![]() As Lawrence Gushee points out, “Music claims transformation and varied repetition as a fundamental forming process.”. V7–I patterns, entire books notating all chord voicings imaginable, and while many of said treatises are valuable, few address the process of jazz improvisation-the concept that many jazz musicians rely less on an amassed knowledge of multiple “licks” and predetermined ideas than on a finite number of malleable formulas that can be manipulated rhythmically, harmonically and melodically in any number of ways for any number of musical results. Many of these books focus on amassing knowledge every solo of a particular musician is transcribed, pages of ii. ![]() These have provided opportunities for both readers (who today are inundated with books on melodic patterns, transcribed solos, chord voicings and general “how- to” guides) and writers (who supplement their income as performers by working as instructors, clinicians, and authors). ![]() There is no shortage of books on jazz improvisation. Exploring the Use of a Single Formula in Grant Green’s First Chorus Improvisation on “I’ll Remember April” (1.
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