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PLAYING ON HARMONIC PROGRESSIONS Identifying Guide tones for Blues in F:

B !7 B !7 B !7

& b c & b & b & b & b & b & b


F7

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

Simple melody following guide tones:

j j b
Gm7

B !7

j b

j b
C7

B !7

j . . j n
F7

b .

j n
F

j #

TRIAD SHAPES Simple

Rhythmic Style Using Upper Neighbor Tones:

b & b c b & b b & b b & b

Upper Neighbor Tones & Phrasing Ideas

Upper & Lower Neighbor Tones

Inversions (Familiar Corporate Logo)

b # n #

Rhythmic Style Using Upper Neighbor Tones:

. J n

Upper Neighbor Tones & Phrasing Ideas

Upper & Lower Neighbor Tones

# 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

Complex Chromatic Emb.

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