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September 1, 2012

“The following examples represent the original source material for what would become my book “A Chromatic Approach To Jazz Harmony and Melody” (Advance Music). When these lines were first published by Jazz Life Magazine in Japan, I was just beginning to formulate the concepts which lead to these kinds of lines as well as harmonies which could accompany them. The basic principle is superimposition. As the original progression, mode or pedal point is being played, the improviser is thinking, hearing and executing lines in a variety of different keys placed “on top” or “against” the original. Bi or poly-tonality would also be an accurate description. To be avoided are symmetrical patterns for the superimposition like whole steps, minor thirds, etc., because they are too predictable. The degrees of tension (and eventual release via a tonal type of line) are a consequence of the various methods described in the book. The main goal is to increase the dissonant-consonant scale and range of one’s improvisational language.”



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