Creating Jazz Counterpoint
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Creating Jazz Counterpoint
Author: Vic Hobson
language: en
Publisher: Univ. Press of Mississippi
Release Date: 2014-03-14
A full study of Buddy Bolden and Bunk Johnson confirming their roles in the real blues roots of New Orleans jazz
Contemporary Counterpoint
Author: Beth Denisch
language: en
Publisher: Hal Leonard Corporation
Release Date: 2017-09-01
(Berklee Guide). Use counterpoint to make your music more engaging and creative. Counterpoint the relationship between musical voices is among the core principles for writing music, and it has been central to the study of composition for many centuries. Whether you are a composer, arranger, film composer, orchestrator, music director, bandleader, or improvising musician, this book will help hone your craft, gain control, and lead you to new creative possibilities. You will learn "tricks of the trade" from the masters and apply these skills to contemporary styles. Online audio examples illustrate the principles being discussed, and many recommended listening lists point you to additional examples of how these principles have been used in music over the past thousand years.
Creating the Jazz Solo
Author: Vic Hobson
language: en
Publisher: Univ. Press of Mississippi
Release Date: 2018-10-09
Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, “I figure singing and playing is the same,” or, “Singing was more into my blood than the trumpet.” Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way.