β Scribed by Bert Ligon
No coin nor oath required. For personal study only.
(Jazz Book). Jazz Theory Resources is a jazz theory text in two volumes. Volume I (00030458, $39.95) includes: review of basic theory, rhythm in jazz performance, basic tonal materials, triadic generalization, diatonic harmonic progressions and harmonic analysis, substitutions and turnarounds, common melodic outlines, and an overview of voicings. Volume II (00030459, $29.95) includes: modes and modal frameworks, quartal harmony, other scales and colors, extended tertian structures and triadic superimposition, pentatonic applications, coloring "outside" the lines and beyond, analysis, and expanding harmonic vocabulary. Appendices on chord/scale relationships, elaborations of static harmony, endings, composing tips and theory applications are also included.
I. REVIEW of BASIC THEORY MATERIALS
1 Chromatic Scale
2 Intervals and Inversions
3 Major Scale Construction
4 Minor Scale Construction
5 Circle of Fifths
6 Scale Degree Names
Key Signatures and Order of Accidentals
7 Common Notation Errors
II. RHYTHM in JAZZ PERFORMANCE
10 Polyrhythms
11 Swing Eighth Note
12 Accents and Articulations
15 Rhythmic Roles
18 Harmonic Rhythm in Jazz Performance
19 The Larger View: Form as Rhythmic Structure
21 Placement of the Notes
22 Syncopation Studies
28 Syncopation in the Jazz Waltz
29 Polyrhythms in Performance
38 Clave Beat
41 Odd Meters
Mixed Meters
42 Rhythmic Reading and Dictation Exercises
47 Other Suggested Exercises
48 Reading Exercises
III. BASIC TONAL MATERIALS
52 Tonality
55 Pitch Hierarchy
56 Ear Training
Beginning Singing Exercises
60 Beginning Writing Exercises
60 Beginning Tunes for Ear Training
64 Application
IV. TRIADIC GENERALIZATION
69 Tertian Triad
Triadic Generalization
70 Elaboration Devices
Passing Tones
72 Neighbor Tones
74 Neighbor Tone Combinations
78 Arpeggiated Tones
Chromatic Approaches
79 Octave Displacement and Leaps
80 Pedal Point and Pivot Tones
80 Triadic Musical Examples
84 Triad Motive Developed
86 Triadic Embellishment of C Major Triad
87 Triadic Embellishment of C Minor Triad
88 Pentatonic Scale
Blues Scales
90 Blue Notes
91 Blues Scale Musical Examples
Major Blues Scale
92 Minor Blues Scale
Combinations of Major and Minor Blues Scales
93 Generalization Examples Applied
V. DIATONIC HARMONY
95 Diatonic Harmony: Major
Inversions
96 Functional Harmony
98 Determining the Key
99 Chord Identification Practice
100 Diatonic Harmony: Minor
104 Determining the Key
106 Chord Identification Practice Solved
VI. HARMONIC PROGRESSIONS
108 Common Root Movement
Common Progressions in Major
109 Common Progressions in Minor
110 Application of Harmonic Analysis
Hierarchy of Chords
112 Closely Related Keys
114 Secondary Dominants
121 Deceptive Resolutions
122 Dominant Seventh Chords and Deceptive Resolutions
Diminished Seventh Chords and Deceptive Resolutions
126 Value and Limits of Roman Numeral Analysis (RNA)
127 Dominant Chord Exceptions
Tritone Substitution
129 Traditional Augmented Sixth Chords
132 Backdoor Dominants
VII. HARMONIC ANALYSIS
135 Roman Numeral Analysis with Common Jazz Progressions
Progressions that Modulate to Closely Related Keys
136 Turnaround Tunes
137 Progresses to IV with Secondary ii7/IV - V7/IV
Progresses to vi with Secondary iiΓΈ7/vi - V7/vi
138 Uses Secondary viio7 Chords
Uses Cycle of Secondary Dominants
139 Chords Borrowed From Parallel Minor
140 Tunes With Similar A Sections
Modulates to Remote Keys
141 Progressions Shown With RNA
151 VIII. HARMONIC SUBSTITUTIONS and TURNAROUNDS
152 Turnaround Progressions
156 Application to Standard Progressions
164 Harmonic Substitutions for Blues in F Major
169 Harmonic Substitutions for Blues in F Minor
170 Harmonic Substitutions for Rhythm Changes
177 Standard Tune Application
IX. HARMONIC SPECIFICITY
179 Specificity and Generalization
180 Guide Tones
181 Bass Lines as Guide Tone Lines
182 Ten Basic Patterns for Bass Lines
184 244,140,625 Bass Lines for Blues
188 Guide Tones Applied to Melodic Lines
189 Linear Implications of Harmony
193 Guide Tones for F Major Blues
197 Blues Etude Guide Tones
Guide Tone Line Applications to Standard Progressions
203 Step Progression
206 Other Voices as Guide Tones
221 Avoid Notes?
X. COMMON MELODIC OUTLINES
224 Linear Harmony
226 Constructing the Three Basic Outlines
229 Outline Examples
Examples of Outline No. 1
239 Examples of Outline No. 2
243 Examples of Outline No. 3
247 Combination of Outlines
250 Outline Applications
Applications to Standard Progressions
255 Outline Embellishment and Development Ideas
259 Outline Etude
260 Ear Training
XI. HARMONY: OVERVIEW of VOICINGS
264 Four Part Voice Leading
265 Five Part Voice Leading
276 Piano Overview
281 Accompaniment Classifications
284 Arranging Voicings in Brief
Sax Soli Voicings
286 Non-Harmonic Tones
292 Brass Voicings
297 Brass and Saxophone Combination Voicings
299 Special Case and Clusters Voicings
300 Vocal Voicings
String Ensemble Voicings
302 XII. MODES and MODAL FRAMEWORKS
305 Modes Bright to Dark
306 Major, Minor or Modal?
308 Modal Melodic Examples
312 When is it Modal and When is it Functional Harmony?
313 Chord Symbols and Modes
Tunes with Modal and Functional Harmony Combinations
314 Tunes with Modal Mixture
Modal Planing
Modal Progressions
318 Motivic Development
Compositional Devices for Motivic Development
322 Motivic Development in Modal Improvisation
323 XIII. QUARTAL HARMONY
331 XIV. OTHER SCALES and COLORS
332 Scales for Jazz Improvisation
Chord/Scale Equivalency
333 Modes of the Melodic Minor Scale
336 Relationship Between 7th and 4th Modes of Melodic Minor
340 Modes of the Major Scale with b6
345 Applications of Major Scale with a b6 in a Composition
348 Scales of Limited Transposition
353 Chord/Scale Relationships Review
358 Hexatonic Options358
359 Determining the Appropriate Sound
Chord Symbol and Context
Melodic Implications and Chord Symbol
365 Impositions over Traditional Frameworks
XV. EXTENDED TERTIAN STRUCTURES and TRIADIC SUPERIMPOSITION
370 Notation Shorthand
382 Triadic Superimpositions Formulas and Examples
XVI. PENTATONIC APPLICATIONS
388 Pentatonic Applications
389 Pentatonic Superimposition Formulas
393 Pentatonic Superimposition Formulas
XVII. COLORING "OUTSIDE" the LINES and BEYOND
394 Approaches to Coloring Outside the Lines
403 and Beyond
XVIII. ANALYSIS: the BIG PICTURE
405 Transcription
406 Analysis
409 So What: Miles Davis
415 All Blues: Cannonball Adderley
426 Blue In Green: John Coltrane
427 Freddie Freeloader: Wynton Kelly
435 Billiei's Bounce: Charlie Parker
XIX. EXPANDING HARMONIC VOCABULARY
441 Introduction
447 Voice Leading
Harmonic Rhythm
448 Mixture of Harmonic Colors
450 Types of Motion
451 Creating with New Vocabulary
Possible Harmonizations of the Pitch "C"
455 XX. CODA
456 Appendix I: Reference for Chord/Scale Relationships
458 Chord/Scale Relationships
Scales
459 Chords with Scale Sources
462 Scales with Derived Chords
Appendix II: Elaborations of Static Harmony
467 Elaborations of ii7-V7 progressions
468 Elaborations of a C Major Chord usually as Tonic (I)
471 Elaborations of a D Minor Chord as i, vi, or i
Appendix III: Endings
473 Endings to Blues
474 Endings to Standard Tunes
476 Tag Extensions
479 Ballad Endings
Appendix IV: Composing Tips
481 Composing Tips
Music Theory Rules
Rewriting
Getting Started
482 Rewriting by Asking Questions
Contrasts
483 Consistencies
Compositional Devices for Motivic Development
Listening
Appendix V: Theory Applications
484 General Concepts
Applied to a Standard Progression
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