FOR ALL INSTRUMENTS. Comprehensive Technique for Jazz Musicians by Bert LigonINTRODUCTION. Technique vi Book Format os vil Improvisation. ~ vil BASIC EXERCISES. Routine Tips for Practice Practicing by Limiting, Practice in all Twelve Keys. Scales for Improvisation Scale Practice. Arpeggio & Broken Chord Practice Other Melodic Scale & Arpeggio Patterns Patterns with 31d8.nnm Pattems with Neighbor Tones Cyclical Quacruplets Diatonie Chords Diatonie Seventh Chords. Chromatic: Embellishment Diatonic Triads with Lower Neighbor Tone Embellishment Neighbor Tones Applied to Arpeggios & Broken Chords. Upper Neighbor Tones Lower Neighbor Tones Combining Upper & Lower Neighbor Tones on Arpeggio & Broken Chord Bxercises, sa . Encircling Chord Tones with Upper & Lower Neighbor Tones Scales Preceded with Upper & Lower Neighbor Tone Encircling Common Chromatic Appreach. 7th & 9th CHORD ARPEGGIOS. Seventh Chords Ninth Chords. Arpeggios preceded with Upper & Lower Neighbor Tone Encircling. Ill, TRIADS & GENERALIZATION . Pitch Hierarchy Basic Elaborations of Triads FF Major Trad. F Minor Tr fe Developed us ‘Triad MoContent: J “riadic Elaboration. - 7 Logo Variations... vn . 62 TTriadic Generalization... Sn . 63 Triadic Musical Examples 68 Application of Tadic Generalization 66 Broken Chord Exercises 7 BIUES LN. se : 70 Blues Scale Musical Examples. . seven Major Bines Scale. | Minor Blues Scale co svn ‘Combination of Major & Minor Blues Scales... . 72 General Blues Exercises. cn 3 IV. MELODIC MINOR SCALE EXERCISES...+...ccccsssssssseseeseessennes Melodic Minor Scales & Modes. . 7 Seventh Mode: Superloctan... Sac icra 79 #92987 Pate... sesereinreraacmainoaaTaTD Minor 123-5 Pattem. os 80 Major 1-2-35 Pater. 81 Combination of 1-2:3-5 Patterns. ao 97 Arpeggios over Altered Dominant 7ths. 82 Lydian Dominant... “ eee 83 lyn Agent 84 = : BS Combination of Modes. . sa. Melodic Minor Exercises... 87 ‘Arpengio Patterns from Melodic Minor. 87 1-235 & 1-23-45 Pattems from Melodic Minor. 1 41-23-5 Pattem Variations s 95 Thad... israel Tritone Substitution & Melodic Minor Chords "100 Relationship of Altered Dominants, Lydian Dominants & Melodic Minor Scales : < 101 Secondary Dominants & Tritone Substitution 101 V. DIMINISHED SCALE EXERCISES......c..cs.cssccsseeceeseees sarmamareeerces 109 Whole-Half Diminished Seales... se ceemaees 0D Half-Whole Diminished Scales... 7109 Diminished Scale Musical Examples. . coe Diminished Scales Exercises... 116 Diminished Scale Lines over Traditional Harmony sensu 130 VI. MOTIVIC & PENTATONIC PATTERNS... 135 C Major Pentatonic & its Relative A Minor Pentatonie we mnsvmnrnnnn 133 C Major Pentatonic & its Parallel C Minor Pentatoni. 135 Basic Pentatonie Exercises aa 136 Diatonic Triads ofthe Major Pentatonic Scale 137 Diatonic Triads of the Major Pentatonic Scale in All Inversions.. 138 Superimpostion Formulas vi Side Sipping & Planing... nnn a2 Quarta Sounds. . can Exercises for Planing & Sie Sipping... 17 Three Note Melodic Motives. : : . 17 Four Note Melodie Motives. cone 48 Fe Note Melodic Motives. - 157 Pentatonic Applications over Traditional Harmony 158 << tomiprebensice Tecnigque jor Jaxx MascaraISEN 0 v___ Content vu. vill. xi xu. xi, xiv. ts Motivic Development. ‘Motivic & Compositional Development Devices... 1-2-3-5 PATTERNS... Major 1-2-5 & Minor 1-2-3-5 Patterns. = EX€LCIS€8 nnn svn jon t0 individual Chords nowosoersonneonoe -5 Exercises Applied to Harmonic Progressions, 1-2-35 Pattems in Caclences to Major. Exploring Mathernatical Possibilities. . 1-2-5 Patterns Applied to Standard Jazz Compositions... an 1-2:3-5 Patterns Against the Harmony. = TRIADIC SUPERIMPOSITION. Superimposition of Major Triads over Major 7th Chords Superimposition of Major Triads over Minor 7th Chords, Superimposition of Major Triads over Dominant 7th Chords... Superimposition of Minor Triads over Dominant 7th Chords a. Superimposition of Major Triads over Half & Fully Diminished 7th Chords ‘Triad Supesimposition Exercises. ‘Triad Superimposition Applied. More Exercises. LINEAR IMPLICATIONS OF HARMONY .. Compound Melodies... EXTENSIONS & CONNECTIONS ....+.+ Extended Tertian Exercises. ee AUGMENTED SCALE EXERCISES....-sssssseseessssees Augmented Scale Exercises 7 QUARTAL EXERCISES. Extended Quartal Arpeggios from D minor/F major Pentatonic. Extended Quartal Arpeagios from F Kumoi Pentatonic. Extended Quartal Arpeggios Applied to Harmonic Progression in Major Extended Quartal Arpeggios Applied to Harmonic Progression in Minor DOMINANT CHORD CYCLES...... DEVELOPING JAZZ EXERCISES .........Contents XV. OUTLINE EXERCISES... Outlines over ii7 - V7 in Major a 239 Oulines over io? - V7 in Minor 240 Outline Exercises svn - 242 ‘Outlines over Key Center Cycle... S 242 ‘Ontines in Combinations. 249 ‘Common Chromatic Approaches. 5 251 ‘Outlines over Longer Progressions : sneered More if? - V7 - 18 tio? - V7 i Exercises... 266 Developing & Practicing Outline EXe168e8. oss 275 How to Leam Exercise 15.114 in All Major Keys. 2 Exercises with Quicker Harmonic Rhythm. 280 Outlines in Combinations Elaborated, 283 Excerpts from Solo Transcription 284 XVI. APPLICATIONS & ETUDES.. 287 Agendas, — 287 Application of Several Concepts over One Progression. 288, Etudes on Standard Progressions asicnssnnsnnn 298 Etude NOL eevnrnnnansnnnnnnnonnnnnn - sens 299 Brude No, nn 301 Blues Fuudes, . on nn 303 Blues Etude NOV senses coe an 303, Blues Etude NO.2 evnnnn - ene BOA Blues Etude N03 mo - sae 307 Blues Etude NO vnc 308 Blues Ftude No.5 nn von 309 Blues Etude No.6 - “ 310 Blues Etude No.7 - - 311 More Eudes on Sanda Progresions “ 312 Etude No3... seven LZ nude Nod... BAS Etude NoS. ve YP Etude NoG.nnnwnnnnnnnnnnn SIT319INTRODUCTION TECHNIQUE Part of a musician's development is the building of technique S2=NGee He See aesica! icleas. For each instrument the list of obstacles is different and the all scale practice. 1.17 With Lower Neighbor Tone (LNT) Embellishment ascending, UNT descending syererre Tamibvebensine Tecbrigue Jor Jaze MusicBasic Exercises CYCLICAL QUADRUPLETS (One way to embellish a single note is to play the note, move away and back to that same note: common pattern that follows this concept involves the primary note and two other notes that r the primary note. This pattern has four varieties and is has been called a Cyclical Quadrupl Cyclical because it cycles back to the first pitch; quadruplet because it is a four note pattern. patterns below all have C as the primary pitch. CQ pattern no.2 is the retrograde, no.3 is the i and no.4 is the retrograde inversion of CQ pattern no. QNol 6Q.No2 QNo3 6Q Nod 0 ioe o Here are some examples of CQ patterns from jazz improvisations by Charlie Patker, Art Cannonball Adderley, Sonny Stitt, and Herbie Hancock. Charlie Parker used all four CQ pal these two examples. The first includes CQ pattems no.2 & 3; the second, patterns 1 & 4 Dm? o7 cma? m7 7 to a SS het Ea a bere te oo a CQ pattern no.1 2 CQ patiern 10.4 F Dm? ————= CQ pattern no.l Gm7 & =P oChapter 1 asic: Exercis Here are some basic CQ exercises to add to scale routines. 1.22 Cyclical Quadruplet Version No.1 (CQ) 1.23 CQ Version No.2 1.24 CQ Version No.3 1.25 CQ Version No.4 14Chapter 1 Basic Exercises CQ pattems can be applied to arpeggios as they were applied to scales as shown in this Cannonball Adderley improvisation. Adderley used CQ pattern no.1 in the first meas pattern no.4 in the last two measures outlining a chord. CQ patterns no.1 and 10.4 Here are some basic CQ exercises to add to arpeggio routines. These four exerscises are s toa major 9 chord. Practice these patterns applied to minor 9, dominant 9, and other arpe 1.26 CQ Version No.1 applied to C major 9 arpeggio 1.27 CQ Version No.2 applied to C major 9 arpeggio 1.28 CQ Version No.3 applied to C major 9 arpeggioChapter 1 Basic Exercises 13 DIATONIC CHORDS In addition to practicing arpeggios individually, practice arpeggios related to each key center. Triads, seventh and ninth chords can be built on every scale degree of any scale, and often appear in composi- tions and improvisations. Here are two short examples from Tom Harrell and Dexter Gordon, Diatonic triads E D7 Gm? C7 Am 2 5 a F o Diatonic triads Cm #7 abmai7, ebmaj7 o Add these to your scale practice for all major and minor keys 1.30 Diatonic Triads In Root Position Ascending, 1.31 Diatonic Triads In Root Position Descending, Parker and Sonny Stitt used this common pattern that outlines a major triad. The first part of the mea- sure uses passing tones (PT) between the chord tones; the second half uses CQ pattern no.1 Charlie Parker: Sonny Stitt: 6 ab Comprebonsive Technique Jor Jazz Musicians]Chapter 1 Basic Exercises DIATONIC CHORDS In addition to practicing arpeggios individually, practice arpeggios related to each key center. Triads, seventh and ninth chords can be built on every scale degree of any scale, and often appear in composi tions and improvisations. Here are two short examples from Tom Harrell and Dexter Gordon, Diatonic triads F D7 Gm? Am? D7 e Diatonic triads cm? Add these to your scale practice for all major and minor keys. 1.30 _Diatonic Triads In Root Position Ascending 1.31 Diatonic Triads In Root Position Descending Parker and Sonny Stitt used this common pattern that outlines a major triad. The first part of the mea ‘sure uses passing tones (PT) between the chord tones; the second half uses CQ pattern no.1. Charli Parker Sonny Stitt 6 sb 13,Chapter 1 Basic Exercises This pattern can be applied to all diatonic triads. This exercise incorporates many of the pi cises: scales, diatonic triads, CQs 1.32 Diatonic Triads With PTs And CQs DIATONIC SEVENTH CHORDS ‘Triads built in thirds (tertian) occur universally in music. While a tiad may be constructed a scale, extended tertian chords can be constructed using 1-3-5-7, 1-3-5-7-9, and even 1d ‘These extended tertian chords occur frequently in jazz. A chord spelled out to the 13th notes of the scale, and in this way illustrates the equality of the chord and the scale spelling of the seven diatonic notes in steps; the extended tertian chord is a spelling of tonic notes in thirds. An understanding of basic tertian triads is necessary in order to enth chords. A seventh chord is created by adding the interval of a third to the top of and a ninth chord is created by adding another interval of a third to the top of the Sev seventh chord exercises will provide a background to understanding extended tertian nections covered later in chapter 10, Hank Mobley ended his improvisation using diatonic seventh chords. thm ab car? * McCoy Tyner used them in conjunction with other elements in the following excerpt and 1235 pattern) phy 3 F e =