| Title |
|
| ABOUT THE AUTHOR |
| INTRODUCTION |
| CHAPTER 1 -- RIGHT HAND OPTIONS |
| Pick Style |
| Fingerstyle Chords |
| Pick and Fingers Technique |
| CHAPTER 2 --COMBINING MELODY AND HARMONY |
| Lesson 1: Recognizing Chord Tones |
| Lesson 2: Guidelines for Arranging |
| Lesson 3: Chord Enhancement |
| Home on the Range |
| CHAPTER 3 -- TECHNIQUES FOR HARMONIZING NON-CHORD TONES |
| Lesson 1: Diads |
| Blue Bell of Scotland |
| Lesson 2: Adding the Non-Chord Tone |
| Beautiful Dreamer |
| Lesson 3: Voice Leading |
| Lesson 4: Passing Chords |
| Virginny |
| Blues in G |
| Diminished Chords |
| mi7 flat 5 (Half-Diminished) Chords |
| Blues in F |
| Lesson 5: Quartal Harmony |
| Single Notes |
| Octaves |
| CHAPTER 4 --ENHANCING CHORD PROGRESSIONS |
| Lesson 1: Passing-Chord Approaches |
| Lesson 2: The IV-I Approach |
| Lesson 3: The V7-I Approach |
| Lesson 4: The ii-V7-I Approach |
| Rum and Coke |
| Lesson 5: Backcycling Approaches |
| Lesson 6: Tritone Substitution Approach |
| Lesson 7: The Flat V7-I Approach |
| Lesson 8: The ii-V7-I and Alternate Cycles |
| Lesson 9: Surprise Chords |
| CHAPTER 5 -- SIMULTANEOUS CHORDS AND WALKING BASS LINES |
| Lesson 1: The Basic Voicings |
| Lesson 2: Bass Lines---Scalewise Approach |
| Lesson 3: Bass Lines---Half-Step Approaches |
| Lesson 4: Bass Lines---Rhythm |
| Lesson 5: Bass Lines ii-V7-I Patterns |
| Everything You're Not |
| Lesson 6: Bass Lines---Combining Techniques |
| Accompaniment for Everything You're Not |
| CHAPTER 6 -- SEARCHING OUT NEW VOICINGS |
| Lesson 1: Moving Voices |
| Lesson 2: Symmetrical Chord Movement |
| Coda 1---A Medley of Suggestions and Musical Concepts for Chord-Melody Playing |
| Creating Arrangements |
| Listening to the Greats |
| Reality Check |
| Byesville |
| CHAPTER 7 -- IMPROVISING OVER ALTERED DOMINANT CHORDS |
| Lesson 1: The Diminished Scale |
| Train |
| Lesson 2: The Whole Tone Scale |
| Once |
| Lesson 3: The Super Locrian Mode (Diminished Whole Tone Scale) |
| Moon |
| Lesson 4: Using the Altered Scale Over a ii-V7-I Progression |
| Lesson 5: Targeting the Altered Chords---The Altered Clusters |
| Lesson 6: Revamping Licks |
| CHAPTER 8 -- THE MINOR SCALES AND THEIR MODES |
| Lesson 1: The Melodic Minor Scale |
| Lesson 2: The Modes of the Melodic Minor Scale |
| Lesson 3: Arpeggios in the Melodic Minor Scale |
| Lesson 4: The Harmonic Minor Scale |
| Lesson 5: The Modes of the Harmonic Minor Scale |
| Lesson 6: Arpeggios in the Harmonic Minor Scale |
| Lesson 7: The ii mi7 Flat 5-V7 Flat 9-i mi7 Progression |
| CHAPTER 9 -- USING ARPEGGIOS |
| Lesson 1: Chord Superimposition |
| Lesson 2: Melodic Patterns Based Around Arpeggios |
| Lesson 3: Melodic Patterns Based Around Chord Shapes |
| CHAPTER 10 -- EIGHT-TONE SCALES |
| The Eight-Tone ii-V7 Scale |
| The Eight-Tone I Scale |
| CHAPTER 11 -- CONNECTING YOUR IDEAS |
| Lesson 1: The Chromatic Connection |
| Lesson 2: Accentuating the Difference Between Keys |
| Lesson 3: Repeating an Idea in Different Octaves |
| Lesson 4: Rhythmic Motives |
| Lesson 5: Melodic Connection |
| Lesson 6: Diatonic Connection |
| Coda 2---A Medley of Suggestions and Musical Concepts for Improvisation |
| Playing on the Extensions Using Advanced Pentatonics |
| Playing on the Extensions Using Tones from 13 Chords |
| Playing with Wider Intervals |
| Octave Displacement |
| Symmetrical Motives |
| Conclusion |
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