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دانلود کتاب The Beato Book 3.0
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The Beato Book 3.0
ویرایش: 3.0 سری: ناشر: سال نشر: تعداد صفحات: 468 زبان: English فرمت فایل : PDF (درصورت درخواست کاربر به PDF، EPUB یا AZW3 تبدیل می شود) حجم فایل: 46 مگابایت
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فهرست مطالب
Introduction Chapter 1: Theory and Harmony Interval Names and Symbols Ex. 1 Naming Intervals Ex. 2 Ex. 3 Ex. 4 Ex. 5 Ex. 6 Enharmonic Intervals Ex. 7 Chords and their formulars Diatonic Triads in C major Ex. 8 Building Diatonic Triads Interval Composition Ex. 9 Ex. 10 Ex. 11 Ex. 12 Building Diatonic Seventh Chords Ex. 13 Major Scale (Triads & Seventh) Ex. 14a Natural Minor Scale Ex. 14b Melodic Minor Scale Ex. 15 Harmonic Minor Scale Ex. 16 Harmonic Major Scale Ex. 17 Double Harmonic Major Scale Ex. 18 More about seventh chords Ex. 19 Suspended Triads and other three note structures Ex. 20a Ex. 20b Ex. 21 Ex. 22 Ex. 23 Ex. 24 Ex. 25 Chord Scales Major Scale Modes Melodic Minor Modes Harmonic Minor Modes Miscellaneous Scales Chord families and their scales Major7 Type Minor7 Type Minor7b5 Type Dom7 Type Diminished Type Augmented Type Scale Degree Names and Basic Progressions Ex. 26 Ex. 27 Basic Progressions Ex. 28 Ex. 29 Ex. 30 Ex. 31 Ex. 32 Ex. 33 Ex. 34 Ex. 35 Ex. 36 Ex. 37 More About Roman Numeral Analysis Secondary Dominant and Diminished Seventh: Ex. 38 Ex. 39 Ex. 40 Ex. 41 Cycle of Fifth and Back Cycling Cycle of Fifths Ex. 42 Back Cycling Ex. 43 Roman Numeral Analysis and Chord Scale Choice Ex. 44a Ex. 44b Basic Rules for Chord Substitutions Ex. 45 Ex. 46 Ex. 47 Rule I: Ex. 48 Rule II: Major Chords Ex. 49 Rule III: Minor Chords Ex. 50 Rule IV: Dom.7 Chords (V7) Ex. 51 Ex. 52 Rule V: All Chords Ex. 53 Rule VI: Dom7 Chords (V7) Ex. 54 Rule VII: Dom7 Chords (V7) Ex. 55 Rule VIII: Dom7 Chords (V7) Ex. 56 Ex. 57 Extension of Dim7 chords Ex. 58 Ex. 59 Rule IX: Ex. 60 Rule X: Dom7 (V7) chords Ex. 61 Rule XI: Dom7 (V7) chords Rule XII: Ex. 62 Ex. 63 Ex. 64 Rule XIII Ex. 65 Ex. 66 Rule XIV: Ex. 67a Ex. 67b Rule XV: Ex. 68 Rule XVI: Ex. 69 Rule XVII: Ex. 70 Rule XVIII: Ex. 71 Rule XIX: Ex. 72 Rule XX: Symetrical Scales Rule XXI: Dom7 Chords (V7) Ex. 73 Rule XXII: Modal Chords Ex. 74 Rule XXIII: Ex. 75 Rule XXIV Ex. 76 Rule XXV: Ex. 77 Rule XXVI: Ex. 78 Rule XXVII Ex. 79 Rule XXVIII: Ex. 80 Rule XXIX Ex. 81 Triad and Seventh Chords over Bass Notes and Polychords Ex. 82a Ex. 82b Ex. 83 Ex. 84a Ex. 84b Ex. 85 Ex. 86 Triads over Bass Notes Ex. 87 Ex. 88 Ex. 89 Ex. 90 Reharmonization and Chord Substitutions „Countdown Changes“ Ex. 91 „Bird Blues“ Ex. 92a Ex. 92b Advanced Reharmonizations Blues F Blues Basic Substitution Characteristics F Blues ① Ex. 93 F Blues ② Rule XXX: Dom7 chords Ex. 94a Ex. 94b Ex. 95a Ex. 95b Ex. 95c F Blues ③ Rule XXXI Ex. 96 Rule XXXI cont. Ex. 97 F Blues ④ Ex. 98 F Blues ⑤ Ex. 99 Ex. 100 Ex. 101 F Blues ⑥ Ex. 102 Rhythm Changes Ex. 103 Ex. 104 Rule XXXII Ex. 105 Ex. 106a Ex. 106b The Bridge of Rhythm Changes Ex. 107 Ex. 108a Ex. 108b Ex. 109 Ex. 110 Ex. 111 Ex. 112 Ex. 113 Ex. 114 Reharmonization of Standard Forms Reharmonization No.1 Reharmonization No.2 Common Tone Reharmonization Rule XXXII Ex. 115 Modal Harmony and Theory Ex. 116 Ex. 117 Ex. 118 Ex. 119 Sharp and Flat Direction Modal Modulation Ex. 120 Upward Modulation Ex. 121a Ex. 121b Ex. 122 Downward Modulations Ex. 123a Ex. 123b Ex. 124 Sharp Direction (melodic minor) Ex. 125 Flat Direction (melodic minor) Ex. 126 Sharp Direction (harmonic minor) Ex. 127 Flat Direction (harmonic minor) Ex. 128 Resolution Tendencies between Modal Groups Ex. 129 Voiceleading Ex. 130 Resolution Ex. 131 Ex. 132a Ex. 132b Ex. 133 Ex. 134 Ex. 135 Chapter 2: Chord Forms Triad (and Suspension) Chord Forms Major Triads Minor Triads Diminished Triads Augmented Triads Suspended Triads Lydian Triads Locrian Triads Drop Voicings Voicings of Cmaj7 Ex. 136 Drop 2 Maj6 Maj 7 Dom7 Min7 Min6 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Drop 3 Maj6 Maj7 Dom7 Min6 Min7 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Drop 2 + 3 Maj6 Maj7 Dom7 Min6 Min7 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Drop 2 + 4 Maj6 Maj7 Dom7 Min6 Min7 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Triads over Bass Notes Ex. 137 Major Triads Bass Notes Minor Triads Bass Notes Sus4 Triads Bass Notes Spread triads over bass notes Ex. 138 Ex. 139 Major Type Spread Triads Bass Notes (C) Minor Type Spread Triads Bass Notes (C) Dom7 Type Spread Triads Bass Notes (C) Diminished Type Spread Triads Bass Notes (C) Twelve Tone Type Spread Triads Bass Notes (C) Quartal Voicings Three Part Quartal Voicings Ex. 140 Ex. 141 3part-Quartal Voicings – Major Scale 4part-Quartal Voicings – Major Scale 5part-Quartal Voicings – Major Scale 6part-Quartal Voicings – Major Scale 3part-Quartal Voicings – Melodic Minor 4part-Quartal Voicings – Melodic Minor 5part-Quartal Voicings – Melodic Minor 6part-Quartal Voicings – Melodic Minor 3part-Quartal Voicings – Harmonic Minor 4part-Quartal Voicings – Harmonic Minor 5part-Quartal Voicings – Harmonic Minor 6part-Quartal Voicings – Harmonic Minor Skipped String Voicings Ex. 142 Major Scale Skipped String Voicings Melodic Minor Scale Skipped String Voicings Dominant Diminished Skipped String Voicings Ex. 143 Open String Voicings Polychords (Triads over Triads) Using Comping Voicings in new Ways Ex. 144 Constructing Chord Scales Ex. 145 Ex. 146 Ex. 147 Chordal Scales Major Scale (Bebop) Major Scale (modern) Dorian/Minor (Bebop) Dorian/Minor (modern) Aeolian/Minor Dom7 (unaltered) Dom7 (altered Dom) Dom7 (Dominant Dim) Diminished Scale Voicings Ex. 148 Ex. 149 Ex. 150 Dim7 Type Comping Voicings Stretch Voicings Ex. 151 Stretch Voicings Chordal Lines (ii7 V7 Imaj7) Ex. 152a Ex. 152b Ex. 152c Ex. 152d Ex. 152e Ex. 153a Ex. 153b Ex. 153c Ex. 153d Chapter 3: Scales and Arpeggios Mode (Scale) Practice Triads Modes of the Major Scale Modes of the Melodic Minor Scale Modes of the Harmonic Minor Scale Miscellaneous Scales Blues and Pentatonic Scales Pentatonic Scales: Blues Scales: Close Position Fingerings Major Scale Melodic Minor Scale Harmonic Minor Scale Scales with two notes per string Modes of the Major Scale Modes of the Melodic Minor Scale Modes of the Harmonic Minor Scale Examples of Extended Range Scale Fingerings Diatonic Intervals Ex. 154a Ex. 154b Ex. 154c Ex. 154d Ex. 154e Ex. 154f Diatonic Arpeggios Triads (in C Major) Ex. 155a Ex. 155b Ex. 155c Ex. 155d Seventh Chords Ex. 156a Ex. 156b Ex. 156c Ex. 156d Triad Variation Ex. 157 Seventh Chord Variation Ex. 158 Seventh Chord Arpeggios Seventh Chord Formulas Triads and Suspensions Seventh Chord Arpeggios Root 6 Seventh Chord Arpeggios Root 5 Bitonal Arpeggios Ex. 159a Ex. 159b Ex. 159c Major and Minor Bitonal Arpeggios Major Bitonal Arpeggios (over C at the 8th fret) Minor Bitonal Arpeggios (over C- at the 8th fret) Diminished Bitonal Arpeggios (over Co at the 8th fret) Augmented Bitonal Arpeggios (over C+ at the 8th fret) More about practicing scales and arpeggios Ex. 160 Ex. 161 Ex. 162 Chapter 4: Linear Studies ii V I Progressions Ex. 163 Ex. 164 Ex. 165 ii V´s in One Measure Ex. 166 ii V´s in Major One Measure Apiece Ex. 167a Ex. 167b Ex. 167c Ex. 167d Ex. 167e Ex. 167f Ex. 167g Ex. 167h Ex. 167i Ex. 167j Ex. 167k Ex. 167l Ex. 167m Ex. 167n Ex. 167o Ex. 167p Ex. 167q Ex. 167r Ex. 167s Ex. 167t ii V´s in Minor One Measure Apiece Ex. 168a Ex. 168b Ex. 168c Ex. 168d Ex. 168e Ex. 168f Ex. 168g Ex. 168h Ex. 168i Ex. 168j Ex. 168k Ex. 168l Ex. 168m Ex. 168n Ex. 168o ii7 V7 Imaj7 substitute patterns Ex. 169 Examples of ii7 V7 Imaj7 Substitutions Ex. 170 Turnarounds I V7/ii7 ii7 V7 Exercise Ex. 171 Turnarounds over four measures Ex. 172a Ex. 172b Ex. 172c Ex. 172d Ex. 172e Ex. 172f Ex. 172g Ex. 172h Turnaround Substitues Ex. 173 Cycle of Fifths Ex. 174 Ex. 175a Ex. 175b Ex. 175c Ex. 175d Cycle of Fifth Exercise Ex. 176 Ex. 177 Pentatonic Scales Ex. 178a Ex. 178b Ex. 178c Ex. 178d Ex. 179 Pentatonic Scales over Maj(7) Chords Pentatonic Scales over Min(7) Chords Pentatonic Scales over Dom7th Chords Or in Relation to One Pentatonic Melodic Minor Pentatonics Ex. 180a Ex. 180b Ex. 181a Ex. 181b Triadic Superimposition Ex. 182a Ex. 182b Ex. 182c Triadic Superimposition Chart (Maj7) Triadic Superimposition Chart (Min7 (b5)) Triadic Superimposition Chart (Dom7) Triadic Improvisation Ex. 183a Ex. 183b Ex. 183c Ex. 183d Ex. 183e Seventh Chord Superimposition Ex. 184a Ex. 184b Seventh Chord Superimposition Chart (Maj7) Seventh Chord Superimposition Chart (Min7 (b5)(♮7)) Seventh Chord Superimposition Chart (Dom7) Also from the Dominant Diminished Scale Hybrid Arpeggios Ex. 185a-c Hybrid Arpeggio Chart (Maj7) Hybrid Arpeggio Chart (Minor7) Hybrid Arpeggio Chart (Min7b5) Hybrid Arpeggio Chart (Dom7) Playing over unusual Resolutions ① Dim7 chords resolving down by ½ step to minor Ex. 186a Ex. 186b Ex. 186c Ex. 186d ② Dom7 chords resolving up by whole step Ex. 187a Ex. 187b Ex. 187c Ex. 187d Ex. 188 Other Resolutions to become familiar with Ex. 189 Ex. 190a Ex. 190b Ex. 191 Melodic Ideas (Stackes) Ex. 192 Ex. 193 Ex. 194a Ex. 194b Ex. 194c Ex. 194d Ex. 194e Ex. 194f Ex. 194g Major Scale Impressions Ex. 195a Ex. 195b Ex. 195c Ex. 195d Ex. 195e Ex. 195f Ex. 195g Ex. 195h Ex. 195i Ex. 195j Ex. 195k Ex. 195l Ex. 195m Ex. 195n Ex. 195o Ex. 195p Ex. 195q Ex. 195r Ex. 195s Ex. 195t Modes: Linear Approach Ex. 196 Modal Lines (Major Scale) Ex. 197a Ex. 197b Ex. 197c Ex. 197d Ex. 197e Ex. 197f Ex. 197g Ex. 197h Ex. 197i Ex. 197j Ex. 197k Ex. 197l Ex. 197m Ex. 197n Ex. 197o Ex. 197p Ex. 197q Modal Lines (Melodic Minor) Ex. 198a Ex. 198b Ex. 198c Ex. 198d Ex. 198e Ex. 198f Ex. 198g Ex. 198h Ex. 198i Ex. 198j Ex. 198k Ex. 198l Ex. 198m Ex. 198n Ex. 198o Ex. 198p Ex. 198q Blues Sounds Ex. 199a Ex. 199b Ex. 199c Ex. 199d Ex. 199e Ex. 199f Ex. 199g Ex. 199h Ex. 199i Ex. 199j Diminished Sounds Ex. 200a Ex. 200b Ex. 200c Ex. 200d Ex. 200e Ex. 200f Ex. 200g Ex. 200h Ex. 200i Ex. 200j Ex. 200k Ex. 200l Ex. 200m Ex. 200n Ex. 200o Ex. 200p Ex. 200q Whole Tone Lines Ex. 201a Ex. 201b Ex. 201c Ex. 201d Ex. 201e Ex. 201f Modal Mixture Ex. 202 Minor Sounds Ex. 203 Dominant Sounds Ex. 204 Using One Interval Set Over Many Chords Ex. 205 Ex. 206a Ex. 206b Ex. 207a Ex. 207b Ex. 208 Ex. 209 Outside Playing Over One Chord Ex. 210a Ex. 210b Ex. 210c Ex. 210d Ex. 210e Ex. 210f Ex. 210g Ex. 210h Ex. 210i Ex. 210j Ex. 210k Chromaticism And Twelve Tone Applications Ex. 211a Ex. 211b Ex. 211c Ex. 212a Ex. 212b Ex. 212c Ex. 213 Ex. 214 Ex. 215a Ex. 215b Twelve Tone Triadic Formulas Ex. 216a Ex. 216b Ex. 217 Ex. 218 Twelve Tone Formulars Using Seventh Chords Ex. 219 Ex. 220 Ex. 221 Non Tertian Twelve Tone Rows Ex. 222 Ex. 223 Non Systematic Row Ex. 224 12-Tone Triad Etude No.1 Modal Shapes Ex. 225 Ex. 226 Ex. 227 Ex. 228 Ex. 229 Ex. 230 Tonic and Dominant Diminished Scale Shapes Ex. 231 Ex. 232 Unorthodox Left Hand Techniques Ex. 233a Ex. 233b Ex. 233c Ex. 233d Ex. 233e Modern Linear Examples Ex. 234a Ex. 234b Ex. 234c Ex. 234d Ex. 234e Ex. 234f Ex. 234g Ex. 234h Ex. 234i Ex. 234j Pedal Point Soloing Ex. 235 Ex. 236 Ex. 237a Ex. 237b Ex. 237c Chapter 5: Technique and Practice Bass Lines Two chords per bar: Ex. 238 Ex. 239 Ex. 240 Ex. 241 One chord per bar: Ex. 242 Ex. 243 Ex. 244 Ex. 245 Ex. 246a Ex. 246b Ex. 246c One chord for two bars Ex. 247a Ex. 247b Ex. 248 Pedal Points Ex. 249 Ex. 250 Ex. 251 Ex. 252 Ex. 253a Ex. 253b Ex. 254a Ex. 254b Ex. 254c Bassline Comping Variations Ex. 255a Ex. 255b Ex. 255c Comping Rhythms Ex. 256 Solos Over Standard Forms Practicing Technique Left Hand Right Hand Review Material New Material Ear Training
