Jazz theory: contemporary improvisation, transcription and composition
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
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London
First Hill Books
2024
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| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XIX, 785 Seiten Notenbespiele 28 cm |
| ISBN: | 1839989718 1839990635 9781839990632 |
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CONTENTS Preface Acknowledgments Introduction Music Is Math: An Effective Approach to Teaching Jazz Improvisation 1 Advanced Scale Study Section 1) Forms of Dominant Scale 1.1.1. Mixolydian 1.1.2. Lydian Dominant 1.1.3. Melodic Minor Equivalent 1.1.4. Super Locrian 1.1.5. Whole Tone Scale 1.1.5.1. Whole Tone (Scale/Thirds) 1.1.5.2. Augmented Triads (Per Degree) 1.1.5.3. Augmented Triads Weaving Per Degree Section 2) Augmented Scale/Melodic Minor Equivalent 1.2.1. Augmented Scale 1.2.2. Melodic Minor Equivalent Section 3a) Diminished and Inverted Diminished Scales 1.3.1. Diminished Scale/Thirds 1.3.2. Diminished Scale 7th Chords Per Degree 1.3.3. Diminished Scale 7th Chords Weaving Per Degree 1.3.4. Inverted Diminished Scale/Inverted Diminished Scale in Thirds 1.3.5. Inverted Diminished Scale 7th Chords Per Degree 1.3.6. Inverted Diminished Scale 7th Chords Weaving Per Degree 1.3.7. Diminished Scales Ascending and Descending in Half Steps 1.3.8. Inverted Diminished Scales Ascending and Descending in Half Steps 1.3.9. Diminished Scale Ascending/Inverted Diminished Scale Descending 1.3.10. Inverted Diminished Scale Ascending/Diminished Scale Descending 1.3.11. Alternating Diminished Scale and Inverted Diminished ScaleWeaving in Half Steps 1.3.12. Diminished 7th Chord Weaving via Whole Steps 1.3.13. Diminished 7th Chord Weaving via Half-Steps 1.3.14. Graph: Inverted Diminished Exponents Section 3b) Two-In-Qne 1.3.15. Major 7 Disparities in the “Two-in-One” 1.3.16. Two-in-One 1.3.17. Two-in-One via Major 7th 1.3.18. Two-in-One via Ascending Minor 3rds 1.3.19. Double Diminished
xi xiii XV xvii 1 1 1 7 7 18 24 24 24 30 33 33 33 39 39 42 45 48 51 54 57 58 59 59 62 65 67 68 69 69 70 72 73 74
JAZZ THEORY VI Chord Scale Solutions 24. Chord Syllabus 2.2. Chord Scale Solutions 2.3. Chord Scale Solutions 2.4. Chord Scale Solutions 2.5. Chord Seale Solutions 2 for lotiian/Dorian/I’hrygian ibr Major Lydian for Maj7 »‘5 in Dominant 2.5.1. Mixolydian 2.5.2. Lydian Dominant 2.5.3. Whole lone 2.5.4. Inverted Diminished 2.5.5. Superlocrian 2.6. Chord Scale Solutions for Aeolian 2.7. Chord Scale Solutions for Minor 6th/Minor (Ma7th) 2.8. Melodic Minor Equivalents 2.9. Chord Scale Solutions in Half-Diminished 7th 2.9.1. Locrian 2.9.2. Melodic Minor 2.9.3. Harmonic Minor 2.9.4. Diminished (Whole Tone) 2.9.5. Harmonic Major 2.10. Chord Scale Solutions for Fully Diminished 7th 2.10.1. Graph: Correlation via 2-5-1 Alternate Solutions in Dominant 3.1. The X-Configuration 3.1.1. The X-Configuration, Dorian-V7 (Solution A) 3.1.2. The X-Configuration, V7-Lydian, Super Locrian (Solution B) 3.1.3. The X-Configuration (Solution C) 3.1.4. The X-Configuration, Locrian V7 (Solution D) 3.1.5. Graph: Augmented Conversions via 2-5-1 with Tritone Subs and Melodic Minor Equivalents 3.2. Alternate Solutions in Dominant 3.2.1. Major Pentatonic TritoneSub 3.2.2. V7 Tritone Sub Parent Scale 3.2.3. V7 Locrian 3 4 The ii-V Progression and Tritone Substitution Section 1) The ii-V 4.1.1. ii-V Patterns 4.1.2. Inner Motion of ii-V 4.1.3. False ii-V 4.1.4. Tritone ii-V 4.1.4.1. Semi-Tri-Tonal Relationship in Dorian 4.1.4.2. Semi-Tri-Tonal Relationship in Dominant 4.1.4.3. Tritone ii-V (Linear/Vertical) 4.1.4.4. Graph: 2-5-1 and Substitutions Section 2) 1625, 3625, and 2536 4.2.1. 1625, 3625, and 2536
Tier 1: No Alterations Tier 2: 7b9 Tier 3: Altered 4.2.2. 2536, 3625 with Tritone Sub 4.2.2.1. 2536, Ascending 4.2.2.2. 2536 with TritoneSub, Ascending 75 75 87 89 90 91 92 92 92 92 92 97 98 99 100 199 100 100 100 100 106 197 109 109 199 109 199 HO Hl 112 112 112 112 115 115 115 121 129 131 133 133 133 134 135 135 135 135 136 153 153 153
CONTENTS 4.2.2.3. 2536, Ascending Retrograde 4.2.2.4. 2536 with Tritone Sub, Ascending Retrograde 4.2.2.5. 2536, Retrograde 4.2.2.6. 2536 with Tritone Sub, Retrograde 4.2.2.7. 3625, Ascending 4.2.2.8. 3625 with Tritone Sub, Ascending 4.2.2.9. 3625, Ascending Retrograde 4.2.2.10. 3625 with Tritone Sub, Ascending Retrograde 4.2.2.11. 3625, Retrograde 4.2.2.12. 3625 with Tritone Sub, Retrograde 4.2.3. 2536, 3625 with Tritone Sub Compressed 4.2.3.1. 2536 Compressed, Ascending 4.2.3.2. 2536 Compressed with Tritone Sub, Ascending 4.2.3.3. 2536 Compressed, Ascending Retrograde 4.2.3.4. 2536 Compressed with Tritone Sub, Ascending Retrograde 4.2.3.5. 2536 Compressed, Retrograde 4.2.3.6. 2536 Compressed with Tritone Sub, Retrograde 4.2.3.7. 3625 Compressed, Ascending 4.2.3.8. 3625 Compressed with Tritone Sub, Ascending 4.2.3.9. 3625 Compressed, Ascending Retrograde 4.2.3.10. 3625 Compressed with Tritone Sub, Ascending Retrograde 4.2.3.11. 3625 Compressed, Retrograde 4.2.3.12. 3625 Compressed with Tritone Sub, Retrograde Section 3) Rhythm Changes and Progression Substitutions 4.3.1. Rhythm Changes and Progression Substitutions 4.3.1.1. Tier 1: 7b9 4.З.1.2. Tier 2: 7b9#ll#9 4.3.1.3. Tier 3: V7alt 4.3.2. Monk’s Rhythm Changes (A Sections) 4.3.3. Sideslipping (Authentic and Plagal) 4.3.4. Rhythm Changes: В Section Variations (Partial) 4.3.5. Graph: Cross Median Progressions Section 3a) Blues Progression Table Section 4) Coltrane 4.4.1. Trane’s Substitution on Blues with Extensions 4.4.2. Trane’s Blues Turnaround 4.4.3. Coltrane’s Extended ii-VT 4.4.3.1. Countdown ii-V w/Countdown
Extended I (a) 4.4.3.2. Giant Steps ii-V w/ Countdown Extended I (b) 4.4.4. Giant Steps in Relative Minor 4.4.5. Linear Construction via Coltrane’s Modified ii-V and Extended Resolution to I 4.4.5.1. Countdown ii-V-I 4.4.5.2. Giant Steps ii-V-I 4.4.5.3. Giant Steps ii-V-I (Extended) 4.4.5.4. Countdown Extended I (a) 4.4.5.5. Countdown Extended I (b) Section 5) Quartal/Quintal Chords 4.5.1. Quartal Voicings - Dorian 4.5.2. Quartal Voicings - Lydian Inversions 4.5.3. Quartal Voicings - Dominant 4.5.4. Quartal Voicings - Lydian Dominant 4.5.5. Chromatic Planing - Dorian vii 154 154 154 154 155 155 156 156 156 156 201 201 201 202 202 202 202 203 203 204 204 204 204 205 206 206 210 214 218 219 221 222 223 223 223 223 224 224 225 226 227 227 227 228 228 229 230 230 232 234 236 238
JAZZ THEORY 238 238 238 239 239 239 239 239 243 4.5.6. Whole 'Ione Planing A Love Supreme. 4.5.6.1. Whole Tone Planing Minor, System 1/2 4.5.G.2. Whole Tone Planing Minor, System 2/2 4.5.7. Quartal ii-V 4.5.7.1. Quartal ii-V Root Position 4.5.7.2. Quartal ii-V 1st Inversion 4.5.7.3. Quartal ii-V 2nd Inversion (a) 4.5.7.4. Quartal ii-V 2nd Inversion (b) 4.5.8. Graph: Minor Quartile Modulation Grid 245 Transcriptions (Chronological) Artist Bud Powell Thelonious Monk Clifford Brown Duke Ellington Thelonious Monk Thelonious Monk John Coltrane John Coltrane John Coltrane John Coltrane John Coltrane Thelonious Monk John Coltrane Thelonious Monk John Coltrane John Coltrane Thelonious Monk John Coltrane Thelonious Monk John Coltrane John Coltrane John Coltrane John Coltrane John Coltrane John Coltrane John Coltrane Thelonious Monk Thelonious Monk John Coltrane Thelonious Monk Thelonious Monk Thelonious Monk Wynton Marsalis Aaron Goldberg Ron Westray Title Polka Dots and Aloonbeams I York Untitled Blues Such Sweet Thunder (Excerpt) Well You Needn’t Crépuscule with Nellie Evidence Nutty Billie’s Bounce Black Pearls Sweet Sapphire Blues Light Blue IfI Were a Bell Reflections On Green Dolphin Street Walkin’ San Francisco Holiday Take the Coltrane Bright Mississippi Autumn Leaves I Want to Talk About You (Birdland ver.) Autumn Serenade Lush Life They Say It’s Wonderful Dear Old Stockholm I Want to Talk About You (Stockholm ver.) Oska T Brake’s Sake Crescent Evidence We See ‘Round Midnight (Intro) Blue Interlude Mao’s Blues The Only Thing That’s Wanting (Excerpt) 6 Alternative Systems
6.1. Triple Augmented 6.1.1. Triple Augmented in Major, Descending 6.1.2. Triple Augmented in Major, Ascending 6.1.3. Triple Augmented in Lydian, Descending Date May 15, 1953 September 22, 1954 May 29, 1956 April 24, 1957 June 26, 1957 June 26, 1957 November 29, 1957 November 29, 1957 December 13, 1957 May 23, 1958 May 23, 1958 August 7, 1958 September 9, 1958 October 22, 1959 March 22, 1960 March 22, 1960 April 29, 1960 September 26, 1962 November 1, 1962 November 28, 1962 January 1,1963 March 7, 1963 March 7, 1963 March 7, 1963 April 23, 1963 October 22, 1963 December 30, 1963 February 10, 1964 June 1, 1964 October 31, 1964 January 10, 1967 November 19, 1968 May 19, 1992 February 2-3, 2000 May 2-5, 2005 245 251 253 263 264 267 269 274 278 283 292 304 305 312 314 324 335 337 343 349 359 365 368 370 373 380 387 388 392 400 403 406 407 410 419 4-21 42] 422 424 426
CONTENTS 6.2. 6.3. 6.4. 6.5. 6.1.4. Triple Augmented in Lydian, Ascending 6.1.5. Triple Augmented in Dominant, Descending 6.1.6. Triple Augmented in Dominant, Ascending 6.1.7. Triple Augmented in Minor, Descending 6.1.8. Triple Augmented in Minor, Ascending 6.1.9. Triple Augmented Through Common ii-V-I, Descending 6.1.10. Triple Augmented Through Common ii-V-I, Ascending 6.1.11. Triple Augmented Through Common ii-V Resolving to Minor i 6.1.12. Major Triple Augmented to Minor Triple Augmented 6.1.13. Triple Augmented Through Minor ii-V-i 6.1.14. Triple Augmented Through Common ii-V-I, Additional Motif 6.1.15. Graph: Key Orbits The Root Progression System (R.RS.) 6.2.1. “Spy Boy” (Traditional) 6.2.2. lonian/Augmented 6.2.2.1 Aeolian 6.2.3. Major Augmented/Minor Equivalent 6.2.4. Dorian 6.2.5. Major Lydian 6.2.6. Mixolydian 6.2.7. Dominant Bebop 6.2.8. Major 6 Diminished 6.2.9. Whole Tone 6.2.10. lonian/Aeolian 6.2.11. Harmonic Minor 6.2.12. Blues Scale Modulation Grid 6.3.1. One Note Down a Half Step 6.3.2. One Note Up a Half Step Super-Dominant (Chord) 6.4.1. Ten-Note Voicing 6.4.2. Eleven-Note Voicing 6.4.3. Two-Base Bitonality 6.5.1. Conventional Bitonality in Major 6.5.2. Conventional Bitonality in Minor ix 428 430 432 434 436 437 443 449 451 453 455 457 458 461 463 471 479 487 495 503 511 519 527 535 543 551 559 559 559 560 560 560 560 561 561 561 7 Polymorphic Root System 7.1. System 1 (Prototype) 7.2. System 2 (The Double) 7.3. Variation 1 7.4. Variation 2 7.5. Variation 3 7.6. Variation 4 7.7. Variation 5 573 576 576 577 578 579 580 581 8 Composition and Arranging
8.1. McGill Paper (with compositions) 8.2. McGill Theory Report (with bibliography) 8.3. Profs. Miscellaneous Tips (The In Between) 8.4. Appendix: Bb Transpositions (Select Transcriptions) 583 585 633 657 658 Afterword 787 |
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