재즈 임프로바이즈와 작곡에 사용되는 아웃라인에 대한 교본입니다.
재즈 거장들이 주어진 코드 진행에서 사용했던 멜로디 라인들의 수백 가지 예들이 설명과 함께 실려있어 코드 진행에 따른 자신만의 임프로바이즈나 작곡 멜로디 라인을 만들기 위한 능력 향상에 도움이 됩니다.


- Contents -

I. INTRODUCTION
Approaches to Improvisation
Approaches to Improvising on the Harmony
Basic Theory
Diatonic Chords and Roman Numerals
Modulations and Secondary dominants
Consonance and Dissonance
Harmonic Rhythm and the Jazz Performance

II. LINEAR HARMONY
Narrowing the note choices from the twelve chromatic pitches available
Creating the Basic Outlines
Outline No.1
Outline No.2
Outline No.3

III. EMBELLISHING DEVICES
Passing Tones
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 Simple Form
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 Simple Form
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 in Simple Form
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
How to Practice the Outlines

X. OUTLINE EXERCISES
1. Learn the Basic Outlines
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 I: Three Etudes on Standard Progressions
 Etude 1. Standard Progression II: “Rhythm Changes”
 Etude 2. Standard Progression III: Are You All the Outlines?
 Etude 3. Standard Progression IV: Outlines by Starlight
Appendix II: Lou Donaldson solo on a standard progression
Appendix III: Tom Harrell solo on a standard progression
Appendix IV: Suggestions for Using Outlines with Jazz Improvisation Classes
 Written Component
 Ear Training
 Technique Drill
 Controlled Improvisation
 Integrated Improvisation
Appendix V: Answers from page 128
Index of Musical Examples by Artist