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Table Of Contents

-Basic Concepts I-
Tonality
Intervals
-Scale Intervals [Melodic Intervals]-
-Chord Intervals [Harmonic Intervals]-
-Basic Concepts II-
Chord Construction
-Diatonic Chord [Chords natural to any given key]-
Scales & Key Signatures
-Basic Concepts III-
Chord Notation: "Chord Symbols"
Diatonic Scale Chords
Scales
Chromatic Chords
-HARMONIC MOVEMENT-
Harmonic Movement
Harmonic Principles
Deceptive Cadence:
-CHORD FUNCTION-
Function and Chord Quality [7th Chords]
-Major-
-Dominant-
-Minor-
-Half Diminished-
-Diminished-
-Augmented-
Dominant Function
-The Dominant 7 Cadence [Vx7 to IM7]-
-Augmented 7 approach to IM [V+7 to IM]-
Subdominant Function
-The Minor Seventh Chord [ii-7 to Vx7]-
Tonic Function
---CHORD EXTENSIONS-
Unresolved Tensions
-Major Extension-
-Minor Extensions [i Minor]-
-Minor Extension [Subdominant m7]-
-Minor 7Ñ5 Extension-
---Diminished Extension [o7 chord]-
-Dominant Extensions-
Function & Chord Quality
--9th Chords-
-11th Chords-
---Augmented 11th Chords-
-13th Chords-
Parallel Interval Structures
Principle of Mixed Positions
-CHORD TENSIONS-
General Considerations
-CHORD PATTERNS-
The Chord Pattern
-CIRCLE SEQUENTIAL PATTERNS-
General Guidelines [Circle Sequential Patterns]
-Ii V-
-Ii V I-
-Extended Sequential Patterns-
Summary [Circle Sequential Movement]
---DIATONIC STEPWISE PATTERNS-
-I Maj ii min7 iii min7-
-Ii min7 iii min7 IV (Maj or min7)-
Summary
-Generally-
-Extension Patterns-
Ending delaying arrival at the I chord
-The Tag Ending-
-#7/7 pattern-
-The 9/8/#7/7 or ##7[R]/#7/7/6 pattern-
-The x7Ñ5 Passing Tone Line Embellishment-
The Ascending Line
-The Augmented Chord Passing Tone Line Embellishment-
The Ascending/Descending Line
-5th Movement [To enrich patterns]-
The Descending/Ascending Line
-Top Voice Movement [To enrich patterns]-
-OTHER MOVEMENT-
BASS LINE MOVEMENT
-Descending on Major or Minor Chords-
-The Cadential (6/4)-
Parallel Movement
-Parallel Dominant Chords-
-Parallel Major Chords-
-Parallel minor Chords-
-MINOR TONALITIES-
Approaches
-The ii halfdim7 V dom7Ñ9 i min-
-Chord Pattern variations in minor keys-
---MOVEMENT POSSIBILITIES-
Vx7 I
ii-7 - Vx7
Tonic
Relative V of V
Relative V of ii
Relative IV6
Relative iv-6
ÑIIx7 [Tritone] Sub
Cadential Axiom
-Chordal Operations I-
Harmonic Chord Generators
Dominant Operations
-The V Prefix [V of V]-
-The Ñ5x7 Substitute [ÑIIx7Sub/Tritone Sub]-
-ivo7 Substitute for the Vx7 [ivo7Sub]-
-Chordal Operations II-
Subdominant Operations
-The IV Maj Prefix-
-The ii V Elaboration [an embellishing technique]-
-The ÑVIIx7 Substitute for the iv min [iv-Sub]-
The #iv halfdim7 substitute for a ii-7 chord [ii-7 Sub]
Tonic Operations
-The iii min7 substitute for I Maj chord [I Maj Sub]-
-Chordal Operations III-
Substitution Set Chart
V Set
IV Set
Iv min Set
#Ii dim7 Set
I Maj7 Set
Examples
I VI II V
Generalizations: Substitution
---Chordal Operations IV-
Linear Chord Generators
-Complete Neighbor Prefix-
-Incomplete Neighbor Prefix-
-Passing Tone Prefix-
-The #ii dim7 Prefix-
-Subdominant Modal Intensification-
---MODES: BASIC PRINCIPLES I-
Scale Materials
-The Modes-
Modal Harmony
-Simple Chords are preferred-
Modal Reference
-MODES: BASIC PRINCIPLES II-
Characteristics
-Scale Steps-
-Chords [Triads]-
-Extended Chords-
-Color-
-Dominant Mode [Mixolydian]-
-Minor Mode [Dorian/Phrygian/Aeolian]-
-Half Diminished Mode [Locrian]-
-The Diminished Mode [Artificial]-
APPLIED TO EXTENDED VOICINGS
Minor Scale Modes
---BeBop: Tensions in Chord Voicings-
Chord Voicings
-The model built in Thirds-
-The model built on Fourths-
-Polychordal Voicings-
-Tonal Considerations in Melodic Organization-
---BeBop: Tensions-
Tonal Characteristics/Chordal Considerations
-Possibilities Grouped by Harmonic Function-
Tension/Resolution on Substitution Sets
-The I Set-
-The IV Set-
-The iv min Set-
-The Vx Set-
-The #iio7 Set-
Melodic Resolution
-Level 1-
-Level 2-
-Melodic Line Summary-
---Chords by Fourths [3 Note]-
Quartal Materials
Three note chords by 4ths
---Chords: Fourths [4 Note +]-
Four Note Chords by 4ths
Multi-Note Chords by Fourth
---Other Scales-
Pentatonic
Hexatonic Scales
Chromatic Scales
Synthetic Scales
-NON HARMONIC TONES-
Chromatic Tones
-Utilization-
Sensitive Tones
-The 9-11-13-
Non Harmonic Tones
-Passing Tone-
-Neighboring Tone-
-Unprepared Neighboring Tone-
-Appogiatura-
Escape
-Anticipation-
-Suspension-
Conclusions
---HARMONIZING NON HARMONIC TONES-
Possibilities
---THE BLUES-
Harmonic Forms
-Basic: Major-
-Basic: Dominant-
-Basic: minor-
-Traditional-
-Parker Revision: Major-
-Parker Revision: minor-
Creating Different Blues Progressions
-SHEET MUSIC CONVERSION I-
Similarities and Differences in Concept
-Pop Tune-
-Jazz Tune-
Considerations
-Harmonic Rhythm-
---SHEET MUSIC CONVERSION II-
Procedure
Solutions
Revising Sheet Music Chord Symbols
-When only Triads Are Given-
-Inner Line Movement-
-Bass Line Movement-
-Non Harmonic Tones-
-Chords a 3rd Apart-
-Vx7 Approaches-
o (dim) Symbol Is Only Present
-Chord Extensions On Same Root Quality-
-A-A1-B-A2-
-Others-
Latin Forms
-Examples-
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(Guitar Instruction) Quick Jazz Theory

(Guitar Instruction) Quick Jazz Theory

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Published by: superdave2085 on Sep 12, 2010
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