Sight-Reading Modern Rhythms: Rhythm Patterns for Pop, Swing and Latin Jazz - the Novel Method for All Melody Instruments

ISBN-10
1483912833
ISBN-13
9781483912837
Category
Music
Pages
70
Language
English
Published
2013-03-27
Author
Peter Florentin

Description

Do you play a wind instrument, just by yourself or already with a band or in an orchestra? Are you fond of swing and jazz standards, latin music, or the good old rock songs? Do you ever struggle with reading and playing those tricky rhythms correctly from written music? Do you ever get lost or can't seem to follow the others when a new song is played? Are you mystified about how to properly count those crazy syncopated melodies? Too bad that there was hardly any material to systematically prepare beginning jazz musicians to sight-read rhythmically sophisticated music. This book does offer you such practical help: an intuitive method to be used in your music lessons or for self-study. Step by step you will learn how to recognize those rhythmic figures in written music and - with a few weeks' practice - how to play them reliably and with confidence. Almost 200 examples and melodic exercises (in treble clef, not in percussion notation!) will help you to read and play more and more rhythm patterns, from the simplest tunes to complex syncopation in swing and bossa nova. You will encounter quite a few well-known themes, from the Beatles and George Gershwin to Glenn Miller and Charlie Parker - but you will comprehend the rhythms without needing to hear the songs first. Demo sound files of all these examples are available for free download, appreciated by many readers as an immediate self-check during practice. Finally, additional material is recommended for further practice, from groovy play-along music in different genres to difficult jazz etudes. The original version of this book has appeared in German in late 2012 and was received exceptionally well. "Late-bloomers" and self-taught amateur musicians enthusiastically reported that they found the approach highly intuitive and logical, and that it was real fun to work with it. But also music teachers quickly embraced the method and integrated it into their lessons. They saw it as the first systematic description of an approach which many professional musicians employ instinctively when sight-reading music, and they appreciated the graded set of special-purpose exercises which comes with it.

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