Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (Music in the Twentieth Century) [Hardcover] Review

Potter's book will be best appreciated by those with a much better understanding of music theory than I.However, I learned something about the personal and musical history of so-called "minimalism."(Potter falls prey to some extent to the problem of reifying an abstraction -- having first grouped some things together into a category, then searching for the true meaning of the category.)Is there a torch passed, so to speak, from Young to Riley to Reich to Glass?Glass is the only one to adamantly deny it, but Potter documents the basis for seeing it just that way (including Reich's influence on Glass).

One aspect I am keen to know more about, but which Potter doesn't stress overly much, is the striking confluence of non-Western influences.Young and Riley are both disciples of the North Indian master singer, Pandit Pran Nath, who died in 1996.Reich studied both African drumming as well as the gamelan music of Bali.Glass studied Indian music, after being immersed in serialism.With the European "classical" tradition at an impasse at the turn of the millennium, it seems only natural that the future would lie in creative fusions and combinationswith other traditions.(Not a very original idea, I realize, as evidenced by the recent emphasis of the Kronos Quartet among others.)Minimalism seems by now to be another style that passed into history and critical assessments -- is there an opening there that is being missed?

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Product Description:
This book offers the most detailed account so far of the early works of these four minimalist composers, putting extensive discussion of the music into a biographical perspective. The true musical minimalism of the 1960s and early 1970s is placed in the wider context of their music as a whole, and considered within the cultural conditions of the period, which saw not only the rise of minimalism in the fine arts but also crucial changes in the theory and practice of musical composition in the Western cultivated tradition.

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Arranging Concepts Complete: The Ultimate Arranging Course for Today's Music (2718) [Plastic Comb] Review

A very detailed mathematical aproach to band arranging. Useful tables to cover all practical situations, mostly from the point of view of horn section arranging. Somewhat light on in terms of rhythm section arranging. This book doesn't aim to teach you WHAT to write, but if you already have some experience in band arranging and are familiar with extended chords and basic harmonic and melodic concepts, it will help to guide you through the labyrinth of endless musical possibilities. Band arranging from a jazz (thus also blues/rock/pop/show music etc) perspective, not so much concert band or wind orchestra.

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Product Description:
A comprehensive text that covers the characteristics and ranges of each instrument in the stage band; analyzing and arranging many musical styles, voice leading, passing chords, modulations, intros, endings, turn-arounds and orchestration.

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The Ambient Century: From Mahler to Moby--The Evolution of Sound in the Electronic Age [Paperback] Review

Your evaluation of THE AMBIENT CENTURY will depend on what you're looking for.I expected serious analysis, and by that criteria would give it 1 star.If what you're interested in, though, is an eclectic encyclopedia of interesting 20th century musicians, loosely grouped by the theme of "ambience," which is never defined, then you might think this is great.(I can't comment on the fact-checking criticism, but to me it's a secondary point.)Prendergast moves from "high art" composers including Debussy and Stockhausen, to "minimalism," to rock, broken into categories such as psychedelic, krautrock and synthesizer music, to the '90s techno/house/drum&bass/ambient trend.

However, his definition of "ambient" involves "music being deconstructed" by Mahler and Debussy (sounds really "postmodern," but what does it mean?), and developments in technology/electronics, along with an "interest in pure sound."He pronounces:"[T]he bleeding heart of electronic progress had by its very nature rendered all recorded music, by definition, Ambient." (4)Given this sort of cosmic perspective Prendergast could have included all music, and what he does include seems to be more or less "cool stuff that I like."Harsh, I know, but does Bob Dylan's "Knocking on Heaven's Door," by any stretch of the conceptual imagination, belong on a list of the Essential 100 Recordings of 20th Century Ambient Music?If so, our author fails to offer any explanation.How about Led Zeppelin IV (ie, ZOSO)?I'm at a loss.

If the book was appropriately titled, I would have much less to criticize.But when you title a book "The Evolution of Sound in the Electronic Age," you lead the reader to expect some sort of theoretical analysis -- what sort of evolution?In what direction?What mechanisms are involved?But there is "no there there" if what is happening is just technological progress, and "an interest in pure sound" may characterize Cage's famous *4'33"* (the silent composition), but there is not even an attempt here to argue that it is the direction of 20th century music.If Prendergast really means to emphasize the use of music as background, where is his discussion of Muzak, and music in advertising?He doesn't develop his embryonic theme(s), but rather rushes headlong into profiles of musicians, which are strung together with little connecting analysis.

Caveat emptor -- if you're looking for serious analysis, look elsewhere, but if you want a breezy journalistic encyclopedia of non-mainstream music (that is seen as cool by The Wire magazine) you might find this a useful reference work.(For a model of analysis of cutting edge music, check out Nyman's EXPERIMENTAL MUSIC.It also has a foreward by Brian Eno!)

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America's Musical Life: A History [Hardcover] Review

In the late 1980s, having passed the US Foreign Service written test, I took the Oral Exam, one part of which was basically aimed at probing - in front of a panel of 3 Foreign Service officers - one's general knowledge of American history, culture, and world affairs, plus ability to think on one's feet.Among other questions, I was presented with the following (without any advance warning): `pretend you are a high school teacher giving a lecture on the history of American music; you have 3 minutes - GO!' Well, all I can say is, I wish that Richard Crawford's "America's Musical Life: A History" had been available back then, and that I had read it, because, let's just put it this way, there's a good reason why I didn't pass the Oral Exam!!Having now read Crawford's book, I feel like asking for a second shot at the question...
Basically, what this extremely learned, intelligent, well-organized, readable (and mercifully free of musicologist jargon) book does is to help us understand America from the perspective of music (i.e., what music meant to America), and also to understand American music from the perspective of its social, cultural, economic, political, racial, geographic, and technological history (i.e., what America meant to music).As Crawford states in his introduction, his goal is to undertake a study from a "broader scope [which] might illuminate parallels and intertwinings that give the country's music...its distinctive identity." Crawford accomplishes this, and more, starting from American music's early origins (Native American, Early Christian, "Old, Simple Ditties," and New England Psalmody), moving on to 19th century music (devotional music, minstrels, parlor songs, patriotic and war songs, classical music, etc.) to the folk, jazz, blues, pop, theatrical, and rock music of the 20th century.Throughout, Crawford makes it clear: 1) that there IS such a thing as "American" music; 2) that this music is extremely diverse, both in its expression and its origins; and 3) that to fully understand America, one needs to understand its music, and vice versa.
In sum, this book represents an obvious labor of love by an extremely well qualified author.I highly recommend it, whether or not you are a Foreign Service candidate!

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Alfred's Pocket Dictionary of Music [Paperback] Review

After searching for the past several years for my own students and teachers who study with me, I can finally state that I've found a music dictionary equal to the original "Pocket-Manual of Musical Terms" edited by Dr. Theodore Baker back in 1947 (published by G.Schirmer).Unfortunately, that same dictionary is still available in an "updated" format.I say 'unfortunately' because the new author (ie editor) decided to delete many of the classic terms for reasons unknown.But thanks to Alfred Publishing, Sandy Feldstein has done a great job of maintaining an excellent balance between content and precise meanings in an easy to understand manner. In fact, this small pocket dictionary has more charts and drawings of notes and key signatures than any other dictionary of the same size.In addition, a wonderful biographical section is included in the last section featuring basic facts on the great composersbothpast and present. You will not regret purchasing thishandy size ( 4 x 5 inches) edition,as I have widely recommended thislittle book to hundreds of teachers and schools.

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Product Description:
Contains thousands of entries covering all eras of music. It is unique in that it includes contemporary terms and composers from the popular genre as well as classical terms and composers. It is organized in a logical sequence for quick and easy reference.

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Music Theory Resource Book [Spiral-bound] Review

"Music Theory Resource Book" by Harold Owen is a fantastic, creative approach to teaching music theory that emphasizes the development of musical skills that students can apply in a practical manner in any setting they choose, whether it be in the music industry or in graduate school. The book not only covers issues such as renaissance and medieval theory and notation in-depth, but also provides knowledge about MIDI note numbers and how to read piano-roll style notation in a sequencer. While this book would be a great book for a first-time student of music theory in a college or university, it is also good for people wishing to review (such as graduate theory review, a course I've taught). In addition, it's a fantastic review for those who teach theory and composition -- the chapter on notation (Chapter 2 - The Notation of Music) is something every composer should have at their disposal -- especially beginning composition students in a college setting. Especially useful for composition students (and all music students for that matter) are the two chapters on the music of the twentieth century -- the first on techniques developed in the first half of the century and the second on techniques developed in the second half of the century. Every chapter has something for everyone -- the chapter on "The Anatomy of Chords" not only describes the type of chord nomenclature found in the typical college theory classroom (Roman numerals and figured bass), but also includes a thorough section on chord symbols used in jazz and popular music -- something all musicians are bound to encounter in the real world. As someone who teaches music theory in a university setting, I've found this book to be a valuable resource. Too often, theory books use short excerpts to demonstrate a chord or principle. However, every chapter in this book begins with complete sections (and often entire movements) of musical works from the literature -- this helps to put the chord or principle being studied into context, something I find very important. I highly recommend this book.

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Product Description:
Music Theory Resource Book covers all the topics typically studied in the basic music theory sequence. Concise and accessible, it features a basic anthology of musical examples--most of them complete compositions--from a broad range of periods and styles. Each chapter begins with these musical examples, which are followed by thought-provoking discussion questions that encourage readers to learn through a "discovery" approach. A succinct outline follows the discussion questions, summarizing the principles of music theory for easy reference and review. Exercises at the end of each chapter engage readers in a variety of analytical and practical tasks ranging in difficulty from simple to challenging. This volume includes subjects not usually found in standard theory books including basic acoustics, contrapuntal techniques, jazz harmony, musics from non-Western cultures, and music since 1950.

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Talking Music: Conversations With John Cage, Philip Glass, Laurie Anderson, And 5 Generations Of American Experimental Composers [Paperback] Review

Willian Duckworth is marvelous at asking questions,he is so natural at it that he makes you feel you have known his guests all your life. He allows everyone to feel at home, at ease,like catching more flies with sugar quip.Like asking John Cage for instance, "I don't have a very goodunderstanding of what your early musical training was like,". or to LaMonte Young, asking if he is the "father of minimalism", I guessit doesn't matter now, since most of what is discussed has played itselfout. Here Duckworth interviews creators of primary creative genres ofAmericana leaning toward the achievements of all the various,nefarious"isms", experimentalism, minimalism, well just intonation doesn'tfit, and the ubiquitously opaque post-modernity. And progressing from whoare considered the Mammas and Pappas to the younger generation.The genre ofInterviews seem to be occurring with greater frequency,speaking of one ofthe features of post-modernity. It is the most immediate way of knowingsomeone's art, aesthetic, how they feel about the world,about politics, orhow they don't feel. Obsessions are explored in these interviews,as withJohn Zorn's early buying jags of recordings,jazz etc.,and formative yearsas with La Monte Young and his obsessions with sound, listening totelephone generators,or machines, the inherent drone in these industrialobjects,Also professional associations, and disassociations with the NewYork scene,Fluxus which includes,just about everyone here interviewed isprobed, with nice discussions of the early years of performance art in NewYork City.Education away from academia was an important component ofAmerican music,sorry to say, with those of the post war-generation turningto the east, and World Music, as Steve Reich, Phil Glass,Lou Harrison,Pauline Oliveros and La Monte Young. Young in particular reflects on hiseducation with Pandit Pran Nath on intonation and improvisation andlearning it with Marian Zazeela.Professional associations, how to surviveby being a performance artist, Duckworth pursues and explores with MeridithMonk and Laurie Anderson, finding gigs in New York City or Europe again waseveryone's passion.How do you work? is also a wonderful question, Monkreflects that she has to work all the time to feel attached, whereas sheknows composers who don't work for months and claim to feel they don't loseanything. How creators get into ,what they get into, as Ben Johnstonreflects on his early education with instrument iconoclast Harry Partch,how Partch taught Johnston to sing fractional tones, an eleventh/sixteenth,and how Partch would devote mornings to music, and afternoons to physicalwork, building sheds,or home extensions,or gathering wood. Also Johnstonspeaks about his wonderful string quartets, the Seventh in particular whichis based on an 100-tone scale, and how we come to understand it via therelationships it represents rather than hearing 100 isolated tones. WithLou Harrison we have almost a history of American music, in that his lifetraversed through the primary achievements, the interests in World Music,Tunings, percussion music, and extended techniques,living on both coasts.But Harrison claims he was always a melodic composer, he had to singwhatever he wrote first, to attach himself to the world of sound, no matterhow complex his music became.Some interviews are boring however as the theone with Phillip Glass where he simply recounts his life, and hisinterests, there was not a spirit of adventure, of discovery.Whereas MiltonBabbitt has wonderful reflections on his early studies in music with RogerSessions, and how Babbitt felt he needed to start over. The interview withChristian Wolff was over before it got interesting,Wolff primarilydiscussed his early music, the pieces associated with the CageSchool(Cage,Feldman,Brown,Wolff)(nice photo of them)instead of traversingthe set of problematics of dealing with political imagery. That questioncame as the very last one."Are you still writing politicalmusic?".Duckworth admirably gives nice introductions to eachcomposer, and makes you feel the center of where creativity occurs, whatexcites an artist,and where challenge and repose occurs within music.Onegood question here always was"When did you first hear of JohnCage", or what was the first piece of "so and so" you heard.This makes for a marvelous discussion on what were the initial indeliablemoments on one's creative life. Not everyone is gifted at interviews it isa conditioned and practiced art. This work is a great model toward thatgenre.

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Product Description:
Talking Music is comprised of substantial original conversations with seventeen American experimental composers and musicians-including Milton Babbitt, Pauline Oliveros, Steve Reich, Meredith Monk, and John Zorn-many of whom rarely grant interviews.The author skillfully elicits candid dialogues that encompass technical explorations; questions of method, style, and influence; their personal lives and struggles to create; and their aesthetic goals and artistic declarations. Herein, John Cage recalls the turning point in his career; Ben Johnston criticizes the operas of his teacher Harry Partch; La Monte Young attributes his creative discipline to a Morman childhood; and much more. The results are revelatory conversations with some of America's most radical musical innovators.

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Improvisation At The Piano ( A Systematic Approach For The Classically Trained Pianist) [Paperback] Review

This is probably the most effective (best) book I've read for any acquired skill.

I'm a pianist (currently working on my Masters at a conservatory) and was searching for a book on improvisation within the classical medium.I was frustrated because I couldn't find any book with the exception of this.

Thank God that I could only find this book.Yesterday, I read through most of it.The exercises are brilliantly isolated to help acquire rhythmic, harmonic, dynamic competence, etc.It demonstrates how to recognize the modes within a passage of a few to several chords, recognize how closely related they are, etc...

You definitely have to have a good backround in theory to understand this whole text, but even if you do not, the first 20 pages or so will stretch your mind and greatly improve your compitence (in terms of improvisation).

The balance between demonstration and exercise is just about perfect.Because they include multiple demonstrations before each exercise (and there are PLENTY of exercises), the exercises are never confusing or misunderstood.Within the demonstrations, great (basic to more advanced) improvisation is shown over the bassline or whatever backing your going to play in your left or right hand before you must do it yourself.They make sure to include certain key ideas within these improv demonstrations, such as outlining a certain chord with embellishment, emphasizing a certain tone, etc.

I plan on dedicated some of my time every day to this book because I believe that we are living in a time where musicians are not well-rounded like they were in the 20's-60's.... we cannot transpose at sight, improvise, understand theory like we used to.

Books like this are truly a savior to this art.

The authors Brian Chung and Dennis Thurmond demonstrate ways of improvising over classics such as the bass lines to Fur Elise and Mozart's C Major sonata, and then changing them to the relative modes etc.I agree with the person who wrote the review above me; this book will help you understand the theory behind music, which in turn helps memorize and understand the composer's compositional style/intentions.Moreso than this, it will do wonders for the ear and the ability to recover from mistakes in performance.I believe that it has potential to cut a performer's memory slips at least in half if not much less during any given performance.With proper improvisation ability comes proper ear training comes a more thorough learning of the music and less of a chance to rely on muscle memory etc....

Great stuff!I rarely write a review on Amazon but this book is truly deserving.I plan on teaching this text to my more advanced students as well.

I applaud the authors of this book.Mastery of an instrument should not just entail a replication of repertoire, but the ability to sightread, transpose, improvise, and know your way around the instrument backwards and forwards.

If I am able to conquer this text, I will finally be able to say that I have true mastery of the instrument.

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Product Description:
This unique text uses a step-by-step approach to guide the reader from fundamental concepts to advanced topics in improvisation. Each subject is broken into easy to understand segments, gradually becoming more complex as improvisational tools are acquired. Designed for the classically trained pianist with little or no experience in improvisation, it uses the reader s previous knowledge of basic theory and technique to help accelerate the learning process. Included are over 450 music examples and illustrations to reinforce the concepts discussed. These concepts are useful in all improvisational settings and can be applied to any musical style. For pianists interested in jazz, there are three chapters dedicated to introducing jazz improvisation, which can be used as the basis for further study in this idiom.

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Mel Bay Jazz Theory Handbook Book/CD Set [Perfect Paperback] Review

There are many jazz theory books out, but Peter Spitzer's new Jazz Theory Handbook (complete with CD) stands out as the most thorough, yet easiest to comprehend.It's a must-read BEFORE reading any of the others. Mr. Spitzer carefully defines all his terms, then leads the musician step-by-step to the kind of clear understanding that leads to hands-on playing.The layout and typography are inviting, not overloaded as some books are.As a piano teacher, performer, and jazz lover for some 30 years, I simply can't say enough good about it.

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Product Description:
Jazz Theory Handbook is a complete guide to all the essential topics of jazz theory, suitable for all treble instruments. Its approach is clear and concise, realistic and practical. This book will help you to understand how contemporary jazz players think, and to apply theory concepts in your own playing. Subjects are introduced progressively, with each new one based on those introduced before. Topics include chord building, harmonic movement, modes, II-V-I licks, polychords, blues, rhythm changes, how to learn tunes, practice techniques, playing outside, and more. All of the book's musical examples are performed on the accompanying CD, along with sample solos and 3 play-along tracks with a great rhythm section. Jazz Theory Handbook is designed for both self- study and classroom use.

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Jazz Theory and Practice [Paperback] Review

This is a great book, a comprehensive survey of many aspects of what I (not really being a jazz musician) would rather call "contemporary commercial music theory." This area of study is typically lacking in classical musicians' training, and any classical musician who would like to expand his or her musical horizons, in order to compete better in the "real world" of music and be able to work fluently from lead sheets, would do very well to buy this book and study it from cover to cover.

I have to agree with fellow reviewer Stephen Apple that this is one of the most useful - and well-loved - books in my library. "Jazz Theory and Practice" was written as a college-level text, and assumes familiarity with music reading and some elementary music theory concepts. Nevertheless it begins with (for review purposes, assuming that some students may need brushups) the common material on intervals, scales, basic chord construction, etc. which are the nuts and bolts of "Music Theory 101". Then it goes on to cover the entire gamut of 20th century commercial music harmony, with great sections on melody construction, rules of chord substitution, the two great short forms of 20th c. song: 12 bar blues and 32 bar song form, modal jazz practices, etc. Pretty much all of the practical musical tricks and devices that a working musician should be aware of are covered.

For the reader, the important prerequisite is to be able to read the "grand staff", or piano notation with both treble and bass clef, as the examples are often in this form (most are in simple treble clef.)

This is not a book about improvisation per se, but it contains the necessary practical tools that a musician needs to develop an intelligent (rather than "intuitive") improvisation practice.

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Product Description:
Jazz Theory and Practice is the most modern introduction to jazz theory ever published. Rich with examples from the repertoire, it gives performers, arrangers and composers an in-depth and practical knowledge of the theoretical foundations of jazz. A CD-ROM is also available, providing supplemental exercises for ear-training and sight-reading practice, as well as tutorials that correspond to topics and examples in the text.

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Contemporary Music Theory - Level One: A Complete Harmony and Theory Method for the Pop and Jazz Musician (Piano) [Paperback] Review

Mark takes you through chapters on notation, major and minor scales, intervals, triads and four-part chords, modal scales and diatonic relationships.A VERY detailed and well explained book w/ great exampleson what a certain topic is about.A must for anyone who's just starting toget into music theory. Might want to also consider Contemporary MusicTheory level 2, also by Mark Harrison once you're well versed in Level 1.

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Product Description:
The Music Theory series is designed from the ground-up to explain the terminology and musical structures needed for modern applications. Level One is an introductory course which covers music notation, key signatures, basic scales, intervals, modes, diatonic relationships and 3-and 4-part chords. Level Two is an intermediate-level course covering larger chord forms, "definitive" chords in major and minor keys, substitutions, analysis of key centers in tunes, "upper structure" chords, voiceleading, and pentatonic and blues scale applications. Both levels include reference appendices, a complete glossary of terms, and hundreds of written theory exercises with answers.

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Contemporary Music Theory - Level Two: A Complete Harmony and Theory Method for the Pop and Jazz Musician (Piano) [Paperback] Review

Mark continues from Contemporary Music Theory Level 1 to take you through chapters on 'II-V-1' progressions, 5-part chords, substitutions, harmonic analysis, voiceleading, 'upper structure' chords, and pentatonic& blues scale applications in this Level 2 continuation. Again, likethe Level 1 book, Contemporary Music Theory Level 2 has very detailedexplanations and exercises to test what you've learnt. An excellent seriesof books by Mark Harrison.

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Product Description:
The Music Theory series is designed from the ground-up to explain the terminology and musical structures needed for modern applications. Level One is an introductory course which covers music notation, key signatures, basic scales, intervals, modes, diatonic relationships and 3-and 4-part chords. Level Two is an intermediate-level course covering larger chord forms, "definitive" chords in major and minor keys, substitutions, analysis of key centers in tunes, "upper structure" chords, voiceleading, and pentatonic and blues scale applications, a complete glossary of terms, and hundreds of written theory exercises with answers.

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Mel Bay Jazz Piano Scales & Modes [Paperback] Review

What separates this scales book is that the author lays out each mode or type of scale by key. Not only does it contain all the "church scales" (Aolian, Dorian, Ionian, etc.,), it also has the major and minor pentatonic, the blues scales, Bebop, and many others including Neapolitan, Japanese, Hungarian Minor scales, again, all in notation form and in every key! I've been looking for this for a long time. My only wish is that it would be in spiral binding. Other than that, this is better than any of the other scales books I've purchased.

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Product Description:
Following the best-selling Jazz Piano Chords, this informative volume provides a scale reference and practice tool for any pianist wanting to learn to play jazz. Starting with diatonic, pentatonic, symmetrical and exotic scales, more advanced composer and jazz scales are introduced. The following discussion of polytonality, alternating scales, using scales with chords and scale chords represents the dominating concepts of contemporary jazz. The book ends with extensive 12-key libraries of scales, and scales arranged by chords. Learning to use these scales will help any pianist play with more tonal and modal variety, color, freedom and interest.

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The Jazz Theory Book [Spiral-bound] Review

There was a time when it was a common adage that Jazz can't be taught. You were either born with it, or were lucky enough to pick it up... to some extent that is true... as there is a time you have to lift your head from the books and learn on the bandstand... but the question is how to get to that point - - the point where you can benefit from lead sheets or learning off of records, or by communicating with other musicians ?
For many years, a lot of the "Jazz" educational material on the market was either antequated by the time of publication (remember going into music shops to find "modern" piano books that would teach you how to play stride version of Honeysuckle Rose and the Maple Leaf Rag?)... other books contained misleading information, or some of the better ones required technical reading skills (as well as hand spands and chops) that few Jazz masters themselves were known to possess (!) - - Finally, over the years, a few breakthroughs... two of the earliest that come to mind would include books by David Baker and John Mehegan. - - But most of us still wondered, "When is somebody going to write *the book* ?" - - ...finally someone did.
The publication of this book has launched Jazz education into the modern era... Very readable, well presented, modern, practical, never over academic or esoteric, and requiring the most minimal amount of reading of musical notation possible - - and written for a generation raised on Miles Davis and John Coltrane not Fats Waller and Louis Armstrong (as great as they were.)
Combining this book with the right listening, hands on playing (check out some of the Aebersold play-a-longs) and the right fake book... in a situation where a great Jazz teacher might not be so available or affordable, with the right attitude (check out Berliner's Thinking In Jazz) - - this book is your spiral bound musical conservatory, with advice relevent to players of all levels... From those basic intervals, scales, chord voicings and changes that all Jazz students learn in their first lessons, to the insight required to "put it all together" - - This is a great reference for everyone, from the begining student, the aspiring amateur trying to get into a program (or take his or her playing to the next level)... to the seasoned veteran who'd like to learn the language and reason and gain better insight into what he or she is playing and hearing in order to grow as a musician. Regardless, this is one resource that belongs in your music learning library !

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Product Description:
Endorsed by Jamey Aebersold, James Moody, Dave Liebman, and others, The Jazz Theory Book presents all the information any student of jazz needs in an easy-to-understand, yet thorough, manner. For intermediate to advanced players, and written by one of the acknowledged masters of jazz, it is used by universities around the world.

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The Piano Handbook: A Complete Guide for Mastering Piano [Spiral-bound] Review

This really is the best of the few decent books in this category - and one of only a small handful that don't treat you like an idiot. Concomitantly, if you ARE in idiot, this book won't work for you. As other reviewers have noted, the pace is definitely fast compared to the 'graded' lesson books commonly used by piano teachers. But using the CD, and practicing every exercise until you truly understand it - you WILL go far, and fast, with this one. I've carefully checked every other "teach yourself piano" title I've seen in the local stores, and even bought and returned a few. This one, however, is a keeper. By the end of the book, you'll be playing some fairly impressive classical pieces (more than enough to impress your friends - unless they're experienced pianists!). Along the way, you get a very nice background in piano history (great photos an illustrations!), and you'll gain a good, solid understanding of reading music. (hm - except for all those british musical terms. Feh. Luckily, American-style is included as well.)
Generally, you really, really should try to get a teacher. But if you just can't afford it, this book is the next best thing. Combine it with a few videos/DVDs (like the "Van Cliburn competition" - YES!, or even buy "The Pianist" or "Shine" right here on Amazon) so you can get an idea of how pianists hold and move their hands. (not that you'll move like these people for a long while!).
There is a crazy typographical error in my edition of the book, where an entire paragraph is repeated! This is only a little sad, because the space could have been put to use for more of the author's great information. It's not enough to drop my rating! The binding (at least in my edition) is spiral - a VERY SMART move, as it sits nicely on the music desk. I have to make photo copies to use the sheet music in other books!
This one has got my full recommendation. And better yet, if you have any musical background at all, or have had some piano lessons (even in your distant past) this book will have you flying along in no time.

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Product Description:
This illustrated handbook offers a comprehensive tutorial for learning to play piano alone or with a teacher. An accompanying audio CD demonstrates key techniques and concepts, and the author explores the common origins of different musical cultures to show that learning different kinds of music can be an enriching experience. Readers discover how classical piano technique and musicianship inspire creative approaches to composing and improvising across a variety of styles, including pop and jazz.

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Berklee Jazz Piano BK/CD (Berklee Guide) [Paperback] Review

This book is a short, no-nonsense, accurate presentation of what everyone should know about playing jazz piano.The harmonic, melodic and rhythmic essentials are explained.When he covers modal playing, it is NOT the usual dorian/mixolydian/ionian on ii-V7-I progressions that you find in other method books.He explains them correctly; they are their own unique harmonic framework that is distinct from traditional major/minor key chord progressions.I also think that his information on jazz counterpoint is worth it's weight in gold and it's information that I've not encountered elsewhere.

One could spend many thousands of dollars on private lessons and not get the info presented here.It would probably be doubly beneficial if used as a study guide along with a good teacher.

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Product Description:
Play jazz piano with new facility and expression as Ray Santisi, one of the most revered educators at the Berklee College of Music - and mentor to Keith Jarrett, Diana Krall, Joe Zawinul, and thousands of others - reveals the pedagogy at the core of Berklee's jazz piano curriculum. From beginning through advanced levels, Berklee Jazz Piano maps the school's curriculum: a unique blend of theory and application that gives you a deep, practical understanding of how to play jazz. Concepts are illustrated by the accompanying practice CD, where you'll hear how one of the great jazz pianists and educators of our time applies these concepts to both jazz standards and original compositions, and how you can do the same. You will learn: * Jazz chords and their characteristic tension substitutions, in many voicings and configurations * Modes and scales common in jazz * Techniques for comping, developing bass lines, harmonizing melodies, melodizing harmonies, and improvisation * Practice techniques for committing these concepts to your muscle memory * Variations for solo and ensemble playing * Advanced concepts, such as rhythmic displacement, approach-chord harmonization, and jazz counterpoint

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