Jazz Composition: Theory And Practice Ted Pease
Jazz Composition: Theory And Practice Ted Pease
Jazz Composition: Theory And Practice Ted Pease
in the 1960s, the music business was in a state of transition. the music was being “discovered” by the public for the first time, although it had been around for decades. the audience for jazz was much smaller than it had been in the 1940s and 1950s. jazz was still profitable, but the output was largely for the small, educated group of people who were interested in jazz.
in addition to the music that miles davis created himself, he wrote for others as well. the most famous of his compositions, kind of blue (recorded in 1959 and 1960), is a masterpiece. in this book we will look at several of his compositions, including so what (1960) and milestones (1974).
this book is a concise, concise and yet broad-based introduction to the art of composition in jazz. i highly recommend it to jazz musicians and music majors at the undergraduate and graduate levels. for instance, the student who wishes to analyze the melody line of a jazz standard in depth should read this book first.
it is difficult to find such a comprehensive and yet concise book on the history and theory of jazz composition. i recommend it to those who study the history and theory of jazz, and for those who are studying jazz composition.
there are many books on jazz composition, but few that come near pease’s book. this is not a book to be casually read; it is essential for serious music students. this is the most complete book i have read on the subject.
this book addresses the subject of jazz composition, a subject that has only recently been taken seriously by academic music theorists. the book is extremely well-organized and well-written. i highly recommend it to jazz musicians and music students, especially those who study jazz composition.
a melody is a note-for-note composition, which, in jazz, is usually not a priority. instead, the melody may be a harmonic abstraction from the harmonies of the chords and other patterns. this abstraction of the melody from the chords is called the melodic arc (or the melodic line ). it is these chords that represent the chordal relationship (or chord progression ) – the way in which chords occur in a sequence.
the chords are associated with the harmonic relationships that give the rhythm a sense of direction. this rhythmic direction is called the meter (or meter-signature ). the meter may be a walking figure in which the harmonic progressions, associated with the chords, occur at a steady rate. alternatively, the meter may be an arpeggiated figure (or arpeggio ) in which the chords are played in a free-wheeling, counter-melodic fashion. the meter is often used to establish the tempo, or motion, of the composition.
though the chords are generally treated as the center of a composition, they are not the only elements that define a piece of music. the bass and drums are most important, because they control the flow of the melody and provide the rhythmic framework for the instrumentation. the bass and drums can be used to identify the meter. the basses play a rhythmic function by establishing the rhythm, and the drums create a pulsating rhythm.
the chordal relationship (or chord progression ) of the chords is organized and repeated, and can be used to identify the meter. the chordal relationships of the chords may be used to identify the meter, or they may be used to provide the structure for a composition. chordal structure is the manner in which a chord progression is organized. chordal structure can be used to create a sense of flow in a composition, or it can be used to emphasize certain chords or chords in a particular sequence.
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