G - H - I - J - K - L
M - N - O - P - Q - R
S - T - U - V - WXYZ
(Down - Up - Links)
altered dominant chord (Valt) - L9.1a - L16.5 - L20.5a V7b9 - L15.1a Amen Cadence (Plagal Cadence) - L7.2a @Paradise.au (song) - L4.2 - L12.2 Anthropology (song) - L11.2 anticipation (anticipated syncopation) - L5.5a applications of chord plurality - L18.2 Arabic munerals - note terminology arpeggio (broken chord) - L2.3 - L4.4 patterns over scales - L12.3a practice - L4.5 - L10.6 practice of scale-tone arpeggios - L12.4 - L13.6 articulation - L6.2a - L7.4 - L12.3 - L15.4 - L16.3 - L16.3a - L16.4 At the Hannans Ball (song) - L11.2 atonal (music) - L11.1a augmented 4th (#4) - L8.1 - L10.5 - L10.5a augmented triad - L4.1 - L10.1a - L10.2a - L10.3b Au Privave (song) - L14.2a Autumn Leaves (song) - L13.2a - L19.1b
arpeggio (broken chord) - L2.3 - L4.4 patterns over scales - L12.3a practice - L4.5 - L10.6 practice of scale-tone arpeggios - L12.4 - L13.6 articulation - L6.2a - L7.4 - L12.3 - L15.4 - L16.3 - L16.3a - L16.4 At the Hannans Ball (song) - L11.2 atonal (music) - L11.1a augmented 4th (#4) - L8.1 - L10.5 - L10.5a augmented triad - L4.1 - L10.1a - L10.2a - L10.3b Au Privave (song) - L14.2a Autumn Leaves (song) - L13.2a - L19.1b
augmented 4th (#4) - L8.1 - L10.5 - L10.5a augmented triad - L4.1 - L10.1a - L10.2a - L10.3b Au Privave (song) - L14.2a Autumn Leaves (song) - L13.2a - L19.1b
(Down - Up - Top - Links) B. Bab's Jam - L3.3 - L3.4 Bag's Groove (song) - L14.2a ballad - L20.4a Band in a Box (computer program) - Intro 4 band (Jazz or Blues) - L7.4ctiming exercise - L20.4c banjo - EK.1a - EK.3 bass - EK.1a - EK.3 - L7.3c - L20.3d - L18.2a walking bass (on keyboard) - L3.4 - L7.3c Bb instruments - EK.1a - EK.4 beat down beat - L5.2a - L20.4 off beat (up beat) - L5.2a - L6.3 tapping the beat - L5.6 - L6.3 - L13.3 B section (song format) - L4.2 Beethoven, Ludwig van - L2a bending (of notes) - L10.5a Black Orpheus (song) - L15.2 Bloom, Rube - L13.2 - L13.2a Blue Bossa (song) - Intro 1a - L9.2 - L18.3 blues blue notes - L10.5a cadences in the blues - L7.2a Cycle blues (II-V-I blues) - L14.2a 8 bar blues - L1.4 - L1.5a 12 bar blues - L3.1 - L3.3 - L3.5 chord voicings - L19.3a embellished 12 bar blues format - L6.1 - L10.3 - L16.2 - L19.3 blues waltz - L16.2 Blues for Alice (song) - L14.2a Blues for Dreamers (song) - L16.2 Blues for Philly Joe (song) - L14.2a Blues for the Empress (song) - L19.3 - L19.3a blues scale - L10.5a Bonfa, Luiz - L15.2 Bossa Nova - L9.2 - L15.2 - L17.2d Bougainville Island - L1.2 Bridge (song format) - L4.2 improvising the melody for the bridge - L15.3 'Rhythm Bridge' - L11.2b IIm7 - V7 - I bridge - L20.2a broken chord - see arpeggio Byrdlike (song) - L14.2a (Down - Up - Top - Links) C. C instruments (Concert pitch) - EK.1a - EK.3 Cadences - L7.2 - L7.2a - L7.3a call and response - L3.5 - L6.2 - L16.3 centre (tonal) - L7.1 Careless Love (song) - L7.3 - L7.3c CD (play-a-long) - L11.3 Charlie Parker Omnibook - L5.5a - L17.4 - L19.4a Chasin' the Train (song) - L14.2a chords augmented triad altered dominant chord dominant chord (V7) diminished chord half diminished chord chord inversions - L9.3 major chords minor chords minor Major 7th chord - L9.1a - L15.1a - L20.1 passing chord - L11.1d - L20.1 plurality - L9.2b - L18.1 - L18.2 - L18.3a scale-tone - L4.3 - L11.2a - L12.1 - L12.4 - L13.6 seventh chord qualities - L9.1 - L9.4 - L10.6 skeleton chord - L10.4 - L10.2b substitution - L10.4b - L18.2a - L19.2 - L19.3b tonic chord - L13.2 triad - L1.1 triad chord qualities - L4.1 - L4.5 voicings - L9.3 - L13.4 - L19.3a - L20.1a chord progression blues chord connection - L9.2b IIm7 - V7 (- Imaj7) - L2.1a - L14.1 - L15.3 - L15.5 - L16.4 - L19.2b - L20.2a IIm7 - V7 - I blues (Cycle blues) - L14.2a IIm7 - bII7 - Imaj7 - L19.2b IIø - V7 - Im - L15.1 - L18.3 IIø - V7 - Im7 practice - L18.5 I, IV and V chords - L1.1 - L1.4 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b scale-tone chord progression - L13.1 - L13.1a - L14.1 chord tones - L1.2a - L15.4 - L19.1 essential - L9.4 - L10.4a - L13.5a - L19.1 - L19.1a - L19.2a function and colour - L16.5 chromatic scale - L10.1 - L11.1 - L11.1a - L11.1b - L11.3 chord sequence - L19.2b chromatic fingering - L11a practice - L11.4 Circle of Fifths L1.1b - L1.5 - L2.1a - L7.1a - L9.2a - L10.4b - L11.2a - L11.2b - L13.1 - L15.1a - L17.2g clarinet - L20.3b chromatic fingering - L11a.3 clapping (hands) - L5.5a - L13.3a - L20.4a Classical composers (Impressionist) - L16.1b close, full or half (cadences) - L7.2a colour (of chord tones) - L16.5 Coltrane, John - L14.2a Coming Home (song) - L20.2 - L20.1b componium - L2a compound symmetry - L16.1 Concert pitch - EK.1a - EK.3 contrast melodic - L8.3c rhythmic - L4.4 Cool Blues (song) - L14.2a crescendo (cresc.) - L7.4a Cruisin' (song) - L8.3 crotchet - note terminology triplet crotchets - L13.3 Cycle blues - L14.2a (Down - Up - Top - Links) D. Davis, Miles - L16.2 Debussy, Claude - L10.3 delayed syncopation - L5.5a diads (of the major scale) - L19.5 diminished chord (symbol = o) triad - L4.1 - L4.3 - L11.1d - L12.1a diminished 7th chord - L9.1 - L10.6 - L11.1 - L11.1c - L11.1d - L16.1a Diminuendo (dim.) - L7.4a Dodecaphonic scale - L11.1a dominant (note) - note terminology - L1.1 dominant 7th chord (V7) L1.1a - L3.2 - L7.3b - L8.1 - L9.1 - L9.1a - L10.4a - L16.1 - L16.5 - L16.5b - L18.1c - L19.1 - L20.5a altered dominant chord (Valt) practice - L8.5 - L10.6 tritone substitution - L19.2 - L19.2a Dorian mode L2.1 - L2.1a - L2.2 - L12.1b - L14.1a - L15.1b - L17.1 - L17.2a - L17.2d - L17.2e - L17.2f - L17.2g - L18.1a practice - L2.4 - L9.5 - L14.4 - L18.5 down beat - L5.2a - L5.6 - L6.3 timing of - L20.4 in triplet crotchets - L13.3b Durham, Kenny - L9.2 - L18.3 dynamics (loudness) - L7.4 - L7.4a (Down - Up - Top - Links) E. 8 bar blues - L1.4 - L1.5a 8-note diminished scale - L16.1a - L16.6 8-note dominant scale - L16.1 - L16.5a - L16.6 8-note symmetric scales - L16.1 - L16.1b - L16.5a - L16.6 ear training (for timing) - L20.4 - L20.4b 11th (chord tone) - L16.5b Eb instruments - EK.1a - EK.5 eighth note - note terminology Ellington, Duke - L20.1a embellished blues format - L6.1 - L10.3 - L16.2 - L19.3 emotion - L7.4 end of phrase dynamics - L7.4b note pitch - L15.4 - L16.4a Entertainer, The (song) - L11.1b essential chord tones - L9.4 - L10.4a - L13.5a - L19.1 - L19.1a - L19.2a expressions (of tonality) - L18.1a (Down - Up - Top - Links) F. V7 chord - see dominant 7th chord IVm7 chord (function) - L17.2f - L20.1a Feeling Good (song) - L12.2 Feelings (song) - L20.1a flute - EK.1a - EK.3 chromatic fingering - L11a.4 Fly me to the Moon (song) - L13.2a Fools Rush In (song) - L13.2 - L13.2a foot (tapping the beat) - L5.6 - L6.3 - L13.3 forces (musical) - L7.1a forte (f) - L7.4a fortissimo (ff) - L7.4a Friends Forever (song) - L13.2a full close (Cadence) - L7.2a function (of chord tones) - L16.5 (Down - Up - Top - Links) G. Gentle breeze of Love (song) - L15.2 - L15.3 Gershwin, George - L11.2 grace note - L8.3a "gravity force" (in music) - L7.1a Greek (ancient culture) - L2.1 guide tones - L7.3c - L9.4a - L13.5 guitar - EK.1a - EK.3 - L7.3c - L14.4 - L19.3a - L20.3d Gunfight Blues (song) - L6.2 (Down - Up - Top - Links) H. hair pin (dynamics) - L7.4a half close (Cadence) - L7.2a half diminished chord (symbol = ø) - L9.1 - L12.1a - L15.1 - L18.3 practice - L10.6 - L18.5 half note - note terminology Hammerstein, Oscar - L13.2a hand clapping - L5.5a - L13.3a - L20.4a harmonic minor scale - L8.2a - L15.1 - L15.1b - L17.1 - L17.2d practice - L17.5 - L18.5 harmonic tension - L8.1 'harp' (mouth organ) - EK.1a - EK.3 - L7.4b Hart, Lorenz - L20.1a Hey There (song) - L11.2 Hope (song) - L13.2 - L13.4 horizontal and vertical (expressions of tonality) - L18.1a Hubbard, Freddie - L14.2a (Down - Up - Top - Links) I. I (chord symbols in Roman numberals) - see also V , chords and chord progressions Im chord (function) - L17.2d - L20.1 Im6 chord (function) - L20.1a Im7 chord (function) - L17.2e - L18.5 - L20.1 ImM7 chord (function) - L20.1 IIm7 chord (function) - L12.1b - L17.2a IIIm7 Chord (function) - L17.2c IVm7 chord (function) - L17.2f - L20.1a I got Rhythm (song) - Intro 1a - L11.2 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b Imperfect Cadence - L7.2 Impressionist Clasical composers - L16.1b improvisation over IIm7 - V7 - I - L14.1a over IIø - V7 - Im - L15.1a over IIø - V7 - Im7 - L15.1b manuals L16.1b melody bridge - L15.3 over minor chords - L17.2 playing 'inside' or 'outside' - L11.3 using plurality - L18.2b In a Sentimental Mood (song) - L20.1a instrumental technique (for good timing) - L20.3 interval large - L2.3 symmetric - L10.1a - L19.2 inversions (chord) - L9.3 It don't mean a Thing (song) - L20.1a (Down - Up - Top - Links) J. Jackson, Milt - L14.2a Improvisation 2 (song) - L11.2 - L11.2a - L11.2b Jaws (music in movie) - L11.1b Jazz L16.1 - L16.1a articulation - L12.3 band - L7.4c modal - L2.2a syncopation - L5.5a Trad Jazz - L11.1d waltz - L2.2 - L16.2 Johnson, Plas - L8.2b Joplin, Scott - L11.1b (Down - Up - Top - Links) K. Kern, Jerome - L13.2a Kessel, Barney - L14.2a keyboard (piano) - EK.1a - EK.3 chord voicings - L3.4 - L7.3c - L9.3 - L10.4 - L11.2a - L11.2b - L13.4 - L18.2a - L19.3a - L20.1b chromatic fingering - L11a.1 point of sound (on keyboard) - L20.3a keyboard players - L10.3 - L14.4 timing - L20.3a white keys - L2.1 walking bass (left hand) - L3.4 - L7.3c Kia Lora (song) - L1.2 Koffman, Moe - L14.2a Kurtz, Manny - L20.1a Subject Index Part 2 (Up - Top - Links)© 2003 Michael Furstner (Jazclass)
blues blue notes - L10.5a cadences in the blues - L7.2a Cycle blues (II-V-I blues) - L14.2a 8 bar blues - L1.4 - L1.5a 12 bar blues - L3.1 - L3.3 - L3.5 chord voicings - L19.3a embellished 12 bar blues format - L6.1 - L10.3 - L16.2 - L19.3 blues waltz - L16.2 Blues for Alice (song) - L14.2a Blues for Dreamers (song) - L16.2 Blues for Philly Joe (song) - L14.2a Blues for the Empress (song) - L19.3 - L19.3a blues scale - L10.5a Bonfa, Luiz - L15.2 Bossa Nova - L9.2 - L15.2 - L17.2d Bougainville Island - L1.2 Bridge (song format) - L4.2 improvising the melody for the bridge - L15.3 'Rhythm Bridge' - L11.2b IIm7 - V7 - I bridge - L20.2a broken chord - see arpeggio Byrdlike (song) - L14.2a
(Down - Up - Top - Links) C. C instruments (Concert pitch) - EK.1a - EK.3 Cadences - L7.2 - L7.2a - L7.3a call and response - L3.5 - L6.2 - L16.3 centre (tonal) - L7.1 Careless Love (song) - L7.3 - L7.3c CD (play-a-long) - L11.3 Charlie Parker Omnibook - L5.5a - L17.4 - L19.4a Chasin' the Train (song) - L14.2a chords augmented triad altered dominant chord dominant chord (V7) diminished chord half diminished chord chord inversions - L9.3 major chords minor chords minor Major 7th chord - L9.1a - L15.1a - L20.1 passing chord - L11.1d - L20.1 plurality - L9.2b - L18.1 - L18.2 - L18.3a scale-tone - L4.3 - L11.2a - L12.1 - L12.4 - L13.6 seventh chord qualities - L9.1 - L9.4 - L10.6 skeleton chord - L10.4 - L10.2b substitution - L10.4b - L18.2a - L19.2 - L19.3b tonic chord - L13.2 triad - L1.1 triad chord qualities - L4.1 - L4.5 voicings - L9.3 - L13.4 - L19.3a - L20.1a chord progression blues chord connection - L9.2b IIm7 - V7 (- Imaj7) - L2.1a - L14.1 - L15.3 - L15.5 - L16.4 - L19.2b - L20.2a IIm7 - V7 - I blues (Cycle blues) - L14.2a IIm7 - bII7 - Imaj7 - L19.2b IIø - V7 - Im - L15.1 - L18.3 IIø - V7 - Im7 practice - L18.5 I, IV and V chords - L1.1 - L1.4 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b scale-tone chord progression - L13.1 - L13.1a - L14.1 chord tones - L1.2a - L15.4 - L19.1 essential - L9.4 - L10.4a - L13.5a - L19.1 - L19.1a - L19.2a function and colour - L16.5 chromatic scale - L10.1 - L11.1 - L11.1a - L11.1b - L11.3 chord sequence - L19.2b chromatic fingering - L11a practice - L11.4 Circle of Fifths L1.1b - L1.5 - L2.1a - L7.1a - L9.2a - L10.4b - L11.2a - L11.2b - L13.1 - L15.1a - L17.2g clarinet - L20.3b chromatic fingering - L11a.3 clapping (hands) - L5.5a - L13.3a - L20.4a Classical composers (Impressionist) - L16.1b close, full or half (cadences) - L7.2a colour (of chord tones) - L16.5 Coltrane, John - L14.2a Coming Home (song) - L20.2 - L20.1b componium - L2a compound symmetry - L16.1 Concert pitch - EK.1a - EK.3 contrast melodic - L8.3c rhythmic - L4.4 Cool Blues (song) - L14.2a crescendo (cresc.) - L7.4a Cruisin' (song) - L8.3 crotchet - note terminology triplet crotchets - L13.3 Cycle blues - L14.2a (Down - Up - Top - Links) D. Davis, Miles - L16.2 Debussy, Claude - L10.3 delayed syncopation - L5.5a diads (of the major scale) - L19.5 diminished chord (symbol = o) triad - L4.1 - L4.3 - L11.1d - L12.1a diminished 7th chord - L9.1 - L10.6 - L11.1 - L11.1c - L11.1d - L16.1a Diminuendo (dim.) - L7.4a Dodecaphonic scale - L11.1a dominant (note) - note terminology - L1.1 dominant 7th chord (V7) L1.1a - L3.2 - L7.3b - L8.1 - L9.1 - L9.1a - L10.4a - L16.1 - L16.5 - L16.5b - L18.1c - L19.1 - L20.5a altered dominant chord (Valt) practice - L8.5 - L10.6 tritone substitution - L19.2 - L19.2a Dorian mode L2.1 - L2.1a - L2.2 - L12.1b - L14.1a - L15.1b - L17.1 - L17.2a - L17.2d - L17.2e - L17.2f - L17.2g - L18.1a practice - L2.4 - L9.5 - L14.4 - L18.5 down beat - L5.2a - L5.6 - L6.3 timing of - L20.4 in triplet crotchets - L13.3b Durham, Kenny - L9.2 - L18.3 dynamics (loudness) - L7.4 - L7.4a (Down - Up - Top - Links) E. 8 bar blues - L1.4 - L1.5a 8-note diminished scale - L16.1a - L16.6 8-note dominant scale - L16.1 - L16.5a - L16.6 8-note symmetric scales - L16.1 - L16.1b - L16.5a - L16.6 ear training (for timing) - L20.4 - L20.4b 11th (chord tone) - L16.5b Eb instruments - EK.1a - EK.5 eighth note - note terminology Ellington, Duke - L20.1a embellished blues format - L6.1 - L10.3 - L16.2 - L19.3 emotion - L7.4 end of phrase dynamics - L7.4b note pitch - L15.4 - L16.4a Entertainer, The (song) - L11.1b essential chord tones - L9.4 - L10.4a - L13.5a - L19.1 - L19.1a - L19.2a expressions (of tonality) - L18.1a (Down - Up - Top - Links) F. V7 chord - see dominant 7th chord IVm7 chord (function) - L17.2f - L20.1a Feeling Good (song) - L12.2 Feelings (song) - L20.1a flute - EK.1a - EK.3 chromatic fingering - L11a.4 Fly me to the Moon (song) - L13.2a Fools Rush In (song) - L13.2 - L13.2a foot (tapping the beat) - L5.6 - L6.3 - L13.3 forces (musical) - L7.1a forte (f) - L7.4a fortissimo (ff) - L7.4a Friends Forever (song) - L13.2a full close (Cadence) - L7.2a function (of chord tones) - L16.5 (Down - Up - Top - Links) G. Gentle breeze of Love (song) - L15.2 - L15.3 Gershwin, George - L11.2 grace note - L8.3a "gravity force" (in music) - L7.1a Greek (ancient culture) - L2.1 guide tones - L7.3c - L9.4a - L13.5 guitar - EK.1a - EK.3 - L7.3c - L14.4 - L19.3a - L20.3d Gunfight Blues (song) - L6.2 (Down - Up - Top - Links) H. hair pin (dynamics) - L7.4a half close (Cadence) - L7.2a half diminished chord (symbol = ø) - L9.1 - L12.1a - L15.1 - L18.3 practice - L10.6 - L18.5 half note - note terminology Hammerstein, Oscar - L13.2a hand clapping - L5.5a - L13.3a - L20.4a harmonic minor scale - L8.2a - L15.1 - L15.1b - L17.1 - L17.2d practice - L17.5 - L18.5 harmonic tension - L8.1 'harp' (mouth organ) - EK.1a - EK.3 - L7.4b Hart, Lorenz - L20.1a Hey There (song) - L11.2 Hope (song) - L13.2 - L13.4 horizontal and vertical (expressions of tonality) - L18.1a Hubbard, Freddie - L14.2a (Down - Up - Top - Links) I. I (chord symbols in Roman numberals) - see also V , chords and chord progressions Im chord (function) - L17.2d - L20.1 Im6 chord (function) - L20.1a Im7 chord (function) - L17.2e - L18.5 - L20.1 ImM7 chord (function) - L20.1 IIm7 chord (function) - L12.1b - L17.2a IIIm7 Chord (function) - L17.2c IVm7 chord (function) - L17.2f - L20.1a I got Rhythm (song) - Intro 1a - L11.2 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b Imperfect Cadence - L7.2 Impressionist Clasical composers - L16.1b improvisation over IIm7 - V7 - I - L14.1a over IIø - V7 - Im - L15.1a over IIø - V7 - Im7 - L15.1b manuals L16.1b melody bridge - L15.3 over minor chords - L17.2 playing 'inside' or 'outside' - L11.3 using plurality - L18.2b In a Sentimental Mood (song) - L20.1a instrumental technique (for good timing) - L20.3 interval large - L2.3 symmetric - L10.1a - L19.2 inversions (chord) - L9.3 It don't mean a Thing (song) - L20.1a (Down - Up - Top - Links) J. Jackson, Milt - L14.2a Improvisation 2 (song) - L11.2 - L11.2a - L11.2b Jaws (music in movie) - L11.1b Jazz L16.1 - L16.1a articulation - L12.3 band - L7.4c modal - L2.2a syncopation - L5.5a Trad Jazz - L11.1d waltz - L2.2 - L16.2 Johnson, Plas - L8.2b Joplin, Scott - L11.1b (Down - Up - Top - Links) K. Kern, Jerome - L13.2a Kessel, Barney - L14.2a keyboard (piano) - EK.1a - EK.3 chord voicings - L3.4 - L7.3c - L9.3 - L10.4 - L11.2a - L11.2b - L13.4 - L18.2a - L19.3a - L20.1b chromatic fingering - L11a.1 point of sound (on keyboard) - L20.3a keyboard players - L10.3 - L14.4 timing - L20.3a white keys - L2.1 walking bass (left hand) - L3.4 - L7.3c Kia Lora (song) - L1.2 Koffman, Moe - L14.2a Kurtz, Manny - L20.1a Subject Index Part 2 (Up - Top - Links)© 2003 Michael Furstner (Jazclass)
chords augmented triad altered dominant chord dominant chord (V7) diminished chord half diminished chord chord inversions - L9.3 major chords minor chords minor Major 7th chord - L9.1a - L15.1a - L20.1 passing chord - L11.1d - L20.1 plurality - L9.2b - L18.1 - L18.2 - L18.3a scale-tone - L4.3 - L11.2a - L12.1 - L12.4 - L13.6 seventh chord qualities - L9.1 - L9.4 - L10.6 skeleton chord - L10.4 - L10.2b substitution - L10.4b - L18.2a - L19.2 - L19.3b tonic chord - L13.2 triad - L1.1 triad chord qualities - L4.1 - L4.5 voicings - L9.3 - L13.4 - L19.3a - L20.1a chord progression blues chord connection - L9.2b IIm7 - V7 (- Imaj7) - L2.1a - L14.1 - L15.3 - L15.5 - L16.4 - L19.2b - L20.2a IIm7 - V7 - I blues (Cycle blues) - L14.2a IIm7 - bII7 - Imaj7 - L19.2b IIø - V7 - Im - L15.1 - L18.3 IIø - V7 - Im7 practice - L18.5 I, IV and V chords - L1.1 - L1.4 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b scale-tone chord progression - L13.1 - L13.1a - L14.1 chord tones - L1.2a - L15.4 - L19.1 essential - L9.4 - L10.4a - L13.5a - L19.1 - L19.1a - L19.2a function and colour - L16.5 chromatic scale - L10.1 - L11.1 - L11.1a - L11.1b - L11.3 chord sequence - L19.2b chromatic fingering - L11a practice - L11.4 Circle of Fifths L1.1b - L1.5 - L2.1a - L7.1a - L9.2a - L10.4b - L11.2a - L11.2b - L13.1 - L15.1a - L17.2g clarinet - L20.3b chromatic fingering - L11a.3 clapping (hands) - L5.5a - L13.3a - L20.4a Classical composers (Impressionist) - L16.1b close, full or half (cadences) - L7.2a colour (of chord tones) - L16.5 Coltrane, John - L14.2a Coming Home (song) - L20.2 - L20.1b componium - L2a compound symmetry - L16.1 Concert pitch - EK.1a - EK.3 contrast melodic - L8.3c rhythmic - L4.4 Cool Blues (song) - L14.2a crescendo (cresc.) - L7.4a Cruisin' (song) - L8.3 crotchet - note terminology triplet crotchets - L13.3 Cycle blues - L14.2a
chord progression blues chord connection - L9.2b IIm7 - V7 (- Imaj7) - L2.1a - L14.1 - L15.3 - L15.5 - L16.4 - L19.2b - L20.2a IIm7 - V7 - I blues (Cycle blues) - L14.2a IIm7 - bII7 - Imaj7 - L19.2b IIø - V7 - Im - L15.1 - L18.3 IIø - V7 - Im7 practice - L18.5 I, IV and V chords - L1.1 - L1.4 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b scale-tone chord progression - L13.1 - L13.1a - L14.1 chord tones - L1.2a - L15.4 - L19.1 essential - L9.4 - L10.4a - L13.5a - L19.1 - L19.1a - L19.2a function and colour - L16.5 chromatic scale - L10.1 - L11.1 - L11.1a - L11.1b - L11.3 chord sequence - L19.2b chromatic fingering - L11a practice - L11.4 Circle of Fifths L1.1b - L1.5 - L2.1a - L7.1a - L9.2a - L10.4b - L11.2a - L11.2b - L13.1 - L15.1a - L17.2g clarinet - L20.3b chromatic fingering - L11a.3 clapping (hands) - L5.5a - L13.3a - L20.4a Classical composers (Impressionist) - L16.1b close, full or half (cadences) - L7.2a colour (of chord tones) - L16.5 Coltrane, John - L14.2a Coming Home (song) - L20.2 - L20.1b componium - L2a compound symmetry - L16.1 Concert pitch - EK.1a - EK.3 contrast melodic - L8.3c rhythmic - L4.4 Cool Blues (song) - L14.2a crescendo (cresc.) - L7.4a Cruisin' (song) - L8.3 crotchet - note terminology triplet crotchets - L13.3 Cycle blues - L14.2a
chromatic scale - L10.1 - L11.1 - L11.1a - L11.1b - L11.3 chord sequence - L19.2b chromatic fingering - L11a practice - L11.4 Circle of Fifths L1.1b - L1.5 - L2.1a - L7.1a - L9.2a - L10.4b - L11.2a - L11.2b - L13.1 - L15.1a - L17.2g clarinet - L20.3b chromatic fingering - L11a.3 clapping (hands) - L5.5a - L13.3a - L20.4a Classical composers (Impressionist) - L16.1b close, full or half (cadences) - L7.2a colour (of chord tones) - L16.5 Coltrane, John - L14.2a Coming Home (song) - L20.2 - L20.1b componium - L2a compound symmetry - L16.1 Concert pitch - EK.1a - EK.3 contrast melodic - L8.3c rhythmic - L4.4 Cool Blues (song) - L14.2a crescendo (cresc.) - L7.4a Cruisin' (song) - L8.3 crotchet - note terminology triplet crotchets - L13.3 Cycle blues - L14.2a
(Down - Up - Top - Links) D. Davis, Miles - L16.2 Debussy, Claude - L10.3 delayed syncopation - L5.5a diads (of the major scale) - L19.5 diminished chord (symbol = o) triad - L4.1 - L4.3 - L11.1d - L12.1a diminished 7th chord - L9.1 - L10.6 - L11.1 - L11.1c - L11.1d - L16.1a Diminuendo (dim.) - L7.4a Dodecaphonic scale - L11.1a dominant (note) - note terminology - L1.1 dominant 7th chord (V7) L1.1a - L3.2 - L7.3b - L8.1 - L9.1 - L9.1a - L10.4a - L16.1 - L16.5 - L16.5b - L18.1c - L19.1 - L20.5a altered dominant chord (Valt) practice - L8.5 - L10.6 tritone substitution - L19.2 - L19.2a Dorian mode L2.1 - L2.1a - L2.2 - L12.1b - L14.1a - L15.1b - L17.1 - L17.2a - L17.2d - L17.2e - L17.2f - L17.2g - L18.1a practice - L2.4 - L9.5 - L14.4 - L18.5 down beat - L5.2a - L5.6 - L6.3 timing of - L20.4 in triplet crotchets - L13.3b Durham, Kenny - L9.2 - L18.3 dynamics (loudness) - L7.4 - L7.4a (Down - Up - Top - Links) E. 8 bar blues - L1.4 - L1.5a 8-note diminished scale - L16.1a - L16.6 8-note dominant scale - L16.1 - L16.5a - L16.6 8-note symmetric scales - L16.1 - L16.1b - L16.5a - L16.6 ear training (for timing) - L20.4 - L20.4b 11th (chord tone) - L16.5b Eb instruments - EK.1a - EK.5 eighth note - note terminology Ellington, Duke - L20.1a embellished blues format - L6.1 - L10.3 - L16.2 - L19.3 emotion - L7.4 end of phrase dynamics - L7.4b note pitch - L15.4 - L16.4a Entertainer, The (song) - L11.1b essential chord tones - L9.4 - L10.4a - L13.5a - L19.1 - L19.1a - L19.2a expressions (of tonality) - L18.1a (Down - Up - Top - Links) F. V7 chord - see dominant 7th chord IVm7 chord (function) - L17.2f - L20.1a Feeling Good (song) - L12.2 Feelings (song) - L20.1a flute - EK.1a - EK.3 chromatic fingering - L11a.4 Fly me to the Moon (song) - L13.2a Fools Rush In (song) - L13.2 - L13.2a foot (tapping the beat) - L5.6 - L6.3 - L13.3 forces (musical) - L7.1a forte (f) - L7.4a fortissimo (ff) - L7.4a Friends Forever (song) - L13.2a full close (Cadence) - L7.2a function (of chord tones) - L16.5 (Down - Up - Top - Links) G. Gentle breeze of Love (song) - L15.2 - L15.3 Gershwin, George - L11.2 grace note - L8.3a "gravity force" (in music) - L7.1a Greek (ancient culture) - L2.1 guide tones - L7.3c - L9.4a - L13.5 guitar - EK.1a - EK.3 - L7.3c - L14.4 - L19.3a - L20.3d Gunfight Blues (song) - L6.2 (Down - Up - Top - Links) H. hair pin (dynamics) - L7.4a half close (Cadence) - L7.2a half diminished chord (symbol = ø) - L9.1 - L12.1a - L15.1 - L18.3 practice - L10.6 - L18.5 half note - note terminology Hammerstein, Oscar - L13.2a hand clapping - L5.5a - L13.3a - L20.4a harmonic minor scale - L8.2a - L15.1 - L15.1b - L17.1 - L17.2d practice - L17.5 - L18.5 harmonic tension - L8.1 'harp' (mouth organ) - EK.1a - EK.3 - L7.4b Hart, Lorenz - L20.1a Hey There (song) - L11.2 Hope (song) - L13.2 - L13.4 horizontal and vertical (expressions of tonality) - L18.1a Hubbard, Freddie - L14.2a (Down - Up - Top - Links) I. I (chord symbols in Roman numberals) - see also V , chords and chord progressions Im chord (function) - L17.2d - L20.1 Im6 chord (function) - L20.1a Im7 chord (function) - L17.2e - L18.5 - L20.1 ImM7 chord (function) - L20.1 IIm7 chord (function) - L12.1b - L17.2a IIIm7 Chord (function) - L17.2c IVm7 chord (function) - L17.2f - L20.1a I got Rhythm (song) - Intro 1a - L11.2 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b Imperfect Cadence - L7.2 Impressionist Clasical composers - L16.1b improvisation over IIm7 - V7 - I - L14.1a over IIø - V7 - Im - L15.1a over IIø - V7 - Im7 - L15.1b manuals L16.1b melody bridge - L15.3 over minor chords - L17.2 playing 'inside' or 'outside' - L11.3 using plurality - L18.2b In a Sentimental Mood (song) - L20.1a instrumental technique (for good timing) - L20.3 interval large - L2.3 symmetric - L10.1a - L19.2 inversions (chord) - L9.3 It don't mean a Thing (song) - L20.1a (Down - Up - Top - Links) J. Jackson, Milt - L14.2a Improvisation 2 (song) - L11.2 - L11.2a - L11.2b Jaws (music in movie) - L11.1b Jazz L16.1 - L16.1a articulation - L12.3 band - L7.4c modal - L2.2a syncopation - L5.5a Trad Jazz - L11.1d waltz - L2.2 - L16.2 Johnson, Plas - L8.2b Joplin, Scott - L11.1b (Down - Up - Top - Links) K. Kern, Jerome - L13.2a Kessel, Barney - L14.2a keyboard (piano) - EK.1a - EK.3 chord voicings - L3.4 - L7.3c - L9.3 - L10.4 - L11.2a - L11.2b - L13.4 - L18.2a - L19.3a - L20.1b chromatic fingering - L11a.1 point of sound (on keyboard) - L20.3a keyboard players - L10.3 - L14.4 timing - L20.3a white keys - L2.1 walking bass (left hand) - L3.4 - L7.3c Kia Lora (song) - L1.2 Koffman, Moe - L14.2a Kurtz, Manny - L20.1a Subject Index Part 2 (Up - Top - Links)© 2003 Michael Furstner (Jazclass)
diminished chord (symbol = o) triad - L4.1 - L4.3 - L11.1d - L12.1a diminished 7th chord - L9.1 - L10.6 - L11.1 - L11.1c - L11.1d - L16.1a Diminuendo (dim.) - L7.4a Dodecaphonic scale - L11.1a dominant (note) - note terminology - L1.1 dominant 7th chord (V7) L1.1a - L3.2 - L7.3b - L8.1 - L9.1 - L9.1a - L10.4a - L16.1 - L16.5 - L16.5b - L18.1c - L19.1 - L20.5a altered dominant chord (Valt) practice - L8.5 - L10.6 tritone substitution - L19.2 - L19.2a Dorian mode L2.1 - L2.1a - L2.2 - L12.1b - L14.1a - L15.1b - L17.1 - L17.2a - L17.2d - L17.2e - L17.2f - L17.2g - L18.1a practice - L2.4 - L9.5 - L14.4 - L18.5 down beat - L5.2a - L5.6 - L6.3 timing of - L20.4 in triplet crotchets - L13.3b Durham, Kenny - L9.2 - L18.3 dynamics (loudness) - L7.4 - L7.4a
dominant (note) - note terminology - L1.1 dominant 7th chord (V7) L1.1a - L3.2 - L7.3b - L8.1 - L9.1 - L9.1a - L10.4a - L16.1 - L16.5 - L16.5b - L18.1c - L19.1 - L20.5a altered dominant chord (Valt) practice - L8.5 - L10.6 tritone substitution - L19.2 - L19.2a Dorian mode L2.1 - L2.1a - L2.2 - L12.1b - L14.1a - L15.1b - L17.1 - L17.2a - L17.2d - L17.2e - L17.2f - L17.2g - L18.1a practice - L2.4 - L9.5 - L14.4 - L18.5 down beat - L5.2a - L5.6 - L6.3 timing of - L20.4 in triplet crotchets - L13.3b Durham, Kenny - L9.2 - L18.3 dynamics (loudness) - L7.4 - L7.4a
Dorian mode L2.1 - L2.1a - L2.2 - L12.1b - L14.1a - L15.1b - L17.1 - L17.2a - L17.2d - L17.2e - L17.2f - L17.2g - L18.1a practice - L2.4 - L9.5 - L14.4 - L18.5 down beat - L5.2a - L5.6 - L6.3 timing of - L20.4 in triplet crotchets - L13.3b Durham, Kenny - L9.2 - L18.3 dynamics (loudness) - L7.4 - L7.4a
(Down - Up - Top - Links) E. 8 bar blues - L1.4 - L1.5a 8-note diminished scale - L16.1a - L16.6 8-note dominant scale - L16.1 - L16.5a - L16.6 8-note symmetric scales - L16.1 - L16.1b - L16.5a - L16.6 ear training (for timing) - L20.4 - L20.4b 11th (chord tone) - L16.5b Eb instruments - EK.1a - EK.5 eighth note - note terminology Ellington, Duke - L20.1a embellished blues format - L6.1 - L10.3 - L16.2 - L19.3 emotion - L7.4 end of phrase dynamics - L7.4b note pitch - L15.4 - L16.4a Entertainer, The (song) - L11.1b essential chord tones - L9.4 - L10.4a - L13.5a - L19.1 - L19.1a - L19.2a expressions (of tonality) - L18.1a (Down - Up - Top - Links) F. V7 chord - see dominant 7th chord IVm7 chord (function) - L17.2f - L20.1a Feeling Good (song) - L12.2 Feelings (song) - L20.1a flute - EK.1a - EK.3 chromatic fingering - L11a.4 Fly me to the Moon (song) - L13.2a Fools Rush In (song) - L13.2 - L13.2a foot (tapping the beat) - L5.6 - L6.3 - L13.3 forces (musical) - L7.1a forte (f) - L7.4a fortissimo (ff) - L7.4a Friends Forever (song) - L13.2a full close (Cadence) - L7.2a function (of chord tones) - L16.5 (Down - Up - Top - Links) G. Gentle breeze of Love (song) - L15.2 - L15.3 Gershwin, George - L11.2 grace note - L8.3a "gravity force" (in music) - L7.1a Greek (ancient culture) - L2.1 guide tones - L7.3c - L9.4a - L13.5 guitar - EK.1a - EK.3 - L7.3c - L14.4 - L19.3a - L20.3d Gunfight Blues (song) - L6.2 (Down - Up - Top - Links) H. hair pin (dynamics) - L7.4a half close (Cadence) - L7.2a half diminished chord (symbol = ø) - L9.1 - L12.1a - L15.1 - L18.3 practice - L10.6 - L18.5 half note - note terminology Hammerstein, Oscar - L13.2a hand clapping - L5.5a - L13.3a - L20.4a harmonic minor scale - L8.2a - L15.1 - L15.1b - L17.1 - L17.2d practice - L17.5 - L18.5 harmonic tension - L8.1 'harp' (mouth organ) - EK.1a - EK.3 - L7.4b Hart, Lorenz - L20.1a Hey There (song) - L11.2 Hope (song) - L13.2 - L13.4 horizontal and vertical (expressions of tonality) - L18.1a Hubbard, Freddie - L14.2a (Down - Up - Top - Links) I. I (chord symbols in Roman numberals) - see also V , chords and chord progressions Im chord (function) - L17.2d - L20.1 Im6 chord (function) - L20.1a Im7 chord (function) - L17.2e - L18.5 - L20.1 ImM7 chord (function) - L20.1 IIm7 chord (function) - L12.1b - L17.2a IIIm7 Chord (function) - L17.2c IVm7 chord (function) - L17.2f - L20.1a I got Rhythm (song) - Intro 1a - L11.2 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b Imperfect Cadence - L7.2 Impressionist Clasical composers - L16.1b improvisation over IIm7 - V7 - I - L14.1a over IIø - V7 - Im - L15.1a over IIø - V7 - Im7 - L15.1b manuals L16.1b melody bridge - L15.3 over minor chords - L17.2 playing 'inside' or 'outside' - L11.3 using plurality - L18.2b In a Sentimental Mood (song) - L20.1a instrumental technique (for good timing) - L20.3 interval large - L2.3 symmetric - L10.1a - L19.2 inversions (chord) - L9.3 It don't mean a Thing (song) - L20.1a (Down - Up - Top - Links) J. Jackson, Milt - L14.2a Improvisation 2 (song) - L11.2 - L11.2a - L11.2b Jaws (music in movie) - L11.1b Jazz L16.1 - L16.1a articulation - L12.3 band - L7.4c modal - L2.2a syncopation - L5.5a Trad Jazz - L11.1d waltz - L2.2 - L16.2 Johnson, Plas - L8.2b Joplin, Scott - L11.1b (Down - Up - Top - Links) K. Kern, Jerome - L13.2a Kessel, Barney - L14.2a keyboard (piano) - EK.1a - EK.3 chord voicings - L3.4 - L7.3c - L9.3 - L10.4 - L11.2a - L11.2b - L13.4 - L18.2a - L19.3a - L20.1b chromatic fingering - L11a.1 point of sound (on keyboard) - L20.3a keyboard players - L10.3 - L14.4 timing - L20.3a white keys - L2.1 walking bass (left hand) - L3.4 - L7.3c Kia Lora (song) - L1.2 Koffman, Moe - L14.2a Kurtz, Manny - L20.1a Subject Index Part 2 (Up - Top - Links)© 2003 Michael Furstner (Jazclass)
8-note diminished scale - L16.1a - L16.6 8-note dominant scale - L16.1 - L16.5a - L16.6 8-note symmetric scales - L16.1 - L16.1b - L16.5a - L16.6 ear training (for timing) - L20.4 - L20.4b 11th (chord tone) - L16.5b Eb instruments - EK.1a - EK.5 eighth note - note terminology Ellington, Duke - L20.1a embellished blues format - L6.1 - L10.3 - L16.2 - L19.3 emotion - L7.4 end of phrase dynamics - L7.4b note pitch - L15.4 - L16.4a Entertainer, The (song) - L11.1b essential chord tones - L9.4 - L10.4a - L13.5a - L19.1 - L19.1a - L19.2a expressions (of tonality) - L18.1a
(Down - Up - Top - Links) F. V7 chord - see dominant 7th chord IVm7 chord (function) - L17.2f - L20.1a Feeling Good (song) - L12.2 Feelings (song) - L20.1a flute - EK.1a - EK.3 chromatic fingering - L11a.4 Fly me to the Moon (song) - L13.2a Fools Rush In (song) - L13.2 - L13.2a foot (tapping the beat) - L5.6 - L6.3 - L13.3 forces (musical) - L7.1a forte (f) - L7.4a fortissimo (ff) - L7.4a Friends Forever (song) - L13.2a full close (Cadence) - L7.2a function (of chord tones) - L16.5 (Down - Up - Top - Links) G. Gentle breeze of Love (song) - L15.2 - L15.3 Gershwin, George - L11.2 grace note - L8.3a "gravity force" (in music) - L7.1a Greek (ancient culture) - L2.1 guide tones - L7.3c - L9.4a - L13.5 guitar - EK.1a - EK.3 - L7.3c - L14.4 - L19.3a - L20.3d Gunfight Blues (song) - L6.2 (Down - Up - Top - Links) H. hair pin (dynamics) - L7.4a half close (Cadence) - L7.2a half diminished chord (symbol = ø) - L9.1 - L12.1a - L15.1 - L18.3 practice - L10.6 - L18.5 half note - note terminology Hammerstein, Oscar - L13.2a hand clapping - L5.5a - L13.3a - L20.4a harmonic minor scale - L8.2a - L15.1 - L15.1b - L17.1 - L17.2d practice - L17.5 - L18.5 harmonic tension - L8.1 'harp' (mouth organ) - EK.1a - EK.3 - L7.4b Hart, Lorenz - L20.1a Hey There (song) - L11.2 Hope (song) - L13.2 - L13.4 horizontal and vertical (expressions of tonality) - L18.1a Hubbard, Freddie - L14.2a (Down - Up - Top - Links) I. I (chord symbols in Roman numberals) - see also V , chords and chord progressions Im chord (function) - L17.2d - L20.1 Im6 chord (function) - L20.1a Im7 chord (function) - L17.2e - L18.5 - L20.1 ImM7 chord (function) - L20.1 IIm7 chord (function) - L12.1b - L17.2a IIIm7 Chord (function) - L17.2c IVm7 chord (function) - L17.2f - L20.1a I got Rhythm (song) - Intro 1a - L11.2 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b Imperfect Cadence - L7.2 Impressionist Clasical composers - L16.1b improvisation over IIm7 - V7 - I - L14.1a over IIø - V7 - Im - L15.1a over IIø - V7 - Im7 - L15.1b manuals L16.1b melody bridge - L15.3 over minor chords - L17.2 playing 'inside' or 'outside' - L11.3 using plurality - L18.2b In a Sentimental Mood (song) - L20.1a instrumental technique (for good timing) - L20.3 interval large - L2.3 symmetric - L10.1a - L19.2 inversions (chord) - L9.3 It don't mean a Thing (song) - L20.1a (Down - Up - Top - Links) J. Jackson, Milt - L14.2a Improvisation 2 (song) - L11.2 - L11.2a - L11.2b Jaws (music in movie) - L11.1b Jazz L16.1 - L16.1a articulation - L12.3 band - L7.4c modal - L2.2a syncopation - L5.5a Trad Jazz - L11.1d waltz - L2.2 - L16.2 Johnson, Plas - L8.2b Joplin, Scott - L11.1b (Down - Up - Top - Links) K. Kern, Jerome - L13.2a Kessel, Barney - L14.2a keyboard (piano) - EK.1a - EK.3 chord voicings - L3.4 - L7.3c - L9.3 - L10.4 - L11.2a - L11.2b - L13.4 - L18.2a - L19.3a - L20.1b chromatic fingering - L11a.1 point of sound (on keyboard) - L20.3a keyboard players - L10.3 - L14.4 timing - L20.3a white keys - L2.1 walking bass (left hand) - L3.4 - L7.3c Kia Lora (song) - L1.2 Koffman, Moe - L14.2a Kurtz, Manny - L20.1a Subject Index Part 2 (Up - Top - Links)© 2003 Michael Furstner (Jazclass)
(Down - Up - Top - Links) G. Gentle breeze of Love (song) - L15.2 - L15.3 Gershwin, George - L11.2 grace note - L8.3a "gravity force" (in music) - L7.1a Greek (ancient culture) - L2.1 guide tones - L7.3c - L9.4a - L13.5 guitar - EK.1a - EK.3 - L7.3c - L14.4 - L19.3a - L20.3d Gunfight Blues (song) - L6.2 (Down - Up - Top - Links) H. hair pin (dynamics) - L7.4a half close (Cadence) - L7.2a half diminished chord (symbol = ø) - L9.1 - L12.1a - L15.1 - L18.3 practice - L10.6 - L18.5 half note - note terminology Hammerstein, Oscar - L13.2a hand clapping - L5.5a - L13.3a - L20.4a harmonic minor scale - L8.2a - L15.1 - L15.1b - L17.1 - L17.2d practice - L17.5 - L18.5 harmonic tension - L8.1 'harp' (mouth organ) - EK.1a - EK.3 - L7.4b Hart, Lorenz - L20.1a Hey There (song) - L11.2 Hope (song) - L13.2 - L13.4 horizontal and vertical (expressions of tonality) - L18.1a Hubbard, Freddie - L14.2a (Down - Up - Top - Links) I. I (chord symbols in Roman numberals) - see also V , chords and chord progressions Im chord (function) - L17.2d - L20.1 Im6 chord (function) - L20.1a Im7 chord (function) - L17.2e - L18.5 - L20.1 ImM7 chord (function) - L20.1 IIm7 chord (function) - L12.1b - L17.2a IIIm7 Chord (function) - L17.2c IVm7 chord (function) - L17.2f - L20.1a I got Rhythm (song) - Intro 1a - L11.2 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b Imperfect Cadence - L7.2 Impressionist Clasical composers - L16.1b improvisation over IIm7 - V7 - I - L14.1a over IIø - V7 - Im - L15.1a over IIø - V7 - Im7 - L15.1b manuals L16.1b melody bridge - L15.3 over minor chords - L17.2 playing 'inside' or 'outside' - L11.3 using plurality - L18.2b In a Sentimental Mood (song) - L20.1a instrumental technique (for good timing) - L20.3 interval large - L2.3 symmetric - L10.1a - L19.2 inversions (chord) - L9.3 It don't mean a Thing (song) - L20.1a (Down - Up - Top - Links) J. Jackson, Milt - L14.2a Improvisation 2 (song) - L11.2 - L11.2a - L11.2b Jaws (music in movie) - L11.1b Jazz L16.1 - L16.1a articulation - L12.3 band - L7.4c modal - L2.2a syncopation - L5.5a Trad Jazz - L11.1d waltz - L2.2 - L16.2 Johnson, Plas - L8.2b Joplin, Scott - L11.1b (Down - Up - Top - Links) K. Kern, Jerome - L13.2a Kessel, Barney - L14.2a keyboard (piano) - EK.1a - EK.3 chord voicings - L3.4 - L7.3c - L9.3 - L10.4 - L11.2a - L11.2b - L13.4 - L18.2a - L19.3a - L20.1b chromatic fingering - L11a.1 point of sound (on keyboard) - L20.3a keyboard players - L10.3 - L14.4 timing - L20.3a white keys - L2.1 walking bass (left hand) - L3.4 - L7.3c Kia Lora (song) - L1.2 Koffman, Moe - L14.2a Kurtz, Manny - L20.1a Subject Index Part 2 (Up - Top - Links)© 2003 Michael Furstner (Jazclass)
(Down - Up - Top - Links) H. hair pin (dynamics) - L7.4a half close (Cadence) - L7.2a half diminished chord (symbol = ø) - L9.1 - L12.1a - L15.1 - L18.3 practice - L10.6 - L18.5 half note - note terminology Hammerstein, Oscar - L13.2a hand clapping - L5.5a - L13.3a - L20.4a harmonic minor scale - L8.2a - L15.1 - L15.1b - L17.1 - L17.2d practice - L17.5 - L18.5 harmonic tension - L8.1 'harp' (mouth organ) - EK.1a - EK.3 - L7.4b Hart, Lorenz - L20.1a Hey There (song) - L11.2 Hope (song) - L13.2 - L13.4 horizontal and vertical (expressions of tonality) - L18.1a Hubbard, Freddie - L14.2a (Down - Up - Top - Links) I. I (chord symbols in Roman numberals) - see also V , chords and chord progressions Im chord (function) - L17.2d - L20.1 Im6 chord (function) - L20.1a Im7 chord (function) - L17.2e - L18.5 - L20.1 ImM7 chord (function) - L20.1 IIm7 chord (function) - L12.1b - L17.2a IIIm7 Chord (function) - L17.2c IVm7 chord (function) - L17.2f - L20.1a I got Rhythm (song) - Intro 1a - L11.2 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b Imperfect Cadence - L7.2 Impressionist Clasical composers - L16.1b improvisation over IIm7 - V7 - I - L14.1a over IIø - V7 - Im - L15.1a over IIø - V7 - Im7 - L15.1b manuals L16.1b melody bridge - L15.3 over minor chords - L17.2 playing 'inside' or 'outside' - L11.3 using plurality - L18.2b In a Sentimental Mood (song) - L20.1a instrumental technique (for good timing) - L20.3 interval large - L2.3 symmetric - L10.1a - L19.2 inversions (chord) - L9.3 It don't mean a Thing (song) - L20.1a (Down - Up - Top - Links) J. Jackson, Milt - L14.2a Improvisation 2 (song) - L11.2 - L11.2a - L11.2b Jaws (music in movie) - L11.1b Jazz L16.1 - L16.1a articulation - L12.3 band - L7.4c modal - L2.2a syncopation - L5.5a Trad Jazz - L11.1d waltz - L2.2 - L16.2 Johnson, Plas - L8.2b Joplin, Scott - L11.1b (Down - Up - Top - Links) K. Kern, Jerome - L13.2a Kessel, Barney - L14.2a keyboard (piano) - EK.1a - EK.3 chord voicings - L3.4 - L7.3c - L9.3 - L10.4 - L11.2a - L11.2b - L13.4 - L18.2a - L19.3a - L20.1b chromatic fingering - L11a.1 point of sound (on keyboard) - L20.3a keyboard players - L10.3 - L14.4 timing - L20.3a white keys - L2.1 walking bass (left hand) - L3.4 - L7.3c Kia Lora (song) - L1.2 Koffman, Moe - L14.2a Kurtz, Manny - L20.1a Subject Index Part 2 (Up - Top - Links)© 2003 Michael Furstner (Jazclass)
half diminished chord (symbol = ø) - L9.1 - L12.1a - L15.1 - L18.3 practice - L10.6 - L18.5 half note - note terminology Hammerstein, Oscar - L13.2a hand clapping - L5.5a - L13.3a - L20.4a harmonic minor scale - L8.2a - L15.1 - L15.1b - L17.1 - L17.2d practice - L17.5 - L18.5 harmonic tension - L8.1 'harp' (mouth organ) - EK.1a - EK.3 - L7.4b Hart, Lorenz - L20.1a Hey There (song) - L11.2 Hope (song) - L13.2 - L13.4 horizontal and vertical (expressions of tonality) - L18.1a Hubbard, Freddie - L14.2a
harmonic minor scale - L8.2a - L15.1 - L15.1b - L17.1 - L17.2d practice - L17.5 - L18.5 harmonic tension - L8.1 'harp' (mouth organ) - EK.1a - EK.3 - L7.4b Hart, Lorenz - L20.1a Hey There (song) - L11.2 Hope (song) - L13.2 - L13.4 horizontal and vertical (expressions of tonality) - L18.1a Hubbard, Freddie - L14.2a
(Down - Up - Top - Links) I. I (chord symbols in Roman numberals) - see also V , chords and chord progressions Im chord (function) - L17.2d - L20.1 Im6 chord (function) - L20.1a Im7 chord (function) - L17.2e - L18.5 - L20.1 ImM7 chord (function) - L20.1 IIm7 chord (function) - L12.1b - L17.2a IIIm7 Chord (function) - L17.2c IVm7 chord (function) - L17.2f - L20.1a I got Rhythm (song) - Intro 1a - L11.2 I - VIm7 - IIm7 - V7 ('Rhythm changes') - L11.2a III7 - VI7 - II7 - V7 ('Rhythm bridge') - L11.2b Imperfect Cadence - L7.2 Impressionist Clasical composers - L16.1b improvisation over IIm7 - V7 - I - L14.1a over IIø - V7 - Im - L15.1a over IIø - V7 - Im7 - L15.1b manuals L16.1b melody bridge - L15.3 over minor chords - L17.2 playing 'inside' or 'outside' - L11.3 using plurality - L18.2b In a Sentimental Mood (song) - L20.1a instrumental technique (for good timing) - L20.3 interval large - L2.3 symmetric - L10.1a - L19.2 inversions (chord) - L9.3 It don't mean a Thing (song) - L20.1a (Down - Up - Top - Links) J. Jackson, Milt - L14.2a Improvisation 2 (song) - L11.2 - L11.2a - L11.2b Jaws (music in movie) - L11.1b Jazz L16.1 - L16.1a articulation - L12.3 band - L7.4c modal - L2.2a syncopation - L5.5a Trad Jazz - L11.1d waltz - L2.2 - L16.2 Johnson, Plas - L8.2b Joplin, Scott - L11.1b (Down - Up - Top - Links) K. Kern, Jerome - L13.2a Kessel, Barney - L14.2a keyboard (piano) - EK.1a - EK.3 chord voicings - L3.4 - L7.3c - L9.3 - L10.4 - L11.2a - L11.2b - L13.4 - L18.2a - L19.3a - L20.1b chromatic fingering - L11a.1 point of sound (on keyboard) - L20.3a keyboard players - L10.3 - L14.4 timing - L20.3a white keys - L2.1 walking bass (left hand) - L3.4 - L7.3c Kia Lora (song) - L1.2 Koffman, Moe - L14.2a Kurtz, Manny - L20.1a Subject Index Part 2 (Up - Top - Links)© 2003 Michael Furstner (Jazclass)
(Down - Up - Top - Links) J.
(Down - Up - Top - Links) K. Kern, Jerome - L13.2a Kessel, Barney - L14.2a keyboard (piano) - EK.1a - EK.3 chord voicings - L3.4 - L7.3c - L9.3 - L10.4 - L11.2a - L11.2b - L13.4 - L18.2a - L19.3a - L20.1b chromatic fingering - L11a.1 point of sound (on keyboard) - L20.3a keyboard players - L10.3 - L14.4 timing - L20.3a white keys - L2.1 walking bass (left hand) - L3.4 - L7.3c Kia Lora (song) - L1.2 Koffman, Moe - L14.2a Kurtz, Manny - L20.1a Subject Index Part 2 (Up - Top - Links)© 2003 Michael Furstner (Jazclass)
keyboard (piano) - EK.1a - EK.3 chord voicings - L3.4 - L7.3c - L9.3 - L10.4 - L11.2a - L11.2b - L13.4 - L18.2a - L19.3a - L20.1b chromatic fingering - L11a.1 point of sound (on keyboard) - L20.3a keyboard players - L10.3 - L14.4 timing - L20.3a white keys - L2.1 walking bass (left hand) - L3.4 - L7.3c Kia Lora (song) - L1.2 Koffman, Moe - L14.2a Kurtz, Manny - L20.1a
