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.

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.

This is a jazz improvisational method created by George Garzone. In this volume you'll find the specific rules of the triadic chromatic approach which will allow you to begin to improvise freely. The book contains text, exercises, audios and videos.

You will find the development of the Triadic Chromatic Approach, applied to the diminished and augmented triads. With this book you will get the explanation, the examples, the exercises and the audios and videos. In my eyes, the augmented and the diminished portion of the triadic approach are the most open and creative sound to my ears.Through these two triads you will be able to escape the world of traditional sounds and patterns.For use for all Bb, Eb C & bass instruments.

Music theorists have long believed that 19th-century triadic progressions idiomatically extend the diatonic syntax of 18th-century classical tonality, and have accordingly unified the two repertories under a single mode of representation. Post-structuralist musicologists have challenged this belief, advancing the view that many romantic triadic progressions exceed the reach of classical syntax and are mobilized as the result of a transgressive, anti-syntactic impulse. In Audacious Euphony, author Richard Cohn takes both of these views to task, arguing that romantic harmony operates under syntactic principles distinct from those that underlie classical tonality, but no less susceptible to systematic definition. Charting this alternative triadic syntax, Cohn reconceives what consonant triads are, and how they relate to one another. In doing so, he shows that major and minor triads have two distinct natures: one based on their acoustic properties, and the other on their ability to voice-lead smoothly to each other in the chromatic universe. Whereas their acoustic nature underlies the diatonic tonality of the classical tradition, their voice-leading properties are optimized by the pan-triadic progressions characteristic of the 19th century. Audacious Euphony develops a set of inter-related maps that organize intuitions about triadic proximity as seen through the lens of voice-leading proximity, using various geometries related to the 19th-century Tonnetz. This model leads to cogent analyses both of particular compositions and of historical trends across the long nineteenth century. Essential reading for music theorists, Audacious Euphony is also a valuable resource for music historians, performers and composers.

For all Bb, Eb, C and Bass Instruments. 12 easy to read compositions by George Garzone. Sheet music Hey, Open Up; Ballad for Lana, One Time, The Mingus that I Knew, Tutti Italiani, Between Two Cities, To my Papa, Moodiology, The Chooch, The Girl from Argentina, New York Flash Pants, Alone

Jazz guitarist Goodrick teams with Miller to explain his system of Generic Modality Compression, a way of studying harmony which allows guitarists to discover fresh and unusual chord voicings. With an introduction and appendix.