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INTRODUCTION:
The following improvisation composition method adheres to
the essentials of classical jazz harmony while accessing a
broad harmonic perspective.
The chordal style described is free improvisation in
nature, like many instrumental breaks in modern jazz or in
free form acoustic jazz. It is jazz that emphasizes upper
chord tensions, the notes in jazz harmony that distinguish it
from conventional harmony.
More than an isolated chord
progression or map of a single key, it is harmony based on the
circle of 5ths in motion.
Knowledge of music theory or the
ability to read music are UNNECESSARY to improvise with this
system.
Knowledge of this system does not make a master of all forms
of jazz and isn't intended as a technique for improvisation
with a jazz combo though the information here may certainly be
of interest and useful to guitarists involved with a combo
style, however, the relatively simple instructions offered
facilitate
IMPROVISATION THROUGH A NETWORK OF OPTIONS THAT
SPANS THE LIMITS OF CLASSICAL JAZZ HARMONY IN MAJOR with
generous CHORD SUBSTITUTION OPTIONS through CIRCLES OF 5ths,
with LINE PROGRESSION ; MELODIC POTENTIAL automatically .
This system's suggested chord options can be organized as
cadences for composition as described in the instructions. A
useful section is offered for novices; however the primary
intention of this presentation is it's function as an aid to
improvisation and composition for intermediate guitarists.
Questions, comments, criticisms? Contact author
frank@musician.org.
Meter
; Key Changes occur freely so please understand that
it is not likely that this improvisation will resemble big
band, ragtime, or dixie style jazz. Rhythmic variation is left
to the ear, mood, ability and discretion of the musician. The
chord structures most readily lend themselves to
FINGER-PICKING techniques. Beginning fingerpicking
patterns are suggested in the help area.
Built into the logic that is
applied to these diagrams is a broad harmonic base for
improvisation.
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