A comprehensive text teaching elements of jazz phrasing, articulation, vibrato, harmony, and technical studies leading to improvisation. for the flute student beginning the serious study of jazz and contemporary styles, this book will help in many ways. Phrasing and interpretation of rhythms are studied through exercises and original pieces. Scale and arpeggio studies will help the student learn both the music theory and technical skills needed to improvise.
(Book). More than any other musician, Herbie Mann was responsible for establishing the flute as an accepted jazz instrument. Prior to his arrival, the flute was a secondary instrument for saxophonists, but Mann found a unique voice for the flute, presenting it in different musical contexts, beginning with Afro-Cuban, and then continuing with music from Brazil, the Middle East, the Caribbean, Japan, and Eastern Europe. As Mann once said, "People would say to me, 'I don't know where you are right now,' and I would respond, 'And you're not going to know where I'm going to be tomorrow.'" A self-described restless spirit, Herbie Mann also was a master at marketing himself. His insatiable curiosity about the world led him to experiment with different kinds of sounds, becoming a virtual Pied Piper of jazz. He attracted thousands to his concerts while alienating purists and critics alike. His career lasted for five decades, from his beginnings in a tiny Brooklyn nightclub to appearances on international stages. "I want to be as synonymous with the flute as Benny Goodman is for the clarinet," he was fond of saying. By the time he died of prostate cancer in 2003, he had fulfilled his desire.
(Music Sales America). Trevor Wye's acclaimed Practice Books for the Flute have now sold over one million copies and proved invaluable to players at every grade. Each book explores individual aspects of flute technique in concise detail. This revised edition features updated diagrams, clearer musical notation and improved overall design. This omnibus edition of all six books in the Practice Book series is invaluable for both amateur and would-be professional players. Together these books form a complete reference guide for players who are looking to overcome technical difficulties, and who are seeking advice on how best to practice.
Volume III of Playing Outside the Lines is the third of a comprehensive four-part Irish flute method book series offering beginning to advanced Irish traditional flute instruction for Boehm and simple system flutists in graduated books, chapters, and exercises. Building on the foundation provided in the first two books of the series, Volume III dives into more complicated Irish traditional flute ornamentation such as rolls, short rolls, crans, and breath-ornament techniques. Volume III contains ornamentation fingering charts; advanced ornamentation options, explanations, and placement guidelines; 62 accompanying audio tracks; and more than 170 exercises. Playing Outside the Lines is the first Irish flute method book series of its kind, containing more than 600 technical exercises, rich and nuanced discussions of Irish flute style and cultural context, previously undocumented techniques, side-by-side explanations for Boehm and simple system flutists (as well as information for musicians transitioning between the two instruments), audio excerpts, simple system flute care and purchasing information, and resources for further study. By the end of the four-part series, Boehm and simple system flutists of any background will have the tools necessary to play Irish music with a deep understanding of the tradition as well as with individual creativity. “A fantastic bible of Irish flute playing. Harrison is a very meticulous and thorough author.” —Viviana Guzman, The Flute View Magazine “An invaluable resource for any flutist.” —Brook Ferguson, Principal Flutist of the Colorado Symphony Orchestra “Leslie Anne Harrison’s Playing Outside the Lines is a marvelous gift to all interested in Irish music. Her clear and detailed writing is a huge boon to those embracing the traditional Irish flute and is truly enlightening to those (like me) who want to delve into this music while playing the Boehm flute. From tiniest detail to largest form, Leslie Anne Harrison is there every step of the way. Playing Outside the Lines is a major contribution to flute pedagogy.” —Robert Dick, Performer and Author of The Other Flute
ORIGINAL DESCRIPTION (1957) - Jazz at last has matured to a full-fledged art, not only in this country, hut throughout the world as well. What has been known as an American folk music is now becoming an international form of expression, with artists in all countries constantly exchanging ideas and expanding the limits of their medium. No longer is it possible for the well-informed person, the person interested in the latest developments in the art world, to relegate jazz to the realm of simple, untutored, dance-hall music. Leonard Feather, author of the famous Encyclopedia of Jazz series, has written this hook for the widest possible audience—from the newcomer to the field who asks the basic, most-difficult-to-answer question, “What is jazz?,” to the jazz musician himself (one of whom recently asked, “Who is Bessie Smith?”). Here is a guide to jazz in all its phases: its nature, its sources, instruments, sounds, performers-and the future of jazz.A large part of the book consists of chapters devoted to the story of the role played by each instrument and its major performers. Each history begins with a non-technical discussion of the instrument itself: its function, its range, how it was first used and how it is now used in jazz. It goes on to tell about the artists themselves and how they developed the instrument, their special contribution and their relative importance in the entire world of jazz. From this unique approach emerges a clear and fascinating picture of jazz.The section titled “The Anatomy of Improvisation" presents for the first time actual musical illustrations of the jazz improvisations of 15 of the great soloists from Louis Armstrong and Benny Goodman to Art Tatum, Lester Young and Dizzy Gillespie. Each solo is studied in detail and with a clarity as enlightening to the listener as to the musician. These solos lead into a unique analysis of the nature of jazz —its harmony, rhythm and structure—and show how it has evolved from the music of the earliest days through ragtime, swing and hop to the latest innovations.In chapters devoted to the origins of jazz, the new evidence is bound to gain the attention of the entire jazz world. Drawing on conversations with musicians from various parts of the country, this section sheds new light on the particular places where jazz was first played. By exploring the sources, it reveals why jazz had its beginnings in the United States and what musical influences and social forces combined to produce this music.In a chapter entitled “Jazz and Bace,” the whole story of racial discrimination in jazz is presented in unprecedented detail. It tells of the early segregation in bands, of the gradual breaking down of the color barriers first by the musicians themselves and then by the public, and of the problems still to be resolved.To this illuminating guide, Leonard Feather brings his many years of experience in the jazz field both as critic and musician. For the person who has long sought a true guide to the enthralling world of jazz; for the student, the fan and the musician to whom jazz is an exciting territory, THE BOOK OF JAZZ provides the much-needed succinct story of this important new art form of the twentieth century.
This book is complete in the sense that there is something for everyone: beginners, intermediate players and professionals. Along with learning the basics, this book teaches fingerstyle guitar players to play two-string harmonies, accompaniment styles and much more. Alan De Mause has filled the companion CD to capacity with 90 examples of music from his landmark text. the recording features nylon-string guitar throughout in both solo and midi-accompanied settings. A full range of jazz guitar stylings is offered, starting from square one and proceeding through advanced fingerstyle solo material.
