In a similar format to his other Mel Bay Publications, in Symmetric Solutions: the Whole Tone Workbook author Bruce Saunders uses exercises, etudes and chord progressions from jazz standards to explore the sound of the whole-tone scale, the augmented scale and drop-2, drop-3 and drop-2/4 chord voicings applicable to them. Blues, rhythm changes, Giant Steps, patterns, approach notes, across the bar line phrasing, examples from jazz greats such as Joe Henderson, Wes Montgomery, Mike Stern and Wayne Krantz among others. This book is full of great sounds that you can use on standard jazz progressions, vamps, funk tunes, Brazilian tunes - whole-tone can be used just about anywhere.
In a similar format to his other Mel Bay Publications, in Symmetric Solutions: The Whole Tone Workbook author Bruce Saunders uses exercises, etudes and chord progressions from jazz standards to explore the sound of the whole-tone scale, the augmented scale and drop-2, drop-3 and drop-2/4 chord voicings applicable to them. Blues, rhythm changes, Giant Steps, patterns, approachnotes, across the bar line phrasing, examples from jazz greats such as Joe Henderson, Wes Montgomery, Mike Stern and Wayne Krantz among others. This book is full of great sounds that you can use on standard jazz progressions, vamps, funk tunes, Brazilian tunes -- whole-tone can be used just about anywhere. Includes access to online audio
This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique andthe exhaustive tables of melodic and rhythmic possibilities.It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation.Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing twosimultaneous tempos. The book concludes with a study of polyrhythm, playingone rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to beinclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else?s. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma,method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.
Modern Blues is for intermediate to advanced players wishing to expand their melodic and harmonic vocabulary. the music is in standard notation as well as tablature and a CD is included in which the more difficult exercises are played at a slower as well as faster tempo. the CD was recorded with live drums, acoustic bass and guitar. All the exercises are included on the CD as well as many practice tracks that enable the student to play with a rhythm section. the book covers such topics as reharmonization, exotic chord/scale combinations, intervallic and triadic exercises, alternate pentatonic suggestions and exercises and many other topics.
The Diminished Workbook is a comprehensive study and explanation of diminished chords and scales. It is geared toward guitarists but can be used with any concert key instrument. the book employs exercises, etudes and examples to illustrate the many different ways diminished chords can be used and is accompanied by a CD featuring a rhythm section of world-class New York musicians. Author Bruce Saunders is a Professor in the guitar department at world-renowned Berklee College of Music in Boston, is a respected member of the New York city jazz community and has many recording credits to his name, including his release on Mel Bay Records entitled 8 x 5. This is his fourth book for Mel Bay Publications. Standard notation and tablature.
Joe Diorio is an accomplished guitarist and composer as well as a respected music educator. In this book he combines his skills to present innovative intervallic designs for the guitar. Written in standard notation and tab, these linear, often 12-tone flavored studies reflect Diorio's jazz roots and compositional mastery. Due to the harmonic ambiguity of these lines, the author recommends an experimental approach in applying these examples in various melodic and harmonic settings. the companion stereo CD features Diorio's performance of each of the 96 studies in the book.
Jack Boss presents detailed analyses of Arnold Schoenberg's twelve-tone pieces, bringing the composer's 'musical idea' - problem, elaboration, solution - to life.
Informal, effective undergraduate-level text introduces vibrational and electronic spectroscopy, presenting applications of group theory to the interpretation of UV, visible, and infrared spectra without assuming a high level of background knowledge. 200 problems with solutions. Numerous illustrations. "A uniform and consistent treatment of the subject matter." — Journal of Chemical Education.
A guided tour of the mathematical principles inherent in music. Taking a "music first" approach, Gareth E. Roberts's From Music to Mathematics will inspire students to learn important, interesting, and at times advanced mathematics. Ranging from a discussion of the geometric sequences and series found in the rhythmic structure of music to the phase-shifting techniques of composer Steve Reich, the musical concepts and examples in the book motivate a deeper study of mathematics. Comprehensive and clearly written, From Music to Mathematics is designed to appeal to readers without specialized knowledge of mathematics or music. Students are taught the relevant concepts from music theory (notation, scales, intervals, the circle of fifths, tonality, etc.), with the pertinent mathematics developed alongside the related musical topic. The mathematics advances in level of difficulty from calculating with fractions, to manipulating trigonometric formulas, to constructing group multiplication tables and proving a number is irrational. Topics discussed in the book include • Rhythm • Introductory music theory • The science of sound • Tuning and temperament • Symmetry in music • The Bartók controversy • Change ringing • Twelve-tone music • Mathematical modern music • The Hemachandra–Fibonacci numbers and the golden ratio • Magic squares • Phase shifting Featuring numerous musical excerpts, including several from jazz and popular music, each topic is presented in a clear and in-depth fashion. Sample problems are included as part of the exposition, with carefully written solutions provided to assist the reader. The book also contains more than 200 exercises designed to help develop students' analytical skills and reinforce the material in the text. From the first chapter through the last, readers eager to learn more about the connections between mathematics and music will find a comprehensive textbook designed to satisfy their natural curiosity.
"And what is the use," thought Alice, "of a book without pictures or conversations in it?" -Lewis Carroll This book is written for modem undergraduate students - not the ideal stu dents that mathematics professors wish for (and who occasionally grace our campuses), but the students like many the author has taught: talented but ap preciating review and reinforcement of past course work; willing to work hard, but demanding context and motivation for the mathematics they are learning. To suit this audience, the author eschews density of topics and efficiency of presentation in favor of a gentler tone, a coherent story, digressions on mathe maticians, physicists and their notations, simple examples worked out in detail, and reinforcement of the basics. Dense and efficient texts play a crucial role in the education of budding (and budded) mathematicians and physicists. This book does not presume to improve on the classics in that genre. Rather, it aims to provide those classics with a large new generation of appreciative readers. This text introduces some basic constructs of modern symplectic geometry in the context of an old celestial mechanics problem, the two-body problem. We present the derivation of Kepler's laws of planetary motion from Newton's laws of gravitation, first in the style of an undergraduate physics course, and x Preface then again in the language of symplectic geometry. No previous exposure to symplectic geometry is required: we introduce and illustrate all necessary con structs.
