Recordings

This section contains recordings of musical figures from the book. These recordings are quite useful when you are away from the keyboard and want to hear a particular musical illustration. By listening to these audio recordings you are mapping individual theoretical entities (chords, modes, progressions, scales, phrase modes, sets, etc.) with their sound and, thus, training and improving your ears.

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Figure 1.3

Major Scale

Figure 1.4

G-major and F-major

Figure 1.6

Minor Scale

Figure 1.7

"Shades" of Minor

Figure 1.8

Scale Degree Names

Figure 1.8

Diatonic Intervals

Figure 1.14

Diatonic and Chromatic Intervals

Figure 1.15

Inversions of Intervals

Figure 1.16

Basic Triads

Figure 1.17

Basic Triads and Inversions

Figure 1.18

Suspended Triad

Figure 2.2

Syncopated Melody: "Moose the Mooche," mm. 17–24

Figure 2.5

Swing 8th Notes

Figure 3.7

Functional Families in Major

Figure 3.8

Tonal Progression in Major

Figure 4.1

Addition of Essential Chord Tones

Figure 4.2

Major Four–Part Chords

Figure 4.3

Minor Four–Part Chords

Figure 4.4

Dominant Four–Part Chords

Figure 4.5

Intermediary Four–Part Chords

Figure 4.6

Fourteen Four–Part Chords

Figure 4.8

Inversions of Four–Part Chords

Figure 5.2

Major Five–Part Chords

Figure 5.3

Minor Five–Part Chords

Figure 5.4

Dominant Five–Part Chords

Figure 5.5

Suspended Dominant Five–Part Chords

Figure 5.6

Figure 6.3

The ii7–V7–Imaj7 Progression

Figure 6.4

The ii7(♭5)–V7–i7 Progression

Figure 6.5

Secondary Dominant 7th

Figure 6.8

Harmonic Elision

Figure 6.9

Transformations of II–V–I

Figure 7.1

Parent–Scale Derivation of Diatonic Modes

Figure 7.3b

Lydian Phrase

Figure 7.4b

Mixolydian Phrase

Figure 7.5b

Aeolian Phrase

Figure 7.6b

Dorian Phrase

Figure 7.7b

Phrygian Phrase

Figure 7.8b

Locrian Phrase

Figure 7.9

Parent–Scale Derivation of Chromatic Modes

Figure 7.10b

Melodic Minor Phrase

Figure 7.11b

Dorian ♭2 Phrase

Figure 7.12b

Locrian ♮2 Phrase

Figure 7.13b

Lydian Augmented Phrase

Figure 7.14b

Mixolydian ♯11 Phrase

Figure 7.15b

Mixolydian ♭13 Phrase

Figure 7.16b

Altered Phrase

Figure 8.1

CMaj13(♯11) and Lydian Mode

Figure 8.2

Lydian Phrase

Figure 8.3

Major Category

Figure 8.4

Minor Category

Figure 8.5a

Dorian as a Tonic

Figure 8.5b

Dorian as a Predominant

Figure 8.6

Dominant Category

Figure 8.8

Suspended Dominant Category

Figure 8.9

Intermediary Category

Figure 8.10

Chord–Scale Relationship: ii7–V7–Imaj7

Figure 8.11

Chromatic Chord–Scale Relationships

Figure 8.12

Chord–Scale Relationship: ii7(♭5)–V7–i7

Figure 9.2

Musical Realization of a Story

Figure 9.3

Blues Scale

Figure 9.5

Major Blues Scale

Figure 9.6

Basic Blues Progression

Figure 9.7

Basic Blues: Guide–Tone Realization

Figure 9.8a

Basic Blues: Blues Scales and Modes

Figure 9.10b

Minor Blues: Blues Scales and Modes

Figure 10.1

Two–Chorus Blues Solo

Figure 10.5

Guide–Tone Improvisation

Figure 10.7a

Improvisation: Embellishing 3rds

Figure 10.7b

Improvisation: Embellishing 7ths

Figure 10.8a

Improvisation: Embellishing a 3rd–line

Figure 10.8b

Improvisation: Embellishing a 7th–line

Figure 12.1

Keyboard Realization: Model I

Figure 12.2

Keyboard Realization: Model II

Figure 12.3

Keyboard Realization: Model III

Figure 12.4

Keyboard Realization: Model IV

Figure 12.5

Keyboard Realization: Model V

Figure 12.6

Keyboard Realization: Model VI

Figure 12.7

Keyboard Realization: Model VII

Figure 13.7

Harmonic Expansions

Figure 13.10

The "Countdown" Progression

Figure 13.11

The "Giant Steps" Progression

Figure 13.14

Model Realizations

Figure 13.17

Model Realizations

Figure 14.1

Upper–Structure Triads in the Dominant 7th Chord

Figure 14.2

Resolutions of Upper–Structure Triads

Figure 14.6

Exploring Incomplete Formations

Figure 15.1

Major Bebop Scale

Figure 15.3

Distribution of Major 6ths and Diminished 7ths Chords

Figure 15.4

Minor Bebop Scales

Figure 15.5

Distribution of Chords

Figure 15.6

Dominant Bebop Scale

Figure 15.7

Distribution of Chords

Figure 15.8

Derivation of Intermediary Bebop Scale

Figure 15.9a

Routine 1: Scalar Patterns

Figure 15.9b

Routine 2: Scalar Patterns

Figure 15.9c

Routine 3: Arpeggiation Patterns

Figure 15.9d

Routine 4: Scalar and Arpeggiation Patterns

Figure 15.10a

Routine 1: Addition of Extra Chromatic

Figure 15.10b

Routine 2: Addition of Extra Chromatic Notes

Figure 15.12a

Routine 1: Altered Dominant Scales

Figure 15.15

Bebop Scales for ii7–V7–Imaj7

Figure 15.16

Chord–Scale Relationship for the Minor 7(♭5) Chord

Figure 15.17

Bebop Scales for ii7(♭5)–V7–i7

Figure 16.1

1/2 Octatonic I, II, III

Figure 16.4

Voice–Leading Behavior of C5 and D♭5 (C#5)

Figure 16.5

Harmonic Transposition Through the 1/2 Octatonic I Scale

Figure 16.6

Melodic Transposition Through the 1/2 Octatonic I Scale

Figure 17.1

"Billie’s Bounce" – Chord Changes

Figure 17.2

"Billie’s Bounce" – A Chord–Scale Relationship

Figure 17.3

"Billie’s Bounce" – Model II Realization

Figure 17.4

"Bird" Blues – Chord Changes

Figure 17.5

"Bird" Blues – "Drop 2" Five–Part Realization

Figure 17.6

"The Dance Of the Infidels" – Chord Changes

Figure 17.7

"The Dance Of the Infidels" –"Drop 2" Five–Part Realization

Figure 17.8

"Bird" Blues – Arpeggiation of a Structural Line

Figure 17.9

"The Dance Of the Infidels" – Entry Windows

Figure 19.3

Alternate Progressions for the A Section

Figure 19.4

Alternate Progressions for the B Section

Figure 19.6

A Basic Chord–Scale Relationship for the A Section

Figure 19.8

An Alternate Chord–Scale Relationship for the A Section

Figure 19.10

An Alternate Chord–Scale Relationship for the A Section

Figure 19.11

A Basic Chord–Scale Relationship for the B Section

Figure 20.1

Major Pentatonic

Figure 20.2

Minor Pentatonic

Figure 20.3

Dominant and Suspended Pentatonics

Figure 20.4

Dorian Pentatonic

Figure 20.6

Pentatonics Transposed to C4

Figure 20.7

Melodic Minor Pentatonic

Figure 20.8a

Rotations of Chromatic Pentatonics

Figure 20.8b

Chromatic Pentatonics Transposed to C4

Figure 20.9

Altered Pentatonics

Figure 20.10

Chord–Scale Relationship: Major Category

Figure 20.11

Chord–Scale Relationship: Minor Category

Figure 20.12

Chord–Scale Relationship: Dominant Category

Figure 20.13

Chord–Scale Relationship: Suspended Dominant Category

Figure 20.14

Chord–Scale Relationship: Intermediary Category

Figure 20.15

Dorian Family of Voicings

Figure 20.16

Pentatonic Voicings

Figure 20.17

Pentatonic Lines

Figure 20.18

Major Hexatonics

Figure 20.19

Minor Hexatonics

Figure 20.20

Dominant Hexatonics

Figure 20.22

Intermediary Hexatonics

Figure 20.23

Hexatonic Voicings

Figure 20.24

Melodic Potential

Figure 21.6

Phrase Model 1: Harmonic Variants

Figure 21.7c

Phrase Model 2: Harmonic Variants

Figure 21.8c

Phrase Model 3: Harmonic Variants

Figure 21.9c

Phrase Model 4: Harmonic Variants

Figure 21.10c

Phrase Model 5: Harmonic Variants

Figure 21.11c

Phrase Model 6: Harmonic Variants

Figure 21.12c

Phrase Model 7: Harmonic Variants

Figure 21.13c

Phrase Model 8: Harmonic Variants

Figure 21.14c

Phrase Model 9: Harmonic Variants

Figure 21.15c

Phrase Model 10: Harmonic Variants

Figure 21.16c

Phrase Model 11: Harmonic Variants

Figure 21.17c

Phrase Model 12: Harmonic Variants

Figure 21.18c

Phrase Model 13: Harmonic Variants

Figure 25.3

"Autumn Leaves" mm. 1–8

Figure 25.5

Addition of Extensions: Variant 1, mm. 1–8

Figure 25.6

Addition of Extensions: Variant 2, mm. 1–8

Figure 25.7

Harmonic Expansion of Structural Chords

Figure 25.8

Tonicization

Figure 25.11

Upper–Structure Triads

Figure 25.12

Neighbor Formations

Figure 25.13

Pedal Points

Figure 25.14

Functional Exchange

Figure 25.15

Melodic Recontextualization

Figure 25.17

Linear Approach to Reharmonization: Outer–Voice Frameworks

Figure 26.3

Compound Melody

Figure 27.1

Integer Notation

Figure 27.3

Ordered and Unordered Intervals

Figure 27.7

Families of Trichords: Pitch Notation