Reed's Critique of "Connecting Chords with Lineary Harmony" by Bert Ligon.. Copyright (c) 1999.

  All I can say to Bert is "Thanks!!!!!". Finally a jazz educational book that explains how bebop lines work. In particular, how chromatic approach notes work. This seems to be the biggest mystery to many jazz players, even many name players.
  The analytic tools necessary for understanding what is going on in a bebop solo are very articulately explained.
  The techniques used in Jazz starting in the bebop era, are nothing new to music. Classical music has used them for hundreds of years. Composers like Chopin were masters of these techniques. In the early days of jazz before Charlie Parker, they are basically absent.
  All theory is supported by examples from jazz solos.
  My only criticism of the book is that it seems to overlook the global simplification that occurs in jazz solos. For example, many players will treat the whole first 8 bars of "I Got Rhythm" as essentially a Bb major scale. The techniques of chromatic approach can then be individually applied to any scale tone. For example, Bill Evans solo on "Little Lulu" is almost entirely analyzable as a C major scale with chromatic approach notes as described by Bert.Melodies often are entirely diatonic. Melodic solos tend to be almost entirely (or at least for long sections) diatonic except for the introduction of chromatic approach notes which really just imply diatonic tones.

This is a must book for any jazz musician. Any jazz musician that reads this book and uses the techniques to analyze the solos they transcribe, will find themselves on their way to a new level.

 $35.00 plus S&H
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