Beruflich Dokumente
Kultur Dokumente
B !7 B !7 B !7
F7
w w
bw w
B !7
F7
w w
Gm7
bw w
C7 F7
w w
bw
B !7
Creating a simple line that follows the guide tones and uses triadic shapes:
F7
b
F7
n
F7
C7 B !7
b
F7
B !7
b
F7
n
F7
Gm7
j j b
Gm7
B !7
j b
j b
C7
B !7
j . . j n
F7
b .
j n
F
j #
b # n #
. J n
# n
www.music.sc.edu/ea/Jazz/ BLigon@mozart.sc.edu
Tonic Triad Generalization* used over A section of Rhythm Changes: *Tones of the tonic triad (Bb-D-F) are targeted. Tones are elaborated using passing tones, chromatic approaches & neighbor tones. Beginning Improvisors need not address address each chord in the progression, but learn to construct stylistic eight-measure phrases thinking only of the tonic triad.
& &
bb bb
B!
B !7
B!
E!
G7
b #
C #7/E
j n #
Cm7 F7
B!
B !/F
G7
b #
Cm7 F7 B!
G7
# J
Cm7 F7
Tonic Triad Generalization* used over A section of Autumn Changes: *Tones of the tonic triad (Bb-D-F) are targeted. Tones are elaborated using passing tones, chromatic approaches & neighbor tones. Beginning Improvisors need not address each chord in the progression, but learn to construct stylistic eight-measure phrases thinking only of the tonic triad.
b &b b &b
Cm7
j n #
F7
B !maj7
E !maj7
b #
A7
j b # n
D7 Gm7
J # #
THREE COMMON MELODIC OUTLINES No. 1 Simple Rhythmic Style Chromatic Approaches
&
Dm7
G7
J J
Dm7
G7
b
Dm7
Complex
Dm7 3
G7
j # n #
G7
No. 2 Simple
Rhythmic Style
G7 Dm7
&
Dm7
j j J
G7
Passing Tones
Complex (NTs/Delays)
G7
G7
Dm7
J
G7
# #
Dm7 G7
No. 3 Simple
Dm7
j j j &
G7 Dm7
Rhythmic Style
Diatonic Elaboration
Dm7
j # # . j n # .
Dm7 G7
music for jazz strings by BERT LIGON www.music.sc.edu/ea/Jazz/JazzStringsMusic.html jazz books by BERT LIGON for more information including tables of contents: www.music.sc.edu/ea/Jazz/books.html or halleonard.com CONNECTING CHORDS with LINEAR HARMONY/ HL841077 JAZZ THEORY RESOURCES, VOL. 1 HL30458 JAZZ THEORY RESOURCES, VOL. 2 HL30459 COMPREHENSIVE TECHNIQUE for JAZZ MUSICIANS HL30455
www.music.sc.edu/ea/Jazz/ BLigon@mozart.sc.edu