1A: The Virtual Practice Method 1D: Rhythmic Variety 1G: Developing with Motifs and Phrases Using the Virtual Practice Method Latin, Fusion, and Swing Styles About Development Introducing Flexible Scales Using Offbeats Creating a Motif SHAPE: See, Hear, And Play Expressively Mixing Offbeats and Downbeats Varying a Motif Naming Intervals Playing Interesting Rhythms Creating Phrases Hearing and Playing Intervals Using Rhythmic Combinations How to End Phrases 1B: Chords and Scales Virtual Practice Method for Rhythms Eliminating Phrase Barriers Understanding Chord Symbols 1E: Practice Levels for Flexible Scales Development Exercises, Level 1 Building Major Chords Practice Strategies 1H: Customizing Tune Melodies Building Lydian Scales The Seven Practice Levels Balancing the Degrees of Variation Building Dominant Chords and Scales 1F: Using Expression Development Tools Building Minor Chords and Scales The Role of Expression Using the Tune Melody in a Solo 1C: Melodic Color The Range of Expression 1J: Chords, Keys, and Progressions Color Tones Using SHAPE for Expression Chords in Major Keys Handling the Fourth Degree Using Dynamics Recognizing Keys in Chord Progressions Finding Color Tones in Written Music Varying Accents and Articulations The Basic Blues Soloing with Color Tones Using Blues Scales ii-V-I Progressions Simplifying Chord Progressions
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1K: Simplified Progressions, 300 Standards 2B: Melodic Shapes 2F: Melodic Development 1L: The Jazz Group Strengthening Interval Skills Expanding Intervals Group Performance Skills Range and Neighborhoods Shrinking Intervals Rhythm Section Roles Visualizing Range Omitting Ending Notes The Tune Melody Variety in Contours Adding Notes 1M: Analyzing Solos Using Fills Inverting Contours Evaluating Your Own Solos 2C: Swing Rhythms 2G: Development Exercises: Level 2 Four Goals for Improving Your Solos Learning the Swing Style 2H: Tune Forms Analyzing Other Artists’ Solos Swing Rhythm and Articulation Guidelines Learning the Form of the Tune 1N: Rhythm Section Techniques Swing Accent Guidelines AABA Form Chord Techniques Variations in Swing Other Common Tune Forms Bass Techniques 2D: Three and Four 2J: Tune Forms, 300 Standards Drumset Techniques 3-Against-4 2K: Preparing Concert Material Variety and Interaction Triplet Contours Handling the Tune Melody 2A: More Scales 4-Against-3 Building Effective Tune Sets Pentatonic Scales 2E: Embellishments More Variety in Tune Sets Expanded Blues Scales Trills What Is There to Say? Lydian Dominant Scales Grace Notes 2L: Analyzing Written Solos Minor Pentatonic Scales Turns Analysis Levels Melodic Minor Ascending Scales Neighbor Tones Steps for Analysis Repeated Notes Sample Solos to Analyze
INDEX README MORE ABOUT AOI TUTORIALHOME HELPPLAY
3A: More Melodic Color Short Patterns 3M: Soloing Live Using Non-Harmonic Tones 3G: Pattern Examples The Psychology of Performance Non-Harmonic Tones in Minor and Dominant 3H: Rhythmic Development About the Audience Harmonic Minor and Natural Minor Augmenting Rhythms Performance Tips 3B: Melodic Connections Compressing Rhythms 3N: Analyzing Solos – Level 3 About Melodic Resolution Augmentation and Compression Values How to Use Melodic Resolution Fragmenting Motifs 4A: Soundscapes Chord Anticipation Displacing Motifs About Soundscapes Chord Delay 3J: Development Exercises Density in Solos 3C: Melodic Connections – 300 Standards 3K: Dominant Alterations Intensity in Solos 3D: Fusion and Latin Styles Altered Dominant Chords Artists and Soundscapes Jazz Fusion Artists Adding Alterations Conservative Improvisation Styles around the World Whole-Tone Scales 4B: Double-Time and Half-Time Latin Rhythms and Clave Minor Chord Progressions About Double-Time and Feel Montunos and Guajeos Diminished Chords and Scales Double-Time Transitions 3E: Melodic Patterns 3L: Learning Standard Tunes Double-Time Material About Patterns Steps for Memorizing Progressions Increasing Speed Using Sequences Using Bass Cheater Notes Triple-Time Feel Creating Patterns Humming the Bass Line Half-Time Feel 3F: More about Patterns Adding Other Tones Melodic Variety in Patterns Rhythmic Variety in Patterns
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4C: Special Effects ii-V and V-I Chains Scale Wandering Wind Instrument Effects 4G: ii-V-I Variations in 300 Standards 5C: Rhythmic Freedom, Part 1 Trumpet Effects 4J: Group Interaction Stepping through Rhythms Saxophone Effects Interaction Ideas Shifted Triplets Trombone Effects Ensemble Texture Unusual Triplet Groups Keyboard Effects Solo Formats 5D: Rhythmic Freedom, Part 2 Guitar Effects Playing in Duets and Trios Using Rubato Bass Effects Gig Survival 5-Against-4 Recommended Recordings of Effects 4K: Analyzing Solos – Level 4 7-Against-4 4D: More Development 4L: Transcribing Solos 5E: Rhythmic Pulses Using Quotes Basic Transcription Skills Creating New Pulses Riffing Using Triplet Pulses Basic Development Combinations 5A: Playing Outside, Part 1 Practicing Rhythmic Pulse Shifts 4E: Riff Examples About Outside Playing Additional Shifts 4F: Chord Substitutions Outside Notes and Keys 5F: More Development Combinations Turnarounds and Inserted Chords Melodic Resolution and Outside Keys 5G: Free Improvisation Altered Blues Using Whole-Tone Scales About Free Improvisation Static Playing: Avoiding ii-V-I’s 5B: Playing Outside, Part 2 Degrees of Free 4G: Variations on ii-V-I’s Intervals for Outside Playing Free Melody and Harmony Tritone Substtutions Unusual Scales Free Rhythm Going from the V to a New I Polytone Arpeggios Free Jazz ii-V-I Chains Sequencing & Developing Outside Ideas
