"If I were an aspiring jazz flute player, this is the first book I would buy." - Mark Levine, Noted jazz pianist and author of The Jazz Theory Book and The Jazz Piano Book.
This is a daily practice method for both aspiring and experienced jazz flutists. To better understand the process of jazz improvisation, the basics of jazz theory are explained and illustrated. The corresponding exercises following each lesson will help to develop the technical and musical reflexes necessary for jazz improvisation.
The exercises progress by topic rather than by level (easy to difficult). Therefore, depending on one's experience with intervals, theory, chord progressions, etc., it is up to the individual whether or not to play the exercises sequentially.
The goal of the exercises is threefold: to train the ears, the mind and the fingers for jazz improvisation. Not designed as a source book of jazz patterns to be memorized and played over a set of changes, the exercises are intended to develop a sense of fluency with intervals, chords, scales and common chord progressions, while absorbing the jazz vocabulary.
Method books abound for the classical player, filled with scales, arpeggios and exercises designed for that genre and its repertoire. This jazz practice method focuses on jazz scales, chords (arpeggios) and patterns designed to strenghten jazz improvisational skills.
“From a brilliant flutist comes this wonderful book that is a must for everyone,
no matter what your level of musicianship. Not only is it informative, it
contains some very slick things. I am grateful for her contributions to the flute
world. Get this book!!!” - JAMES MOODY, world‐renowned jazz flutist/saxophonist and NEA Jazz
“Ali Ryerson has written a beautifully organized jazz flute equivalent to the
classical flutist's Taffanel/Gaubert Daily Excercises, covering the
fundamental categories of jazz harmony. I particularly love the way the
exercises she has written help flutists hear the important tensions in jazz
changes with or without an accompanying instrument. Her method has a
wonderful way of encouraging people to create their own jazz vocabulary and
style without simply internalizing ‘licks’.” - KEITH UNDERWOOD, virtuoso flutist, recording artist and teacher at Mannes College of Music, NYU and the New England Conservatory
"Clear enough for the beginning jazz flutist, and a great compilation of facility
exercises for the more advanced player. And finally, copy that is legible!" - HOLLY HOFMANN, internationally acclaimed jazz flutist and recording artist
"Ali's new book is a comprehensive excursion through the melodic elements of
jazz with constant reference to the harmonic structures. It's a wonderful
learning and teaching tool for aspiring jazz players, as well as a great review
and exercise book for accomplished jazz musicians." - JOHN BARCELLONA, Director of Woodwind Studies and Professor of Flute at
CSULB, flutist with the internationally acclaimed Westwood Wind Quintet and currently on the NFA Board of Directors