I recommend "The Jazz Piano Book" by Mark Levine. Even though it's a piano book, it is really as much an applied theory book. I read this about 15 years ago, and it was great in presenting material I already knew in a logical, concise way, and also in presenting some interesting new material.
<br><br><a href="http://www.amazon.com/gp/product/0961470151/002-6698441-6121652?v=glance&n=283155">http://www.amazon.com/gp/product/0961470151/002-6698441-6121652?v=glance&n=283155</a><br><br>This guy also has a book strictly on jazz theory, I haven't read it but I assume it's also good.
<br><br>Basically, I need to make the disclaimer that theory is a trap in jazz. Intuitive things tend to occur within improvisations, that theorists are only beginning to understand. Also, bear in mind that the theory people have discussed so far, would be of
limited help in dissecting most jazz in the last 50 years - such as a typical performance by the classic John
Coltrane Quartet. So if you aren't writing a thesis on the theory, you really need to spend much more time listening to records and trying to see if you can imitate what you hear; <br>Especially important to remember is that a lot of jazz is essentially polytonal -
i.e. due to substitutions, the bass, piano, and horn player may for some spaces each be playing on DIFFERENT sets of changes!<br><br>To get back to PD: An AI interface that allowed for this would be far more interesting than one that had all parts always performing identical harmonies... The basic idea is that certain key points are convergence points, such as the I chord at the top of the form - but in between each instrument might veer off into their own interpretation of the harmony. Such an approach sometimes works better with no piano player plunking out chords - but some piano players are more flexible than others.
<br><br>~David<br><br><div><span class="gmail_quote">On 8/13/06, <b class="gmail_sendername">Chuckk Hubbard</b> <<a href="mailto:badmuthahubbard@gmail.com">badmuthahubbard@gmail.com</a>> wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I don't really know any good references offhand. My degree is going<br>to actually be in "jazz composition," but I've never written jazz,<br>lol, and I didn't retain much from those classes (only due to a<br>criminally lazy teacher). Jamie Aebersold is a standard; I know
<br>jazzheads who curse his name, but these same people have spent a lot<br>of time learning to play the changes regardless. You'll also never<br>run out of Aebersold CDs.<br>For some strange reason I can find no Wikipedia page devoted to jazz theory.
<br>I guess the experts are all too busy smoking reefer and running with<br>fast women! Hmph!<br><br>-Chuckk<br><br>On 8/13/06, Kyle Klipowicz <<a href="mailto:kyleklip@gmail.com">kyleklip@gmail.com</a>> wrote:<br>
> On the topic of all this music theory and harmonic discussion, I<br>> realized that I need to expand my knowledge of this area. I've played<br>> piano/guitar/bassoon for some years, but never got deep into that rich
<br>> area of chord theory that seems to be on topic right now.<br>><br>> Is there any good (and free) online resource or lesson guide<br>> (preferably interactive) that I could train myself with? I just<br>> started reading Machine Music by Robert Rowe, and this knowledge would
<br>> help me follow that text as well as the current discussion.<br>><br>> ~Kyle<br>><br>> On 8/13/06, patco <<a href="mailto:megalegoland@yahoo.fr">megalegoland@yahoo.fr</a>> wrote:<br>> ><br>
> ><br>> > Chuckk Hubbard <<a href="mailto:badmuthahubbard@gmail.com">badmuthahubbard@gmail.com</a>> a écrit :<br>> > > maybe it would be possible to simply have a melodic part that<br>> > >occasionally receives information about harmonic changes before the
<br>> > >harmonic part does<br>> ><br>> ><br>> > In jazz music when we are accompagnating a melody,<br>> > we use voices, for example a chord with four tones<br>> ><br>> > eg: C E G B
<br>> ><br>> > could be played with three other combinations:<br>> ><br>> > E G B C, G B C E, and B C E G<br>> ><br>> > The highest note of the voice would be the note used in the melody.
<br>> > this example is one of the simpliest, we could also use the same way<br>> > with thirteen chords, with seven sounds instead of four sounds, then<br>> > there would have seven combinations for each chord.
<br>> ><br>> > In fact we can give any color we like to a melody, it just depend on<br>> > what kind of mode we are using for accompagnating it.<br>> ><br>> > eg: in 'Autumn Leaves' the first note is the third of the first chord,
<br>> > then it gives a sad color (minor third), but we can give another color<br>> > with using another chord, for example we could use G7 instead<br>> > of Dm:<br>> ><br>> > Dm - G7 - CM7 - FM7 - Bm7b5 - E7 - Am becomes
<br>> > G7 - C#° - FM7 - Bb7#5 - Dm7 - Dm7M<br>> ><br>> > and then the automn leaves melody would sound more 'myxolydian'.<br>> ><br>> > Notice that some chords has to be modified for sounding better in that
<br>> > weird<br>> > harmonic context.<br>> ><br>> > Patco.<br>> ><br>> ><br>> ><br>> ><br>> ><br>> > ________________________________<br>> > Découvrez un nouveau moyen de poser toutes vos questions quelque soit le
<br>> > sujet ! Yahoo! Questions/Réponses pour partager vos connaissances, vos<br>> > opinions et vos expériences. Cliquez ici.<br>> ><br>> ><br>> > _______________________________________________
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