Connecting Chords With Linear Harmony - Download as PDF File .pdf) or read online. A study of Bert Ligon - Comprehensive Technique for Jazz Musicians. CONNECTING CHORDS WITH. LINEAR HARMONY. By Bert Ligon. A study of three basic outlines used in jazz improvisation and composition, based on a study. abliteseku.cf of Bert Ligon's book Connecting Chords With Linear Harmony! Music Score, Learn how to play piano chord inversions in both major and minor.
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drfe2hyt9k2gu9 - Download and read Bert Ligon's book Connecting Chords with Linear Harmony in PDF, EPub, Mobi, site online. Free Connecting Chords. Connecting Chords with Linear Harmony [Bert Ligon] on abliteseku.cf *FREE* shipping on qualifying offers. (Jazz Book). A study of three basic outlines used in . Thread: Connecting chords with Linear harmony by Bert Ligon .. I could share them with you in. Mid,. Pdf,. Guitar pro, plain text tab, whatever.
Join Date Jun Posts 4, 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?
Bert Ligon - Connecting Chords With Linear Harmony
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.
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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 I can play as 8ths: 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!
Pete Martin - just a mandolin guy but loves jazz guitar www. 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: 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.
Review: Connecting Chords with Linear Harmony by Bert Ligon
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. I really should practice it much more, but it has never been a priority, and may never be. It's not like it's going to help pay the bills at this point, and spending time with the grandkids is more important than spending it with a book of etudes.
I have this book but haven't worked in it for a long time. Jarrett plays this arpeggio in m. In the tune itself, this chord is played as a major 7 chord, the Db major chord.
Here Jarrett changes its quality to a dominant 7 chord to point to This is a very good exercise for connecting all the chords using a arpeggio. These arpeggios can ascend, as in mm.
Eventually, you will run out of range on your instrument. A solution is to invert the arpeggios as in mm. Repeat the exercise exchanging where you play ascending or inverted arpeggios.
Several kinds of rhythmic variations can be applied, including anticipation and delayed resolutions. This exercise follows outline no. This line from m. Some of these excerpts may be too active to be played in every measure.
This book did a lot for me
It is a good idea to practice them in alternating measures. This reinforces a sense of stop and go in your phrasing. The example below plays the line in the odd measures and comes to rest on the 3rd in the even measures. The connection of this idea resolving to the 3rd of the next chord is outline no. Now play the 3rd in the odd measures with the line in the even measures. Jarrett also plays a arpeggio that connects the octave leap from G to F.
This is outline no. Practice the line for alternating measures as shown in the previous exercises.
Odd to Even: They may appear with out embellishment or may be highly figured. I have written a book that deals exclu- sively with these structures: Outline No. The three outlines are shown below for a G7 to C progression. The outlines are used anytime the chords progress down a fifth. Almost the entire progression for this piece is based on chords resolv- ing down a fifth, so these basic outlines will be essential vocabulary Outline No.
When the lines become more familiar, experiment with displacement both octave and rhythmic and with various levels of embellishment. Jarrett Line Basic Outline No. Even to Odd: Jarrett Outline No. Jarrett plays a arpeggio in m. It may be easier to see as shown below. In the second setting below, a Bb replaces the An in the de- scending arpeggio over the D7. The Bb is more colorful and suggests chromatic voice-leading from the Bn. A very basic shape is shown on the top line.
The bottom line is more embellished and rhythmically interesting and may represent how it might be in an improvised solo. It is important to be able to play the basic shapes before attempting to embellish them. This exercise is the reverse of the previous one. This one begins with outline no.
The basic shapes are shown on the top line and more embellished and rhythmically active lines are shown on the bottom. The basic idea is Jarrett uses a neighbor tone group before playing the E.Contro la caccia e il mangiar carne scarica. The buttloads of transcribed clips are presented because they are variations on those three themes.
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