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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¢Ú5 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(¢Ú9)/II Tensions ¢Ú9, #9, ¢Ú13 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¢Ú5 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, ¢ÚVII7, II - 7¢Ú5 ¢ÚVII7: Tensions 9, #11, 13 IV7 Unaltered Dominant 7 Chords with Non-Diatonic Roots V7 (¢Ú13) Melodic Minor Scale from the ¢Ú7th Degree V7 (¢Ú9, 13) Melodic Minor Scale from the ¢Ú7th Degree Theory of Harmonic Relativity
Chapter 7 ¢ÚII7 and V7(alt) Chords II-7 / ¢ÚII7 / IMaj7 Melodic Lines for II-7 / ¢ÚII7 / 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 ¢ÚIII¡Æ7 Diminished 7th Chords as Secondary Dominants #I¡Æ7 = V7(¢Ú9)/II Improvising with Harmonic Minor Scales V7(¢Ú9,#9) #II¡Æ7 = V7(¢Ú9,#9)/III ¢ÚIII¡Æ7 I¡Æ7 and ¢ÚIII¡Æ7 = V7(¢Ú9)/III #IV¡Æ7 = V7(¢Ú9,#9)/III #IV¡Æ7 = V7(¢Ú9,#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) |