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Jazz Improvisation For Guitar (Berklee)
±âŸ¸¦ À§ÇÑ ÀçÁî ÀÓÇÁ·Î¹ÙÀÌÁî (¹öŬ¸® À½´ë ±³º»)
A Harmonic Approach
Book & Online Audio

ÃâÆÇ»çBerklee Press
ÀúÀÚGarrison Fewell
¾ÆÀÌÅÛ #50449594
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- Contents -

Audio Tracks
Acknowledgments
Introduction

Chapter I Diatonic Substitution and Upper-Structure Triads
Building Phrases Using Triad Substitutions
Upper-Structure Triads
Polyrhythms
Rhythmic Displacement
Rhythmic Displacement within a Phrase
Triad Substitution over a II-7 / V7 / I Progression
Etude

Chapter 2 Diatonic Substitution: 7th Chord Arpeggios
Arpeggio Substitutions for CMaj7
 GMaj7 and B-7 Arpeggio Substitutions for CMaj7
Direct and Indirect Melodic Resolution
 #IV-7♭5 Arpeggio Substitution for CMaj7
Arpeggio Substitutions for Minor 7 Chords
Arpeggio Substitutions for Dominant 7 Chords
Melodic Substitution Using Hybrids
 Hybrid Voicings
 Hybrid Substitution with 7th Chord Arpeggios
 Dominant 7sus4 and Hybrid Substitute Arpeggios
Reharmonization of Melodies Using Diatonic, Hybrid, and Polychords

Chapter 3 Parallel Modes and Diatonic Substitution
Parallel Modes
Diatonic Chord Progressions
Improvisation Using Parallel Modes
Playing Diatonic Arpeggio Substitutions over Chords

Chapter 4 Secondary Dominants
Secondary Dominant Chord Scales
 V7(♭9)/II
 Tensions ♭9, #9, ♭13 over V7/II, V7/III, and V7/VI
Secondary Dominants and Related II-7 Chords
 V7/IV
 V7/V
 V7/VI
 V7/II
 V7/III

Chapter 5 Improvising over Minor Chords
Tensions on Minor Chords
 Tension 11
 Tension 9
Minor 7♭5
Non-Diatonic Minor 7 Chords
Minor 6 Chords

Chapter 6 Common Uses of the Melodic-Minor Scale
Subdominant Minor Chords (IV Minor)
Subdominant Minor Chords: IV-6, ♭VII7, II - 7♭5
♭VII7: Tensions 9, #11, 13
IV7
Unaltered Dominant 7 Chords with Non-Diatonic Roots
V7 (♭13) Melodic Minor Scale from the ♭7th Degree
V7 (♭9, 13) Melodic Minor Scale from the ♭7th Degree
Theory of Harmonic Relativity

Chapter 7 ♭II7 and V7(alt) Chords
II-7 / ♭II7 / IMaj7
Melodic Lines for II-7 / ♭II7 / IMaj7
V7 Altered Chords
Improvising over V7 Altered Chords
Melodic Lines for II-7 / V7(alt) / IMaj7
Tritone-Substitute Chords

Chapter 8 Diminished 7th Chords
Improvising with Diminished 7th Arpeggios
#I¡Æ7
♭III¡Æ7
Diminished 7th Chords as Secondary Dominants
 #I¡Æ7 = V7(♭9)/II
Improvising with Harmonic Minor Scales
V7(♭9,#9)
 #II¡Æ7 = V7(♭9,#9)/III
 ♭III¡Æ7
 I¡Æ7 and ♭III¡Æ7 = V7(♭9)/III
 #IV¡Æ7 = V7(♭9,#9)/III
 #IV¡Æ7 = V7(♭9,#9)/V
 #V¡Æ7
Progressions Using Diminished 7th Chords

Chapter 9 The Symmetrical Diminished Scale

Chapter 10 The Four Tonic System
Improvising over Dominant 7th Chords Using Diminished Major 7th Arpeggtos

Chapter 11 Melodic Counterpoint
Parallel Motion
Contrary Motion
Oblique Motion

Chapter 12 Budding a Solo: Chromatic Motion and Compound Lines
Playing Horizontal Lines through Chord Changes
Parallel Descending Motion
Parallel Ascending Motion
Contrary Motion

Author¡¯s Note

About the Author
Discography as Leader (or Co-Leader)


 

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