"Study of Fourths" by Walter Bishop Jr.

"This insightful if neglected book on jazz theory proffers a technique of chromatic improvisation based on the use of cycles of fourths and fifths."

Greetings Friends,

In the fall of 1982, I was accepted to the New England Conservatory of Music. While attending the conservatory, I lived at the YMCA where I met and was befriended by world famous saxophonist, Antoine Roney, brother of Trumpeter, Wallace Roney. Antoine introduced me to bebop legend Jackie McLean. Jackie was instrumental in acquiring me a scholarship to the University of Hartford, in Hartford, Conn. There I met Walter Bishop, Jr. He was my teacher and instructor for over 2 years. Walter Bishop taught me so much, related to music and the business of music. Theory was a high priority in curriculum for Bishop. He made sure that the students he taught were well equipped to understand how theory was essential with playing and creating music. Walter Bishop, Jr. opened the doors to my creative voice in music and I truly thank God for giving me the opportunity to have met and interfaced with such a soul. I want to give that same opportunity to you by way of offering you this book that Walter give to me in 1986. I pray that it will inspire you as it has me.

Inside This Book You'll Discover...

	One - Two Cycle Constructions | Each Cycle Within a One Octave Range and All Twelve Cycles Within The Same One Octave Range.
	Two - Cycle Variations and The Use of Shifts.
	Three - Building Melodic Fourth Technique and Melodic Usuage of Fourths Over Harmonies.
	Four - Fourth Patterns Harmonized | Single Harmonies | Chord Progressions | The II7 - V7 - I | Fourth Chords | Other Possibilities. ...and much more!

Walter Bishop, Jr. was a valuable utility pianist on many a modern jazz session during the bebop era, remaining an active performer until his death at the age of 70 in early 1998. The son of composer Walter Bishop Sr., he grew up in Harlem's Sugar Hill area, and as a teen counted among his friends Sonny Rollins, Kenny Drew and Art Taylor; acknowledging Art Tatum, Bud Powell and Nat "King" Cole as important influences, Bishop first attracted notice on the Manhattan club circuit around 1947, going on to play and record in bands led by Art Blakey, Charlie Parker, Oscar Pettiford, Kai Winding, and Miles Davis in the years to follow. In 1960, he played in trombonist Curtis Fuller's group before forming his own trio the next year with bassist Jimmy Garrison and drummer G.T. Hogan. In 1964, Bishop toured with vibist Terry Gibbs, and in the late '60s, he studied at Juilliard with composer/pianist Hall Overton. He moved to Los Angeles in 1969, where he continued to study and work as a freelancer with local groups, including Supersax and trumpeter Blue Mitchell's band. From 1972-5, Bishop taught jazz theory, both privately and in local colleges. He returned to New York in '75. The next year, Bishop authored an insightful if neglected book on jazz theory, A Study in Fourths, in which he proffered a technique of chromatic improvisation based on the use of cycles of fourths and fifths. Bishop played in trumpeter Clark Terry's big and small bands in 1977. He continued to lead his own groups, and in the early '80s began teaching at the University of Hartford; in 1983, he played a solo concert at Carnegie Hall. In the mid-'90s, Bishop appeared to great acclaim at the Charlie Parker Jazz Festival on New York City's Lower East Side.

Wishing you continued musical success,

Jaythan Sparks - Educator
jay@playpianowithsparks.com
www.playpianowithsparks.com