A Chromatic Approach To Jazz Harmony And Melody Pdf Download

I NEED A GIG! 153-158 Where The Gigs Are Who to Call Equipment GLOSSARY OF TERMS DISCOGRAPHY INDEX 143-152 Relaxation Exercises The Jaw and the Tongue Breathing Open Your Mouth And Say Ah Support Visualization Singing Principles Scatting Exercises

VII HARMONY IN JAZZ STANDARDS 78-100 I-VI-II-V Progression Turnarounds II-V-IвЂ™ Progression Tonal Centers Parent Scales Soloing over II-V-I Analysis: Satin Doll Lady Is A Tramp Sub Chords i n Turnarounds Lady Is A Tramp Bridge Arpeggios on Lady Is A Tramp Step Down Progression Text-Focused Improv S h o u t Chorus Exercises VIII INTROS, TAGS, AND CODAS 101-111 Intros Rootless Voicings Counting off a Tune Tags Tritone Substitution Bossa Nova Codas IXДЄDVANCED IMPROV 112-135 Transcriptions Vocalese Upper Structure Chord Tones Bebop Style 7-3 And 9-5 Resolutions Approach Notes Bop Style Motives Sideslipping Sequences Quotes Using Modes Analysis: Bossa Nova harmony Analysis: All The Things Y o u Are ДЄLTERED CHORDS AND SCALES 136-142 Altered Dominants Altered Scales Bebop Scales Minor II-V-I Upper Structure Piano Voicings Altered Bop Motives Phrasing IMPROVISATION ON THE BLUES 59-77 Common Tones Solfege Scat Syllables Blues Exercises Modes and the Blues Form Blue Notes Blues Scale Motives Passing & Approach notes Building a Solo II WHERE ARE WE? 24-33 Form Sections Bridgeless Standards Bossa Nova Rhythm Changes Twelve Bar Blues Four Bar Phrases Examples ДID YOU BRING YOUR CHARTS? 34-48 Sitting in Your Book Casuals Fake Books Transposing Chord Symbols Key Signatures Circle of Fifths T i m e Signatures Signs and Terms ДЄ BRIEF HISTORY OF THE BLUES 49-58 Beginnings American Folksong Harmonic Development Modern Blues Form Lowered Seventh Substitution Chords Jazz Blues Form Blues Variations Minor Blues Rock & Roll INTERVALS, SCALES, & CHORDS 9-23 Intervals Scales Enharmonics Triads Progressions Diatonic relationships Modes Ear training Exercises INTRODUCTION 1-8 What is a Jazz Singer Gender Issue? Jazz in the University Importance of Piano Rhythm Swing Feel Improvisation Repertoire Jazz Singing and Singers lesson, would make me breakfast and drive me to school. Fuller, who, after giving me my seven A.M. Diameco, my teacher from seventh grade to twelfth, whom I also discovered with my hall wandering technique after we moved to another town. Bishop, a wonderful lady who gave her all to her students. In Syracuse, in my other life as a classical pianist, there was Dr. My neighbor and friend, Bruce Katz, who gave me a few pointers not only in playing but in pedagogy, and the vocalists who hired me, especially Sharon Jones, (Brown Sugar to you New Englanders), and Dick Short, two wonderful singers who taught me how you put on a show, honey. Jeff Covell, Mike Marra, who I met while wandering the halls of Berklee one late afternoon vowing to find myself a piano teacher, and stayed with for three years. Jerry Bergonzi, another great tenor player (вЂafter all, nobodyвЂ™s humanвЂ™).

Thank you, George, if it wasnвЂ™t for you I might still be pulling shifts at the Cambridge Hyatt. In Boston, there was George Garzone, tenor man and visionary, who kicked my butt both at the Conservatory and on the stand. No, he teaches music), Terry Trotter (a gentleman and a gentle man). On piano, oh boy, what a list of luminaries - how come IвЂ™m not smarter? In reverse chronological order we have Hal Galper, Bill Cunliffe, John Clayton (вЂhe teaches piano?вЂ™, everyone asks. At New England Conservatory, there was Bernard Barbeau on the classical side and Dominique Eade in Jazz Studies (So pretty! So talented! Alas, too nice to hate!) Prior to that, there were the countless ladies I went to in my search for whatever it was a vocalist did, including the leathery former Big Band singer who blew smoke rings in my face as she coached my singing. My voice teachers down the line - Janice McVeigh in Vocal Arts at USC Thornton School of Music, who not only improved my voice but helped me to improve the voices of my own students. Thom Mason, founding chair, who was gracious enough to answer my email questions and read pages. Many thanks to my fellow faculty members at the University of Southern California Jazz Studies Department for their positive support of this project, especially Dr.

A Chromatic Approach To Jazz Harmony And Melody Pdf Download