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ÀçÁî Æí°îÀÇ ´ëÀ§¹ý (¹öŬ¸® À½´ë) Counterpoint in Jazz Arranging (Berklee) [00294301]
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Counterpoint in Jazz Arranging (Berklee) ÀçÁî Æí°îÀÇ ´ëÀ§¹ý (¹öŬ¸® À½´ë) Book & Online Audio ÃâÆÇ»ç Hal Leonard ÀúÀÚ Bob Pilkington ¾ÆÀÌÅÛ # 00294301 ºÐ·® 152 ÆäÀÌÁö ¿ø»êÁö ¹Ì±¹ ¹öŬ¸® À½´ë¿¡¼ ÃâÆÇÇÑ ÀçÁî Æí°î¿¡¼ÀÇ ´ëÀ§¹ý¿¡ ´ëÇÑ ±³º»ÀÔ´Ï´Ù. ½ºÅÄ´Ùµå ÀçÁîÀÇ Æí°îÀ̳ª ¿À¸®Áö³Î ÀçÁî °îÀÇ ÀÛ°î ¸ðµÎ¿¡ »ç¿ëÇÒ ¼ö ÀÖÀ¸¸ç ¸á·Îµð¸¦ ´Ù·ç´Â ¹ý, Ä«¿îÅ͸á·Îµð, º£À̽º ¶óÀÎ, ±×·çºê µîÀÇ ³»¿ëµéÀ» ÅëÇØ ÀÚ±â À½¾ÇÀÇ Â÷¿ø°ú Àç¹Ì¸¦ ³ôÀÌ´Â µ¥ ÁßÁ¡À» µÎ°í ÀÖ½À´Ï´Ù. »óÈ£ ÀÛ¿ëÇÏ´Â ¶óÀεéÀÇ º¹ÀâÇÔÀ» ÀÌÇØÇÏ¸é¼ °ü¸®ÇÏ°í ºÒÇùÈÀ½À» Á¦¾îÇؼ ¸á·Îµð ¶óÀÎÀÇ Àü°³ ´É·ÂÀ» Çâ»ó½ÃÅ°´Â µ¥ µµ¿òÀÌ µË´Ï´Ù. ¼¼½ÉÇÏ°Ô ±¸¼ºµÈ ¿¬½À ¿¹Á¦µéÀ» ÅëÇØ ´ëÀ§¹ý¿¡¼ À½µéÀÇ °ü°è¸¦ ŽÇèÇÏ°í Á¦¾îÇÏ´Â ¿¬½ÀÀ» ÇÒ ¼ö ÀÖ½À´Ï´Ù. ¿Â¶óÀÎÀ¸·Î Á¦°øµÇ´Â À½¿ø¿¡´Â ÀüÇüÀûÀÎ ÀçÁî Æí°î¿¡¼ »ç¿ëµÇ´Â Å×Å©´ÐµéÀÌ ´ã°Ü ÀÖÀ¸¸ç ¹öŬ¸® À½´ëÀÇ º£Å׶û ±³¼öµé·Î ±¸¼ºµÈ ¶óÀ̺ê ÀçÁî ¾Ó»óºí À½¿øµéÀ» ÅëÇØ ±³Àç¿¡¼ °øºÎÇÑ ´ëÀ§¹ýÀÌ Àû¿ëµÈ ½ÇÁ¦ ¿¬ÁÖ¸¦ µè°í ´À³¥ ¼ö ÀÖ½À´Ï´Ù. - Contents - ACKNOWLEDGMENTS PREFACE INTRODUCTION: OBJECTIVES OF CONTRAPUNTAL WRITINGPART I. JAZZ SPECIES 1. Introduction to Jazz Species 2. Jazz Species 1 3. Jazz Species 2 4. Jazz Species 3 5. Jazz Species 4 6. Jazz Species AdvancedPART II. TWO-PART MELODY WRITING 7. Targeting Notes in Melody Writing 8. Introduction to Two-Part Writing 9. Simple Harmonic Support Counterpoint 10. Melody and Counterpoint in Dialogue 11. Leaping from a Dissonance 12. Tension Chord Tones 13. Concerted Rhythm Counterpoint 14. Crossing Lines 15. Bass Review and Basic Bass Patterns 16. Bass Line Types and Integrating Walking Bass into CounterpointPART III. THREE-PART WRITING 17. Three-Part Counterpoint 18. Inactive and Static HarmonyPART IV. RHYTHM COUNTERPOINT 19. Basic Concepts of RJiythm Counterpoint 20. Support Rhythms 21. Cumulative Rhythm and Layered Ostinato 22. Layered Ostinato and Groove 23. Melodicizing a Layered Ostinato Groove GLOSSARY INDEX ABOUT THE AUTHOR
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