While Linear Jazz Improvisation is not about scales and
modes, there is a much easier means of deriving them than
through the complicated Chord-Scale Theory. Begin by
employing the scale of the key of the composition. When
chords appear that contain notes which are chromatic
(foreign) to that key, alter those pitches accordingly. For
example, when a G7 appears in a progression in the key of F,
use the F scale, only change the Bb to B (the 3rd of the G7,
which is chromatic to the key of F).
While the results are often the same as with chord scale
theory, they are sometimes profoundly different. For example,
the last chord of the A section of Desifinado in the key of
F is a GbMA7. Berklee College would call for a Gb Lydian
Mode, but with my approach you have: Gb, A, Bb, C, Db, E and
F. There are no Greek names, no theories necessary:
simplicity itself. An added benefit of this approach is that,
rather than thinking locally (from chord to chord), you are
liberated to think more globally (through the key of the
entire phrase). Incidentally, the scale cited above is
actually called the Persian scale, but it just came up as a
natural consequence of the progression.
The above essay was excerpted from my essay compilation
book on a great many jazz subjects, entitled Speaking of
Jazz: Essays and Attitudes.
Check this link for other examples:
http://byrnejazz.com/product.php?id=12
Topics Discussed:
Improvisation
Ear Training
Transcription
Theory
Notation
Composition
Arranging
Analysis
Band Leading
How to Think In Jazz
At 276 pages, this book is a bargain. Available in
both E-Book and Hard Copy formats, here is a lifetime of
thinking about jazz and improvisation, from one of its
experienced practitioners and educators. From theory to
practice, and everything in between, this one-of-a-kind book
is an encyclopedia of living and playing the jazz life that
includes hundreds of musical examples, practicing tips, and
specific exercises.
These thoughtful essays constitute an extensive
exploration of my entire life work in jazz. Written
extemporaneously in response to questions asked by students
and teachers, the hundreds of topics addressed in this book
cover everything from effective practicing to composing and
arranging to prepare for gigs–with detours along the way
into discussions of the history of jazz and lessons drawn
from memorable sessions with jazz greats.
Product Details:
Available in both convenient e-book format and spiral-bound
hard copy
276 pages
Hundreds of musical examples
Thousands of practicing tips, analysis, theory, thinking,
Exercises and etudes
Table of Contents
1. General Thinking
2. Improvisation
3. Ear Training/Tonal Memory
4. Practicing Scales, Climaxes, and more
5. Accompanying
6. Miscellaneous Essays
7. Theory
8. Chord Talk
9. Notation
10. Analysis
11. Composing/Arranging
12. Band Leading
Check this link for examples:
http://byrnejazz.com/product.php?id=12
Linear Jazz Improvisation Online Bookstore:
http://www.byrnejazz.com/store.php
Live Online Lessons:
http://www.byrnejazz.com/lessons.php
To get a better idea of LJI and how it works, there are
a great many both music and sound examples of the 15
different LJI books to be found in the More Information
sections for each book in the ByrneJazz Online Bookstore
(just click on each book):
http://byrnejazz.com/store.php
Thank you very much for your time and attention. I wish
you the best in your quest for jazz.
Sincerely yours,
Ed Byrne
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JazzTalk with Ed Byrne 