bert ligon outlines 2a
TRANSCRIPT
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PLAYING ON HARMONIC PROGRESSIONS
Identifying Guide tones for Blues in F:
&b c w
F7
wb
B !7w
F7
wb w
B !7wb
B !7
&b w
F7
w w
Gm7
w
C7
w
F7
∑
Creating a simple line that follows the guide tones and uses triadic shapes:
&b œ œ
œ ˙
F7
œœbœ ˙
B !7œœnœ ˙
F7
œœœ ˙ œ
œbœ ˙
B !7œœbœ ˙
B !7
&b œ
œnœ ˙
F7
œœœ ˙ œ
œœ ˙
Gm7
œœœ ˙
C7
œœœ œ œ œ
F7
.˙Œ
Simple melody following guide tones:
&b Œ ‰ j
œ œœ œœ Œ ‰ j
œ œœ œœb
F7
Œ ‰ j
œ œœ œœ
B !7Ó
œ œ œb
F7
&bœ‰ j
œ œœ œœb Œ ‰ j
œ œœ œœb
B !7Œ ‰ j
œ œœ œœn
B !7Óœ œ œb
F7
.˙Œ
&b œ œ œ Œ
Gm7
Œ œ œ j
œ#œ œ
œ
C7 F
∑ ∑
TRIAD SHAPESSimple Rhythmic Style Using Upper Neighbor Tones:
&bbc˙
˙˙
œ
.
.œj
œ œ œ œ ˙
Ó
Upper Neighbor Tones & Phrasing Ideas Upper & Lower Neighbor Tones
&bb
œ œ œ œ œ œ œ œ ˙
Ó
œœn œ œb
œ# œœœn œ
Inversions (Familiar Corporate Logo) Rhythmic Style Using Upper Neighbor Tones:
&bb
˙
˙˙
œ .œ J
œ œ œ œ ˙ Ó
Upper Neighbor Tones & Phrasing Ideas Upper & Lower Neighbor Tones
&bb
œ œb œ
œœ# œœœn œ
œn œ œ
œœ# œ
œœ œ
www.music.sc.edu/ea/Jazz/ — [email protected]
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, chromaticapproaches & neighbor tones. Beginning Improvisors need not address address each chord in theprogression, but learn to construct stylistic eight-measure phrases thinking only of the tonic triad.
&bb
œ œb
↑
˙Ó
B ! G7
‰
↑
j
œ œn
↑
œ œ#œ œ œ
Cm7 F7
↑
œœ Œ Ó
B ! G7
Œ
œ œb
↑
œ
↑
œ œ#
↑
œ
Cm7 F7
&bbÓ Œ ‰
↑
j
œ
B ! B !7œ
↑
œ œ œœbœ œ œ#
E ! C#°7/E
↑
œn
↑
œ œÓ
B !/F G7
‰J
œœ#
↑
œ
↑
œ
↑
œ œœ#
Cm7 F7
↑
.œ J
œ Ó
B !
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, chromaticapproaches & 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.
&bbÓ Œ
œ œb
↑
˙Ó
Cm7
‰
↑
j
œ œn
↑
œ œ#œ œ œ
F7
↑
œœ Œ Ó
B !maj7
Œ
œ œb
↑
œ
↑
œ œ#
↑
œ
E !maj7
&bbÓ Œ ‰
↑
j
œ
Aø7
œ
↑
œ œ œœbœ œ œ#
D7
↑
œn
↑
œ œÓ
Gm7
‰J
œœ#
↑
œ
↑
œ
↑
œ œœ#
↑
.œ J
œ Ó
THREE COMMON MELODIC OUTLINESNo. 1 Simple Rhythmic Style Chromatic Approaches Complex
&
œ œ œ œ
Dm7
œ
G7œ‰J
œ œ œ ‰
J
œ
Dm7
˙ Ó
G7œ œb œ œ œ œ
œ œ#
Dm7
˙ Ó
G7
‰ j
œ
3
œœœœ œœ#œ
Dm7
œœœnœ# œ Œ
G7
No. 2 Simple Rhythmic Style Passing Tones Complex (NTs/Delays)
&œœœœ
Dm7
œ
G7
‰ j
œ
‰j
œœœ ‰
J
œ
Dm7
˙ Ó
G7
œ œœ œœœ ‰
J
œ
Dm7
˙ Ó
G7
œ œ œ# œœ œ œ œ
Dm7
œœœ œ# œ Œ
G7
No. 3 Simple Rhythmic Style Diatonic Elaboration Complex Chromatic Emb.
& œ œœ œ
Dm7
˙
Œ ‰j
œ
G7
Œ‰j
œœ œ
‰j
œ
Dm7
˙
Ó
G7
œœœœœœ œ œ
Dm7
˙
Ó
G7
Ó ‰j
œ œ œ#œœœœ.œ#j
œ
Dm7
œnœ# .˙
G7
music for jazz strings by BERT LIGONwww.music.sc.edu/ea/Jazz/JazzStringsMusic.html
jazz books by BERT LIGONfor more information including tables of contents:
www.music.sc.edu/ea/Jazz/books.html or halleonard.com
CONNECTINGCHORDS with LINEAR
HARMONY/
JAZZ THEORYRESOURCES, VOL. 1
JAZZ THEORYRESOURCES, VOL. 2
COMPREHENSIVETECHNIQUE for JAZZ
MUSICIANS
HL841077 HL30458 HL30459 HL30455