Jazz Improvisation - The Goal Note Method

Shelton Berg

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Bk & CD: $ 59.95
This is a most serious 245 page book and CD covering a wealth of information on Jazz Improvisation
Table of Contents

Section 1: Introduction

Chapter 1: General Style
Be-Bop, Melodic Construction, Swing Eighth Notes, Licks, Time, Off-beat Starts and Endings

Chapter 2: The Goal Note Method
Consonance, Formula, Functional Harmony, Changes

Chapter 3: Practice Techniques
Practice Sheet Method, Practicing Inversions, Two Chords per Measure, Smooth Arpeggiation

Section 2: Primary Chord Types

Chapter 4: Major Seventh (Ninth) Chords
Construction, Tonic and Subdominant Function,
Major 6(9) Chords, Consonance, Grace Notes
and Mordents
Tune: Majority

Chapter 5: Dominant Seventh (Ninth) Chords
Construction, Dominant Function, Bluesy Sonorities, Resolution, Tendency and Leading Tones,
Consonance, Blue Notes and Blues Scale, Pentatonic/Blues Scale, Head
Tune: Dominant Functions

Chapter 6: Minor Seventh (Ninth) Chords
Supertonic Function, Mediant and Submediant
Function, Combined Scale / Arpeggio, Sequence, Chorus
Tune: Minor Difficulties

Chapter 7: The 12-Bar Blues
Form, Improvisation, Chromatic Passing to Dominant 7th, Be-Bop Dominant Scale, Triplet Arpeggio, Using Licks
Tune: Little "I" Blues

Chapter 8: Auxiliary Tones and Chromaticism
Auxiliary Tones, Chromatic Passing Tones
Tlne: Mellotones



Chapter 9: Turnaround Progression Improvisation
Combined Scale/ Arpeggio Turnaround Line, II-V Turnarounds, Passing Minor #7, 32-Bar
(Standard) Song Form
Tune: Catch A Caboose

Section 3: Chromatic Harmony

Chapter 10: Turnaround ti IV Improvisation
Chromatic Passing, Smooth Arpeggiation
Tune: Lacey Lady

Chaper 11: Turnarounds to Minor Tonics,
Tonic Minor, Minor #7 Chord, Minor 6(9) Chord, Half-diminished Chords, Altered Dominant Ninth Chords, Resolution, Smooth Arpeggiation, 3rd to Flat 9th Lines, The Turnback Progression

Tune: Get Out The Rake
Tune: You Again

Chapter 12: Turnarounds to II and VI in Major Keys
Turnaround to Supertonic (II), Turnaround to Submediant (VI), Finding the Chromatics, The Altered Dominant Chord, Smooth Arpeggiation, The Altered Dominant Cell, Altered Dominant Lick, Solo Break
Tune: Grapes and Flowers

Chapter 13: Diminished Seventh Chords and Scales
Construction / Symmetry , Dominant Function, Embellishing, IV -I Idiom, Diminished (Octatonic) Scale, Using Diminished Chords with Dominant 7ths, Lines Based on the Diminished Scale
Tune: Parts of You

Chapter 14: "Rhythm" Changes "Rhythm" Changes
The " A" Section, Descending Melodic Gesture, Diminished 7th Chord Substitution, IV-I Idiom, The Bridge, II-Chord Substitution
Tune: Rhythm Changes

Section 4: Advanced Principles

Chapter 15: Tritone Substitutions
Tritone Substitution, Substitute Dominant, Passing Chords, Second Ending Progressions, Plagal Cadence, Deceptive Resolution

Chapter 16: Progressions from I to VI
Progressions from I to VI, Tag Endings
Tune: Paradoxy
Tune: Tingle

Chapter 17: Harmony in Major Keys Turnarounds to III and V, Turnarounds to Chromatically Altered Chords and Modal Borrowing, The Step-Down Progression Diatonic Circle of Fifths, Modulation
Tune: Steps and Circles

Chapter 18: Harmony in Minor
Keys Turnarounds to Diatonic Chords, Interchange with Relative Major, Turnback Progression in Minor, The Ground Bass Pattern, The "Whisper Not" Progression, Plagal Cadence, 12-Bar Blues in Minor (Minor Blues)
Tune: Mr. Funk

Chapter 19: Blues Revisited Blues Progressions
Cycle or Circle Blues
Tune: Lots More Blues
Tune: Cycles

Chapter 20: Substitute Harmonic Idioms
Turnaround Up a Half Step, Tritone Substituted ("Bill Evans") Turnaround, Auxiliary Chords, The "Coltrane" Turnback

Chapter 21: Poly harmony
Poly harmony, Major Ninth Chords, Minor Ninth Chords, Half-D.iminished Chords, Dominant Chords, The Diminished Domain, Pentatonic Scale, II Dominant Idioms
Tune: Song for a Chick

Tune: Watch It

Chapter 22: Modal Jazz and Quartal Jazz
Diatonic Modes, Modal Jazz, Quartal Jazz, Suspended Chords
Tune: Modal Magic

Chapter 23: Outside Playing
Outside Playing, All-Purpose Licks, Polyrhythms, Slash Chords, Improvisation to Non- Traditional Progressions
Tune: Far Out

Section 5: Appendices

Appendix 1: Transposed Tunes

Appendix 2: Sample Solos

Appendix 3: Circle of Fifths

Appendix 4: Scale Preferences

IAppendix 5: Formula Recap

Appendix 6: Turnaround Lines

Appendix 7: Glossary

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