Antonio J. García

Cutting the Changes: Jazz Improvisation via Key Centers. San Diego, CA: Neil A. Kjos Music Company, 2006. 65 pages. Paperbound. Includes compact disc and CD-ROM.

This new jazz method is packed with information and practical ideas for improvising over 13 standard tunes using only major scales. Methods are separately available for all transposed and C instruments. A thorough and accessible introduction is included, making it easy to “jump right in” without any technical difficulty.

“Cutting the Changes” is a pun on the idea that regular chord changes of the “Great American Songbook” can be simplified to just three or four major [keys]*. Each tune is shown with lyrics (when there are lyrics) and without chord changes, making it possible to learn the tune as a singer or instrumentalist by reading it through.

On the subsequent page(s) is a simplified key* sheet indicating the major scale to be used. When a new chord change is [implied]**, the major scale is circled; those pitches which would be altered from the original [key]* are listed; i.e., between E-flat and B-flat, the A is different, and it is drawn on the staff; therefore, a player thinking in E-flat could play the E-flat scale with an A natural and sound correct on the B-flat chord change.

At the conclusion of the 13 tunes, García gives the original lead sheets, making it possible to analyze his choices. Furthermore, in the included CD-ROM, he explains his decisions and how to use his ideas on other tunes. Also on the CD-ROM is a wealth of supplementary materials including a 76-page supporting text with recommended recordings, advanced scale choices, sample tunes for self-study, printable parts for rhythm-section players, suggested piano voicings and bass lines, and much more.

On the play-along CD, each tune begins with a four-measure introduction; the rhythm section can be split right/left; and there are demonstration tracks for six of the tunes. Tony plays on these and offers some explanation in the text as to his ideas and performance.

It is difficult to find the beats and count-off in some of the introductions. Suggestions for melodic material would aid the student in a self-study environment. As indicated in his preface, “This book is not a substitution for listening to jazz live and via recording, singing along with great recorded jazz solos, and learning such solos on your instrument.” It is, however, a fantastic new improvisation method that fills a gap for those classically trained players that are overwhelmed with numerous chord-change symbols in traditional tunes.

*The reviewer wrote “chords”; however, “keys” would be correct.

**The reviewer wrote “given,” however, no chord changes are given on these pages.