Line Games

Name: Line Games
Brand: Sher Music Co.
Price: 16.49 EUR
Availability: OnlineOnly

Randy Vincent(Autor*in)

Sher Music Co. (Verlag)

1. Auflage

Erschienen am 1. August 2016

156 Seiten

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978-1-4571-2501-0 (ISBN)

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Inhalt

Intro
Introduction
About the Author
Chapter 1 - Basic Hexatonic Scales for Jazz Improvisation
The types of basic hexatonic scales
A system to create hexatonic melodies
Positional hexatonic scale fingerings
Long three-octave fingerboard patterns
Some thoughts on HOW to practice the exercises
Applying the hexatonics to altered V7 chords resolving to I chords
Applying hexatonics to complete II-V-I progressions
Applying hexatonics using the 13susb9 sound and its harmonic implications
Applying hexatonics to II-V-I in minor tonality
Applying hexatonics with cycle motion
Applying hexatonics with descending half-step motion
Applying hexatonics with tritone motion
"Editing" eighth-note lines
Applying hexatonics to II-V-I in three-four time
Applying hexatonics to II-V-I with only two beats per change
Fingering and rhythmic variations
The compatibility of hexatonics with wholetone and diminished scales
A sample chorus on a popular standard demonstrating hexatonics
Chapter 2 - Using Chromatics to Improvise "Inside" Conventional Chords
Chromatics added to hexatonic lines
Using other chromatic notes added to hexatonic lines
Adding chromatic notes to conventional scale patterns
Diatonic triads and seventh chords with added chromatics
Using added chromatic notes on tonic triads
Practicing the chromatically embellished triads
Exercises on chromatically embellished ninth chords
Introducing the "bebop scales"
Bebop dominant scale exercises
Bebop major scale exercises
More forms and keys for the bebop dominant and major scales
Exercises on the bebop melodic minor scale
"Inside" chromatic wrap-up
Chapter 3 - Hexatonics Revisited: Mutually-Exclusive Triad-Pairs
Positional fingerings for the major whole-step pair
Special patterns combining adjacent positions
Long fingerboard patterns for the major whole-step pair
Some lines derived from the major whole-step pair
A brief look at some other triad pairs
Chapter 4 - Four-Note Arpeggios and Pluralities
Table of pluralities
Forms for four-note arpeggios
Alternate fingerings for the long forms
Applying the four-note arpeggio pluralities to a standard chord progression
Chapter 5 - "Loose Ends"
Running arpeggio pattern sequences through a standard chord progression
Using chromatic voice-leading to build long lines
Building lines on "skeleton" melodies
Solo breaks and other ways to start a solo
Thematic development
Epilogue - Introduction to "Cellular" Improvisation
Fast-Moving Dominant Cycles
Other Topics

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