I. REVIEW of BASIC THEORY MATERIALS Chromatic Scale Intervals & Inversions Major Scale Construction Minor Scale Construction Circle of Fifths Scale Degree Names Key Signatures & Order of Accidentals Common Notation Errors
II. RHYTHM in JAZZ PERFORMANCE Polyrhythms Swing Eighth Note Accents & Articulations Rhythmic Roles Harmonic Rhythm in Jazz Performance The Larger View: Form as Rhythmic Structure Placement of the Notes Syncopation Studies Syncopation in the Jazz Waltz Polyrhythms in Performance Clave Beat Odd Meters Mixed Meters Rhythmic Reading & Dictation Exercises Other Suggested Exercises Reading Exercises
III. BASIC TONAL MATERIALS Tonality Pitch Hierarchy Ear Training Beginning Singing Exercises Beginning Writing Exercises Beginning Tunes for Ear Training Application
IV. TRIADIC GENERALIZATION Tertian Triad Triadic Generalization Elaboration Devices Passing Tones Neighbor Tones Neighbor Tone Combinations Arpeggiated Tones Chromatic Approaches Octave Displacement & Leaps Pedal Point & Pivot Tones Triadic Musical Examples Triad Motive Developed Triadic Embellishment of C Major Triad Triadic Embellishment of C Minor Triad Pentatonic Scale Blues Scales Blue Notes Blues Scale Musical Examples Major Blues Scale Minor Blues Scale Combinations of Major & Minor Blues Scales Generalization Examples Applied
V. DIATONIC HARMONY Diatonic Harmony. Major Inversions Functional Harmony Determining the Key Chord Identification Practice Diatonic Harmony Minor Determining the Key Chord Identification Practice Solved
VI. HARMONIC PROGRESSIONS Common Root Movement Common Progressions in Major Common Progressions in Minor Application of Harmonic Analysis Hierarchy of Chords Closely Related Keys Secondary Dominants Deceptive Resolutions Dominant Seventh Chords & Deceptive Resolutions Diminished Seventh Chords & Deceptive Resolutions Value & Limits of Roman Numeral Analysis (RNA) Dominant Chord Exceptions Tritone Substitution Traditional Augmented Sixth Chords Backdoor Dominants
VII. HARMONIC ANALYSIS Roman Numeral Analysis with Common Jazz Progressions Progressions that Modulate to Closely Related Keys Turnaround Tunes Progresses to IV with Secondary ii7/IV - V7/IV Progresses to vi with Secondary ii∅7/vi - V7/vi Uses Secondary vii¡Æ7 Chords Uses Cycle of Secondary Dominants Chords Borrowed From Parallel Minor Tunes With Similar A Sections Modulates to Remote Keys Progressions Shown With RNA
VIII. HARMONIC SUBSTITUTIONS & TURNAROUNDS Turnaround Progressions Application to Standard Progressions Harmonic Substitutions for Blues in F Major Harmonic Substitutions for Blues in F Minor Harmonic Substitutions for Rhythm Changes Standard Tune Application
IX. HARMONIC SPECIFICITY Specificity & Generalization Guide Tones Bass Lines as Guide Tone Lines Ten Basic Patterns for Bass Lines 244, 140, 625 Bass Lines for Blues Guide Tones Applied to Melodic Lines Linear Implications of Harmony Guide Tones for F Major Blues Blues Etude Guide Tones Guide Tone Line Applications to Standard Progressions Step Progression Other Voices as Guide Tones Avoid Notes?
X. COMMON MELODIC OUTLINES Linear Harmony Constructing the Three Basic Outlines Outline Examples Examples of Outline No. 1 Examples of Outline No. 2 Examples of Outline No. 3 Combination of Outlines Outline Applications Applications to Standard Progressions Outline Embellishment & Development Ideas Outline Etude Ear Training
XI. HARMONY: OVERVIEW of VOICINGS Four Part Voice Leading Five Part Voice Leading Piano Overview Accompaniment Classifications Arranging Voicings in Brief Sax Soli Voicings Non-Harmonic Tones Brass & Saxophone Combination Voicings Special Case & Clusters Voicings Vocal Voicings String Ensemble Voicings