Jazzmaster Cookbook Table of Contents(includes Theory text and Jazzmaster Workout practice method) |
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Section I Jazz Theory and Improvisation 
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Chapter 1: Major Scales pg. 5 |
Major scale, chromatic scale, diatonic notes, spelling rules, key signatures, cycle of fifths, pentatonic scales. |
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Chapter 2: Intervals pg. 13 |
Interval names, qualities, inversions, shortcuts, transposition. |
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Chapter 3: Chords pg. 21 |
Triads, sixths, sevenths, inversions, voicings, chord symbols, voiceleading. |
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Chapter 4: Diatonic Chords and Modes pg. 29 |
Diatonic chords and scales, roman numerals, chordscales, modality, tonality. |
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Chapter 5: Chordscales pg. 33 |
Scale choices, chordtones, tensions, avoid notes, tensions and chord types, chordscales--lydian, ionian, mixolydian, dorian, aeolian, phrygian, locrian, symmetric diminished, wholetone, melodic minor, enharmonics, modal vamps. |
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Chapter 6: Functional Harmony pg. 43 |
Diatonic functions, active notes, tonic, subdominant, dominant, substitution, maor pentatonic, cadences, dominant resolution, II-V, I-VI-II-V progression |
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Chapter 7: Chord Progressions pg. 51 |
Root progression (primary, secondary), harmonic rhythm, major cycle, guide-tones, guide tone lines, melodic cadence. |
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Chapter 8: Basic Melody pg. 59 |
Style, tracking, melodic curve, melody/harmony relationship, melodic rhythm, scalar motion, range, balance, shape, patterns, climax plane, chord tones, skips, voiceleading, licks, activate weakness, phrasing, swing, anticipations, notation, pulse, time signatures, beams, imaginary barline, groove. |
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Chapter 9: Song Form pg. 75 |
AB, AABA, ABAC, ABCD, Blues, unusual forms, lead sheet symbols. |
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Chapter 10: Blues pg. 81 |
Universitality, form, phrasing, blues scale, blue notes, licks, riff blues, jazz blues. |
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Chapter 11: Minor Key Harmony pg. 87 |
Natural minor, relative, parallel, aeolian mode, minor tonality, minor key cadence, harmonic minor, mixob9b13 scale, non-typical chords, melodic minor, dorian, reharmonized I chords, common chords, functions. |
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Chapter 12: Extended and Secondary Dominants pg. 95 |
Chromatic harmony, extended and secondary dominants, arrow symbol, extended cycle, key-related chordscales, progressions #5, #6, #7, direct and indirect resolution, related II- chords, II-V's, bracket symbol, dorian avoid note, |
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Chapter 13: Tritone Substitution pg. 107 |
Tritone, tri-sub-V chord, dotted arrow symbol, secondary tri-sub-V's, dotted brackets, mixo#11 scale, altered dominant scale, dominant @5 chord, related II-chords, substitution, dominant diminished scale, patterns. |
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Chapter 14: Modal Interchange pg. 113 |
Mixed modes, parallel chordscales, modal interchange, subdominant minor function, subdominant minor cadences, hybrid scales, progression #10. |
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Chapter 15: Altered Dominant Scales pg. 119 |
Dominant chordscale structure, voicings, sonority, mixolydian, sus 4, mixo #11, wholetone, mixo b9, dominant diminished, mixo b9b13, altered, composite. |
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Chapter 16: Diminished Harmony pg. 127 |
Diminished chords and scales, passing diminished function, symmetric and key-related scales, color diminished, reharmonization, minor II-V's. |
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Chapter 17: Modulation pg. 135 |
Recognizing modulations, roman numerals, analysis, direct, transitional, pivot chord, dominant pivots, harmonic rhythm, key areas, deceptive modulation... |
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Chapter 18: Harmonic Embellishment pg. 143 |
Chord inversions, line cliches, pedal point bass. |
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Chapter 19: Chord Substitution pg. 147 |
Chordscale alteration, dominant scale colors, secondary dominants, bright and dark substitutes, tritone substitution, dominant dimished scales, functional substitution, chord function chart, II-V substitutions, related II- chords, approach chord substitution, extended approach, reharmonization, turnarounds, licks. |
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Chapter 20: Bebop pg. 163 |
Harmonic qualities, melodic qualities, approach notes, patterns, analysis. |
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Chapter 21: Modal Jazz pg. 169 |
Modal jazz, rhythm section, modal vamps, progressions, voicings, melody, pentatonics, sideslipping. |
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Chapter 22: Pentatonics pg. 175 |
Pentatonic sounds, modes, sonority, relating scales and chords, altered pentatonics, combining scales, pentatonic/modal chart, dominant chord pentatonics, motion patterns, four-note groups, chromatic patterns. |
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Chapter 23: Non-Functional Harmony pg. 185 |
Non-functional movement, parallel and symmetric patterns, tonic systems, functional substitution, compound patterns, Coltrane II-V, example progressions. |
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Chapter 24: Back to Basics pg. 193 |
Growing, basics, three T's, style, choices, instrumental technique, teachers, ear training, right and left brain, repertoire. |
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Section II The Jazzmaster Workout 
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Improvisation Practice Method pg. 197 |
Techniques for using the Jazzmaster Workout Method. Basic exercises and overall approach. | ||
Section III |
The Key Reference pg. 232 |
Blank Forms for students to fill in reference material, all 12 keys. Key of C is completely filled in as an example. |
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Appendix A |
Chordscale syllabus pg. 337 |
Overview of all harmonic functions and chordscales. |
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Appendix B |
Basic Jazz Standard Tunelist pg. 345 |
Typical songs that musicians commonly know. |
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Appendix C |
Example Tune Analysis pg. 347 |
How to analyze songs for improvisation. |
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Appendix D |
Chord and Scale Patterns pg. 349 |
Patterns may be used in the Jazzmaster Workout routine. |
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