Ted Pease – Modern Jazz Voicings
| Лейбл: | Berklee Press – HL50449485 |
| Формат: | CD |
| Жанр: | Jazz, Non-Music |
| Стиль: | Education |
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Треклист:
| 1 | Tensions (Harmonic Tensions) |
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| 2 | Tensions (Tensions And Triads) |
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| 3 | Tensions (Tensions And Sixth Chords) |
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| 4 | Tensions (Dominant Seventh (Sus4)) |
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| 5 | Reharmonizing Specific Approach Note Patterns |
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| 6 | Reharmonizing Specific Approach Note Patterns |
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| 7 | Reharmonizing Specific Approach Note Patterns |
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| 8 | Reharmonizing Specific Approach Note Patterns |
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| 9 | Five-Part Soli Voicings (Four-Way Close, Double Lead (8vb)) |
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| 10 | Five-Part Soli Voicings (Drop 2, Double Lead (8bn)) |
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| 11 | Five-Part Soli Voicings (Drop 3, Double Lead (8bn)) |
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| 12 | Five-Part Soli Voicings (Drop 2 + 4, Double Lead (8bn)) |
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| 13 | Five-Part Soli Voicings (Drop 2, Double Lead (8va)) |
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| 14 | Five-Part Soli Voicings (Drop 2 + 4, Double Lead (8va)) |
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| 15 | Lead Range |
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| 16 | Five-Part Spreads (Uses Of Spread Voicings To Harmonize Sustained Or Percussive Melody Notes |
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| 17 | Five-Part Spreads (Uses Of Spread Voicings Five-Part Spread Background) |
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| 18 | Five-Part Spreads (Uses Of Spread Voicings Five-Part Spread Background) |
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| 19 | Five-Part Spreads (Uses Of Spread Voicings Four-Part Spread Background) |
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| 20 | Five-Part Spreads (Uses Of Spread Voicings Four-Part Spread Background) |
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| 21 | Five-Part Spreads (Uses Of Spread Voicings In A Five-Part Tutti) |
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| 22 | Five-Part Spreads (Comparing The Techniques Four-Part Drop 2) |
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| 23 | Five-Part Spreads (Comparing The Techniques Five-Part Drop2-Double Lead 8vb) |
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| 24 | Five-Part Spreads (Comparing The Techniques Five-Part Drop 2-Double Lead 8vb Mixed With Five-Note Soli Voicings) |
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| 25 | Exercices |
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| 26 | Avoid Notes |
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| 27 | Avoid Notes |
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| 28 | Avoid Notes |
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| 29 | List Of Tonal Chord Scales (Symmetric Diminished Scale) |
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| 30 | Voicings In Fourths (Voicings In Fourths As A Soli Technique) |
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| 31 | Voicings In Fourths (Musical Examples) |
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| 32 | Voicings In Fourths (Musical Examples) |
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| 33 | Voicings In Fourths (Musical Examples) |
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| 34 | Voicings In Fourths (Musical Examples) |
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| 35 | Voicings In Fourths (Musical Examples) |
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| 36 | Voicings In Fourths (Musical Examples) |
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| 37 | Four-Part Voicings In Fourths (Four-Part Examples Using All Adjacent Fourths) |
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| 38 | Four-Part Voicings In Fourths (Four-Part Voicings In Fourths Inverted Four-Part Voicings In Fourths) |
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| 39 | Four-Part Voicings In Fourths (Constant Structure Fourths Over A Pedal Point) |
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| 40 | Four-Part Voicings In Fourths (Constant Structure Fourths Over A Pedal Point) |
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| 41 | Four-Part Voicings In Fourths (Three-Part Voicings With A Perfect Fourth And A Major Second) |
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| 42 | Four-Part Voicings In Fourths (Three-Part Voicings With An Augmented Fourth And A Minor Second) |
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| 43 | Four-Part Voicings In Fourths (Three-Part Voicings In Fourths Over Pedal Points) |
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| 44 | Four-Part Clusters (Similar Sounding Four-Part Voicings) |
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| 45 | Three-Part Clusters (Similar Sounding Three-Part Voicings) |
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| 46 | Three-Part Clusters (Similar Sounding Three-Part Voicings) |
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| 47 | Using Clusters (For Tightly Spaced Voicings On The Low Notes Of A Melody) |
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| 48 | Using Clusters (For Background Writing) |
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| 49 | Using Clusters (On Higher Lead Notes To Provide Brilliance) |
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| 50 | Using Clusters (Do Not Use Clusters To Harmonize An Active Eighth-Note Passage) |
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| 51 | Using Clusters (To Emphasize Percussive Melody Notes) |
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| 52 | More Applications Of Clusters (Version 1 - Three Parts) |
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| 53 | More Applications Of Clusters (Version 1 - Three Parts) |
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| 54 | More Applications Of Clusters (Version 2 - Four Parts) |
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| 55 | Six-Part Upper Structure Triad Voicings In A Modal Context |
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| 56 | Three-Part Upper Structure Triads |
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| 57 | Three-Part Upper Structure Triads |
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| 58 | Uses Of Upper Structure Triads (To Emphasize The high Point Of A Phrase) |
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| 59 | Uses Of Upper Structure Triads (For Endings) |
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| 60 | Uses Of Upper Structure Triads (To Harmonize Percussive Figures) |
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| 61 | Uses Of Upper Structure Triads (Melodies That Appergiate Notes From An Available Upper Structure Triad) |
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| 62 | Basic Six-Part Writing (Four-Way Close-Double Lead (8vb) And Double Second Voice (8vb)) |
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| 63 | Basic Six-Part Writing (Four-Way Close-Double Lead (8vb) And Double Second Voice (8vb)) |
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| 64 | Basic Six-Part Writing (Omit 2 Voicing On Top Overlapping A Four-Way Close-Double Lead (8vb) Below) |
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| 65 | Basic Six-Part Writing (Omit 2 Voicing On Top Overlapping A Four-Way Close-Double Lead (8vb) Below) |
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| 66 | Basic Six-Part Writing (Four-Way Close-Double Lead (8vb) And Drop 2-Double Lead) |
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| 67 | Basic Six-Part Writing (Four-Way Close-Double Lead (8vb) And Drop 2-Double Lead) |
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| 68 | Six-Part Spreads |
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| 69 | Six-Part Tutti Writing |
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| 70 | Six-Part Voicings In Fourths (Lead Doubled 8vb) |
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| 71 | Six-Part Voicings In Fourths (Lead Doubled 8va) |
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| 72 | Six-Part Voicings In Fourths (Lead Doubled 15vb) |
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