Table of Contents
Forward.................................................................................................................................................3
Chapter 1: Theory and Harmony..........................................................................................................7
Interval Names and Symbols...........................................................................................................7
Naming Intervals..............................................................................................................................8
Enharmonic Intervals.....................................................................................................................10
Chords and their formulars............................................................................................................11
Building Diatonic Triads.................................................................................................................12
Building Diatonic Seventh Chords..................................................................................................13
Major Scale (Triads & Seventh)......................................................................................................14
Natural Minor Scale.......................................................................................................................15
Melodic Minor Scale......................................................................................................................16
Harmonic Minor Scale...................................................................................................................17
Harmonic Major Scale....................................................................................................................18
Double Harmonic Major Scale.......................................................................................................19
More about seventh chords...........................................................................................................20
Suspended Triads and other three note structures.......................................................................21
Chord Scales...................................................................................................................................23
Chord families and their scales......................................................................................................25
Scale Degree Names and Basic Progressions.................................................................................28
More About Roman Numeral Analysis..........................................................................................32
Cycle of FiDh and Back Cycling.......................................................................................................34
Roman Numeral Analysis and Chord Scale Choice........................................................................35
Basic Rules for Chord Subs%tu%ons...............................................................................................37
Triad and Seventh Chords over Bass Notes and Polychords..........................................................51
Triads over Bass Notes...................................................................................................................54
Reharmoniza%on and Chord Subs%tu%ons....................................................................................60
Advanced Reharmoniza%ons.........................................................................................................62
Reharmoniza%on of Standard Forms.............................................................................................75
Common Tone Reharmoniza%on...................................................................................................77
Modal Harmony and Theory..........................................................................................................80
Sharp and Flat Direc%on Modal Modula%on.................................................................................82
Resolu%on Tendencies between Modal Groups............................................................................88
Voiceleading...................................................................................................................................89
Chapter 2: Chord Forms......................................................................................................................93
Triad (and Suspension) Chord Forms.............................................................................................93
Drop Voicings...............................................................................................................................101
Triads over Bass Notes.................................................................................................................174
Spread triads over bass notes......................................................................................................193
Quartal Voicings...........................................................................................................................215
Skipped String Voicings................................................................................................................234
Open String Voicings....................................................................................................................239
Polychords (Triads over Triads)....................................................................................................250
Using Comping Voicings in new Ways..........................................................................................253
Construc%ng Chord Scales...........................................................................................................254
Diminished Scale Voicings............................................................................................................264
Stretch Voicings............................................................................................................................268
Chordal Lines (ii7 V7 Imaj7)..............................................................................................................272
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Chapter 3: Scales and Arpeggios.......................................................................................................275
Mode (Scale) Prac%ce..................................................................................................................275
Close Posi%on Fingerings.............................................................................................................284
Scales with two notes per string..................................................................................................287
Diatonic Intervals.........................................................................................................................294
Diatonic Arpeggios.......................................................................................................................295
Seventh Chord Arpeggios............................................................................................................298
Seventh Chord Arpeggios Root 6.................................................................................................300
Seventh Chord Arpeggios Root 5.................................................................................................306
Bitonal Arpeggios.........................................................................................................................312
More about prac%cing scales and arpeggios...............................................................................322
Chapter 4: Linear Studies.................................................................................................................324
ii V I Progressions.........................................................................................................................324
ii7 V7 Imaj7 subs%tute pa1erns........................................................................................................336
Turnarounds.................................................................................................................................338
Turnarounds over four measures................................................................................................340
Turnaround Subs%tues.................................................................................................................343
Cycle of Fiths................................................................................................................................344
Cycle of FiDh Exercise..................................................................................................................346
Pentatonic Scales.........................................................................................................................347
Triadic Superimposi%on...............................................................................................................352
Seventh Chord Superimposi%on..................................................................................................361
Hybrid Arpeggios.........................................................................................................................368
Playing over unusual Resolu%ons................................................................................................373
Melodic Ideas (Stackes)...............................................................................................................378
Modes: Linear Approach..............................................................................................................385
Modal Mixture.............................................................................................................................403
Using One Interval Set Over Many Chords..................................................................................405
Outside Playing Over One Chord.................................................................................................409
Chroma%cism And Twelve Tone Applica%ons..............................................................................413
Twelve Tone Triadic Formulas......................................................................................................416
Modal Shapes..............................................................................................................................425
Unorthodox LeD Hand Techniques..............................................................................................428
Modern Linear Examples.............................................................................................................429
Pedal Point Soloing......................................................................................................................433
Chapter 5: Technique and Prac%ce...................................................................................................436
Bass Lines.....................................................................................................................................436
Comping Rhythms........................................................................................................................446
Solos Over Standard Forms..........................................................................................................447
Prac%cing......................................................................................................................................457
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