|
|
| # |
|
Title |
|
Time |
|
Info |
|
| 1 |
|
"Like, Blues" Solo Piano Arrangement (Masako Yotsugi, Piano) |
|
0:59 |
|
|
| 2 |
|
"Like, Blues" Band (Ray Santisi) |
|
2:49 |
|
|
| 3 |
|
"Like, Blues" Rhythm Track |
|
2:48 |
|
|
| 4 |
|
"Theme for John" Solo Piano Arrangement (Masako Yotsugi, ... |
|
1:15 |
|
|
| 5 |
|
"Theme for John" Band (Ray Santisi) |
|
3:03 |
|
|
| 6 |
|
"Theme for John" Rhythm Track |
|
3:03 |
|
|
| 7 |
|
"Perry's Parasol" Solo Piano Arrangement (Masako Yotsugi, ... |
|
0:55 |
|
|
| 8 |
|
"Perry's Parasol" Band (Ray Santisi) |
|
2:37 |
|
|
| 9 |
|
"Perry's Parasol" Rhythm Track |
|
2:38 |
|
|
| 10 |
|
"Take Two" Solo Piano Arrangement (Masako Yotsugi, Piano) |
|
1:02 |
|
|
| 11 |
|
"Take Two" Band (Ray Santisi) |
|
3:44 |
|
|
| 12 |
|
"Take Two" Rhythm Track |
|
3:42 |
|
|
| 13 |
|
"Sapphire" Solo Piano Arrangement (Ray Santisi, Piano) |
|
1:15 |
|
|
| 14 |
|
"Sapphire" Band (Ray Santisi) |
|
3:08 |
|
|
| 15 |
|
"Sapphire" Rhythm Track |
|
3:08 |
|
|
| 16 |
|
Exercise 1.2: Melodic Chord Tone Units |
|
0:44 |
|
|
| 17 |
|
Exercise 2.1: Root, Fifth, Octave |
|
0:25 |
|
|
| 18 |
|
Exercise 2.2: Broekn Chords in Right Hand and Root, Fifth, ... |
|
0:16 |
|
|
| 19 |
|
Figure 3.3: "Theme for John" Using Coupling Notes |
|
0:21 |
|
|
| 20 |
|
Exercise 4.4a: Osco Trane |
|
0:40 |
|
|
| 21 |
|
Exercise 5.3: Melody, Chords, and Bass |
|
0:15 |
|
|
| 22 |
|
Figure 6.4: Random Comping with Active Bass Line |
|
0:19 |
|
|
| 23 |
|
Exercise 7.1a: Walking Bass Lines |
|
0:19 |
|
|
| 24 |
|
Exercise 8.1: "Theme for John" |
|
0:21 |
|
|
| 25 |
|
Exercise 9.2: "Perry's Parasol" |
|
0:15 |
|
|
| 26 |
|
Exercise 10.2: Voice-Leading Upper-Structure Triads |
|
0:21 |
|
|
| 27 |
|
Exercise 11.1: 5- and 6-Part Voicings |
|
0:21 |
|
|
| 28 |
|
Figure 12.5: Applied Altered Dominant Approach |
|
0:16 |
|
|
| 29 |
|
Figure 12.7: Applied Chromatic Approach |
|
0:10 |
|
|
| 30 |
|
Figure 12.10: Applied Stepwise Diatonic Approach |
|
0:12 |
|
|
| 31 |
|
Figure 12.12: Applied Parallel Approach |
|
0:13 |
|
|
| 32 |
|
Figure 13.1: Chord Tones |
|
0:15 |
|
|
| 33 |
|
Figure 13.4b: Carrier Tones |
|
0:15 |
|
|
| 34 |
|
Figure 13.5: Melody with Chromatic Approaches |
|
0:15 |
|
|
| 35 |
|
Figure 13.6: Melody with Tension Resolution |
|
0:30 |
|
|
| 36 |
|
Figure 13.7: Delayed Resolution Chart |
|
0:43 |
|
|
| 37 |
|
Figure 13.8: Melody with Delayed Resolution |
|
0:22 |
|
|
| 38 |
|
Exercise 13.1: Approach Note Practice |
|
0:28 |
|
|
| 39 |
|
Figure 14.1: Rhythmic Displacement |
|
0:35 |
|
|
| 40 |
|
Exercise 14.2: All Techniques Combined |
|
0:50 |
|
|
| 41 |
|
Exercise 15.1: Major 3-Part Fourth Voicing Inversions |
|
0:15 |
|
|
| 42 |
|
Exercise 15.2: Major Pentatonis Starting on the the 1st Degree |
|
0:12 |
|
|
| 43 |
|
Excerise 15.3: Major Pentatonis Starting on the the 5th Degree |
|
0:11 |
|
|
| 44 |
|
Excercise 15.4: Minor 3-Part Fourth Voicing Inversions |
|
0:13 |
|
|
| 45 |
|
Excercise 15.5: Minor Pentatonics Starting on the b3rd Degree |
|
0:12 |
|
|
| 46 |
|
Excercise 15.6: Minor Pentatonics Starting on the b7th Degree |
|
0:12 |
|
|
| 47 |
|
Exercise 15.7: Improvising on Replaced Dominant-7 Chords |
|
0:21 |
|
|
| 48 |
|
Exercise 15.8: Improvising on Replaced Dominant-7 Chords |
|
0:24 |
|
|
| 49 |
|
Figure 16.8: Modal Melody |
|
0:18 |
|
|
| 50 |
|
Figure 16.11: A Phrygian Framework |
|
0:14 |
|
|
| 51 |
|
Figure 16.12: Activated A Phrygian Framework |
|
0:25 |
|
|
| 52 |
|
Figure 16.14: E Phrygian over G Dorian Framework |
|
0:17 |
|
|
| 53 |
|
Figure 17.3: Four-Part Counterpoint |
|
0:26 |
|
|
| 54 |
|
Figure 17.4: Skips and Suspensions |
|
0:10 |
|
|
|
|
|
Total time |
|
48:59 |
|
|
|
|
|
|
|
