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This course is designed to present and develop jazz arranging and compositional principles. In preparation for successful improvisation, composing and transcription, a wide range of theoretical topics are presented.
The stylistic considerations of jazz improvisation and composition require an extensive and working knowledge of jazz theory, and mastery of diatonic, bitonal, poly-tonal and atonal theoretical maximums and processes – including the refining of the [imitation] transcription process towards theoretical justification and conventional usage.
“Ron Westray’s solos make music that, however complex, fits perfectly at the moment of its crea-tion into an ensemble performance. That music seems to materialize like magic. In this book, We-stray demystifies the magic by explaining it in thorough and precise terms as a systematic method—‘like math,’ as he says. That method can be learned in concept and practice by those willing to work hard enough. That, according to him, can make great improvisation accessible to most anyone.”— Gregory Clark, Emeritus Professor of English, Brigham Young University, Provo, UT
Preface; Acknowledgments; Introduction; Music Is Math: An Effective Approach to Teaching Jazz Improvisation; 1 Advanced Scale Study, Section 1) Forms of Dominant Scale; Section 2) Augmented Scale/Melodic Minor Equivalent; Section 3a) Diminished and Inverted Diminished Scales; Section 3b) Two-In-One; 2 Chord Scale Solutions; 3 Alternate Solutions in Dominant; 4 The ii-V Progression and Tritone Substitution; 5 Transcriptions (Chronological); 6 Alternative Systems; 7 Polymorphic Root System; 8 Composition and Arranging; Afterword