Connecting Chords with Linear Harmony

• Have students write out outlines for each new tune assigned in class to learn. Write out as shown for the previous standard jazz progressions.

  Helps the students recognize the patterns in written form. Helps them prepare for improvising by learning the harmonic progression and identifying the tones necessary for modulation.

• Have students write out their own variations on each of the outlines.

  One or two new lines for each outline over a semester would give students quite an arsenal of musical ideas. Practicing them develops technique and dexterity.

• Have students write out and learn solos using the outlines, ideas from the book, and the Etudes as models.

  Helps the students integrate and use their knowledge creatively.

• Have class sing through the outlines on the tune one outline at a time. Instead of all quarter note values, anticipate the downbeat on the upbeat of beat four.
• Have individuals scat solos through the tune based strictly on the outlines. Use the syllables DOO and DAHT (the jazz movable DOO) to help them emphasize jazz articulations.

  Prepares them for identifying the notes aurally. Once the notes can be recognized aurally, creating melodies through the harmony will be easier.

• Practice as a class through the outlines on the tune one outline at a time. Instead of all quarter note values, anticipate the downbeat on the upbeat of beat four. Work through the exercises in Chapter X.
• Invent more interesting lines based on the outlines and plug them in to the tunes.

  Gives the students clear, practical drills to practice.

• Have individuals improvise on the tune using only one outline at a time. When the entire class has played outline no.1, then move on to outline no.2, then outline no.3.

  Limiting is a way of learning control. Control is what all musicians and composers strive in any. style or discipline.

• Have the students improvise freely on the tune using all three outlines and any other materials.

  Outlines give them security in hearing and playing clear harmonic ideas in a linear fashion. Once they can hear and understand the basic path it will be easier to stray from that path and explore, knowing and hearing where to return.

Learn to identify outlines and recognize the devices used to embellish them. Here are five examples from Cannonball Adderley. Identify which outline is shown, and what devices are used to make them interesting.

• 17.1 Cannonball Adderley:

  Outline No.2: Inverted direction with pick-up notes.

  
• 17.2 Cannonball Adderley:

  Outline No.3: 3-5-7-9 arpeggio with octave displacement on the C7.

  
• 17.3 Cannonball Adderley:

  Outline No.1: Stop and go rhythms delay the resolution of E7 until beat three; arpeggio on E7 (3-5-7-9) delays resolution of Am.

  
• 17.4 Cannonball Adderley:

  Outline No.2: Leap back to a chord tone creates sawtooth shape, delays resolution of C7; chromatic leading tone (D#) precedes target note (E); leap from third to root of C7.