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Jazz Improvisation - The Goal Note Method
Shelton Berg
Back
to...Advanced Concepts
| |
Item# JAC017 Bk & CD: $ 59.95 |
Playjazz
866 528 9224 Help/Info |
This is a most serious 245 page book and CD covering a wealth of information on Jazz Improvisation
Table of Contents
Section 1: Introduction
Chapter 1: General Style
Be-Bop, Melodic Construction, Swing Eighth Notes, Licks, Time, Off-beat Starts and Endings
Chapter 2: The Goal Note Method
Consonance, Formula, Functional Harmony, Changes
Chapter 3: Practice Techniques
Practice Sheet Method, Practicing Inversions, Two Chords per Measure, Smooth Arpeggiation
Section 2: Primary Chord Types
Chapter 4: Major Seventh (Ninth) Chords
Construction, Tonic and Subdominant Function, Major 6(9) Chords, Consonance, Grace Notes and Mordents
Tune: Majority
Chapter 5: Dominant Seventh (Ninth) Chords
Construction, Dominant Function, Bluesy Sonorities, Resolution, Tendency and Leading Tones, Consonance, Blue Notes and Blues Scale, Pentatonic/Blues Scale, Head
Tune: Dominant Functions
Chapter 6: Minor Seventh (Ninth) Chords
Supertonic Function, Mediant and Submediant Function, Combined Scale / Arpeggio, Sequence, Chorus
Tune: Minor Difficulties
Chapter 7: The 12-Bar Blues
Form, Improvisation, Chromatic Passing to Dominant 7th, Be-Bop Dominant Scale, Triplet Arpeggio, Using Licks
Tune: Little "I" Blues
Chapter 8: Auxiliary Tones and Chromaticism
Auxiliary Tones, Chromatic Passing Tones
Tlne: Mellotones
Chapter 9: Turnaround Progression Improvisation
Combined Scale/ Arpeggio Turnaround Line, II-V Turnarounds, Passing Minor #7, 32-Bar (Standard) Song Form
Tune: Catch A Caboose
Section 3: Chromatic Harmony
Chapter 10: Turnaround ti IV Improvisation
Chromatic Passing, Smooth Arpeggiation
Tune: Lacey Lady
Chaper 11: Turnarounds to Minor Tonics,
Tonic Minor, Minor #7 Chord, Minor 6(9) Chord, Half-diminished Chords, Altered Dominant Ninth Chords, Resolution, Smooth Arpeggiation, 3rd to Flat 9th Lines, The Turnback Progression
Tune: Get Out The Rake
Tune: You Again
Chapter 12: Turnarounds to II and VI in Major Keys
Turnaround to Supertonic (II), Turnaround to Submediant (VI), Finding the Chromatics, The Altered Dominant Chord, Smooth Arpeggiation, The Altered Dominant Cell, Altered Dominant Lick, Solo Break
Tune: Grapes and Flowers
Chapter 13: Diminished Seventh Chords and Scales
Construction / Symmetry , Dominant Function, Embellishing, IV -I Idiom, Diminished (Octatonic) Scale, Using Diminished Chords with Dominant 7ths, Lines Based on the Diminished Scale
Tune: Parts of You
Chapter 14: "Rhythm" Changes "Rhythm" Changes
The " A" Section, Descending Melodic Gesture, Diminished 7th Chord Substitution, IV-I Idiom, The Bridge, II-Chord Substitution
Tune: Rhythm Changes
Section 4: Advanced Principles
Chapter 15: Tritone Substitutions
Tritone Substitution, Substitute Dominant, Passing Chords, Second Ending Progressions, Plagal Cadence, Deceptive Resolution
Chapter 16: Progressions from I to VI
Progressions from I to VI, Tag Endings
Tune: Paradoxy
Tune: Tingle
Chapter 17: Harmony in Major Keys Turnarounds to III and V, Turnarounds to Chromatically Altered Chords and Modal Borrowing, The Step-Down Progression Diatonic Circle of Fifths, Modulation
Tune: Steps and Circles
Chapter 18: Harmony in Minor
Keys Turnarounds to Diatonic Chords, Interchange with Relative Major, Turnback Progression in Minor, The Ground Bass Pattern, The "Whisper Not" Progression, Plagal Cadence, 12-Bar Blues in Minor (Minor Blues)
Tune: Mr. Funk
Chapter 19: Blues Revisited Blues Progressions
Cycle or Circle Blues
Tune: Lots More Blues
Tune: Cycles
Chapter 20: Substitute Harmonic Idioms
Turnaround Up a Half Step, Tritone Substituted ("Bill Evans") Turnaround, Auxiliary Chords, The "Coltrane" Turnback
Chapter 21: Poly harmony
Poly harmony, Major Ninth Chords, Minor Ninth Chords, Half-D.iminished Chords, Dominant Chords, The Diminished Domain, Pentatonic Scale, II Dominant Idioms
Tune: Song for a Chick
Tune: Watch It
Chapter 22: Modal Jazz and Quartal Jazz
Diatonic Modes, Modal Jazz, Quartal Jazz, Suspended Chords
Tune: Modal Magic
Chapter 23: Outside Playing
Outside Playing, All-Purpose Licks, Polyrhythms, Slash Chords, Improvisation to Non- Traditional Progressions
Tune: Far Out
Section 5: Appendices
Appendix 1: Transposed Tunes
Appendix 2: Sample Solos
Appendix 3: Circle of Fifths
Appendix 4: Scale Preferences
IAppendix 5: Formula Recap
Appendix 6: Turnaround Lines
Appendix 7: Glossary
About the Author
