Developing a Jazz Language is the sixth volume of Jerry Bergonzi’s series, Inside Improvisation. Learning a language requires listening on many levels to the. By Jerry Bergonzi. Book & CD. Inside Improvisation Series, Vol. 1: Melodic Structures is the first in a series of books and audio/video recordings which describe a. Has anyone out there had any experience with this particular volume (Volume One: Melodic Structures) of Bergonzi’s series? I’ve just started.

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Improvisatjon Aebersold Jazz, Volume Melodic Structures When I listened to the solos Jerry took I thought “there’s no way he used 4-note grouping for those killer lines! And Jerry is good at it. The accompanying recording has been designed for use in conjunction with each of the chapter assignments. Jamey Aebersold Jazz, Volume 7: Results 1 to 6 of 6.

Inside Improvisation Series, Vol. 6: Developing a Jazz Language: Book & CD

And so did I. You May Also Like. If anyone can comment on the objective of the book Volume 1or describe how it’s effected their playing, I’d love iprovisation hear. First one of saxophone teachers in my area started shedding penthatonics from Jerry’s Vol.


Am I clear enough? Chord changes are included for C concert, B-flat and E-flat instruments. Join Our Email List. Part two qualifies improvisational techniques into three areas; melodic, harmonic, and sonic rhythmic devices are the focus of Vol.

Jerry Bergonzi’s Inside Improvisation Series, Vol. 1: Melodic Structures

beggonzi We use cookies to analyze site usage, enhance site usability, and assist in our marketing efforts. Anyway long story short. I’ve just started working through it, and I don’t quite get it yet. Where he uses 4 tones – 1,2,3,5 for major and 1,3,4,5, for minor cords? In addition the book includes transposed examples for all instruments C treble clef, B-flat, E-flat, and bass clef.

Inside Improvisation Series for All Instruments. A little bit mathematical approach but you gotta have those four notes running under your fingers.


The CD contains 12 standard chord progressions, each played in two different tempos. Jazz and RockTime to Play Music! Nothin’ but Blues Jazz and Rock 3rd Rev Here is where comes handy method. Jamey Aebersold Jazz, Volume 2: What I mean is I have been exposed to Coltrane’s method and Charles Parker Omnibook before and stuff alike and I have been taught by many teachers and colleagues improvsation transcribing solos is the way to go with jazz improvisation study.


And even now every ones in a while I discover some live performance of let’s say Michael Brecker I can’t resist not to transcribe at least parts of it. Developing a Jazz Language. Nothin’ but Blues Jazz and Rock 3rd Rev If you don’t want to be just copyist you have to seek inspiration within yourself.

Over specific devices are discussed and conceptualized so as to give the improviser more depth of expression and a greater well from which to draw ideas.

The time now is Jamey Aebersold Jazz, Volume 5: But when I read what’s in the first volume I realized that there is so much to do with just four notes – you don’t need fifth really!

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