Bert Ligon Connecting... and Comprehensive... book difference?

[thared33]

The Jazz Theory Resource books are self explanatory, but the difference between Connecting Chords with Linear Harmony and Comprehensive Technique for Jazz Musicians is not immediately obvious to me. Can someone explain in plain English?

[jckoto3]

Yes I have both:

Connecting Chords with Linear Harmony is an in-depth study of three specific "outlines" or melodic skeletons that have been used countless times by many jazz musicians for ages. It has hundreds of examples of where these outlines show up in real solos, and ideas on how these three outlines can be embellished and concealed. Although the majority of examples are of the ii-V-I variety, the concept is applicable to pretty much any chord change.

Comprehensive Technique for Jazz Musicians is more general practical knowledge on developing single-note jazz lines (i.e. since it's for all instruments there's no chord stuff or other polyphony worth mentioning). Its sort of akin to an encylopedia in that you can look up something in the table of contents, skip to that section and read a few examples to help get the idea in your ears and under your fingers. For example, there is a chapter on "Triads & Generalizations" that has a bunch of subtopics on things people have done with triads, with good explanations on how and why the ideas work and how they fit into the bigger picture. There is a section at the beginning on how and what to practice and suggestions throughout the book on how to practice the concepts presented. This book also contains a sections on the same three outlines in Connecting Chords with Linear Harmony but not nearly as in-depth. 323 pages of really good stuff, but the book is a bit overwhelming since it is pretty comprehensive

There is a ton of info at Bert's site:

USC JAZZ STUDIES

The website navigation is a little confusing, but if you spend some time poking around there you will be well-rewarded.

They're both great books but very different.

[thared33]

Can you describe what an outline is? I'm still not understanding completely. I guess I should just buy them and take a look for myself.

[Petimar]

CCLH is one of the best books I've purchased. Got a lot from it.

[MattC]

jckoto3's is a good description of the two books. I also own both. The outlines are basically simple melodic skeletons written in quarter notes, 4 pitches to a chord over ii-V changes, that can be (and have been) varied and developed in many different ways. They are as follows, in the key of C:

#1 = major scale descending from F down an octave to another F over the ii and V, resolving to E on the I.

#2 = ascending 7th chord arpeggio over ii, B down to F over the V, resolving to E on the I

#3 = Inverted ii 7 chord arpeggio descending A-F-D-C, then a rootless V9 arpeggio ascending B-D-F-A, resolving to a G on I.

There you have it. Learn how to play those and 100 different variations on each in all keys, with all fingerings, at all tempos, with all feels, in minor and major, and you will be prepared for anything!

Seriously though, these two Ligon books are remarkable and could keep any of us busy forever. They can feel overwhelming. Unless you have 15 hours a day to practice, these books are best thought of as references from which one can choose items to a practice. Through transcription, analysis and organization, Ligon has basically created a fairly exhaustive collection of bebop/post-bop vocabulary. If someone was only going to buy one book from which to study, I'd probably recommend one of these books. They're that good.

I don't have either of the Jazz Theory Resources books. What are those like?

Matt

[Jazz_175]

I have all four books by Bert Ligon.
The ones I used the most are "Connecting chords....." and Comprehensive technique...."
I think they are really fantastic books (All of them)

[MattC]

One more thing I'll mention about "Comprehensive Technique..." that I really like. In addition to the loads of transcribed examples and exercises, Ligon also created several etudes based on standard chord changes. What's really nice about his etudes is that he provides analysis of various concepts as they appear in the lines, e.g. outline #2 in measure 3, blues generalization over measures 4 and 5, cyclical quadruplets over measure 6, etc. He suggests creating your own etudes, starting with an agenda that includes a variety of melodic concepts. His point being that many great solos incorporate a variety of concepts. Using this approach to creating a written out etude seems to yield more musical material than simply playing arpeggios or patterns over changes (although that has it's place as well).

Matt

[jster]

Does he have an e-book version? I was trying to buy Comprehensive today but I didn't like the shipping prices.

[MattC]

I don't think there are e-versions of any of Ligon's books, but I could be mistaken. The books themselves are not cheap, let alone the shipping, but again, this may be the last book you need to buy, at least for a long time.

Matt

[AlsoRan]

While on the subject of Bert's books, is there really that much of a difference in quality between the plastic comb version and the paperback version? The plastic comb is a bit cheaper.

[jster]

I just got my Comprehensive in the mail.

1) Which chapters cover the Connecting material?

2) Which chapters are the best? Où est le filet?

[jckoto3]

Jster

1) Chapter 15, the section on the Outlines is where he explains the stuff from "Connecting Chords..."

2) All of them! Seriously though, it's a big book with so much stuff it's a bit easy to get lost. Maybe start with chapter 15 to get a better handle on the outlines then use the other chapters to fatten them up and fill them out. Or not.

Personally, I don't really have a method with the book, I just sorta flick through until something pops out at me, then read that section, then start practicing and incorporating the material from that section, then I put the book down for a while until my playing starts to feel stale again, then the process repeats...

[Jazz_175]

Yes, it's a great book.
Right now I am working on the diminished scale exercises.

[jster]

That triadic superimposition blues exercise on p. 175 is pretty crazy. Reminds me of my rather extreme reharmonization of a Monk tune!

(Isn't "superposition" enough? lol. It's enough for quantum mechanics and geology. "superimpostion" seems like when the inlaws come for 14 days. Wrong vibe for jazz.)

[Jazz_175]

That triadic superimposition blues exercise on p. 175

Which one on pag 175?

[jster]

There's only one in my (2nd) edition.

[Jazz_175]

I see. I have the first edition. That's why I could not understand which exercise.

[jster]

It's a 12 bar blues in F with a bunch of superimposed triads. A lot of B triad over F7 types.

[nado64]

I'm reading Connecting Harmony, and I don't know how I do before to read this book.
Thirty pages, but in reality, ten pages of very clear theory. And what Theory !

The best book I read about the jazz theory. A must have.