies qui errent dans l'esprit d'une personne, sur l'instrument de son choix, spontanément. C'est ce qu'on appelle généralement l'improvisation ou le jazz. TOUS les gens, du débutant de deux semaines au joueur symphonique ou au musicien de jazz, peuvent improviser. Cependant, tous ne profitent pas de l'occasion parce qu'ils n'ont pas été montrés ou enseignés. Ils ne savent pas comment apporter ces mélodies cachées hors de leur esprit et dans le monde audible, afin que d'autres puissent également en profiter. La musique, c'est le partage et quand je joue une mélodie et que vous l'entendez, je partage une partie de mon être intérieur, musicalement, avec vous. Dans la mesure où je pratique et perfectionne mon instrument, je peux vous remonter le moral, vous exciter, vous rendre triste, etc., selon ce que vous et moi ressentons en ce moment et à quel point je peux exécuter les idées de mon esprit. C'est être CRÉATIF AVEC LA MUSIQUE. C'est la 'joie de la musique' dont parle Leonard Bernstein. Il n'est pas nécessaire d'être doué ou spécial pour improviser avec de la musique. L'improvisation est la façon la plus naturelle de faire de la musique. Notre nature originelle est d'improviser – de créer. Écoutez les étudiants dans une salle de musique réchauffer leurs instruments. Ce que vous entendez, ce sont des tentatives d'improvisation. Désorganisé, mais néanmoins improvisé. Peut-être que ce que nous, éducateurs, devons faire, c'est apprendre à éliminer les obstacles à l'improvisation et permettre à la capacité créative naturelle des élèves de se manifester. Lorsque les compositeurs écrivaient à l'origine la musique que nous écoutons tous les jours, ils faisaient preuve de créativité. Dans mon esprit, il n'y a aucune différence entre un jeune enfant chantant une mélodie simple, puis la jouant sur son instrument, et un compositeur respecté écrivant une symphonie. Ils sont tous les deux créatifs. On a plus d'expérience sur laquelle s'appuyer et, par conséquent, son produit final a plus de chances d'apporter une contribution durable à la société. Cet élément créatif a toujours fait défaut dans nos programmes de musique scolaire. Je pense que nous sommes TOUS plus pauvres parce que nous ne saurons jamais comment nos vies personnelles pourraient être plus enrichies par les étudiants de notre propre ville, s'ils avaient eu la possibilité de s'exprimer à travers la musique. Comme l'a dit le poète… 'Nous mourons avec toute notre musique en nous.' Si l'élève a la chance d'être dans un orchestre de jazz ou de scène au lycée, il PEUT avoir l'occasion d'apprendre à improviser. Il est généralement laissé au directeur du groupe si l'improvisation sera ou ne sera pas enseignée. Question : « Comment pouvez-vous enseigner ce que vous ne savez pas ? Encore une fois, les collèges et les universités n'enseignent pas aux professeurs de musique comment être créatifs dans leurs méthodes d'enseignement ou comment improviser pendant qu'ils enseignent. Je pense que c'est parce qu'eux-mêmes n'ont jamais eu l'opportunité ou l'encouragement d'être créatifs avec la musique. Ils aiment la musique mais ils n'arrivent jamais à FAIRE DE LA MUSIQUE. Faire de la musique, c'est être à l'origine des mélodies, des harmonies et des rythmes. Tant de musique… tournent dans la tête des élèves, mais pourrons-nous jamais l'entendre…? Nous avons pris la liberté des étudiants de jouer de la musique et les avons forcés à un mode compétitif. Ils jouent quelques chansons, encore et encore, pour être interprétées lors d'un concours, d'un festival ou d'un concours dans l'espoir de remporter un trophée. Ce n'est pas le but de la musique ! Quand un directeur de groupe sent qu'il doit gagner gros pour garder son emploi, et cela arrive, nous avons tous des ennuis. Et bien sûr, les programmes de musique aux États-Unis sont en difficulté. Nous savons tous que les premiers programmes à être coupés sont la musique et l'art. Si l'on montrait aux musiciens comment être créatifs en plus de jouer dans un ensemble, l'administration pourrait voir différemment les programmes de musique. Je suis sûr que les parents ne voudraient pas couper un programme qui offrait à leur enfant une opportunité de grandir, d'être créatif et d'ajouter de l'estime de soi. Qui achèterait sciemment un instrument s'il savait à la fin du lycée qu'il ne l'utiliserait plus jamais ? Quel parent investirait dans ce type de pensée? Je suis sûr que si vous disiez au parent que c'est ce qui se passe 99% du temps, il répondrait probablement: 'Je veux que mon enfant joue et s'amuse musique toute leur vie, pas seulement à l'école. Et si les mathématiques ou l'anglais étaient enseignés de cette façon? N'imaginez-vous pas que ces programmes seraient également coupés lors des coupes budgétaires? Je ne peux pas imaginer un professeur de lycée travailler ses élèves encore et encore sur l'adresse de Gettysburg pendant trois mois ou plus juste pour pouvoir ramener à la maison une première place à un concours. Une citation anonyme se lit comme suit: 'La concurrence et la coopération ne peuvent pas coexister'. De nombreux directeurs de bande estiment qu'ils ont concourir, afin de « faire sortir les élèves », de s'inscrire dans un groupe. Je ne doute pas que cela soit vrai dans de nombreux programmes en raison de la façon dont la musique est traitée comme un événement sportif… quelqu'un gagne, quelqu'un perd. J'ai entendu plusieurs groupes de jazz où tout le monde dans le groupe s'est levé et a pris un solo intéressant. L'improvisation était enseignée comme une partie de base de la musique, et jouer uniquement les notes écrites ne serait pas juste pour les étudiants qui se sont inscrits au cours. Ils ont appris les bases de l'ensemble jouer avec l'improvisation et tout le monde a récolté les fruits. Personne n'aime vraiment jouer le deuxième violon, mais le mythe selon lequel 'soit vous l'avez, soit vous ne l'avez pas' a persisté à ce jour, et nous sommes tous plus pauvres pour ce type de pensée. Je n'ai jamais entendu un perdant. J'ai entendu de nombreux étudiants qui ne jouent pas très bien parce qu'on leur a demandé de jouer d'un instrument qu'ils n'ont vraiment pas choisi de jouer, ou parce qu'ils n'ont pas été encouragés ou montrés comment pratiquer afin que les riches récompenses de la musique puissent se manifester. dans et à travers ça étudiant. La musique est l'un des éléments constitutifs de l'UNIVERS. Si nous pouvions amener les élèves à un âge précoce à composer et à interpréter des mélodies simples de leur propre fabrication, et à commencer tôt… 4e, 5e année et à les maintenir tout au long des années, ATTENTION! Il faudrait limiter les inscriptions aux programmes de musique. Apprenez aux gens à être créatifs et à dessiner sur les PROPRES ressources et ils feront de la musique TOUTE LEUR VIE, pas seulement pendant qu'ils font partie des ensembles organisés de nos systèmes scolaires. Il faudrait du temps et des efforts pour changer, mais tout ce qui en vaut la peine demande du temps. Ce sont les récompenses qui font que l'effort ne ressemble à rien. Pendant trop longtemps, la musique a été négligée dans le développement global de l'être humain. Chaque personne, chaque âme, aspire à être créative et à contribuer si seulement elle pouvait en avoir la chance. Les systèmes éducatifs sont la voie s'ils voulaient seulement prendre les devants. L'imaginaire est le maître mot. Oserons-nous l'utiliser ? Continuez à lire pour une solution possible…

Jazz Play Along - Nardis Miles Davis (partition, sheet music)

https://vimeo.com/714417985

LA SOLUTION

Au fur et à mesure qu'ils apprennent plus de notes, demandez-leur d'incorporer ces notes également. Mettez en place un tempo lent et demandez-leur de jouer la mélodie qui leur vient à l'esprit. Tu peux doivent chanter un exemple ou jouer un exemple pour eux pour les faire démarrer. Ils doivent comprendre que créer leur propre musique fait partie de l'apprentissage de la musique – il n'y a rien à craindre. C'est naturel et il n'y a pas de perdants. L'écoute d'enregistrements d'artistes de jazz fournira à l'élève des modèles de mélodies, de phrases, de couleurs tonales, d'utilisation de l'articulation, de dynamique, etc. acceptables. J'ai trouvé que le volume 24 'Majeur et mineur' est l'un des meilleurs moyens d'enseigner les gammes, la technique et la créativité en même temps. Les 12 gammes majeures sont couvertes pour des durées allant jusqu'à 5 minutes chacune sur l'accompagnement enregistré. Les gammes mineures sont également couvertes de la même manière. Les arrière-plans enregistrés rendent l'apprentissage des gammes et des accords amusant, ce qui conduit à l'expérimentation qui conduit à l'improvisation. C'est une séquence d'événements des plus naturelles dans l'apprentissage de la musique. C'est l'un des moyens les plus rapides que j'ai trouvé pour stimuler le musicien et briser les inhibitions. Les arrière-plans enregistrés rendent l'apprentissage des gammes et des accords amusant, ce qui conduit à l'expérimentation qui conduit à l'improvisation. C'est une séquence d'événements des plus naturelles dans l'apprentissage de la musique. C'est l'un des moyens les plus rapides que j'ai trouvé pour stimuler le musicien et briser les inhibitions. Cela aide à activer notre cerveau droit, le côté créatif, et nous donne un aperçu de notre véritable potentiel. Vous vous retrouverez, en tant que professeur de musique, à proposer des idées dont vous ignoriez l'existence. Très probablement, l'excitation de FAIRE DE LA MUSIQUE vous réinfectera. Trop de professeurs de musique ont renoncé à jouer de leurs instruments. C'est tragique et cela n'arriverait sûrement pas si souvent si les bases de l'improvisation leur avaient été montrées très tôt. Arrêtez-vous et réfléchissez… l'apprentissage des doigtés des gammes ne devrait-il pas conduire à les utiliser pour faire de la musique? Bien sûr, cela devrait être le cas, et lorsque vous enseignez également l'improvisation avec les bases, vous obtenez le meilleur de tous les mondes musicaux et des musiciens complets. Il est peut-être temps de l'introduire dans la salle de classe et d'intégrer le Play Along series avec votre propre imagination. Il n'y a pas de fin aux possibilités une fois que le désir de faire de la musique vraiment te frappe. Read the full article

[basicallyanotherwitchesthing]

Jamey Aebersold – Witch Hunt - JA rec. - Lp - 1975

[ozkar-krapo]

Jamey AEBERSOLD

"Movin' on - vol.4"

(LP. JA rcds. 1978? / rec. 1974) [US]

[allmusic]

AllMusic Staff Pick: John McNeil Quintet Things We Did Last Summer

In the summer of 1983, trumpeter John NcNeil toured Europe as an instructor for the Jamey Aebersold jazz camp. Here, he closes out the tour with a live Copenhagen concert also featuring saxophonist David Liebman. This is fiery post-bop jazz punctuated by moments of dusky, noirish balladry.

- Matt Collar

[don-lichterman]

Jazz news: New From Sher Music Co.

Jazz news: New From Sher Music Co.

Book / Magazine News By SHER MUSIC CO. July 18, 2022 Sign in to view read count ” data-original-title=”” title=””>George Russell, and many more. “A valuable collection of tunes. Mr. Israels’ quartet makes a great case for adding some of these tunes to your jazz repertoire. Thanks, Chuck, for a great job.” —Jamey Aebersold Great jazz-oriented arrangements of Tin Pan Alley songs, (“Deed I Do,”…

[grumpygrans]

Play-along Music

Music tracks meant for mixing come in various forms.

Karaoke – for singers. All the music is there, just the singer’s voice is absent – to be supplied by the karaoke singer. The display of lyrics, synced with the music, is crucial. MIDI and audio formats prevail for Karaoke. They help singers practice and perform songs. When MIDI-based tracks are used, they can be tuned by increasing and decreasing the volume of individual instruments in the mix.

Musicians’ song-based practice backing tracks. These are song-based tracks, like Karaoke, that target musicians rather than singers. They help musicians learn tunes and improvise over them. They are usually stereo audio, but sometimes mono. Often a chord chart or lead sheet accompanies the audio, so musicians can easily match the harmony. Rhythm-only backing tracks have less need for these charts. Below, we give our survey of some vendors of these. The NetTracks Mac and IOS app is an ideal player for these tracks.

Musicians audio mix-ins. These are intended to be used in creating new, original audio tracks by musicians, independently or in groups. It comes as drumming grooves, baselines, and harmony, often separated into stems – individual per-instrument audio tracks for the arranger to tune. Sometimes they are song-based, but often not.

Musician’s Play-along Music Collections

Some song-based play-along collections we dig.

Jamey Aebersold

Jamey Aebersold pretty much made the creation of high-quality Jazz and Blues play-alongs his life’s work, and these albums have been widely appreciated and still, decades later, are much revered. The JazzTimes has a good article on his work. The hour-long video is worth the watch. These play-alongs can be purchased through a number of channels, including the traditional booklet, complete with CD, from musical instrument stores, and the audio separately, per track, on iTunes. They are stereo tracks with instruments well isolated to the right or left channel, allowing users to select the mix by changing the stereo balance. The collection started in the 1970s and now comprises about 120 separate albums, each with a booklet. These can be considered collaborations between Jamey Aebersold and top musicians, with Jamey managing the entire exercise and creating comprehensive, high-quality booklets of lead sheets and scales. These are the gold standard.

Hal Leonard’s Real Book

When Hal Leonard legitimised the then-Berkely fake books into their Real Books, they took the opportunity to supply backing tracks that match the lead sheets in their Real Books. Pure Genius. You can buy these backing tracks separately in the format of USB sticks if you already have the books. Well worth getting.

Hal Leonard has diversified its retailing channels to include online sales.

Hal Leonard also supplies many other play-along books for specific artists or genres, including their multi-track products.

Ralph Patt

Ralph Patt, now deceased, generously created practice backing tracks that he released into the public domain in a guitar user group for the aid of all musicians. These, like those of Jamey Aebersold, are stereo with instruments isolated to either the left or right channel. They generally have fast tempos. Ralph was a good musician; we will always be thankful for his legacy. These tracks do not benefit from the same team of musicians behind them that Jamey Aebersold’s did, but for a sole contributor, they are a real achievement and well worth trying. They do not come with lead sheets, but the tempos are shown. Ralph also published the ‘Vanilla Book’, a book of chord charts for many Jazz and Blues standards. Many of his backing tracks are covered in his Vanilla Book.

Real Book Software

Real Book Software tracks are also based on Real Books and come from an independent supplier, focusing on their complete software product. You can purchase the Jazz Play-Along backing tracks separately from the software product. These tracks are an inexpensive option and worth considering for the added variety they provide. The musical key is shown, and every song generally comes in multiple renditions, such as with and without piano comping, and other variations, such as tempo, repeats and key. We do not have any experience with Real Book Software, software product, which has had mixed reviews, but we have tried the stand-alone backing track collection and enjoyed it.

Bobby’s Backing Tracks

Bobby’s are quality tracks by dedicated musicians. Direct, online sales from their website are the only option. They deal with stems and supply minus-one mixes (no bass, no drums or no keys). They serve the gigging community as much as the practising one. You will listen carefully to the track to figure out its arrangement. They suit more those who learn their tracks through listening critically rather than expecting everything to be supplied upfront, as you would get from educators such as Jamey Aebersold. What you do get, though, is quality backing, easily acquired through their online store. It is not cheap, but a good option to consider, particularly if you want to perform with the tracks.

JazzBacks

JazzBacks are based in the UK and use a similar business model to Bobby’s – High-quality tracks using modern equipment for practice or performance direct from their website. JazzBacks proudly do not include fade endings or verbal count-ins and provide copious supporting materials. Their downloads are ZIPs which include the audio file, and multiple chord charts (per instrument type, so C, Eb and Bb), so you know which chords to use and the arrangement, such as,

“Black Orpheus; Key – A minor; Intro- 4 bars; Head; Solo – 1 chorus; Head; Ending – Dm/ Am / Dm/ Am/ Dm/ Em/ Am”.

For Stella,

“Stella By Starlight Key Bb (concert); 2 Bars drums; Straight into the head; Solo- 2 Choruses; Head; Repeat last line twice; End”.

It is great to know this arrangement information up-front, so you can quickly play along knowing what to expect. These professional tracks are very approachable and easier to use than most. They are purchased per track (with bundles available) and can be used in performance.

Song Rhythm Tracks

Best Backing Track Player in the industry.

Alive Drumming’s Song Rhythm Tracks are play-along backing tracks specialising in drums and/or percussion. They use high-quality audio from talented drummers with many different genres represented. Drumming is arranged around the song’s form, and arrangments may include introduction and outro sections. Some tracks include stops (aka holds). Arrangements are always visible. It may seem that less is less, but less can be more. Players of harmony instruments, such as guitar or keys, can enjoy playing along to superb drumming without any bass track. Give it a go. Song Rhythm Tracks are accessible within the NetTracks app.

Musical Genres other than Jazz, Blues

The vendors above tend to specialise in the genres of Jazz and Blues, often adding Funk, Bossa and other associated styles. These styles of music, with their usually constant pulse and simple forms, lend themselves to highly approachable covers and artists’ improvisations. That’s often the attraction of this music. In turn, these songs can often be well supported by lead sheets and associated backing tracks, making the songs even more approachable for beginning students and experienced musicians.

NetTracks

NetTracks adds to the backing track experience by making tracks more accessible and providing the industry’s best setlist and backing track player. We hope more and more students and experienced players find acquiring and using backing tracks a real pleasure.

[alive-drumming]

Play-along Music

NetTracks is a musician’s backing track player, ideal for play-alongs, either in practice or performance. Let’s take a look at what’s available. 

Music tracks meant for mixing come in various forms.

Karaoke – for singers. All the music is there, just the singer’s voice is absent – which is supplied by the karaoke singer. The display of lyrics, synced with the music, is crucial. MIDI and audio formats prevail for Karaoke. They help singers practice and perform songs. When MIDI-based tracks are used, they can be tuned by increasing and decreasing the volume of individual instruments in the mix. All ideal for singers. 

Musicians’ song-based practice backing tracks. These are song-based tracks, like Karaoke, that target musicians rather than singers.  They help musicians learn tunes and improvise over them.  They are usually stereo audio, but sometimes mono. Often a chord chart or lead sheet accompanies the audio, so musicians can easily match the harmony or learn new tunes. Rhythm-only backing tracks have less need for chord charts, but are a great way to learn new tunes when combined with lead sheets. The NetTracks Mac and IOS app is an ideal player for these types tracks, which are surveyed below..

Musicians audio mix-ins.  These are intended to be used in creating of new, original audio tracks by musicians, independently or in groups, often with a producer. They comes as drumming grooves, baselines, and harmony, often separated into stems – individual per-instrument audio tracks for the arranger. Sometimes they are song-based, but usually not. 

Musician’s Play-along Music Collections

Some song-based play-along collections we dig.

Jamey Aebersold 

Jamey Aebersold pretty much made the creation of high-quality Jazz and Blues play-alongs his life’s work, and these albums have been widely appreciated and still, decades later, are much revered. The JazzTimes has a good article on his work. The hour-long video is worth the watch. These play-alongs can be purchased through many channels, including the traditional booklet, complete with CD, from musical instrument stores, and the audio separately, per track, on iTunes. They are stereo tracks with instruments well isolated to the right or left channel, allowing users to select the mix by changing the stereo balance. The collection started in the 1970s and now comprises about 120 separate albums, each with a booklet. These should be considered collaborations between Jamey Aebersold and top musicians, with Jamey managing the entire exercise and creating comprehensive, high-quality booklets of lead sheets and scales. These are the gold standard of educational Jazz and Blues backing tracks.

Hal Leonard’s Real Book

When Hal Leonard legitimised the then-Berkely fake books into their Real Books, they took the opportunity to supply backing tracks that match the lead sheets in their Real Books. Pure Genius. You can buy these backing tracks separately in the format of USB sticks if you already have the books. Professional quality jazz trio playing, leaning more to the ballads than bop and not with the stereo separation of the Aebersold’s. Well worth getting. 

Hal Leonard has diversified its retailing channels to include online sales. 

Hal Leonard also supplies many other play-along books for specific artists or genres, including their multi-track products. 

Ralph Patt 

Ralph Patt, now deceased, generously created practice backing tracks that he released into the public domain in a guitar user group for the aid of all musicians. These, like those of Jamey Aebersold, isolate instruments in the stereo mix to either the left or right channel. They generally have fast tempos. Ralph was a good musician; we will always be thankful for his legacy. These tracks do not benefit from the same team of musicians behind them that Jamey Aebersold’s did, but for a sole contributor, they are a real achievement and well worth trying. They do not come with lead sheets, but the tempos are shown. Ralph also published the ‘Vanilla Book’, a book of chord charts for many Jazz and Blues standards. Many of his backing tracks are covered in his Vanilla Book. If you play a harmony instrument and want to play along to fast tempo drums and bass, check them out. 

Real Book Software 

Real Book Software tracks are also based on Real Books and come from an independent supplier, focusing on their complete software product. You can purchase the Jazz Play-Along backing tracks separately from the software product. These tracks are an inexpensive option and worth considering for the added variety they provide. The musical key is shown, and every song generally comes in multiple renditions, such as with and without piano comping, and other variations, such as tempo, repeats and key. We do not have any experience with Real Book Software, software product, but we have tried the stand-alone backing track collection and enjoyed it, considering it a similar experience to Hal Leonard’s.

Bobby’s Backing Tracks

Bobby’s are quality tracks by dedicated musicians. Direct, online sales from their website are the only option. They deal with stems and supply minus-one mixes (no bass, no drums or no keys). They serve the gigging community as much as the practising one. You will listen carefully to the track to figure out its arrangement. They suit more those who learn their tracks through listening critically rather than expecting everything to be supplied upfront, as you would get from educators such as Jamey Aebersold. What you do get, though, is quality backing, easily acquired through their online store. They are not cheap, but a good option to consider, particularly if you want inspiring tracks for performance. 

JazzBacks

JazzBacks are based in the UK and use a similar business model to Bobby’s – High-quality tracks using modern equipment for practice or performance direct from their website. JazzBacks proudly do not include fade endings or verbal count-ins and provide copious supporting materials. Their downloads are ZIPs which include the audio file, and multiple chord charts (per instrument type, so C, Eb and Bb), so you know which chords to use and the arrangement, such as, 

“Black Orpheus; Key – A minor; Intro- 4 bars; Head; Solo – 1 chorus; Head; Ending – Dm/ Am / Dm/ Am/ Dm/ Em/ Am”. 

For Stella, 

“Stella By Starlight Key Bb (concert); 2 Bars drums; Straight into the head; Solo- 2 Choruses; Head; Repeat last line twice; End”. 

It is great to know this arrangement information up-front, so you can quickly play along knowing what to expect. These professional tracks are very approachable and easier to use than most. They are purchased per track (with bundles available) and can be used in performance. 

Song Rhythm Tracks

Alive Drumming’s Song Rhythm Tracks are play-along backing tracks specialising in drums and/or percussion. They use high-quality audio from talented drummers with many different genres represented. Drumming is arranged around the song’s form, and arrangments may include introduction and outro sections, always clearly stated in the accompanying description of the arrangement. Some tracks include stops (aka holds). Arrangements are always visible. It may seem that less is less, but less can be more. Players of harmony instruments, such as guitar or keys, can enjoy playing along to superb drumming without any bass track but still hearing the drummer playing the same song. Give it a go. Song Rhythm Tracks often cover Real Book tunes and sometimes come with public domain lead sheets. The entire collection are accessible within the NetTracks app via a low-cost annual subscription. 

Musical Genres other than Jazz, Blues

The vendors above tend to specialise in the genres of Jazz and Blues, often adding Funk, Bossa and other associated styles. These styles of music, with their usually constant pulse and simple forms, lend themselves to highly approachable covers and artists’ improvisations. That’s often the attraction of this music. In turn, these songs can often be well supported by lead sheets and associated backing tracks, making the songs even more approachable for beginning students and experienced musicians.

NetTracks

NetTracks adds to the experience of backing track crafted by musicians by making tracks more accessible and providing the industry’s best setlist and backing track player. We hope more and more students and experienced players find acquiring and using artists’ backing tracks a real pleasure.

[sheetmusiclibrarypdf]

MUSIC IS FOR LIFE

MUSIC IS FOR LIFE By Jamey Aebersold Please, subscribe to our Library. Thank you! Jazz Play Along - Blue Moon (sheet music) Jazz Play Along - Nardis Miles Davis (sheet music) THE SOLUTION Best Sheet Music download from our Library.

MUSIC IS FOR LIFE By Jamey Aebersold

Everyone would like to be able to play a musical instrument. Ask anyone. The reasons will vary as to why they don’t play music. This desire is, I feel, built into the very essence of humans, their soul, the inner part of mankind which often doesn’t get a chance to be developed in our present educational system. Especially in music!

My question is …what have we done with the students’ original desire to play music? Have we nurtured it and made it rise like a flame or have we merely asked him/her to participate in a group effort which can be used as advertising for the school system, music director’s job security or other non-educational reasons? Do we EVER ask a student to use their IMAGINATION in a rehearsal or music class? Making music and using one’s imagination go hand in hand. Albert Einstein said, “Imagination is more important that knowledge.” The LONG RANGE PURPOSE of music is to provide a means of personal expression and communication, assuming the individual can physically play their instrument. Just because we don’t teach musicians how to be creative doesn’t mean that they lose their desire to create. They just learn to be creative in some other field, not music. What a shame. Zoltan Kodaly said “Every healthy child would improvise if we let him.” An extremely high percentage of band students stop playing their instruments as soon as they leave high school/college. They were never taught to use music, as they were other forms of continued self-development. Music to them meant playing in the band or orchestra or singing in the choir. And playing in the band meant being part of a group which is often used by the school, band director or school administration to promote athletic events or to gain news coverage by bringing home a trophy from some music competition.

Jazz Play Along - Blue Moon (sheet music)

https://dai.ly/x8ats8a The INDIVIDUAL and his or her musical growth seems to be lost when we begin thinking in terms of numbers of students enrolled, marching, pep bands, competition, contest, etc. What has happened to the individual who initially wanted to PLAY MUSIC and learn how to MAKE MUSIC, maybe even the music that he or she hears within their own minds, or hums, or whistles? Our present system allows few opportunities for the individual to heighten his or her creativity in music. Everyone has to be a part of a group effort or nothing. I have nothing against groups because we are a society of people who are group oriented, and I am a member of that society. A student MAY have a chance to truly MAKE MUSIC, if they enroll in jazz band and if the instructor encourages them to use their IMAGINATION and learn to IMPROVISE using the various scales and chords that make up music. Why does the student abandon music as a participant upon graduation from high school or college? I feel it is because they have no group to play with. Present day music programs have not equipped them to play music in the true sense of the word. To PLAY MUSIC means to be able to play the melodies which roam around in a person’s mind, on their chosen instrument, spontaneously. This is usually called improvisation or jazz. ALL people, the two-week beginner to the symphony player or jazz musician, can improvise. However, not all avail themselves of the opportunity because they haven’t been shown or taught. They are at a loss as to how to bring these hidden melodies out of their mind and into the audible world, so others can also enjoy them. Music means sharing and when I play a melody and you hear it, I share part of my inner being, musically, with you. To the degree that I practice and perfect my instrument, I can lift your spirits, excite you, make you sad, etc., depending on how you and I feel at the moment and how well I can execute the ideas of my mind. This is being CREATIVE WITH MUSIC. This is the “Joy of Music” of which Leonard Bernstein speaks. One does not have to be talented or special in order to improvise with music. Improvising is the most natural way of making music. Our original nature is to improvise – create. Listen to students in a band room warming up their instruments. What you hear are attempts at improvising. Disorganized, but none-the-less improvised. Maybe what we educators need to do is learn how to remove the obstacles to improvising and allow the students’ natural creative ability to show itself. When composers originally wrote the music we listen to every day, they were being creative. In my mind there is no difference in a young child singing a simple melody, and then playing it on their instrument, and a respected composer writing a symphony. They both are being creative. One has more experience on which to draw and, thus, his final product has a greater chance of making a lasting contribution to society. This creative element has always been missing in our school music programs. I feel we are ALL poorer for it because we’ll never know how our personal lives might be more enriched by students in our own town, had they been given the opportunity to express themselves through music. As the poet said…”We die with all our music in us.” If the student is fortunate enough to be in a high school jazz or stage band, they MAY have an opportunity to learn to improvise. It’s usually left up to the band director whether improvisation will or will not be taught. Question: “How can you teach what you don’t know?” Again, the colleges and universities do not teach music teachers how to be creative in their teaching methods, or how to improvise while they teach. I feel it’s because they themselves have never been given the opportunity or encouragement to be creative with music. They love music but they never get to MAKE MUSIC. Making music means being the originator of the melodies, harmonies, and rhythms. So much music …whirling around in students’ minds, but will we ever get to hear it…? We’ve taken the students’ freedom to play music and forced them into a competitive mode. They play a few songs, over and over, to be performed at a competition, festival or contest in hopes of winning a trophy. This isn’t the purpose of music! When a band director feels he has to win big in order to keep his job, and this happens, we are all in trouble. And of course, music programs in the U.S. are in trouble. We all know the first programs to be cut are music and art. If musicians were shown how to be creative in addition to playing in an ensemble, the administration might look differently at music programs. I’m sure parents wouldn’t want to cut a program that offered their child an opportunity to grow, be creative, and add self-worth. Who would knowingly buy an instrument if they knew at the end of high school they would never use it again? What parent would invest in this type of thinking? I’m sure if you told the parent this is what happens 99% of the time they would probably answer, “I want my child to play and enjoy music their entire life, not just through school.” What if Math or English were taught that way? Don’t you imagine those programs would also be cut during budget cuts? I can’t picture a high school teacher working his students over and over on the Gettysburg address for three months or more just to be able to bring home a first place at a contest. An anonymous quote reads, “Competition and cooperation cannot coexist.” Many band directors feel they have to compete, in order to “get the students out,” to enroll in band. I don’t doubt that this is true in many programs because of the way music is treated as a sporting event …someone wins, someone loses. I have heard several jazz bands where everyone in the group stood up and took an interesting solo. Improvisation was taught as a basic part of music, and to just play the written notes would not be fair to the students who signed up for the course. They were taught the basics of ensemble playing along with improvisation and everyone reaped the rewards. No one truly enjoys playing second fiddle, but the myth that “you either have it or you don’t” has persisted to this day, and we are all poorer for this type of thinking. I’ve never heard a loser. I have heard many students who don’t play very well because they were asked to play an instrument they really didn’t choose to play, or, they weren’t encouraged or shown how to practice so that the rich rewards of music might manifest in and through that student. Music is one of the building blocks of the UNIVERSE. If we could get students at an early age to compose and perform simple melodies of their own making, and start this early…4th, 5th, grade and sustain it through the grades, LOOK OUT! You would have to limit enrollment in the music programs. Teach people how to be creative and draw on the OWN resources and they’ll make music ALL THEIR LIFE, not just while they are part of our school systems’ organized ensembles. It would take time and effort to change, but everything worthwhile demands time. It is the rewards that make the effort seem like nothing. For too long, music has been neglected in the overall development of humans. Each person, each soul, longs to be creative and contribute if they could only have the chance. Educational systems are the path if they would only take the lead. Imagination is the key word. Dare we use it? Keep reading for a possible solution…

Jazz Play Along - Nardis Miles Davis (sheet music)

https://vimeo.com/714417985

THE SOLUTION

One of the easiest ways to begin improvising is to encourage the beginning student to improvise, make up simple melodies using what they know. If they only know several notes of a scale, then use those notes to improvise with. As they learn more notes, have them incorporate those notes, too. Set up a slow tempo and ask them to play whatever melody comes to their mind. You may have to sing an example or play an example for them to get them started. They need to realize that making music up of their own is part of learning music – nothing to be afraid of. It’s natural and there are no losers. Listening to recordings of jazz artists will provide the student with role-models of acceptable melodies, phrases, tonal color, use of articulation, dynamics, etc. I’ve found that Volume 24 “Major and Minor” is one of the best ways to teach scales, technique and creativity at the same time. All 12 major scales are covered for durations of up to 5 minutes each on the recorded accompaniment. Minor scales are also covered in the same manner. The recorded backgrounds make learning the scales and chords fun and this leads to experimentation which leads to improvising. It’s a most natural sequence of events in learning music. This is one of the fastest ways I’ve found to stimulate the musician and break down inhibitions. It helps to activate our Right Brain, the creative side, and gives us a glimpse of our true potential. You’ll find yourself, as a teacher of music, coming up with ideas you never knew existed. Quite possibly the excitement of MAKING MUSIC will re infect you. Too many music instructors have given up playing their instruments. This is tragic and probably wouldn’t happen so often if the basics of improvisation had been shown to them early on. The rhythm section background of piano, bass and drums teaches the student how to play with others via listening to the recording rather than watching the conductor’s baton. It stresses listening and comprehension of the basic music elements – melody, harmony, and rhythm. Practicing the basics, scales and chords, becomes fun and the student understands why these basics are SO important. Once learned, these basics turn into music. Creative music. Jazz. I have found students pick up and understand theory and harmony much quicker than you would ever imagine when relating the actual learning of scales and chords to the theory and harmony. Stop and think about it …shouldn’t learning the fingerings to scales lead to their being used to make music? Of course, it should, and when you also teach improvisation along with the basics, you get the best of all musical worlds and well-rounded musicians. Maybe it’s time to bring it into the classroom and incorporate the Play Along series with your own imagination. There is no end to the possibilities once the desire to make music truly hits you. Read the full article

[epubdownloadebook]

Pdf free^^ The Jazz Theory Book textbook$

Pdf free^^ The Jazz Theory Book textbook$

The Jazz Theory Book

[PDF] Download The Jazz Theory Book Ebook | READ ONLINE

Author : MarkLevine Publisher : Sher Music Co. ISBN : 1883217040 Publication Date : 2005-6-1 Language : en-GB Pages : 522

To Download or Read this book, click link below:

http://read.ebookcollection.space/?book=1883217040

'Full_Pages'

Synopsis : Pdf free^^ The Jazz Theory Book textbook$

Endorsed by Jamey Aebersold, James Moody, Dave Liebman, and others, The Jazz Theory Book presents all the information any student of jazz needs in an easy-to-understand, yet thorough, manner. For intermediate to advanced players, and written by one of the acknowledged masters of jazz, it is used by universities around the world.

[freedownloadpdf]

[PDF EBOOK EPUB] The Jazz Theory Book PDF Ebook Full Series

[PDF EBOOK EPUB] The Jazz Theory Book PDF Ebook Full Series

The Jazz Theory Book

[PDF] Download The Jazz Theory Book Ebook | READ ONLINEhttp://read.ebookcollection.space/?book=1883217040

Author : MarkLevine Publisher : Sher Music Co. ISBN : 1883217040 Publication Date : 2005-6-1 Language : en-GB Pages : 522

To Download or Read this book, click link below:

http://read.ebookcollection.space/?book=1883217040

R.E.A.D. [BOOK]

Synopsis : [PDF EBOOK EPUB] The Jazz Theory Book PDF Ebook Full Series

Endorsed by Jamey Aebersold, James Moody, Dave Liebman, and others, The Jazz Theory Book presents all the information any student of jazz needs in an easy-to-understand, yet thorough, manner. For intermediate to advanced players, and written by one of the acknowledged masters of jazz, it is used by universities around the world.

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EBook The Jazz Piano Book Ebook

EBook The Jazz Piano Book Ebook

The Jazz Piano Book

[PDF] Download The Jazz Piano Book Ebook | READ ONLINEhttp://read.ebookcollection.space/?book=0961470151

Author : MarkLevine Publisher : Sher Music Co. ISBN : 0961470151 Publication Date : 2005-6-1 Language : Pages : 306

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Synopsis : EBook The Jazz Piano Book Ebook

Endorsed by Kenny Barron, Jamey Aebersold, Richie Beirach, and more, this book presents all the information a student of jazz piano needs in an easy-to-understand, yet thorough, manner. For intermediate to advanced pianists, written by one of the acknowledged masters of jazz piano playing.