Introduction
Talent may fall from heaven to the cradle. Knowledge, however, does not. Every musician, painter and sculptor learns by educating him or herself and exchanging ideas with colleagues. Many take lessons. This is primarily for two reasons: to enhance creativity and to further development.
Miles Davis once said: “Wayne [Shorter] brought in a kind of curiosity about working with musical rules. If they didn’t work, then he broke them, but with musical sense; he understood that freedom in music was the ability to know the rules in order to bend them to your own satisfaction and taste.” Anybody who is as advanced as Wayne Shorter can put this book back on the shelf or give it away.
I would like to invite everybody else, and especially beginners, who are particularly close to my heart, to follow me into the melodious world of rock and jazz music and its rules.
The theory of harmony describes and explains what we hear, and what we like to hear! It is a lively language, which will change along with the musical taste of the time.
Fortunately, we do not need to take on the laborious task of finding out for ourselves how and why, for example, certain harmonic progressions sound good and are in fashion. By reading, learning, understanding and then listening, we can save time and effort. We can draw on what others, who, according to Clark Terry’s directions, have imitated, assimilated and innovated before us. This quote illustrates a path of development that all artists have followed. The theory of harmony can be a useful step along this path for many budding musicians and music enthusiasts.
This book is available in German only.
product description
Understanding the musical world of rock and jazz
In “Rock & Jazz Harmony”, Mathias Löffler leads his reader step by step through the musical world of rock and jazz. All rules (from basic musical knowledge of simple harmonies through to modal harmonies and modal interchange) are clearly explained and substantiated with many examples of songs. The chapters on blues, improvisation and analyses provide greater detail, which can then be applied in rock and jazz music. Exercises help the reader test their knowledge. This book is a must for anyone who is looking for new inspiration and who would like to confidently compose, play and improvise rock and jazz music.
Fellow musicians have all reacted very positively to this book. Saxophonist Jan Beiling describes it as “a veritable treasure chest”, while saxophonist and (film music) composer Klaus Doldinger states: “This is how theory becomes music! The many examples of songs make me want to do two things: play and compose!” Guitarist Michael Diehl is confident that “this book belongs in every rehearsal room and music school”.
This book brings theory to life. It is inspiring, creative and exciting!
Content
1 Basics
Our tonal system
Reading Notes: a crash course in 5 minutes
Accidental
Natural sign
Leger line
Bass clef
Octave positions
Scale
Major Scale
What are rules?
Bb and b, an annoying problem
Intervals – a short introduction
Triads
Chord Symbols for triads
Key
Chords and scales
Circle of fifth
Diatonic chords of D-Major
Powerchords
Leading Note and dominant seventh chord
World in minor – Part 1
Diatonic chords in Minor
Sus4 and sus2
Ecclesiastical modes
Pentatonic
Four-note chords
Inversion of chords
Reaching the base camp
2 extended harmonic
Interval
Tensions: options and alteration
Chord naming
Chord functions
Slashchords
The World in Minor – Part 2
Function of chord tones
What are Voicings?
Vocal line
Relationship between triads and third apart
Avoid Notes
Overall idea of scales and chords
3 basic functional harmonic
Basic functional – Modal functional
Tonic
Subdominant
Dominant
First Dominant
Stability of the dominant seventh chord
Cadence with chance of mode
Broken or evaded cadence
Tritone substitution (substitute dominant)
SubV7 and Mixo#11
Intermediate dominant
II-V
Secondary dominant
Free dominant functions
Special dominant functions
Chain dominant
Overview over all dominant functions
Diminished seventh chord
Stereotype sequence
Conclusion and preview
4 Modal harmonic
So it began
Basic orientation of modal harmonic
The Sound of Scales
Modal Stereotype sequence
5 Modal Interchange
The 4th element
6 Blues
My Blues
Beginnings of the Blues
Harmonic and form
Melodic of the Blues
Blues Scales
Improvisation concepts
7 Improvisation
Improvisation – Solo playing
Lick
Improvisation concepts for the solo playing
Further concepts
Bebop
Superimposing
Analysis: Solo “Hotel California”
8 Analysis
Harmonic analysis
9 Appendix
Media
Authors Info
Mathias Löffler
- Studied at Frankfurt University of Music
- Yamaha Guitar Award winner
- Live and studio musician
- Songwriter for Universal Music
- Author of curricula (aural training, methodology, theory of harmony) for educational institutes
- Proprietor of the Best Guitar School (state-supported educational institute)
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