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[L435.Ebook] PDF Ebook Connecting Chords with Linear Harmony (Jazz Book)From Hal Leonard

PDF Ebook Connecting Chords with Linear Harmony (Jazz Book)From Hal Leonard

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Connecting Chords with Linear Harmony (Jazz Book)From Hal Leonard

Connecting Chords with Linear Harmony (Jazz Book)From Hal Leonard



Connecting Chords with Linear Harmony (Jazz Book)From Hal Leonard

PDF Ebook Connecting Chords with Linear Harmony (Jazz Book)From Hal Leonard

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Connecting Chords with Linear Harmony (Jazz Book)From Hal Leonard

(Jazz Book). A study of three basic outlines used in jazz improv and composition, based on a study of hundreds of examples from great jazz artists.

  • Sales Rank: #73525 in Books
  • Brand: Hal Leonard
  • Published on: 1996-05-01
  • Released on: 1996-05-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x .37" w x 8.50" l, 1.00 pounds
  • Binding: Plastic Comb
  • 152 pages
Features
  • "150 pages Size: 11"" x 8-1/2"" Composer: Bert Ligon ISBN: 793561930"
  • "Size: 11"" x 8-1/2"""
  • Composer: Bert Ligon
  • ISBN: 79356193

Most helpful customer reviews

20 of 20 people found the following review helpful.
Essential Resource for Learning Jazz Improvisation
By saxophobe
Bert Ligon's Connecting Chords with Linear Harmony is an essential resource for learning jazz improvisation. While the book is introductory and self-contained, those without some background in elementary jazz theory (major and minor scales, seventh chords, ii-V-I progressions in major and minor) will probably struggle a bit with the material.

Ligon's book ties together three main elements: 1) three elementary melodic "outlines" for navigating the ii-V-I progression, 2) common melodic "embellishing devices" (passing tones, approach tones, encircling tones, and so on) that can be applied to the outlines to transform them into "real music," and 3) about 250 transcribed phrases from the recordings of Clifford Brown, Charlie Parker, Tom Harrell and others that illustrate this process in the hands of master improvisers.

For many jazz neophytes who have struggled with the more common chord/scale pedagogical approach ("dorian for two beats, mixolydian for two beats, major for four beats"), a little effort with the material here will prove revelatory. The reason may seem a bit counter-intuitive - the "constraint" of embellishing a simple melodic outline provides a starting structure for creating solid jazz lines that is sorely lacking in the chord-scale approach. If this seems a bit mysterious, go to Ligon's USC main faculty web page, click on the jazz improvisation hyperlink, and spend some time digging around in the online materials. The material is poorly organized, but if you can find the "outlines" discussion it will give you a good sense of the contents of this book.

While the material here will keep most busy for a long while, this approach is intended as an entryway to the world of jazz improvisation. There is of course much more in that universe, and Ligon's three other volumes - see my comment to this review for direct links - are excellent resources for expanding one's exploration.

I would like to address a couple of criticisms of this book in other reviews.

Some reviewers criticize the use of short phrases from transcribed solos rather than longer examples. I disagree. The short phrases are entirely appropriate to illustrate the concepts in an introductory manual such as this. As one begins to master Ligon's material, it is very instructive to search complete transcriptions for the presence of embellished outlines. I agree that it would be wonderful to have references to the sources of the transcribed phrases.

One reviewer goes on at great length about example 3 on page 18. Ligon misjudged the placement of this example as it introduces a more advanced concept while the reader is still becoming familiar with the basic ideas. Worse, it has at least two typos, which render it a muddled mess. Example 5 on the next page is essentially the same example. I suggest skipping them on a first reading. To correct the typos: assuming the iii - V7/ii progression and key of F major are correct, the Am7(b5) in both examples should be Am7 and the B in example 3 should be Bb.

Finally, some reviewers have criticized the limited applicability of the basic ideas presented here. Short ii-V7-I examples dominate the book, but far from exclusively so. The application of Outline 1 to other progressions is discussed briefly on pages 28-30, modal applications are discussed briefly in Chapter 8, and pages 94-128 discuss lengthier progressions in detail.

10 of 10 people found the following review helpful.
Great Starting Place
By Jake Stewart
Connecting Chords with Linear Harmony has been a huge help for me in taking the first steps towards understanding improvisation and outlining chord changes.

The book is based on three "outlines" used to outline ii-V-I progressions with proper voice leading (7ths leading to 3rds, 9ths leading to 5ths, etc). The outlines concept and embellishments are very clearly explained in the first few pages. From there, the first half of the book gives example after example of famous players' licks, categorizing them by outline and explaining what devices they are using to embellish the outline. Jazz is a language, and I feel like the first half of the book shows you the written form and a bit about grammar and how statements are made.

From chapter 9 on, clear exercises are given to actually get the concept and licks into your improvisation. If this book were a language course, this would be the spoken part. Ligon shows how the outlines work over key changes, turnarounds, blues, Rhythm changes, and tunes like "Stella By Starlight", "All the Things You Are", and even "Giant Steps". At the end of the book, there are etudes and example solos (a Lou Donaldson solo and a Tom Harrell solo) to show the outlines in action. There are also two pages on exercises for teaching the concepts in a jazz improvisation class.

I feel that all of the concepts in the book are clearly explained. This is not a book of basic chord/scale knowledge with a bunch of licks to learn. Ligon does offer hundreds of great licks to learn and use, but the book teaches you to identify and understand the different ways you can outline chord changes. The book is also not a rigid guide of rules and regulations; you begin with the simple outlines, but end with the general understanding of how one chord connects to the next. A thorough understanding of the material presented here would surely give a player a good starting point- a wealth of licks and the understanding of how licks are built and embellished.

9 of 9 people found the following review helpful.
Meaningful connection
By Murden
Learning to improvise and expanding the spontaneous musical vocabulary beyond licks, and half hearted dying phrases have proved to be a quite challenge throughout the years. The the shelves in my bookcase are stacked with abandoned books on the topic. Some of them have become monuments to years of frustration and lack of development. So it would be fair to say that I received Bert Ligon's Connencting Chords with Linear Harmony with somewhat low expectations on what I would gain from working with it.

Surely, I was in for a surprise. With it's simple devices and vast amount of examples from the great legends of jazz, I soon found myself playing over chord progressions, and actually connecting the dots. It was a rewarding experience. No more pages on pages with arpeggios exercises, scales, modes and such. Like the ones that would take months to actually play. I'm not trying to advocate that these things don't matter. Of course they do. In fact I'm also working my way through Mickey Baker's Complete Course in Jazz Guitar: Book 2 (Ashley Publications) too and Creative Guitar 1: Cutting Edge Tech (v. 1), both excellent book, which are full of the above. But still, my point being -though there is a great amount of books that will improve your technique and/or give you great theoretic insight. But when it comes the mysterious craft of sculpting great solo lines, how to understand them and the sacred art of internalizing of them, while having lots of fun, there are only a few "hidden gems" (books) out there. Connecting Chords With Linear Harmony" is certainly one of them.

So now I'm looking forward to the day I clear out that particular shelf in my bookcase, to make room for this book, a monument to progression and achievement. On the other hand, that day may never come. I'm afraid this book is too exciting, practical and too awarding to just stand up there collecting dust. Bert Ligon's book should really have been glued to every music stand ever produced.

See all 62 customer reviews...

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