Jamey Aebersold - VOLUME 2 - NOTHIN' BUT BLUES, JAZZ, AND ROCK (Book & CD Set)
Jamey Aebersold - VOLUME 2 - Nothin' But Blues, Jazz And Rock (Book & CD Set)
Sheetmusic/Playalong | PDF Sheet => 3MB + MP3 128kbps => 50MB | RS HF SM
English | 100 Pages | Publisher: Jamey Aebersold Jazz [2000] | ISBN: 1562241281
Sheetmusic/Playalong | PDF Sheet => 3MB + MP3 128kbps => 50MB | RS HF SM
English | 100 Pages | Publisher: Jamey Aebersold Jazz [2000] | ISBN: 1562241281
Beginning/Intermediate. The blues have contained the very essence of the jazz sound since the 1920s. A player who masters the sound and feel of the blues will play other jazz tunes in a manner that will inspire the listener. Contains 11 different blues melodies and is a natural follow-up to Volume 1 or Volume 21. Tempos are not fast. Presented in various keys with a variety of moods from slow to rock. Chords and scales are written in the staff for each track.
Rhythm Section: Dan Haerle (p); Rufus Reid (b); Mike Hyman (d). Includes: Mr. Super Hi, Horizontal (C Blues), 6/8 Modal Blues, Slow Blues In G, Slow Blues In F, Fast Blues In F, Fast Blues In Bb, Minor Blues In C, Home Stretch, Long-Meter Jazz/Rock, Bird Blues. Suggested Prerequisites: Volumes 24, 1, & 21.
Includes:
1. Tuning Notes
2. Mr. Super Hip
3. 6 8 Modal Blues
4. Slow Blues in F
5. Fast Blues in B Flat
6. Long-Meter Jazz Rock
7. Home Stretch
8. Horizontal
9. Slow Blues in G
10. Fast Blues in F
11. Minor Blues in C
12. Bird Blues
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.