BERT LIGON CONNECTING CHORDS LINEAR HARMONY PDF

Well Barry Harris's scale applications to tunes seem very vertical to me. Thanks for the links. Galper I generally agree with, but this is more like a paragraph than a resource. See that's the spirit.. Applauding people for loving music and seriously being into it at whatever level they can. Instead of shaming them for that lack of skill : We're all different..

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Well Barry Harris's scale applications to tunes seem very vertical to me. Thanks for the links. Galper I generally agree with, but this is more like a paragraph than a resource. See that's the spirit..

Applauding people for loving music and seriously being into it at whatever level they can. Instead of shaming them for that lack of skill : We're all different.. That's well known video of Bill. What he does at can be done only if you are heading to some moment of form. It is almost impossible to come up with stuff like that relating to every chord Ha these tunes I learned when starting out Monk recording. The low note in bar 3 and similar after that is that an E or a F? Realbook 5 says F - Realbook 6 says E None of the This is very personal, as always, but I would make an investment on the mix process, specially due to the fact the recording was done far from the We choose a profession that actually pays well and now when buying instruments, we like to go for something that doubles as art.

Twice the joy. Search Titles Only. Connecting chords with Linear harmony by Bert Ligon. Thread Tools. One item I had put on my wish list and did receive was the subject book by Bert Ligon. It was identified as a technical resource on connecting chords using guide tones and other important concepts to create great jazz lines based on the study of hundreds of examples from great jazz artists.

I received the book and it has over lines from great artists and good discussion of what is happening in the line that makes it work and be special. The disappointment for me however is that there is no tab for the lines, you have to be able to read music to play the lines! What a bummer!

I obviously wish I would have taken the time to learn how to do this. I guess I should have thought about that possibility noting it was published in Does anyone else have this book and have anything to offer about using it? If you can read music I am sure it would be very informative with great improvisation ideas.

Are there other similar books out there on this topic? Hey maybe this might be a good project for Matt Warnock, develop tab and music samples for the lines in this book, what do you think Matt? Put me first on your waiting list. Happy New Year to all! The Jazz Guitar Chord Dictionary. Join Date Aug Posts Originally Posted by Bluegrass Bill Ward.

Join Date Jun Posts 3, Hi Bill You might think my question is impertinent or irrelevant but why not learn to read notation? A lot of us think of these things as being inseparable from the improvisational process. I might venture to say that most of those who read will say it's essential to helping create visual aspects of phrasing. Plus, it really opens up a potential in the resources available.

No alto player would begin to tackle their craft armed only with flash cards of where to place their fingers.

Is it a matter of time? Or just the inconvenience? Would you use it if someone created a thread dedicated to learning standard notation on the guitar? Who knows? You might even enjoy the ability to look at a piece of music, appreciate the beauty and clever nuance and instantly play it on the guitar. Truly, it's only a matter of acquiring a reading skill. Imagine what you'd be missing from this forum if you couldn't read.

But it's your choice. I hope you unlock the information in that book either way. It's a rich and powerful resource. Sooner or later you will need to learn standard notation. Tab sometimes helps because there are usually a couple of different places you can play a note or a sequence of notes and tabs can eliminate some guess work.

However, any serious study of music must include the reading of standard notation. Sent from my iPad using Tapatalk. It came along at the right time to solve a problem that was vexing me, and it solves it incredibly well. What is the problem? Harmonically specific soloing. It's straight forward to figure out which scale goes with which chord yeah, there are options, but not all that many , but just knowing the scale didn't result in hip lines for me and it didn't result in lines that demonstrated that I knew what I was doing - which was one of my goals then, and probably still now.

What do I mean? So the C scale should work, right? Well, yeah, but you also need strong notes on strong beats, or it still sounds like you're hunting. This whole book is dedicated to exploring IIRC 3 basic soloing patterns. The buttloads of transcribed clips are presented because they are variations on those three themes.

By practicing these 3 patterns and some of my favorite variations in all 12 keys, and over the changes of songs, it unlocked my ability to come up with solo lines that are harmonically specific.

Back to the two-bar sequence above. Say I want to play and 8th note line over that - where there 2 beats each of Dm7, G7, and I don't care how many of C, because with this line I'll resolve on the 1st beat of the 2nd bar The pattern above is one of the 3 patterns explored in depth by this book. I won't go into the other 2, but they are also basic, bread and butter patterns that I find incredibly useful.

I have bought several copies of this book and given them away. And Bert is a really nice guy and a fine player on both guitar and piano, and is a professor at the U of South Carolina. If you are trying to get a handle on harmonically specific jazz soloing and if the reading isn't a show-stopper , this book is worth more than its weight in gold. YMMV ;-. Originally Posted by TruthHertz. Thanks again for your comments and suggestions! Hi Bill, i am also a bluegrasser turned jazzer.

Reading notation is not hard if you practice it a bit daily. Youll get it in a short time. That book is one of my all time favorites. I got a LOT from it! Originally Posted by Petimar. Join Date Nov Posts I believe that Bert Ligon's main instrument is piano. I understand he can play guitar as well, but his book was not written for guitar players.

It was written for all instruments. It's a pretty good example of why learning notation is so beneficial: it gives you access to material not explicitly written for guitarists. I think it's a good book for beginner and intermediate players who are getting their feet wet playing changes.

It's by no means exhaustive -- the "7 to 3" movement is just one voice leading tendency. But it's the most common one, and you can get a lot of mileage out of it. If learning music notation is too daunting at the moment, just learn those three basic lines, try a sampling of the other examples to get some ideas, and go from there.

We're sort of the opposite. I can't read tablature at all. I look at it and see Chinese or Greek. I just never bothered to try to learn it. There just isn't that much tab available for jazz music. It's limited to one instrument, in one tuning, and I don't want to spend time and effort on something so limited. My reading of standard notation is slow enough as it is. I can read, but not at tempo.

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Connecting Chords with Linear Harmony

By Bert Ligon. One of the goals of teaching jazz improvisation is having the students play rhythmically coherent and harmonically specific lines. Most improvisation students come to class with the ability to play lines that are harmonically and rhythmically vague. With many great jazz solos, the rhythm section could be removed and the time, form and harmony would still be heard in the improvised lines. Too often beginning improvisers depend on the rhythm section to provide the harmony and rhythm, while they skate over the top.

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Connecting Chords with Linear Harmony

It explains and exemplifies jazz lines: their foundation, variations, development and common useage on jazz recordings. ALL students of mine that came accross this book had basically the same opinion as me about this! Ever had a big "? You know: it sounds good and makes sense, it's the "right" scale

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