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Jazz Theory Resources - Volume 2
ÀçÁî ÀÌ·Ð ±³º» 2±Ç
Jazz Book

ÃâÆÇ»çHouston Publishing
ÀúÀÚBert Ligon
¾ÆÀÌÅÛ #00030459
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- Contents -

XII. MODES & MODAL FRAMEWORKS
Modes Bright to Dark
Major, Minor or Modal?
 Modal Melodic Examples
When is it Modal & When is it Functional Harmony?
Modal Tunes in Jazz Practice
Chord Symbols & Modes
 Tunes with Modal & Functional Harmony Combinations
 Tunes with Modal Mixture
 Modal Planing
Modal Progressions
Motivic Development
 Compositional Devices for Motivic Development
Motivic Development in Modal Improvisation 322

XIII. QUARTAL HARMONY

XIV. OTHER SCALES & COLORS
 Scales for Jazz Improvisation
Chord/Scale Equivalency
Modes of the Melodic Minor Scale
 Relationship Between 7th & 4th Modes of Melodic Minor
Modes of the Major Scale with ♭6
 Applications of Major Scale with a ♭6 in a Composition
Scales of Limited Transposition
Chord/Scale Relationships Review
Hexatonic Options
Determining the Appropriate Sound
 Chord Symbol & Context
 Melodic Implications & Chord Symbol
Impositions over Traditional Frameworks

XV. EXTENDED TERTIAN STRUCTURES & TRIADIC SUPERIMPOSITION
 Notation Shorthand
Triadic Superimpositions Formulas & Examples

XVI. PENTATONIC APPLICATIONS
Pentatonic Applications
 Pentatonic Superimposition Formulas
 Pentatonic Superimposition Formulas

XVII. COLORING "OUTSIDE" the LINES & BEYOND
Approaches to Coloring Outside the Lines & 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
Billie's 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


 

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