Modern Jazz Vocabulary Vol.2 Major ii-V-I
Many of the 2-5-1 melodies in this book utilize triads, rhythmic groupings, chromatics, enclosures, harmonic substitutes, common scales, synthetic scales and both common and uncommon tensions. The chords found written above each 2-5-1 melody are in their simplest functional form, i.e. D-7, G7, C. Playing each phrase at a piano using a simple 1-3-7 or "shell voicing" should work well. I have not offered any analysis of the underlying chords, substitutions, rhythmic groupings, tensions etc. in order to help make the book simple and easy to use. If you wish, you can take some time to analyze the material in each 2-5-1 phrase to glean an understanding as to some of the underlying components of the structure. In the end, it's the mind's ear and the "hearing" of the phrase that's most important. Learning the material through singing while visualizing the notes or fingerings on your instrument should help internalize the material so it can become a natural part of your melodic, rhythmic and harmonic vocabulary or "voice" on your instrument. The easiest enharmonic spelling for certain notes are used throughout the book; B for Cb, C for B#, F for E# and E for Fb.
Many of the 2-5-1 melodies in this book utilize triads, rhythmic groupings, chromatics, enclosures, harmonic substitutes, common scales, synthetic scales and both common and uncommon tensions. The chords found written above each 2-5-1 melody are in their simplest functional form, i.e. D-7, G7, C. Playing each phrase at a piano using a simple 1-3-7 or "shell voicing" should work well. I have not offered any analysis of the underlying chords, substitutions, rhythmic groupings, tensions etc. in order to help make the book simple and easy to use. If you wish, you can take some time to analyze the material in each 2-5-1 phrase to glean an understanding as to some of the underlying components of the structure. In the end, it's the mind's ear and the "hearing" of the phrase that's most important. Learning the material through singing while visualizing the notes or fingerings on your instrument should help internalize the material so it can become a natural part of your melodic, rhythmic and harmonic vocabulary or "voice" on your instrument. The easiest enharmonic spelling for certain notes are used throughout the book; B for Cb, C for B#, F for E# and E for Fb.