jazz

Jazz/cadential staple: ii–V–I. Often extended with 7ths/alterations (e.g., Dm7–G7alt–Cmaj7). Enables smooth voice-leading via functional predominan... more

Seventh mode of melodic minor; contains ♭9, ♯9, ♭5/♯11, ♯5/♭13—max tension over V7alt. more

Fast, virtuosic jazz with complex harmony and irregular phrase accents; small combos. more

Relaxed, lyrical jazz emphasizing tone color, counterpoint, and arrangement. more

Minor mode with natural 6; flexible over minor chords (m6, m13 colors). more

Four-note chord where the 2nd voice from the top is dropped an octave; core guitar/piano voicing method. more

Seventh chords with added tensions 9, 11, 13; color tones requiring careful voice-leading. more

A collection of lead sheets with melody, chords, and lyrics to “fake” an arrangement on the spot. more

Grittier bebop variant incorporating blues, gospel, and R&B elements. more

Melody + chord symbols, slashes, repeats, DS/DC; clear roadmaps. more

Mixolydian with ♯4; mode 4 of melodic minor; strong over 7♯11 chords. more

Major triad + major seventh; smooth, lush color (e.g., IΔ7). more

Minor scale with raised 6th and 7th ascending; in jazz used the same both up and down. more

Minor triad + minor seventh (e.g., ii–7). Versatile in tonal and modal contexts. more

Jazz focusing on modes/static harmony, enabling spacious improvisation. more

Eight-note alternating W–H or H–W steps; rich in diminished/altered dominant tensions. more

Famous jazz fake‑book series compiling standards; various editions/keys exist, with corrected/legal versions today. more

Transposing E♭ single-reed with warm/bright mix; common in jazz and pop. more

Transposing B♭ sax with robust, expressive tone; iconic jazz voice. more

Minimal voicings built from root + guide tones (R–3–7 or R–7–3) for clarity and mobility. more

Modal Dorian stacked fourths with a third on top; classic Bill Evans/Miles Davis color. more

Groove-oriented jazz blending gospel/R&B; organs, backbeats, bluesy harmony. more

Replacing V with ♭II7 (same tritone) for smooth chromatic bass and altered color. more

Color tones beyond the seventh (9, 11, 13); managed with avoid-note awareness. more

Major/minor triad superimposed over a dominant to target tensions (e.g., E over C7). more

Quarter-note motion outlining roots, approach tones, and voice-leading to chords. more