 |
|
 VIEW TABLE OF CONTENTS |
CONNECTING
CHORDS WITH LINEAR HARMONY
By Bert Ligon Connecting Chords with Linear Harmony examines common lines used by all great jazz artists to connect harmony in jazz improvisation and composition. Harmony is treated as a linear rather than vertical. The book is based on hundreds of examples from great jazz artists that are examined, analyzed and categorized. Graduated exercises, etudes, and ear-training tips help you develop your own voice. So many books on music begin by stating a principle or rule and then illustrate it with an example created by the author. This has always seemed backwards to me. In this book, I have begun with actual examples from great jazz solos and then extracted principles. The actual examples are the source and authority. There is an index of jazz artists below. Connecting Chords with Linear Harmony, is available from Houston
Publishing, distributed by Hal Leonard, Inc. Hal Leonard, Inc. can be reached online: halleonard.com
|
|
I. INTRODUCTION Basic Theory Diatonic Chords and Roman Numerals Modulations and Secondary dominants Consonance and Dissonance Harmonic Rhythm and the Jazz Performance II. LINEAR HARMONY Creating the Basic Outlines Outline No.1 Outline No.2 Outline No.3
III. EMBELLISHING DEVICES Neighbor Tones Arpeggiated Tones Extensions Chromatic Approaches Octave Displacement Encircling Tones C.E.S.H. Anticipation Delayed Resolution Sawtooth Iteration Rhythmic Devices Adding notes Use of Two or More Outlines within Example Borrowed Chords and Notes Change of Direction
IV. OUTLINE NO.1 Outline No.1 in a Minor Progression Outline No.1 in Other Progressions Typical Progressions Outline No.1 with Octave Displacements Outline No.1 with Arpeggiated Tones Outline No.1 with Chromatic Approach Tones Outline No.1 with Double Chromatic Approach Tones Outline No.1 C.E.S.H. Outline No.1 Chromatic and Rhythm Complexity Outline No.1 in Combinations of More Than One Outline V. OUTLINE NO.2 Outline No.2 in Minor Outline No.2 With Notes Added Outline No.2 With Passing Tones Simple passing tones Passing Tones with Pick up notes Passing Tones with Outline no.2 Arpeggio Extension Outline No.2 in Combinations of More Than One Outline Outline No.2 with a Change of Direction Outline No.2 Fragments VI. OUTLINE NO.3 Outline No.3 C.E.S.H. Outline No.3 Using a Lower Pivot Note (Arpeggiated Tone Below) Outline No.3 in Combinations of More Than One Outline Outline No.3 with Passing Tones VII. OUTLINE FRAGMENTS VIII. OUTLINES IN MODAL TUNES IX. GET IT IN YOUR PLAYING
X. OUTLINE EXERCISES
2. Outlines and Ear Training 3. Applying Specific Devices to Outline No.1 4. Applying Specific Devices to Outline No.2 5. Applying Specific Devices to Outline No.3 6. Short Exercises over Typical Progressions 7. Using Outlines to Connect Other Chords 8. Using Outlines to Connect Other Chords 9. Using Outlines Over Turnaround Progressions 10. Outlines in Key Center Cycle 11. Standard Progression I: Blues in B Flat 12. Standard Progression II: "Rhythm Changes" 13. Standard Progression III: Are You All the Outlines? 14. Standard Progression IV: Outlines by Starlight 15. Standard Progression V: Blues with ii - V substitutions 16. Standard Progression VI: Big Strides with Outlines 17. Identifying Outlines XI. WHAT TO DO NEXT? Appendix II: Lou Donaldson solo on Split Kick Appendix V: Answers from page 128 |
Phone: 803.777.6565/803.777.4280
| USC LINKS: | DIRECTORY | MAP | EVENTS | VIP |
| Columbia, SC 29208 • 803-777-7000 • info@sc.edu | © University of South Carolina Board of Trustees |