»óÇ° Àç°í ÇöȲ |
Ç°ÀýÀÔ´Ï´Ù. ÀÔ°í ¾Ë¸²½ÅûÇϽøé ÇØ´ç Á¦Ç° ÀÔ°í½Ã ¹®Àڵ帳´Ï´Ù |
Á¦Á¶»ç(»ý»êÀÚ), ¼öÀÔÀÚ |
Hal Leonard/(ÁÖ)½ºÄð¹ÂÁ÷ |
»ö»ó |
ÇÏ´Ü À̹ÌÁö ÂüÁ¶ |
»óÇ°º° ¼¼ºÎ»ç¾ç |
ÇÏ´Ü ½ºÆå ÂüÁ¶ |
Á¦Á¶±¹(¿ø»êÁö) |
Hal Leonard/USA [ºê·£µå »óÇ° º¸±â] |
Å©±â |
ÇÏ´Ü ½ºÆå ÂüÁ¶ |
Ç°Áúº¸Áõ±âÁØ |
ÇÏ´Ü ¼³¸í ÂüÁ¶ |
Ç°¸í ¹× ¸ðµ¨¸í |
100 Jazz Lessons Keyboard ÀçÁî Å°º¸µå ±³º» CDÆ÷ÇÔ (00122261) |
µ¿Àϸðµ¨ÀÇ Ãâ½Ã³â¿ù (Á¦Á¶ÀÏÀÚ ¾Æ´Ô) |
2014³â 08¿ù 06ÀÏ |
A/S ¾È³» |
(ÁÖ) ½ºÄð¹ÂÁ÷ / 1566-5150
|
ÀçÁú |
ÇÏ´Ü ½ºÆå ÂüÁ¶ |
Á¦Ç°±¸¼º |
ÇÏ´Ü À̹ÌÁö ÂüÁ¶ |
|
|
|
|
|
100 Jazz Lessons
Keyboard Lesson Goldmine ½Ã¸®Áî·Î Å°º¸µå ¿¬ÁÖ¿¡ ´ëÇÑ Áö½ÄÀ» È®ÀåÇÒ ¼ö ÀÖ½À´Ï´Ù. Blues, Country, Jazz, RockÀÇ ³× ±ÇÀ¸·Î ±¸¼ºµÈ ÀÌ ½Ã¸®Áî´Â ´Ù¾çÇÑ ÁÖÁ¦·Î 100°³ÀÇ ·¹½¼µéÀÌ ¼ö·ÏµÇ¾î ÀÖ½À´Ï´Ù. °¢°¢ÀÇ ·¹½¼¿¡´Â ÀÚ¼¼ÇÑ ¼³¸í°ú ¿¬ÁÖ ¿¹Á¦µéÀÌ Æ÷ÇԵǾî ÀÖ°í µÎ ÀåÀÇ ºÎ·Ï CD¿¡´Â ¸ðµç ¿¹Á¦µéÀÇ µ¥¸ðÆ®·¢ÀÌ ´ã°ÜÀÖ½À´Ï´Ù.
100 Jazz Lessons¿¡´Â ½ºÄÉÀÏ, ¸ðµå¿Í ÇÁ·Î±×·¹¼Ç, ¶óƾ ÀçÁî ½ºÅ¸ÀÏ, ÀÓÇÁ·Î¹ÙÀÌÁ¦ÀÌ¼Ç ¾ÆÀ̵ð¾î, Çϸð´Ð º¸À̽Ì, ÀÚ½ÅÀÇ ½ºÅ¸ÀÏ ¸¸µé±â µîÀÇ ´Ù¾çÇÑ ³»¿ëÀÌ ½Ç·ÁÀÖ½À´Ï´Ù.
- Contents -
LESSON #1: Adventures in Rhythm - Carrying Over the Bar LESSON #2: Adventures in Rhythm - Triplets LESSON #3: Altered Dominant Scale LESSON #4: Arpeggiating Through the Changes LESSON #5: Bill Evans Voicings LESSON #6: Brazilian Comping - Bossa Nova LESSON #7: Brazilian Comping - Samba LESSON #8: Building Your Chops LESSON #9: Chromaticism I LESSON #10: Chromaticism II LESSON #11: Cuban Montunos - Cha-Cha Patterns LESSON #12: Cuban Montunos - Mambo Patterns LESSON #13: Diminished Scales LESSON #14: Dominant Cycle Progression LESSON #15: Exotic Scales LESSON #16: Funky Comping LESSON #17: Gospel Chords LESSON #18: Latin Improv Ideas I LESSON #19: Latin Improv Ideas II LESSON #20: Latin Jazz - Afro-Cuban 6/8 LESSON #21: Latin Stride Patterns LESSON #22: Left-Hand Stride Technique LESSON #23: Major Blues Scale LESSON #24: Melodic Contour LESSON #25: Melodic Sequence LESSON #26: Minor ii-V-l Melodic Ideas LESSON #27: Motives and Their Development LESSON #28: Odd Meter LESSON #29: Orchestrating Two-Handed Voicings LESSON #30: Phrygian Solo Ideas LESSON #31: Practicing the Modes in Every Key LESSON #32: Reharmonization LESSON #33: Rhapsodic Adventures - Long Melodic Runs LESSON #34: Secondary Leading Tones LESSON #35: Taking It Out - Chromatic Sequence LESSON #36: Taking It Out - Superimposed Harmonies LESSON #37: The #11 Chord LESSON #38: The Hierarchy of Notes and Chord Tones LESSON #39: 16th-Note Lines LESSON #40: The Whole-Tone Scale LESSON #41: Interpreting a Lead Sheet LESSON #42: ii-V-l Voicings: Major/Close Position LESSON #43: ii-V-l Voicings: Minor/Close Position LESSON #44: Drop-2 Voicings LESSON #45: Altered Chords LESSON #46: Tritone Substitution LESSON #47: Linear Cadence LESSON #48: Diminished 7th Chords LESSON #49: Utilizing Chord Tones in an Improvisation LESSON #50: Non-harmonics-NeighborTones LESSON #51: Non-harmonics - Changing Tones LESSON #52: Non-harmonics - Passing Tones LESSON #53: Melodic Minor Scales - Four Applications LESSON #54: Scale-Tone Triads & 7th Chords LESSON #55: Melodic Sets LESSON #56: Rhythm Streams LESSON #57: Motivic Etudes LESSON #58: Scale-Tone Voicing LESSON #59: Simplifying Extensions with Polychords LESSON #60: Drop-2 Tonicizing Diminished 7th Chords LESSON #61: Pentatonic Scales LESSON #62: Introduction to the Blues LESSON #63: Blues Licks LESSON #64: Bebop Blues LESSON #65: Walking Bass Lines LESSON #66: Locked Hands LESSON #67: Power Voicings LESSON #68: Extended Albert! LESSON #69: Pedal Points LESSON #70: Tonicization LESSON #71: Turnaround Progressions LESSON #72: Chord of Omission LESSON #73: Three-Note Voicings LESSON #74: Extended Harmony LESSON #75: Left-Hand Comping LESSON #76: Using 3rds and 7ths in the Left Hand LESSON #77: Quartal Harmony LESSON #78: Five-Part Ballad Voicings LESSON #79: Boogie-Woogie LESSON #80: Rootless Voicings LESSON #81: Using Diminished Scales LESSON #82: Swingin' It LESSON #83: Introduction to Rhythm Changes LESSON #84: Introductions LESSON #85: Endings LESSON #86: Creating an Arrangement LESSON #87: Memorizing Songs LESSON #88: Using Upper Structures in a Solo LESSON #89: Inner-Outer Concept LESSON #90: Comping Concepts LESSON #91: Call and Response LESSON #92: Jumping Tracks LESSON #93: The Extension Dimension LESSON #94: Sequential Essentials LESSON #95: The Trouble with Scales LESSON #96: Modes in Jazz LESSON #97: Pentatonic to Mixolydian LESSON #98: Many Scales Over One Chord LESSON #99: Dominant Chord? Melodic Minor LESSON #100: Enclosure Time
|
|
|
|
|
|
½ºÄð¹ÂÁ÷ ÀÌ´ÞÀÇ À̺¥Æ® |
|
½ºÄð¹ÂÁ÷ ¹«·á ¹ÝÇ°! |
2019. 4. 25. ~ |
|
|
Hotone Ampero ±¸ÀԽà Àü¿ë ±ã¹é ÁõÁ¤ |
2024.02.01. ~ |
|
|
ESP ÄÚ¸®¾Æ ¿öÅ©¼ó |
2024.03.27. ~ 04.20 |
|
|
¶ó¿ìµå ºê¸´Áö Æ佺Ƽ¹ß ƼÄÏ À̺¥Æ® |
2024.03.26 ~ 04.14 |
|
|
¹Úâ°ï 5Áý ¹ß¸Å ±â³ä ÄܼƮ |
2024.03.25. ~ 04.20 |
|
|
|
|
°ÔÀÌÅͶû °¡Æ¼ ³ª°¥±î~ |
2023. 3.30. ~ |
|
|
Å©·¡ÇÁÅÍ ±âŸ ÀÔÁ¡ ±â³ä »çÀºÇ° ÁõÁ¤ |
2024.03.01. ~ |
|
|
½ºÆÄÅ©40 Àü¿ë ±ã¹é ÁõÁ¤ À̺¥ |
2024.03.28.~ |
|
|
½ºÄð¹ÂÁ÷ ESP ÇÁ¸®¿À´õ ¼ºñ½º |
2020. 6. 5. ~ |
|
|
ÇÁ¶ó³ëÀÌ ½ºÆ®·¦ ¹«¸´ã¿ä ÁõÁ¤ |
2024.02.01. ~ |
|
|
|
|
ÆǸÅÁßÀÎ
µµ¼ Ä«Å×°í¸® ½Ç½Ã°£ Àαâ»óÇ° |
|
|
|
±³È¯/¹ÝÇ°/ȯºÒ/ºÒ°¡ »çÀ¯ ¾È³» |
°øÅë |
»óÇ° ¶Ç´Â Æ÷ÀåÀÌ ÈÑ¼ÕµÇ¾î »óÇ°ÀÇ °¡Ä¡°¡ °¨¼ÒÇÑ °æ¿ì
±³È¯ ¶Ç´Â ȯºÒ ½Åû ±â°£ÀÌ °æ°úÇÑ °æ¿ì(7ÀÏÀ̳»)
±¸¸Å ÈÄ »ç¿ë¿¡ ÀÇÇØ »óÇ°ÀÇ °¡Ä¡°¡ °¨¼ÒÇÑ °æ¿ì
±¸¼º»óÇ°ÀÇ ÀϺΰ¡ ´©¶ôµÇ°Å³ª ÈÑ¼ÕµÈ °æ¿ì
¿äû¿¡ ÀÇÇÑ ÁÖ¹® Á¦ÀÛ »óÇ°ÀÎ °æ¿ì
|
¾ÚÇÁ µî ÀüÀÚ ÀåÄ¡·ù |
»ç¿ëÀÚÀÇ °ú½Ç·Î ÇÕ¼±µî »óÇ°¿¡ °íÀåÀÌ ¹ß»ýÇÑ °æ¿ì |
¼³Ä¡Çü ¾Ç±â (°Ç¹Ý¾Ç±â/Ÿ¾Ç±â) |
»óÇ°¿¡ ÇÏÀÚ°¡ ¾ø°í ¼³Ä¡°¡ ¿Ï·áµÈ °æ¿ì |
ÃëÁ־DZâ |
»óÇ°À» »ç¿ëÇÑ °æ¿ì |
½ºÆ®¸µ/ÄÉÀ̺í |
»óÇ°À» °³ºÀÇÑ °æ¿ì |
µµ¼ |
»óÇ°ÀÇ Æ÷ÀåÀ» °³ºÀÇÏ¿© º¹Á¦ÀÇ ¿©Áö°¡ ÀÖ´Â °æ¿ì |
¾×¼¼¼¸® |
»óÇ°À» »ç¿ëÇÏ¿© º¯ÇüÀÌ »ý±ä °æ¿ì |
|
|
|
Ç°Áú º¸Áõ ±âÁØ |
±¸ÀÔ ÈÄ 7ÀÏ À̳» |
»óÇ° ¹× Æ÷ÀåÀÇ ÈÑ¼Õ ¾øÀ½ |
¹«»ó A/S, ±³È¯, ȯºÒ °¡´É |
»óÇ° ¹× Æ÷ÀåÀÇ ÈÑ¼Õ |
A/S °¡´É |
|
±¸ÀÔ ÈÄ 20ÀÏ À̳» |
¿À¹è¼Û,´©¶ô,¹è¼ÛÁß ÆÄ¼Õ |
¹«»ó A/S,±³È¯,ȯºÒ °¡´É |
Á¦Ç°ÀÇ Ãʱ⠺ҷ® |
¹«»ó A/S,±³È¯ °¡´É |
Á¦°øÇÑ »óÇ° Á¤º¸¿Í ºÒÀÏÄ¡ |
¹«»ó A/S,±³È¯,ȯºÒ °¡´É |
»ç¿ëÁß ¹ß»ýÇÑ ÈÑ¼Õ ¹× ÇÏÀÚ |
A/S °¡´É |
|
±¸ÀÔ ÈÄ 30ÀÏ À̳» |
Á¦Ç°ÀÇ Ãʱ⠺ҷ® |
¹«»ó A/S, ±³È¯ °¡´É |
Á¦°øÇÑ »óÇ° Á¤º¸¿Í ºÒÀÏÄ¡ |
¹«»ó A/S, ±³È¯, ȯºÒ °¡´É |
»ç¿ëÁß ¹ß»ýÇÑ ÈÑ¼Õ ¹× ÇÏÀÚ |
A/S °¡´É |
|
±¸ÀÔ ÈÄ 90ÀÏ À̳» |
Á¦°øÇÑ »óÇ° Á¤º¸¿Í ºÒÀÏÄ¡ |
¹«»ó A/S, ±³È¯, ȯºÒ °¡´É |
»ç¿ëÁß ¹ß»ýÇÑ ÈÑ¼Õ ¹× ÇÏÀÚ |
A/S °¡´É |
|
|
|
|
Ç°Áú º¸Áõ ±âÁØ |
ȯºÒ °úÁ¤ |
¹ÝÇ°µÈ »óÇ°ÀÌ ÆǸÅÀÚ¿¡°Ô µµÂøÇÑ ÈÄ 3ÀÏ À̳»¿¡ ȯºÒ ¾È³» ¹× ó¸® |
ȯºÒ Áö¿¬ |
¹ÝÇ°µÈ »óÇ°ÀÌ ÆǸÅÀÚ¿¡°Ô µµÂøÇÑ ÈÄ È¯ºÒ ó¸® ¿Ï·á±îÁö 3ÀÏ ÀÌ»ó °æ°ú |
ȯºÒ Áö¿¬ ¹è»ó±Ý |
ȯºÒ Áö¿¬ÀÌ ¹ß»ýÇÏ´Â °æ¿ì ÇØ´ç ȸ¿ø°í°´¿¡°Ô 5,000¿øÀÇ ¸¶Àϸ®Áö º¸»ó |
|
½ºÄð¹ÂÁ÷ ¼îÇθôÀº °øÁ¤°Å·¡À§¿øȸ¿¡¼ ½ÉÀÇÇÑ Ç¥Áؾà°üÀ» »ç¿ëÇÏ°í ÀÖ½À´Ï´Ù. ¾à°üº¸±â |
|
|
|
|
|
|
|
|
|