ADVANCED CREATIVE JAZZ IMPROVISATION - 2012
by PAUL SORENSEN
PART ONE: THE ART OF IMPROVISATION
1. PRACTICE METHODS AND CREATIVE IMPROVISATION
a. JAZZ THEORY
b. TECHNICAL STUDIES
c. RHYTHM
2. RHYTHM
a. SWING
b. VARIOUS STYLES
PART TWO: DIATONIC CHORDS AND THE MODES OF THE MAJOR SCALE ( IONIAN MODE )
3. THE MAJOR SCALE
a. THEORY / EXCERCISES
b. TECHNICAL STUDIES AND IMPROVISATIONAL EXCERCISES
c. TRANSCRIBED SOLOS AND ANALYSIS
4. THE MINOR SCALE ( DORIAN MODE ) II-CHORD
a. JAZZ THEORY / EAR TRAINING
b. TECHNICAL STUDIES / EXCERCISES
c. TRANSCRIBED SOLOS AND ANALYSIS
5. THE DOMINANT SEVENTH CHORD AND SCALE
a. THEORY / EAR TRAINING
b. TECHNICAL STUDIES / EXCERCISES
c. TRANSCRIBED SOLOS AND ANALYSIS
6. THE II - V - I PROGRESSION
a. THEORY
b. TECHNICAL STUDIES / EXCERCISES
c. IMPROVISING ON THESE PROGRESSIONS
d. TRANSCRIBED SOLOS AND ANALYSIS
7. THE MINOR SEVENTH CHORD AND SCALE
a. THEORY
b. TECHNICAL STUDIES / EXCERCISES
c. IMPROVISING ON THESE PROGRESSIONS
8. THE MINOR SEVENTH FLAT FIVE OR HALF- DIMINSHED CHORD AND SCALE
a. THEORY
b. TECHNICAL STUDIES / EXCERCISES
c. IMPROVISING ON THESE PROGRESSIONS
d. TRANSCRIBED SOLOS AND ANALYSIS
9. THE LYDIAN MODE
a. THEORY
b. TECHNICAL STUDIES
c. IMPROVISATION
d. TRANSCRIBED SOLOS AND ANALYSIS
10. THE PHRYGIAN MODE
a. THEORY
b. TECHNICAL STUDIES / EXCERCISES
c. IMPROVISATION
d. TRANSCRIBED SOLOS AND ANALYSIS
PART THREE: CHORD SUBSTITUTIONS, HARMONIC STRUCTURES, AND FORMS.
11. THE BLUES SCALE, THE BLUES FORM, CHORD SUBSTITUTIONS
a. THE BLUES SCALE
b. THEORY
c. SUBSTITUTIONS
d. IMPROVISING IN JAZZ COMPOSITIONS
e. TRANSCRIBED SOLOS AND ANALYSIS
12. "RHYTHM" CHANGES AND SECTIONAL FORMS
a. THEORY
b. TECHNICAL STUDIES / EXCERCISES
c. IMPROVISING
d. TRANSCRIBED SOLOS AND ANALYSIS
13. HARMONIC STRUCTURES / COLTRANE SUBSTITUTIONS
a. THEORY
b. TECHNICAL STUDIES
c. IMPROVISING ON CHANGES
d. TRANSCRIBED SOLOS AND ANALYSIS
14. FREEFORMS
a. EXCERCISES
b. IMPROVISATION ON COMPOSITIONS
c. TRANSCRIBED SOLOS AND ANALYSIS
PART FOUR: ALTERED CHORDS, DIMINISHED CHORDS, WHOLE -TONE AND HARMONIC MINOR SCALES
15. DIMINISHED MODES
a. THEORY / EAR TRAINING
b. TECHNICAL STUDIES / EXCERCISES
c. IMPROVISING
d. TRANSCRIBED SOLOS AND ANALYSIS
16. THE WHOLE-TONE SCALE
a. THEORY / EAR TRAINING
b. TECHNICAL STUDIES
c. IMPROVISATION
d. TRANSCRIBED SOLOS AND ANALYSIS
17. THE MELODIC AND HARMONIC MINOR SCALES
a. THEORY
b. TECHNICAL STUDIES / EXCERCISES
c. IMPROVISATION
d. TRANSCRIBED SOLOS AND ANALYSIS
18. THE LOCRIAN #2 AND DIMINISHED / WHOLE-TONE
MODES, MINOR CADENCES
a. THEORY
b. TECHNICAL STUDIES
c. IMPROVISATION
d. TRANSCRIBED SOLOS AND IMPROVISATION
19. THE LYDIAN AUGMENTED AND LYDIAN DOMINANT
SCALES
a. THEORY
b. TECHNICAL STUDIES
c. IMPROVISATION
d. TRANSCRIBED SOLOS AND ANALYSIS
PART FIVE: PENTATONIC SCALES AND INTERVALIC IMPROVISATION
20.PENTATONIC SCALES
a. THEORY AND EAR TRAINING
b. TECHNICAL STUDIES: MAJOR PENTATONIC SCALES
c. TECHNICAL STUDIES: MINOR PENTATONIC SCALES
d. IMPROVISATION USING PENTATONIC SCALES
e. TRANSCRIBED SOLOS AND ANALYSIS
21. FOUR-NOTE GROUPINGS DERIVED FROM PENTATONIC SCALES
a.THEORY AND EXCERCISES
b. USING FOUR-NOTE GROUPINGS
c. TRANSCIBED SOLOS AND ANALYSIS
22. INTERVALIC IMPROVISATION
a. THEORY AND EXCERCISES
b. IMPROVISATION ON JAZZ COMPOSITIONS USING CHROMATIC INTERVALS
c. TRANSCRIBED SOLOS AND ANALYSIS
APPENDIX:
1. Intervals
2. Modes in the Major Scale
3. Modes in the Melodic Minor Scale
4. Diatonic Seventh Chords in Major Keys
5. Diatonic Seventh Chords in Minor Keys
6. Chords and their relationship to Scales
