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Volume 1

Volume 2

VIEW TABLE OF CONTENTS

By Bert Ligon

Jazz Theory Resources is a jazz theory text in two volumes. (Table of Contents shown below). Volume I 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 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, expanding harmonic vocabulary. Included is a complete transcription and analysis of the following classic jazz improvisations: Billie's Bounce (Charlie Parker), So What (Miles Davis), Freddie Freeloader (Wynton Kelly), All Blues (Cannonball Adderley), Blue in Green (John Coltrane). Appendices on chord/scale relationships, elaborations of static harmony, endings, composing tips, and theory applications.

JAZZ THEORY RESOURCES, VOL. 1
# HL 00030458
ISBN: 0634038613
UPC: 73999676440
316 pages
$39.95
JAZZ THEORY RESOURCES, VOL. 2
# HL 00030459
ISBN: 0634038621
UPC: 73999320428
208 pages
$29.95

Hal Leonard, Inc. can be reached
by phone: 1.800.637.2852
by email:

online: halleonard.com
These books may be ordered from Music Dispatch 1.800.637.2852, or your local music store.

INTRODUCTION

VOLUME I

I. REVIEW of BASIC THEORY MATERIALS

Chromatic Scale

Intervals and Inversions

Major Scale Construction

Minor Scale Construction

Circle of Fifths

Scale Degree Names

Key Signatures and Order of Accidentals

Common Notation Errors

II. RHYTHM in JAZZ PERFORMANCE

Polyrhythms

Swing Eighth Note

Accents and Articulations

Rhythmic Roles

Harmonic Rhythm in Jazz Performance

The Larger View: Form as Rhythmic Structure

Placement of the Notes

Syncopation Studies

Syncopation in the Jazz Waltz

Polyrhythms in Performance

Clave Beat

Odd Meters

Mixed Meters

Rhythmic Reading and Dictation Exercises

Other Suggested Exercises

Reading Exercises

III. BASIC TONAL MATERIALS

Tonality

Pitch Hierarchy

Ear Training

Beginning Singing Exercises

Beginning Writing Exercises

Beginning Tunes for Ear Training

Application

IV. TRIADIC GENERALIZATION

Tertian Triad

Triadic Generalization

Elaboration Devices

Passing Tones

Neighbor Tones

Neighbor Tone Combinations

Arpeggiated Tones

Chromatic Approaches

Octave Displacement and Leaps

Pedal Point and Pivot Tones

Triadic Musical Examples

Triad Motive Developed

Triadic Embellishment of C Major Triad

Triadic Embellishment of C Minor Triad

Pentatonic Scale

Blues Scales

Blue Notes

Blues Scale Musical Examples

Major Blues Scale

Minor Blues Scale

Combinations of Major and Minor Blues Scales

Generalization Examples Applied

V. DIATONIC HARMONY

Diatonic Harmony Major

Inversions95

Functional Harmony

Determining the Key

Chord Identification Practice

Diatonic Harmony Minor

Determining the Key

Chord Identification Practice Solved

VI. HARMONIC PROGRESSIONS

Common Root Movement

Common Progressions in Major

Common Progressions in Minor

Application of Harmonic Analysis

Hierarchy of Chords

Closely Related Keys

Secondary Dominants

Deceptive Resolutions

Dominant Seventh Chords and Deceptive Resolutions

Diminished Seventh Chords and Deceptive Resolutions

Value and Limits of Roman Numeral Analysis (RNA)

Dominant Chord Exceptions

Tritone Substitution

Traditional Augmented Sixth Chords

Backdoor Dominants

VII. HARMONIC ANALYSIS

Roman Numeral Analysis with Common Jazz Progressions

Progressions that Modulate to Closely Related Keys

Turnaround Tunes

Progresses to IV with Secondary ii7/IV - V7/IV

Progresses to vi with Secondary ii o/ 7/vi - V7/vi

Uses Secondary viio7 Chords

Uses Cycle of Secondary Dominants

Chords Borrowed From Parallel Minor

Tunes With Similar A Sections

Modulates to Remote Keys

Progressions Shown With RNA

VIII. HARMONIC SUBSTITUTIONS and TURNAROUNDS

Turnaround Progressions

Application to Standard Progressions

Harmonic Substitutions for Blues in F Major

Harmonic Substitutions for Blues in F Minor

Harmonic Substitutions for Rhythm Changes

Standard Tune Application

IX. HARMONIC SPECIFICITY

Specificity and Generalization

Guide Tones

Bass Lines as Guide Tone Lines

Ten Basic Patterns for Bass Lines

244,140,625 Bass Lines for Blues

Guide Tones Applied to Melodic Lines

Linear Implications of Harmony

Guide Tones for F Major Blues

Blues Etude Guide Tones

Guide Tone Line Applications to Standard Progressions

Step Progression

Other Voices as Guide Tones

Avoid Notes?

X. COMMON MELODIC OUTLINES

Linear Harmony

Constructing the Three Basic Outlines

Outline Examples

Examples of Outline No. 1

Examples of Outline No. 2

Examples of Outline No. 3

Combination of Outlines

Outline Applications

Applications to Standard Progressions

Outline Embellishment and Development Ideas

Outline Etude

Ear Training

XI. HARMONY: OVERVIEW of VOICINGS

Four Part Voice Leading

Five Part Voice Leading

Piano Overview

Accompaniment Classifications

Arranging Voicings in Brief

Sax Soli Voicings

Non-Harmonic Tones

Brass and Saxophone Combination Voicings

Special Case and Clusters Voicings

Vocal Voicings

String Ensemble Voicings

VOLUME II

XII. MODES and MODAL FRAMEWORKS

Modes Bright to Dark

Major, Minor or Modal?

Modal Melodic Examples

When is it Modal and When is it Functional Harmony?

Modal Tunes in Jazz Practice

Chord Symbols and Modes

Tunes with Modal and Functional Harmony Combinations

Tunes with Modal Mixture

Modal Planing

Modal Progressions

Motivic Development

Compositional Devices for Motivic Development

Motivic Development in Modal Improvisation

XIII. QUARTAL HARMONY

XIV. OTHER SCALES and COLORS

Scales for Jazz Improvisation

Chord/Scale Equivalency

Modes of the Melodic Minor Scale

Relationship Between 7th and 4th Modes of Melodic Minor

Modes of the Major Scale with b6

Applications of Major Scale with a b6 in a Composition

Scales of Limited Transposition

Chord/Scale Relationships Review

Hexatonic Options358

Determining the Appropriate Sound

Chord Symbol and Context

Melodic Implications and Chord Symbol

Impositions over Traditional Frameworks

XV. EXTENDED TERTIAN STRUCTURES and TRIADIC SUPERIMPOSITION

Notation Shorthand

Triadic Superimpositions Formulas and Examples

XVI. PENTATONIC APPLICATIONS

Pentatonic Applications

Pentatonic Superimposition Formulas

Pentatonic Superimposition Formulas

XVII. COLORING "OUTSIDE" the LINES and BEYOND

Approaches to Coloring Outside the Lines

and Beyond

XVIII. ANALYSIS: the BIG PICTURE

Transcription

Analysis

So What: Miles Davis

All Blues: Cannonball Adderley

Blue In Green: John Coltrane

Freddie Freeloader: Wynton Kelly

Billieís Bounce: Charlie Parker

XIX. EXPANDING HARMONIC VOCABULARY

Introduction

Voice Leading

Harmonic Rhythm

Mixture of Harmonic Colors

Types of Motion

Creating with New Vocabulary

Possible Harmonizations of the Pitch "C"

XX. CODA

Summary

Appendix I: Reference for Chord/Scale Relationships

Chord/Scale Relationships

Scales

Chords with Scale Sources

Scales with Derived Chords

Appendix II: Elaborations of Static Harmony

Elaborations of ii7-V7 progressions

Elaborations of a C Major Chord usually as Tonic (I)

Elaborations of a D Minor Chord as i, vi, or i

Appendix III: Endings

Endings to Blues

Endings to Standard Tunes

Tag Extensions

Ballad Endings

Appendix IV: Composing Tips

Composing Tips

Music Theory Rules

Rewriting

Getting Started

Rewriting by Asking Questions

Contrasts

Consistencies

Compositional Devices for Motivic Development

Listening

Appendix V: Theory Applications

General Concepts

Applied to a Standard Progression