jazz fusion chromatic liebman lines – modern music theory and application

DETAILED ANALYSIS IN THE VIDEO BELOW:

Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts

In this blog we will look at improvising over one chord. This will be D minor [D Dorian].

The key is to use chromaticism, tertian harmony, superimposition and outside harmonic content in order to create interesting improvised lines and move away from the cliches of scales and modes to create originality.

For example:

The key for smoothness is to be aware of where the 1/2 steps [Semitones]are in the “Connections”.

If we look below we can see where the 1/2 steps connect and how to play off of the tonic note with this. In this case we play off of the tonic D note resolving straight into the Eb note for Eb melodic minor. We can then resolve down a half step to C#m and back down into D Dorian

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

Chromatic jazz improvisation Brecker, Mclaughlin and creative Fripp improvising concepts

So as you can see it is easy to weave in and out of the harmony and get back to D Dorian via the 1/2 step.

Below is a line that beautifully weaves in and out of D minor

In this next example we will use tertian harmony and exploit superimposition. We will employ D melodic minor and and keep extending via C melodic minor.

Now we will extend the whole line:

As another idea, there are still useful concepts like “Target Tones”. These can be manipulated without resorting to cliches.

Lastly we will exploit the use flat 5 concepts. In this case there is an Abmaj7/D and a Cmaj7/F# with which we can be creative.

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I am not promoting this book. But I am very grateful for its existence and for its powerful inspiration to me on a daily basis. Anyway, below is a brief overview.

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.

Author: Clifford Martin Musical Artist: Guitar Gti

Modern Music Theory

Clifford Martin is a trained classical musician and composer. His 1st study being piano and composition and a deep study into the meticulous world of modern music theory. He also studied jazz piano and jazz drums privately. Clifford later came back to the guitar and studied in the jazz fusion style of John McLaughlin and Al di Meola. It was at this point that he put all of his years of learning together into one musical form This website is a sort of cataloging of ideas and musical concepts for exploitation and development in the arts of musical composition and improvisation. What started out as a jazz improvisation site has grown into a full blown, harmony, timbre, pitch and rhythm library. Peace, Enjoy!

Tag: jazz fusion chromatic liebman lines

Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts

Dave Liebman: A chromatic approach to jazz harmony and melody.

[These are my own concepts taken from Dave Liebmans Brilliant Book A chromatic approach to jazz]

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.

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

VARIATION:

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.

VARTIATION

VARIATION

Flat 5 substitution. D minor and A flat major.

VARIATION:

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

I am not promoting this book. But I am very grateful for its existence and for its powerful inspiration to me on a daily basis. Anyway, below is a brief overview.

Thanks for viewing this post, I hope it was interesting and useful. Please subscribe to us on youtube!

CLICK SUBSCRIBE!

Share this:

[These are my own concepts taken from Dave Liebmans Brilliant Book A chromatic approach to jazz]

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.

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

VARIATION:

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.

VARTIATION

VARIATION

Flat 5 substitution. D minor and A flat major.

VARIATION:

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

I am not promoting this book. But I am very grateful for its existence and for its powerful inspiration to me on a daily basis. Anyway, below is a brief overview.

Thanks for viewing this post, I hope it was interesting and useful. Please subscribe to us on youtube!

CLICK SUBSCRIBE!

Share this: