CHAPTER 1: GETTING STARTED Practice Tips Developing Your Ear Recommended Listening Styles Jazz Standards The Form of a Tune The Structure of a Typical Jazz Performance The Pianist's Role in a Jazz Group
CHAPTER 2: ESSENTIAL THEORY The Chromatic Scale The Whole Tone Scale The Major Scale Intervals The Cycle Swing Eighth Notes
CHAPTER 3: BASIC CHORDS AND VOICINGS Triads Four-Note Chords Shell Voicings and Concepts of Voice Leading Diatonic Chords The iim7-V7-Imaj7 Progression
CHAPTER 4: REPERTOIRE Learning Tunes Interpreting a Lead Sheet Endings Applying Voicings
CHAPTER 5: BEGINNING IMPROVISATION The Blues Scale Feeling Time The Blues Progression Improvising with Chord Tones The Modes of the Major Scale The Mixolydian Mode The Dorian Mode Thinking About Scales
CHAPTER 6: DOMINANT VOCABULARY The Dominant Bebop Scale Arpeggios Resolution to the Third Aplication to the Blues More Dominant Ideas More About Accents Rhythmic Variations Phrasing
CHAPTER 7: MAJOR VOCABULARY Major Scale Improvisation The Major Bebop Scale Resolution to the Third and Fifth Arpeggios and Other Melodic Ideas Rhythmic Variations Improvising over Common Progressions Application to "Afternoon in Paris"
CHAPTER 8: MORE HARMONY Upper Extensions Altered Dominant Extensions Two-Handed Voicings Harmonizing Tunes Rootless Voicings Comping Rhythms Compig Behind a Soloist Soloing with Chords
CHAPTER 9: MORE SCALES The Harmonic Minor Scale The Jewish or Spanish Scale Minor II-V-I The Locrian Mode The Jazz Melodic Minor Scale The Altered Scale The Diminished Scale Improvising with Whole Tone Scales Putting It All Together
CHAPTER 10: MORE REPERTOIRE Variations of Common Chord Progressions Jazz Blues Rhythm Changes "Autumn Leaves"
CONCLUSION GLOSSARY TRACK LISTING ACKNOWILEDGMENTS ABOUT THE AUTHOR TESTIMONIALS