Interaction Improvisation and Interplay in Jazz

<p><em>Interaction, Improvisation, and Interplay in Jazz</em> <em>Performance </em>offers a new and exciting way to listen to and understand jazz. When describing a performance, most jazz writers focus on the improvised lines of the soloist and their underlying harmonic progressions. This approach overlooks the basic fact that when you listen to jazz, you almost never hear a single line, but rather a musical fabric woven by several musicians in real time. While it is often pragmatic to single out an individual solo line, it is important to remember that an improvised solo is but one thread in that fabric; and it is a thread supported by, responded to, and responsive of the parts being played by the other musicians in the group. </p><p><em>Interaction, Improvisation, and Interplay in Jazz Performance</em> explores the process of player interaction in jazz, and the role this interaction plays in creating improvised music, including:</p><ul> <p> </p> <li>jazz improvisation through theory and analysis</li> <p> </p> <li>musical roles, behaviours and relationships</li> <p> </p> <li>harmony, interaction and performance </li> </ul><p><em>Interaction, Improvisation, and Interplay in Jazz Performance</em> will appeal to students of jazz history, composition, and performance, as well as to the general jazz audience. </p> <p>1. Jazz Improvisation: Theory, Analysis, Context, and Process, Musical Roles and Behaviours, Musical Relationships within the Rhythm Section 2. Harmony and Interaction, Basic Harmonic Interaction, Figuring the Blues, Generating Jazz Harmony 3. Form and Interaction, Turnarounds and Breaks, Common Forms 4. Breaking Down the Boundaries: Steps Toward Free Jazz, Bill Evans’s "Autumn Leaves", Miles Davis’s "Flamenco Sketches", Ornette Coleman’s "Chronology", "Free Jazz" and "Ascension", Coda, Endnotes, Recordings Cited</p>