Overview of chromaticism -- Fundamental principles -- Harmonic concept of tonal chromaticism -- Superimposition in various harmonic situations -- Non-tonal chromaticism -- Voicings -- Melodic concepts -- Considerations of chromatic melodic lines -- Interval categories -- Practicing ideas -- Playing situations -- Musical relationships in the group -- Examples of chromaticism from jazz and classical repertoire -- Analysis of Liebman transcriptions -- Playing melodies -- Pattern and variational techniques -- Harmonization of a chromatic line -- Reharmonization of standards -- Analysis of complex chords -- Suspended chord terminology -- Liebman original compositions -- Line compendium -- Voicing compendium.

This book Chromatic Lines Over Standard Tune Chord Progressions is designed to free the improvisor from the normal sounds that he or she usually plays. All the compositions are based off on the Triadic Chromatic Approach concept, so you will get a clear example of the sound itself from the combination of the Triadic Chromatic Approach and the standard progressions. For all Bb, Eb, C and Bass instruments. You will find in this book compositions and exercises with chromatic lines.

The most complete method for chromatic improvising over standards! David clearly explains and demonstrates the art of superimposing chords chromatically over "standard" chord changes (using several popular jazz favorites as his vehicles) to play contemporary sounding jazz lines. Includes standard and superimposed harmony for Girl from Ipanema, Donna Lee, Autumn Leaves, Take the A Train, Satin Doll, Rhythm and Blues Changes, Impressions, India, Loft Dance, and A Love Supreme. The CD contains both verbal instruction and David soloing over the standards using the techniques described in the book. The book contains analysis for each solo and the solos on the CD are transcribed for all C, B-flat, and E-flat instruments! "How to Approach Standards Chromatically is a slightly different kind of play-along. It's packed with transcriptions of Libbman solos which are meant to be studied, as much as played, by students. The scope of this book is a bit dizzying: Libbman's approach is to provide the student with twelve songs and superimposition concepts that progress up the dissonant food chain. The material Libbman draws upon for contrasting chromatic colors include upper structure chords, tritone relationships, ii-V substitutes, "Giant Steps" movement, side slipping, moving chord cycles, purely intervallic thinking, and other advanced concepts. To benefit from this book, you do not need to play along with the CD note-for-note. Rather, use Libbman's detailed written notes to help you recognize and analyze the kinds of lines he plays on each of the superimposed progressions; then try to improvise over the progressions in a similar vein. Alto/Bari players and other instrumentalists can also get in on the action, as each solo and progression are transcribed in concert key, B-flat and E-flat." ---Down Beat Magazine

(Jazz Book). A study of three basic outlines used in jazz improv and composition, based on a study of hundreds of examples from great jazz artists.

he purpose of this book is to share my thoughts with all melodic instrumentalists, to suggest an avenue into chromatic jazz improvisation. The title Chromaticism in Jazz implies the coloristic, intervallic, non-diatonic, paratonal, and superimposition styles of jazz improvisation that may be represented by the mid-60 s Miles Davis Quintet and the 60 s John Coltrane Quartet (and later Coltrane groups). It must also be noted that the application of chromatic lines in improvisation should not overshadow the natural flow of ideas, but should be explored thoughtfully to create contrast and more lyrical, melodic playing. As the subject of dissonance versus consonance has shifted and evolved throughout the course of jazz history, chromaticism has been developed by later generations to stretch the boundaries of jazz improvisation. The use of superimposed lines against harmonic structures can often create an interesting deflection, in conjunction with more standard jazz language. This work will lay the structural guidelines of chromaticism and give some examples of how chromatic lines can be used in a jazz context. After learning the evolution of chromaticism in recorded jazz, you will then gain the knowledge and skill to explore further possibilities. I hope this book will offer a new treatment for the chromatic deficiency in American musical society at large.

This book teaches the ideas behind adding chords to melodies. It begins with basic chords and progressions, and moves to more complex ideas. With an introduction and two appendices. Two CDs of additional material.

The same notes can sound square or swinging, depending on how the music is phrased. This revolutionary book shows how many people misunderstand jazz phrasing and shows how to replace stiff phrasing with fluid lines that have the right jazz feeling. In this book, master pianist Hal Galper also shows how get that feeling of forward motion and also how to use melody guide tones correctly, how to line up the strong beat in a bar with the strongest chord notes, and much more!

An exploration of musical harmony from its ancient fundamentals to its most complex modern progressions, addressing how and why it resonates emotionally and spiritually in the individual. W. A. Mathieu, an accomplished author and recording artist, presents a way of learning music that reconnects modern-day musicians with the source from which music was originally generated. As the author states, "The rules of music--including counterpoint and harmony--were not formed in our brains but in the resonance chambers of our bodies." His theory of music reconciles the ancient harmonic system of just intonation with the modern system of twelve-tone temperament. Saying that the way we think music is far from the way we do music, Mathieu explains why certain combinations of sounds are experienced by the listener as harmonious. His prose often resembles the rhythms and cadences of music itself, and his many musical examples allow readers to discover their own musical responses.