Customer Reviews

Patterns for Jazz : Bass Clef

5 star:		(11)
4 star:		(1)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

Jerry's book is excellent for jazz instrumentalists. It logically guides the player through patterns and sequences that form the constructs of jazz improvisations. Although explanations and discographies are interspersed through-out, this book is meant to be played, rather than read in an armchair. It starts off with major and minor triads, 6th, 7th and 9th patterns and gradually advances to complex patterns based on whole tone, diminished, altered ninth, augmented, polychords, turn-arounds, chromatics and more. The patterns flow in whole steps, 3rds, cycles, etc. Each pattern gives a suggested range for the metronome and the player must transpose the patterns to all twelve keys before moving on to the next pattern. The transposing really challenges the player, because after displaying the pattern in 1 or 2 keys, the player must transpose to the other keys (the appropriate chord symbol is always provided). If the player is willing to take his/her time and go through the book as designed, his/her virtuosity, technique and improvisational freedom will increase gradually and significantly to a very high degree. Highly recommended.

The word "pattern" is sometimes associated with mechanical execution without thought or inspiration. The truth is that before a musical idea can be executed the mechanics must be worked out. The fingers must be ready to move to the right keys or frets to produce the tones the ear is hearing. Practing patterns is a great way to get the fingers and ears in synch.

As far as pattern books go this one is well rounded -- many other pattern books concentrate on specific progressions or idioms (see: David Baker).

I would like to recommend this book however there are some things that anyone who is considering purchasing it should be aware of:

* The book is written for ALL treble clef instruments***. That means there are no suggested fingerings, and DEFINITELY NO TAB!

* In most cases only a short sketch is given to establish a pattern. The student is required to transpose the pattern according to a given chord progression that cycles through all 12 keys.

* It is up to the student to apply patterns to his/her instrument. That means working out each pattern in all fingerings through the full range of the instrument. If you only play each pattern using the easiest fingering through one octave in the most comfortable range, the fruits of your labors will be minimal at best.

*** There is also a bass clef edition.

Although I have played saxophone for many years, I'm a rather
late-comer to improvisation. In spite of a couple classes, this book has given me the most insight. By that, I think its pre- sentation of studies as connection of,let's say, various chords
in ascending or descending creates a challenge to develope familiarity and smoothness one will obviously need in real life improvisation. Have only got to the first 10 pages and all I can say is this book has exposed my weaknesess and shows what I need to work on.

It's Jerry Coker, for cryin' out loud. This is a jazz classic, to be used by all serious students of jazz. It's in standard notation, too---i e there's no TAB, which is the way it should be. You wanna learn jazz, get it together and LEARN TO READ STANDARD NOTATION, you guitarists! Buy it, study it, don't look back. You'll play better jazz lines.

If you can't make patterns out of scales then all you have are the scales running up and down which can get pretty boring! These author/teachers have put together a cohesive method of approaching melodic patterns which will lead to a greater creativity in your playing. The way they present these will lead you to be able to create your own ideas, and then hopefully I will be enjoying your sounds down the road someday!

Okay, yes, it is logically laid out. If you know nothing about how to use chords in playing runs, this book is very instructive; the exercises may seem really boring, but since songs are in different keys, you need to go through the exercises to be sure you know what you're playing... and you can learn to read music at the same time - a must if you want to learn Jazz. And reading will get you a lot of other gigs as well.

Now the not so great. In some ways there is just too much detail from the gate and it can seem a bit overwhelming. Some of the material could be taught through other examples later in the book. But that really is a matter of differences in approach more than a criticism. I teach so my methods are a little different. But that said...

Overall, I recommend this book for anyone wanting to learn how to use your instrument more effectively and gain a solid foundation in chord use when playing not just Jazz, but other music, as this information translates well to virtually all styles of music if applied creatively and judiciously.

I have mixed thoughts on this book. First it is a ton of great information and drills you can use to practice all jazz patterns. The downside is that the theory explanations leave a lot to be desired, if they have any at all in some sections. Plus all the book is comprised of is drills. I guess if you want to do drills, then this book is great. But if you're looking for more theory and application (like jamming) then buy a music theory book (see my other reviews) and Aebersold play-alongs.

I am a music teacher and a professional woodwind player. I recommend this for all my jazz students.

This book is a classic all jazz students should have. Really helps the cerebral jazzer work on his improvisation. Jerry Coker is the father of all jazz educators, even Aebersold and Baker would agree!

If you're ok with transposing a presented idea into all other keys, then this book will prove to be a great resource for you. Filled with patterns that explore chords, inversions, substitutions, common changes, etc. This will keep you busy for a while!