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Jazz Theory Books

jimmiew 21 July 2010

Hey guys! I came here about 5 months ago for some help with finding an internship and after how amazing that was I'm back for some help in creating a class for myself. I'm looking to learn Jazz Theory from a few books. I've worked things out with the theory teacher at my school so I can get credit, I just need to find a few books to use because its going to be self-guided. I've looked around Amazon.com and its simply overwhelming (I do recall seeing a book that Tony left a review for but I can't remember the title to go back to it).

My goal is to need less than 5 sources and learn as much as possibly about theory, writing and everything inbetween. I'm going to spend 4 days of the work week going through theory and every friday on ear training (transcribing solos mainly I hope).

Thanks

Comments

Randy_Sutin Wed, 07/21/2010 - 19:17

There are a ton of "jazz theory" books out there. Each one I have seen has had it's merits, but when the day is done theory is still just a way of naming and categorizing musical sounds so you can have a coherent and articulate conversation about topics like composition or improvisation.

Without a lexicon that includes, for instance, the phrase "perfect fourth" we could find ourselves clumsily saying things like "you know, the sound from Here Comes the Bride". So theory gives us what we need to discuss music on that level.

From that perspective, I personally prefer to shy away from "jazz theory" texts in favor of more traditional approaches, especially in the early stages. Ottman's books and the Piston text are my two favorites for their clarity and ease of use (they both have good workbooks that come with them).

For more advanced theory and concepts, I would highly recommend a good translation of Hindemeth's "The Craft of Musical Composition"... unless you speak and read German, in which case, get the original. I don't, so I can't, but my guess is that the translation loses a little, at least. It's still wonderful. That book is the basis for many of the jazz theory books like George Russell's "The Chromatic Lydian Concept", but it goes far beyond what Russell's text does.

In fact, if you can internalize the concepts in that book and apply the practical applications as expressed in Slonimsky's "Thesaurus of Scales and Melodic Patterns" you will like have a very good result. The most famous teacher here in Philadelphia (Dennis Sandoli) built a whole system on his take on that which was very powerful. His best students included guys like Pat Martino, Benny Golson and John Coltrane.

Good luck. Definitely wait for the teachers in the crowd to weigh in though before taking my words too seriously. This may be a lame pedagogical approach. :) It's just what has sort of worked for me.

DanaSud Fri, 07/23/2010 - 11:21

I will have to check out the Hindemeth book. I had heard of it before but never investigated further.

IMHO, concerning improvisation, its all about collecting and mastering sounds (i.e. knowing when to use them, hopefully by pre-hearing the sound you want to create fitting perfectly in the context you want to make it in). You can call the combination what you want......

If you are starting from scratch, it certainly helps to be guided by a jazz theory book but that is only a starting point. For example, it might tell you that x scale fits over y chord. That is just one sound/approach and as your ear improves you will find others, including some that you won't have a name for. If you dig it and it makes you happy to play instead z sound over y chord then I say, go for it. There is no right or wrong in improvisation, just bad and good and that is a matter of opinion (my two cents, hope it helps).

I had never heard of Dennis Sandole (Sandoli) before but I found a NY-Times article written after his death:

http://www.nytimes.com/2000/10/08/nyregion/dennis-sandole-jazz-guitaris…

Wish I could have taken some lessons with him.....

Randy_Sutin Sat, 07/24/2010 - 08:16

I totally agree with all who say "ear training, ear training, ear training". All the theory does is give you names and ways to categorize sounds so you can have that conversation about what sounds work over what other sounds.

IMHO, the best name for any musical gesture is the sound it makes. If you can recognize that and work with it you are home free as an improvisor even if you have no idea what it is called in some theory text book.

...of course, if you hear yourself repeating yourself, a theory text is a good thing to study to help yourself categorize the sounds you know and figure out some of the ones you are not using. You can then check out what those musical devices sound like and decide whether or not there is a way to incorporate them into the pallette you give yourself to paint with each time you play.

...or at least, I like that approach.

jimmiew Sat, 07/24/2010 - 00:41

I actually almost bought a copy of the Hindemith book at a used bookstore for like $10, and although I am learning german for a trip there next spring, it was the english copy.

I do think I will take Tony's advice of adding more ear training in, I get the feeling I'm going to run out of things to do about half-way through the year otherwise.

In my original post I forgot to clarify that I do have a very strong foundation in classical music theory and what I am really looking to take away from this class besides being better at improvisation and general understanding is actually composing jazz music for different settings. My largest goal is to write a piece for a jazz band with solo vibes for my senior solo. So any books on composing for a jazz ensemble would be a great fit for this as well and I know there are at least a few out there.

Thanks for the responses so far, I am definitely beginning to understand that a large part of this will simply be winging it and experimenting. Keep in mind that I need to at least occasionally have things to turn in to prove that I'm working the entire time.

tonymiceli Wed, 07/21/2010 - 19:26

that's my 2 cents. but whatever you do, it will be great. you're a hard working and a smart kid!

also, the book.... i forget the name but it was by BOB OR ROBERT RAWLINS

if you can't find it email me.

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dritske Fri, 07/23/2010 - 03:04

Hi Jim,

I have "the Jazz Theory Book" by Mark Levine. With its 522 pages it sure covers loads of theory!

The students of the jazz department were using (some of them at least) this book when I was at college.

Good luck!

Tom

toddc Fri, 07/23/2010 - 10:30

This is a good book. I have it and use it as a reference book.

But I agree with Tony. Theory makes a lot more sense if you hear it.

This opinion is worth exactly what it cost you :)

Todd Canedy
Don't stop asking until you understand. Once you understand constantly confirm it.

ed saindon Sat, 07/24/2010 - 14:24

Hi Jim,

I would recommend the Berklee Harmony Workbooks 1-4. They are well-written and are the books that the students use for Jazz Harmony which is a 4 semester course at Berklee. They are $15 each and can be purchased from the Berklee bookstore in Boston or online (I think). Let me know if you have a problem getting them. They are very comprehensive and cover jazz theory, harmonic principles, chords scales... I use them with my students.

Ed

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Ed Saindon
http://www.edsaindon.com
Check out my cds: http://micelimusic.com/index.php?main_page=index&cPath=24_4

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