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YAMAGUCHI Improvisation Method, by Masaya Yamaguchi
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The motivation for the YAMAGUCHI improvisation method was to develop my The Complete Thesaurus of Musical Scales and delve into my findings about music education. I do not have any aspiration to write the best-selling how to improvise textbook, but I did have the perspiration required to complete the best content improvisation method book available to any instrumentalist. My main priorities are to boost teaching quality as well as general academic standards in music pedagogy. The YAMAGUCHI improvisation method is also intended to answer musicians demands for my lessons (This textbook price is more reasonable than one-time private lesson fee). With my original method revealed in this book, you will be able to activate, in your music, The Complete Thesaurus of Musical Scales, Symmetrical Scales for Jazz Improvisation, Pentatonicism in Jazz: Creative Aspects and Practice, and Lexicon of Geometric Patterns for Jazz Improvisation. The motto of the YAMAGUCHI Improvisation Method is, "Search not for the tracks of the people of old, Search for that which they aspired to." Keep stimulating your interests by researching the past, and searching within yourself. I hope that the YAMAGUCHI Improvisation Method will guide you to become a complete artist. GOOD LUCK!
- Sales Rank: #1351159 in Books
- Published on: 2012-09-23
- Binding: Plastic Comb
- 112 pages
About the Author
Masaya Yamaguchi is not only a musician but also a conceptualist who established his own system to explore the imaginative formation of musical scales by The Complete Thesaurus of Musical Scales, which is a meta-contribution to music pedagogy of a high standard. Jazz Education Journal wrote, "Its worth mentioning that this book comprehensively covers all theoretical possibilities in constructing scales July-August 2002." The concept is revealed in many of his writings and compositions. Because of the reference value of his outstanding achievements, Marquis Whos Who has selected his biographical profile for inclusion in Whos Who in America, Whos Who in the World and Who's Who of Emerging Leaders.
Most helpful customer reviews
9 of 10 people found the following review helpful.
Pros & Cons from a Musician without formal Music Training
By Charles Pratt III
The YAMAGUCHI Improvisation Method is a must-have, must-keep part of your music theory/improv arsenal! I really enjoyed this book and will continue to use it as a reference and strong practice method. I own double-digit numbers of music books which I've bought in order to learn more of what others learn in music school. I'm not a gigging Musician, I fall somewhere between Hobbyist and Semi-Pro (if that makes sense). My point is that I recognize that the school house teaches in depth and there are many gifted and talented Musicians out there who may instantly grasp the concepts in music and in this book.
That said, here are the PROS (The things I liked about YAMAGUCHI Improvisation Method.)
* The Melodic Shapes concept made complete sense to me. I've had this visual of notes in various shapes in my mind for over 37 years. I never knew that a method existed to explain this concept. For example, if I practiced and tried to figure out a tough musical passage, I would often write out the notes on paper - just the note letters such as C-E-G-B. If the music called for a stair-step notation, I might even write E-G, F-A on a lower-to-higher position on the paper just to help me memorize the fact that the shape of the musical phrase moved upward. Again, for me, it was a quick way to internalize and memorize. Learning that Yamaguchi built an entire concept around this help me understand more and more! It was like this book revealed what lay beneath the surface, as in what else besides just the tip of the iceberg in my limited scope.
* Yamaguchi placed an Exercise and labeled it for Guitar/Bass Players only. I'm a horn player and Tabs mean nothing to me. It was nice that he includes a disclaimer here on page 10 so that I don't waste time on a musical concept that means nothing to me. Maybe for other multi-instrumentalists or hard-core music theorists, but for me, this helped me focus and not confuse.
* The Concept of Melodic Shapes is explained in great detail. An explanation of what should be played on downbeats versus upbeats, along with passing tones, approach notes, and neighboring tones is well-conceived. Some significant attention to starting Melodic Shapes from the 1, b3, 5, and other locations within the chord is most helpful. All this is arranged in a ii-V-I format so that you can discover the best possible Melodic Shape combinations from different vantage points. Yamaguchi encourages you to discover the possibilities.
Overall, there are plenty of concepts included in this book that I'm not mentioning that can help you understand some musical ideas. Examples from The Blues, reference books on Jazz, writing Etudes, and plenty more.
Here are the CONS (The things I think could be improved in future versions of this book.)
Again, keep in mind that I'm not a formally-trained Musician. Many of these concepts are foreign to me.
* The Muija Board ideogram (essentially, the Circle of Fifths) lost me. I understand the basic concept of the Circle, however, I'm not exactly sure why this version tilts it to the 3:00 position. It is apparently "easy to comprehend" from this position and positioning an "analog watch" has some significance, but I truly do not understand why.
* On each Muija Board, the chords are connected in a shape (such as a C Maj 7 chord is C-E-G-B and appears as a four-sided grey box within the CIrcle) and looks specific to that chord. The book has blank Circles. I printed them out and filled in the corresponding positions (the notes of the Circle of Fifths, plus the Minors, and the #s and flats). But, when I draw in the C-E-G-B, there is no rhyme or reason to it. The lines do not logically spell out C-E-G-B, they cross over to one side and back and forth. But, in the end, you can see the idea of a shape. I cannot look at the Muija and see the sequence, I only see a shape. HERE's MY POINT: If this were redesigned with the notes listed Chromatically around the Circle, you could instantly visualize a C Maj 7 chord. You could connect the notes going clockwise and see that C is followed by E is followed by G is followed by B. The current Muija forces you to see C (at the 12 o'clock position), E (at the 8 o'clock position), G (at the 11 o'clock position), and B (at the 7 o'clock position). It forces your eye to have to jump around the page in a zig-zag pattern.
I know this is a lot and a long explanation, but if you want an idea of what I mean, please look up something I found online called Shapes in Music [...]. You might also wish to look at Music Theory Online [...] These two articles position the Circle in such a way that makes the Yamaguchi concept much easier to comprehend.
With apologies to those who know much more about this than I do, I just want to say that the YAMAGUCHI Improvisation Method is an outstanding book! I honestly believe that I'm just not advanced enough to understand the Muija Board, but i just think when this book gets revised, using a chromatically-notated Circle would be most beneficial.
I will definitely use this book over and over as a permanent part of my musical library. It has the most useful amount of information of any musical improvisation book I won! I just hope that others will understand my point here, and future books will be written with the idea that many of us lack the base of knowledge found only in the halls of academia. My deficit is my challenge and I enjoy learning nonetheless!
Well worth the higher price tag as this is truly higher learning (and a steep learning curve for me, but love it!)!
5 of 7 people found the following review helpful.
Wish I had this method book years ago
By NEW YORK IS NOW
This book really works for me. I think this method book is even better than Bert Ligon's "connecting the chords " book. Yamaguchi method is completely different from all previous ones.
From what angle is the author researching jazz improvisation? In fact, melodic fragments database on Sonny Rollins and John Coltrane is clearly shown in Appendix 1. Wow! I'm really impressed!!! My friends say I am really playing JAZZ line. I wish I had this method book years ago.
6 of 9 people found the following review helpful.
First impressions
By ArtFan
First impressions based on the first several pages:
weird writing style, pretty cryptic explanations, author's own terminology with definitions that are going to take several reads to try and understand what he's saying.
The cryptic writing style is a turnoff and may discourage people from reading further.
As to whether the "method" itself has merit, I cannot comment, I will need to read more.
I tried finding the author's own audio recordings, examples of his own improvisation and I was unable to find any. So it's impossible to know what kind of jazz musician he is (or IF he is?).
I'll provide additional comments as I make my way further into the book.
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