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IndexIndexIndexIndex

ii-V chains........................................................259-260arbitrary ............................................................259minor.................................................................260parallel...............................................................259

ii-V-I chains.....................................................257-258parallel...............................................................258

ii-V-Is, in jazz standards.......................................260V-I chains ........................................................259-260

minor.................................................................2603 against 4 ........................................................108-1104 against 3 ........................................................111-1125 against 4 ........................................................317-319

5/ 4 rhythms in 4/ 4 tunes..............................317brackets of 5 ....................................................319contour groups of 5................................318-319

7 against 4 ........................................................319-3207/ 4 rhythms in 4/ 4 tunes..............................319brackets of 7 ....................................................320contour groups of 7........................................320

AAAAaccents ............................................................41-42, 61air and keys, sounds of ..........................................241alternate fingerings .........................................242-244alternate positions ..................................................245altissimo ...................................................................243alterations ( see dominant alterations)analysis

of your solos ....................................................135of written solos.......................232, 237, 278-281

arpeggios.....................................................24, 27, 195polytone....................................................306-307

arrangements, variety in.........................................130 A rt of Improvisation.....................................................i-iiarticulations ........................................41-42, 100-104artists and styles......................................................233audience ...........................................................198-199

reactions ...........................................................201augmented intervals, and outside playing...........304augmenting rhythms ......................................178-179

BBBBbackground riffs .............................................269-270backgrounds, practicing with recorded.................22balance, in a group .............................................56-57bass

effects................................................................248role of............................................................57-58techniques ....................................................65-66

bass cheater notes ..........................................193-194basslines ............................................................65, 194

for keyboard.....................................................247for trumpet...............................................244-245

bends................................................................240, 247block chords .....................................................68, 246blues .....................................................................52-54

altered ......................................................263-265avoiding problems in ....................................... 54minor ........................................189-190, 264-265riffs....................................................................254structure .............................................................52

bowed notes............................................................248BRIDJJ .........................................................................ii

solos.............................3, 6, 12-13, 21, 24-32, 38styles on CD .................................................64-65tune melodies on CD.......................................58

burning .................................................................... 316

CCCCcadenzas...................................................................315chord anticipation .................................................. 159chord delay..............................................................159chord inversions.......................................................63chord progressions

consecutive chords of one type....................155ii-V-I ( see ii-V-I)keys, recognizing in.......................................... 52memorizing.............................................. 192-197Roman numerals, use of.................................. 51simplifying ....................................................54-55

chord symbols ..................................................23, 195chord voicings......................................57, 63-64, 246chords ( see also arpeggios)

chromatic, inserting................................ 262-263diminished .......................................................190dominant....................................................25, 186

inversions......................................................63-64major..............................................................23-24minor .................................................26, 188, 257substitute.................................189, 191, 256-266

chords, on bass.......................................................273chromatic scale............................................ 5, 97, 152circular breathing ...................................................242circle of fourths................................................20, 298classical music and jazz ..................................3, 7, 43clave, in latin rhythms .................................. 164-167clusters .....................................................................246color intervals ........................................................... 30color tones ............................................29-30, 32, 195combo ( see jazz group)comedy and improvisation ...................................7-8communication in solos....................................6, 267compressing rhythms ....................................179-180concentration, relaxed...........................................198consonants for vocalists..........................72, 208-209contours......................................96-97, 121, 318, 319

ascending / descending ..............................96-97flattening ............................................................97inverting ................................................... 121-122mixed.................................................................. 96

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offset ...................................................................98cool style ( see swing, even eighth-notes)creative process.........................................................11creativity...............................................................11-14

barriers to .....................................................12-13

DDDDdensity ..............................................................230-234development........................................................43-44

combinations ........................14, 49-50, 325-328exercises.................................49-50, 61, 183-185melodic ....................................................145, 287rhythmic ..................................178-180, 219-220

displacement of motifs ..................................181-182diversity......................................................................11dominant chord

alterations .................................................186-188resolutions........................................................257

double-time feel..............................................235-238fills .....................................................................237material .....................................................236-238transitions.........................................................236

double-tonguing (triple-tonguing) ..............210, 244downbeats............................................................34-35

mixing with offbeats...................................34-35shifting to offbeats............................................35

drums, role of............................................................58drumset techniques ............................................66-67duets .................................................................271-272dynamics .............................................................41, 56

EEEEear training.............................................................3, 42effects ...............................................................240-248

subtlety in.........................................................240timing of ...........................................................240variety in ...........................................................240

embellishments ...............................................113-116exercises ....................................................2, 11, 15-16

development ...............49-50, 123-125, 183-185for Level 1....................................................73-85for Level 2................................................139-147for Level 3................................................213-225for Level 4................................................282-292for Level 5................................................334-343

reviewing ............................................................16usage....................................................................15variety in .............................................................16

expression ........................ 9, 40-42, 60, 115-116, 280

FFFFfalls ...........................................................................240fills .............................................................. 98-99, 237

complete vs. partial...........................................98delayed ................................................................98winding...............................................................99

flexible scales.............. 20, 24-28, 32, 53, 89-92, 196form ................................................................. 126-129

identifying........................................................ 136in duets and trios ............................................273in transcribed solos ........................................279

fourth degree, handling......................................30-31fourths, and outside playing......................... 303-304fragmenting..................................................... 180-181free improvisation..........................................331-333

degrees of freedom ........................................331free melodies ...................................................332free rhythm......................................................333

fusion style................................................33, 161-164

GGGGgigs ( see performance tips)glissandos (glisses) .................................................240grace notes .............................................................. 114group interaction, in solos....................267-270, 332growls (flutters) ......................................................241guajeos.............................................................167-168guitar

effects ....................................................... 247-248role of ................................................................. 57strumming, muted ..........................................247techniques.....................................................63-64

HHHHhalf sounds.............................................................. 241half-time feel................................................... 238-239hammering (keyboard effect)...............................246harmonic minor scale....................................153, 188harmonics........................................................ 247-248humming / singing................................3, 15, 19, 241

IIIIimprovisation

comparisons w/ other art forms...................6-7definitions.............................................................4elements ................................................................2good and bad........................................................5habits, bad.............................................................5myths about......................................................3-4skill levels..........................................................1-2skills, prerequisite ................................................2why to improvise.................................................9

instrument combinations in duets and trios...... 272integrity in improvisation........................................10intensity in solos............................................. 231-233

building .................................................... 231-232lowering............................................................232

interaction .......................................... 57, 68, 267-269international styles................................................. 164intervals

color.................................................................... 30expanding................................................. 117-118

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learning .....................................................2, 27-28shrinking...................................................119-120wide.................................................... 27, 304-305

introductions to tunes............................................315

JJJJ jazz

artists ...............................................iii-iv, 161-163group, skills and roles.................................56-58history............................................................... 3-4

KKKKkeyboard

effects........................................................246-247role of..................................................................10strings and pedals............................................246techniques ..........................................................10

keys and key signatures............................. 51-52, 298

LLLL

language and improvisation ......................................7Latin style..................................33, 161-162, 164-168laying back, in swing style .............................105-106leadership in improvisation.....................................10listening to jazz ..................................................... iii-iv

MMMMmelodic resolution.................................155-160, 300melody.................................................58-59, 192, 332

written, handling .....................................130-131montuno ..........................................................167-168motifs ...................................................................43-47

connecting....................................................44-45creating ...............................................................47varying (developing) ...................................45-46

mutes ........................................................................244

NNNNneighbor tones ........................................................115neighborhood of pitches...................................95-96non-harmonic tones.......................................151-153

in dominant......................................................153in major.............................................................151in minor ............................................................152

in sequences.....................................................174offbeat and downbeat ....................................151resolving ...........................................................151

notes .............................................................................5adding................................................................120omitting ............................................................120outside...............................................................298wrong or right......................................................5

OOOOoctaves (guitar)........................................................248

offbeats.................................................................33-36consecutive...................................................34-35mixing with downbeats ................................... 34shifting to downbeats .................................35-36

outside playing................................................ 297-311augmented seconds........................................306degrees of outside...........................................298development ............................................ 308-309emphasizing outside notes............................ 300fourths ...................................................... 303-304melodic resolution ..........................................300middle keys..........................................310-311myths and facts ...............................................297notes and keys.................................................298polytone arpeggios ................................. 307-308sequences ................................................. 308-309unusual scales.......................................... 306-307whole-tone scales.................................... 301-302wide intervals ..........................................305-306

overtones................................................................. 245

PPPPpainting and improvisation........................................6patterns ( see also sequences) .........................169-177

creating..................................................... 171-172offset .........................................................175-176pulling.......................................................173-174rhythmic variety in ................................. 174-176short.......................................................... 176-177

pedal.........................................................................160pedal tones .............................................................. 244perfect pitch.................................................................3performance ................................................... 198-202

group .............................................................56-57proverbs ...........................................................198tips ............................................................200-202

phrases .................................................................46-49creating..........................................................46-47barriers to........................................................... 49economy in........................................................ 48ending............................................................48-49types of..........................................................46-47

pitches .............................................................201, 281repeated or held................................................ 97

polytone arpeggios......................................... 307-309pushing vs. pulling, improv ideas..................11, 230

QQQQquotes...............................................................250-251

developing with ..............................................250varied................................................................ 251

RRRRrange......................................................................95-97reading music....................................................ii, 2, 57

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relative pitch ................................................................3repetition ( see variation)resting tones ..............................................................29retrograde.................................................................122rhythm section

roles...............................................................57-58techniques ....................................................63-68

rhythmic freedom...........................................312-322rhythmic pulses...............................................323-328

group shifts ......................................................328non-triplet ................................................325-326returning to the original pulse.......................324triplet.........................................................324-325

rhythmscombinations of ................................. 37-38, 167interesting.....................................................36-37precision of ........................................................39short and long values........................................36stepping through .....................................312-313visualizing.....................................................38-39

riffing................................................................251-254

pentatonic and blues.......................................254transitions.........................................................253two-part ............................................................252variations ..........................................................252

risks, in improvisation........................................10-11roles, in duets and trios..........................................273rubato ...............................................................316-318

SSSSsaxophone effects...................................................245scales

blues ..................................................53-54, 89-90

diminished-1 ....................................................190diminished whole-tone...........................190-191Dorian.................................................................26expanded blues............................................89-90flexible........................................20-21, 27-28, 32Lydian ...........................................................24-25Lydian Dominant ........................................90-91major .............................................................20-21Mixolydian..........................................................25minor, harmonic.....................................153, 188minor, melodic ascending..........................91-92minor, natural ..........................................153-154minor pentatonic...............................................91pentatonic..................................................89, 254unusual (outside).............................................306whole-tone ......................................188, 301-302

scales, wandering ............................................309-310semi-sequences .......................................................171sequences .........................................................169-172

diatonic .............................................................170linked.................................................................172transposed ........................................................170

seventh degree, handling in minor.....................9-10SHAPE (See, Hear, and Play Expressively) ...........2

Sightreading Jazz ......................................ii, 27, 37, 100sixth degree, handling in minor ............................. 92slides.........................................................................245solo breaks ........................................................56, 201solos

endings and transitions..................................271half-chorus....................................................... 270multiple soloists .............................................. 270order of ............................................................133trading ..............................................................269

sound ......................................................................... 40soundscapes ....................................................229-233split notes (saxophone).........................................245stage presence.........................................................200standard tunes .....................................................60-76stop-time fills..........................................................271suspended chords .................................................... 31style transitions....................................................... 268swing..........................................................33, 100-106

accents ...................................................... 104-105articulations ............................................. 100-104

eighth-notes............................................. 101-103eighth-notes, even .......................................... 105quarter-notes ...........................................100-101quarter-notes, dotted .............................103-104variations and exceptions ...................... 105-106

TTTTteamwork in improvisation .......................... 9-10, 57technique.................................................40, 61, 63-68tempo, playing off of.............................................317tension, melodic....................................................... 97texture...................................................................... 270

thunks ...................................................................... 245ties .............................................................................37time

and tempo..........................................................56in duets and trios ............................................272

trading bars .............................................................270transcribed solos, BRIDJJ...........................................

32, 137-138, 203-206, 274-277transcribing solos ...........................................278-281

adding pitches and expression..............280-281outlining form and chords............................. 279selecting a solo........................................ 278-279sketching rhythms .......................................... 280transcribing chords................................. 279-280

transposing............................................................2, 95tremolo .................................................................... 246trills...........................................................................113trios .................................................................. 271-273triple-time feel ........................................................238triplets .......36-37, 104, 106, 110-111, 238, 312-313

contours of .............................................. 110-111in double-time.................................................238shifted....................................................... 312-313unusual groups ................................................ 313

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