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COMPREHENSIVE TECHNIQUE for JAZZ MUSICIANS

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VIEW TABLE OF CONTENTS
COMPREHENSIVE TECHNIQUE for JAZZ MUSICIANS

By Bert Ligon

  • Anthology of Technical, Compositional & Exercises
  • Anthology of Musical Examples

An incredible presentation of the most practical exercises an aspiring jazz student could want. All are logically interwoven with fine 'real world' examples from jazz to classical. This book is an essential anthology of technical, compositional and theoretical exercises, with lots of musical examples.

COMPREHENSIVE TECHNIQUE for JAZZ MUSICIANS
# HL 30455
ISBN: 0634001760
UPC: 73999304550

is available from Houston Publishing, distributed by Hal Leonard, Inc.

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.

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CONTENTS

INTRODUCTION

Technique
Book Format
Improvisation

I. BASIC EXERCISES

Routine
Tips for Practice
Practicing by Limiting
Practice in all Twelve Keys
Scales for Improvisation
Scale Practice
Arpeggio & Broken Chord Practice
Other Melodic Scale & Arpeggio Patterns
Patterns with 3rds
Patterns with Neighbor Tones
Cyclical Quadruplets
Diatonic Chords
Diatonic Seventh Chords
Chromatic Embellishment
Diatonic Triads with Lower Neighbor Tone Embellishment
Neighbor Tones Applied to Arpeggios & Broken Chords
Upper Neighbor Tones
Lower Neighbor Tones
Combining Upper & Lower Neighbor Tones on Arpeggio & Broken Chord Exercises
Encircling Chord Tones with Upper & Lower Neighbor Tones
Scales Preceded with Upper & Lower Neighbor Tone Encircling
Common Chromatic Approach

II. 7th & 9th CHORD ARPEGGIOS

Seventh Chords
Ninth Chords
Arpeggios preceded with Upper & Lower Neighbor Tone Encircling

III. TRIADS & GENERALIZATION

Pitch Hierarchy
Basic Elaborations of Triads
F Major Triad
F Minor Triad
Triad Motive Developed
Triadic Elaboration
Logo Variations
Triadic Generalization
Triadic Musical Examples
Application of Triadic Generalization
Broken Chord Exercises
Blues Lines
Blues Scale Musical Examples
Major Blues Scale
Minor Blues Scale
Combination of Major & Minor Blues Scales
General Blues Exercises

IV. MELODIC MINOR SCALE EXERCISES

Melodic Minor Scales & Modes
Seventh Mode: Superlocrian
#9-b9-R-7 Pattern
Minor 1-2-3-5 Pattern
Major 1-2-3-5 Pattern
Combination of 1-2-3-5 Patterns
Half-diminished 7th Arpeggios over Altered Dominant 7ths
Lydian Dominant
Lydian Augmented
Locrian #2
Combination of Modes
Melodic Minor Exercises
Arpeggio Patterns from Melodic Minor
1-2-3-5 & 1-2-3-4-5 Patterns from Melodic Minor
1-2-3-5 Pattern Variations
Triads
Tritone Substitution & Melodic Minor Chords
Relationship of Altered Dominants, Lydian Dominants & Melodic Minor Scales
Secondary Dominants & Tritone Substitution

V. DIMINISHED SCALE EXERCISES

Whole-Half Diminished Scales
Half-Whole Diminished Scales
Diminished Scale Musical Examples
Diminished Scales Exercises
Diminished Scale Lines over Traditional Harmony

VI. MOTIVIC & PENTATONIC PATTERNS

C Major Pentatonic & its Relative A Minor Pentatonic
C Major Pentatonic & its Parallel C Minor Pentatonic
Basic Pentatonic Exercises
Diatonic Triads of the Major Pentatonic Scale
Diatonic Triads of the Major Pentatonic Scale in All Inversions
Superimposition Formulas
Side-Slipping & Planing
Quartal Sounds
Exercises for Planing & Side-Slipping
Three Note Melodic Motives
Four Note Melodic Motives
Five Note Melodic Motives
Pentatonic Applications over Traditional Harmony
Motivic Development 160
Motivic & Compositional Development Devices

VII. 1-2-3-5 PATTERNS

Major 1-2-3-5 & Minor 1-2-3-5 Patterns
Exercises
Application to individual Chords
Exercises
1-2-3-5 Exercises Applied to Harmonic Progressions
1-2-3-5 Patterns in Cadences to Major
1-2-3-5 Patterns in Cadences to Minor
1-2-3-5 Patterns over Turnarounds
Exploring Mathematical Possibilities
1-2-3-5 Patterns Applied to Standard Jazz Compositions
1-2-3-5 Patterns Against the Harmony

VIII. TRIADIC SUPERIMPOSITION

Superimposition of Major Triads over Major 7th Chords
Superimposition of Major Triads over Minor 7th Chords
Superimposition of Major Triads over Dominant 7th Chords
Superimposition of Minor Triads over Dominant 7th Chords
Superimposition of Major Triads over Half & Fully Diminished 7th Chords
Triad Super Imposition Exercises
Triad Superimposition Applied
More Exercises

IX. LINEAR IMPLICATIONS OF HARMONY

Compound Melodies

X. EXTENSIONS & CONNECTIONS

Extended Tertian Exercises

XI. AUGMENTED SCALE EXERCISES

Augmented Scale Exercises

XII. QUARTAL EXERCISES

Extended Quartal Arpeggios from D minor/F major Pentatonic
Extended Quartal Arpeggios from F Kumoi Pentatonic
Extended Quartal Arpeggios Applied to Harmonic Progression in Major
Extended Quartal Arpeggios Applied to Harmonic Progression in Minor

XIII. DOMINANT CHORD CYCLES

XIV. DEVELOPING JAZZ EXERCISES

XV. OUTLINE EXERCISES

Outlines over ii7 - V7 in Major
Outlines over iių7 - V7 in Minor
Outline Exercises
Outlines over Key Center Cycle
Outlines in Combinations
Common Chromatic Approaches
Outlines over Longer Progressions
More ii7 - V7 - I & iių7 - V7 - i Exercises
Developing & Practicing Outline Exercises
How to Learn Exercise 15.114 in All Major Keys
Exercises with Quicker Harmonic Rhythm
Outlines in Combinations Elaborated
Excerpts from Solo Transcription

XVI. APPLICATIONS & ETUDES

Agendas
Application of Several Concepts over One Progression
Etudes on Standard Progressions
Etude No.1
Etude No.2

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For more information e-mail Bert Ligon at
bligon@mozart.sc.edu

Phone: 803.777.6565/803.777.4280

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