Dave Liebman Chromatic Jazz approach to improvisation

These are my own concepts taken from Dave Liebmans Brilliant Book called “A chromatic approach to jazz”. These ideas are a deliberate attempt to move away from expectancy. 

This first idea is a simple way of weaving in and out of unrelated harmony.

Here the C natural slides into the C# and then into an F# arpeggio which then revolves by letting the C# fall back into the C natural of the F major arpeggio with a flat 5 resolving to the fourth.

Dave Liebman A Chromatic approach to jazz harmony

The next example is an extended line with a substitution of a substitution creating chromatic interest.

Dave Liebman concept of chromatic jazz harmony



Below we see a concept of weaving through two different key centres. Thinking F for D minor and then through F# and sidestepping back to resolve the line.

Dave Liebman chromatic approach to jazz idea


A chromatic Dave Liebman concept


A chromatic approach to jazz harmony and melody Dave Liebman concept

Flat 5 substitution. D minor and A flat major.

flat 5 substitution b5 sub Dave Liebman Chromatic approach to jazz line



Dave Liebmans book is an excellent and inspiring means of absorbing chromatic improvisational knowledge and ideas for your own playing.

511-P62qKeL copy

I am not promoting this book. But, below is a brief overview for those who may find this book/concepts of interest.

This book should be seen as a method to help the artist to develop his or her own way when trying to improvise chromatically. Through the concepts and examples offered, the improvisor should be able to use this material alongside already familiar tonal ideas. Specifically, the book serves as a guide for organizing chromaticism into a coherent musical statement meant to satisfy both the intellectual and emotional needs of artistic creation.

The reader will be introduced to more than one way of conceiving chromatic lines and harmonies. There is nothing theoretically complex or new in the text, it is the organization of the material as well as many musical examples and transcriptions (Bach, Scriabin, Coltrane, Shorter, Hancock, Beirach, Liebman a.o.) which should serve to inspire musicians to expand their usual diatonic vocabulary.
This book also provides insight into the style of playing that David Liebman is known for. In addition the book contains 100 assorted solo lines and 100 chord voicings.

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