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  2. Faking (jazz) - Wikipedia

    en.wikipedia.org/wiki/Faking_(jazz)

    In jazz, the term "faking" means to improvise accompaniment parts. The term "faking" in jazz does not have the same meaning as in faking in Classical music, where faking is seen as a controversial activity. In jazz, when a jazz quartet "fakes" accompaniment parts to a song with a singer, this is a synonym for improvising their backup

  3. Real Book - Wikipedia

    en.wikipedia.org/wiki/Real_Book

    Some other music publishers also apply the term Real Book to their own publications. The Associated Board of the Royal Schools of Music publishes The AB Real Book. [7] Alfred Publishing Co. has several Real Books. [8] Sher Music Co. publishes The New Real Book, in 3 volumes. [9] The collection of tunes differs from that of the original Real Book.

  4. Category:Jazz books - Wikipedia

    en.wikipedia.org/wiki/Category:Jazz_books

    Download QR code; Print/export Download as PDF; Printable version; In other projects Wikidata item; ... Books about jazz music. Pages in category "Jazz books"

  5. Jim Walker (flautist) - Wikipedia

    en.wikipedia.org/wiki/Jim_Walker_(flautist)

    Walker was raised in Greenville, Kentucky and graduated from Central City High School in Central City, Kentucky. [1] He attended the University of Louisville.After graduation, Walker joined the United States Military Academy Band at West Point; at the same time, he studied flute with Harold Bennett, principal flutist of the Metropolitan Opera Orchestra.

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  7. Desafinado - Wikipedia

    en.wikipedia.org/wiki/Desafinado

    Desafinado" (a Portuguese word, usually rendered into English as "Out of Tune", or as "Off Key") is a 1959 bossa nova song and jazz standard composed by Antônio Carlos Jobim with lyrics (in Portuguese) by Newton Mendonça.

  8. Free jazz - Wikipedia

    en.wikipedia.org/wiki/Free_jazz

    Free jazz, or free form in the early to mid-1970s, [1] is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s, when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes.

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