Download PDF Jazz Theory: From Basic to Advanced Study, by Dariusz Terefenko
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Jazz Theory: From Basic to Advanced Study, by Dariusz Terefenko
Download PDF Jazz Theory: From Basic to Advanced Study, by Dariusz Terefenko
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Jazz Theory: From Basic to Advanced Study is a comprehensive textbook ideal for Jazz Theory courses or as a self-study guide for amateur and professional musicians. Written with the goal of bridging theory and practice, it provides a strong theoretical foundation beginning with music fundamentals through post-tonal theory, while integrating ear training, keyboard skills, and improvisation. It includes a DVD with 46 Play Along audio tracks and a companion website, which hosts the workbook, ear training exercises, and audio tracks of the musical examples featured in the book.
- Sales Rank: #365794 in Books
- Published on: 2014-03-19
- Original language: English
- Number of items: 1
- Dimensions: 11.00" h x 8.50" w x .75" l, 2.50 pounds
- Binding: Paperback
- 490 pages
Most helpful customer reviews
14 of 14 people found the following review helpful.
Excellent But More Easily Applied By Writers Than Players
By frankp93
Many jazz theory texts tend to fall into categories of those more suitable for players in search of improvisational techniques and others more appropriate for composers and arrangers, perhaps including a deeper theoretical and structural discussion. I realize that's a fine line I've drawn with plenty of overlap, but in my own study I've found it to be true.
Author Terefenko's `Jazz Theory - from basic to advanced study' attempts to thread the needle but in the end comes down on the side of composers, arrangers and certainly keyboard players - or at least those musicians with some proficiency at the keyboard.
At first glance the sight of the author's phrase model diagrams resembling Schenkerian notation tells you this isn't so much a hands-on, horn-at-the-ready book of exercises. It's more an in-depth theoretical exploration of jazz harmony, melodic techniques and form that's every bit as rigorous as the integrated theory texts (i.e. harmony, counterpoint, form) used in classical study.
There's a heavy emphasis on reading in both clefs and many of the examples are keyboard-scored. Those less comfortable will be at a disadvantage.
While the book attempts to covers a wide swatch of jazz history, up to and including free form, the primary focus and many examples are drawn from bebop ("Moose the Mooche", "Confirmation") and the standards repertoire.
If you're familiar with the chord-scale theory approach of Berklee-influenced texts, there's a lot of commonality here although Terefenko's emphasis on phrase models and his discussion of form offers plenty of material from a perspective all its own.
The DVD serves as a play-along - there's an appendix of `Aebersold-like' charts - providing useful realistic-sounding backing tracks to try your hand at applying some of the modal and bop tune-based patterns.
While the play-along is a nice addition, in the end I don't feel `Jazz Theory' is a real `player's book' but more of a deep-dive theory textbook. Players can clearly benefit, but it requires patience to creatively extrapolate and translate the material to non-keyboard instruments.
Composers and arrangers on the other hand should consider this absolutely essential grounding and the book does a fine job of presenting it.
3 of 3 people found the following review helpful.
Great book. Has everything ones needs to know about ...
By David Whiteing
Great book. Has everything ones needs to know about jazz theory. This is one of the best books I have found on jazz theory and harmony. It is easy to understand and has great examples. Anyone interested in knowing everything about jazz theory should have a copy of this book.
2 of 3 people found the following review helpful.
More than a pedagogical text
By Kaio C�sar Alves
Jazz Theory provides a successful approximation of the "pedagogical theory" and "analytical theory", as Henry Martin has classified the jazz theory. A consistent theoretical basis is provided by adopting typical approaches of academic writings - like Schenkerian analysis and set theory - without forget in any moment the point of view of the musician and the primary goal of improving the improvisational skills. The text is also enriched with original Terefenko's thoughts about phrases and form. Undoubtedly, an imperative text-book for any musician.
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