{ "schema_version": 1, "id": "arrival", "source_language": "en", "source_label": "English", "title": "Arrival: Building Jazz Lines That Land", "work_title": "Arrival: Building Jazz Lines That Land", "reader_title": "Mayank Sanganeria · Arrival", "author": "Mayank Sanganeria", "share_attribution": "Mayank Sanganeria · Arrival (2026)", "status": "complete", "verification_status": "author-source", "edition_note": "Original text and notation by Mayank Sanganeria. Published with the author’s permission. Complete preface, ten chapters and appendix; imported directly from the author’s October 11, 2026 export.", "notation_note": "All 30 examples use the author’s supplied notation. Only the external DTD declaration is removed for offline playback. Blue notes mark arrivals. Playback follows the written durations; straight eighths remain straight. Example 8.2 includes explicitly notated swing triplets. The Original view shows the author’s engraving. Tempo is adjustable.", "reading_versions": [ "en" ], "blocks": [ { "id": "arrival-001", "type": "heading", "section": "title", "reading_order": 1, "original": "Arrival: Building Jazz Lines That Land", "english": "Arrival: Building Jazz Lines That Land", "sources": [], "heading_level": 2 }, { "id": "arrival-002", "type": "paragraph", "section": "title", "reading_order": 2, "original": "Oct 6, 2026 · @Mayank Sanganeria", "english": "Oct 6, 2026 · @Mayank Sanganeria", "sources": [] }, { "id": "arrival-003", "type": "heading", "section": "chapter-01", "reading_order": 3, "original": "Preface: One Grammar, Two Axes", "english": "Preface: One Grammar, Two Axes", "sources": [], "heading_level": 2 }, { "id": "arrival-004", "type": "paragraph", "section": "chapter-01", "reading_order": 4, "original": "A jazz line has to be solved twice: once in time, once in pitch. Hal Galper's Forward Motion solved the time problem. Lines move toward strong beats, not away from them, and a phrase is a pickup aimed at a landing. Bert Ligon's Connecting Chords with Linear Harmony solved the pitch problem. A bebop line is voice-leading in disguise: a stepwise skeleton of guide tones, decorated with a small vocabulary of arpeggios, enclosures and chromatic approaches.", "english": "A jazz line has to be solved twice: once in time, once in pitch. Hal Galper's Forward Motion solved the time problem. Lines move toward strong beats, not away from them, and a phrase is a pickup aimed at a landing. Bert Ligon's Connecting Chords with Linear Harmony solved the pitch problem. A bebop line is voice-leading in disguise: a stepwise skeleton of guide tones, decorated with a small vocabulary of arpeggios, enclosures and chromatic approaches.", "sources": [], "inline": [ { "tag": "text", "text": "A jazz line has to be solved twice: once in time, once in pitch. Hal Galper's " }, { "tag": "em", "text": "Forward Motion" }, { "tag": "text", "text": " solved the time problem. Lines move toward strong beats, not away from them, and a phrase is a pickup aimed at a landing. Bert Ligon's " }, { "tag": "em", "text": "Connecting Chords with Linear Harmony" }, { "tag": "text", "text": " solved the pitch problem. A bebop line is voice-leading in disguise: a stepwise skeleton of guide tones, decorated with a small vocabulary of arpeggios, enclosures and chromatic approaches." } ] }, { "id": "arrival-005", "type": "paragraph", "section": "chapter-01", "reading_order": 5, "original": "Each book leaves the other half implicit. Galper tells you where the line is going in time but keeps the note vocabulary loose: chord tones on strong beats, play what you hear. Ligon gives you a rigorous pitch vocabulary but takes the rhythm for granted, leaning on the bebop habit of chord tones on downbeats. Practice either one alone and you get half a grammar: lines that land well but say little, or lines full of the right shapes that land in the wrong places.", "english": "Each book leaves the other half implicit. Galper tells you where the line is going in time but keeps the note vocabulary loose: chord tones on strong beats, play what you hear. Ligon gives you a rigorous pitch vocabulary but takes the rhythm for granted, leaning on the bebop habit of chord tones on downbeats. Practice either one alone and you get half a grammar: lines that land well but say little, or lines full of the right shapes that land in the wrong places.", "sources": [] }, { "id": "arrival-006", "type": "paragraph", "section": "chapter-01", "reading_order": 6, "original": "This book fuses them into one operational unit: the arrival. An arrival is a chord tone on a structural beat, approached by a figure sized to the time left before it lands. Everything else in the book is a way of choosing arrivals, timing them or connecting them.", "english": "This book fuses them into one operational unit: the arrival. An arrival is a chord tone on a structural beat, approached by a figure sized to the time left before it lands. Everything else in the book is a way of choosing arrivals, timing them or connecting them.", "sources": [], "inline": [ { "tag": "text", "text": "This book fuses them into one operational unit: the " }, { "tag": "strong", "text": "arrival" }, { "tag": "text", "text": ". An arrival is a chord tone on a structural beat, approached by a figure sized to the time left before it lands. Everything else in the book is a way of choosing arrivals, timing them or connecting them." } ] }, { "id": "arrival-007", "type": "paragraph", "section": "chapter-01", "reading_order": 7, "original": "The working equation is Line = Skeleton × Grid × Cells. The skeleton is what lands: a guide-tone voice moving by step. The grid is when it lands: beats 1 and 3. The cells are how the line gets there: pickup figures one to three eighth notes long. Change any factor and you change the line. Get all three right and the line sounds inevitable.", "english": "The working equation is Line = Skeleton × Grid × Cells. The skeleton is what lands: a guide-tone voice moving by step. The grid is when it lands: beats 1 and 3. The cells are how the line gets there: pickup figures one to three eighth notes long. Change any factor and you change the line. Get all three right and the line sounds inevitable.", "sources": [], "inline": [ { "tag": "text", "text": "The working equation is " }, { "tag": "strong", "text": "Line = Skeleton × Grid × Cells" }, { "tag": "text", "text": ". The skeleton is " }, { "tag": "em", "text": "what" }, { "tag": "text", "text": " lands: a guide-tone voice moving by step. The grid is " }, { "tag": "em", "text": "when" }, { "tag": "text", "text": " it lands: beats 1 and 3. The cells are " }, { "tag": "em", "text": "how" }, { "tag": "text", "text": " the line gets there: pickup figures one to three eighth notes long. Change any factor and you change the line. Get all three right and the line sounds inevitable." } ] }, { "id": "arrival-008", "type": "heading", "section": "chapter-01", "reading_order": 8, "original": "The whole book in three bars", "english": "The whole book in three bars", "sources": [], "heading_level": 3 }, { "id": "arrival-009", "type": "paragraph", "section": "chapter-01", "reading_order": 9, "original": "Ex. P.1 — A ii–V–I line (top) and its arrivals alone (bottom). Blue notes are arrivals; numbers name each note's function against the chord.", "english": "Ex. P.1 — A ii–V–I line (top) and its arrivals alone (bottom). Blue notes are arrivals; numbers name each note's function against the chord.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. P.1" }, { "tag": "text", "text": " — A ii–V–I line (top) and its arrivals alone (bottom). Blue notes are arrivals; numbers name each note's function against the chord." } ] }, { "id": "arrival-010", "type": "music", "section": "chapter-01", "reading_order": 10, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-P1" ] }, { "id": "arrival-011", "type": "paragraph", "section": "chapter-01", "reading_order": 11, "original": "The top staff is a finished line. The bottom staff keeps only its notes on beats 1 and 3, and they make a slow voice-leading melody on their own: F, C, F, B, E. Every other note in the top staff exists to deliver the next note in the bottom staff on time.", "english": "The top staff is a finished line. The bottom staff keeps only its notes on beats 1 and 3, and they make a slow voice-leading melody on their own: F, C, F, B, E. Every other note in the top staff exists to deliver the next note in the bottom staff on time.", "sources": [] }, { "id": "arrival-012", "type": "paragraph", "section": "chapter-01", "reading_order": 12, "original": "Read it twice. First read the bottom staff as harmony. On each beat 1 it carries the 3rd of Dm7 (F), which holds to become the 7th of G7, then falls to the 3rd of Cmaj7 (E). On beat 3 it dips to the other guide tones, C and B. Then read the top staff as time: a two-note pickup before the first bar line, a run that rises through one chromatic passing tone so every chord tone lands on a beat, a run down to B, an arpeggio that parks F on the last upbeat, and F falling into E across the final bar line.", "english": "Read it twice. First read the bottom staff as harmony. On each beat 1 it carries the 3rd of Dm7 (F), which holds to become the 7th of G7, then falls to the 3rd of Cmaj7 (E). On beat 3 it dips to the other guide tones, C and B. Then read the top staff as time: a two-note pickup before the first bar line, a run that rises through one chromatic passing tone so every chord tone lands on a beat, a run down to B, an arpeggio that parks F on the last upbeat, and F falling into E across the final bar line.", "sources": [] }, { "id": "arrival-013", "type": "paragraph", "section": "chapter-01", "reading_order": 13, "original": "By Chapter 9 you will be able to build that line from scratch, and dozens like it, in any key.", "english": "By Chapter 9 you will be able to build that line from scratch, and dozens like it, in any key.", "sources": [] }, { "id": "arrival-014", "type": "heading", "section": "chapter-01", "reading_order": 14, "original": "How to use this book", "english": "How to use this book", "sources": [], "heading_level": 3 }, { "id": "arrival-015", "type": "paragraph", "section": "chapter-01", "reading_order": 15, "original": "Read Chapters 1–3 in order; they build the frame. Chapters 4–6 are vocabulary and belong at the instrument. Each ends with a drill, and the drills matter more than the prose. Chapters 7–8 cover phrasing and time feel, Chapter 9 applies everything to a ii–V–I, a blues and rhythm changes, and Chapter 10 is the daily practice system.", "english": "Read Chapters 1–3 in order; they build the frame. Chapters 4–6 are vocabulary and belong at the instrument. Each ends with a drill, and the drills matter more than the prose. Chapters 7–8 cover phrasing and time feel, Chapter 9 applies everything to a ii–V–I, a blues and rhythm changes, and Chapter 10 is the daily practice system.", "sources": [] }, { "id": "arrival-016", "type": "paragraph", "section": "chapter-01", "reading_order": 16, "original": "All examples are original and written in C unless noted. Play them, sing them, then take them through 12 keys. The two source books remain the deeper references, especially for transcribed vocabulary. This is a synthesis and a method, not a substitute.", "english": "All examples are original and written in C unless noted. Play them, sing them, then take them through 12 keys. The two source books remain the deeper references, especially for transcribed vocabulary. This is a synthesis and a method, not a substitute.", "sources": [] }, { "id": "arrival-017", "type": "heading", "section": "chapter-02", "reading_order": 17, "original": "Chapter 1 — The Two Axes", "english": "Chapter 1 — The Two Axes", "sources": [], "heading_level": 2 }, { "id": "arrival-018", "type": "paragraph", "section": "chapter-02", "reading_order": 18, "original": "Every note in a line does two jobs at once. On the time axis it is either an arrival or a pickup heading toward one. On the pitch axis it is either a skeleton tone, part of the voice-leading that carries the harmony, or an elaboration of one.", "english": "Every note in a line does two jobs at once. On the time axis it is either an arrival or a pickup heading toward one. On the pitch axis it is either a skeleton tone, part of the voice-leading that carries the harmony, or an elaboration of one.", "sources": [], "inline": [ { "tag": "text", "text": "Every note in a line does two jobs at once. On the time axis it is either an " }, { "tag": "strong", "text": "arrival" }, { "tag": "text", "text": " or a " }, { "tag": "strong", "text": "pickup" }, { "tag": "text", "text": " heading toward one. On the pitch axis it is either a " }, { "tag": "strong", "text": "skeleton tone" }, { "tag": "text", "text": ", part of the voice-leading that carries the harmony, or an " }, { "tag": "strong", "text": "elaboration" }, { "tag": "text", "text": " of one." } ] }, { "id": "arrival-019", "type": "paragraph", "section": "chapter-02", "reading_order": 19, "original": "The central claim of this book is that the two axes line up. Arrivals in time are skeleton tones in pitch; pickups in time are elaborations in pitch. When the alignment holds, the line sounds like it knows where it is going. Break it by accident and the line sounds lost. Break it on purpose, for a beat or two, and it sounds like tension (Chapter 7).", "english": "The central claim of this book is that the two axes line up. Arrivals in time are skeleton tones in pitch; pickups in time are elaborations in pitch. When the alignment holds, the line sounds like it knows where it is going. Break it by accident and the line sounds lost. Break it on purpose, for a beat or two, and it sounds like tension (Chapter 7).", "sources": [] }, { "id": "arrival-020", "type": "heading", "section": "chapter-02", "reading_order": 20, "original": "Galper's axis: time has a direction", "english": "Galper's axis: time has a direction", "sources": [], "heading_level": 3 }, { "id": "arrival-021", "type": "paragraph", "section": "chapter-02", "reading_order": 21, "original": "Notation draws the bar line immediately before the downbeat, so the eye learns to treat beat 1 as a beginning. The ear hears it the other way around. Beat 1 is where motion comes to rest, the end of a gesture that started in the previous bar. Speech works the same way: \"I went to the store\" leans toward its stressed syllables, and nobody hears \"store\" as the start of something.", "english": "Notation draws the bar line immediately before the downbeat, so the eye learns to treat beat 1 as a beginning. The ear hears it the other way around. Beat 1 is where motion comes to rest, the end of a gesture that started in the previous bar. Speech works the same way: \"I went to the store\" leans toward its stressed syllables, and nobody hears \"store\" as the start of something.", "sources": [], "inline": [ { "tag": "text", "text": "Notation draws the bar line immediately before the downbeat, so the eye learns to treat beat 1 as a beginning. The ear hears it the other way around. Beat 1 is where motion comes to rest, the end of a gesture that started in the previous bar. Speech works the same way: \"I " }, { "tag": "em", "text": "went" }, { "tag": "text", "text": " to the " }, { "tag": "em", "text": "store" }, { "tag": "text", "text": "\" leans toward its stressed syllables, and nobody hears \"store\" as the start of something." } ] }, { "id": "arrival-022", "type": "paragraph", "section": "chapter-02", "reading_order": 22, "original": "Galper's correction is to hear every phrase as an anacrusis: a pickup that resolves on a strong beat. The smallest version is two notes leading into one.", "english": "Galper's correction is to hear every phrase as an anacrusis: a pickup that resolves on a strong beat. The smallest version is two notes leading into one.", "sources": [] }, { "id": "arrival-023", "type": "paragraph", "section": "chapter-02", "reading_order": 23, "original": "Ex. 1.1 — A two-note pickup lands on F, the 3rd of Dm7. The slur marks the gesture, and it crosses the bar line.", "english": "Ex. 1.1 — A two-note pickup lands on F, the 3rd of Dm7. The slur marks the gesture, and it crosses the bar line.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 1.1" }, { "tag": "text", "text": " — A two-note pickup lands on F, the 3rd of Dm7. The slur marks the gesture, and it crosses the bar line." } ] }, { "id": "arrival-024", "type": "music", "section": "chapter-02", "reading_order": 24, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-1-1" ] }, { "id": "arrival-025", "type": "paragraph", "section": "chapter-02", "reading_order": 25, "original": "G and E belong to the previous bar on paper. Musically they belong to F. Hear the three notes as one unit and say them that way: da-da-DUM, never da-da, DUM.", "english": "G and E belong to the previous bar on paper. Musically they belong to F. Hear the three notes as one unit and say them that way: da-da-DUM, never da-da, DUM.", "sources": [], "inline": [ { "tag": "text", "text": "G and E belong to the previous bar on paper. Musically they belong to F. Hear the three notes as one unit and say them that way: " }, { "tag": "em", "text": "da-da-DUM" }, { "tag": "text", "text": ", never " }, { "tag": "em", "text": "da-da, DUM" }, { "tag": "text", "text": "." } ] }, { "id": "arrival-026", "type": "paragraph", "section": "chapter-02", "reading_order": 26, "original": "So you never think \"start on beat 1 and play forward.\" You think \"land on beat 1 — what gets me there?\"", "english": "So you never think \"start on beat 1 and play forward.\" You think \"land on beat 1 — what gets me there?\"", "sources": [] }, { "id": "arrival-027", "type": "heading", "section": "chapter-02", "reading_order": 27, "original": "Ligon's axis: harmony is voice-leading", "english": "Ligon's axis: harmony is voice-leading", "sources": [], "heading_level": 3 }, { "id": "arrival-028", "type": "paragraph", "section": "chapter-02", "reading_order": 28, "original": "Chord symbols look vertical, like stacks of notes that change every bar. But a progression is really a handful of voices moving by step. In a ii–V–I, the 7th of each chord falls a half or whole step into the 3rd of the next, while the 3rd holds and becomes the next 7th. Those two strands carry the progression; the roots are almost an afterthought.", "english": "Chord symbols look vertical, like stacks of notes that change every bar. But a progression is really a handful of voices moving by step. In a ii–V–I, the 7th of each chord falls a half or whole step into the 3rd of the next, while the 3rd holds and becomes the next 7th. Those two strands carry the progression; the roots are almost an afterthought.", "sources": [] }, { "id": "arrival-029", "type": "paragraph", "section": "chapter-02", "reading_order": 29, "original": "A good bebop line carries one of those strands, usually hidden. Strip away the arpeggios, enclosures and scale runs, and a stepwise melody remains underneath. Ligon's method is to learn the elaborations as connective tissue: each one is a way to get from one skeleton tone to the next.", "english": "A good bebop line carries one of those strands, usually hidden. Strip away the arpeggios, enclosures and scale runs, and a stepwise melody remains underneath. Ligon's method is to learn the elaborations as connective tissue: each one is a way to get from one skeleton tone to the next.", "sources": [] }, { "id": "arrival-030", "type": "paragraph", "section": "chapter-02", "reading_order": 30, "original": "So you never think \"which scale goes with this chord?\" You think \"which voice am I carrying into the next chord, and how do I deliver it?\"", "english": "So you never think \"which scale goes with this chord?\" You think \"which voice am I carrying into the next chord, and how do I deliver it?\"", "sources": [] }, { "id": "arrival-031", "type": "heading", "section": "chapter-02", "reading_order": 31, "original": "When the axes agree, and when they don't", "english": "When the axes agree, and when they don't", "sources": [], "heading_level": 3 }, { "id": "arrival-032", "type": "paragraph", "section": "chapter-02", "reading_order": 32, "original": "Ex. 1.2 plays the same eight notes twice. In the top version, the G Mixolydian scale starts on G on beat 1. Every beat carries a chord tone of G7 (R, 3, 5, 7), the upbeats carry the tensions, and the last upbeat, D♯, steps into E on the downbeat of Cmaj7.", "english": "Ex. 1.2 plays the same eight notes twice. In the top version, the G Mixolydian scale starts on G on beat 1. Every beat carries a chord tone of G7 (R, 3, 5, 7), the upbeats carry the tensions, and the last upbeat, D♯, steps into E on the downbeat of Cmaj7.", "sources": [] }, { "id": "arrival-033", "type": "paragraph", "section": "chapter-02", "reading_order": 33, "original": "In the bottom version, the identical notes start one eighth later. Now the beats carry 9, 11 and 13, D♯ lands on the downbeat instead of leading to it, and the 3rd of Cmaj7 shows up on an upbeat.", "english": "In the bottom version, the identical notes start one eighth later. Now the beats carry 9, 11 and 13, D♯ lands on the downbeat instead of leading to it, and the 3rd of Cmaj7 shows up on an upbeat.", "sources": [] }, { "id": "arrival-034", "type": "paragraph", "section": "chapter-02", "reading_order": 34, "original": "Ex. 1.2 — Same notes, one eighth apart. Aligned: chord tones on the beats. Shifted: tensions on the beats, and the arrival lands late.", "english": "Ex. 1.2 — Same notes, one eighth apart. Aligned: chord tones on the beats. Shifted: tensions on the beats, and the arrival lands late.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 1.2" }, { "tag": "text", "text": " — Same notes, one eighth apart. Aligned: chord tones on the beats. Shifted: tensions on the beats, and the arrival lands late." } ] }, { "id": "arrival-035", "type": "music", "section": "chapter-02", "reading_order": 35, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-1-2" ] }, { "id": "arrival-036", "type": "paragraph", "section": "chapter-02", "reading_order": 36, "original": "Play both against a G7–Cmaj7 backing track. The shifted version has no wrong notes; every pitch is in the scale. It's rhythmically wrong. The harmony and the line disagree about where the strong points are, and the line loses. This is the most common reason that a student's correct scale playing doesn't sound like jazz.", "english": "Play both against a G7–Cmaj7 backing track. The shifted version has no wrong notes; every pitch is in the scale. It's rhythmically wrong. The harmony and the line disagree about where the strong points are, and the line loses. This is the most common reason that a student's correct scale playing doesn't sound like jazz.", "sources": [], "inline": [ { "tag": "text", "text": "Play both against a G7–Cmaj7 backing track. The shifted version has no wrong notes; every pitch is in the scale. It's " }, { "tag": "em", "text": "rhythmically" }, { "tag": "text", "text": " wrong. The harmony and the line disagree about where the strong points are, and the line loses. This is the most common reason that a student's correct scale playing doesn't sound like jazz." } ] }, { "id": "arrival-037", "type": "heading", "section": "chapter-02", "reading_order": 37, "original": "How to read the examples", "english": "How to read the examples", "sources": [], "heading_level": 3 }, { "id": "arrival-038", "type": "paragraph", "section": "chapter-02", "reading_order": 38, "original": "Every example in this book is notated the same way.", "english": "Every example in this book is notated the same way.", "sources": [] }, { "id": "arrival-039", "type": "paragraph", "section": "chapter-02", "reading_order": 39, "original": "- Chord symbols sit above the staff. A chord holds until the next symbol.\n- Blue notes are arrivals: structural landing points, almost always on beat 1 or beat 3.\n- The numbers under each note name its function against the chord sounding at that moment. R, 3, 5 and 7 are chord tones; 9, 11 and 13 are tensions; ♭ and ♯ mark altered tones. Δ7 is a major 7th over a chord whose own 7th is minor, which is how chromatic passing tones usually show up. On 6 chords, 6 is a chord tone.\n- Eighth notes are written straight and played swung (Chapter 8).", "english": "- Chord symbols sit above the staff. A chord holds until the next symbol.\n- Blue notes are arrivals: structural landing points, almost always on beat 1 or beat 3.\n- The numbers under each note name its function against the chord sounding at that moment. R, 3, 5 and 7 are chord tones; 9, 11 and 13 are tensions; ♭ and ♯ mark altered tones. Δ7 is a major 7th over a chord whose own 7th is minor, which is how chromatic passing tones usually show up. On 6 chords, 6 is a chord tone.\n- Eighth notes are written straight and played swung (Chapter 8).", "sources": [], "list_items": [ [ { "tag": "strong", "text": "Chord symbols" }, { "tag": "text", "text": " sit above the staff. A chord holds until the next symbol." } ], [ { "tag": "strong", "text": "Blue notes are arrivals" }, { "tag": "text", "text": ": structural landing points, almost always on beat 1 or beat 3." } ], [ { "tag": "strong", "text": "The numbers under each note" }, { "tag": "text", "text": " name its function against the chord sounding at that moment. R, 3, 5 and 7 are chord tones; 9, 11 and 13 are tensions; ♭ and ♯ mark altered tones. Δ7 is a major 7th over a chord whose own 7th is minor, which is how chromatic passing tones usually show up. On 6 chords, 6 is a chord tone." } ], [ { "tag": "strong", "text": "Eighth notes" }, { "tag": "text", "text": " are written straight and played swung (Chapter 8)." } ] ], "ordered": false, "inline": [ { "tag": "text", "text": "- " }, { "tag": "strong", "text": "Chord symbols" }, { "tag": "text", "text": " sit above the staff. A chord holds until the next symbol.\n- " }, { "tag": "strong", "text": "Blue notes are arrivals" }, { "tag": "text", "text": ": structural landing points, almost always on beat 1 or beat 3.\n- " }, { "tag": "strong", "text": "The numbers under each note" }, { "tag": "text", "text": " name its function against the chord sounding at that moment. R, 3, 5 and 7 are chord tones; 9, 11 and 13 are tensions; ♭ and ♯ mark altered tones. Δ7 is a major 7th over a chord whose own 7th is minor, which is how chromatic passing tones usually show up. On 6 chords, 6 is a chord tone.\n- " }, { "tag": "strong", "text": "Eighth notes" }, { "tag": "text", "text": " are written straight and played swung (Chapter 8)." } ] }, { "id": "arrival-040", "type": "paragraph", "section": "chapter-02", "reading_order": 40, "original": "Read the numbers along with the notes. Within a few chapters you'll see the pattern before you read it: chord tones on the beats, color on the upbeats, and every & of 4 leaning into the next bar.", "english": "Read the numbers along with the notes. Within a few chapters you'll see the pattern before you read it: chord tones on the beats, color on the upbeats, and every & of 4 leaning into the next bar.", "sources": [] }, { "id": "arrival-041", "type": "heading", "section": "chapter-03", "reading_order": 41, "original": "Chapter 2 — Arrival Points", "english": "Chapter 2 — Arrival Points", "sources": [], "heading_level": 2 }, { "id": "arrival-042", "type": "paragraph", "section": "chapter-03", "reading_order": 42, "original": "In 4/4 swing, beats 1 and 3 are the structural arrivals. The hi-hat and ride accent 2 and 4, but lines resolve on the half-note pulse. Hear every bar as two halves, each ending in a landing.", "english": "In 4/4 swing, beats 1 and 3 are the structural arrivals. The hi-hat and ride accent 2 and 4, but lines resolve on the half-note pulse. Hear every bar as two halves, each ending in a landing.", "sources": [] }, { "id": "arrival-043", "type": "paragraph", "section": "chapter-03", "reading_order": 43, "original": "That sounds like a contradiction, since jazz is famous for its backbeat. It isn't one. The backbeat is the drummer's push; the arrivals are where the line receives that push. A melody that lands on 2 and 4 fights the rhythm section for the same space. A melody that lands on 1 and 3 interlocks with it. Chapter 8 develops this. For now, count in halves.", "english": "That sounds like a contradiction, since jazz is famous for its backbeat. It isn't one. The backbeat is the drummer's push; the arrivals are where the line receives that push. A melody that lands on 2 and 4 fights the rhythm section for the same space. A melody that lands on 1 and 3 interlocks with it. Chapter 8 develops this. For now, count in halves.", "sources": [] }, { "id": "arrival-044", "type": "heading", "section": "chapter-03", "reading_order": 44, "original": "The target hierarchy", "english": "The target hierarchy", "sources": [], "heading_level": 3 }, { "id": "arrival-045", "type": "paragraph", "section": "chapter-03", "reading_order": 45, "original": "Not all arrivals weigh the same. Rank them before you play.", "english": "Not all arrivals weigh the same. Rank them before you play.", "sources": [] }, { "id": "arrival-046", "type": "table", "section": "chapter-03", "reading_order": 46, "original": "Level | Where | What lands | Over G7\n1 — Change arrival | Beat 1 when the chord changes | Guide tone (3 or 7) of the new chord | B or F\n2 — Half-bar arrival | Beat 3, or any mid-bar chord change | Any chord tone; guide tone if the chord changes | G, B, D or F\n3 — Local arrival | Beats 2 and 4 | Chord tone preferred; cell and runway tones allowed | G, B, D or F\n4 — Pickup | Every upbeat | Anything; this is where tension lives | A♭, A, C, E and more", "english": "Level | Where | What lands | Over G7\n1 — Change arrival | Beat 1 when the chord changes | Guide tone (3 or 7) of the new chord | B or F\n2 — Half-bar arrival | Beat 3, or any mid-bar chord change | Any chord tone; guide tone if the chord changes | G, B, D or F\n3 — Local arrival | Beats 2 and 4 | Chord tone preferred; cell and runway tones allowed | G, B, D or F\n4 — Pickup | Every upbeat | Anything; this is where tension lives | A♭, A, C, E and more", "sources": [], "tables": { "en": { "columns": [ "Level", "Where", "What lands", "Over G7" ], "rows": [ [ "1 — Change arrival", "Beat 1 when the chord changes", "Guide tone (3 or 7) of the new chord", "B or F" ], [ "2 — Half-bar arrival", "Beat 3, or any mid-bar chord change", "Any chord tone; guide tone if the chord changes", "G, B, D or F" ], [ "3 — Local arrival", "Beats 2 and 4", "Chord tone preferred; cell and runway tones allowed", "G, B, D or F" ], [ "4 — Pickup", "Every upbeat", "Anything; this is where tension lives", "A♭, A, C, E and more" ] ] } } }, { "id": "arrival-047", "type": "paragraph", "section": "chapter-03", "reading_order": 47, "original": "Treat Levels 1 and 2 as firm rules for the first few months. Level 3 relaxes once cells and runways enter (Chapters 4–6). A cell that starts on beat 4 often puts a non-chord tone there, and that's fine: beat 4 is passing through on the way to beat 1. Level 4 is free. Its only job is to push the line into the next arrival.", "english": "Treat Levels 1 and 2 as firm rules for the first few months. Level 3 relaxes once cells and runways enter (Chapters 4–6). A cell that starts on beat 4 often puts a non-chord tone there, and that's fine: beat 4 is passing through on the way to beat 1. Level 4 is free. Its only job is to push the line into the next arrival.", "sources": [] }, { "id": "arrival-048", "type": "paragraph", "section": "chapter-03", "reading_order": 48, "original": "The 3rd and 7th get priority at Level 1 because they define the chord. Land the root on a change and you've doubled the bass player. Land the 5th and you've played a note shared by half the chords in the key. Land the 3rd or 7th and you've told the listener exactly which chord just arrived. You'll still land on roots and 5ths, especially on the I chord, but treat them as the exception.", "english": "The 3rd and 7th get priority at Level 1 because they define the chord. Land the root on a change and you've doubled the bass player. Land the 5th and you've played a note shared by half the chords in the key. Land the 3rd or 7th and you've told the listener exactly which chord just arrived. You'll still land on roots and 5ths, especially on the I chord, but treat them as the exception.", "sources": [] }, { "id": "arrival-049", "type": "heading", "section": "chapter-03", "reading_order": 49, "original": "Think backward", "english": "Think backward", "sources": [], "heading_level": 3 }, { "id": "arrival-050", "type": "paragraph", "section": "chapter-03", "reading_order": 50, "original": "Galper's most practical instruction, restated as a procedure:", "english": "Galper's most practical instruction, restated as a procedure:", "sources": [] }, { "id": "arrival-051", "type": "paragraph", "section": "chapter-03", "reading_order": 51, "original": "1. Name the target note.\n2. Name the beat it lands on.\n3. Count the eighth-note slots available before it.\n4. Fill those slots with a figure of exactly that length.", "english": "1. Name the target note.\n2. Name the beat it lands on.\n3. Count the eighth-note slots available before it.\n4. Fill those slots with a figure of exactly that length.", "sources": [], "list_items": [ [ { "tag": "text", "text": "Name the target note." } ], [ { "tag": "text", "text": "Name the beat it lands on." } ], [ { "tag": "text", "text": "Count the eighth-note slots available before it." } ], [ { "tag": "text", "text": "Fill those slots with a figure of exactly that length." } ] ], "ordered": true }, { "id": "arrival-052", "type": "paragraph", "section": "chapter-03", "reading_order": 52, "original": "The line is composed right to left and played left to right. Ex. 2.1 shows the process as four passes over the same two bars. Each staff keeps everything from the one above it and adds a layer, working backward from the target.", "english": "The line is composed right to left and played left to right. Ex. 2.1 shows the process as four passes over the same two bars. Each staff keeps everything from the one above it and adds a layer, working backward from the target.", "sources": [] }, { "id": "arrival-053", "type": "paragraph", "section": "chapter-03", "reading_order": 53, "original": "Ex. 2.1 — Composing backward. First the target (E on beat 1 of Cmaj7), then a half-bar arrival (B, the 3rd of G7), then a three-note cell between them, then a runway from the bar line.", "english": "Ex. 2.1 — Composing backward. First the target (E on beat 1 of Cmaj7), then a half-bar arrival (B, the 3rd of G7), then a three-note cell between them, then a runway from the bar line.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 2.1" }, { "tag": "text", "text": " — Composing backward. First the target (E on beat 1 of Cmaj7), then a half-bar arrival (B, the 3rd of G7), then a three-note cell between them, then a runway from the bar line." } ] }, { "id": "arrival-054", "type": "music", "section": "chapter-03", "reading_order": 54, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-2-1" ] }, { "id": "arrival-055", "type": "paragraph", "section": "chapter-03", "reading_order": 55, "original": "Notice what never moves as the line fills in: E on beat 1 of bar 2, and B on beat 3 of bar 1. The arrivals are decided first, and everything else is built to deliver them. In the last pass, the runway F–E–D–C exists only to bring the line down to B on time. The cell F–D–D♯ exists only to bring B up to E.", "english": "Notice what never moves as the line fills in: E on beat 1 of bar 2, and B on beat 3 of bar 1. The arrivals are decided first, and everything else is built to deliver them. In the last pass, the runway F–E–D–C exists only to bring the line down to B on time. The cell F–D–D♯ exists only to bring B up to E.", "sources": [] }, { "id": "arrival-056", "type": "paragraph", "section": "chapter-03", "reading_order": 56, "original": "With practice, the four steps collapse into a single act of hearing. You'll hear \"E on the next downbeat\" and your fingers will pick the approach. Until then, do it deliberately and slowly.", "english": "With practice, the four steps collapse into a single act of hearing. You'll hear \"E on the next downbeat\" and your fingers will pick the approach. Until then, do it deliberately and slowly.", "sources": [] }, { "id": "arrival-057", "type": "heading", "section": "chapter-03", "reading_order": 57, "original": "The slot budget", "english": "The slot budget", "sources": [], "heading_level": 3 }, { "id": "arrival-058", "type": "paragraph", "section": "chapter-03", "reading_order": 58, "original": "Take any tune. Mark every Level 1 and Level 2 arrival, then count the eighth-note slots between consecutive arrivals. That number is your slot budget: the most elaboration that fits before the next landing.", "english": "Take any tune. Mark every Level 1 and Level 2 arrival, then count the eighth-note slots between consecutive arrivals. That number is your slot budget: the most elaboration that fits before the next landing.", "sources": [], "inline": [ { "tag": "text", "text": "Take any tune. Mark every Level 1 and Level 2 arrival, then count the eighth-note slots between consecutive arrivals. That number is your " }, { "tag": "strong", "text": "slot budget" }, { "tag": "text", "text": ": the most elaboration that fits before the next landing." } ] }, { "id": "arrival-059", "type": "paragraph", "section": "chapter-03", "reading_order": 59, "original": "A chord that lasts a whole bar gives you 3 + 3: an arrival on beat 1, three slots, an arrival on beat 3, three slots. Skip the beat-3 arrival and you get 7. Two chords per bar give you 3 and 3 with no option to skip, because both beats are change arrivals. That one number explains a lot about how a tune feels to improvise on (Chapter 9).", "english": "A chord that lasts a whole bar gives you 3 + 3: an arrival on beat 1, three slots, an arrival on beat 3, three slots. Skip the beat-3 arrival and you get 7. Two chords per bar give you 3 and 3 with no option to skip, because both beats are change arrivals. That one number explains a lot about how a tune feels to improvise on (Chapter 9).", "sources": [] }, { "id": "arrival-060", "type": "heading", "section": "chapter-03", "reading_order": 60, "original": "Colored arrivals", "english": "Colored arrivals", "sources": [], "heading_level": 3 }, { "id": "arrival-061", "type": "paragraph", "section": "chapter-03", "reading_order": 61, "original": "Once the hierarchy is automatic, you can land a tension on a Level 1 or 2 point: the 9 on a major or minor 7th chord, ♭9 or ♯9 on a dominant, ♯11 on a major 7th. A colored arrival has one rule: it resolves by step on the next arrival. Treat it as a skeleton tone that arrives late, not as a replacement for one.", "english": "Once the hierarchy is automatic, you can land a tension on a Level 1 or 2 point: the 9 on a major or minor 7th chord, ♭9 or ♯9 on a dominant, ♯11 on a major 7th. A colored arrival has one rule: it resolves by step on the next arrival. Treat it as a skeleton tone that arrives late, not as a replacement for one.", "sources": [] }, { "id": "arrival-062", "type": "paragraph", "section": "chapter-03", "reading_order": 62, "original": "Ex. 2.2 — D, the 9th of Cmaj7, lands on beat 1 and resolves up to E, the 3rd, on beat 3. The enclosure E–C♯ aims at D as if it were the real target.", "english": "Ex. 2.2 — D, the 9th of Cmaj7, lands on beat 1 and resolves up to E, the 3rd, on beat 3. The enclosure E–C♯ aims at D as if it were the real target.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 2.2" }, { "tag": "text", "text": " — D, the 9th of Cmaj7, lands on beat 1 and resolves up to E, the 3rd, on beat 3. The enclosure E–C♯ aims at D as if it were the real target." } ] }, { "id": "arrival-063", "type": "music", "section": "chapter-03", "reading_order": 63, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-2-2" ] }, { "id": "arrival-064", "type": "paragraph", "section": "chapter-03", "reading_order": 64, "original": "The ear expects the 3rd on beat 1, gets the 9th, and hears it resolve two beats later. It's the jazz cousin of the classical appoggiatura, and it works for the same reason: the arrival still happens, half a bar late.", "english": "The ear expects the 3rd on beat 1, gets the 9th, and hears it resolve two beats later. It's the jazz cousin of the classical appoggiatura, and it works for the same reason: the arrival still happens, half a bar late.", "sources": [] }, { "id": "arrival-065", "type": "heading", "section": "chapter-04", "reading_order": 65, "original": "Chapter 3 — The Skeleton", "english": "Chapter 3 — The Skeleton", "sources": [], "heading_level": 2 }, { "id": "arrival-066", "type": "paragraph", "section": "chapter-04", "reading_order": 66, "original": "The skeleton is the line's hidden melody: one guide tone per arrival, moving by step or holding still. Build it first, sing it, and everything else becomes decoration. This is Ligon's linear harmony turned into a composing procedure.", "english": "The skeleton is the line's hidden melody: one guide tone per arrival, moving by step or holding still. Build it first, sing it, and everything else becomes decoration. This is Ligon's linear harmony turned into a composing procedure.", "sources": [] }, { "id": "arrival-067", "type": "heading", "section": "chapter-04", "reading_order": 67, "original": "The two strands of ii–V–I", "english": "The two strands of ii–V–I", "sources": [], "heading_level": 3 }, { "id": "arrival-068", "type": "paragraph", "section": "chapter-04", "reading_order": 68, "original": "Every ii–V–I carries two guide-tone strands. Each alternates between 3 and 7, and neither moves more than a whole step.", "english": "Every ii–V–I carries two guide-tone strands. Each alternates between 3 and 7, and neither moves more than a whole step.", "sources": [] }, { "id": "arrival-069", "type": "paragraph", "section": "chapter-04", "reading_order": 69, "original": "Ex. 3.1 — The two strands through Dm7–G7–Cmaj7. Strand A starts on the 3rd, holds, then falls. Strand B starts on the 7th, falls, then holds.", "english": "Ex. 3.1 — The two strands through Dm7–G7–Cmaj7. Strand A starts on the 3rd, holds, then falls. Strand B starts on the 7th, falls, then holds.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 3.1" }, { "tag": "text", "text": " — The two strands through Dm7–G7–Cmaj7. Strand A starts on the 3rd, holds, then falls. Strand B starts on the 7th, falls, then holds." } ] }, { "id": "arrival-070", "type": "music", "section": "chapter-04", "reading_order": 70, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-3-1" ] }, { "id": "arrival-071", "type": "paragraph", "section": "chapter-04", "reading_order": 71, "original": "In Strand A, F holds across the change from Dm7 to G7, turning from 3rd into 7th, then falls a half step to E. In Strand B, C falls a half step to B, turning from 7th into 3rd, then B holds into Cmaj7 as the 7th. Between them, the two strands spell all the harmonic information in the progression. Play them as double stops, or ask a pianist to play only these two notes. You'll hear the ii–V–I clearly with no roots at all.", "english": "In Strand A, F holds across the change from Dm7 to G7, turning from 3rd into 7th, then falls a half step to E. In Strand B, C falls a half step to B, turning from 7th into 3rd, then B holds into Cmaj7 as the 7th. Between them, the two strands spell all the harmonic information in the progression. Play them as double stops, or ask a pianist to play only these two notes. You'll hear the ii–V–I clearly with no roots at all.", "sources": [] }, { "id": "arrival-072", "type": "paragraph", "section": "chapter-04", "reading_order": 72, "original": "The holds are the strongest moments in the skeleton. One pitch stays put while its function changes underneath it, and the ear hears the harmony move under a still note. A line that holds its guide tone across a change, or re-attacks it (Chapter 4), sounds far more sophisticated than one that leaps to a fresh chord tone.", "english": "The holds are the strongest moments in the skeleton. One pitch stays put while its function changes underneath it, and the ear hears the harmony move under a still note. A line that holds its guide tone across a change, or re-attacks it (Chapter 4), sounds far more sophisticated than one that leaps to a fresh chord tone.", "sources": [] }, { "id": "arrival-073", "type": "paragraph", "section": "chapter-04", "reading_order": 73, "original": "Pick one strand per phrase. Switching strands mid-phrase is a register jump, so play it as one, usually at a phrase boundary or on a long note. Ex. P.1 does exactly this: Strand A on each beat 1, Strand B on beat 3.", "english": "Pick one strand per phrase. Switching strands mid-phrase is a register jump, so play it as one, usually at a phrase boundary or on a long note. Ex. P.1 does exactly this: Strand A on each beat 1, Strand B on beat 3.", "sources": [] }, { "id": "arrival-074", "type": "heading", "section": "chapter-04", "reading_order": 74, "original": "The elaboration ladder", "english": "The elaboration ladder", "sources": [], "heading_level": 3 }, { "id": "arrival-075", "type": "paragraph", "section": "chapter-04", "reading_order": 75, "original": "Build lines in levels, each one doubling the rhythmic density of the last. Every level keeps every note of the level below it, on the same beat. This is musical reduction read backward: instead of stripping a finished line down to its skeleton, you grow a line up from one.", "english": "Build lines in levels, each one doubling the rhythmic density of the last. Every level keeps every note of the level below it, on the same beat. This is musical reduction read backward: instead of stripping a finished line down to its skeleton, you grow a line up from one.", "sources": [] }, { "id": "arrival-076", "type": "paragraph", "section": "chapter-04", "reading_order": 76, "original": "Ex. 3.2 — Strand A grown from whole notes to eighth notes. Each level keeps every blue note of the level above it.", "english": "Ex. 3.2 — Strand A grown from whole notes to eighth notes. Each level keeps every blue note of the level above it.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 3.2" }, { "tag": "text", "text": " — Strand A grown from whole notes to eighth notes. Each level keeps every blue note of the level above it." } ] }, { "id": "arrival-077", "type": "music", "section": "chapter-04", "reading_order": 77, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-3-2" ] }, { "id": "arrival-078", "type": "paragraph", "section": "chapter-04", "reading_order": 78, "original": "- Level 0 is the skeleton: F, F, E in whole notes.\n- Level 1 adds a chord tone on beat 3: A over Dm7, D over G7. These are the half-bar arrivals from Chapter 2.\n- Level 2 fills every beat with a chord tone. The line is now a walking arpeggio: F D A C, F B D F, E.\n- Level 3 adds the upbeats. Most are passing tones or tensions, and the last upbeat of each bar is a pickup into the next arrival: E into F, D♯ into E.", "english": "- Level 0 is the skeleton: F, F, E in whole notes.\n- Level 1 adds a chord tone on beat 3: A over Dm7, D over G7. These are the half-bar arrivals from Chapter 2.\n- Level 2 fills every beat with a chord tone. The line is now a walking arpeggio: F D A C, F B D F, E.\n- Level 3 adds the upbeats. Most are passing tones or tensions, and the last upbeat of each bar is a pickup into the next arrival: E into F, D♯ into E.", "sources": [], "list_items": [ [ { "tag": "strong", "text": "Level 0" }, { "tag": "text", "text": " is the skeleton: F, F, E in whole notes." } ], [ { "tag": "strong", "text": "Level 1" }, { "tag": "text", "text": " adds a chord tone on beat 3: A over Dm7, D over G7. These are the half-bar arrivals from Chapter 2." } ], [ { "tag": "strong", "text": "Level 2" }, { "tag": "text", "text": " fills every beat with a chord tone. The line is now a walking arpeggio: F D A C, F B D F, E." } ], [ { "tag": "strong", "text": "Level 3" }, { "tag": "text", "text": " adds the upbeats. Most are passing tones or tensions, and the last upbeat of each bar is a pickup into the next arrival: E into F, D♯ into E." } ] ], "ordered": false, "inline": [ { "tag": "text", "text": "- " }, { "tag": "strong", "text": "Level 0" }, { "tag": "text", "text": " is the skeleton: F, F, E in whole notes.\n- " }, { "tag": "strong", "text": "Level 1" }, { "tag": "text", "text": " adds a chord tone on beat 3: A over Dm7, D over G7. These are the half-bar arrivals from Chapter 2.\n- " }, { "tag": "strong", "text": "Level 2" }, { "tag": "text", "text": " fills every beat with a chord tone. The line is now a walking arpeggio: F D A C, F B D F, E.\n- " }, { "tag": "strong", "text": "Level 3" }, { "tag": "text", "text": " adds the upbeats. Most are passing tones or tensions, and the last upbeat of each bar is a pickup into the next arrival: E into F, D♯ into E." } ] }, { "id": "arrival-079", "type": "paragraph", "section": "chapter-04", "reading_order": 79, "original": "Level 3 adds nothing new in principle; it just gives every beat a pickup. But listen to the difference. Level 2 is correct and stiff. Level 3, with E leaning into F and D♯ leaning into E, starts to swing even when played straight, because every upbeat points the line forward.", "english": "Level 3 adds nothing new in principle; it just gives every beat a pickup. But listen to the difference. Level 2 is correct and stiff. Level 3, with E leaning into F and D♯ leaning into E, starts to swing even when played straight, because every upbeat points the line forward.", "sources": [] }, { "id": "arrival-080", "type": "paragraph", "section": "chapter-04", "reading_order": 80, "original": "Use the ladder as a practice routine. Climb one level at a time, and don't move up until the level below is effortless. A line you can't sing as whole notes won't survive as eighth notes.", "english": "Use the ladder as a practice routine. Climb one level at a time, and don't move up until the level below is effortless. A line you can't sing as whole notes won't survive as eighth notes.", "sources": [] }, { "id": "arrival-081", "type": "heading", "section": "chapter-04", "reading_order": 81, "original": "Beyond ii–V–I", "english": "Beyond ii–V–I", "sources": [], "heading_level": 3 }, { "id": "arrival-082", "type": "paragraph", "section": "chapter-04", "reading_order": 82, "original": "The general rule works for any pair of chords. From your current skeleton tone, move to the nearest chord tone of the next chord, preferring 3 and 7. Ties go to the strand you're already on.", "english": "The general rule works for any pair of chords. From your current skeleton tone, move to the nearest chord tone of the next chord, preferring 3 and 7. Ties go to the strand you're already on.", "sources": [] }, { "id": "arrival-083", "type": "paragraph", "section": "chapter-04", "reading_order": 83, "original": "Dominant-to-dominant motion is the cleanest case. When dominants move around the cycle of fourths, the 7th of each chord falls a half step to the 3rd of the next, and that 3rd falls a half step to become the following 7th. The result is two chromatic lines falling in parallel.", "english": "Dominant-to-dominant motion is the cleanest case. When dominants move around the cycle of fourths, the 7th of each chord falls a half step to the 3rd of the next, and that 3rd falls a half step to become the following 7th. The result is two chromatic lines falling in parallel.", "sources": [] }, { "id": "arrival-084", "type": "paragraph", "section": "chapter-04", "reading_order": 84, "original": "Ex. 3.3 — Guide tones through a chain of dominants, E7–A7–D7–G7–Cmaj7. Each strand falls chromatically, alternating 7 and 3.", "english": "Ex. 3.3 — Guide tones through a chain of dominants, E7–A7–D7–G7–Cmaj7. Each strand falls chromatically, alternating 7 and 3.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 3.3" }, { "tag": "text", "text": " — Guide tones through a chain of dominants, E7–A7–D7–G7–Cmaj7. Each strand falls chromatically, alternating 7 and 3." } ] }, { "id": "arrival-085", "type": "music", "section": "chapter-04", "reading_order": 85, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-3-3" ] }, { "id": "arrival-086", "type": "paragraph", "section": "chapter-04", "reading_order": 86, "original": "This chain is the harmonic engine of countless bridges and turnarounds. Once you hear the two descending strands, a run of dominant chords stops being a blur and becomes two slow chromatic melodies. Either one, decorated with the cells of Chapter 4, is a complete line.", "english": "This chain is the harmonic engine of countless bridges and turnarounds. Once you hear the two descending strands, a run of dominant chords stops being a blur and becomes two slow chromatic melodies. Either one, decorated with the cells of Chapter 4, is a complete line.", "sources": [] }, { "id": "arrival-087", "type": "heading", "section": "chapter-04", "reading_order": 87, "original": "Drill: sing the skeleton", "english": "Drill: sing the skeleton", "sources": [], "heading_level": 3 }, { "id": "arrival-088", "type": "paragraph", "section": "chapter-04", "reading_order": 88, "original": "Put on a ii–V–I backing track. Sing Strand A in whole notes, then Strand B, then alternate by chorus. Then climb the ladder: play Levels 1, 2 and 3 of Strand A as written, then build your own ladder for Strand B. Take both through 12 keys over a few weeks, not in one sitting.", "english": "Put on a ii–V–I backing track. Sing Strand A in whole notes, then Strand B, then alternate by chorus. Then climb the ladder: play Levels 1, 2 and 3 of Strand A as written, then build your own ladder for Strand B. Take both through 12 keys over a few weeks, not in one sitting.", "sources": [] }, { "id": "arrival-089", "type": "heading", "section": "chapter-05", "reading_order": 89, "original": "Chapter 4 — Approach Grammar", "english": "Chapter 4 — Approach Grammar", "sources": [], "heading_level": 2 }, { "id": "arrival-090", "type": "paragraph", "section": "chapter-05", "reading_order": 90, "original": "A cell is a pickup gesture that ends in an arrival. Ligon catalogs these figures by pitch shape; this book indexes them by span, the number of eighth-note slots they occupy before the target. Span is the bridge between the two axes. The grid gives you a budget, and the budget tells you which cells fit.", "english": "A cell is a pickup gesture that ends in an arrival. Ligon catalogs these figures by pitch shape; this book indexes them by span, the number of eighth-note slots they occupy before the target. Span is the bridge between the two axes. The grid gives you a budget, and the budget tells you which cells fit.", "sources": [], "inline": [ { "tag": "text", "text": "A cell is a pickup gesture that ends in an arrival. Ligon catalogs these figures by pitch shape; this book indexes them by " }, { "tag": "strong", "text": "span" }, { "tag": "text", "text": ", the number of eighth-note slots they occupy before the target. Span is the bridge between the two axes. The grid gives you a budget, and the budget tells you which cells fit." } ] }, { "id": "arrival-091", "type": "heading", "section": "chapter-05", "reading_order": 91, "original": "Spelling shapes", "english": "Spelling shapes", "sources": [], "heading_level": 3 }, { "id": "arrival-092", "type": "paragraph", "section": "chapter-05", "reading_order": 92, "original": "Shapes are spelled relative to the target: + is above, − is below, d is a diatonic step (the next scale tone, whole or half step) and c is a chromatic half step. \"+d −c\" means the scale step above the target, then the half step below it, then the target. That's the classic enclosure.", "english": "Shapes are spelled relative to the target: + is above, − is below, d is a diatonic step (the next scale tone, whole or half step) and c is a chromatic half step. \"+d −c\" means the scale step above the target, then the half step below it, then the target. That's the classic enclosure.", "sources": [], "inline": [ { "tag": "text", "text": "Shapes are spelled relative to the target: " }, { "tag": "strong", "text": "+" }, { "tag": "text", "text": " is above, " }, { "tag": "strong", "text": "−" }, { "tag": "text", "text": " is below, " }, { "tag": "strong", "text": "d" }, { "tag": "text", "text": " is a diatonic step (the next scale tone, whole or half step) and " }, { "tag": "strong", "text": "c" }, { "tag": "text", "text": " is a chromatic half step. \"+d −c\" means the scale step above the target, then the half step below it, then the target. That's the classic enclosure." } ] }, { "id": "arrival-093", "type": "paragraph", "section": "chapter-05", "reading_order": 93, "original": "When the target sits a half step below the next scale tone (E under F, B under C), the diatonic step above is already a half step, so +d and +c are the same note. Spell the shape by direction and let the key decide the interval.", "english": "When the target sits a half step below the next scale tone (E under F, B under C), the diatonic step above is already a half step, so +d and +c are the same note. Spell the shape by direction and let the key decide the interval.", "sources": [] }, { "id": "arrival-094", "type": "paragraph", "section": "chapter-05", "reading_order": 94, "original": "In the examples below, each fragment shows beats 3 and 4 of a G7 bar, then the next downbeat. B, the 3rd of G7, sits on beat 3 so that only the cell changes from fragment to fragment. The target is always E, the 3rd of Cmaj7.", "english": "In the examples below, each fragment shows beats 3 and 4 of a G7 bar, then the next downbeat. B, the 3rd of G7, sits on beat 3 so that only the cell changes from fragment to fragment. The target is always E, the 3rd of Cmaj7.", "sources": [] }, { "id": "arrival-095", "type": "heading", "section": "chapter-05", "reading_order": 95, "original": "Span 1: one note", "english": "Span 1: one note", "sources": [], "heading_level": 3 }, { "id": "arrival-096", "type": "paragraph", "section": "chapter-05", "reading_order": 96, "original": "A single upbeat on the & of 4. It's the lightest approach and the most common.", "english": "A single upbeat on the & of 4. It's the lightest approach and the most common.", "sources": [] }, { "id": "arrival-097", "type": "paragraph", "section": "chapter-05", "reading_order": 97, "original": "Ex. 4.1 — Span-1 cells into E: chromatic below (−c), step above (+d) and step below (−d).", "english": "Ex. 4.1 — Span-1 cells into E: chromatic below (−c), step above (+d) and step below (−d).", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 4.1" }, { "tag": "text", "text": " — Span-1 cells into E: chromatic below (−c), step above (+d) and step below (−d)." } ] }, { "id": "arrival-098", "type": "music", "section": "chapter-05", "reading_order": 98, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-4-1" ] }, { "id": "arrival-099", "type": "paragraph", "section": "chapter-05", "reading_order": 99, "original": "The chromatic approach from below (D♯) is the strongest: a half step aimed upward at the target. The step above (F) is the guide-tone resolution itself, the 7th of G7 falling to the 3rd of C. The step below (D) is the weakest. It's a whole step, and as the 5th of G7 it doesn't lean anywhere.", "english": "The chromatic approach from below (D♯) is the strongest: a half step aimed upward at the target. The step above (F) is the guide-tone resolution itself, the 7th of G7 falling to the 3rd of C. The step below (D) is the weakest. It's a whole step, and as the 5th of G7 it doesn't lean anywhere.", "sources": [] }, { "id": "arrival-100", "type": "heading", "section": "chapter-05", "reading_order": 100, "original": "Span 2: two notes", "english": "Span 2: two notes", "sources": [], "heading_level": 3 }, { "id": "arrival-101", "type": "paragraph", "section": "chapter-05", "reading_order": 101, "original": "Two notes starting on beat 4. This is enclosure territory.", "english": "Two notes starting on beat 4. This is enclosure territory.", "sources": [] }, { "id": "arrival-102", "type": "paragraph", "section": "chapter-05", "reading_order": 102, "original": "Ex. 4.2 — Span-2 cells into E: two enclosures, a double approach from below and a chromatic descent from above.", "english": "Ex. 4.2 — Span-2 cells into E: two enclosures, a double approach from below and a chromatic descent from above.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 4.2" }, { "tag": "text", "text": " — Span-2 cells into E: two enclosures, a double approach from below and a chromatic descent from above." } ] }, { "id": "arrival-103", "type": "music", "section": "chapter-05", "reading_order": 103, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-4-2" ] }, { "id": "arrival-104", "type": "paragraph", "section": "chapter-05", "reading_order": 104, "original": "The enclosures (+d −c and −c +d) surround the target from both sides, so the ear knows where the line is going before it gets there. The double approach (D–D♯) climbs into the target. The chromatic descent (F♯–F) falls into it, passing through F♯, the major 7th of G7. That clash is fine because the note is moving, not landing: any pitch is acceptable on its way to an arrival.", "english": "The enclosures (+d −c and −c +d) surround the target from both sides, so the ear knows where the line is going before it gets there. The double approach (D–D♯) climbs into the target. The chromatic descent (F♯–F) falls into it, passing through F♯, the major 7th of G7. That clash is fine because the note is moving, not landing: any pitch is acceptable on its way to an arrival.", "sources": [] }, { "id": "arrival-105", "type": "heading", "section": "chapter-05", "reading_order": 105, "original": "Span 3: three notes", "english": "Span 3: three notes", "sources": [], "heading_level": 3 }, { "id": "arrival-106", "type": "paragraph", "section": "chapter-05", "reading_order": 106, "original": "Three notes starting on the & of 3.", "english": "Three notes starting on the & of 3.", "sources": [] }, { "id": "arrival-107", "type": "paragraph", "section": "chapter-05", "reading_order": 107, "original": "Ex. 4.3 — Span-3 cells into E: an extended enclosure, a chord-tone lead into an enclosure and a three-note chromatic descent.", "english": "Ex. 4.3 — Span-3 cells into E: an extended enclosure, a chord-tone lead into an enclosure and a three-note chromatic descent.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 4.3" }, { "tag": "text", "text": " — Span-3 cells into E: an extended enclosure, a chord-tone lead into an enclosure and a three-note chromatic descent." } ] }, { "id": "arrival-108", "type": "music", "section": "chapter-05", "reading_order": 108, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-4-3" ] }, { "id": "arrival-109", "type": "paragraph", "section": "chapter-05", "reading_order": 109, "original": "The extended enclosure (F–D–D♯) circles the target: above, a step below, then a half step below. The chord-tone lead (G–F–D♯) starts on the root of G7, then encloses. The chromatic descent (G–F♯–F) is the most bebop-sounding of the three, with F, the 7th, falling on beat 4.", "english": "The extended enclosure (F–D–D♯) circles the target: above, a step below, then a half step below. The chord-tone lead (G–F–D♯) starts on the root of G7, then encloses. The chromatic descent (G–F♯–F) is the most bebop-sounding of the three, with F, the 7th, falling on beat 4.", "sources": [] }, { "id": "arrival-110", "type": "heading", "section": "chapter-05", "reading_order": 110, "original": "Why spans stop at three", "english": "Why spans stop at three", "sources": [], "heading_level": 3 }, { "id": "arrival-111", "type": "paragraph", "section": "chapter-05", "reading_order": 111, "original": "A 4-slot cell would start on beat 3, and beat 3 is an arrival. So anything longer than three slots isn't a cell at all. It's an arrival followed by a 3-slot cell. That is exactly what Ligon's outlines are (Chapter 5), and what scale runs become once they're aligned (Chapter 6).", "english": "A 4-slot cell would start on beat 3, and beat 3 is an arrival. So anything longer than three slots isn't a cell at all. It's an arrival followed by a 3-slot cell. That is exactly what Ligon's outlines are (Chapter 5), and what scale runs become once they're aligned (Chapter 6).", "sources": [] }, { "id": "arrival-112", "type": "paragraph", "section": "chapter-05", "reading_order": 112, "original": "This gives the whole system a recursive shape. A line is arrivals joined by cells of span 1 to 3, nothing more. Longer figures are several arrivals and cells chained together.", "english": "This gives the whole system a recursive shape. A line is arrivals joined by cells of span 1 to 3, nothing more. Longer figures are several arrivals and cells chained together.", "sources": [] }, { "id": "arrival-113", "type": "heading", "section": "chapter-05", "reading_order": 113, "original": "Cells double as tensions", "english": "Cells double as tensions", "sources": [], "heading_level": 3 }, { "id": "arrival-114", "type": "paragraph", "section": "chapter-05", "reading_order": 114, "original": "Every cell note sounds against the chord playing at that moment, usually the V. Read the numbers in Ex. 4.1–4.3: D♯ over G7 is ♯5, F♯ is Δ7, and in Ex. 4.4 below, A♯ is ♯9. Chromatic approach tones aren't wrong notes made right by resolution. They're altered-dominant color with a resolution built in. This is why bebop lines sound harmonically rich without the player thinking about altered scales at all.", "english": "Every cell note sounds against the chord playing at that moment, usually the V. Read the numbers in Ex. 4.1–4.3: D♯ over G7 is ♯5, F♯ is Δ7, and in Ex. 4.4 below, A♯ is ♯9. Chromatic approach tones aren't wrong notes made right by resolution. They're altered-dominant color with a resolution built in. This is why bebop lines sound harmonically rich without the player thinking about altered scales at all.", "sources": [] }, { "id": "arrival-115", "type": "heading", "section": "chapter-05", "reading_order": 115, "original": "Held targets", "english": "Held targets", "sources": [], "heading_level": 3 }, { "id": "arrival-116", "type": "paragraph", "section": "chapter-05", "reading_order": 116, "original": "Strand B holds B from G7 into Cmaj7. A held target still gets a cell: re-attack it.", "english": "Strand B holds B from G7 into Cmaj7. A held target still gets a cell: re-attack it.", "sources": [] }, { "id": "arrival-117", "type": "paragraph", "section": "chapter-05", "reading_order": 117, "original": "Ex. 4.4 — B, the 3rd of G7, re-attacked as the 7th of Cmaj7. The enclosure C–A♯ tells the ear the function has changed even though the pitch hasn't.", "english": "Ex. 4.4 — B, the 3rd of G7, re-attacked as the 7th of Cmaj7. The enclosure C–A♯ tells the ear the function has changed even though the pitch hasn't.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 4.4" }, { "tag": "text", "text": " — B, the 3rd of G7, re-attacked as the 7th of Cmaj7. The enclosure C–A♯ tells the ear the function has changed even though the pitch hasn't." } ] }, { "id": "arrival-118", "type": "music", "section": "chapter-05", "reading_order": 118, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-4-4" ] }, { "id": "arrival-119", "type": "heading", "section": "chapter-05", "reading_order": 119, "original": "Drill: the cell matrix", "english": "Drill: the cell matrix", "sources": [], "heading_level": 3 }, { "id": "arrival-120", "type": "paragraph", "section": "chapter-05", "reading_order": 120, "original": "Over G7 to Cmaj7, put B on beat 3, then play all ten cells into E. That's one fixed arrival, one budget and ten ways to spend it. Then change the target to G, then to B re-attacked, and work through 12 keys. Finally, mix spans: one chorus of span 1, one of span 2, one of span 3, then free choice.", "english": "Over G7 to Cmaj7, put B on beat 3, then play all ten cells into E. That's one fixed arrival, one budget and ten ways to spend it. Then change the target to G, then to B re-attacked, and work through 12 keys. Finally, mix spans: one chorus of span 1, one of span 2, one of span 3, then free choice.", "sources": [] }, { "id": "arrival-121", "type": "heading", "section": "chapter-06", "reading_order": 121, "original": "Chapter 5 — Outlines", "english": "Chapter 5 — Outlines", "sources": [], "heading_level": 2 }, { "id": "arrival-122", "type": "paragraph", "section": "chapter-06", "reading_order": 122, "original": "An outline is an arpeggio that starts on an arrival and ends one step from the next. In this book's terms it's a 4-slot unit: an arrival on beat 3 plus a 3-slot cell built from chord tones and tensions. Ligon's key insight is that the best bebop arpeggios are chosen for where they end, not where they start.", "english": "An outline is an arpeggio that starts on an arrival and ends one step from the next. In this book's terms it's a 4-slot unit: an arrival on beat 3 plus a 3-slot cell built from chord tones and tensions. Ligon's key insight is that the best bebop arpeggios are chosen for where they end, not where they start.", "sources": [], "inline": [ { "tag": "text", "text": "An outline is an arpeggio that starts on an arrival and ends one step from the next. In this book's terms it's a 4-slot unit: an arrival on beat 3 plus a 3-slot cell built from chord tones and tensions. Ligon's key insight is that the best bebop arpeggios are chosen for where they " }, { "tag": "em", "text": "end" }, { "tag": "text", "text": ", not where they start." } ] }, { "id": "arrival-123", "type": "heading", "section": "chapter-06", "reading_order": 123, "original": "Four core outlines", "english": "Four core outlines", "sources": [], "heading_level": 3 }, { "id": "arrival-124", "type": "paragraph", "section": "chapter-06", "reading_order": 124, "original": "Each outline is named for the chord degrees it starts and ends on. All four put chord tones of the current chord on beats 3 and 4 and color on the upbeats, so the grid and the voice-leading agree without any extra rule.", "english": "Each outline is named for the chord degrees it starts and ends on. All four put chord tones of the current chord on beats 3 and 4 and color on the upbeats, so the grid and the voice-leading agree without any extra rule.", "sources": [] }, { "id": "arrival-125", "type": "paragraph", "section": "chapter-06", "reading_order": 125, "original": "Ex. 5.1 — Four outlines, each shown from beat 3 to the next downbeat. The slur marks the gesture crossing the bar line.", "english": "Ex. 5.1 — Four outlines, each shown from beat 3 to the next downbeat. The slur marks the gesture crossing the bar line.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 5.1" }, { "tag": "text", "text": " — Four outlines, each shown from beat 3 to the next downbeat. The slur marks the gesture crossing the bar line." } ] }, { "id": "arrival-126", "type": "music", "section": "chapter-06", "reading_order": 126, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-5-1" ] }, { "id": "arrival-127", "type": "paragraph", "section": "chapter-06", "reading_order": 127, "original": "3-to-9 (Dm7 to G7). F A C E is 3, 5, 7, 9 of Dm7. The 9 sits a half step under F, so the line resolves up to the 7th of G7, an octave above where it started. It's Strand A at both ends, with an octave in between.", "english": "3-to-9 (Dm7 to G7). F A C E is 3, 5, 7, 9 of Dm7. The 9 sits a half step under F, so the line resolves up to the 7th of G7, an octave above where it started. It's Strand A at both ends, with an octave in between.", "sources": [], "inline": [ { "tag": "strong", "text": "3-to-9" }, { "tag": "text", "text": " (Dm7 to G7). F A C E is 3, 5, 7, 9 of Dm7. The 9 sits a half step under F, so the line resolves up to the 7th of G7, an octave above where it started. It's Strand A at both ends, with an octave in between." } ] }, { "id": "arrival-128", "type": "paragraph", "section": "chapter-06", "reading_order": 128, "original": "3-to-♭9 (G7 to Cmaj7). B D F A♭ is 3, 5, 7, ♭9 of G7. Those four notes form a diminished seventh chord, so the line implies G7♭9 without the rhythm section changing anything. A♭ falls a half step to G, the 5th of C. Landing on the 5th is the exception to the 3-and-7 preference, and this outline is the main reason it's common.", "english": "3-to-♭9 (G7 to Cmaj7). B D F A♭ is 3, 5, 7, ♭9 of G7. Those four notes form a diminished seventh chord, so the line implies G7♭9 without the rhythm section changing anything. A♭ falls a half step to G, the 5th of C. Landing on the 5th is the exception to the 3-and-7 preference, and this outline is the main reason it's common.", "sources": [], "inline": [ { "tag": "strong", "text": "3-to-♭9" }, { "tag": "text", "text": " (G7 to Cmaj7). B D F A♭ is 3, 5, 7, ♭9 of G7. Those four notes form a diminished seventh chord, so the line implies G7♭9 without the rhythm section changing anything. A♭ falls a half step to G, the 5th of C. Landing on the 5th is the exception to the 3-and-7 preference, and this outline is the main reason it's common." } ] }, { "id": "arrival-129", "type": "paragraph", "section": "chapter-06", "reading_order": 129, "original": "1-to-7 (G7 to Cmaj7). G B D F is the plainest outline and the clearest lesson. The 7th sits in the pickup slot and falls to the 3rd across the bar line: Ligon's guide-tone resolution riding Galper's pickup-to-arrival rhythm.", "english": "1-to-7 (G7 to Cmaj7). G B D F is the plainest outline and the clearest lesson. The 7th sits in the pickup slot and falls to the 3rd across the bar line: Ligon's guide-tone resolution riding Galper's pickup-to-arrival rhythm.", "sources": [], "inline": [ { "tag": "strong", "text": "1-to-7" }, { "tag": "text", "text": " (G7 to Cmaj7). G B D F is the plainest outline and the clearest lesson. The 7th sits in the pickup slot and falls to the 3rd across the bar line: Ligon's guide-tone resolution riding Galper's pickup-to-arrival rhythm." } ] }, { "id": "arrival-130", "type": "paragraph", "section": "chapter-06", "reading_order": 130, "original": "3-to-♭5 (G7 to Cmaj7). B A♭ F D♭ is a D♭7 arpeggio played downward from its 7th. Over G7 it reads 3, ♭9, 7, ♭5: the tritone substitution, delivered entirely in the line. D♭ falls a half step to C.", "english": "3-to-♭5 (G7 to Cmaj7). B A♭ F D♭ is a D♭7 arpeggio played downward from its 7th. Over G7 it reads 3, ♭9, 7, ♭5: the tritone substitution, delivered entirely in the line. D♭ falls a half step to C.", "sources": [], "inline": [ { "tag": "strong", "text": "3-to-♭5" }, { "tag": "text", "text": " (G7 to Cmaj7). B A♭ F D♭ is a D♭7 arpeggio played downward from its 7th. Over G7 it reads 3, ♭9, 7, ♭5: the tritone substitution, delivered entirely in the line. D♭ falls a half step to C." } ] }, { "id": "arrival-131", "type": "heading", "section": "chapter-06", "reading_order": 131, "original": "Phrase across the bar line", "english": "Phrase across the bar line", "sources": [], "heading_level": 3 }, { "id": "arrival-132", "type": "paragraph", "section": "chapter-06", "reading_order": 132, "original": "Phrase each outline from beat 3 through the next beat 1 as one gesture. The common mistake is hearing it as the end of the current bar, a flourish that trails off. Heard Galper's way, it's the start of the next bar. Breathe before beat 3, not after it.", "english": "Phrase each outline from beat 3 through the next beat 1 as one gesture. The common mistake is hearing it as the end of the current bar, a flourish that trails off. Heard Galper's way, it's the start of the next bar. Breathe before beat 3, not after it.", "sources": [] }, { "id": "arrival-133", "type": "heading", "section": "chapter-06", "reading_order": 133, "original": "Chaining outlines", "english": "Chaining outlines", "sources": [], "heading_level": 3 }, { "id": "arrival-134", "type": "paragraph", "section": "chapter-06", "reading_order": 134, "original": "Outlines link through arrivals. Between them, use a 3-slot cell or a runway.", "english": "Outlines link through arrivals. Between them, use a 3-slot cell or a runway.", "sources": [] }, { "id": "arrival-135", "type": "paragraph", "section": "chapter-06", "reading_order": 135, "original": "Ex. 5.2 — Outlines chained through a ii–V–I. Bar 1: an arrival on D, a 3-slot cell into F, then the 3-to-9 outline. Bar 2: an arrival on F, a runway down to B, then the 3-to-♭9 outline into G.", "english": "Ex. 5.2 — Outlines chained through a ii–V–I. Bar 1: an arrival on D, a 3-slot cell into F, then the 3-to-9 outline. Bar 2: an arrival on F, a runway down to B, then the 3-to-♭9 outline into G.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 5.2" }, { "tag": "text", "text": " — Outlines chained through a ii–V–I. Bar 1: an arrival on D, a 3-slot cell into F, then the 3-to-9 outline. Bar 2: an arrival on F, a runway down to B, then the 3-to-♭9 outline into G." } ] }, { "id": "arrival-136", "type": "music", "section": "chapter-06", "reading_order": 136, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-5-2" ] }, { "id": "arrival-137", "type": "paragraph", "section": "chapter-06", "reading_order": 137, "original": "The arrivals spell D, F, F, B, G. Bar 1 begins on the root and reaches Strand A by beat 3. Bar 2 carries Strand A on beat 1 and Strand B on beat 3, and the final outline delivers the 5th of Cmaj7. Every note between the blue notes exists to connect them.", "english": "The arrivals spell D, F, F, B, G. Bar 1 begins on the root and reaches Strand A by beat 3. Bar 2 carries Strand A on beat 1 and Strand B on beat 3, and the final outline delivers the 5th of Cmaj7. Every note between the blue notes exists to connect them.", "sources": [] }, { "id": "arrival-138", "type": "paragraph", "section": "chapter-06", "reading_order": 138, "original": "The outline is also where the slot budget earns its keep. In bar 1 the budget is 3 + 3, and the line spends the first three slots on a cell and the second three on the arpeggio's upper notes. In bar 2 it spends the first three on a runway. The same bar could be filled a dozen other ways; the arrivals would stay put.", "english": "The outline is also where the slot budget earns its keep. In bar 1 the budget is 3 + 3, and the line spends the first three slots on a cell and the second three on the arpeggio's upper notes. In bar 2 it spends the first three on a runway. The same bar could be filled a dozen other ways; the arrivals would stay put.", "sources": [] }, { "id": "arrival-139", "type": "heading", "section": "chapter-06", "reading_order": 139, "original": "Drill", "english": "Drill", "sources": [], "heading_level": 3 }, { "id": "arrival-140", "type": "paragraph", "section": "chapter-06", "reading_order": 140, "original": "Learn each outline in 12 keys, then chain them in pairs through ii–V–I. For the first month, never start an outline on beat 1. Starting on beat 3 forces you to feel it as a pickup into the bar line, which is the whole point.", "english": "Learn each outline in 12 keys, then chain them in pairs through ii–V–I. For the first month, never start an outline on beat 1. Starting on beat 3 forces you to feel it as a pickup into the bar line, which is the whole point.", "sources": [] }, { "id": "arrival-141", "type": "heading", "section": "chapter-07", "reading_order": 141, "original": "Chapter 6 — Scales as Runways", "english": "Chapter 6 — Scales as Runways", "sources": [], "heading_level": 2 }, { "id": "arrival-142", "type": "paragraph", "section": "chapter-07", "reading_order": 142, "original": "A scale run is a runway: a stepwise stretch that has to touch down on chord tones at the right moments. Galper's alignment rule and the bebop scales are the same idea stated two ways, and a single rule produces both.", "english": "A scale run is a runway: a stepwise stretch that has to touch down on chord tones at the right moments. Galper's alignment rule and the bebop scales are the same idea stated two ways, and a single rule produces both.", "sources": [] }, { "id": "arrival-143", "type": "heading", "section": "chapter-07", "reading_order": 143, "original": "Why plain scales misalign", "english": "Why plain scales misalign", "sources": [], "heading_level": 3 }, { "id": "arrival-144", "type": "paragraph", "section": "chapter-07", "reading_order": 144, "original": "A seven-note scale over a four-note chord mostly alternates chord tone, non-chord tone. At eighth-note speed, starting on a chord tone on a beat, that puts chord tones on every beat until the run reaches the one place where two chord tones sit a step apart. There the alternation flips, and every beat after it lands on a tension.", "english": "A seven-note scale over a four-note chord mostly alternates chord tone, non-chord tone. At eighth-note speed, starting on a chord tone on a beat, that puts chord tones on every beat until the run reaches the one place where two chord tones sit a step apart. There the alternation flips, and every beat after it lands on a tension.", "sources": [] }, { "id": "arrival-145", "type": "paragraph", "section": "chapter-07", "reading_order": 145, "original": "Ex. 6.1 — G Mixolydian descending from G, plain and plugged. Plain: the beats carry R, 13, 11 and 9, and the run lands on F, the 11th of Cmaj7. Plugged: F♯ between G and F keeps R, 7, 5 and 3 on the beats, and the run lands on G.", "english": "Ex. 6.1 — G Mixolydian descending from G, plain and plugged. Plain: the beats carry R, 13, 11 and 9, and the run lands on F, the 11th of Cmaj7. Plugged: F♯ between G and F keeps R, 7, 5 and 3 on the beats, and the run lands on G.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 6.1" }, { "tag": "text", "text": " — G Mixolydian descending from G, plain and plugged. Plain: the beats carry R, 13, 11 and 9, and the run lands on F, the 11th of Cmaj7. Plugged: F♯ between G and F keeps R, 7, 5 and 3 on the beats, and the run lands on G." } ] }, { "id": "arrival-146", "type": "music", "section": "chapter-07", "reading_order": 146, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-6-1" ] }, { "id": "arrival-147", "type": "paragraph", "section": "chapter-07", "reading_order": 147, "original": "In the plain version, the step from G to F (root to 7th, both chord tones) pushes everything off the beat from the second note on. The run sounds aimless and arrives on the avoid note of Cmaj7. One chromatic passing tone fixes all of it.", "english": "In the plain version, the step from G to F (root to 7th, both chord tones) pushes everything off the beat from the second note on. The run sounds aimless and arrives on the avoid note of Cmaj7. One chromatic passing tone fixes all of it.", "sources": [] }, { "id": "arrival-148", "type": "heading", "section": "chapter-07", "reading_order": 148, "original": "The gap rule", "english": "The gap rule", "sources": [], "heading_level": 3 }, { "id": "arrival-149", "type": "paragraph", "section": "chapter-07", "reading_order": 149, "original": "Find the adjacent chord-tone pair in the scale and plug the gap with a chromatic passing tone. A run that starts on a chord tone on a beat then stays aligned for a full bar, in either direction.", "english": "Find the adjacent chord-tone pair in the scale and plug the gap with a chromatic passing tone. A run that starts on a chord tone on a beat then stays aligned for a full bar, in either direction.", "sources": [] }, { "id": "arrival-150", "type": "table", "section": "chapter-07", "reading_order": 150, "original": "Chord | Scale | Adjacent chord tones | Plug | Common name\nG7 | G Mixolydian | F – G | F♯ | Dominant bebop scale\nC6 | C major | G – A | G♯ / A♭ | Major bebop scale\nDm7 | D Dorian | C – D | C♯ | Dorian bebop scale\nCmaj7 | C major | B – C | None: already a half step | Use the C6 form", "english": "Chord | Scale | Adjacent chord tones | Plug | Common name\nG7 | G Mixolydian | F – G | F♯ | Dominant bebop scale\nC6 | C major | G – A | G♯ / A♭ | Major bebop scale\nDm7 | D Dorian | C – D | C♯ | Dorian bebop scale\nCmaj7 | C major | B – C | None: already a half step | Use the C6 form", "sources": [], "tables": { "en": { "columns": [ "Chord", "Scale", "Adjacent chord tones", "Plug", "Common name" ], "rows": [ [ "G7", "G Mixolydian", "F – G", "F♯", "Dominant bebop scale" ], [ "C6", "C major", "G – A", "G♯ / A♭", "Major bebop scale" ], [ "Dm7", "D Dorian", "C – D", "C♯", "Dorian bebop scale" ], [ "Cmaj7", "C major", "B – C", "None: already a half step", "Use the C6 form" ] ] } } }, { "id": "arrival-151", "type": "paragraph", "section": "chapter-07", "reading_order": 151, "original": "The Cmaj7 row explains a design choice that usually goes unexplained. The major bebop scale is built on the 6 chord because a major 7th chord has no whole-step gap between adjacent chord tones, so there's nowhere to put a plug.", "english": "The Cmaj7 row explains a design choice that usually goes unexplained. The major bebop scale is built on the 6 chord because a major 7th chord has no whole-step gap between adjacent chord tones, so there's nowhere to put a plug.", "sources": [] }, { "id": "arrival-152", "type": "paragraph", "section": "chapter-07", "reading_order": 152, "original": "Ex. 6.2 — Three plugged runways: D Dorian descending (C♯ between D and C), C6 bebop descending (A♭ between A and G) and dominant bebop ascending (F♯ between F and G).", "english": "Ex. 6.2 — Three plugged runways: D Dorian descending (C♯ between D and C), C6 bebop descending (A♭ between A and G) and dominant bebop ascending (F♯ between F and G).", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 6.2" }, { "tag": "text", "text": " — Three plugged runways: D Dorian descending (C♯ between D and C), C6 bebop descending (A♭ between A and G) and dominant bebop ascending (F♯ between F and G)." } ] }, { "id": "arrival-153", "type": "music", "section": "chapter-07", "reading_order": 153, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-6-2" ] }, { "id": "arrival-154", "type": "paragraph", "section": "chapter-07", "reading_order": 154, "original": "Look at the ascending dominant run. Starting on G on beat 1, the plain scale is aligned until the very end, where F and G collide. The F♯ goes on the last upbeat, which makes it a perfect pickup into the next bar's G. Here the plug and the pickup are the same note.", "english": "Look at the ascending dominant run. Starting on G on beat 1, the plain scale is aligned until the very end, where F and G collide. The F♯ goes on the last upbeat, which makes it a perfect pickup into the next bar's G. Here the plug and the pickup are the same note.", "sources": [] }, { "id": "arrival-155", "type": "heading", "section": "chapter-07", "reading_order": 155, "original": "Other ways to re-align", "english": "Other ways to re-align", "sources": [], "heading_level": 3 }, { "id": "arrival-156", "type": "paragraph", "section": "chapter-07", "reading_order": 156, "original": "The plug costs nothing rhythmically, which is why bebop players leaned on it so hard. The alternatives each shift the line by one slot:", "english": "The plug costs nothing rhythmically, which is why bebop players leaned on it so hard. The alternatives each shift the line by one slot:", "sources": [] }, { "id": "arrival-157", "type": "paragraph", "section": "chapter-07", "reading_order": 157, "original": "- Reverse direction on a chord tone.\n- Skip a scale tone with a leap of a third.\n- Fit in a triplet to absorb an extra note.\n- Hold one note for a quarter.", "english": "- Reverse direction on a chord tone.\n- Skip a scale tone with a leap of a third.\n- Fit in a triplet to absorb an extra note.\n- Hold one note for a quarter.", "sources": [], "list_items": [ [ { "tag": "text", "text": "Reverse direction on a chord tone." } ], [ { "tag": "text", "text": "Skip a scale tone with a leap of a third." } ], [ { "tag": "text", "text": "Fit in a triplet to absorb an extra note." } ], [ { "tag": "text", "text": "Hold one note for a quarter." } ] ], "ordered": false }, { "id": "arrival-158", "type": "paragraph", "section": "chapter-07", "reading_order": 158, "original": "Learn all of them. A line that plugs every gap the same way sounds like an exercise.", "english": "Learn all of them. A line that plugs every gap the same way sounds like an exercise.", "sources": [] }, { "id": "arrival-159", "type": "heading", "section": "chapter-07", "reading_order": 159, "original": "Runways and the slot budget", "english": "Runways and the slot budget", "sources": [], "heading_level": 3 }, { "id": "arrival-160", "type": "paragraph", "section": "chapter-07", "reading_order": 160, "original": "A runway's length is set by the budget. From F on beat 1 of G7 down to B on beat 3 is four slots: F, E, D and C, then B. Before you play a runway, count the chord tones along the path, because each one needs a beat. If the count is wrong, shorten the run, lengthen it or plug it.", "english": "A runway's length is set by the budget. From F on beat 1 of G7 down to B on beat 3 is four slots: F, E, D and C, then B. Before you play a runway, count the chord tones along the path, because each one needs a beat. If the count is wrong, shorten the run, lengthen it or plug it.", "sources": [] }, { "id": "arrival-161", "type": "paragraph", "section": "chapter-07", "reading_order": 161, "original": "On the time axis, a runway is just a long pickup. Aim it at where it touches down, not where it takes off.", "english": "On the time axis, a runway is just a long pickup. Aim it at where it touches down, not where it takes off.", "sources": [] }, { "id": "arrival-162", "type": "heading", "section": "chapter-07", "reading_order": 162, "original": "Deliberate misalignment", "english": "Deliberate misalignment", "sources": [], "heading_level": 3 }, { "id": "arrival-163", "type": "paragraph", "section": "chapter-07", "reading_order": 163, "original": "Start a run on an upbeat and the chord tones fall on upbeats. The line floats against the time: right notes, wrong places, on purpose.", "english": "Start a run on an upbeat and the chord tones fall on upbeats. The line floats against the time: right notes, wrong places, on purpose.", "sources": [] }, { "id": "arrival-164", "type": "paragraph", "section": "chapter-07", "reading_order": 164, "original": "Ex. 6.3 — A run that starts on the & of 1 floats, with chord tones (F, D, B) on the upbeats and tensions on the beats. A♭, the ♭9 of G7, works as a passing tone on the last upbeat and snaps G onto beat 1 of Cmaj7.", "english": "Ex. 6.3 — A run that starts on the & of 1 floats, with chord tones (F, D, B) on the upbeats and tensions on the beats. A♭, the ♭9 of G7, works as a passing tone on the last upbeat and snaps G onto beat 1 of Cmaj7.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 6.3" }, { "tag": "text", "text": " — A run that starts on the & of 1 floats, with chord tones (F, D, B) on the upbeats and tensions on the beats. A♭, the ♭9 of G7, works as a passing tone on the last upbeat and snaps G onto beat 1 of Cmaj7." } ] }, { "id": "arrival-165", "type": "music", "section": "chapter-07", "reading_order": 165, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-6-3" ] }, { "id": "arrival-166", "type": "paragraph", "section": "chapter-07", "reading_order": 166, "original": "Note that A♭ isn't a gap-rule plug. G7's only gap is between F and G. It's a chromatic passing tone used for a different job: shifting the line by one slot so the next chord tone lands on a beat. Use this kind of float for a few beats, then snap back. The snap is what makes it sound intentional. Chapter 7 turns the idea into a phrasing tool.", "english": "Note that A♭ isn't a gap-rule plug. G7's only gap is between F and G. It's a chromatic passing tone used for a different job: shifting the line by one slot so the next chord tone lands on a beat. Use this kind of float for a few beats, then snap back. The snap is what makes it sound intentional. Chapter 7 turns the idea into a phrasing tool.", "sources": [] }, { "id": "arrival-167", "type": "heading", "section": "chapter-07", "reading_order": 167, "original": "Drill", "english": "Drill", "sources": [], "heading_level": 3 }, { "id": "arrival-168", "type": "paragraph", "section": "chapter-07", "reading_order": 168, "original": "For each chord type, run from every chord tone on beat 1 for a full bar, descending and then ascending, plugging the gap wherever it falls. Say the notes on the beats aloud as you play. Keep at it until misalignment sounds wrong before you can name the note.", "english": "For each chord type, run from every chord tone on beat 1 for a full bar, descending and then ascending, plugging the gap wherever it falls. Say the notes on the beats aloud as you play. Keep at it until misalignment sounds wrong before you can name the note.", "sources": [] }, { "id": "arrival-169", "type": "heading", "section": "chapter-08", "reading_order": 169, "original": "Chapter 7 — Phrase Architecture", "english": "Chapter 7 — Phrase Architecture", "sources": [], "heading_level": 2 }, { "id": "arrival-170", "type": "paragraph", "section": "chapter-08", "reading_order": 170, "original": "Phrases begin on upbeats and end on arrivals. A phrase that starts on beat 1 opens with a landing and has nowhere to go. A phrase that starts on the & of 4 opens with momentum.", "english": "Phrases begin on upbeats and end on arrivals. A phrase that starts on beat 1 opens with a landing and has nowhere to go. A phrase that starts on the & of 4 opens with momentum.", "sources": [] }, { "id": "arrival-171", "type": "heading", "section": "chapter-08", "reading_order": 171, "original": "Where phrases start", "english": "Where phrases start", "sources": [], "heading_level": 3 }, { "id": "arrival-172", "type": "paragraph", "section": "chapter-08", "reading_order": 172, "original": "The entry point sets the character of a phrase before its main body has started.", "english": "The entry point sets the character of a phrase before its main body has started.", "sources": [] }, { "id": "arrival-173", "type": "paragraph", "section": "chapter-08", "reading_order": 173, "original": "Ex. 7.1 — Four entries into the same arrival, F on beat 1 of Dm7: a one-note pickup, a two-note enclosure, a three-note cell and a half-bar outline (1-to-7 over A7).", "english": "Ex. 7.1 — Four entries into the same arrival, F on beat 1 of Dm7: a one-note pickup, a two-note enclosure, a three-note cell and a half-bar outline (1-to-7 over A7).", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 7.1" }, { "tag": "text", "text": " — Four entries into the same arrival, F on beat 1 of Dm7: a one-note pickup, a two-note enclosure, a three-note cell and a half-bar outline (1-to-7 over A7)." } ] }, { "id": "arrival-174", "type": "music", "section": "chapter-08", "reading_order": 174, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-7-1" ] }, { "id": "arrival-175", "type": "table", "section": "chapter-08", "reading_order": 175, "original": "Entry | Pickup | Character\n& of 4 | 1 slot | Quick and conversational; the bebop default\nBeat 4 | 2 slots | An enclosure-shaped entrance\n& of 3 | 3 slots | A full cell; deliberate\nBeat 3 | Half bar | An outline or runway as pickup; announced\n& of 2 or earlier | 5+ slots | A building runway; use sparingly\nBeat 1 | None | For contrast, or after a long rest", "english": "Entry | Pickup | Character\n& of 4 | 1 slot | Quick and conversational; the bebop default\nBeat 4 | 2 slots | An enclosure-shaped entrance\n& of 3 | 3 slots | A full cell; deliberate\nBeat 3 | Half bar | An outline or runway as pickup; announced\n& of 2 or earlier | 5+ slots | A building runway; use sparingly\nBeat 1 | None | For contrast, or after a long rest", "sources": [], "tables": { "en": { "columns": [ "Entry", "Pickup", "Character" ], "rows": [ [ "& of 4", "1 slot", "Quick and conversational; the bebop default" ], [ "Beat 4", "2 slots", "An enclosure-shaped entrance" ], [ "& of 3", "3 slots", "A full cell; deliberate" ], [ "Beat 3", "Half bar", "An outline or runway as pickup; announced" ], [ "& of 2 or earlier", "5+ slots", "A building runway; use sparingly" ], [ "Beat 1", "None", "For contrast, or after a long rest" ] ] } } }, { "id": "arrival-176", "type": "paragraph", "section": "chapter-08", "reading_order": 176, "original": "Vary entries on purpose. A solo where every phrase starts on the & of 4 sounds as mechanical as one where every phrase starts on beat 1.", "english": "Vary entries on purpose. A solo where every phrase starts on the & of 4 sounds as mechanical as one where every phrase starts on beat 1.", "sources": [] }, { "id": "arrival-177", "type": "heading", "section": "chapter-08", "reading_order": 177, "original": "Where phrases end", "english": "Where phrases end", "sources": [], "heading_level": 3 }, { "id": "arrival-178", "type": "paragraph", "section": "chapter-08", "reading_order": 178, "original": "There are two endings. The long arrival lands on beat 1 or 3 and holds for a quarter note or more, often on the 3rd or 9th. The clipped ending lands on the downbeat, then adds one short, accented note on the next upbeat, a step or third away.", "english": "There are two endings. The long arrival lands on beat 1 or 3 and holds for a quarter note or more, often on the 3rd or 9th. The clipped ending lands on the downbeat, then adds one short, accented note on the next upbeat, a step or third away.", "sources": [], "inline": [ { "tag": "text", "text": "There are two endings. The " }, { "tag": "strong", "text": "long arrival" }, { "tag": "text", "text": " lands on beat 1 or 3 and holds for a quarter note or more, often on the 3rd or 9th. The " }, { "tag": "strong", "text": "clipped ending" }, { "tag": "text", "text": " lands on the downbeat, then adds one short, accented note on the next upbeat, a step or third away." } ] }, { "id": "arrival-179", "type": "paragraph", "section": "chapter-08", "reading_order": 179, "original": "Ex. 7.2 — The same G7 bar ending two ways: a long arrival on E, and a clipped ending, E followed by a short accented C.", "english": "Ex. 7.2 — The same G7 bar ending two ways: a long arrival on E, and a clipped ending, E followed by a short accented C.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 7.2" }, { "tag": "text", "text": " — The same G7 bar ending two ways: a long arrival on E, and a clipped ending, E followed by a short accented C." } ] }, { "id": "arrival-180", "type": "music", "section": "chapter-08", "reading_order": 180, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-7-2" ] }, { "id": "arrival-181", "type": "paragraph", "section": "chapter-08", "reading_order": 181, "original": "In the clipped ending the arrival still carries the harmony; the clip is punctuation, a full stop. Either way, silence follows. The ear needs a moment to register the landing.", "english": "In the clipped ending the arrival still carries the harmony; the clip is punctuation, a full stop. Either way, silence follows. The ear needs a moment to register the landing.", "sources": [] }, { "id": "arrival-182", "type": "heading", "section": "chapter-08", "reading_order": 182, "original": "Two- and four-bar arcs", "english": "Two- and four-bar arcs", "sources": [], "heading_level": 3 }, { "id": "arrival-183", "type": "paragraph", "section": "chapter-08", "reading_order": 183, "original": "Treat phrases as two- or four-bar units that lean into a final arrival. A two-bar ii–V phrase usually looks like this:", "english": "Treat phrases as two- or four-bar units that lean into a final arrival. A two-bar ii–V phrase usually looks like this:", "sources": [] }, { "id": "arrival-184", "type": "paragraph", "section": "chapter-08", "reading_order": 184, "original": "1. A pickup on the & of 4 before bar 1.\n2. Bar 1: an arrival on beat 1, a cell or runway, an arrival on beat 3, an outline.\n3. Bar 2: an arrival on beat 1, a runway, an arrival on beat 3, a cell.\n4. A landing on beat 1 of the next bar, held, then at least two beats of rest.", "english": "1. A pickup on the & of 4 before bar 1.\n2. Bar 1: an arrival on beat 1, a cell or runway, an arrival on beat 3, an outline.\n3. Bar 2: an arrival on beat 1, a runway, an arrival on beat 3, a cell.\n4. A landing on beat 1 of the next bar, held, then at least two beats of rest.", "sources": [], "list_items": [ [ { "tag": "text", "text": "A pickup on the & of 4 before bar 1." } ], [ { "tag": "text", "text": "Bar 1: an arrival on beat 1, a cell or runway, an arrival on beat 3, an outline." } ], [ { "tag": "text", "text": "Bar 2: an arrival on beat 1, a runway, an arrival on beat 3, a cell." } ], [ { "tag": "text", "text": "A landing on beat 1 of the next bar, held, then at least two beats of rest." } ] ], "ordered": true }, { "id": "arrival-185", "type": "paragraph", "section": "chapter-08", "reading_order": 185, "original": "In a four-bar arc, put the highest note around the three-quarter point and the final arrival on beat 3 of bar 4 or beat 1 of bar 5.", "english": "In a four-bar arc, put the highest note around the three-quarter point and the final arrival on beat 3 of bar 4 or beat 1 of bar 5.", "sources": [] }, { "id": "arrival-186", "type": "paragraph", "section": "chapter-08", "reading_order": 186, "original": "Ex. 7.3 — A four-bar arc over Dm7–G7–Cmaj7–A7, landing on Dm7. The line climbs from F to its peak, B in bar 3, and falls back to F.", "english": "Ex. 7.3 — A four-bar arc over Dm7–G7–Cmaj7–A7, landing on Dm7. The line climbs from F to its peak, B in bar 3, and falls back to F.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 7.3" }, { "tag": "text", "text": " — A four-bar arc over Dm7–G7–Cmaj7–A7, landing on Dm7. The line climbs from F to its peak, B in bar 3, and falls back to F." } ] }, { "id": "arrival-187", "type": "music", "section": "chapter-08", "reading_order": 187, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-7-3" ] }, { "id": "arrival-188", "type": "paragraph", "section": "chapter-08", "reading_order": 188, "original": "Trace the contour. A one-note pickup leads into a Dorian runway that rises through the C♯ plug. Bar 2 turns at the top, runs down to B and climbs again. Bar 3 reaches the peak and turns down. Bar 4 descends through A7 and ends with an enclosure, G above and E below, into F. Under all that motion, the arrivals never stop: F, C, F, B, G, G, C♯, E, F.", "english": "Trace the contour. A one-note pickup leads into a Dorian runway that rises through the C♯ plug. Bar 2 turns at the top, runs down to B and climbs again. Bar 3 reaches the peak and turns down. Bar 4 descends through A7 and ends with an enclosure, G above and E below, into F. Under all that motion, the arrivals never stop: F, C, F, B, G, G, C♯, E, F.", "sources": [] }, { "id": "arrival-189", "type": "heading", "section": "chapter-08", "reading_order": 189, "original": "Displacement", "english": "Displacement", "sources": [], "heading_level": 3 }, { "id": "arrival-190", "type": "paragraph", "section": "chapter-08", "reading_order": 190, "original": "Shift a cell and its arrival one slot later and the arrival lands on an upbeat.", "english": "Shift a cell and its arrival one slot later and the arrival lands on an upbeat.", "sources": [] }, { "id": "arrival-191", "type": "paragraph", "section": "chapter-08", "reading_order": 191, "original": "Ex. 7.4 — The 1-to-7 outline, aligned and displaced by one eighth. Displaced, F lands on beat 1 of Cmaj7 as an accented 11th and resolves to E one slot late.", "english": "Ex. 7.4 — The 1-to-7 outline, aligned and displaced by one eighth. Displaced, F lands on beat 1 of Cmaj7 as an accented 11th and resolves to E one slot late.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 7.4" }, { "tag": "text", "text": " — The 1-to-7 outline, aligned and displaced by one eighth. Displaced, F lands on beat 1 of Cmaj7 as an accented 11th and resolves to E one slot late." } ] }, { "id": "arrival-192", "type": "music", "section": "chapter-08", "reading_order": 192, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-7-4" ] }, { "id": "arrival-193", "type": "paragraph", "section": "chapter-08", "reading_order": 193, "original": "The displaced F is a non-chord tone on the strong beat, resolving down by step: an appoggiatura. Tension on the downbeat, resolution on the upbeat. Use it once a chorus and it sounds intentional. Use it constantly and the time sounds lost.", "english": "The displaced F is a non-chord tone on the strong beat, resolving down by step: an appoggiatura. Tension on the downbeat, resolution on the upbeat. Use it once a chorus and it sounds intentional. Use it constantly and the time sounds lost.", "sources": [] }, { "id": "arrival-194", "type": "heading", "section": "chapter-08", "reading_order": 194, "original": "Groups of three", "english": "Groups of three", "sources": [], "heading_level": 3 }, { "id": "arrival-195", "type": "paragraph", "section": "chapter-08", "reading_order": 195, "original": "Repeat a three-note group in eighth notes, and its first note alternates between beats and upbeats.", "english": "Repeat a three-note group in eighth notes, and its first note alternates between beats and upbeats.", "sources": [] }, { "id": "arrival-196", "type": "paragraph", "section": "chapter-08", "reading_order": 196, "original": "Ex. 7.5 — The group E–D–C repeated over Cmaj7. Accents mark each group's first note. The cycle starts on beat 1 and returns to a beat 12 slots later, on beat 3 of bar 2.", "english": "Ex. 7.5 — The group E–D–C repeated over Cmaj7. Accents mark each group's first note. The cycle starts on beat 1 and returns to a beat 12 slots later, on beat 3 of bar 2.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 7.5" }, { "tag": "text", "text": " — The group E–D–C repeated over Cmaj7. Accents mark each group's first note. The cycle starts on beat 1 and returns to a beat 12 slots later, on beat 3 of bar 2." } ] }, { "id": "arrival-197", "type": "music", "section": "chapter-08", "reading_order": 197, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-7-5" ] }, { "id": "arrival-198", "type": "paragraph", "section": "chapter-08", "reading_order": 198, "original": "Against the half-note grid, the pattern cycles every 12 slots, a bar and a half. Start the cycle on an arrival and end it on one; everything in between floats. Every pitch here is safe over Cmaj7 (R, 3, 9), but the accents fight the meter, and that's the point. The arrival grid is suspended for six beats, then restored by E on beat 3 of bar 2.", "english": "Against the half-note grid, the pattern cycles every 12 slots, a bar and a half. Start the cycle on an arrival and end it on one; everything in between floats. Every pitch here is safe over Cmaj7 (R, 3, 9), but the accents fight the meter, and that's the point. The arrival grid is suspended for six beats, then restored by E on beat 3 of bar 2.", "sources": [] }, { "id": "arrival-199", "type": "heading", "section": "chapter-08", "reading_order": 199, "original": "Drill", "english": "Drill", "sources": [], "heading_level": 3 }, { "id": "arrival-200", "type": "paragraph", "section": "chapter-08", "reading_order": 200, "original": "Take the chained line from Chapter 5. Play it from each of the six entry points, adjusting the pickup to fit. End it once long and once clipped. Then displace its final outline by one slot and let the appoggiatura resolve.", "english": "Take the chained line from Chapter 5. Play it from each of the six entry points, adjusting the pickup to fit. End it once long and once clipped. Then displace its final outline by one slot and let the appoggiatura resolve.", "sources": [] }, { "id": "arrival-201", "type": "heading", "section": "chapter-09", "reading_order": 201, "original": "Chapter 8 — Time Feel and Articulation", "english": "Chapter 8 — Time Feel and Articulation", "sources": [], "heading_level": 2 }, { "id": "arrival-202", "type": "paragraph", "section": "chapter-09", "reading_order": 202, "original": "Articulation is how the listener hears your arrival grid. The same notes, articulated downbeat-heavy, sound like an exercise. Articulated toward the arrivals, they sound like jazz.", "english": "Articulation is how the listener hears your arrival grid. The same notes, articulated downbeat-heavy, sound like an exercise. Articulated toward the arrivals, they sound like jazz.", "sources": [] }, { "id": "arrival-203", "type": "heading", "section": "chapter-09", "reading_order": 203, "original": "Two pulses at once", "english": "Two pulses at once", "sources": [], "heading_level": 3 }, { "id": "arrival-204", "type": "paragraph", "section": "chapter-09", "reading_order": 204, "original": "Feel the half note and the backbeat at the same time. The line lands on 1 and 3; the rhythm section pushes from 2 and 4. That friction is much of what swing feels like from inside the line. Feel only 2 and 4 and your lines drift toward landing there. Feel only 1 and 3 and you sound square. Feel both.", "english": "Feel the half note and the backbeat at the same time. The line lands on 1 and 3; the rhythm section pushes from 2 and 4. That friction is much of what swing feels like from inside the line. Feel only 2 and 4 and your lines drift toward landing there. Feel only 1 and 3 and you sound square. Feel both.", "sources": [] }, { "id": "arrival-205", "type": "heading", "section": "chapter-09", "reading_order": 205, "original": "Articulation rules", "english": "Articulation rules", "sources": [], "heading_level": 3 }, { "id": "arrival-206", "type": "paragraph", "section": "chapter-09", "reading_order": 206, "original": "- Pair each upbeat with the beat after it. Attack the upbeat and connect it into the beat. Every pair is a miniature pickup and arrival.\n- Accent the last pickup before a Level 1 or 2 arrival, usually the & of 4. It throws weight onto the landing.\n- Ghost the beats inside runs that aren't structural arrivals, usually beats 2 and 4. They're scenery.\n- Accent contour peaks, even on upbeats. The top of a line is heard as an event wherever it falls.\n- Land arrivals with a lighter attack and a fuller length. An arrival settles; it doesn't hit.", "english": "- Pair each upbeat with the beat after it. Attack the upbeat and connect it into the beat. Every pair is a miniature pickup and arrival.\n- Accent the last pickup before a Level 1 or 2 arrival, usually the & of 4. It throws weight onto the landing.\n- Ghost the beats inside runs that aren't structural arrivals, usually beats 2 and 4. They're scenery.\n- Accent contour peaks, even on upbeats. The top of a line is heard as an event wherever it falls.\n- Land arrivals with a lighter attack and a fuller length. An arrival settles; it doesn't hit.", "sources": [], "list_items": [ [ { "tag": "text", "text": "Pair each upbeat with the beat after it. Attack the upbeat and connect it into the beat. Every pair is a miniature pickup and arrival." } ], [ { "tag": "text", "text": "Accent the last pickup before a Level 1 or 2 arrival, usually the & of 4. It throws weight onto the landing." } ], [ { "tag": "text", "text": "Ghost the beats inside runs that aren't structural arrivals, usually beats 2 and 4. They're scenery." } ], [ { "tag": "text", "text": "Accent contour peaks, even on upbeats. The top of a line is heard as an event wherever it falls." } ], [ { "tag": "text", "text": "Land arrivals with a lighter attack and a fuller length. An arrival settles; it doesn't hit." } ] ], "ordered": false }, { "id": "arrival-207", "type": "paragraph", "section": "chapter-09", "reading_order": 207, "original": "Ex. 8.1 — A ii–V–I line articulated this way: a slur from each upbeat into the next beat, ghosted notes (in parentheses) on non-structural beats, and accents on the & of 4.", "english": "Ex. 8.1 — A ii–V–I line articulated this way: a slur from each upbeat into the next beat, ghosted notes (in parentheses) on non-structural beats, and accents on the & of 4.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 8.1" }, { "tag": "text", "text": " — A ii–V–I line articulated this way: a slur from each upbeat into the next beat, ghosted notes (in parentheses) on non-structural beats, and accents on the & of 4." } ] }, { "id": "arrival-208", "type": "music", "section": "chapter-09", "reading_order": 208, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-8-1" ] }, { "id": "arrival-209", "type": "paragraph", "section": "chapter-09", "reading_order": 209, "original": "The slurs here mark connection, not phrasing. Tongue or attack the first note of each slur and connect into the second. Horn players will recognize the standard swing tonguing pattern. Pianists and guitarists get the same effect by playing upbeats slightly louder and releasing beats slightly early.", "english": "The slurs here mark connection, not phrasing. Tongue or attack the first note of each slur and connect into the second. Horn players will recognize the standard swing tonguing pattern. Pianists and guitarists get the same effect by playing upbeats slightly louder and releasing beats slightly early.", "sources": [] }, { "id": "arrival-210", "type": "heading", "section": "chapter-09", "reading_order": 210, "original": "Placement", "english": "Placement", "sources": [], "heading_level": 3 }, { "id": "arrival-211", "type": "paragraph", "section": "chapter-09", "reading_order": 211, "original": "Practice every line three ways: on top of the beat, centered and laid back. Keep the arrivals consistent and let the pickups breathe. A line that rushes its pickups but places its arrivals cleanly still swings. The reverse never does.", "english": "Practice every line three ways: on top of the beat, centered and laid back. Keep the arrivals consistent and let the pickups breathe. A line that rushes its pickups but places its arrivals cleanly still swings. The reverse never does.", "sources": [] }, { "id": "arrival-212", "type": "heading", "section": "chapter-09", "reading_order": 212, "original": "Swing ratio", "english": "Swing ratio", "sources": [], "heading_level": 3 }, { "id": "arrival-213", "type": "paragraph", "section": "chapter-09", "reading_order": 213, "original": "The long–short ratio of swung eighth notes depends on tempo. It's clearly uneven at medium tempos, roughly a triplet, and flattens toward even as the tempo rises.", "english": "The long–short ratio of swung eighth notes depends on tempo. It's clearly uneven at medium tempos, roughly a triplet, and flattens toward even as the tempo rises.", "sources": [] }, { "id": "arrival-214", "type": "paragraph", "section": "chapter-09", "reading_order": 214, "original": "Ex. 8.2 — Written eighth notes (top) and their approximate medium-tempo performance (bottom): a triplet quarter and eighth per beat.", "english": "Ex. 8.2 — Written eighth notes (top) and their approximate medium-tempo performance (bottom): a triplet quarter and eighth per beat.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 8.2" }, { "tag": "text", "text": " — Written eighth notes (top) and their approximate medium-tempo performance (bottom): a triplet quarter and eighth per beat." } ] }, { "id": "arrival-215", "type": "music", "section": "chapter-09", "reading_order": 215, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-8-2" ] }, { "id": "arrival-216", "type": "paragraph", "section": "chapter-09", "reading_order": 216, "original": "The triplet is only an approximation. Real swing ratios vary by player, tempo and context, and are often closer to even than a strict triplet. The arrival grid never changes with the ratio; only the placement of the upbeats moves.", "english": "The triplet is only an approximation. Real swing ratios vary by player, tempo and context, and are often closer to even than a strict triplet. The arrival grid never changes with the ratio; only the placement of the upbeats moves.", "sources": [] }, { "id": "arrival-217", "type": "heading", "section": "chapter-09", "reading_order": 217, "original": "Metronome ladder", "english": "Metronome ladder", "sources": [], "heading_level": 3 }, { "id": "arrival-218", "type": "paragraph", "section": "chapter-09", "reading_order": 218, "original": "Each stage moves the click away from the arrivals, so the grid has to live in you.", "english": "Each stage moves the click away from the arrivals, so the grid has to live in you.", "sources": [] }, { "id": "arrival-219", "type": "paragraph", "section": "chapter-09", "reading_order": 219, "original": "1. Click on 1 and 3. Arrivals land with the click; pickups fill in between.\n2. Click on 2 and 4. Same lines; now arrivals land between clicks.\n3. One click per bar, on beat 4. The click is the pickup, and you supply the landing.\n4. One click every two bars, on beat 4 of the second bar. Hold the whole phrase shape internally.", "english": "1. Click on 1 and 3. Arrivals land with the click; pickups fill in between.\n2. Click on 2 and 4. Same lines; now arrivals land between clicks.\n3. One click per bar, on beat 4. The click is the pickup, and you supply the landing.\n4. One click every two bars, on beat 4 of the second bar. Hold the whole phrase shape internally.", "sources": [], "list_items": [ [ { "tag": "text", "text": "Click on 1 and 3. Arrivals land with the click; pickups fill in between." } ], [ { "tag": "text", "text": "Click on 2 and 4. Same lines; now arrivals land between clicks." } ], [ { "tag": "text", "text": "One click per bar, on beat 4. The click is the pickup, and you supply the landing." } ], [ { "tag": "text", "text": "One click every two bars, on beat 4 of the second bar. Hold the whole phrase shape internally." } ] ], "ordered": true }, { "id": "arrival-220", "type": "paragraph", "section": "chapter-09", "reading_order": 220, "original": "Stay at each stage until you can play a full chorus without drifting, then move on.", "english": "Stay at each stage until you can play a full chorus without drifting, then move on.", "sources": [] }, { "id": "arrival-221", "type": "heading", "section": "chapter-10", "reading_order": 221, "original": "Chapter 9 — Applying the System", "english": "Chapter 9 — Applying the System", "sources": [], "heading_level": 2 }, { "id": "arrival-222", "type": "paragraph", "section": "chapter-10", "reading_order": 222, "original": "Three settings, three different slot budgets. The ii–V–I shows the whole toolkit in one line. The blues gives you room for outlines. Rhythm changes takes that room away.", "english": "Three settings, three different slot budgets. The ii–V–I shows the whole toolkit in one line. The blues gives you room for outlines. Rhythm changes takes that room away.", "sources": [] }, { "id": "arrival-223", "type": "heading", "section": "chapter-10", "reading_order": 223, "original": "A complete ii–V–I line", "english": "A complete ii–V–I line", "sources": [], "heading_level": 3 }, { "id": "arrival-224", "type": "paragraph", "section": "chapter-10", "reading_order": 224, "original": "Ex. 9.1 — The line from Ex. P.1, labeled by technique.", "english": "Ex. 9.1 — The line from Ex. P.1, labeled by technique.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 9.1" }, { "tag": "text", "text": " — The line from Ex. P.1, labeled by technique." } ] }, { "id": "arrival-225", "type": "music", "section": "chapter-10", "reading_order": 225, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-9-1" ] }, { "id": "arrival-226", "type": "paragraph", "section": "chapter-10", "reading_order": 226, "original": "- Pickup: a two-slot enclosure, G and E around F.\n- Bar 1: an arrival on F, then a rising D Dorian runway. The C♯ plug keeps F, A, C and D on the beats, and the last upbeat, E, steps into F.\n- Bar 2: an arrival on F, a runway down to B on beat 3, then an outline, B–D–G–F. F, the 7th, sits on the & of 4 and falls to E across the bar line.\n- Bar 3: a clipped ending. E arrives on beat 1, and C is the punctuation.", "english": "- Pickup: a two-slot enclosure, G and E around F.\n- Bar 1: an arrival on F, then a rising D Dorian runway. The C♯ plug keeps F, A, C and D on the beats, and the last upbeat, E, steps into F.\n- Bar 2: an arrival on F, a runway down to B on beat 3, then an outline, B–D–G–F. F, the 7th, sits on the & of 4 and falls to E across the bar line.\n- Bar 3: a clipped ending. E arrives on beat 1, and C is the punctuation.", "sources": [], "list_items": [ [ { "tag": "strong", "text": "Pickup:" }, { "tag": "text", "text": " a two-slot enclosure, G and E around F." } ], [ { "tag": "strong", "text": "Bar 1:" }, { "tag": "text", "text": " an arrival on F, then a rising D Dorian runway. The C♯ plug keeps F, A, C and D on the beats, and the last upbeat, E, steps into F." } ], [ { "tag": "strong", "text": "Bar 2:" }, { "tag": "text", "text": " an arrival on F, a runway down to B on beat 3, then an outline, B–D–G–F. F, the 7th, sits on the & of 4 and falls to E across the bar line." } ], [ { "tag": "strong", "text": "Bar 3:" }, { "tag": "text", "text": " a clipped ending. E arrives on beat 1, and C is the punctuation." } ] ], "ordered": false, "inline": [ { "tag": "text", "text": "- " }, { "tag": "strong", "text": "Pickup:" }, { "tag": "text", "text": " a two-slot enclosure, G and E around F.\n- " }, { "tag": "strong", "text": "Bar 1:" }, { "tag": "text", "text": " an arrival on F, then a rising D Dorian runway. The C♯ plug keeps F, A, C and D on the beats, and the last upbeat, E, steps into F.\n- " }, { "tag": "strong", "text": "Bar 2:" }, { "tag": "text", "text": " an arrival on F, a runway down to B on beat 3, then an outline, B–D–G–F. F, the 7th, sits on the & of 4 and falls to E across the bar line.\n- " }, { "tag": "strong", "text": "Bar 3:" }, { "tag": "text", "text": " a clipped ending. E arrives on beat 1, and C is the punctuation." } ] }, { "id": "arrival-227", "type": "paragraph", "section": "chapter-10", "reading_order": 227, "original": "The skeleton is Strand A on every beat 1 (F, F, E), with Strand B (C, B) on beat 3. Every chapter's tools appear once: enclosure, runway, gap rule, outline, phrase entry and ending.", "english": "The skeleton is Strand A on every beat 1 (F, F, E), with Strand B (C, B) on beat 3. Every chapter's tools appear once: enclosure, runway, gap rule, outline, phrase entry and ending.", "sources": [] }, { "id": "arrival-228", "type": "heading", "section": "chapter-10", "reading_order": 228, "original": "Jazz blues in F", "english": "Jazz blues in F", "sources": [], "heading_level": 3 }, { "id": "arrival-229", "type": "paragraph", "section": "chapter-10", "reading_order": 229, "original": "In a jazz blues, most chords last a full bar, so the budgets are 3 + 3 or 7 slots: room for outlines and longer runways.", "english": "In a jazz blues, most chords last a full bar, so the budgets are 3 + 3 or 7 slots: room for outlines and longer runways.", "sources": [] }, { "id": "arrival-230", "type": "paragraph", "section": "chapter-10", "reading_order": 230, "original": "Ex. 9.2 — A guide-tone skeleton for a 12-bar blues in F, starting from the 3rd of F7.", "english": "Ex. 9.2 — A guide-tone skeleton for a 12-bar blues in F, starting from the 3rd of F7.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 9.2" }, { "tag": "text", "text": " — A guide-tone skeleton for a 12-bar blues in F, starting from the 3rd of F7." } ] }, { "id": "arrival-231", "type": "music", "section": "chapter-10", "reading_order": 231, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-9-2" ] }, { "id": "arrival-232", "type": "paragraph", "section": "chapter-10", "reading_order": 232, "original": "The A ↔ A♭ shuttle in bars 1–3 and 5–7 is the blues' guide-tone signature: the 3rd of the I chord falls a half step to the 7th of the IV chord, and back. From bar 7 the skeleton climbs. A rises to C, which becomes the 7th of D7, falls to B♭, the 3rd of Gm7, then holds B♭ as the 7th of C7. Bars 11 and 12 repeat the same move in half the time. Build the other strand yourself, starting on E♭, the 7th of F7.", "english": "The A ↔ A♭ shuttle in bars 1–3 and 5–7 is the blues' guide-tone signature: the 3rd of the I chord falls a half step to the 7th of the IV chord, and back. From bar 7 the skeleton climbs. A rises to C, which becomes the 7th of D7, falls to B♭, the 3rd of Gm7, then holds B♭ as the 7th of C7. Bars 11 and 12 repeat the same move in half the time. Build the other strand yourself, starting on E♭, the 7th of F7.", "sources": [] }, { "id": "arrival-233", "type": "paragraph", "section": "chapter-10", "reading_order": 233, "original": "Ex. 9.3 — Bars 1–4 elaborated to Level 3, landing in bar 5. Every blue note matches the skeleton in Ex. 9.2.", "english": "Ex. 9.3 — Bars 1–4 elaborated to Level 3, landing in bar 5. Every blue note matches the skeleton in Ex. 9.2.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 9.3" }, { "tag": "text", "text": " — Bars 1–4 elaborated to Level 3, landing in bar 5. Every blue note matches the skeleton in Ex. 9.2." } ] }, { "id": "arrival-234", "type": "music", "section": "chapter-10", "reading_order": 234, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-9-3" ] }, { "id": "arrival-235", "type": "paragraph", "section": "chapter-10", "reading_order": 235, "original": "Walk through it bar by bar.", "english": "Walk through it bar by bar.", "sources": [] }, { "id": "arrival-236", "type": "paragraph", "section": "chapter-10", "reading_order": 236, "original": "- Pickup: B♭ and G♯ enclose A.\n- Bar 1: a 3-to-9 outline from A (A, C, E♭, G), then F on beat 3 and a descending cell that ends on A. That last A falls a half step to A♭, making the guide-tone shuttle audible.\n- Bar 2: A♭ holds for a beat, then a rest. The second phrase enters on the & of 3 with a three-note cell, F–G–A♭, climbing back into A.\n- Bar 3: a runway from A up to E♭ on beat 3 and back down, ending on B♮, which steps into B♭ on the Cm7.\n- Bar 4: B♭ lands, G and G♯ climb chromatically into A on the F7, and a two-slot chromatic descent, B♭ then A, falls into A♭ in bar 5.", "english": "- Pickup: B♭ and G♯ enclose A.\n- Bar 1: a 3-to-9 outline from A (A, C, E♭, G), then F on beat 3 and a descending cell that ends on A. That last A falls a half step to A♭, making the guide-tone shuttle audible.\n- Bar 2: A♭ holds for a beat, then a rest. The second phrase enters on the & of 3 with a three-note cell, F–G–A♭, climbing back into A.\n- Bar 3: a runway from A up to E♭ on beat 3 and back down, ending on B♮, which steps into B♭ on the Cm7.\n- Bar 4: B♭ lands, G and G♯ climb chromatically into A on the F7, and a two-slot chromatic descent, B♭ then A, falls into A♭ in bar 5.", "sources": [], "list_items": [ [ { "tag": "strong", "text": "Pickup:" }, { "tag": "text", "text": " B♭ and G♯ enclose A." } ], [ { "tag": "strong", "text": "Bar 1:" }, { "tag": "text", "text": " a 3-to-9 outline from A (A, C, E♭, G), then F on beat 3 and a descending cell that ends on A. That last A falls a half step to A♭, making the guide-tone shuttle audible." } ], [ { "tag": "strong", "text": "Bar 2:" }, { "tag": "text", "text": " A♭ holds for a beat, then a rest. The second phrase enters on the & of 3 with a three-note cell, F–G–A♭, climbing back into A." } ], [ { "tag": "strong", "text": "Bar 3:" }, { "tag": "text", "text": " a runway from A up to E♭ on beat 3 and back down, ending on B♮, which steps into B♭ on the Cm7." } ], [ { "tag": "strong", "text": "Bar 4:" }, { "tag": "text", "text": " B♭ lands, G and G♯ climb chromatically into A on the F7, and a two-slot chromatic descent, B♭ then A, falls into A♭ in bar 5." } ] ], "ordered": false, "inline": [ { "tag": "text", "text": "- " }, { "tag": "strong", "text": "Pickup:" }, { "tag": "text", "text": " B♭ and G♯ enclose A.\n- " }, { "tag": "strong", "text": "Bar 1:" }, { "tag": "text", "text": " a 3-to-9 outline from A (A, C, E♭, G), then F on beat 3 and a descending cell that ends on A. That last A falls a half step to A♭, making the guide-tone shuttle audible.\n- " }, { "tag": "strong", "text": "Bar 2:" }, { "tag": "text", "text": " A♭ holds for a beat, then a rest. The second phrase enters on the & of 3 with a three-note cell, F–G–A♭, climbing back into A.\n- " }, { "tag": "strong", "text": "Bar 3:" }, { "tag": "text", "text": " a runway from A up to E♭ on beat 3 and back down, ending on B♮, which steps into B♭ on the Cm7.\n- " }, { "tag": "strong", "text": "Bar 4:" }, { "tag": "text", "text": " B♭ lands, G and G♯ climb chromatically into A on the F7, and a two-slot chromatic descent, B♭ then A, falls into A♭ in bar 5." } ] }, { "id": "arrival-237", "type": "paragraph", "section": "chapter-10", "reading_order": 237, "original": "Notice the phrase structure. One phrase runs from the pickup to beat 1 of bar 2, and a second runs from the & of 3 in bar 2 to bar 5. Both start on upbeats, and both end on long arrivals.", "english": "Notice the phrase structure. One phrase runs from the pickup to beat 1 of bar 2, and a second runs from the & of 3 in bar 2 to bar 5. Both start on upbeats, and both end on long arrivals.", "sources": [] }, { "id": "arrival-238", "type": "heading", "section": "chapter-10", "reading_order": 238, "original": "Rhythm changes in B♭", "english": "Rhythm changes in B♭", "sources": [], "heading_level": 3 }, { "id": "arrival-239", "type": "paragraph", "section": "chapter-10", "reading_order": 239, "original": "In the A section of rhythm changes, the chord changes on every beat 1 and beat 3, so every budget is exactly three slots.", "english": "In the A section of rhythm changes, the chord changes on every beat 1 and beat 3, so every budget is exactly three slots.", "sources": [] }, { "id": "arrival-240", "type": "paragraph", "section": "chapter-10", "reading_order": 240, "original": "Ex. 9.4 — A guide-tone skeleton for the A section of rhythm changes in B♭, one arrival per chord.", "english": "Ex. 9.4 — A guide-tone skeleton for the A section of rhythm changes in B♭, one arrival per chord.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 9.4" }, { "tag": "text", "text": " — A guide-tone skeleton for the A section of rhythm changes in B♭, one arrival per chord." } ] }, { "id": "arrival-241", "type": "music", "section": "chapter-10", "reading_order": 241, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-9-4" ] }, { "id": "arrival-242", "type": "paragraph", "section": "chapter-10", "reading_order": 242, "original": "The skeleton barely moves. Through the first four bars it stays between D and F, a minor third, and each G7 hands its 7th (F) down a step to the 3rd of Cm7 (E♭). That's typical of fast changes: the guide tones hardly move, so the line's interest has to come from the cells.", "english": "The skeleton barely moves. Through the first four bars it stays between D and F, a minor third, and each G7 hands its 7th (F) down a step to the 3rd of Cm7 (E♭). That's typical of fast changes: the guide tones hardly move, so the line's interest has to come from the cells.", "sources": [] }, { "id": "arrival-243", "type": "paragraph", "section": "chapter-10", "reading_order": 243, "original": "With every budget at three slots, four-slot outlines don't fit. The fix is the region merge: treat a ii–V as one bar of its V chord. Cm7–F7 becomes one bar of F7, and two three-slot budgets become an arrival, a cell and an outline.", "english": "With every budget at three slots, four-slot outlines don't fit. The fix is the region merge: treat a ii–V as one bar of its V chord. Cm7–F7 becomes one bar of F7, and two three-slot budgets become an arrival, a cell and an outline.", "sources": [], "inline": [ { "tag": "text", "text": "With every budget at three slots, four-slot outlines don't fit. The fix is the " }, { "tag": "strong", "text": "region merge" }, { "tag": "text", "text": ": treat a ii–V as one bar of its V chord. Cm7–F7 becomes one bar of F7, and two three-slot budgets become an arrival, a cell and an outline." } ] }, { "id": "arrival-244", "type": "paragraph", "section": "chapter-10", "reading_order": 244, "original": "Ex. 9.5 — Bar 1 follows the changes, two three-slot budgets. Bar 2 thinks F7 for the whole bar and plays a runway plus a 3-to-9 outline. Every note still fits the written Cm7 and F7.", "english": "Ex. 9.5 — Bar 1 follows the changes, two three-slot budgets. Bar 2 thinks F7 for the whole bar and plays a runway plus a 3-to-9 outline. Every note still fits the written Cm7 and F7.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 9.5" }, { "tag": "text", "text": " — Bar 1 follows the changes, two three-slot budgets. Bar 2 thinks F7 for the whole bar and plays a runway plus a 3-to-9 outline. Every note still fits the written Cm7 and F7." } ] }, { "id": "arrival-245", "type": "music", "section": "chapter-10", "reading_order": 245, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-9-5" ] }, { "id": "arrival-246", "type": "paragraph", "section": "chapter-10", "reading_order": 246, "original": "Bar 2 starts on E♭, the 3rd of Cm7 and the 7th of F7, so it works either way. The runway E♭–D–C–B♭ reads 3, 9, R, 7 against Cm7, and B♭ falls to A, the 3rd of F7, right on the chord change. You get the freedom of a whole bar without contradicting the harmony.", "english": "Bar 2 starts on E♭, the 3rd of Cm7 and the 7th of F7, so it works either way. The runway E♭–D–C–B♭ reads 3, 9, R, 7 against Cm7, and B♭ falls to A, the 3rd of F7, right on the chord change. You get the freedom of a whole bar without contradicting the harmony.", "sources": [] }, { "id": "arrival-247", "type": "paragraph", "section": "chapter-10", "reading_order": 247, "original": "The line's beat-3 arrivals (B over G7, A over F7) aren't in the skeleton. Like Ex. P.1, the line switches strands between beat 1 and beat 3. That's normal: the skeleton is a single voice, and a real line weaves between voices.", "english": "The line's beat-3 arrivals (B over G7, A over F7) aren't in the skeleton. Like Ex. P.1, the line switches strands between beat 1 and beat 3. That's normal: the skeleton is a single voice, and a real line weaves between voices.", "sources": [] }, { "id": "arrival-248", "type": "paragraph", "section": "chapter-10", "reading_order": 248, "original": "This is also why rhythm changes feels faster than its metronome marking. The arrival grid is twice as dense. Alternate merged and unmerged bars, and the line breathes again.", "english": "This is also why rhythm changes feels faster than its metronome marking. The arrival grid is twice as dense. Alternate merged and unmerged bars, and the line breathes again.", "sources": [] }, { "id": "arrival-249", "type": "heading", "section": "chapter-11", "reading_order": 249, "original": "Chapter 10 — The Practice System", "english": "Chapter 10 — The Practice System", "sources": [], "heading_level": 2 }, { "id": "arrival-250", "type": "paragraph", "section": "chapter-11", "reading_order": 250, "original": "One hour a day, in the order the book builds. Rotate the key daily through the cycle of fourths, and keep one tune for a week.", "english": "One hour a day, in the order the book builds. Rotate the key daily through the cycle of fourths, and keep one tune for a week.", "sources": [] }, { "id": "arrival-251", "type": "table", "section": "chapter-11", "reading_order": 251, "original": "Block | Minutes | Work | Chapter\n1 | 5 | Sing both skeleton strands over the week's tune | 3\n2 | 5 | Write the arrival map and slot budgets | 2\n3 | 10 | Cell matrix: all ten cells into one target | 4\n4 | 5 | Gap-rule runways from every chord tone | 6\n5 | 10 | Outline chains through ii–V–I | 5\n6 | 10 | Phrase entries, endings and one displacement | 7\n7 | 10 | Constrained improvisation on the tune | All\n8 | 5 | One stage of the metronome ladder | 8", "english": "Block | Minutes | Work | Chapter\n1 | 5 | Sing both skeleton strands over the week's tune | 3\n2 | 5 | Write the arrival map and slot budgets | 2\n3 | 10 | Cell matrix: all ten cells into one target | 4\n4 | 5 | Gap-rule runways from every chord tone | 6\n5 | 10 | Outline chains through ii–V–I | 5\n6 | 10 | Phrase entries, endings and one displacement | 7\n7 | 10 | Constrained improvisation on the tune | All\n8 | 5 | One stage of the metronome ladder | 8", "sources": [], "tables": { "en": { "columns": [ "Block", "Minutes", "Work", "Chapter" ], "rows": [ [ "1", "5", "Sing both skeleton strands over the week's tune", "3" ], [ "2", "5", "Write the arrival map and slot budgets", "2" ], [ "3", "10", "Cell matrix: all ten cells into one target", "4" ], [ "4", "5", "Gap-rule runways from every chord tone", "6" ], [ "5", "10", "Outline chains through ii–V–I", "5" ], [ "6", "10", "Phrase entries, endings and one displacement", "7" ], [ "7", "10", "Constrained improvisation on the tune", "All" ], [ "8", "5", "One stage of the metronome ladder", "8" ] ] } } }, { "id": "arrival-252", "type": "paragraph", "section": "chapter-11", "reading_order": 252, "original": "The order matters. Blocks 1–2 put the skeleton and the grid in your ear before your fingers start. Blocks 3–6 drill vocabulary against that frame. Block 7 is the only free playing, and it comes last so everything else feeds it.", "english": "The order matters. Blocks 1–2 put the skeleton and the grid in your ear before your fingers start. Blocks 3–6 drill vocabulary against that frame. Block 7 is the only free playing, and it comes last so everything else feeds it.", "sources": [] }, { "id": "arrival-253", "type": "heading", "section": "chapter-11", "reading_order": 253, "original": "Constraints for block 7", "english": "Constraints for block 7", "sources": [], "heading_level": 3 }, { "id": "arrival-254", "type": "paragraph", "section": "chapter-11", "reading_order": 254, "original": "Pick one per day. A constraint pushes one part of the system into the foreground while the rest runs on its own.", "english": "Pick one per day. A constraint pushes one part of the system into the foreground while the rest runs on its own.", "sources": [] }, { "id": "arrival-255", "type": "paragraph", "section": "chapter-11", "reading_order": 255, "original": "- Every change arrival is a guide tone.\n- Only two-slot cells for the whole chorus.\n- Every phrase starts on the & of 4.\n- Exactly one outline per chord change.\n- A full bar of rest between phrases.", "english": "- Every change arrival is a guide tone.\n- Only two-slot cells for the whole chorus.\n- Every phrase starts on the & of 4.\n- Exactly one outline per chord change.\n- A full bar of rest between phrases.", "sources": [], "list_items": [ [ { "tag": "text", "text": "Every change arrival is a guide tone." } ], [ { "tag": "text", "text": "Only two-slot cells for the whole chorus." } ], [ { "tag": "text", "text": "Every phrase starts on the & of 4." } ], [ { "tag": "text", "text": "Exactly one outline per chord change." } ], [ { "tag": "text", "text": "A full bar of rest between phrases." } ] ], "ordered": false }, { "id": "arrival-256", "type": "heading", "section": "chapter-11", "reading_order": 256, "original": "Backchaining", "english": "Backchaining", "sources": [], "heading_level": 3 }, { "id": "arrival-257", "type": "paragraph", "section": "chapter-11", "reading_order": 257, "original": "This drill turns \"think backward\" into hearing. Play the target alone. Then the last pickup plus the target. Then two pickups plus the target. Keep adding one slot at a time, always at the front, until the line is a full bar or longer.", "english": "This drill turns \"think backward\" into hearing. Play the target alone. Then the last pickup plus the target. Then two pickups plus the target. Keep adding one slot at a time, always at the front, until the line is a full bar or longer.", "sources": [] }, { "id": "arrival-258", "type": "paragraph", "section": "chapter-11", "reading_order": 258, "original": "Ex. 10.1 — Backchaining into E over G7 to Cmaj7. Each stage adds notes at the front and keeps everything after them.", "english": "Ex. 10.1 — Backchaining into E over G7 to Cmaj7. Each stage adds notes at the front and keeps everything after them.", "sources": [], "inline": [ { "tag": "strong", "text": "Ex. 10.1" }, { "tag": "text", "text": " — Backchaining into E over G7 to Cmaj7. Each stage adds notes at the front and keeps everything after them." } ] }, { "id": "arrival-259", "type": "music", "section": "chapter-11", "reading_order": 259, "original": "", "english": "", "sources": [], "asset_refs": [ "ex-10-1" ] }, { "id": "arrival-260", "type": "paragraph", "section": "chapter-11", "reading_order": 260, "original": "The target never changes, and every stage contains the one before it. By the time you reach the full bar, you've rehearsed the ending five times and the beginning once. That's the opposite of how most people practice, and it's why the method works: runs practiced from the front tend to collapse at the end, while runs built from the end can't.", "english": "The target never changes, and every stage contains the one before it. By the time you reach the full bar, you've rehearsed the ending five times and the beginning once. That's the opposite of how most people practice, and it's why the method works: runs practiced from the front tend to collapse at the end, while runs built from the end can't.", "sources": [] }, { "id": "arrival-261", "type": "heading", "section": "chapter-11", "reading_order": 261, "original": "Transcribing in this book's terms", "english": "Transcribing in this book's terms", "sources": [], "heading_level": 3 }, { "id": "arrival-262", "type": "paragraph", "section": "chapter-11", "reading_order": 262, "original": "When you transcribe a solo, annotate it. Mark the arrivals, name the strand, measure each cell's span, and flag the outlines and plugs. After ten solos you'll have your own cell table, ranked by how often the players you love actually use each shape. That table, not this book's, is the one to practice from.", "english": "When you transcribe a solo, annotate it. Mark the arrivals, name the strand, measure each cell's span, and flag the outlines and plugs. After ten solos you'll have your own cell table, ranked by how often the players you love actually use each shape. That table, not this book's, is the one to practice from.", "sources": [] }, { "id": "arrival-263", "type": "heading", "section": "chapter-11", "reading_order": 263, "original": "Progress gates", "english": "Progress gates", "sources": [], "heading_level": 3 }, { "id": "arrival-264", "type": "table", "section": "chapter-11", "reading_order": 264, "original": "Stage | Move on when\nSkeleton | You can sing either strand through the tune without the backing track\nCells | Any cell into any guide tone comes out in 12 keys at a medium tempo\nRunways | You hear a misaligned beat before you can name the note\nOutlines | You can chain two outlines through ii–V–I in every key\nPhrasing | Your phrases start on upbeats without planning it", "english": "Stage | Move on when\nSkeleton | You can sing either strand through the tune without the backing track\nCells | Any cell into any guide tone comes out in 12 keys at a medium tempo\nRunways | You hear a misaligned beat before you can name the note\nOutlines | You can chain two outlines through ii–V–I in every key\nPhrasing | Your phrases start on upbeats without planning it", "sources": [], "tables": { "en": { "columns": [ "Stage", "Move on when" ], "rows": [ [ "Skeleton", "You can sing either strand through the tune without the backing track" ], [ "Cells", "Any cell into any guide tone comes out in 12 keys at a medium tempo" ], [ "Runways", "You hear a misaligned beat before you can name the note" ], [ "Outlines", "You can chain two outlines through ii–V–I in every key" ], [ "Phrasing", "Your phrases start on upbeats without planning it" ] ] } } }, { "id": "arrival-265", "type": "heading", "section": "chapter-12", "reading_order": 265, "original": "Appendix — Lexicon, Glossary and Lineage", "english": "Appendix — Lexicon, Glossary and Lineage", "sources": [], "heading_level": 2 }, { "id": "arrival-266", "type": "heading", "section": "chapter-12", "reading_order": 266, "original": "Cell lexicon", "english": "Cell lexicon", "sources": [], "heading_level": 3 }, { "id": "arrival-267", "type": "paragraph", "section": "chapter-12", "reading_order": 267, "original": "Every cell from Chapter 4, into E (the 3rd of Cmaj7) from G7. Transpose the shape, not the notes.", "english": "Every cell from Chapter 4, into E (the 3rd of Cmaj7) from G7. Transpose the shape, not the notes.", "sources": [] }, { "id": "arrival-268", "type": "table", "section": "chapter-12", "reading_order": 268, "original": "Span | Starts on | Shape | Notes into E\n1 | & of 4 | −c | D♯\n1 | & of 4 | +d | F\n1 | & of 4 | −d | D\n2 | Beat 4 | +d −c (enclosure) | F, D♯\n2 | Beat 4 | −c +d (enclosure) | D♯, F\n2 | Beat 4 | −d −c (double approach) | D, D♯\n2 | Beat 4 | Chromatic descent | F♯, F\n3 | & of 3 | +d −d −c (extended enclosure) | F, D, D♯\n3 | & of 3 | Chord-tone lead + enclosure | G, F, D♯\n3 | & of 3 | Chromatic descent | G, F♯, F", "english": "Span | Starts on | Shape | Notes into E\n1 | & of 4 | −c | D♯\n1 | & of 4 | +d | F\n1 | & of 4 | −d | D\n2 | Beat 4 | +d −c (enclosure) | F, D♯\n2 | Beat 4 | −c +d (enclosure) | D♯, F\n2 | Beat 4 | −d −c (double approach) | D, D♯\n2 | Beat 4 | Chromatic descent | F♯, F\n3 | & of 3 | +d −d −c (extended enclosure) | F, D, D♯\n3 | & of 3 | Chord-tone lead + enclosure | G, F, D♯\n3 | & of 3 | Chromatic descent | G, F♯, F", "sources": [], "tables": { "en": { "columns": [ "Span", "Starts on", "Shape", "Notes into E" ], "rows": [ [ "1", "& of 4", "−c", "D♯" ], [ "1", "& of 4", "+d", "F" ], [ "1", "& of 4", "−d", "D" ], [ "2", "Beat 4", "+d −c (enclosure)", "F, D♯" ], [ "2", "Beat 4", "−c +d (enclosure)", "D♯, F" ], [ "2", "Beat 4", "−d −c (double approach)", "D, D♯" ], [ "2", "Beat 4", "Chromatic descent", "F♯, F" ], [ "3", "& of 3", "+d −d −c (extended enclosure)", "F, D, D♯" ], [ "3", "& of 3", "Chord-tone lead + enclosure", "G, F, D♯" ], [ "3", "& of 3", "Chromatic descent", "G, F♯, F" ] ] } } }, { "id": "arrival-269", "type": "heading", "section": "chapter-12", "reading_order": 269, "original": "Outline lexicon", "english": "Outline lexicon", "sources": [], "heading_level": 3 }, { "id": "arrival-270", "type": "table", "section": "chapter-12", "reading_order": 270, "original": "Outline | Over | Notes from beat 3 | Lands on\n3-to-9 | Dm7 to G7 | F, A, C, E | F, the 7th of G7\n3-to-♭9 | G7 to Cmaj7 | B, D, F, A♭ | G, the 5th of C\n1-to-7 | G7 to Cmaj7 | G, B, D, F | E, the 3rd of C\n3-to-♭5 | G7 to Cmaj7 | B, A♭, F, D♭ | C, the root of C", "english": "Outline | Over | Notes from beat 3 | Lands on\n3-to-9 | Dm7 to G7 | F, A, C, E | F, the 7th of G7\n3-to-♭9 | G7 to Cmaj7 | B, D, F, A♭ | G, the 5th of C\n1-to-7 | G7 to Cmaj7 | G, B, D, F | E, the 3rd of C\n3-to-♭5 | G7 to Cmaj7 | B, A♭, F, D♭ | C, the root of C", "sources": [], "tables": { "en": { "columns": [ "Outline", "Over", "Notes from beat 3", "Lands on" ], "rows": [ [ "3-to-9", "Dm7 to G7", "F, A, C, E", "F, the 7th of G7" ], [ "3-to-♭9", "G7 to Cmaj7", "B, D, F, A♭", "G, the 5th of C" ], [ "1-to-7", "G7 to Cmaj7", "G, B, D, F", "E, the 3rd of C" ], [ "3-to-♭5", "G7 to Cmaj7", "B, A♭, F, D♭", "C, the root of C" ] ] } } }, { "id": "arrival-271", "type": "heading", "section": "chapter-12", "reading_order": 271, "original": "Glossary", "english": "Glossary", "sources": [], "heading_level": 3 }, { "id": "arrival-272", "type": "table", "section": "chapter-12", "reading_order": 272, "original": "Term | Meaning | Chapter\nArrival | A chord tone on a structural beat (1 or 3 at minimum) | 2\nPickup | Any note whose job is to lead into an arrival | 1\nSkeleton | The sequence of arrivals, moving by step or holding | 3\nStrand | One guide-tone voice through a progression (A from the 3rd, B from the 7th) | 3\nElaboration ladder | Building a line by doubling rhythmic density from the skeleton up | 3\nCell | A pickup gesture of 1–3 slots ending in an arrival | 4\nSpan | A cell's length in eighth-note slots | 4\nSlot budget | The slots available between two consecutive arrivals | 2\nColored arrival | A tension landed on an arrival point, resolved by step on the next arrival | 2\nOutline | An arrival on beat 3 plus a 3-slot arpeggio crossing the bar line | 5\nRunway | A stepwise run timed to touch down on chord tones | 6\nGap rule | Plug the one adjacent chord-tone pair in a scale with a chromatic passing tone | 6\nDisplacement | Shifting a cell and its arrival by one slot, putting tension on the beat | 7\nAppoggiatura | An accented non-chord tone on a strong beat, resolving by step | 7\nClipped ending | A downbeat arrival followed by one short, accented upbeat | 7\nRegion merge | Treating a ii–V as a single dominant to enlarge the slot budget | 9", "english": "Term | Meaning | Chapter\nArrival | A chord tone on a structural beat (1 or 3 at minimum) | 2\nPickup | Any note whose job is to lead into an arrival | 1\nSkeleton | The sequence of arrivals, moving by step or holding | 3\nStrand | One guide-tone voice through a progression (A from the 3rd, B from the 7th) | 3\nElaboration ladder | Building a line by doubling rhythmic density from the skeleton up | 3\nCell | A pickup gesture of 1–3 slots ending in an arrival | 4\nSpan | A cell's length in eighth-note slots | 4\nSlot budget | The slots available between two consecutive arrivals | 2\nColored arrival | A tension landed on an arrival point, resolved by step on the next arrival | 2\nOutline | An arrival on beat 3 plus a 3-slot arpeggio crossing the bar line | 5\nRunway | A stepwise run timed to touch down on chord tones | 6\nGap rule | Plug the one adjacent chord-tone pair in a scale with a chromatic passing tone | 6\nDisplacement | Shifting a cell and its arrival by one slot, putting tension on the beat | 7\nAppoggiatura | An accented non-chord tone on a strong beat, resolving by step | 7\nClipped ending | A downbeat arrival followed by one short, accented upbeat | 7\nRegion merge | Treating a ii–V as a single dominant to enlarge the slot budget | 9", "sources": [], "tables": { "en": { "columns": [ "Term", "Meaning", "Chapter" ], "rows": [ [ "Arrival", "A chord tone on a structural beat (1 or 3 at minimum)", "2" ], [ "Pickup", "Any note whose job is to lead into an arrival", "1" ], [ "Skeleton", "The sequence of arrivals, moving by step or holding", "3" ], [ "Strand", "One guide-tone voice through a progression (A from the 3rd, B from the 7th)", "3" ], [ "Elaboration ladder", "Building a line by doubling rhythmic density from the skeleton up", "3" ], [ "Cell", "A pickup gesture of 1–3 slots ending in an arrival", "4" ], [ "Span", "A cell's length in eighth-note slots", "4" ], [ "Slot budget", "The slots available between two consecutive arrivals", "2" ], [ "Colored arrival", "A tension landed on an arrival point, resolved by step on the next arrival", "2" ], [ "Outline", "An arrival on beat 3 plus a 3-slot arpeggio crossing the bar line", "5" ], [ "Runway", "A stepwise run timed to touch down on chord tones", "6" ], [ "Gap rule", "Plug the one adjacent chord-tone pair in a scale with a chromatic passing tone", "6" ], [ "Displacement", "Shifting a cell and its arrival by one slot, putting tension on the beat", "7" ], [ "Appoggiatura", "An accented non-chord tone on a strong beat, resolving by step", "7" ], [ "Clipped ending", "A downbeat arrival followed by one short, accented upbeat", "7" ], [ "Region merge", "Treating a ii–V as a single dominant to enlarge the slot budget", "9" ] ] } } }, { "id": "arrival-273", "type": "heading", "section": "chapter-12", "reading_order": 273, "original": "Lineage", "english": "Lineage", "sources": [], "heading_level": 3 }, { "id": "arrival-274", "type": "paragraph", "section": "chapter-12", "reading_order": 274, "original": "The time axis comes from Hal Galper, Forward Motion: From Bach to Bebop (2005): directional phrasing, targets on strong beats, upbeat-weighted articulation and ear-first practice. The pitch axis comes from Bert Ligon, Connecting Chords with Linear Harmony (1996): guide-tone voice-leading, outlines and approach patterns as connective vocabulary. Enclosures and bebop scales are common-practice vocabulary that predates both.", "english": "The time axis comes from Hal Galper, Forward Motion: From Bach to Bebop (2005): directional phrasing, targets on strong beats, upbeat-weighted articulation and ear-first practice. The pitch axis comes from Bert Ligon, Connecting Chords with Linear Harmony (1996): guide-tone voice-leading, outlines and approach patterns as connective vocabulary. Enclosures and bebop scales are common-practice vocabulary that predates both.", "sources": [], "inline": [ { "tag": "text", "text": "The time axis comes from Hal Galper, " }, { "tag": "em", "text": "Forward Motion: From Bach to Bebop" }, { "tag": "text", "text": " (2005): directional phrasing, targets on strong beats, upbeat-weighted articulation and ear-first practice. The pitch axis comes from Bert Ligon, " }, { "tag": "em", "text": "Connecting Chords with Linear Harmony" }, { "tag": "text", "text": " (1996): guide-tone voice-leading, outlines and approach patterns as connective vocabulary. Enclosures and bebop scales are common-practice vocabulary that predates both." } ] }, { "id": "arrival-275", "type": "paragraph", "section": "chapter-12", "reading_order": 275, "original": "What this book adds is the glue: the span index with its three-slot cap, outlines as arrival-plus-cell recursion, the gap rule as a generator for bebop scales, slot budgets as a way to compare how forms feel to play, and a notation that shows both axes at once.", "english": "What this book adds is the glue: the span index with its three-slot cap, outlines as arrival-plus-cell recursion, the gap rule as a generator for bebop scales, slot budgets as a way to compare how forms feel to play, and a notation that shows both axes at once.", "sources": [] } ], "assets": [ { "id": "ex-P1", "kind": "music", "path": "assets/ex-P1.png", "description": "Ex. P.1 — A ii–V–I line (top) and its arrivals alone (bottom). Blue notes are arrivals; numbers name each note's function against the chord.", "source_label": "Author’s notation · Ex. P.1", "dimensions_pixels": [ 1318, 365 ], "sha256": "7f9fdb069d9dd02b1148548e622bf5443209c42fb56bba1fae81f5b74190a245", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-P1.musicxml", "label": "Ex. P.1", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "600ddd6ccd8bbe83477a798a1a39d1320f5e1fee67beaf02b18f0fdb37f9b160", "sourceVerifiedSha256": "600ddd6ccd8bbe83477a798a1a39d1320f5e1fee67beaf02b18f0fdb37f9b160" } ] }, { "id": "ex-1-1", "kind": "music", "path": "assets/ex-1-1.png", "description": "Ex. 1.1 — A two-note pickup lands on F, the 3rd of Dm7. The slur marks the gesture, and it crosses the bar line.", "source_label": "Author’s notation · Ex. 1.1", "dimensions_pixels": [ 467, 213 ], "sha256": "60d2ea2f44e2bc7a5a165865e804b7dac59fa2af870a681d22439824b772b8aa", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-1-1.musicxml", "label": "Ex. 1.1", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "0729a0aab099ac6f426a0abf6de5af7f7cdc6a1c4768879ccf3183fc96075424", "sourceVerifiedSha256": "0729a0aab099ac6f426a0abf6de5af7f7cdc6a1c4768879ccf3183fc96075424" } ] }, { "id": "ex-1-2", "kind": "music", "path": "assets/ex-1-2.png", "description": "Ex. 1.2 — Same notes, one eighth apart. Aligned: chord tones on the beats. Shifted: tensions on the beats, and the arrival lands late.", "source_label": "Author’s notation · Ex. 1.2", "dimensions_pixels": [ 870, 364 ], "sha256": "637cf5bf147db12b7a1eca5e4b65be9d2fedf66f8cd371deaf0dbca96d6aff53", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-1-2.musicxml", "label": "Ex. 1.2", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "ade82f2cd5505b0e2f6ccbbc34ff40a0c027bbf36192b44a02764b4a68c80b2b", "sourceVerifiedSha256": "ade82f2cd5505b0e2f6ccbbc34ff40a0c027bbf36192b44a02764b4a68c80b2b" } ] }, { "id": "ex-2-1", "kind": "music", "path": "assets/ex-2-1.png", "description": "Ex. 2.1 — Composing backward. First the target (E on beat 1 of Cmaj7), then a half-bar arrival (B, the 3rd of G7), then a three-note cell between them, then a runway from the bar line.", "source_label": "Author’s notation · Ex. 2.1", "dimensions_pixels": [ 841, 639 ], "sha256": "3fef634ec104b4fdb55a4ffa5e189cb22f48ffcb9d269ac90bf8336b9193e296", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-2-1.musicxml", "label": "Ex. 2.1", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "ef9049d8bfb293817fc5077a49b084a0c2550297b088d21e3522a9daf800cee7", "sourceVerifiedSha256": "ef9049d8bfb293817fc5077a49b084a0c2550297b088d21e3522a9daf800cee7" } ] }, { "id": "ex-2-2", "kind": "music", "path": "assets/ex-2-2.png", "description": "Ex. 2.2 — D, the 9th of Cmaj7, lands on beat 1 and resolves up to E, the 3rd, on beat 3. The enclosure E–C♯ aims at D as if it were the real target.", "source_label": "Author’s notation · Ex. 2.2", "dimensions_pixels": [ 712, 231 ], "sha256": "ee83368177219764cd2270dc41bf3ccaeb9631e138f2f1ab046a2bee406290c0", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-2-2.musicxml", "label": "Ex. 2.2", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "6ef4cef4386598a7f11b5b8e290f0c32654ef2f25dac3ff2ac2aab10de5dd6ac", "sourceVerifiedSha256": "6ef4cef4386598a7f11b5b8e290f0c32654ef2f25dac3ff2ac2aab10de5dd6ac" } ] }, { "id": "ex-3-1", "kind": "music", "path": "assets/ex-3-1.png", "description": "Ex. 3.1 — The two strands through Dm7–G7–Cmaj7. Strand A starts on the 3rd, holds, then falls. Strand B starts on the 7th, falls, then holds.", "source_label": "Author’s notation · Ex. 3.1", "dimensions_pixels": [ 765, 343 ], "sha256": "413b9af6987196bd39ea2045824dea8cbf5bfbb11caf03bc4cff96e657049238", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-3-1.musicxml", "label": "Ex. 3.1", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "d10a028e9d502bbaa99b562663537efb78253a930ec28cc2e4d5b7d00809fcfa", "sourceVerifiedSha256": "d10a028e9d502bbaa99b562663537efb78253a930ec28cc2e4d5b7d00809fcfa" } ] }, { "id": "ex-3-2", "kind": "music", "path": "assets/ex-3-2.png", "description": "Ex. 3.2 — Strand A grown from whole notes to eighth notes. Each level keeps every blue note of the level above it.", "source_label": "Author’s notation · Ex. 3.2", "dimensions_pixels": [ 1114, 646 ], "sha256": "4f2ba229985ac8cf0d6aafd1fc9f5f9151ecda2b4ad86a8d254817e2dd35c1a0", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-3-2.musicxml", "label": "Ex. 3.2", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "5f669cda92b8da750429333fce1141fcb3e6116c7007bb633d3b4e66ca721f42", "sourceVerifiedSha256": "5f669cda92b8da750429333fce1141fcb3e6116c7007bb633d3b4e66ca721f42" } ] }, { "id": "ex-3-3", "kind": "music", "path": "assets/ex-3-3.png", "description": "Ex. 3.3 — Guide tones through a chain of dominants, E7–A7–D7–G7–Cmaj7. Each strand falls chromatically, alternating 7 and 3.", "source_label": "Author’s notation · Ex. 3.3", "dimensions_pixels": [ 1201, 336 ], "sha256": "91b336a150e4cb8afb548d160c7acbb3930e5ad96a1e73181bc543aac4499980", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-3-3.musicxml", "label": "Ex. 3.3", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "41c4d10ece3102b14e83419181d04ff9b7e8c3905f2e2df0c80bba06dc735fdf", "sourceVerifiedSha256": "41c4d10ece3102b14e83419181d04ff9b7e8c3905f2e2df0c80bba06dc735fdf" } ] }, { "id": "ex-4-1", "kind": "music", "path": "assets/ex-4-1.png", "description": "Ex. 4.1 — Span-1 cells into E: chromatic below (−c), step above (+d) and step below (−d).", "source_label": "Author’s notation · Ex. 4.1", "dimensions_pixels": [ 1017, 206 ], "sha256": "15f8183c5436e0e77b32631e9b8a624ad2aeaac14542b88395405cefbca8b07d", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-4-1.musicxml", "label": "Ex. 4.1", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "5bbcd13212c7b59a589e9ea1e32da4be5dd82a604a436dde46e20d48b3a84922", "sourceVerifiedSha256": "5bbcd13212c7b59a589e9ea1e32da4be5dd82a604a436dde46e20d48b3a84922" } ] }, { "id": "ex-4-2", "kind": "music", "path": "assets/ex-4-2.png", "description": "Ex. 4.2 — Span-2 cells into E: two enclosures, a double approach from below and a chromatic descent from above.", "source_label": "Author’s notation · Ex. 4.2", "dimensions_pixels": [ 1597, 221 ], "sha256": "7f2d9c1192361085e9c08c2e9a179f39700ae9cdb255de07c3b254984d5b69c0", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-4-2.musicxml", "label": "Ex. 4.2", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "69e40e24b0d0b2c488e841a199a09d6f137fb3093f71d2d11452e5de9634a99e", "sourceVerifiedSha256": "69e40e24b0d0b2c488e841a199a09d6f137fb3093f71d2d11452e5de9634a99e" } ] }, { "id": "ex-4-3", "kind": "music", "path": "assets/ex-4-3.png", "description": "Ex. 4.3 — Span-3 cells into E: an extended enclosure, a chord-tone lead into an enclosure and a three-note chromatic descent.", "source_label": "Author’s notation · Ex. 4.3", "dimensions_pixels": [ 1327, 246 ], "sha256": "0791f4ff95228490527d25e7525da3aa772f1a01d7ba5d606a473aa487fc8148", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-4-3.musicxml", "label": "Ex. 4.3", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "097ee4711edd3b79f92f73d7e0f9b0bb6b3342cbb140915b7f2b71e1079e3d59", "sourceVerifiedSha256": "097ee4711edd3b79f92f73d7e0f9b0bb6b3342cbb140915b7f2b71e1079e3d59" } ] }, { "id": "ex-4-4", "kind": "music", "path": "assets/ex-4-4.png", "description": "Ex. 4.4 — B, the 3rd of G7, re-attacked as the 7th of Cmaj7. The enclosure C–A♯ tells the ear the function has changed even though the pitch hasn't.", "source_label": "Author’s notation · Ex. 4.4", "dimensions_pixels": [ 712, 238 ], "sha256": "bb9bc9053fc042b63187edb0ff4c90ff5d0edf977d6193f7954811c649ebf5c3", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-4-4.musicxml", "label": "Ex. 4.4", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "5acb6a9abb1df68d5e676a0cec6c733f5a4706f51f628afd8bc4567370e37af6", "sourceVerifiedSha256": "5acb6a9abb1df68d5e676a0cec6c733f5a4706f51f628afd8bc4567370e37af6" } ] }, { "id": "ex-5-1", "kind": "music", "path": "assets/ex-5-1.png", "description": "Ex. 5.1 — Four outlines, each shown from beat 3 to the next downbeat. The slur marks the gesture crossing the bar line.", "source_label": "Author’s notation · Ex. 5.1", "dimensions_pixels": [ 1597, 274 ], "sha256": "cb11c84c92a642c417289d03015a7cd4247f5fe9e6606d9aa77dfa045aca4055", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-5-1.musicxml", "label": "Ex. 5.1", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "74feebddd2b5c4d1ca500ba5f61ab2a9f3787649e563eb411f8d90b07e027886", "sourceVerifiedSha256": "74feebddd2b5c4d1ca500ba5f61ab2a9f3787649e563eb411f8d90b07e027886" } ] }, { "id": "ex-5-2", "kind": "music", "path": "assets/ex-5-2.png", "description": "Ex. 5.2 — Outlines chained through a ii–V–I. Bar 1: an arrival on D, a 3-slot cell into F, then the 3-to-9 outline. Bar 2: an arrival on F, a runway down to B, then the 3-to-♭9 outline into G.", "source_label": "Author’s notation · Ex. 5.2", "dimensions_pixels": [ 1059, 231 ], "sha256": "ca7e108325b991bdd8980bbb17ea7d8c6f58f139a8a1a499790947e397b043db", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-5-2.musicxml", "label": "Ex. 5.2", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "b3bd6486bb5be0a253903594dcb099fbe054ae7b14212b71120e01b34e538fac", "sourceVerifiedSha256": "b3bd6486bb5be0a253903594dcb099fbe054ae7b14212b71120e01b34e538fac" } ] }, { "id": "ex-6-1", "kind": "music", "path": "assets/ex-6-1.png", "description": "Ex. 6.1 — G Mixolydian descending from G, plain and plugged. Plain: the beats carry R, 13, 11 and 9, and the run lands on F, the 11th of Cmaj7. Plugged: F♯ between G and F keeps R, 7, 5 and 3 on the beats, and the run lands on G.", "source_label": "Author’s notation · Ex. 6.1", "dimensions_pixels": [ 860, 355 ], "sha256": "8711d6eb58348cd344f9ac04cb18bc39d6998c10d6fac4a7f84c6450cb200a54", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-6-1.musicxml", "label": "Ex. 6.1", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "ff31346778bb8cb3a2d6ee6cc4c92428a31816be3390512993e9439cd8937a83", "sourceVerifiedSha256": "ff31346778bb8cb3a2d6ee6cc4c92428a31816be3390512993e9439cd8937a83" } ] }, { "id": "ex-6-2", "kind": "music", "path": "assets/ex-6-2.png", "description": "Ex. 6.2 — Three plugged runways: D Dorian descending (C♯ between D and C), C6 bebop descending (A♭ between A and G) and dominant bebop ascending (F♯ between F and G).", "source_label": "Author’s notation · Ex. 6.2", "dimensions_pixels": [ 1603, 552 ], "sha256": "c64276eed35e2af67301fdc3d9140eee4f1261424bb540eac34463c5964767b4", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-6-2.musicxml", "label": "Ex. 6.2", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "a8f405120ac62f3a4fc13ede9a32c769027746285540a5bd65cbedc457dd020a", "sourceVerifiedSha256": "a8f405120ac62f3a4fc13ede9a32c769027746285540a5bd65cbedc457dd020a" } ] }, { "id": "ex-6-3", "kind": "music", "path": "assets/ex-6-3.png", "description": "Ex. 6.3 — A run that starts on the & of 1 floats, with chord tones (F, D, B) on the upbeats and tensions on the beats. A♭, the ♭9 of G7, works as a passing tone on the last upbeat and snaps G onto beat 1 of Cmaj7.", "source_label": "Author’s notation · Ex. 6.3", "dimensions_pixels": [ 715, 270 ], "sha256": "f3bf4b28074abef4c47c7a02acaf11ee4dcea0f6c925ee84489dd448d0230894", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-6-3.musicxml", "label": "Ex. 6.3", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "3534906d2e258d0e86e0ec6dff3488bceb2d07eb5bfe85c4ea5c069cdd13d172", "sourceVerifiedSha256": "3534906d2e258d0e86e0ec6dff3488bceb2d07eb5bfe85c4ea5c069cdd13d172" } ] }, { "id": "ex-7-1", "kind": "music", "path": "assets/ex-7-1.png", "description": "Ex. 7.1 — Four entries into the same arrival, F on beat 1 of Dm7: a one-note pickup, a two-note enclosure, a three-note cell and a half-bar outline (1-to-7 over A7).", "source_label": "Author’s notation · Ex. 7.1", "dimensions_pixels": [ 741, 646 ], "sha256": "773c9f9063938f58a91b06501079df6c6d7c3346dfe81780eaf5ccd30f2e0423", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-7-1.musicxml", "label": "Ex. 7.1", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "0c77803df02d097b4904a9307b4ad1697e472579c61a8f65531ff8f55e9f2b3d", "sourceVerifiedSha256": "0c77803df02d097b4904a9307b4ad1697e472579c61a8f65531ff8f55e9f2b3d" } ] }, { "id": "ex-7-2", "kind": "music", "path": "assets/ex-7-2.png", "description": "Ex. 7.2 — The same G7 bar ending two ways: a long arrival on E, and a clipped ending, E followed by a short accented C.", "source_label": "Author’s notation · Ex. 7.2", "dimensions_pixels": [ 873, 354 ], "sha256": "1afec427bb4a24a408ca99b75259149c3473c23922861409191a886cc5668a80", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-7-2.musicxml", "label": "Ex. 7.2", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "401d2f9bdffa2255cbd3e994e23fce338a732223007eeecc9670e0246026d27d", "sourceVerifiedSha256": "401d2f9bdffa2255cbd3e994e23fce338a732223007eeecc9670e0246026d27d" } ] }, { "id": "ex-7-3", "kind": "music", "path": "assets/ex-7-3.png", "description": "Ex. 7.3 — A four-bar arc over Dm7–G7–Cmaj7–A7, landing on Dm7. The line climbs from F to its peak, B in bar 3, and falls back to F.", "source_label": "Author’s notation · Ex. 7.3", "dimensions_pixels": [ 1603, 490 ], "sha256": "193896d9c8c8ec753f6a6e83900369611d5cf58c0056598c7d7820fb280721b0", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-7-3.musicxml", "label": "Ex. 7.3", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "24bf567bad43996342bbf0d1dd29d78f2a839f56dab0eaf9c0120646721f75ad", "sourceVerifiedSha256": "24bf567bad43996342bbf0d1dd29d78f2a839f56dab0eaf9c0120646721f75ad" } ] }, { "id": "ex-7-4", "kind": "music", "path": "assets/ex-7-4.png", "description": "Ex. 7.4 — The 1-to-7 outline, aligned and displaced by one eighth. Displaced, F lands on beat 1 of Cmaj7 as an accented 11th and resolves to E one slot late.", "source_label": "Author’s notation · Ex. 7.4", "dimensions_pixels": [ 831, 401 ], "sha256": "700d10b4ba5de00478d299d66e6a3e4f0fa7a280e16f050539ba1880bf6a1972", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-7-4.musicxml", "label": "Ex. 7.4", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "5db2a48cb40b243d4a7d8b33142e592676430f7e85293df651f2a37df81a39f5", "sourceVerifiedSha256": "5db2a48cb40b243d4a7d8b33142e592676430f7e85293df651f2a37df81a39f5" } ] }, { "id": "ex-7-5", "kind": "music", "path": "assets/ex-7-5.png", "description": "Ex. 7.5 — The group E–D–C repeated over Cmaj7. Accents mark each group's first note. The cycle starts on beat 1 and returns to a beat 12 slots later, on beat 3 of bar 2.", "source_label": "Author’s notation · Ex. 7.5", "dimensions_pixels": [ 778, 214 ], "sha256": "dc1394bdf7e18656408e04b6a0fd3c37968cb156c17727e9637a7205d88dace0", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-7-5.musicxml", "label": "Ex. 7.5", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "6fe16c70ae2094ab1224c7cab91ac2cff66680681ba0a177dd80077d897e7aa5", "sourceVerifiedSha256": "6fe16c70ae2094ab1224c7cab91ac2cff66680681ba0a177dd80077d897e7aa5" } ] }, { "id": "ex-8-1", "kind": "music", "path": "assets/ex-8-1.png", "description": "Ex. 8.1 — A ii–V–I line articulated this way: a slur from each upbeat into the next beat, ghosted notes (in parentheses) on non-structural beats, and accents on the & of 4.", "source_label": "Author’s notation · Ex. 8.1", "dimensions_pixels": [ 1336, 228 ], "sha256": "16ae169513bdb004c3b84821b820545124a11dbcc7f7d84938a236fe93dd3397", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-8-1.musicxml", "label": "Ex. 8.1", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "d6fa4ce89534b3f86ca5480e473c785bea4cf1a46497040b1b1da24586650788", "sourceVerifiedSha256": "d6fa4ce89534b3f86ca5480e473c785bea4cf1a46497040b1b1da24586650788" } ] }, { "id": "ex-8-2", "kind": "music", "path": "assets/ex-8-2.png", "description": "Ex. 8.2 — Written eighth notes (top) and their approximate medium-tempo performance (bottom): a triplet quarter and eighth per beat.", "source_label": "Author’s notation · Ex. 8.2", "dimensions_pixels": [ 886, 332 ], "sha256": "e97032b222e9abf6dcedd10ae4e5c50ef19c14f512c30d504302679db15d0712", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-8-2.musicxml", "label": "Ex. 8.2", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "0da1043971975874f121d2c1e8029fcd136c5658191c3aabf5b3ac70bc211795", "sourceVerifiedSha256": "0da1043971975874f121d2c1e8029fcd136c5658191c3aabf5b3ac70bc211795" } ] }, { "id": "ex-9-1", "kind": "music", "path": "assets/ex-9-1.png", "description": "Ex. 9.1 — The line from Ex. P.1, labeled by technique.", "source_label": "Author’s notation · Ex. 9.1", "dimensions_pixels": [ 1205, 277 ], "sha256": "70f2f4ba75d6ffa0da54401ffef3c0fe588cdb6f0f8ef97e958be8b78dc91551", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-9-1.musicxml", "label": "Ex. 9.1", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "fc9619eb68954721fde2c2c2b07d1a17a3564adb0292ca40ee356f98b93508cb", "sourceVerifiedSha256": "fc9619eb68954721fde2c2c2b07d1a17a3564adb0292ca40ee356f98b93508cb" } ] }, { "id": "ex-9-2", "kind": "music", "path": "assets/ex-9-2.png", "description": "Ex. 9.2 — A guide-tone skeleton for a 12-bar blues in F, starting from the 3rd of F7.", "source_label": "Author’s notation · Ex. 9.2", "dimensions_pixels": [ 1603, 496 ], "sha256": "5ac2948c9611d67e63e7f9486924d170455a5ec33f873f218350431693a45f32", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-9-2.musicxml", "label": "Ex. 9.2", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "1dcf3cf90bb088c877f156f7d966121552206ffe8b9db0e9f9a00b0fea7eaf18", "sourceVerifiedSha256": "1dcf3cf90bb088c877f156f7d966121552206ffe8b9db0e9f9a00b0fea7eaf18" } ] }, { "id": "ex-9-3", "kind": "music", "path": "assets/ex-9-3.png", "description": "Ex. 9.3 — Bars 1–4 elaborated to Level 3, landing in bar 5. Every blue note matches the skeleton in Ex. 9.2.", "source_label": "Author’s notation · Ex. 9.3", "dimensions_pixels": [ 1603, 534 ], "sha256": "ddb99f286fd300009b32e19e73507dba56c3fefec03b8e447a7006759d08524a", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-9-3.musicxml", "label": "Ex. 9.3", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "1cefd221d052140e826e934c1f4c8a97f7959b3c329420788f8c0c4e11884477", "sourceVerifiedSha256": "1cefd221d052140e826e934c1f4c8a97f7959b3c329420788f8c0c4e11884477" } ] }, { "id": "ex-9-4", "kind": "music", "path": "assets/ex-9-4.png", "description": "Ex. 9.4 — A guide-tone skeleton for the A section of rhythm changes in B♭, one arrival per chord.", "source_label": "Author’s notation · Ex. 9.4", "dimensions_pixels": [ 1603, 475 ], "sha256": "14924dbec7be85fcfdc1a813d8aeec56348fbaaac48e403f89cfcc98829e45b6", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-9-4.musicxml", "label": "Ex. 9.4", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "8ab39f04e32fcbd57ad05c2f797444d117a84ca8ec151bb781b72cee37d34442", "sourceVerifiedSha256": "8ab39f04e32fcbd57ad05c2f797444d117a84ca8ec151bb781b72cee37d34442" } ] }, { "id": "ex-9-5", "kind": "music", "path": "assets/ex-9-5.png", "description": "Ex. 9.5 — Bar 1 follows the changes, two three-slot budgets. Bar 2 thinks F7 for the whole bar and plays a runway plus a 3-to-9 outline. Every note still fits the written Cm7 and F7.", "source_label": "Author’s notation · Ex. 9.5", "dimensions_pixels": [ 1327, 230 ], "sha256": "306472804ff5253db9975627c07cb92d8dab4a87181f4f928583d991b973feb1", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-9-5.musicxml", "label": "Ex. 9.5", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "dee44f85b73f4ce30bc09b98134f09c1bfa7cea18ea340c53ca9f3a65d814446", "sourceVerifiedSha256": "dee44f85b73f4ce30bc09b98134f09c1bfa7cea18ea340c53ca9f3a65d814446" } ] }, { "id": "ex-10-1", "kind": "music", "path": "assets/ex-10-1.png", "description": "Ex. 10.1 — Backchaining into E over G7 to Cmaj7. Each stage adds notes at the front and keeps everything after them.", "source_label": "Author’s notation · Ex. 10.1", "dimensions_pixels": [ 806, 777 ], "sha256": "328ccdd5f3e7efa9f787fe5a41ef2c68173fae5696a31bbb2ddb92c160353fb5", "music_transcription_status": "author-source", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-10-1.musicxml", "label": "Ex. 10.1", "playbackAvailable": true, "transcriptionStatus": "author-source", "sha256": "84c96f5619325563e74300d02c2bbde28a93a902d16bb919e1b9e3090ef00a4e", "sourceVerifiedSha256": "84c96f5619325563e74300d02c2bbde28a93a902d16bb919e1b9e3090ef00a4e" } ] } ], "contents": [ { "blockId": "arrival-001", "title": "Title", "group": "Arrival", "chapterId": "title" }, { "blockId": "arrival-003", "title": "Preface: One Grammar, Two Axes", "group": "Arrival", "chapterId": "chapter-01" }, { "blockId": "arrival-017", "title": "Chapter 1 — The Two Axes", "group": "Arrival", "chapterId": "chapter-02" }, { "blockId": "arrival-041", "title": "Chapter 2 — Arrival Points", "group": "Arrival", "chapterId": "chapter-03" }, { "blockId": "arrival-065", "title": "Chapter 3 — The Skeleton", "group": "Arrival", "chapterId": "chapter-04" }, { "blockId": "arrival-089", "title": "Chapter 4 — Approach Grammar", "group": "Arrival", "chapterId": "chapter-05" }, { "blockId": "arrival-121", "title": "Chapter 5 — Outlines", "group": "Arrival", "chapterId": "chapter-06" }, { "blockId": "arrival-141", "title": "Chapter 6 — Scales as Runways", "group": "Arrival", "chapterId": "chapter-07" }, { "blockId": "arrival-169", "title": "Chapter 7 — Phrase Architecture", "group": "Arrival", "chapterId": "chapter-08" }, { "blockId": "arrival-201", "title": "Chapter 8 — Time Feel and Articulation", "group": "Arrival", "chapterId": "chapter-09" }, { "blockId": "arrival-221", "title": "Chapter 9 — Applying the System", "group": "Arrival", "chapterId": "chapter-10" }, { "blockId": "arrival-249", "title": "Chapter 10 — The Practice System", "group": "Arrival", "chapterId": "chapter-11" }, { "blockId": "arrival-265", "title": "Appendix — Lexicon, Glossary and Lineage", "group": "Arrival", "chapterId": "chapter-12" } ], "lessons": [], "coverage_note": "Complete original edition: preface, ten chapters, appendix and 30 playable examples.", "source_pages": [], "uncertain_readings": [], "pending_work": [] }