Bebop Licks for Piano

Written for the musician who is interested in acquiring a firm foundation for playing jazz this unique book/CD pack presents over 800 licks.By building up a vocabulary of these licks players can connect them together in endless possibilities to form larger phrases and complete solos.The book includes piano notation and the CD contains helpful note-for-note demos of every lick.

C Edition. Par NIEHAUS. Intermediate level. These hip, swinging etudes in the swing/bop style are a great source for blues and bebop licks and fun to play! Lennie wrote these specifically to be played with the tracks from Jamey's Vol. 42 'Blues In All Keys. ' There is one complete solo (etude) for each of the 12 keys and 12 tracks. This book of solos is also great jazz sight reading material, since it contains all of the most-used jazz rhythms and syncopation you'll ever encounter. Perfect for Learning your way around The Blues - even in the tough keys! Students and teachers alike will enjoy playing these musical, lyrical jazz solos with or without the exhilarating accompaniment of the Vol. 42Play-A-Long. The CD incudes complete performances of each solo by Lennie with a piano, bass, drum rhythm section (from the Volume 42 'Blues In All Keys' Play-a-long)so that you can absorb and internalize proper jazz sound and feel. / Niveau : Débutant à Intermédiaire / Méthode en anglais / Méthode / Instruments en Do

Showcasing the tremendous often unrealized potential of the bass guitar Steve Bailey and Victor Wooten have put together this version of their groundbreaking Bass Extremes album/book project now available on DVD for the first time ever. Steve and Victor demonstrate how the bass guitar can supply bass lines piano and guitar-like comping figures lead solos and percussion parts in styles ranging from bebop to new age and heavy metal. Each piece highlights different aspects of their amazing techniques - like Steve's three-finger technique or his awe-inspiring command of harmonics and chord voicings or Victor's incredible funk grooves or his thumb and two-handedtapping techniques. Between each performance segment Steve and Victor walk you note-for-note through the licks and techniques that make up each song explaining and demonstrating everything at slow speeds.

Adapted by Corey Christiansen Spiral Book and 2 CDs! Why should horn players have all of the fun' Now, the number one selling Jazz Improvisation book in the world has a whole new look! Introducing a new version of Jamey's world famous Volume 1 - How To Play Jazz And Improvise, completely revised and specifically tailored for guitarists by jazz great Corey Christiansen! This edition is perfectly aligned with the original classic Sixth Edition that introduced tens of thousands of musicians to essential jazz fundamentals such as scale/chord relationships, articulation, note choices, etc. In this special version, however, the text has been carefully edited and rewritten to speak specifically to guitarists. Even non-reading players will benefit, because we've also included TAB and FRAMES for each of the musical examples. The piano track from the original CD has been replaced by Corey on guitar, and many of the chords and voicings are explained and notated in the book. The play-a-long/demonstration CD includes special stereo separation, allowing the guitar on each track to be eliminated so that the student can play along with bassist Rufus Reid and drummer Jonathan Higgins. A second CD includes the same play-a-long tracks as the first CD, but at slower practice tempos. This high-quality book is spiral bound, designed to lie flat for ease of use. A complete package! Includes: Scales/Chords Developing Creativity Improv Fundamentals 12 Blues Scales Bebop Scales Pentatonic Scales Time and Feel Melodic Development II/V7s Related Scales and Modes Practical Exercises Patterns and Licks Dominant 7th Tree of Scale Choices Nomenclature Chromaticism Scale Syllabus and more! 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.