دانلود کتاب The Beato Book 4.0

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The Beato Book 4.0
Introduction
Chapter 1: Theory and Harmony
Interval Names and Symbols
Ex. 1
Naming Intervals
Ex. 2
Ex. 3
Ex. 4
Ex. 5
Ex. 6
Enharmonic Intervals
Ex. 7
Chords and their formulars
Diatonic Triads in C major
Ex. 8
Building Diatonic Triads
Interval Composition
Ex. 9
Ex. 10
Ex. 11
Ex. 12
Building Diatonic Seventh Chords
Ex. 13
Major Scale (Triads & Seventh)
Ex. 14a
Natural Minor Scale
Ex. 14b
Melodic Minor Scale
Ex. 15
Harmonic Minor Scale
Ex. 16
Harmonic Major Scale
Ex. 17
Double Harmonic Major Scale
Ex. 18
More about seventh chords
Ex. 19
Suspended Triads and other three note structures
Ex. 20a
Ex. 20b
Ex. 21
Ex. 22
Ex. 23
Ex. 24
Ex. 25
Chord Scales
Major Scale Modes
Melodic Minor Modes
Harmonic Minor Modes
Miscellaneous Scales
Chord families and their scales
Major7 Type
Minor7 Type
Minor7b5 Type
Dom7 Type
Diminished Type
Augmented Type
Scale Degree Names and Basic Progressions
Ex. 26
Ex. 27
Basic Progressions
Ex. 28
Ex. 29
Ex. 30
Ex. 31
Ex. 32
Ex. 33
Ex. 34
Ex. 35
Ex. 36
Ex. 37
More About Roman Numeral Analysis
Secondary Dominant and Diminished Seventh:
Ex. 38
Ex. 39
Ex. 40
Ex. 41
Cycle of Fifth and Back Cycling
Cycle of Fifths
Ex. 42
Back Cycling
Ex. 43
Roman Numeral Analysis and Chord Scale Choice
Ex. 44a
Ex. 44b
Basic Rules for Chord Substitutions
Ex. 45
Ex. 46
Ex. 47
Rule I:
Ex. 48
Rule II: Major Chords
Ex. 49
Rule III: Minor Chords
Ex. 50
Rule IV: Dom.7 Chords (V7)
Ex. 51
Ex. 52
Rule V: All Chords
Ex. 53
Rule VI: Dom7 Chords (V7)
Ex. 54
Rule VII: Dom7 Chords (V7)
Ex. 55
Rule VIII: Dom7 Chords (V7)
Ex. 56
Ex. 57
Extension of Dim7 chords
Ex. 58
Ex. 59
Rule IX:
Ex. 60
Rule X: Dom7 (V7) chords
Ex. 61
Rule XI: Dom7 (V7) chords
Rule XII:
Ex. 62
Ex. 63
Ex. 64
Rule XIII
Ex. 65
Ex. 66
Rule XIV:
Ex. 67a
Ex. 67b
Rule XV:
Ex. 68
Rule XVI:
Ex. 69
Rule XVII:
Ex. 70
Rule XVIII:
Ex. 71
Rule XIX:
Ex. 72
Rule XX: Symetrical Scales
Rule XXI: Dom7 Chords (V7)
Ex. 73
Rule XXII: Modal Chords
Ex. 74
Rule XXIII:
Ex. 75
Rule XXIV
Ex. 76
Rule XXV:
Ex. 77
Rule XXVI:
Ex. 78
Rule XXVII
Ex. 79
Rule XXVIII:
Ex. 80
Rule XXIX
Ex. 81
Triad and Seventh Chords over Bass Notes and Polychords
Ex. 82a
Ex. 82b
Ex. 83
Ex. 84a
Ex. 84b
Ex. 85
Ex. 86
Triads over Bass Notes
Ex. 87
Ex. 88
Ex. 89
Ex. 90
Reharmonization and Chord Substitutions
„Countdown Changes“
Ex. 91
„Bird Blues“
Ex. 92a
Ex. 92b
Advanced Reharmonizations
Blues
F Blues Basic
Substitution Characteristics
F Blues ①
Ex. 93
F Blues ②
Rule XXX: Dom7 chords
Ex. 94a
Ex. 94b
Ex. 95a
Ex. 95b
Ex. 95c
F Blues ③
Rule XXXI
Ex. 96
Rule XXXI cont.
Ex. 97
F Blues ④
Ex. 98
F Blues ⑤
Ex. 99
Ex. 100
Ex. 101
F Blues ⑥
Ex. 102
Rhythm Changes
Ex. 103
Ex. 104
Rule XXXII
Ex. 105
Ex. 106a
Ex. 106b
The Bridge of Rhythm Changes
Ex. 107
Ex. 108a
Ex. 108b
Ex. 109
Ex. 110
Ex. 111
Ex. 112
Ex. 113
Ex. 114
Reharmonization of Standard Forms
Reharmonization No.1
Reharmonization No.2
Common Tone Reharmonization
Rule XXXII
Ex. 115
Modal Harmony and Theory
Ex. 116
Ex. 117
Ex. 118
Ex. 119
Sharp and Flat Direction Modal Modulation
Ex. 120
Upward Modulation
Ex. 121a
Ex. 121b
Ex. 122
Downward Modulations
Ex. 123a
Ex. 123b
Ex. 124
Sharp Direction (melodic minor)
Ex. 125
Flat Direction (melodic minor)
Ex. 126
Sharp Direction (harmonic minor)
Ex. 127
Flat Direction (harmonic minor)
Ex. 128
Resolution Tendencies between Modal Groups
Ex. 129
Voiceleading
Ex. 130
Resolution
Ex. 131
Ex. 132a
Ex. 132b
Ex. 133
Ex. 134
Ex. 135
Chapter 2: Chord Forms
Triad (and Suspension) Chord Forms
Major Triads
Minor Triads
Diminished Triads
Augmented Triads
Suspended Triads
Lydian Triads
Locrian Triads
Drop Voicings
Voicings of Cmaj7
Ex. 136
Drop 2
Maj6
Maj 7
Dom7
Min7
Min6
Minmaj7
Min7b5
Dim7
Dimmaj7
Augmaj7
Aug7
Maj7b5
Dom7b5
Maj7sus4
Dom7sus4
Lydianmaj7
LydianDom7
Dimmaj7b13
Drop 3
Maj6
Maj7
Dom7
Min6
Min7
Minmaj7
Min7b5
Dim7
Dimmaj7
Augmaj7
Aug7
Maj7b5
Dom7b5
Maj7sus4
Dom7sus4
Lydianmaj7
LydianDom7
Dimmaj7b13
Drop 2 + 3
Maj6
Maj7
Dom7
Min6
Min7
Minmaj7
Min7b5
Dim7
Dimmaj7
Augmaj7
Aug7
Maj7b5
Dom7b5
Maj7sus4
Dom7sus4
Lydianmaj7
LydianDom7
Dimmaj7b13
Drop 2 + 4
Maj6
Maj7
Dom7
Min6
Min7
Minmaj7
Min7b5
Dim7
Dimmaj7
Augmaj7
Aug7
Maj7b5
Dom7b5
Maj7sus4
Dom7sus4
Lydianmaj7
LydianDom7
Dimmaj7b13
Triads over Bass Notes
Ex. 137
Major Triads Bass Notes
Minor Triads Bass Notes
Sus4 Triads Bass Notes
Spread triads over bass notes
Ex. 138
Ex. 139
Major Type Spread Triads Bass Notes (C)
Minor Type Spread Triads Bass Notes (C)
Dom7 Type Spread Triads Bass Notes (C)
Diminished Type Spread Triads Bass Notes (C)
Twelve Tone Type Spread Triads Bass Notes (C)
Quartal Voicings
Three Part Quartal Voicings
Ex. 140
Ex. 141
3part-Quartal Voicings – Major Scale
4part-Quartal Voicings – Major Scale
5part-Quartal Voicings – Major Scale
6part-Quartal Voicings – Major Scale
3part-Quartal Voicings – Melodic Minor
4part-Quartal Voicings – Melodic Minor
5part-Quartal Voicings – Melodic Minor
6part-Quartal Voicings – Melodic Minor
3part-Quartal Voicings – Harmonic Minor
4part-Quartal Voicings – Harmonic Minor
5part-Quartal Voicings – Harmonic Minor
6part-Quartal Voicings – Harmonic Minor
Skipped String Voicings
Ex. 142
Major Scale Skipped String Voicings
Melodic Minor Scale Skipped String Voicings
Dominant Diminished Skipped String Voicings
Ex. 143
Open String Voicings
Polychords (Triads over Triads)
Using Comping Voicings in new Ways
Ex. 144
Constructing Chord Scales
Ex. 145
Ex. 146
Ex. 147
Chordal Scales
Major Scale (Bebop)
Major Scale (modern)
Dorian/Minor (Bebop)
Dorian/Minor (modern)
Aeolian/Minor
Dom7 (unaltered)
Dom7 (altered Dom)
Dom7 (Dominant Dim)
Diminished Scale Voicings
Ex. 148
Ex. 149
Ex. 150
Dim7 Type Comping Voicings
Stretch Voicings
Ex. 151
Stretch Voicings
Chordal Lines (ii7 V7 Imaj7)
Ex. 152a
Ex. 152b
Ex. 152c
Ex. 152d
Ex. 152e
Ex. 153a
Ex. 153b
Ex. 153c
Ex. 153d
Chapter 3: Scales and Arpeggios
Mode (Scale) Practice
Triads
Modes of the Major Scale
Modes of the Melodic Minor Scale
Modes of the Harmonic Minor Scale
Miscellaneous Scales
Blues and Pentatonic Scales
Pentatonic Scales:
Blues Scales:
Close Position Fingerings
Major Scale
Melodic Minor Scale
Harmonic Minor Scale
Scales with two notes per string
Modes of the Major Scale
Modes of the Melodic Minor Scale
Modes of the Harmonic Minor Scale
Examples of Extended Range Scale Fingerings
Diatonic Intervals
Ex. 154a
Ex. 154b
Ex. 154c
Ex. 154d
Ex. 154e
Ex. 154f
Diatonic Arpeggios
Triads (in C Major)
Ex. 155a
Ex. 155b
Ex. 155c
Ex. 155d
Seventh Chords
Ex. 156a
Ex. 156b
Ex. 156c
Ex. 156d
Triad Variation
Ex. 157
Seventh Chord Variation
Ex. 158
Seventh Chord Arpeggios
Seventh Chord Formulas
Triads and Suspensions
Seventh Chord Arpeggios Root 6
Seventh Chord Arpeggios Root 5
Bitonal Arpeggios
Ex. 159a
Ex. 159b
Ex. 159c
Major and Minor Bitonal Arpeggios
Major Bitonal Arpeggios (over C at the 8th fret)
Minor Bitonal Arpeggios (over C- at the 8th fret)
Diminished Bitonal Arpeggios (over Co at the 8th fret)
Augmented Bitonal Arpeggios (over C+ at the 8th fret)
More about practicing scales and arpeggios
Ex. 160
Ex. 161
Ex. 162
Chapter 4: Linear Studies
ii V I Progressions
Ex. 163
Ex. 164
Ex. 165
ii7 V7 Imaj7 substitute patterns
Ex. 169
Turnarounds
Cycle of Fifths
Ex. 174
Ex. 175a
Pentatonic Scales
Ex. 178a
Ex. 178b
Ex. 178c
Ex. 178d
Ex. 179
Pentatonic Scales over Maj(7) Chords
Pentatonic Scales over Min(7) Chords
Pentatonic Scales over Dom7th Chords
Or in Relation to One Pentatonic
Melodic Minor Pentatonics
Ex. 180a
Ex. 180b
Ex. 181a
Ex. 181b
Triadic Superimposition
Ex. 182a
Ex. 182b
Ex. 182c
Triadic Superimposition Chart (Maj7)
Triadic Superimposition Chart (Min7 (b5))
Triadic Superimposition Chart (Dom7)
Seventh Chord Superimposition
Seventh Chord Superimposition Chart (Maj7)
Seventh Chord Superimposition Chart (Min7 (b5)(♮7))
Seventh Chord Superimposition Chart (Dom7)
Also from the Dominant Diminished Scale
Hybrid Arpeggios
Hybrid Arpeggio Chart (Maj7)
Hybrid Arpeggio Chart (Minor7)
Hybrid Arpeggio Chart (Min7b5)
Hybrid Arpeggio Chart (Dom7)
Playing over unusual Resolutions
① Dim7 chords resolving down by ½ step to minor
Ex. 186a
② Dom7 chords resolving up by whole step
Ex. 187a
Other Resolutions to become familiar with
Ex. 189
Ex. 190a
Ex. 190b
Ex. 191
Twelve Tone Triadic Formulas
Ex. 216a
Ex. 216b
Twelve Tone Formulars Using Seventh Chords
Ex. 219
Ex. 220
Ex. 221
12-Tone Triad Etude No.1
Modal Shapes
Ex. 225
Ex. 226
Ex. 227
Ex. 228
Tonic and Dominant Diminished Scale Shapes
Ex. 231
Ex. 232
Chapter 5: Technique and Practice
Bass Lines
Pedal Points
Ex. 249
Ex. 250
Ex. 251
Ex. 252
Bassline Comping Variations
Ex. 255a
Ex. 255b
Ex. 255c
Comping Rhythms
Ex. 256
Solos Over Standard Forms
Practicing
Technique
Left Hand
Right Hand
Review Material
New Material
Ear Training