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Jazz Licks: Comprehensive Studies

De (autor): Sarpay Ozcagatay

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Jazz Licks: Comprehensive Studies

De (autor): Sarpay Ozcagatay


Jazz licks are among the most common patterns in improvisation-based music. These patternsare very helpful in understanding chord and note relationships, smooth transitionsbetween chords, and are a great way to improve agility on your instrument.The purpose of this book is to develop a better understanding of how certain tensions areused on different kinds of dominant chords, deduce situations in which certain tensioncombinations are 'available' over dominant chords, and learn how to apply these tensioncombinations to create lines and licks. This book will also help you develop your ear by applyingthese licks to all of the chord variations found throughout the book.Below are the fundamental methods for creating jazz licks;1) Using diatonic notes in chord tonality2) Incorporating non-diatonic notes into chord tonality3) Chromatic approaches to chord tonality*Please note* If you need more information about any of the methods listed above, it is recommendedthat you take the studies from this book with you to a professional instructor tohelp connect these concepts.There are many different jazz cadences in jazz song forms (e.g., II-V7-I, I-VI-II-V7-I, I-IV-I, V7-I, and so on...)In this book, you will study the most common jazz cadence: the II-V7-I chordstructure. Each example has 3 variations in all 12 major keys. All examples are written in 4/4.Note that the patterns may/will contain chromatic note approaches, also known as jazzapproaches in different note amounts.Once you've completed the studies in the main section, there is a bonus section containingexamples with uncommon chord progressions in varying time signatures (e.g., 3/4, 7/4, 5/8,6/8 etc.) for you to try. Here, you are encouraged to reinforce the principles learned in themain section by applying them in different harmonic and time environments.The articulations in the book are written for the flute however, you as the reader are encouragedto adjust these articulations for your convenience. Any readers playing a transposinginstrument are encouraged to transpose these licks into your corresponding key.Thanks so much for investing in this book and I wish you well on your musical journey
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Jazz licks are among the most common patterns in improvisation-based music. These patternsare very helpful in understanding chord and note relationships, smooth transitionsbetween chords, and are a great way to improve agility on your instrument.The purpose of this book is to develop a better understanding of how certain tensions areused on different kinds of dominant chords, deduce situations in which certain tensioncombinations are 'available' over dominant chords, and learn how to apply these tensioncombinations to create lines and licks. This book will also help you develop your ear by applyingthese licks to all of the chord variations found throughout the book.Below are the fundamental methods for creating jazz licks;1) Using diatonic notes in chord tonality2) Incorporating non-diatonic notes into chord tonality3) Chromatic approaches to chord tonality*Please note* If you need more information about any of the methods listed above, it is recommendedthat you take the studies from this book with you to a professional instructor tohelp connect these concepts.There are many different jazz cadences in jazz song forms (e.g., II-V7-I, I-VI-II-V7-I, I-IV-I, V7-I, and so on...)In this book, you will study the most common jazz cadence: the II-V7-I chordstructure. Each example has 3 variations in all 12 major keys. All examples are written in 4/4.Note that the patterns may/will contain chromatic note approaches, also known as jazzapproaches in different note amounts.Once you've completed the studies in the main section, there is a bonus section containingexamples with uncommon chord progressions in varying time signatures (e.g., 3/4, 7/4, 5/8,6/8 etc.) for you to try. Here, you are encouraged to reinforce the principles learned in themain section by applying them in different harmonic and time environments.The articulations in the book are written for the flute however, you as the reader are encouragedto adjust these articulations for your convenience. Any readers playing a transposinginstrument are encouraged to transpose these licks into your corresponding key.Thanks so much for investing in this book and I wish you well on your musical journey
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