Line Games
1st Edition
Published on 1. August 2016
156 pages
978-1-4571-2501-0 (ISBN)
Description
Line Games is an organized series of practical studies for the development of single-note guitar technique and jazz vocabulary simultaneously.
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Bob Sinicrope
Walking Bass Line Construction: Bb Blues
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10/2024
Sher Music Co ,U.S.
€47.52
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Content
- 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
