Jamey Aebersold - VOLUME 3 - The II/V7/I Progression (Book & CD Set)
Jamey Aebersold - VOLUME 3 - The II/V7/I Progression (Book & CD Set)
The Most Important Musical Sequence in Jazz
Sheetmusic/Playalong | PDF Sheet => 3MB + MP3 190kbps => 101MB | RS HF SM
English | 85 Pages | Publisher: Jamey Aebersold Jazz [2009] | ISBN: 156224129X
The Most Important Musical Sequence in Jazz
Sheetmusic/Playalong | PDF Sheet => 3MB + MP3 190kbps => 101MB | RS HF SM
English | 85 Pages | Publisher: Jamey Aebersold Jazz [2009] | ISBN: 156224129X
Beginning/Intermediate. The most important musical sequence in modern jazz! Contains all the needed scales and chords to each CD track and all are written in the staff. Contains 120 written patterns (transposed for all instruments) and 3 full pages of piano voicings that correspond to the CD. Contains a Scale Syllabus which allows you to find and use various substitute scales, just like professional musicians. CD contains 4 tracks of Jamey playing exercises in a 'call and response' fashion over an extended ii/V7/I progression that stays in one key at a comfortable tempo. Allows you to practice major, minor, dom. 7th, diminshed, whole tone, half-diminished, Lydian and dim. whole tone scales and chords.Rhythm Section: Dan Haerle (p); Rufus Reid (b); Charlie Craig (d)
Includes:
# ii/V7/I All Major Keys
# G Minor Blues
# Bebop Tune
# V7+9/I All Keys
# ii/V7/I In Three Keys
# F Blues With 8-Bar Bridge
# II/V7 Random Progressions
# ii /V7+9/I All Minor Keys.
NOTE FROM JAMEY
When I first heard "So What" on the Kind of Blue record I didn’t think anything was happening because I was used to hearing changes flying by and this seemed so tame by comparison. I quickly fell in love with Kind of Blue and of course we at IU started experimenting with modal tunes and trying to keep our place in those many 8 bar phrases that seemed at times to make me feel like I was in the middle of a desert and couldn’t see for the life of me the beginning of the next 8 bar phrase. When I began teaching privately for the first time in Seymour, Indiana I had a girl flute student who really had a great sound. One day I asked her to improvise on a D- dorian scale and off she went. I could tell she was playing what she heard in her mind and I was so surprised. It really sounded natural. So, I asked other students to play on a dorian scale and they did fine. That’s how I got started teaching improv. I think others at the time were using the blues as a vehicle but the students I was working with knew nothing about the blues but they could keep their place in the 4 and 8 bar phrases so I went ahead later and used that modal approach on my Volume 1 play-a-long … and the rest is history.