Harmonic Rhythms

Noted jazz pianist, composer, recording artist and educator Andy LaVerne has drawn from his decades of experience playing with master musicians from Getz to Lovano to create this comprehensive compendium of contemporary moving voicings. Quartal, quintal, drop 2, dominant 7b9/diminished, triadic, whole tone and chromatic performance proven voicings pioneered by McCoy Tyner, Chick Corea, Herbie Hancock, and Andy himself are presented and fleshed out in all twelve keys. This book picks up where others leave off, enabling you to replace static chords with voicings that move melodically, dramatically, and gracefully over the entire range of the keyboard. Firmly rooted in contemporary jazz theory, the emphasis is on practical performance applications. Andy ties it all together with illustrations of comping choruses for five standard jazz tunes. Chords in Motion satisfies a long awaited need in actual comping situations, and shows you how to move chords through varying harmonic rhythms. FINALLY ' a book that gives you moving voicings, and sets them in motion in all twelve keys. Chords in Motion is a valuable resource for all keyboardists, arrangers, and instrumentalists. Activate, animate, and energize your comping with this encyclopedic volume. 156 pages, spiral bound for easy opening. Andy carries the flame of jazz piano tradition and just great music. He always inspires me. Chick Corea This is a great book! I am going to sit down and play through this!! I am always telling my non-piano playing students how important it is to work with (and internalize) the sounds that we live with all our lives as Jazz musicians. Coltrane spent years sitting at the piano and so should all of us!!! John Patitucci Berklee College of Music One thing about Andy'he is complete as can be and has been consistently so for years in both his teaching materials and playing. He is completely knowledgeable in such a way that when I play with him, I know he KNOWS!! Plus he is one of the smoothest and polished of players around. Great book'encyclopedic in content. Dave Liebman Founder, Artistic Director, International Association of Schools of Jazz (IASJ) I've played and recorded with Andy LaVerne many times over the years and in many different settings and he's always come up with the hippest, most interesting chords in the most musical way! His way of playing and looking at chords inspires me as a drummer and his rhythm section partner to play things that are in turn inspiring to the rest of the band. This book, helps musicians, understand, in a clear thoughtful presentation, how to go about getting this together. Billy Drummond Jazz Drummer, Educator, Juilliard, NYU Chords in Motion is an outstanding and comprehensive guide by Andy LaVerne, whose encyclopedic knowledge, decades of experience and brilliance as a performer and educator make this an invaluable handbook of modern jazz piano harmony. Its user-friendly, intelligent design enables musicians to expand their harmonic palette and potentially transform their playing, writing and arranging. Chords in Motion is an invaluable contribution to jazz musicians! Lynne Arriale Jazz Pianist, Composer, Educator, Associate Professor of Jazz Piano, Director of Small Ensembles, University of North Florida Chords in Motion is exactly the book I'd expect from Andy LaVerne. It's clear, openhearted and inspiring, as has been every conversation I've had with Andy over the years. Long a fan of his playing, I have enjoyed this look behind the curtain at how Andy LaVerne formulated his signature style. One other thing -- any pianist, no matter his/her approach, will gain insight into what will surely be new and exciting musical directions. Pete Malinverni Jazz Pianist, Educator, Director of Jazz Studies, SUNY Purchase College Conservatory of Music What a great resource for expanding the harmonic palette! Chords in Motion is a must have for the aspiring young jazz pianist as well as the seasoned veteran. Another winner from Andy! Paul Schmeling Jazz Pianist, Educator, Chair Emeritus, Piano Department, Berklee College of Music In Chords in Motion, I recognize chords and sounds that have inspired me to compose and play: harmony from the music of Chick Corea, Herbie Hancock and McCoy Tyner. This book is well organized, and from the beginning gets you playing. Each chord structure is explained and developed. There is plenty to practice. I especially like the exercises using contrary motion, arpeggiation and pivot, and the application to tunes. The reader will be tempted to stop on every page and compose. I found the Lost Chord, but won't tell you the page number. Bert Ligon Jazz Pianist/Guitarist, Composer, Arranger, Educator, Director of Jazz Studies, University of South Carolina Ever wonder how to move harmony around instead of repeating the same chord voicing over and over' Then Chords in Motion is a must have book for you! Andy has included a ton of information that will open up your comping and should keep you busy with new ideas for a long time! I highly recommend it! Dan Haerle Jazz Pianist, Composer, Author, Educator, Professor Emeritus, University of North Texas Chords in Motion is an essential guide to expanding one's conception of modern Jazz Piano Harmony. Andy LaVerne has managed to outline in a very practical and concise way, modern principles of piano chord voicings, as they pertain to the Jazz Pianist's primary group function of comping. David Hazeltine Jazz Pianist, Composer, Educator, SUNY Purchase College Conservatory of Music Chords in Motion should be fun to take into the practice room to explore new ways of sustaining harmonies over the entire register of the piano. It is encyclopedic and thorough in its content. No stone is left unturned! Stephany Tiernan Pianist, Composer, Educator, Chair, Piano Department, Berklee College Of Music Chords In Motion is an excellent practicing resource that provides a garden of harmonic sonorities for a musician to choose and explore at the piano. I like the way that Andy has made the information accessible to any level of student. I look forward to discovering some different sounds with this book. Phil DeGreg Jazz Pianist, Author, Educator, University of Cincinnati College Conservatory of Music I am delighted to recommend Andy LaVerne's Chords In Motion to aspiring jazz pianists! Andy is a superb pianist, very capable of addressing this topic. Prior to pianists like McCoy Tyner, Herbie Hancock, Bill Evans, and others, most pianists were content to have acquired a small handful of chord voicings, generally with the chord roots on the bottom of the voicings. Though 'rootless voicings' were adopted in later years, they were primarily for the left hand and generally only used the 3rd or 7th on the bottom. But now the serious jazz pianist needs to be able to move his or her voicings in a more diatonic manner, as shown in Andy's book. Jerry Coker Jazz Saxophonist, Author, Educator Andy LaVerne's Chords in Motion is a study of encyclopedic scope on the use of harmonies based on fourth intervals in the context of jazz harmony. There is a wealth of information in terms of voicings, voice leading and chord/scale relationships and their application to common harmonic formulae (ii-V, etc.) and the chord progressions used in blues and common standard tunes. Jazz musicians interested in this vocabulary should find this book to be a useful launching pad for exploring this important corner of the world of jazz harmony. Bill Dobbins Jazz Pianist, Composer, Arranger, Author, Educator, Professor of Jazz Studies, Conductor, Coordinator Jazz Composition and Arranging, Eastman School of Music Chords in Motion is a highly detailed, informative and filling-in-the-gap text. It's an important and welcome addition to the jazz piano literature, which can be applied to any level of proficiency. Stefan Karlsson Jazz Pianist, Educator, Professor/Jazz Studies Division, University of North Texas Fantastic pianist Andy LaVerne has put together an amazing, detailed, and incredibly comprehensive guide for effectively implementing quartal and related voicings. He has honed in on the 'secret' to using these structures musically and creatively: moving the voicings through changes in logical and interesting ways. Clearly presented, extremely thorough, and loaded with information, Chords in Motion is a must-have for any pianist! Martin Bejerano Jazz Pianist, Composer, Educator, Assistant Professor, Jazz Piano, Frost School of Music University of Miami Chords in Motion is an in-depth look at fourth and related voicings that give an atmosphere that you want to improvise on. We play over the voicing, not the chord symbol. Chords in Motion targets that modal atmosphere that horn players love playing over. Love this book - can't wait to start practicing it! Jerry Bergonzi Jazz Saxophonist, Composer, Author, Educator, New England Conservatory I was thrilled when Jazz Piano Great Mulgrew Miller agreed to write a quote for this book. I was deeply saddened to hear of Mulgrew's passing just days before publication. All who loved Mulgrew and his music will sorely miss him, and are grateful for the rich musical legacy he left us. Rest easy, Mulgrew. Andy LaVerne

A collection of jazzed-up Christmas carols by Jon Grier Santa-Ma-Jazz is filled with creative harmonizations rhythms and a merry measure of musical humour.

Teach yourself how to play Harmonica with Progressive Beginner Harmonica which covers the notes chords scales and rhythms required to read and improvise music on the Harmonica plus the important techniquesincluding cross harp playing double tonguing bending and trilling.Suitable for all ages and all 10-hole diatonic Harmonicas in the key of C.Progressive Beginner Harmonica includes 107 Harmonicaexercises in blues harp folk harp rock harp and pop Harmonica styles.In full colour throughout with photos diagrams and easy-to-read Harmonica music using Harmonica tabs for beginners.Progressive BeginnerHarmonica comes with 1 DVD and 1 CD containing Harmonica videos and audio for all examples.No prior knowledge of how to read music or playing Harmonica is required to teach yourself to learn to play Harmonica fromthis book. Includes free poster.

Media : Book/DVD
Author : by Ari Hoenig and Johannes Weidenmueller
Level : Intermediate
Date published : 5/28/2009
Style : Contemporary
Type : Rhythm/Backup
Description :
One of the best methods for learning advanced rhythm, polyrhythm, and metric/harmonic superimposition. Looks at rhythm through a magnifying glass and enables the student to see, sing and hear various subdivisions and groupings of subdivisions. Can be used by any and all instrumentalists. Will greatly improve the student?s improvisational ability to create and respond to rhythmic musical dialogue.
The book is complete with general exercises for all instrumentalists as well as specific exercises for pianists, bassists and drummers. a DVD with demonstrations of all the material from the book. improvised examples by Ari Hoenig and Johannes Weidenmueller in duo as well as trio with Aaron Goldberg. transcriptions on how to harmonically navigate through polyrhythm inside standard jazz forms. musical examples which can be watched, and used as a play along.
* The #1 method for learning advanced rhythm, polyrhythm, and metric/harmonic superimposition
* Will greatly improve the student?s improvisational ability to create and respond to rhythmic musical dialogue
* Students will learn to look at rhythm through a magnifying glass in order to hear various subdivisions and groupings of subdivisions
* Students will learn how to make core rhythms into core grooves and use beat displacement to alter these core grooves.

I have the pleasure of presenting the new Souza Lima playalong method series. This project is the result of extensive research and careful elaboration aiming at offering representative material on the most varied styles of Brazilian music to professional musicians, students, teachers and all those who take a general interest in this field of music. The focus of this series is on the language of instrumental music nowadays performed in Brazil, based on elements of modern improvisation. Each volume contains two CDs with seven pieces of music, which are presented in the following versions:1. Complete takes – in other words, the full versions of the pieces included in the book, which are performed by all the instruments playing simultaneously; 2. Without melody / solo part – so that the melodic instruments can play along with the recording, executing their own interpretations and practicing improvisations; 3. Without harmony – so that the harmonic instruments can practice the language of accompaniment, especially with regard to the rhythmic vocabulary of each style. 4. Without bass – so that the bassists can practice their traditional task of accompaniment while working on the rhythmic but also the harmonic aspects; 5. Without drums – so that the drummers can practice the rhythms characteristic of each piece of music but also create their own variations. Each book contains the scores in the form of lead sheets in four different versions: in C, Bb, Eb, and bass clef. Due to the widely defined concept of this method, it is important to point out that musicians playing transposing instruments might have to make adaptions when reading the scores. Wind instrumentalists are at liberty to carry out adjustments whenever these are called for in order to facilitate the musical execution. The Souza Lima playalong method series was not exclusively devised for musicians to learn and practise how to read scores and accompany the recordings. Try to be creative and explore each type of music in every way possible. Transcribing solos, rhythmic comping phrases, bass lines and drum grooves, for instance, can be an important tool in order to assimilate the elements of this language. The instrumentalists may place themselves in a new musical situation in addition / Jazz / Recueil / Instruments Mélodiques

I have the pleasure of presenting the new Souza Lima playalong method series. This project is the result of extensive research and careful elaboration aiming at offering representative material on the most varied styles of Brazilian music to professional musicians students teachers and all those who take a general interest in this field of music.The focus of this series is on the language of instrumental music nowadays performed in Brazil based on elements of modern improvisation. Each volume contains two CDs with seven pieces of music which are presented in the following versions:1. Complete takes in other words the full versions of the pieces included in the book which are performed by all the instruments playing simultaneously;2. Without melody / solo part so that the melodic instruments can play along with the recording executing their own interpretations and practicing improvisations;3. Without harmony so that the harmonic instruments can practice the language of accompaniment especially with regard to the rhythmic vocabulary of each style.4. Without bass so that the bassists can practice their traditional task of accompaniment while working on the rhythmic but also the harmonic aspects;5. Without drums so that the drummers can practice the rhythms characteristic of each piece of music but also create their own variations.Each book contains the scores in the form of lead sheets in four different versions: in C Bb Eb and bass clef. Due to the widely defined concept of this method it is important to point out that musicians playing transposing instruments might have to make adaptions when reading the scores. Wind instrumentalists are at liberty to carry out adjustments whenever these are called for in order to facilitate the musical execution.The Souza Lima playalong method series was not exclusively devised for musicians to learn and practise how to read scores and accompany the recordings. Try to be creative and explore each type of music in every way possible. Transcribing solos rhythmic comping phrases bass lines and drum grooves for instance can be an important tool in order to assimilate the elements of this language. The instrumentalists may place themselves in a new musical situation in addition

Par ROLLIN CATHERINE. The strumming of Spanish guitars, the lyrical tribute to a great Spanish composer, the passionate excitement of Iberian sensations, the breathtaking exuberance of Spanish rhythms, the reminiscence of Spanish culture-Spanish elements are infused in each of these five pieces. Rolled chords evoking a Spanish guitar, enhanced rhythms with alternating hands, and lyrical passion are all found in Sounds of Spain, Book 4 by Catherine Rollin. These five late intermediate to early advanced solos explore many of the diverse dance and harmonic elements that make up the colorful Spanish music tradition. Each one is technically accessible yet contains dramatic sections that sound impressive. Titles: Fantasy at Alhambra - Homage to Granados - Rhapsodie Espagnole - Scherzo Brillante - Song of Spain/ Répertoire / Piano

Sight Reading & Rhythm Every Day is designed to help students achieve an impeccable sense of rhythm which is the first step in successful sight reading and to develop their skills with key recognition time signature recognition pattern identification interval recognition and intermediate response to articulation and dynamics.This series will help the student to develop an internal sense of pulse so that the underlying rhythm in a sight-reading example becomes second nature. This allows the student to concentrate on the other elements of music making. As the books progress four-measure sight-reading drills for one hand progress into longer pieces for bothhands. Students learn the concept of playing from beginning to end without stopping and every unit ends with a teacher-student duet to reinforce the idea that when sight readers start to play they do not stop.Throughout the series new concepts are gradually introduced to provide adequate reinforcement of each concept. Every day students are asked to count rhythms analyse and circle patterns and play sight-reading examples. The manageable task size and carefully structured format of each unit make progress immediately noticeable which helps to motivate students.The carefully crafted musical examples and exercises effectively develop eye ear and hand coordination. This series guides students in a simple straightforward way to develop into students who sight read with ease accuracy and musicality.In the Every Day plan for Book 3A students learn and practice different rhythmic activities with accent markings focusing on the dotted quarter note rhythm followed by eighth notes. Tonic and dominant chords are explored as well as melodic and harmonic intervals of major and minor 2nds and 3rds and perfect 4ths and 5ths. Extending the usual five-finger pattern by crossing the second finger over the thumb is taught as well as learning transposition up a fifth interval as well as to the nearest key. Students will

Organ and percussion, one of the most exotic instrumental combinations in modern music, invariably produce delightful sonic effects and contrasts. This also applies to Zsigmond Szathmary's Sense of Rhythm, where this renowned concert organist and performer of contemporary organ music explores the duo format as a vehicle for conversation, conflict and reconciliation in a rich array of shades and hues.The lavishly scored percussion part (vibraphone, glockenspiel, woodblocks, cymbals, tam-tam, tom-toms, bass drum, Chinese opera gongs and much else) ensures a great variety of colours perfectly suited to the harmonic capacities of the organ. Both instrumental parts clearly reveal the composer's fondness for sophisticated rhythms and varied proportions.Once again Szathmary uses the organova series to present contemporary music at a high level that places demands on performers and listeners alike while employing a musical idiom and energy that never fail to achieve their effect. / Orgue Et Percussions

This Mel Bay Gig Saver gives aspiring guitarists ideas about jazz guitar accompaniment in a brief affordable yet informative fashion. In jazz the term 'comping' means to accompany and in some cases to complement. It is thejob of the harmonic instrument (guitar) to provide a background for other musicians to improvise against or a singer to sing against. The idea when comping is to make the other musicians comfortable while they play and to helptheir solos feel 'complete.' This book gives the guitarist a number of chord shapes and rhythms that can be used when comping in the style of Freddie Green and in bebop and later styles. There are also blues progressions and anetude to practice applying the concepts.

An Engaging Way To Practice Scale Patterns And Etudes While Learning Jazz. Par EVANS LEE. Scales have long been considered an essential element of keyboard mastery. They provide piano students the technical skill needed to play the instrument and give practical instruction in the basics of music theory. Jazz Piano Scales and Exercises presents a novel and more interesting way to practice patterns and etudes while learning jazz. Following the notation and fingerings for scales - major, harmonic minor, and melodic minor - in each of the 12 keys, three jazz exercises are given. These serve to reinforce the patterns and fingers and to give the player a sense of the melodies, rhythms, and harmonies that are integral to jazz stylings./ Recueil / Piano

Jubilation! Ring in the season with this inspired treatment of Mendelssohn’s Hark! The Herald Angels Sing. The harmonic textures and contrapuntal ideas are right on target for the grade level and the majestic setting will lift the spirits of all in attendance. Essential repeated sight rhythms and careful attention to articulations ensure that you will be able to prepare this for performance early in the academic year while reinforcing important technical skills all along the way. This one is a joy to rehearse and perform.Captivating!

This impressive teaching piece features a mixture of the melodic and harmonic minor forms and a shifting of accents brought about by changing meters. Your students will love learning the aggressive bold style that comes with the changing rhythms.