But te passage you quote is very basic for traditional harmony that is it can be referred to almost anything starting from baroque in European music Thank you. So, we have established that "points to" means the same as "resolves to", or "wants to resolve to". He probably figured that would be obvious for anyone but a noob like me As I describe it -- imagine you have a rubber band that is tied to a table and to a pencil on the other side, the more you stretch it the further the pencil is from a table, but at the same time the more is the tension backwards to the table.
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When I bought it back in the 90 , it really was - as its title claims - "The Jazz Theory Book"; there were no others. Disregarding a few by Jerry Coker, Jamey Aebersold, etc, which were more practical books than overarching conceptual works. I was hugely impressed with it: the research backing it up the discography and listening lists he gives is staggering; and every concept is illustrated with a quotes from jazz recordings by famous players, which is the most convincing aspect of the book.
The impression given is that the whole thing is based as good theory should be on what jazz musicians actually DO. So I was ready to be impressed, and to have my woolly, haphazard understanding of jazz clarified. But my feelings steadily changed over the years. Although it was intellectually stimulating, it had no real effect on how I played jazz. That was like a real light going on. Byrne was talking about improvising jazz in a way that seemed obvious - in a way Levine never did.
Byrne was all about linear improvisation: melodic phrasing and development, and voice-leading in harmony. I took that for granted, and regarded Levine as talking about something beyond or above that. But in fact he was talking about another kind of jazz entirely: modal jazz. I was seduced by his obvious authority. When I played modal jazz, yes to some extent it did. And it also made sense of the fact not noticed until that point that the music he drew his illustrations from was mostly modern jazz, post s.
IOW, post-modal jazz. That he was just about ignoring all jazz up to that point. Very little on pre-modal jazz, except through the lens of his chord-scale-theory viewpoint. Very late, I came to realise what should have been obvious all along: that chord-scale theory was NOT how the great jazz improvisers before had ever played. No mystery at all.
Levine had introduced a different way of thinking, to be sure. CST is seductive, from one narrow perspective. It seems to open everything up. It opened up too much.
It was like not seeing the wood melody and progression for the trees individual chords. And I found that even in modal jazz my old instincts served me better. Of course, I realise this is largely a personal thing: I happen to enjoy melody and rhythm more than harmonic complexity and colour. I like to connect chords, rather than take each one in isolation - even in a modal piece where the chords can be isolated. But its bias has to be acknowledged. In comparison, Rawlins "Jazzology" is a much duller read, much less appealing.
More like a school text book. But its big disadvantage is it contains no real quotes from jazz recordings; all the musical examples are written by the authors, which makes it seem to lack authority. Why should we believe these guys? Last edited by JonR; at PM.
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BERT LIGON JAZZ PDF
You explained things with level of clarity and precision that I had never encountered, and you caused me to re-think concepts that I thought I knew. I am forever in your debt, as are countless [former] students. Connecting Chords with Linear Harmony is a great study of how to create coherent solos and well-structured melodies by playing the changes and connecting the tones. I truly wish this was the first book on jazz I had read. The presentation is so logical and clear that I read in a half an hour what took a year to learn through other sources. I give this book my highest recommendation to anyone interested in learning jazz. Bert Ligon has truly written a very useful and insightful work.
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